Pat Cerasaro - Page 194

Today we are kicking off BroadwayWorld's month-long salute to the 2012 Tony Awards with a clip sure to set even the bleakest, darkest and blandest of nights alight - Liza Minnelli capping off the most spectacular opening number in Tony Awards history, the 2009 Tony Awards opening number, with a little aid from Elton John, Dolly Parton, Sutton Foster, Brian d'Arcy James and many more.

In a correlative column to this weekend's extensive and exclusive InDepth InterView, tonight we are shining a special solo spotlight on the vast multitude of talents possessed by one of Broadway's brightest stars - known best to theatre fans for his tremendous turns in Maury Yeston's TITANIC, Andrew Lippa's THE WILD PARTY, the original musicals SWEET SMELL OF SUCCESS, SHREK and NEXT TO NORMAL as well as original dramas such as TIME STANDS STILL - who now can now regularly be seen on NBC's hit music drama series SMASH, and, starting this Sunday in a three-episode arc on Showtime's THE BIG C with fellow Broadway notable Tammy Blanchard - the one and only Brian D'arcy James. While you will have to wait until tomorrow for the career-spanning conversation that covers his experiences working on those thrilling original musicals as well as reflections on collaborating with the starry array of cast members and creatives on the Steven Spielberg-produced SMASH and what lays ahead for Season Two, now is an absolutely ideal opportunuity to reacclimatize ourselves. Just what can't Brian d'Arcy James do? As this spell-binding collection of clips prove - everything; and then some.

Today we are continuing BroadwayWorld's ongoing interview series with the stars and creative team of NBC's hit musical drama series SMASH with a Broadway/Hollywood leading man who first made his mark on the stage creating a role in the Tony Award-winning TITANIC after having appeared in BLOOD BROTHERS and CAROUSEL and who has since starred in productions as diverse as SWEET SMELL OF SUCCESS, DIRTY ROTTEN SCOUNDRELS, NEXT TO NORMAL, SHREK and many more - the jovial and multi-talented Brian d'Arcy James. Discussing all aspects of his role on SMASH as well as cluing us in on what we can expect from Monday's highly awaited season finale, d'Arcy James and I also take a look back at his career onstage thus far and he shares fond recollections of working on TITANIC, SWEET SMELL, SHREK, NEXT TO NORMAL, TIME STANDS STILL and THE WILD PARTY Off-Broadway as well as offers his observations of his collaborators and co-stars in each endeavor. Plus, Brian also reveals his other current TV project: his character arc on Showtime's dramedy THE BIG C, starring his TIME STANDS STILL co-star Laura Linney and previous John Benjamin Hickey, that begins this Sunday and continues through the rest of this month. Additionally, we also discuss his upcoming 54 Below concerts June 26-30 - as well as his thoughtful and candid opinions on some of his favorite songwriters and his own songs. Plus, comments on his film roles in HBO's GAME CHANGE, FRIENDS WITH KIDS, an upcoming short film - and much, much more!

"Prom-asaurus" proved that GLEE can still pack a powerful pop culture punch when required to do so; and when it wants to - and spike it with some effervescence and make it pop, too. Even those among us who don't partake in drinking the GLEE Kool-Aid, all must agree that there was more than one episode's fair share of fun, frivolity, twists and tunes, with some very fitting dramatic and musicals moments that we have by now come to anticipate from the genre-hopping musical dramedy enterprise - all of it integrated effectively into the stream-lined storyline, as well. Prom. It's all about prom this time of year and GLEE always makes a point to pay tribute to the month of May in this way. It is in pop culture melding mega-moments like last night's One Direction cover by way of GLEE - "What You Makes You Beautiful" - that we are again reminded of the special place GLEE holds in the American pop pantheon of the 21st century - using real, of-the-moment pop songs and utilizing them to comment on current events while musicalizing and dramatizing the lives of high school students. The classic cuts that come along are a bonus, really, when one considers GLEE from this viewpoint, though the contemporary covers have become the bread and butter of song sales for the mega-music-selling series - "Teenage Dream" by Blaine & The Warblers, as well as the Troubletones's Adele "Someone Like You/Rumor Has It" mash-up sold nearly as many copies as their predecessors - the originals - as far as iTunes sales go. Though FOX channel-mate Simon Cowell of course discovered and shepherds the international pop smash super group One Direction, their musical appearance on GLEE this season marks the continued exposure of the of-the-moment boy band phenomena we have not seen the likes of in over a decade - not since the days of N*SYNC and the Backstreet Boys - after the New Directions success with The Wanted's "Glad You Came" a few episodes back and their upcoming continued presence, no doubt, in addition. What makes GLEE must-see-TV week after week is more often than not the try-anything approach of the creators and cast - some sequences shockingly come off brilliantly and hit all-too-squarely their intended targets, while others fall far short and flop completely, even embarrassingly so. To crib a phrase from One Direction's hit single, what makes GLEE beautiful is that GLEE does not always know what makes it beautiful - experiencing drama coming to us delivered from that rocky, risky-to-mount precipice is sometimes frustrating, sometimes rewarding, but almost always somehow more than merely satisfying.

"It's always gorgeous when you sing," and so the same goes for NBC's musical drama series SMASH. This week's penultimate episode of the first season order of fifteen gave us a long-awaited real look at the actual production of the musical-within-the-show live onstage in the form of the first Boston preview in the out-of-town tryout of BOMBSHELL. Up until this point, we have only been provided with sporadic glimpses into the mind's eye of the director of the show as he stages and rehearses the various song sequences. With last night's "Previews" episode we got our third major iteration of "Let Me Be Your Star" - following the full-out song at the conclusion of the pilot episode and the subsequent ballad opening number version shown in Episode 2 - with Rebecca Duvall (guest star Uma Thurman) belting it out to mixed results. Mixed results is the kindest way to say that the volatile and kooky movie star character simply does not work in any way as Marilyn Monroe in the bio-musical about her life being created - not physically, tonally and certainly not musically. Croaking out the sumptuous and richly melodic Marc Shaiman/Scott Wittman gems that have been specifically created for SMASH's BOMBSHELL - songs dutifully doled out in sparingly small doses of one or two each week - is near-sacrilege when one ponders the talent even on the very same stage; Ivy (Megan Hilty) or Karen (Katharine McPhee) could both kill the role, as wee have seen. So, who will ultimately make it to the stage that now, in the eleventh hour, the star of the show has walked? Of course, the sure-to-be action, drama and music-filled finale to Season One arrives next Monday at the same SMASH place and same SMASH channel - will the Marilyn musical be a bomb or a smash? Will the show even go on at all given the unforeseen obstacles? A lot remains to be answered, but the fever pitch fans and viewers have been yearning for has definitely entered, stage right. Next week we will see who truly sparkles, who really shines - and who ends up exploding.

Four letters say it all: LIZA. Descended from Hollywood royalty - the only Academy Award winner with both parents recipients of the prize, as well; Judy Garland and Vincente Minnelli - Liza Minnelli made her mark on show business first with her stupendous debut in 1965's FLORA THE RED MENACE by a new songwriting team comprised of composer John Kander and lyricist Fred Ebb, and the rest is showbiz history. The fruitful musical marriage of the three over the next four decades would result in some of the finest achievements in all of entertainment, many featuring Ms. Minnelli, the peerless entertainer of a generation, as the central interpreter. FLORA THE RED MENACE to CABARET, CHICAGO, NEW YORK, NEW YORK, THE ACT, THE RINK and beyond, the partnership between Liza Minnelli and Kander & Ebb has yielded some of the most spectacular and unforgettable songs ever written or performed and 2012 is a special year indeed to celebrate their many fine achievements. In addition to the long-awaited Blu-ray premiere of the iconic Bob Fosse film musical for which Liza won a Best Actress Oscar, CABARET - premiering in the HD format later this year to mark its fortieth anniversary - this week sees the hotly anticipated CD and digital premiere of one of her finest live recordings ever captured - LIZA MINNELLI LIVE AT THE WINTER GARDEN - completely remastered, with bonus tracks. Featuring a powerhouse performance by the central star at the very height of her astonishing abilities, the diverse catalog of material is woven together seamlessly and quite wonderfully by master director Bob Fosse and conductor/musical director Marvin Hamlisch - and that's without even making mention of the tremendous original specialty songs penned by Kander & Ebb for the event, including a song sequel to "Liza With A Z". Discussing all aspects of the LIVE AT THE WINTER GARDEN album and the new digital and CD release of it, Minnelli reminisces about the electric evening with her trademark style, wit, humor, insight and passion while also sharing anecdotes about noted collaborators Bob Fosse, Fred Ebb, John Kander, Charles Aznavour, Marvin Hamlisch and many more. In addition to all about LIVE AT THE WINTER GARDEN and its multitude of charms and riches, Minnelli and I also discuss the new HD remastering of CABARET and her personal opinion of it, having just viewed the pristine new print at its gala debut, and she also shares how she feels the film has held up in the forty years since its premiere and her remembrances from the set. Additionally, Minnelli offers her candid opinions on a host of topics ranging from her ultimate show business legacy to sizing up CABARET versus THE GODFATHER to her affection for pop superstar and devoted Liza fan Lady Gaga to thoughts on Laura Nyro, Stephen Sondheim - and much, much more!

This Tuesday marked the second most exciting day of any given year for Broadway babies - the Tony Award nominations. The actual awards ceremony on CBS - Broadway's night of nights - is still a few weeks off, but now is certainly an ideal time to size up the competition(s) and see who will most likely walk away with Tony gold come June 10 - and this year's ceremony, more than most before, could very well be as surprising as this season was; or Tuesday's nominations themselves were, for that matter. While the 2011-2012 Broadway season certainly fell far short of the heady promise many ascribed to its prospects way back last Summer, we certainly saw the fulfillment of some big dreams for some notable names if not an all-in-all banner year for Broadway when collectively considered. The highly-praised Off-Broadway critical darling LYSISTRATA JONES landed with a thud early in the season, as did the re-jiggered, gender-bending revival of ON A CLEAR DAY YOU CAN SEE FOREVER and its star Harry Connick, Jr., and, even the lauded and relatively successful revival of Stephen Sondheim's peerless masterpiece FOLLIES failed to make any money and closed. GODSPELL did not fare much better, though it is still running. The two highly-anticipated revivals of Andrew Lloyd Webber's classic early successes JESUS CHRIST SUPERSTAR and EVITA were met with indifferent reviews - with the latter receiving some nasty press for its stars, neither of whom received Tony nominations - but receptive audiences so far. THE GERSHWINS' PORGY & BESS could take Best Revival, after all - but will NICE WORK's Kelli O'Hara edge out four-time Tony recipient Audra McDonald? New plays did not fare much better than the measly crop of musicals, but OTHER DESERT CITIES and VENUS IN FUR seemed to hit their target demographics squarely, but CLYBOURNE PARK looks to be the frontrunner for Best Play despite all that. We shall see. Mike Nichols may take home another Best Director for his sensitive, if workmanlike revival of Arthur Miller's DEATH OF A SALESMAN, as conceivably could Philip Seymour Hoffman and Andrew Garfield. John Lithgow is offering up some fierce competition in THE COLUMNIST, though. The acting races are tight, for sure, in both plays and musicals, with more newcomers and first-time nominees than any season this century.

Today we are talking to an Emmy Award-winning actor perhaps most well-known for his title role in the iconic and ground-breaking millennial NBC sitcom hit, WILL & GRACE, who can now be seen eight times a week on Broadway playing a pivotal role in the starry revival of Gore Vidal's politically-themed satire, THE BEST MAN - the affable Eric McCormack. Shining a spotlight on his theatrical roots at the Straford Shakespeare Festival in Canada all the way up to his small-screen sensation in WILL & GRACE and, now, his forthcoming new dramatic series, PERCEPTION, McCormack illustrates all aspects of his career and generously offers his insights, observations and shares his lessons learned over the course of his near-thirty-year career onstage and onscreen. In addition to all of that, McCormack outlines his experiences sharing the stage with titanic talents such as James Earl Jones, Angela Lansbury, Candice Bergin and the rest of the ensemble of THE BEST MAN, as well as sharing his thoughts about the relevance and poignancy of the play today, more than a half decade after its premiere, and what it says about our society, then and now, in addition to expanding on the play's pertinent political themes and their exploration in the classic drama. Plus, McCormack clues us in on his own favorite plays and musicals, initial theatrical inspiration, his stint portraying the eponymous THE MUSIC MAN, future career plans and first news about his new TNT series, PERCEPTION - all of that and much, much more!

Rachel doesn't seem likely to be headed to New York and NYADA - nope, not this time. Mucking up her major shot at Broadway glory - at least as far as high school auditions go - by messing up the words to "Don't Rain On My Parade" from FUNNY GIRL, her anthem, no less - the focus on GLEE's appropriately titled "Choke" episode brought to mind a lyric from Stephen Sondheim's MERRILY WE ROLL ALONG, a musical about the sacrifices we make to get what we thought we wanted - "still with dreams, / just reshaping them. / Growing up…." And that is Season Three of GLEE in a nutshell - the senior members of New Directions learning to let go of childhood and move ahead into the unknown world of maturity; whether the future may bring college, career or pool-cleaning. With more musical theatre references per minute than any episode of the twenty so far in GLEE S3, "Choke" was filled with the stylized storytelling and absurd, although always appreciable surprises along the way that makes GLEE consistently, near-constantly compelling. No, no, no - GLEE has not flagged in the least sixty-odd episodes into the series so far, although the rating may have slightly. Last night's GLEE was a good example of the shifting focus and repeated reinvention that keeps the series fresh - and the comedy is as fearless and biting as ever.

Kicking off the plot-packed night, Cole Porter's classic KISS ME, KATE showbiz paean "Another Op'nin', Another Show" was given a full-bodied and exciting rendition by Christian Borle - with a gloriously accentuated arrangement courtesy of SMASH songwriter Marc Shaiman; seemingly channeling Barbra Streisand and Peter Matz - and, with that, the SMASH train left Manhattan and hit Boston for the tryout of the musical-within-the-series, BOMBSHELL. While Rebecca Duvall (Uma Thurman) may play the director of the show, Derek (Jack Davenport), better than she does her actual role in the musical - Marilyn Monroe - she is not the only member of the rich and varied ensemble on SMASH to be playing or being played (or both) - or hitting the occasional wrong note or two. With only two episodes left in Season One, the threads are being wrapped up into what is shaping up to be a pleasingly complex and colorful tapestry.

Today we are talking to one of the biggest new stars on Broadway who first burst onto the scene in HAIRSPRAY but has since carved out a place in the great pantheon of theatre history in creating the iconic lead role of Elder Price in the Broadway hit of the decade, THE BOOK OF MORMON, Andrew Rannells. One among many on the incredibly impressive list of performers at Monday night's NY Pops JOURNEY ON gala at Carnegie Hall celebrating the music and lyrics of Lynn Ahrens & Stephen Flaherty, Rannells joins many of the other accomplished Broadway/Hollywood crossover stars of modern Broadway as well as those who predominantly tread the boards. Illustrating his journey with the edgy and ribald musical smash THE BOOK OF MORMOM from workshop to Broadway, the Tony Awards and beyond, Rannells paints the picture of the show's road to success and imparts his effervescent enthusiasm and all too apparent joy to be appearing in such a crowd-pleasing and joyous experience eight times a week. Additionally, Rannells shares his thoughts on the upcoming national tour starring Gavin Creel and whether or not there will be a MORMON film version sooner rather than later. Plus, Rannells gives also us the first look at his 21st century parenting and adoption-themed NBC pilot, THE NEW NORMAL, and outlines the finer points of the story, his character and the themes of the hotly anticipated new single-camera comedy series coming from the creator of GLEE, Ryan Murphy. That, his favorite Ahrens & Flaherty songs, favorite shows, future acting plans, what is currently on his iPod - all of that and much, much more!

Part 12 ANGRY MEN homage, part surrealistic NBC retrospective fever dream and 100% 30 ROCK absurd brilliance at its best, night's live episode of the gold standard NBC comedy series 30 ROCK was precisely that - pure gold. Not only did Tina Fey and the impossibly creative team of writers give the motley assortment of players that comprise the cast a chance to seriously show off their live sketch show skills and theatrical training, but provided Broadway and Hollywood crossover star Alec Baldwin with some of his strongest material to date - with the charismatic erstwhile comedian absolutely killing in his moments portraying a host of wacky and weird characters besides the usual stone-faced Jack Donaghy, a role which has brought him a copious amount of well-deserved statuettes over the six seasons so far. Speaking of hosts, the Dean Martin parody, THE JOEY MONTERO SHOW, stands out as being perhaps the most memorable and guffaw-inducing of all the night's trove of treasures, which is certainly saying something significant - Baldwin owned. Besides the ingenuous conceit of paying tribute to the landmark original live television drama 12 ANGRY MEN acting as a fresh and amusing framing device for the episode, the opportunity afforded by Kenneth (Jack MacBrayer)'s hallucinatory flashbacks of fictional former lesser glories of NBC's long and storied history gave rise to the fabulous fodder allowing for some of the funniest sequences on the series in recent memory - moments that will linger in the mind and funny bone long after this episode or season. Yes, once again, 30 ROCK proved why it is the finest comedy on TV and why Tina Fey and Alec Baldwin have a special sort of chemistry that can only be compared to the finest pairs in the rich history of the form - Mary & Mr. Grant included.

Today we are talking to a Broadway superstar beloved from the time of her breakthrough performance in the original cast of Stephen Sondheim's PASSION nearly twenty years ago all the way to two tremendous revivals in the early 00s - KISS ME, KATE and MAN OF LA MANCHA - to her most recent trio of roles on Broadway, first appearing in the straight drama ENRON, then as the troubled lead character of Diana in the Pulitzer Prize-winning NEXT TO NORMAL, and, most recently, as the tortured Margaret White in the long-awaited New York return of CARRIE - the one and only Marin Mazzie. Recalling many memories of working on the original productions of such seminal musicals as INTO THE WOODS, PASSION, RAGTIME, SPAMALOT and NEXT TO NORMAL with some of Broadway's best and brightest talents, Mazzie expresses her sincere appreciation for the unforgettable shows she has been associated with and opens up about her experiences as both an originator of a role, as in the cases of PASSION and RAGTIME, and also as a replacement star and the challenges that that position poses for a performer. Additionally, Mazzie shares her enthusiasm for the words and music of the Tony Award-winning RAGTIME creators Lynn Ahrens and Stephen Flaherty, whom she will be saluting alongside a starry assortment of notables on Monday at the NY Pops JOURNEY ON Gala at Carnegie Hall. Plus, Mazzie clues us in on all aspects of her journey with the recent New York reworking and reappraisal of CARRIE and gives us first news on recording the cast album, which is set for a Fall release, as well as news on her second duets album with husband, Jason Danieley and solo album thoughts. All of that and much, much more!

Today we are talking to one of the busiest choreographers on Broadway who was recently represented by four shows running on the Great White Way simultaneously (a new record) - the long-running hit JERSEY BOYS, Pulitzer Prize-winner NEXT TO NORMAL, multi-Tony Award-winning MEMPHIS and THE ADDAMS FAMILY. His most recent Broadway credit is the new Alan Menken/Glenn Slater musical adaptation of the 90s hit Steve Martin comedy LEAP OF FAITH featuring Broadway superstar Raul Esparza in the lead. In addition to discussing the unique demands of his involvement with the aforementioned new musicals with a pronounced focus on his current project, Trujillo opens up about the process of collaborating with a director and what musical staging is all about at its core, as well as outlining his experiences working with a number of notable names on his impressive assortment of projects so far and taking a look back at his own career as a performer, having previously appeared in GUYS & DOLLS, FOSSE and the film version of CHICAGO among other illustrious resume entries. Plus, Trujillo shares his infectious enthusiasm and passionate dedication to his art and reveals what he will be taking on next after LEAP OF FAITH's opening night, which is tonight - a tryout tour of a screen-to-stage adaptation of the iconic 80s hit FLASHDANCE and an original dramatic musical included. All of that and much, much more!

Significantly more right than wrong and much more than merely just OK, last night's GLEE tribute to the song catalogue of pop/R&B icon Whitney Houston was a welcome return to Season Two levels of euphoria and razzle dazzle entertainment value that GLEE has proven time and time again it is the one stop shop for on TV these days, as dazzling in their own way as sequences on SMASH may be as that freshman musical-themed series increases in popularity and GLEE, now nearly finished with Season Three (and almost 60 episodes in as a series so far), is seeing a decline in viewership and a dip in popularity.

This week on SMASH the show hit its peak insofar as synergy of story, plot, character and music - especially the music. Karen (Katharine McPhee) offered up a touching Snow Patrol cover, "Light Up", but the big musical moments of the show stand alongside the finest on the series so far - at least. Yes, "1001 Nights" and "Second Hand White Baby Grand" were the most captivating musical sequences on the show since the pilot's "National Pastime" and "Let Me Be Your Star", seamlessly weaving together the disparate elements of the series and amplifying the emotion into a heightened, exuberant expression of the character's deepest feelings, thoughts, hopes and wishes - exactly what the best numbers always do in the finest Broadway musicals, which SMASH is ostensibly about, more or less. The eleven episodes leading up to "Publicity" have prepared us perfectly well for the potential plights and victories about to be experienced by the colorful cast of characters as we enter the final triptych of Season One - with this one being a definite standout. Helmed by pilot director Michael Mayer and written by creator Theresa Rebeck, "Publicity" is surefire proof that SMASH has developed into a rewarding experience for the attentive viewers among us - the "1001 Nights" sequence alone so rife with detail pertaining to the entire arc of the character's journey on the show so far; and so much more - and a consistently compelling viewing experience for those seeking out great song sequences done up in a grand style. While the barebones "Second Hand White Baby Grand" was outfitted with merely rehearsal accoutrement, Ivy Lynn (Megan Hilty) made her big bid for the role of Marilyn Monroe in the musical-within-the-show and elicited every sentimental, sad, sweet and mournful note of perhaps the finest Marc Shaiman/Scott Wittman original ballad yet to appear on the series. Yes, "1001 Nights" was the most extravagant entertainment experience presented thus far on SMASH - as promised by show stars Megan Hilty and Anjelica Huston weeks ago to me themselves - but the heart and soul of the series has always remained in the big ballads - look no further than the pilot's "Beautiful" and aforementioned duet finale coup de tele-theatre - and "Second Hand White Baby Grand" was a stunning moment allowing a soul-barred Marilyn just as the characters begin to find their own new levels of intimacy in their various entanglements - romantic, familial, professional, personal and otherwise. "Publicity" proved SMASH is set to hit high gear for the Boston tryout of BOMBSHELL that will close out the first season over the course of the next three weeks.

Today we are continuing BroadwayWorld's exclusive multi-part InDepth InterView series focusing on the New York Pops 29th Birthday Gala concert celebrating the music and musicals of Lynn Ahrens & Stephen Flaherty, JOURNEY ON, that will take place at Carnegie Hall on April 30 at 7 PM, by talking to the musical half of the Tony Award-winning songwriting team, Stephen Flaherty.

Today we are completing our extensive three-part look at THE SOUND OF MUSIC at Carnegie Hall with an career-spanning chat with one of Broadway biggest rising stars, the amiable and accomplished Laura Osnes. Since her Broadway debut in GREASE - coming after the reality casting competition TV series, YOU'RE THE ONE THAT I WANT - in 2007, Osnes has found great success with lead roles in three more Broadway musicals, spelling for Kelli O'Hara in SOUTH PACIFIC at Lincoln Center as Nellie Forbush, as well as taking on the title role in Frank Wildhorn's BONNIE & CLYDE with Jeremy Jordan and playing Hope Harcourt in the Roundabout revival of ANYTHING GOES alongside Sutton Foster and Joel Grey. In addition to outlining her experiences in those shows and her reflections on her time spent on Broadway thus far, Osnes also opens up about her recent essaying of three Rodgers & Hammerstein roles, having just starred with Will Chase in PIPE DREAM at Encores!, her just-confirmed casting in a new Broadway-bound stage adaptation of Rodgers & Hammerstein's CINDERELLA that has recently had a workshop production (and will have another in July, again co-starring Santino Fontana) as well as all about the star-studded Carnegie Hall concert presentation of THE SOUND OF MUSIC co-starring Tony Goldwyn and Brooke Shields which she headlines on April 24. Plus, she recounts her experiences participating in the recent Kennedy Center Honors salute to Barbara Cook alongside a dizzying roster of divas and tackling FOLLIES in the spectacular SONDHEIM! THE BIRTHDAY CONCERT presentation now available on DVD - and she also clues us in on her favorite shows, acting influences, plans for the future and much, much more!

Today we are kicking off BroadwayWorld's exclusive multi-part InDepth InterView series focusing on the New York Pops 29th Birthday Gala concert celebrating the music and musicals of Lynn Ahrens & Stephen Flaherty, JOURNEY ON, that will take place at Carnegie Hall on April 30 at 7 PM by taking to the lyricist half of the lauded Tony Award-winning songwriting team herself, the thoughtful and candid Lynn Ahrens. In a wide-ranging conversation covering many of her theatrical collaborations with Stephen Flaherty from their first musical, LUCKY STIFF, in the 1980s, to their Tony-winning success with RAGTIME in the 1990s, to their astounding slate of shows since - SEUSSICAL: THE MUSICAL, DESSA ROSE and THE GLORIOUS ONES included - all the way up to 2012 and their new musical in pre-production in Germany, ROCKY, based on the iconic 1975 Oscar-winning Sylvester Stallone-starring boxing film. Ahrens also shares firsthand news on the new Ahrens & Flaherty musical based on the art and life of Degas and the upcoming feature film version of LUCKY STIFF, directed by Christopher Ashley, as well as reflects on her work for the stage, page and screen outside of her work with Flaherty - songs for SCHOOLHOUSE ROCK and songs for the hit indie musical film CAMP among them. Plus, Ahrens shares her enthusiasm for her many collaborators and the performers famous for interpreting her work as well as relates her excitement for the star-studded JOURNEY ON concert spectacular at Carnegie Hall. All of that and much, much more!

Today we are saluting one of the most beloved Broadway scores of all time, created by the formidable show business songwriting dynasty of Richard Rodgers & Oscar Hammerstein - THE SOUND OF MUSIC. While the original 1959 Broadway production was well-received and won Mary Martin a Tony Award for her winsome Maria, the property has gone on to win over generations the world over thanks in no small part to the 1965 Robert Wise feature film version starring Julie Andrews and Christopher Plummer. On Monday, Carnegie Hall will be presenting a special concert version of the family- friendly show starring Laura Osnes, Tony Goldwyn and Brooke Shields. Be sure to check out my comprehensive conversation with Brooke Shields, who will be playing the Baroness, available here, and, also, stay tuned to BroadwayWorld for my upcoming InDepth InterView with the Maria of the concert presentation, rising Broadway superstar Laura Osnes. So, what exactly is it about THE SOUND OF MUSIC that has won over audiences of all ages for more than fifty years and set hearts aflutter and souls stirred? Is it the dramatic story of a family torn apart by death and war only to be brought back together again when least expected by a kindly maternal nun? Is it the slice of life depiction of the family dynamic and how we can all relate to one or many facets of it therein? Is it the ensuing romance between Maria and Captain Von Trapp and their delicately portrayed courtship (particularly when considering the ravishing duet added for the film, "Something Good")? Or, is it that classic Rodgers & Hammerstein score - containing a dizzying assortment of standards that have gone on to become ingrained in our ears, minds and hearts, as well as made a fixture of pop culture itself - "Do-Re-Mi", "My Favorite Things", "Edelweiss", "The Lonely Goatherd", "Climb Ev'ry Mountain", the title song and beyond. AMC's hit series MAD MEN even featured one of the most beloved SOUND OF MUSIC duets on a recent broadcast as an ironic episode capper all too befitting of the moment (and, given the 60s setting of the series, era) - Betty Draper mischievously sneaking an extra bowl of ice cream set to the strains of "I Am Sixteen Going On Seventeen". Between the MAD MEN song reference, the ongoing SOUND OF MUSIC film singalongs occurring every week (with many patrons coming in costume and with props, ala ROCKY HORROR) around the world and the countless professional and amateur productions that crop up every year, as well as the glitzy Carnegie Hall concert on Monday, THE SOUND OF MUSIC has never gone out of style - it shall forever remain sixteen, even when the show itself is not too far away from hitting sixty.