Pat Cerasaro - Page 191

Theatricality does not come on a scale much grander - and available to an audience much wider and larger, natch - than by way of the heady and hallucinogenic images concocted by visionary, Academy Award-winning British director Danny Boyle for the 2012 Olympics opening ceremony tonight. A hill, a heath, dozens of sheepherders and milkmaids below a large, looming tree set the scene for the start of the big, big show - and it was definitely very, very big. All of this countryside accoutrement signaled the entrance for Sir Kenneth Branagh, with sharp top hat and lit cigar, portraying noted industry king Isambard Kingdom Brunel, as he physically and metaphorically ushered in the new age in this culturally and historically-inspired phantasmagoria - setting the proceedings into high gear with a particularly impassioned and spine-tingling reading of one of the most moving and memorable passages from all of literate in a thrilling Prospero moment from Shakespeare's THE TEMPEST. And that was just the first five minutes!

Today we are talking to a terrifically talented triple-threat who has made appearances on Broadway in entities as diverse as David Merrick's original Gower Champion-directed production of 42nd STREET, her debut, to roles in Susan Stroman's CRAZY FOR YOU, Hal Prince's landmark revival of SHOW BOAT and the Mark Bramble revival of 42nd STREET to THE CIVIL WAR, MAMMA MIA!, YOUNG FRANKENSTEIN, ELF, and, most recently, as the star of BABY, IT'S YOU! - to say nothing of her Tony Award-winning turn in THE DROWSY CHAPERONE - the thoroughly delightful and dynamic dame herself, Beth Leavel. Discussing some of her career highlights thus far - such as the night of her Tony Award win - while generously sharing her caustic wit and giving us a glimpse into the life of a modern-day leading lady, Leavel also offers us some insights into her newest role - one originally essayed by no less than Broadway icon Ethel Merman - that of Irving Berlin's heroine, Mrs. Sally Adams, in the politically-themed musical comedy CALL ME MADAM, playing at the Lyric Theatre of Oklahoma, July 24-28. In addition to all about CALL ME MADAM, Leavel also imparts her affection for past co-stars and collaborators - Sutton Foster, Christine Ebersole, Andrea Martin, Millicent Martin, Dolores Grey, Burt Bacharach and more included - and looks ahead to some parts that she would potentially consider pursuing in the future (MINSKY'S perhaps?). All of that and much, much more!

A new Paul Thomas Anderson film only comes along once or twice a decade, so the recent teasers that have been released for his new film - a veiled Scientology parable titled THE MASTER, starring Philip Seymour Hoffman, Joaquin Pheonix and Amy Adams - have been inspiring adulation amongst both Anderson's devotees (The Milk Drinkers?) and film fans alike, but what about yesterday's official trailer premiere? Sheer awe. When Philip Seymour Hoffman joined me in my InDepth InterView column in 2010, we spoke quite a bit about his previous work with Anderson on MAGNOLIA - which he called "an opera" - and BOOGIE NIGHTS, which is unquestionably a magnum opus; to say nothing of Hoffman's memorable turns in the respectively arresting and enchanting HARD 8 and PUNCH DRUNK LOVE - and the first news of this new religion-based project had just surfaced at that time, so this week's long-awaited release of the official theatrical trailer of THE MASTER is a promise of a new Anderson/Hoffman cinematic collaboration finally at long last fulfilled - and much, much more, as well.

Today we are talking to Patricia Kelly, the widow of one of the most iconic and influential performers in entertainment history, Gene Kelly, all about her husband's incomparable career on Broadway and in Hollywood, in honor of his centennial. Tracing Gene Kelly's journey from his theatre roots starring in Cole Porter's LEAVE IT TO ME!, Rodgers & Hart's PAL JOEY and William Saroyan's Pulitzer Prize-winning THE TIME OF YOUR LIFE on Broadway to his unforgettable screen appearances in many of the greatest movie musicals ever made - COVER GIRL, SINGIN' IN THE RAIN, THE PIRATE, AN AMERICAN IN PARIS and many more included - Mrs. Kelly gives us a look into the life of one of the most important artists of the twentieth century. In addition to behind-the-scenes stories involving Kelly's frequent collaborators - such as esteemed director Vincente Minnelli, songwriter and producer Arthur Freed, arranger Saul Chaplin and others - Mrs. Kelly also shares candid anecdotes involving her husband's involvement with directing Rodgers & Hammerstein's FLOWER DRUM SONG on Broadway, helming the feature film adaptation of HELLO, DOLLY! starring Barbra Streisand, as well as his appearing in two idiosyncratic movie musicals later in his life, LES DEMOISELLES DE ROCHEFORT (THE YOUNG GIRLS OF ROCHEFORT) for Jacques Demy, as well as his au revoir to movie musicals in form of the Olivia Newton-John roller disco starrer XANADU. Additionally, Mrs. Kelly fills us in on all the details about this weekend's two-night Gene Kelly retrospective celebration, which she leads and narrates, as part of GENE KELLY @ 100 and her future plans for the multimedia presentation - each evening titled AN EVENING OF GENE KELLY and CHANGING THE LOOK OF DANCE ON FILM, respective - as she begins to tour the show across the country. Plus, reflections on SINGIN' IN THE RAIN's 60th anniversary and the recent Fathom HD premiere presentation in theaters, the impact of Kelly's work behind the camera, his choreographic legacy, what a legend is like at home, memories of attending the opening night of THE PHANTOM OF THE OPERA (starring HELLO, DOLLY! lead Michael Crawford), what the master would say about GLEE, SMASH, BUNHEADS and today's movie musical renaissance, as well as much, much more!

Today we are talking to one of Broadway's most recent stars to make a big impression in Hollywood with his many recent TV and film appearances - from GLEE, 30 ROCK and CURB YOUR ENTHUSIASM to the forthcoming HBO Liberace biopic BEHIND THE CANDELABRA as well as the new NBC series MOCKINGBIRD LANE - following his stints on the Great White Way in the lead roles of musicals such as ALL SHOOK UP, XANADU and FINIAN'S RAINBOW - the convivial, exceedingly talented Cheyenne Jackson. Giving us an all-access pass to his new role as songwriter, crafting two pop gems - "Drive" and "Before You" - and creating accompanying music videos for them as a preview of his forthcoming EP, which will also include collaborations with Sia and more. In addition to his recording career and songwriting responsibilities, Jackson also has a number of high profile film and TV projects coming up and he gives us the 411 on his role opposite Michael Douglas in the new Steven Soderbergh HBO film BEHIND THE CANDELABRA, as well as shares his experiences filming the new Bryan Fuller-created NBC reboot of THE MUNSTERS titled MOCKINGBIRD LANE. Also, will he be returning to 30 ROCK for its final season? What about a GLEE reprise? Plus, Jackson fills us in on the newest member of his family, as well as recollections of working on Dustin Lance Black's remarkable landmark PROP 8 live multi-media presentation, his involvement with Neil LaBute's THE HEART OF THE MATTER, his new film MUTUAL FRIENDS, participating in BARACK ON BROADWAY duetting with SMASH star Megan Hilty and what we can expect from his appearance in the new Christopher Ashley-directed movie musical adaptation of Ahrens & Flaherty's LUCKY STIFF. All of that and much, much more!

As a super-special prelude to BroadwayWorld's forthcoming InDepth InterView with Cheyenne Jackson, today we are shining a light on his two infectiously catchy and frothily pleasing pop singles from a forthcoming EP tentatively scheduled for release later this year - "Drive" and "Before You". Particularly given this week's world premiere of the eye-grabbing new music video for the instant earworm "Before You", now was the perfect time to catch up with one of Broadway and Hollywood's biggest rising stars as he prepares for his roles on the new NBC reboot of THE MUNSTERS, created by PUSHING DAISES and upcoming HANNIBAL writer/producer Bryan Fuller, titled MOCKINGBIRD LANE, as well as his part in the new star-studded Steven Soderbergh-directed HBO Liberace biopic BEYOND THE CANDELABRA, co-starring Oscar-winners Michael Douglas and Matt Damon, all about his many exciting endeavors. While the InDepth InterView covers those fresh topics as well as his new songwriting career and upcoming EP - as well as much, much more - today we are focusing primarily on the two new summer singles, some live performances of them, and, of course, both of their subsequent uniquely effective music videos. The music video for "Drive" is an instantly visually arresting animated road-trip travelogue depicting a cartoon Cheyenne navigating life's highways and byways while casting the occasional glance in the literal and proverbial rearview mirror, whereas "Before You" is a slightly ROCKY HORROR-esque, almost entirely black-and-white throwback to the frivolous sci-fi and horror-themed cheesy B-movies of the era - complete with a house of horrors featuring zombies, mummies, monsters and Rachel Dratch in a bizarre bird-themed hat. Both videos go the unexpected route in delivering the song's message, yet each hits their target in managing to showcase Cheyenne's considerable skills to their best advantage.

Today we are talking to a celebrated comedienne and actress known for her decades-spanning career on screens and stages large and small - from making her Broadway debut in the original Jerome Robbins production of GYPSY on Broadway in 1960 to her many musical roles throughout the 60s to her countless game show and variety show appearances following that all the way to creating an unforgettable character in MOONSTRUCK in the 1980s, as well as her subsequent oft-Neil Simon stage work; now, playing Tina Fey's sweet and daffy mom on NBC's 30 ROCK and, most recently, appearing in Nora & Celia Ephron's LOVE, LOSS AND WHAT I WORE and the Playwright's Horizons premiere production of THE BIG MEAL in the new millennium - the one of a kind Anita Gillette. Analyzing her nearly sixty-year career and sharing candid stories of her brushes with some of Broadway and Hollywood's brightest talents - Jule Styne to Ethel Merman to Irving Berlin to Burt Lancaster and beyond - Gillette paints a vivid portrait of the tail end of the Golden Age of Broadway and the heady game show days of TV in the 1960s and 70s to her lauded stage work with Neil Simon and many of the great comedy and musical writers in the years since. Additionally, Gillette and I discuss her current essaying of the role of Mae Peterson in the new Regal Music Theatre production of Charles Strouse and Lee Adams's BYE BYE BIRDIE in Massachusetts as she looks towards opening night tomorrow and relates her joy in participating in a production that has some behind-the-scenes help by her loving granddaughter (while another attends their summer camp). Plus, Gillette's observations on sharing a soundstage with Alec Baldwin, Tina Fey, Elaine Stritch and Buck Henry for a recent 30 ROCK shoot, reflections on her fondest and most celebrated comedy roles, hilarious memories of appearing in some short-running flops (JIMMY, SKYSKRAPER) as well as in some big hits (GYPSY), her upcoming series of master classes titled "Life In The Business", her return to Birdland with her concert show, AFTER ALL, her role in an upcoming Ed Burns film and maybe even a role in a new Alexander Payne film - all of that, all about attending the Diamond Jubilee celebration in the United Kingdom and much, much more!

Today we are taking a look at one of the most electrifying television series of all time as Season Four hits DVD and we approach the final season premiere tonight at 9 PM on DirecTV - the dark and spotted cat-and-mouse legal thriller DAMAGES, starring Glenn Close and Rose Byrne. By taking a closer look back at Season Four and its unforgettable guest starring performances by John Goodman, Chris Messina and Dylan Baker as Hewes & Associates became entangled with some Blackwater-esque military-minded wheeler dealers and mercenaries - as does Ellen (Byrne), now working for the DA's office - with, expectedly, it all culminating in copious bloodshed, perhaps we can uncover some clues as to where we will be heading in Season Five and the final ten episodes that begin airing tonight and the series comes to its conclusion. If the promos that have been airing on DirecTV and around the internet are any indication as to the titillating and terrifying thrills in store for us with new featured guest stars Ryan Phillippe, Jenna Elfman and Janet McTeer and the returns of Season Four standouts Chris Messina, Judd Hirsch and Zachary Boopth; as well as, one can assume, a spare ghost or two, too. Indeed, it has been a breathless and breathtaking trip so far on DAMAGES and it has been a revealing, rewarding and ultimately resplendently rich journey over the last six years or so to see the epic highs and lows of master attorney Patty Hewes, the (mostly) noble efforts of her attentive and intelligent protege Ellen Parsons and the various figures who populate the cold and foreboding atmosphere of a hellish New York City that permeates nearly every frame of every episode of the series - and always has; and, we can safely assume, always will.

Today we are talking to a terrifically talented triple-threat who has graced the silver screen in CHICAGO, as well as in the TV productions of THE MUSIC MAN, ONCE UPON A MATTRESS and in many stunt and dance double roles in his career thus far who has since become the protegee of dance extraordinaire Kenny Ortega and broken out on his own with a string of striking and memorable sequences in entities as diverse as TV's HELLCATS and the recent feature films THE CABIN IN THE WOODS, SUCKER PUNCH, MIRROR, MIRROR and TWILIGHT: BREAKING DAWN PART 1 - gifted dancer/choreographer/director Paul Becker. Talking about many of his most memorable past projects and filling us in on his many current and future ones - TWILIGHT: BREAKING DAWN PART 2, a Ben Vereen documentary, an original movie musical titled STAGE FRIGHT, a James Gray film featuring Jeremy Renner and Marion Cotillard, a Lifetime movie musical with Karen Olivo and even more - Becker brings us into his unique and idiosyncratic world and gives us a glimpse into how he achieves consistent excellence in all of his many endeavors as he attempts to define his anomalous career for us. Additionally, Becker takes a look back at acting onscreen in the Oscar-winning Best Picture CHICAGO, choreographing the ultimate vampire wedding, judging SO YOU THINK YOU CAN DANCE? Canada, producing CANADA'S GOT TALENT, giving two hundred dancers movement for a Michael Buble music video and he also shares some hopes and wishes for what he would like to take on in his blindingly bright future in show business - directing a feature film, perhaps? What about a Broadway show when time permits? The possibilities are multitude and seemingly endless and Becker is one of the most brightly shining behind-the-scenes talents on the rise, as is clear to qualify by all of the exquisitely exciting entities he is involved with on the horizon, both near and far. Plus, Becker shares his experiences choreographing various THE MUPPETS movies, working with Ortega on the Jonas Brothers and Miley Cyrus concert tours, directing the first YouTube feature film, dancing with death in MASTERS OF HORROR, giving moves to monsters in THE CABIN IN THE WOODS, staging the spectacular finale of MIRROR, MIRROR showcasing Julia Roberts, choreographing the fairy tale characters of ONCE UPON A TIME, and he also offers opinions on GLEE and SMASH, reveals his early influences, favorite stars, formative films - and much, much more!

Slipping and sliding back into Fathom-equipped movie theaters nationwide for one night only on July 12 in honor of its sixtieth anniversary, the iconic and legendary 1952 movie musical masterpiece SINGIN' IN THE RAIN makes its grand return to the silver screen in a brand new HD remastering that any movie musical fan, film fanatic or Broadway baby will definitely want to see first hand. A special event presented by Turner Classic Movies - also featuring an exclusive behind-the-scenes documentary hosted by Robert Osborne and featuring original film star Debbie Reynolds - the July 12 showing of SINGIN' IN THE RAIN is one more enduring entry in a continuing series of classic releases shown in HD for the first time in Fathom-equipped movie theaters across the country prior to their release on Blu-ray - past highlighted films have included SCARFACE, WEST SIDE STORY, THE SOUND OF MUSIC, CASABLANCA and many more. So, in celebration of SINGIN' IN THE RAIN splashing its way back to cinemas next week, today we are going to take a look back at some of the most well-known and best-loved scenes from the film - boasting a star-studded cast led by Gene Kelly, Donald O'Conner and Debbie Reynolds; directed by Kelly and Stanley Donen, with songs by Nacio Herb Brown and movie musical magnate Arthur Freed - as well as partake in the many famous and infamous homages paying tribute to the rightly well-regarded movie musical gem over the years. Gene Kelly to Gwyneth Paltrow to Kurt Browning to Usher; GLEE to THE MUPPET SHOW to FAMILY GUY; A CLOCKWORK ORANGE to FAME to SPAMALOT and far, far beyond; this retrospective look at one of the most important and influential - and just plain fun - American movie musicals ever produced certainly has it all; and then some! Ain't it great to stay up late?

Today we are taking a look at four sparkling new Blu-ray editions of well-regarded films from the Disney vault by focusing on three titles that are also currently running on Broadway in screen-to-stage adaptations at this very moment - EVITA, NEWSIES and SISTER ACT. The current trend of adapting hit films into musicals for the stage has sporadically proven that some stage adaptations can even be more entertaining onstage, while some recent movie musicals have one-upped their stage roots in a way a few Golden Age adaptations also managed to do. Such is the case with EVITA, NEWSIES, SISTER ACT and SISTER ACT 2 (the latter two both acting as inspiration for the Broadway SISTER ACT musical) - all available for the first time on Blu-ray and each certainly justifying consideration for inclusion in your library if only because each is regarded as a modern-day classic - of sorts - in its own unique and special way. And, without these films, we would never have the current versions of the shows now running on Broadway based upon them (even in the case of a classic like EVITA, whose stage version may have come first, but, as seen and heard in the hit Elena Roger/Ricky Martin/Michael Cerveris revival, now includes the film addition, "You Must Love Me"). Whatever the medium, all of these winning entities offer an entertaining way to beat the heat and celebrate the start of summer in style - with some tunes, old and new, you are not soon to forget.

In light of this week's news of the passing of noted author, playwright, producer and director Nora Ephron, today we are highlighting some of the most memorable moments from her accomplished and versatile career onscreen and onstage. Ephron's artistic output consisted of collections of essays, memoirs, novels, screenplays, feature films, plays and producing duties on projects close to her heart, as well as a considerable amount of awareness raising for women's causes and general charitable work for the arts. While perhaps best known for her much-loved trio of romantic comedies WHEN HARRY MET SALLY…, SLEEPLESS IN SEATTLE and YOU'VE GOT MAIL, Ephron also penned the screenplay for the Mike Nichols biopic SILKWOOD about whistleblower Karen Silkwood, as well as wrote and directed the recent hit comedy JULIE & JULIA, re-teaming with her friend and consistent collaborator, three-time Oscar-winner Meryl Streep. Incidentally, Streep actually played Ephron - or at least a thinly-veiled version of her - in the 1986 Mike Nichols film HEARTBURN, based on her novel of the same name. While BEWITCHED, LUCKY NUMBERS and HANGING UP may have failed to ignite, Ephron created fine films with the angelically-themed John Travolta starrer MICHAEL and the Julie Kavner vehicle THIS IS YOUR LIFE, as well as crafted indelible characters in screenplays such as COOKIE, MIXED NUTS and MY BLUE HEAVEN. Closing out her career, Ephron showcased Streep once again and rising star Amy Adams shone brightly in the fun and frothy JULIE & JULIA, ending Ephron's film output with a hit to go along with her successful early beginnings as an essayist, humorist and cultural commentator - having penned essay collections in the 1970s such as WALLFLOWER AT THE ORGY, CRAZY SALAD: SOME THINGS ABOUT WOMEN, SCRIBBLE, SCRIBBLE: NOTES ON THE MEDIA, and, more recently, I FEEL BAD ABOUT MY NECK: AND OTHER THOUGHTS ON BEING A WOMAN and I REMEMBER NOTHING: AND OTHER REFLECTIONS - who famously parlayed those skills into TV writing, and, then, her Oscar-nominated work on SILKWOOD - arguably her finest dramatic work of all in film. As far as Ephron's stage ventures are concerned, besides the forthcoming musical adaptation of SLEEPLESS IN SEATTLE currently being developed under director Lonny Price and her writing of next season's purportedly Tom Hanks-headlining Broadway bow in LUCKY GUY, Ephron penned the 2002 Jack O'Brien play with music (by no less than Marvin Hamlisch and Craig Carnelia) IMAGINARY FRIENDS, starring Cherry Jones and Swoozie Kurtz, as well as the recently-closed Off Broadway smash, LOVE, LOSS AND WHAT I WORE, co-written with her sister, Delia Ephron. JFK White House intern to New York Post columnist to celebrated essayist to Oscar-nominated screenwriter, director and producer, Ephron left a significant mark on society and also crafted some heartwarming - or, should that be: heartburning - stories along the way.

Today we are talking to a Tony Award-winning legend famous for his performances starring in the original Broadway productions of PIPPIN and JESUS CHRIST SUPERSTAR, as well as his celebrated turns in stage and screen projects as diverse as ALL THAT JAZZ, SWEET CHARITY, CHICAGO, FOSSE, WICKED, GRIND, ROOTS, I'M NOT RAPPAPORT, GOLDEN BOY, IDLEWILD, FUNNY LADY, HOW I MET YOUR MOTHER and many more - the simply incredible Ben Vereen. Discussing many of his most fondly remembered roles and recounting his experiences working with many legendary directors and collaborators - Bob Fosse, Hal Prince, Tom O'Horgan, Herbert Ross, Ann Reinking, Dan Sullivan, Sammy Davis, Jr., Barbra Streisand, Liza Minnelli and many more among them - Vereen paints a vivid picture of a bygone Broadway and reminisces about many of the most significant theatrical creators of the past fifty years and his roles in their stage and film projects. Additionally, Vereen fills us in on what we can expect from his upcoming solo spotlight show - a career retrospective - that will be kicking off at 54 Below on July 10 for a two-week engagement before an even larger, Broadway-bound mounting later this year at Princeton. Also, Vereen elaborates on the causes closest to his heart, shares thoughts on GLEE and SMASH, future plans and much, much more!

On Thursday, three-time Tony Award-winning Broadway composer Richard Adler passed away at the ripe old age of 90. Responsible for two of the biggest Broadway smash hits of the 1950s, THE PAJAMA GAME and GAMN YANKEES, Adler never quite managed to equal his career-high double-hitter of that era, yet his earlier work with Tony Bennett ('Rags To Riches'), Doris Day ('Everybody Loves A Lover') and Marilyn Monroe (the iconic 'Happy Birthday, Mr. President') surely shall solidify his place in the firmament of entertainment history along with his two classic musicals from the Golden Age. Winning both Best Score and Best Musical for both THE PAJAMA GAME and DAMN YANKEES, Adler's partnership with lyricist Jerry Ross - which began on Broadway in 1953 with JOHN MURRAY ANDERSON'S ALMANAC - was tragically cut short just months after the DAMN YANKEES premiere when Ross was diagnosed with lung disease and passed away soon thereafter. Yet, thanks to the beloved film versions of THE PAJAMA GAME and DAMN YANKEES and continued interest in the entities as expressed in the revivals and reappraisals of both onstage from Broadway to Biloxi to Bombay year after year, the snappy, snazzy tunes of Adler and Ross live on eight times a week all around the world - even now, more than fifty years after they premiered. Unfortunately, Adler's subsequent shows with other collaborators post-1955 failed to capture the early magic of his previous projects with Ross and his earlier musical and theatrical endeavors in the pop arena, with the racially charged KWAMINA flopping on Broadway in 1961 (though he took home a Best Composer Tony Award for his efforts anyway) and the awkwardly titled MUSIC IS failing to recreate the magic of its source material, Shakespeare's TWELFTH NIGHT, in 1976. A MOTER'S KISSES, starring Bea Arthur and a young Bernadette Peters, died on the road, as well. In the intervening years, Adler attempted musical adaptations taken from a number of intriguing sources - OF HUMAN BONDAGE and others among them - though only his ballet scores seemed to reach an audience; particularly his last, commissioned for a new production of Lorca's THE HOUSE OF BERNARDA ALBA in 1998. Of course, THE PAJAMA GAME has had two Broadway revivals - most recently the rapturously received Kathleen Marshall-directed production starring Harry Connick, Jr. and Kelli O'Hara; and DAMN YANKEES famously returned to the Great White Way with much ado in 1994 starring Victor Garber. Now seems particularly ripe for remounting YANKEES, as we approach twenty years in its absence - especially given the musical's seriously smashing showing at Encores! in 2007. Who knows, perhaps some risky producer will even take a chance on a new production of KWAMINA, MUSIC IS, A MOTHER'S KISSES or one of the bottom drawer shows someday soon to see if they possess any of the limitless potential shown by Adler's earlier work. Or maybe a stage treatment of his TV musical GIFT OF THE MAGI (originally composed for then-wife Sally Ann Howes)? Or, better yet, how about a revue? What a stupendous songstack Adler created over the course of his career - 'Whatever Lola Wants' to 'Hey There' to 'Hernando's Hideaway' to 'You Gotta Have Heart' to 'Steam Heat' to the aforementioned Bennett, Day and Monroe standards and so many more chestnuts.

Today we are talking to an iconic Tony Award-winning star who made her name as a teenager singing on TV variety shows - THE LAWRENCE WELK SHOW and SING ALONG WITH MITCH included - and then went on to a multimedia career in film and theatre, conquering Broadway with her Tony-winning turn in the Jule Styne/Arthur Laurents musical HALLELUJAH, BABY! in 1967 and returning to the stage in the subsequent decades in a host of Broadway productions, such as BLUES IN THE NIGHT, JERRY'S GIRLS, ANYTHING GOES, August Wilson's KING HEDLEY II and her celebrated Muzzy in THOROUGHLY MODERN MILLIE - a role she reprises in the new Muny production of the Tony Award-winning Best Musical beginning this week - the one and only Leslie Uggams. Taking a thorough look back at her career thus far, Uggams opens up about her many successes and how she has endured for fifty years in show business and shares recollections of many of her most noted co-stars and collaborators, all the way up to the recent 2012 Encores! PIPE DREAM. Additionally, Uggams comments on her film and TV appearances over the years, speaking about her work in INHERIT THE WIND, TWO WEEKS IN ANOTHER TOWN, ROOTS and beyond. Plus, she shares her candid opinions on GLEE, SMASH, Broadway then versus now, future plans for her Lena Horne solo show and thoughts on other roles she would enjoy pursuing - and much, much more!

Today we are talking to a supremely gifted performer who can be seen eight times a week on Broadway in the currently running Des McAnuff revival of Andrew Lloyd Webber and Tim Rice's JESUS CHRIST SUPERSTAR, Jeremy Kushnier. Tracing his Broadway trajectory from his memorable debut in FOOTLOOSE back in the late 1990s to his impressive regional theatre and concert work - CHESS to The Dream Engine to BRIGHT LIGHTS, BIG CITY and beyond - to his success touring in AIDA, RENT and others, up to his most recent gig in JERSEY BOYS, Kushnier opens up about his diverse career thus far and what we can expect from him in the future, near and far. Plus, Kushnier analyzes the five roles he has essayed in the current production of SUPERSTAR so far, since he was first brought into the production as a standby and understudy, after all - Jesus, Judas, Pilate and two different priests - and shares his enthusiasm for the dazzling, Tony Award-nominated production - all of this as he prepares for his long-awaited upcoming solo spotlight concert at Birdland on June 18! Additionally, Kushnier shares plans and wishes for a forthcoming solo album, as well as offers his thoughts on GLEE, SMASH and much, much more!

Today we are talking to an actor who has appeared in over fifty feature films and starred in plays on Broadway and in the West End all about his career thus far, looking ahead to his new role as John Sculley in the forthcoming jOBS, co-starring Ashton Kutcher as Steve Jobs and Josh Gad as Steve Wozniak, directed by Joshua Michael Stewart - the one and only Matthew Modine. In this all-encompassing chat tracing the past to the present, Modine also manages to give us the scoop on his featured role in the final part of Christopher Nolan's BATMAN trilogy, THE DARK KNIGHT RISES, and shares his candid impressions of working with Anne Hathaway, Joseph Gordon-Levitt and the rest of the starry cast of the sure-to-be blockbuster of the summer. Additionally, Modine illustrates his experiences working with director Robert Altman on screen and stage projects as diverse as SHORT CUTS and STREAMERS on film, Arthur Miller's FINISHING THE PICTURE in Chicago and RESURRECTION BLUES at the Old Vic in the West End and Modine expresses his overall general enthusiasm for acting and reveals deeply probing insight into many of his most memorable and famous roles to date - ranging from roles in Stanley Kubrick's FULL METAL JACKET to Alan Parker's BIRDY to his work with Oliver Stone, Tony Richardson, Jonathan Demme, John Sayles, Mike Figgis, John Schlesinger and others. All of that, a thorough discussion of his recent roles in the theatrical productions of TO KILL A MOCKINGBIRD and THE MIRACLE WORKER, as well as recollections of working on many of his most beloved projects to date, such as AND THE BAND PLAYED ON, THE REAL BLONDE, ORPHANS, CUTTHROAT ISLAND, BYE BYE LOVE, THE HOTEL NEW HAMPSHIRE, WEEDS - and much, much more!

Today we are concluding our two-part look at the life and career of legendary stage and screen icon Christopher Plummer by focusing on some of the finest films, television and filmed stage performances of his career thus far, as we anticipate the nationwide release of his newest stage and screen venture, the cinematic presentation of his recent turn as Prospero at the Stratford Shakespeare Festival in Des McAnuff's THE TEMPEST, presented by Fathom-equipped movie theaters on June 13, followed by a Q&A with Plummer. From his stage debut in the late-1940s through to his spectacular screen career begun with Sidney Lumet's STAGE STRUCK in 1958, in this career-spanning clip collection we will be sampling many of the most memorable and most notable projects from a rich resume ranging from almost every major male role in the canon of Shakespeare - AS YOU LIKE IT to THE WINTER'S TALE - to the work of Lilian Hellman, Bertolt Brecht, Henrik Ibsen, Anton Chekhov and Peter Shaffer to Rodgers & Hammerstein's THE SOUND OF MUSIC on film to the Tony Award-winning Anthony Burgess musical adaptation of CYRANO onstage, to TV's THE THORN BIRDS and ON GOLDEN POND all the way to last year's double-header of brilliance in both David Fincher's THE GIRL WITH THE DRAGTON TATTOO and BEGINNERS, the latter being the part for which Plummer finally received a Best Actor Academy Award. Of course, besides his well-earned Oscar, Plummer has amassed many other top honors over the course of his sixty-year-career, as well - two Tony Awards (for CYRANO, a musical, and BARRYMORE, a two-person mostly monologue); a Golden Globe; two Emmy Awards; a SAG Award; a Genie; the list goes on and on… as does Christopher Plummer's reputable and riveting career.

Earlier today I had the extreme privilege of speaking to one of the biggest Broadway stars of the new millennium all about her new ABC Family original series BUNHEADS - two-time Tony Award-winning triple-threat dynamo Sutton Foster. Candidly recalling her professional beginnings, auditioning for the national tour of THE WILL ROGERS FOLLIES at only 17 for director/choreographer Jeff Calhoun - our recent 2012 Tony Awards special chat available here - and starring in GREASE on Broadway under his direction shortly thereafter, Foster also shares her post-Tony Awards night memories from ten years ago today, when she first won a trophy for her star-making turn in THOROUGHLY MODERN MILLIE. Clearly, Foster has remained busy since her Tony-winning Reno Sweeney in the hit revival of ANYTHING GOES last season, as well, with the fantastic new Amy Sherman-Palladino-penned BUNHEADS proving to be the ideal opportunity for her to bring her considerable stage chops to the small screen and show off her serious skills as a comedienne, dancer, singer and actress to a whole new audience in a major way. Of course, Broadway babies have known for over a decade that Sutton Foster is the rare star that comes along once a generation and BUNHEADS now gives her the national stage so that she may give the world everything she's got to give - and that's a whole lot. In addition to an analysis of the central character on BUNHEADS, Michelle, and a look ahead to what we can expect in the ensuing season that kicks off tonight at 9 PM on ABC Family with the enchanting and hilarious pilot episode, Sutton and I also shine a light on the many musical theatre associations in the BUNHEADS universe, current and future - such as the razzle dazzle Las Vegas opening number of the pilot, penned by songwriters Marc Shaiman and Scott Wittman, which was originally performed on Broadway in CATCH ME IF YOU CAN; BUNHEADS series regular and A CHORUS LINE original cast standout Kelly Bishop as Michelle's domineering ballet instructor mother-in-law; Michelle's determination to land a lead role in CHICAGO someday; and, we even discuss some possibilities for musical numbers and song sequences on BUNHEADS in the future ("At The Ballet", perhaps?). Plus, Sutton shares her thoughts on SMASH, expresses her interest in exploring a revival of THE UNSINKABLE MOLLY BROWN onstage soon and much, much more!

Overflowing with enthusiasm and energy, the true star of the 2012 Tony Awards was unquestionably three-time host and affable Broadway spokesman extraordinaire Neil Patrick Harris, doing what he does best - namely, being the host with the most. Whether web-slinging behind Angela Lansbury and Ted Chapin or leading a spectacular production number with Patti LuPone and a lawnmower, Harris proved yet again why is he is the best in the biz at this sort of thing - well, right up there along with Hugh Jackman, at least. Speaking of whom, in addition to a goosebump-inducing trailer for the forthcoming Tom Hooper-directed film adaptation of the Broadway sensation LES MISERABLES, Hugh Jackman was featured on the Tony Awards telecast and personally on hand to receive a well-earned special Tony Award for his many fundraising successes over the course of his three-show Broadway career, as was crossover superstar Bernadette Peters who took home a special Tony Award for her BC/EFA and Broadway Barks efforts. Adding to the star quotient of the night was Broadway/Hollywood super direct Mike Nichols, giving one of the classiest (despite the CBS-sanction bleep; on the same word as during Danny Burstein's FOLLIES turn, "godammit", incidentlly) and most profound acceptance speeches on the Tony Awards in recent memory - breaking the current record with, now, six Best Director statuettes, by the way. As far as musical performances go, in addition to Harris's triptych of showstoppers throughout the show - without even mentioning the many biting and sassy remarks, jokes and offhand commets; staged and otherwise - there were some seriously strong showings from almost all new musicals and revivals currently running, and even one or two terrific turns from productions already shuttered. The musical highlights of the night were Josh Young and the cast of JESUS CHRIST SUPERSTAR in a spirited and divine take on the title song from the celebrated Andrew Lloyd Webber/Tim Rice rock opera, as well as good showings from new musical head-to-head, nail-bite-worthy competitors, ONCE and NEWSIES, plus one or two other swoon-worthy moments, too. The 2011-2012 Broadway season may not have been a record-breaker insofar as outstanding content and memorable modern classics - while NEWSIES is certainly a smash, last year's THE BOOK OF MORMON is the type of hit we only see once a decade or so, and, therefore, is a bit eclipsed; and, ONCE won Best Musical, anyway - but Harris and the team of this year's show made it an unusually entertaining and unique Tony telecast, even when compared to the finest shows on the past - particularly those from the rightly lauded Cohen era. ONCE may have dominated the wins, but the many musical numbers showed that there is a lot of room for enjoyment whether or not your personal favorite show took home the prizes. Most of all, Neil Patrick Harris proved he was once, twice, three times a Tony triumph.