Pat Cerasaro - Page 196

Recently, noted DREAMGIRLS composer Henry Krieger was generous enough to take a comprehensive look back at his many accomplishments onstage and onscreen with me, turning back the pages of time and sharing memories of DREAMGIRLS, both on Broadway and in Hollywood, THE TAP DANCE KID, SIDE SHOW, KEPT, ROMANTIC POETRY and beyond, as well as discuss many aspects of his exciting new family-friendly musical opening next week at the New Victory Theater, LUCKY DUCK. Over the course of our compelling conversation, Krieger also revealed new details about the forthcoming 2014 production of SIDE SHOW, to be directed by DREAMGIRLS film director and TWILIGHT: BREAKING DAWN helmer Bill Condon - to premiere first at the La Jolla Playhouse and then at the Kennedy Center, as it makes its way towards Broadway - as well as first news on a musical collaboration with lyricist David Yazbek based on the life of television evangelist Tammy Faye Bakker set to star Tony and Emmy-winning Broadway and GLEE standout Kristin Chenoweth. DREAMGIRLS to LUCKY DUCK and much, much more awaits!

It is a rare enough occurrence for a genuine born and bred Broadway star to emerge post-millennium, but one as astonishingly versatile as Raul Esparza, having scored accolades since his blazing debut in a string of hit plays and musicals, ranging from Mamet and Sondheim and Pinter to CHITTY CHITTY BANG BANG and his aforementioned Broadway bow in THE ROCKY HORROR SHOW, is a downright cause for celebration. Esparza makes his grand return to the Broadway stage in a musical with his upcoming starring role in Alan Menken & Glenn Slater's adaptation of the Steve Martin film LEAP OF FAITH, featuring a country and gospel influenced score and a spirited, energetic production by Christopher Ashley (who, incidentally, helmed Esparza's first Broadway show, ROCKY HORROR). While Esparza has been seen in many - most, if not quite all - Broadway seasons in the decade since 2001, he has also scored in leading roles in regional productions such as 2002's spectacular SUNDAY IN THE PARK WITH GEORGE and MERRILY WE ROLL ALONG revivals, part of the unprecedented Sondheim Celebration, as well as the Cincinnati Playhouse COMPANY, directed by John Doyle, which transferred to Broadway and was subsequently preserved on DVD and Blu-ray, in addition to being presented on PBS as part of Great Performances. Besides Esparza's many notable musical revival performances (lest we forget his essaying of the Emcee in CABARET), he also created the Broadway iterations of his roles in the controversial and brilliantly scored TABOO, produced by Rosie O'Donnell and composed by Boy George, as well as the stage adaptation of the hit family classic CHITTY CHITTY BANG BANG, as well as originating the lead role in TICK, TICK...BOOM! Having played three of Sondheim's most memorable male roles was not enough, though, apparently, for Esparza recently took on the part of the hapless Hapgood in Sondheim's ANYONE CAN WHISTLE when it was revived at City Center's Encores! - with Tony-winners Donna Murphy and Sutton Foster his co-stars, no less - with much success. Yet, in one of a myriad of examples of the broad spectrum of Esparza's abilities, it is instructive to remember he first made a name for himself with the role of Che in an Andrew Lloyd Webber & Tim Rice show, directed by no less than the ultimate man of the theatre himself, Harold Prince - EVITA, which, of course, is being revived this season with Ricky Martin in the role of Che. Besides Esparza's many musical roles throughout the past decade and prior, he has also carved out a seriously impressive straight drama resume, having appeared in plays by the great playwrights of our age, such as Pinter (THE HOMECOMING), Mamet (SPEED-THE-PLOW), Stoppard (ARCADIA) and, the greatest of all, Shakespeare (AS YOU LIKE IT, part of Shakespeare In The Park). ROCKY HORROR to ARCADIA to, now, with LEAP OF FAITH, Esparza constantly and consistently surprises fans and audiences alike with his audacious choice in roles and electrifying performances that are indelibly enjoyable in their uniqueness, variety and sheer breadth of emotion - time and time again. Yes, indeed, Raul Esparza is the best of the best Broadway has to offer, so let us hope LEAP OF FAITH is the ideal star vehicle for one of the most charismatic and multi-talented leading men of the 21st century and that it brings him his well-deserved Best Actor Tony at last.

Today we are talking to one half of the supremely talented composing team responsible for ZOMBIE PROM, THE FIX, THE WITCHES OF EASTWICK, and, now, BROTHER RUSSIA, the lyricist of the formidable Dempsey/Rowe himself, John Dempsey. In this career-spanning conversation, Dempsey and I discuss major and minor details of his handful of skillfully written and entertaining shows written with the collaboration of composer Dana Rowe (who will also be highlighted in this column next week), in particular their affiliation with legendary producer Cameron Mackintosh and Signature Theater founder and director Eric Schaeffer, director of the US premieres of three of their musicals, including the most current one opening later this month - as well as touch on his work with Boublil & Shonberg on THE PIRATE QUEEN and his musical adaptation of the religious-themed film SAVED! As if all of that were not enough, Dempsey and I also dissect the finer points of the new Dempsey/Rowe show in previews in Washington, D.C., BROTHER RUSSIA, as he outlines its inspiration, purpose, style and the intriguing story of the new heavy metal fairy tale meta rock opera - all of that and much, much more.

Noted DREAMGIRLS composer Henry Krieger was generous enough to take a comprehensive look back at his many accomplishments onstage and onscreen earlier this week with me, as well as discuss aspects of his new musical opening next week, LUCKY DUCK, and over the course of that compelling conversation - which will be available in a complete InDepth InterView next week - he revealed new details about the forthcoming 2014 production of SIDE SHOW, to be directed by DREAMGIRLS film director and TWILIGHT: BREAKING DAWN helmer Bill Condon, to premiere first at the La Jolla Playhouse and then at the Kennedy Center, as it makes its way towards Broadway. Comments from that portion of our conversation follow below.

In honor of the encore screening of Andrew Lloyd Webber's LOVE NEVER DIES at Fathom-equipped movie theaters across the US today, following the rapturously received first showing late last month, this week we are highlighting the show's central stars, Anna O'Byrne and Ben Lewis, and speaking to them all about the spectacular Coney Island-set PHANTOM OF THE OPERA musical sequel. Following the previous interviews in this series with composer Andrew Lloyd Webber and lyricist Glenn Slater, this LOVE NEVER DIES series shines a special spotlight on the risky and ambitious new theatrical venture, which originally began in London's West End and has now been thrillingly filmed in its completely reconceived and rewritten Australian iteration directed by visionary innovator Simon Phillips. In an unprecedented move, Fathom will be presenting the elegantly designed film of the stage show in over 500 movie theaters nationwide, making LOVE NEVER DIES an absolute must-see for Broadway babies curious to see where the story of the Phantom, Christine and the rest ends up ten years later - and, also, a real treat for just plain entertainment enthusiasts in general out there. To paraphrase from the musical drama itself, the special screenings of LOVE NEVER DIES prove that love does, indeed, live on. Today, in this LOVE NEVER DIES focused portion of the upcoming complete InDepth InterView, LOVE NEVER DIES star Ben Lewis and I discuss his insights into playing the Phantom, working with the phenomenally talented cast featuring Anna O'Byrne as Christine, as well as what his impressions are of the final finished film version of the show now that he has seen it on the big screen - all of that and much, much more!

In honor of the encore screening of Andrew Lloyd Webber's LOVE NEVER DIES at Fathom-equipped movie theaters across the US on March 7, following the rapturously received first showing late last month, this week we are highlighting the show's central stars, Anna O'Byrne and Ben Lewis, and speaking to them all about the spectacular Coney Island-set PHANTOM OF THE OPERA musical sequel. Following the previous interviews in this series with composer Andrew Lloyd Webber and lyricist Glenn Slater, this LOVE NEVER DIES series shines a special spotlight on the risky and ambitious new theatrical venture, which originally began in London's West End and has now been thrillingly filmed in its completely reconceived and rewritten Australian iteration directed by visionary innovator Simon Phillips. In an unprecedented move, Fathom will be presenting the elegantly designed film of the stage show in over 500 movie theaters nationwide, making LOVE NEVER DIES an absolute must-see for Broadway babies curious to see where the story of the Phantom, Christine and the rest ends up ten years later - and, also, a real treat for just plain entertainment enthusiasts in general. To paraphrase from the musical drama itself, the special screenings of LOVE NEVER DIES prove that love does, indeed, live on. Today, in this LOVE NEVER DIES focused portion of the upcoming complete InDepth InterView, LOVE NEVER DIES star Anna O'Byrne and I discuss her affiliation with Andrew Lloyd Webber, the nature of playing Christine in the original PHANTOM and, now, its sequel, as well as performing musical theatre as an opera-trained actress and much, much more!

Packing more music per minute than any episode of the show since the pilot, last night's SMASH showed the ever-developing musical dramedy series finding its footing and delineating the many relationships and interrelationships of the onstage and backstage cast of characters that populate it - and, as always, the music made the night. Will Chase scored yet again with a soulful "Song For You"; McPhee emanated sultriness in her cover of James Brown's "It's A Man's Man's World"; and, in particular, Megan Hilty made the bawdiest and most big Broadway-sounding song from the Marilyn Monroe musical we have yet heard hit like Joe DiMaggio's bat when it met a meatball in the big 20th Century Fox production number we are sure to remember. When it comes to the musical numbers, SMASH is adult musical storytelling done exceptionally well with a precise, professional sheen. The story and characters have exhibited a lot of areas where they could go in future episodes, and, now, by the fifth episode, the style and music/drama formula is being perfected right before our eyes. What has resulted is that we are witnessing SMASH as a show finding its voice with all the world to hear - not an enviable position to be in, but that is the name of the game of a network TV gamble on the level of this. And, anyway, what sights and sounds we have to look forward to in the coming weeks as the Marilyn musical within the show begins to take a more tangible shape - and Bernadette Peters makes her SMASH debut in less than two weeks!

Today we are changing it up a bit by aiming our focus on a Grammy-winning pop/folk sensation who has created quite an impressive catalog of songs in his decade in the spotlight - some of his best work in live shows in lieu of studio albums, making him an ideal fit for this particularly performance-based column - the geek in the pink himself, Mr. Jason Mraz. This week marks the release of his new EP, titled LIVE IS A FOUR LETTER WORD, which acts as the appetizer to his much-awaited follow-up to the incredibly successful WE SING, WE DANCE, WE STEAL THINGS - which featured his biggest hit to date, "I'm Yours"; along with the Grammy-winning Best Pop Duet, "Lucky", which was also featured on Season Two of GLEE - LOVE IS A FOUR LETTER WORD. Four letters or more, Mraz proves time and time again he is a master storyteller with an unmistakable, singular style all his own - the handful of new songs featured on this spectacular live album attesting to that with grand, soulful regard. Even allowing for some audience banter and amusing back-and-forths, the LIVE IS A FOUR LETTER WORD EP is the ideal way to bring us all up to date with one of the most compelling solo acts that you can consistently find out on the road trying out charismatic and dramatic new material, the new compositions featured here in a special solo YouTube concert acting as a perfect counterpoint in a career packed with a vast array of musical styles, aural sounds and sonic textures that only Mr. A-Z would dare compose and expose to the world. If the rest of the album follows the lyrical strength and musical dexterity of this EP release, we are in for quite a ride come April 17. Plus, we also have a look at his moving and memorable new single, "I Won't Give Up"!

Today we are completing our triptych look at the leading ladies of the new BAM production of RICHARD III, directed by Sam Mendes and starring Kevin Spacey, with a solo spotlight on a stage and screen star known for her wide range of roles in dramas, comedies, musicals, television and film - the one and only Haydn Gwynne. In addition to all about her intense preparation for her role in the searing and prescient Shakespearean historical tragedy, Gwynne also recounts her experiences working with Mendes, Spacey and the previous ladies who have participated in this RICHARD III spotlight with whom she shares the stage every night now through March 4, Gemma Jones and Maureen Anderman. Besides all about RICHARD III and its international tour begun at the Old Vic in London's West End and ending up in New York at BAM, Gwynne and I also discuss her recent stage work in Elton John and Lee Hall's Tony-winning international hit BILLY ELLIOT and working with theatre and film director Stephen Daldry on it, as well as some remembrances of her other notable stage and screen roles, old and new - prior musicals (such as CITY OF ANGELS), as well as her recent guest-starring stint on the hit BBC series SHERLOCK included, as well as a look ahead to her new feature film, HUNKY DORY, starring Minnie Driver. All of that and much, much more!

Today we are talking to one of the busiest lyricists in show business, Glenn Slater, all about today's movie theater showing of his collaboration with Andrew Lloyd Webber, LOVE NEVER DIES - a continuation of the world's most successful show, THE PHANTOM OF THE OPERA - and the spectacular Simon Phillips-directed Australian production of it filmed for the ages and presented in hundreds of movie theaters across the country, with an encore cinema showing on March 7 prior to its DVD/Blu-ray release in the Spring. Besides discussing all aspects of the writing of the show and its West End debut, Slater also elaborates on the rewriting of the show and how this new production and unprecedented in-theater presentation is the ultimate realization of Lloyd Webber's dream vision for the musical drama - something the Lord shared with me himself when he recently did this column.

Today we are talking to one of the busiest lyricists in show business, Glenn Slater. In the first part of our extensive discussion, besides discussing all aspects of the writing of LOVE NEVER DIES with Andrew Lloyd Webber and its West End debut, Slater also elaborated on the rewriting of the show and how this new Australian production and unprecedented in-theater presentation of it across the US is the ultimate realization of Lloyd Webber's dream vision for the musical drama - something the Lord shared with me himself when he recently did this column. In addition to all about LOVE NEVER DIES, in this second half of our recent chat Slater and I also trace his career trajectory to date, with a focus on his recent collaborations with composer Alan Menken on the smash hit Disney animated film, TANGLED, along with the currently-running Broadway hit, SISTER ACT, and, the upcoming Spring opening of their new musical, LEAP OF FAITH, starring Raul Esparza, as well as their previous theatre venture, THE LITTLE MERMAID. Plus, Slater shines some light on his upcoming projects, which include a Dreamworks animated musical with Menken, as well as a stage collaboration with his wife, Wendy Leigh Wilf, titled BEATSVILLE - all of that and much, much more!

SMASH is out for blood - wolf's blood, that is. So, go howl! In the climax of the series so far - at least since that thrilling finale to the pilot episode - the wildly talented cast of characters that inhabit SMASH were joined in purpose and performance for the first time onscreen all together, singing "I Never Met A Wolf That Didn't Like To Howl" - well, at least the current top choices for Marilyn Monroe (Megan Hilty) and Joe DiMaggio (Will Chase) by the songwriting duo (portrayed by Debra Messing and Christian Borle) behind the show-within-the-show; guest appearance by prospective investor portrayed by pop idol and current Broadway star Nick Jonas notwithstanding. Yet, Katharine McPhee shone bright in her secondary storyline, bringing defiant joie de vivre to a karaoke cover of Adele's soulful earworm "Rumor Has It" at the close of the show. Nick Jonas got a moment in the musical spotlight, as well, in a self-played piano accompanied cover of Michael Buble's "Haven't Met You Yet". On the dramatic side of SMASH, the twists and turns of the theatre-centric musical series are beginning to create intriguing complexities for the individuals caught in the tumult - none the least being the budding romances between Derek (Jack Davenport) and Ivy Lynn (Megan Hilty), but also the secret liaison rekindled of one half of the songwriting duo (Messing) and Joltin' Joe (Chase) himself. Plus, the other half of the team behind the Marilyn musical, Tom (Christian Borle), finally got his own romantic plotline and sudsy, soap-ish moment. It seems to be a prerequisite that each cast member have a post-coital scene at some point, so, one supposes Eileen (Anjelica Huston) and her ex husband, Jerry (Michael Cristofer), may re-team behind the scenes - or, maybe not. Eileen was given finest material of the night as far as I'm concerned and Huston's delicate portrayal of a woman conflicted was artful in its attentiveness and believability. She imbues the material with a grace and gravitas that few stars can consistently achieve as she has done throughout her career and continues to do so here on SMASH. Episode Four cleanly and clearly displayed the attributes we came to love about the pilot - natural integration of fabulous Marilyn-themed musical numbers into the drama, as in "Howl"; superlative new renditions of modern-day pop hits, such as "Rumor Has It"; and a specialty song or two, too, like Nick Jonas and his Michael Buble party accompaniment. While it did not break new ground as far as where the show is heading as a series like last week's show, this episode gave us an inkling of the entertainment experience coming in the next few weeks as we anticipate the arrival of many new and exciting guest stars, such as Bernadette Peters and Uma Thurman, in addition to the pain, passion, ecstasy and As for the rest of the drama, music and comedy, read on!

Billy Crystal was nine for nine with his stupendous hosting - particularly thanks to his superlative musical material courtesy of Tony-winning tunesmith Marc Shaiman - yet, the 2012 Oscars were all about the awards, for once, with a heavy helping of superstars and surprises. A glamorous and generally genial broadcast, more than many in recent years this years, last night's top entertainment honors came across as a class act on the elegantly produced and impressively rendered broadcast, from beginning to end - unscripted screenwriters' Angelina impressions aside. Crytal's hilarious opening montage allowed the Oscar host extraordinaire the opportunity to enact his oh-so-idiosyncratic take on the year's top nominated films - including a kiss with George Clooney ala THE DESCENDANTS and a Justin Bieber/Sammy Davis, Jr. skit inspired by Woody Allen's MIDNIGHT IN PARIS, both of which went on to win the Best Screenplay categories - and remind us why he is tops. The portrait of the winner of Best Picture may have been painted long before last night for THE ARTIST, yet the 2012 Academy Awards show was packed with a plethora of surprises in technical and even some major categories, with Martin Scorsese's HUGO also scoring big and Meryl Streep winning her third statuette, this time for her Best Actress turn in THE IRON LADY, uncanny in her portrayal of British prime minister Margaret Thatcher. Additionally, THE ARTIST's Jean Judarjin took home Best Actor - over Hollywood titan George Clooney, no less - for his superb performance as a Gene Kelly-esque silent film star (save a few words at the very meta finale). The supporting categories showed some love to expected winners Octavia Spencer - for the audience hit, THE HELP - as well as veteran actor Christopher Plummer - for the indie release, BEGINNERS. Cirque Du Soleil afforded us some spectacle in the form of a 3D aerial classic film homage as only they could create and present, but Crystal's inimitable opening sequence - film sequence and crisply amusing song acting as the ideal entree into the awards season's show of shows - were the night's undeniable highlights. So, too, on the performance front did the In Memoriam sequence shine thanks to a soulful rendering of "What A Wonderful World" by Esperanza Spalding. Many of the major categories may have went the way we have all predicted, yet important categories also went to a surprisingly large smattering of the year's other fine filmatic achievements, as well, making it an entertaining and overall quite pleasing broadcast when considering the conservative slate of films nominated this season.

One of the top-tier performers of a promising new generation of young stars on Broadway, Matt Doyle has appeared in both dramatic musicals and plays in establishing a versatile stage and screen career ranging from a multi-episode arc on GOSSIP GIRL to starring in SPRING AWAKENING on Broadway, as well as the recent revival of BYE BYE BIRDIE, in addition to his most recent New York credit, the highly acclaimed WAR HORSE at Lincoln Center. Equally at home in musicals and straight drama, Doyle's most recently released film venture is an intriguing and compelling independent feature showcasing his WAR HORSE co-star and fellow InDepth InterView participant Seth Numrich with a stylish and intense military school-set adaptation of ROMEO & JULIET titled PRIVATE ROMEO that, fortunately for all of us, also allows Doyle the chance to sing. Having studied at the Royal Academy in London, Doyle was perfectly prepared for his Shakespearean role in PRIVATE ROMEO and that training was also was influential to his success in the aforementioned musicals and plays he has starred in, as he generously fills us in on many memorable moments in his career to date and even shares his most recent experiences doing Michael John LaChiusa's GIANT. Exciting projects coming up next include a sequel to his 2011 EP, DAYLIGHT, titled - appropriately enough - SUNSET, as well as roles in theatre pieces currently in development. Plus, Doyle and I discuss sharing the stage with the starry original cast of SPRING AWAKENING such as GLEE stars Lea Michele and Jonathan Groff and much, much more!

Today, in honor of Sunday's Oscar telecast, we are going to take a look at some of the most memorable opening numbers and musical montages from the Academy Awards over the years, with a special focus, of course, on theatrically-related presentations and performers. The 2012 night of Oscar gold marks the return of frequent host Billy Crystal, so we are sure to be in for some truly terrific movie parodies and unscripted asides to have us rolling in aisles over the course of the hotly anticipated award show's three hours - Hollywood's night of nights. From the infamous Allan Carr-produced show in 1989 to some of the best moments from Crystal, Whoopi Goldberg, Ellen Degeneres, Anne Hathaway and Hugh Jackman, this collection of clips surely has something to please all the movie buffs, Broadway babies and all-around entertainment enthusiasts out there reading this who will be tuning in to the big show this weekend - from 1965 to 2011, we have it all. Plus, after all, how could we possibly miss a night this big? Whether the top winner of the night ends up being THE ARTIST, THE HELP, HUGO or THE DESCENDANTS, Billy Crystal is guaranteed to make the night run as smoothly and enjoyably as possible - and, potentially, much much more (as the following clips clearly show). As for the rest of the night's proceedings? Well, we will have to wait and see what happens!

Known for her many memorable roles on stages and screens large and small, many from the canon of William Shakespeare (OTHELLO, MACBETH) and Edward Albee (THE LADY FROM DUBUQUE, SEASCAPE, WHO'S AFRAID OF VIRGINIA WOOLF? & LISTENING), Maureen Anderman is making her grand return to the realm of Shakespeare onstage in New York with the new BAM production of RICHARD III directed by Sam Mendes, starring Kevin Spacey. In addition to illustrating many aspects of the rapturously received revival of the historical tragedy as she has traveled with it around the world, Anderman and I also discuss her affiliation with Shakespeare and what she derives from performing his greatest works, with RICHARD III being the central focus. Also, Anderman details her experiences working with Edward Albee on the original Broadway productions of THE LADY FROM DUBUQUE and SEASCAPE, as well as offering some candid observations on some of her favorite feature film and television appearances over the years - THE DAYS AND NIGHTS OF MOLLY DODD and LAW & ORDER included. As well as all of that, Anderman also shines a light on her recent standby duties for Vanessa Redgrave in THE YEAR OF MAGICAL THINKING and DRIVING MISS DAISY, as well as the forthcoming Westport Country Playhouse production of MAGICAL THINKING in which she will be starring later this year.

Today we are talking to a stand-up comedienne celebrated for her caustic wit, erudite political humor and illuminating social observations who has also made a name for herself over the last two decades as an actress by appearing in over 100 feature films and television shows, including recurring roles on the TV series SATURDAY NIGHT LIVE, THE BEN STILLER SHOW, THE LARRY SANDERS SHOW and 24, as well as her film resume, ranging from roles in ROMY & MICHELE'S HIGH SCHOOL REUNION to WET HOT AMERICAN SUMMER to REALITY BITES, COP LAND, THE CABLE GUY, NOW AND THEN and many more - the one and only Janeane Garofalo. In addition to a twenty-year career retrospective, touching upon many of her most notable big screen and small screen appearances - sharing comments on many of her favorite colleagues and co-stars along the way - Garofalo also opens up about the theatrically attuned work she has previously done - such as HBO's THE LARAMIE PROJECT - and, most importantly, fills us in on the new play she is starring in for The New Group, RUSSIAN TRANSPORT, directed by Scott Elliott. Besides all about RUSSIAN TRANSPORT, her character in it and the political and social issues the new original play bravely tackles, Garofalo shares her enthusiasm for her newfound experiences in the theatre world and her intention of pursuing a theatre career further. Also, she clues us in on her upcoming film projects, BAD PARENTS and GENERAL EDUCATION, and offers her classic views on current politics as only she can, in her own delightfully droll and ingratiatingly idiosyncratic fashion - plus, much, much more!

Fourteen episodes in, with eight more to come after the seven week hiatus that just began, GLEE's Season Three has been filled with shocks and surprises, but none so shocking and surprising as last night's potentially fatal collision involving the one and only Quinn Fabray, Dianna Agron. In the show's final moments, the danger of auto texting was made painfully plain to see as Quinn's car was demolished by an oncoming truck as she typed the episode's title into her phone, "On My Way," - on her way to the wedding of Rachel (Lea Michele) and Finn (Cory Monteith), that is. 'Chapel Of Love' playing on the radio gave the scene an extra added note of morbid irony and twisted the dramatic knife in a way few enterprises dare to do, as well - a NIP/TUCK twist (as Ryan Murphy would have it). So, is this really the last we shall see of Quinn on GLEE? We will have to wait until April to see, but some pictures have already surfaced of Quinn wheelchair racing with Artie (Kevin McHale) onset, so perhaps she survives after all. Besides Quinn's catastrophe, one of the most complex and controversial secondary characters on the show, closeted gay football player and Kurt's former McKinley High bully par excellence, Max Karofsky, succumbed to a heartbreakingly presented suicide attempt, but survived to fight another day. Will Quinn be as lucky? What will become of her daughter, Beth - sired with Puck (Mark Salling) back in Season One - who is being raised by Rachel's birth mother, Shelby (Idina Menzel)? Does this mean we will be seeing more of Ms. Menzel in the back 8 of the season? Will Puck and Shelby rekindle their romance in the wake of Quinn's crash and subsequent rehabilitation or, maybe, death? Only time will tell, it seems. In an episode packing an incredible punch, GLEE'S "On My Way" delivered the drama, the social commentary, the laughs, tears, joy and, of course, the music as stylishly and successfully as any of its finest episodes ever have, even if some of the questionable of-the-moment contemporary song selections at the central Regionals competition failed to fully ignite as other songs may very well have done. Indeed, last night's GLEE was all any gleek could ask for from the Winter Finale of their favorite show, and, if we are forced to wait a few weeks for the next episode, best to go out on a big, bad cliffhanger that makes a splash.

"Baby, I would catch a grenade for you," as Bruno Mars wrote in his international smash hit song "Grenade", recently nominated for a Grammy, and, so, too, would Joe DiMaggio catch a grenade for Marilyn Monroe, and, maybe - just maybe - married Broadway star Michael Swift (Will Chase) will cross the line into the danger zone and rekindle his romance with former flame (similarly, married with children) Julia (Debra Messing), half of the songwriting team responsible for the spectacular musical-within-the-show on NBC's SMASH. Yes, the third episode of the new musical drama series was a much different experience from the first two shows, with Karen (Katharine McPhee)'s journey back home to Iowa - complete with down-home karaoke baby shower and Gretchen Wilson's "Redneck Woman" - and the introduction of Broadway star Will Chase's character and the subsequent exploration of his prior trysts with Julia, as well as detailing more of Ivy (Megan Hilty) and Derek (Jack Davenport)'s hot and heavy romance. So, too, did the dissolving marriage between the Marilyn musical's lead producer, Eileen (Anjelica Huston) and her ex (Michael Cristofer) see further shading, as did the trusting and caring coupling of Karen and Dev (Raza Jaffrey). Along with recurring guest stars Dylan Baker and Becky Ann Baker as Karen's supportive but speculative parents, "Enter Mr. DiMaggio" was a relationship-themed episode that reached its thematic, dramatic and musical apotheosis in the stunning new Marc Shaiman/Scott Wittman Marilyn musical composition, "Mr. & Mrs. Smith", ending the episode on a stylish and all-too-apropos note. A hard rock rendering of the aforementioned Bruno Mars pop hit "Grenade", as well as Karen's spirited country karaoke "Redneck Woman" were the other musical entertainments in an episode that showed that SMASH does, indeed, have legs - a Rockette-worthy line of them, actually - and this story can sustain more than a handful of episodes or, even, a season or two. Sure, this episode had a different feel than the first two, more Broadway-based shows, yet the series seems to be finding a rhythm that is particularly appreciable at this very, very early stage of the game. After all, the first two episodes of an hour-long adult drama such as SMASH usually set the scene for the series as a whole, if they even succeed at accomplishing that. So far, SMASH has already gone far beyond that, and, I promise, next week will be more along the lines of the first two entries, showcasing the simple fact that this tree has many, many branches and exceptionally deep roots supporting the strong core of central and supporting performers that make up its trunk. Episode Three was a gamble that largely paid off dramatically and thematically, and, wow, that final number was a home run hit truly worthy of a show billing itself as SMASH.

Today we are kicking off our trio of InDepth InterViews with the leading ladies of the new BAM production of RICHARD III by talking to stage and screen star Gemma Jones all about her role in the politically-themed Shakespeare historical drama, which continues performances at the Brooklyn Academy of Music through March 4.