Pat Cerasaro - Page 197

In an absolutely uncannily coincidental occurrence last night, the Valentine's Day episode of GLEE included among its song-stack the all-time most memorable Whitney Houston ballad of all time, originally sung by Dolly Parton in 1974 but made famous by Houston on the soundtrack of the 1992 film THE BODYGUARD, in which she also starred, "I Will Always Love You". While this episode was filmed weeks ago - long before Houston's sudden passing, of course - the fact that this was the moment GLEE finally tackled one of the biggest songs ever - a single that originally stayed atop the chart for more than 3 months - comes as a definite shock and surprise; and, also, somehow, a fitting tribute. The tasteful "We Will Always Love You" card at the end of the program dedicated the episode to Houston's memory, in a last minute addition to the long-wrapped show by the powers-that-be. It hit just the right chord - as did the effervescently enjoyable if slight episode. Amber Riley wrought the high emotion out of the Houston barn-burner in a manner that surely would do the gospel singer of Whitney's own roots more than merely proud and the overall show was a sure success as far as knockout musical numbers go. As for the rest of the "Heart" Valentine's show, we were treated to a number of well-played guest appearances, such as Rachel's two dads, essayed all-too-deliciously by Jeff Goldblum and Brian Stokes Mitchell, in addition to THE GLEE PROJECT winner Samuel Larsen's much ballyhooed debut on the show. Former TGP finalist and Season Three GLEE featured player Damian McGinty also got more focus than usual, as did Amber Riley, who emerged as the star of this particular episode. Courtesy of a lively and raucous "Love Shack", Darren Criss made his welcome return after a few episodes out. The rest of the songs added to the overall candy-coated allure of the sweet and sugary confection of a show. No, "Heart" was not an episode that will linger forever in the memory like some in GLEE's past, but the music made the night - and, in the case of "I Will Always Love You", made it really pack a punch when we needed it. It most closely resembled the wedding episode from last season, I thought - which is certainly a compliment. Plus, "Heart" featured the return of Karofsky - in gorilla suit, no less - and many dramatic twists for the gleeks we have all come to know and love. And, just how adorable is Sugar Motta?!

Last night, SMASH cast Marilyn Monroe in the big Broadway musical based on her life at the show's center. Or, did they? While Ivy Lynn (Megan Hilty) may have done whatever it took to make an impression on the show's lothario director, Derek (Jack Davenport), it was Ivy's long-standing friendship with the songwriting team of Julia & Tom (Debra Messing & Christian Borle) and the belief in her readily apparent talent by the lead producer, Eileen (Anjelica Huston), that really sealed the deal. So, where does that leave Karen (Katharine McPhee)? In the chorus, it seems - at least for now. The drama escalated and reached an early peak along with the crescendos of Marc Shaiman and Scott Wittman's smashing "Twentieth Century Fox Mambo" showstopper - the musical highlight of the impossibly strong second episode - as the heated fully-staged and fully-choreographed audition gave way to a dream reality which finally showed us all out there in the audience what a Karen/Marilyn could potentially be: a true blonde bombshell to beat the band. Of course, nothing is quite so cut and dry as it may appear and Karen may get her chance in the spotlight on the actual Marilyn musical's stage after all. Yet, for the next few episodes at least, Ivy is the star of the show - and she is going to wring every last wiggle, coo and peck out of the role. Plus, who can put over a number in true Broadway fashion - as Marilyn Monroe, perfectly played, no less - than Megan Hilty? Did you hear her line in the newly envisioned 'Let Me Be Your Star'? In much the same way as Hilty with the Broadway pizazz, McPhee effortlessly puts over treacherously tricky pop songs with smoothness, sweetness and near-tangible sincerety and conviction. Which way will the score ultimately go - and, furthermore, what shall be of the show that contains it? Will the musical be more Norma Jean or more Marilyn, thus more befitting of Karen or Ivy, respectively? Who knows, perhaps there ultimately will be two Marilyns required - as was proposed in this very column last week at this time and seems the logical ultimate conclusion of the casting dilemma at the show's core. We will certainly have to wait and find out what happens next on SMASH and what the show ends up requiring of its incredibly talented cast of hoofers and stars-to-be. Plus, Nick Jonas, Uma Thurman and Bernadette Peters make guest star debuts in the next several weeks!

Coming quick on the heels of the untimely death of iconic pop singer and film star Whitney Houston was last night's subdued and largely somber 2012 Grammy Awards telecast which had a definite focus on three soulful leading ladies in particular: Whitney, Jennifer Hudson and Adele, the latter being the night's across-the-board big winner. Begun on the completely wrong foot with an awkward and inappropriate religious tribute to Houston by charismatic but ineffectual host LL Cool J, the rest of the Grammy show managed to have sporadic moments of entertainment - the best and brightest being Bruno Mars, Foo Fighters, Tony Bennett & Carrie Underwood, as well as the button-pushing performance by rap/pop notable Nicki Minaj and some polished country stars. Pushing boundaries with an exorcism-themed theatrical spectacular, complete with a Leonard Bernstein/Stephen Sondheim sample from WEST SIDE STORY in the form of "I Feel Pretty", surely Nicki Minaj made many fans - and more than a few enemies, no doubt - with her expressive and eccentric production number, "Roman Holiday" - complete with priests, fire pits, confessional booths and levitations! The Grammys definitely had many lows and a few memorable highs beyond Minaj's exorcism, though, for the night was a veritable wake for Houston and a celebration of her musical legacy. Oscar-winning DREAMGIRLS star Jennifer Hudson gave Ms. Houston a truly tasteful and respectful tribute to mark the occasion.

The entire entertainment world is reeling. We have lost one of our most iconic pop, R&B and soundtrack performers this evening - as well as a formidable movie star in her own right - Whitney Houston was just reported dead at the age of 48. Having had one of the most successful and most multimedia of careers of any multi-hyphenate star in recent memory, Houston scored multiple Grammys and racked up countless nominations over the course of her multi-decade recording career, yet her most notable contributions to the world of music reside in her outstanding soundtrack work - most of all, the songs for the film in which she made the transition into feature film leading lady, 1992's THE BODYGUARD. The biggest hit from THE BODYGUARD's blockbuster soundtrack was undoubtedly Houston's rendition of a Dolly Parton song originally recorded in 1974 and later made famous by Parton in the feature film version of the Broadway hit THE BEST LITTLE WHOREHOUSE IN TEXAS, "I Will Always Love You". In addition to Houston's sensational work on that mega-selling soundtrack - one of the Top 5 best-selling soundtracks of all time - she also provided her dramatic and vocal skills to the multi-platinum soundtracks to THE PREACHER'S WIFE and WAITING TO EXHALE, both films which she also starred in to much box office success. An Oscar-winning duet with Mariah Carey, "When You Believe" by WICKED's Stephen Schwartz from THE PRINCE OF EGYPT is yet another diadem in Houston's triple crown of accomplishments in the realms of music, film and television - having dominated all. Theatre fans may know Houston best for her incomparable portrayal of the Fairy Godmother in the incredibly successful 1997 ABC TV adaptation of Rodgers & Hammerstein's CINDERELLA starring Brandy and produced by Craig Zadan and Neil Meron. In addition to Houston's contributions to THE BODYGUARD, THE PREACHER'S WIFE, WAITING TO EXHALE, THE PRINCE OF EGYPT and CINDERELLA, Houston also rose to fame early in her career for her rendition of "Home" from THE WIZ on THE Merv Griffin SHOW, as well as made a mark with a Cissy Houston duet on the CHESS international smash, "I Know Him So Well" on her second hit album. The last project Houston was working on prior to her death on Saturday night was the feature film musical SPARKLE, co-starring AMERICAN IDOL winner and Broadway standout Jordin Sparks. SPARKLE reportedly completed production of principal photography and soundtrack sessions, though it is not clear when the musical remake will now be released in light of Houston's unexpected death. No matter the circumstances of her life and death, Whitney Houston most surely left a legacy that will never be forgotten by those that adored her for her vast multitude of talents and many notable accomplishments in all areas of entertainment.

Song stylist and performance artist Kim Smith is a truly unique performer who brings together the worlds of cabaret and theatre in a wholly idiosyncratic and arrestingly amusing manner. Part Marlene Dietrich, part Eartha Kitt and all Kim Smith, Kim and I recently had the chance to discuss his solo show, MISFIT - what inspired it; what he will be singing; what we can expect from the show - as well as a host of other topics, such as his Australian upbringing, the music and performers who inspire him most, performing in Sondheim's MERRILY WE ROLL ALONG and other musicals, as well as other collaborations with director Christian Coulson. Plus, Smith and I take an overview of his favorite current pop artists - many of whom he pays tribute to in his shows, such as Bjork and Robyn - and what elements draw him most in creating his series of surreal solo shows, the most recent being the highly regarded MISFIT, which returns to New York this Sunday. Also, we have first news on his forthcoming solo album and much, much more!

Winner of 7 Academy Awards, including Best Picture, Best Actress - Gwyneth Paltrow and Best Supporting Actress - Judi Dench, SHAKESPEARE IN LOVE is noted playwright and screenwriter Tom Stoppard's imaginative restaging and reworking of the story of William Shakespeare which proceeds to present a thesis for how he came to write many of the finest dramas and comedies written in the English language. Boasting gorgeous costumes, breathtaking sets and an unmistakably Shakespearean atmosphere, SHAKESPEARE IN LOVE has aged considerably well and looks even more rapturous and resplendent on Blu-ray than it ever has before. The new Blu-ray also comes with a fascinating slew of special features, the most appreciable of all being the two commentary tracks, one from director John Madden and another from assorted cast and crew members. Boasting an all-star cast to best even the Bard's vaunted coterie of performers themselves, SHAKESPEARE IN LOVE is lousy with pedigree - and nearly every actor makes his or her mark over the quite tight, terse running time of the film. In addition to the aforementioned Oscar-betrothed leading lady and supporting player, the cast of SHAKESPEARE IN LOVE also boasts recent Oscar-winner for THE KING'S SPEECH, Colin Firth, in a memorable role, as well as a charismatic lead performance by Joseph Fiennes as the titular playwright. Additionally, British stage stars Simon Callow, Antony Sher, Imelda Staunton, Tom Wilkinson and Tony Award-winning Australian leading man Geoffrey Rush all make solid impressions in their smaller roles. Yet, as with all of the greatest works of William Shakespeare, the text is the star, and Stoppard's precise and exacting script is much like a modern Shakespeare play in the way it juggles moments of levity, intrigue, history, comedy, tragedy and love into the drama of the film. While SHAKESPEARE IN LOVE may have been somewhat derided at the time for being too light to win over that year's favorite, SAVING PRIVATE RYAN, time has been kind to the theatrically-tinged film, and, dare I say, it is even more enjoyable and entertaining now, on Blu-ray, than it may have even been at the time of its release fifteen years ago. All the world may be a stage, by SHAKESPEARE IN LOVE is a Hollywood film relating to Shakespeare worth your time, attention and investment.

Headlining the most successful entertainment of all time, THE PHANTOM OF THE OPERA, Michael Crawford was actually not the first name the creative team considered for the gothic musical undertaking during its creation in the mid-1980s, believe it or not. Steve Harley famously recorded the original single of the title song with composer Lord Andrew Lloyd Webber's muse Sarah Brightman and subsequently starred in the grandiose Ken Russell fever dream music video. While the public and critics alike assumed Harley's bid for the lead role in the gestating show was all but guaranteed after the video debut, it was not meant to be. Master director Hal Prince had his sights set on a British stage and screen star who had made a name with American audiences decades before in the troubled film versions of two Broadway hits - A FUNNY THING HAPPENED ON THE WAY TO THE FORUM and HELLO, DOLLY! - as well as made a name for himself the world over in the British sitcom SOME MOTHERS DO 'AVE 'EM. Crawford had also cemented his place in the musical theatre with his roles in FLOWERS FOR ALGERNON and BILLY, but it was PHANTOM that would catapult him into the ranks of iconic musical megastar. So, today, let us take a look at what made Michael Crawford's performance in THE PHANTOM OF THE OPERA so unforgettable as we celebrate this week's US release of the simply spectacular DVD/Blu-ray of the 25th anniversary production mounted late last year at the Royal Albert Hall starring Ramim Karimloo and Sierra Boggess, loving assembled and presented by original lead producer Cameron Mackintosh and featuring a grand finale complete with original PHANTOM cast-members Sarah Brightman and Michael Crawford, among a host of other glories.

Completing the Lima Sound Machine in a truly terrific way, Ricky Martin made his highly-awaited GLEE debut last night and the word on the tips of tongues wagging across the country today is undoubtedly duende. Dwarf, you say? No, not dwarf - to paraphrase the idea of the term, a passion for performance. That being the definition, no show currently on TV packs more duende into each and every minute than GLEE. A dramatic and musical marriage to beat the band and infusing the show with some spine-tingling spark and verve, Ricky Martin made his musical moments really matter. Both Ricky's cover of LMFAO's international smash hit, remixed and sung alongside none other than Madonna on Sunday night's Super Bowl, "Sexy And I Know It" - in a new bilingual iteration - and Madonna's own "La Isla Bonita", in a moving and exceedingly pleasing pairing with Season 3 standout Naya Rivera, allowed for Ricky Martin to make his musical mark on the GLEE universe in much the same way Neil Patrick Harris, Kristin Chenoweth, Idina Menzel, Jonathan Groff, Gwyneth Paltrow and many other featured guest stars have done in leaving indelible impressions that still linger in the memory. The Ian Brennan-penned "The Spanish Teacher" occasionally may have lapsed into Season Two variety show territory, but acted as an enlivening - and, eventually, surprisingly poignant - episode to occur at this point in the show's history. Will David Ramirez return to McKinley High to guest lecture a glee club rehearsal or two? We will have to stayed tuned to see - and hear - but, until then, this episode went a long way in furthering Sue's development as well as giving Finn and Kurt a welcome bonding scene. Beyond all that, though, Matt Morrison played a hard-to-swallow storyline about a non-Spanish speaking Spanish teacher with finesse and ease, letting Martin shine - or, should I say, twinkle. Like teeth - or stars - that is.

Get SMASH-ed. Last night, NBC unveiled the most sparkling, dazzling jewel of many a TV season with the hotly anticipated debut of the new musical dramedy series SMASH. Hatched from an idea by mega-mogul Steven Spielberg and given life by playwright Theresa Rebeck, director Michael Mayer and songwriters Marc Shaiman and Scott Wittman, SMASH follows the journey of the auditioning actors and creative team of a new Broadway musical about Marilyn Monroe from inception to final presentation on opening night and follows the highs and lows of making a hit show on the Great White Way. While I have only viewed the first four episodes, I can tell you that this show certainly knows where it is heading and heads will unquestionably turn with each new surprise and dramatic twist along the way - and that's to say nothing of the simply stupendous presentation of original songs by Shaiman & Wittman for the musical-within-the-show and spirited, inventive covers of pop hits, new and old, ranging from Adele to Blondie to Bruno Mars and beyond. In just the first four episodes alone, SMASH manages to pack more sheer entertainment value into its running time than virtually any other show on network TV - besides GLEE, that is. Ah, yes: GLEE. Comparisons will be made - and most critics have already made them - but, the truth of the matter really is that there is more than enough room on network TV for two music-themed shows that tell their story through song from time to time. After all, on SMASH, there are a lot dramatically justified reasons to break out into a song - or four. Plus, there's certainly a big enough audience out there to justify AMERICAN IDOL, THE VOICE, THE X FACTOR and AMERICA'S GOT TALENT - to name just the network reality competition shows focusing on performance-based entertainment - so why can't GLEE and SMASH happily co-exist on TV together? As SMASH shows, if there can be two Marilyns in a Marilyn Monroe musical, then anything is possible. The possibilities are as vast and numerous as the possible subjects for a new Broadway musical - endless. Endless, too, is the enjoyment and entertainment value SMASH potentially can provide for many more seasons to come. All that is needed, wanted and so desperately desired is an audience - so, let SMASH be your star.

Epic Egyptian pageantry. Gold galore. Soldiers by the score. An entrance befitting of - and evoking - Cleopatra, set to the instantly recognizable strains of "Vogue", and the love affair began again. Between Madonna and America, that is. It has been a tumultuous and trying relationship, at times, but, at heart, Madonna represents the ultimate American dream of making a superstar of one's self - Michigan to Milan; pop starlet to mega-mogul; cheerleader to icon. Madonna's career has been up and down and she has certainly seen it all in her half century on this planet, but, last night, she showed the world all she was worth. And more. Throwback and cutting edge, some avant garde choreography and even a few stumbles on that indescribable, but nevertheless impressive, field-spanning LCD set. Then, in a spectacular column of smoke, she vanished. A ghost. Yes, indeed, Madonna made magic out of her Super Bowl main-stage chance to strut - and lip-sync - for all she is worth, and, gosh darn it, you gotta give it up for the Material girl. In carrying off something that could have been chaotically cacophonous and gruesomely calculated - and, more than not, it usually is in this instance on the international stage; good intentions, hype and Nipple-gate notwithstanding - came off as a genuine bid to do the biggest, best and most theatrical presentation on the Super Bowl yet - and, in that regard, Madonna was MVP. MDNA is the title of her new album - her 12th - and the lead single, "Give Me All Your Luvin'" - the first of a purported eighteen tracks - was given a spirited airing with the helpful aid of Nicki Minaj and M.I.A. LMFAO and Cee-lo Green guested, as well, but Madonna made her moment count in a truly memorable and thrilling way. "Vogue" through "Music" to the grand, million candlelit finale featuring the stirring "Like A Prayer", Madonna towed the line, but never crossed it to the detriment of the overall presentation - so often what happens to boundary pushing pop artists such as herself; she calls the shots, as she always does, and it came off as 100% Madonna, for better and best. While she may have had her crass moments over the course of her incredible career, Madonna's Super Bowl performance was all a fan or a viewer could ask for as far as cutting-edge spectacle and stage effects go - plus, those tunes are some of the most classic pop songs of the last century. Madonna managed to move from ancient Egyptian to futuristic alien with aplomp and never break a sweat. A bit robotic, sure. Was she nervous? Obviously. But, she made it work - and work it she did. Best Super Bowl Half Time Show ever? Best Super Bowl Half Time Show Ever. Madonna shows us all how it's done - lip-synced or not. Music really does bring the people together - especially over Madonna.

Having previously appeared on Broadway in SEUSSICAL: THE MUSICAL as a teen, and, now, Off-Broadway, in the revival production of the timeless musical THE FANTASTICKS, actor and pop star Aaron Carter has fit a lot of experience into his less-than-quarter-century-long life. Besides his stage roles, Carter has amassed a more than merely respectable resume, having had three chart-topping albums, numerous soundtrack featured spots and even headlining his own feature films. In this career-spanning conversation, Carter and I take a look back at his tween pop superstar heyday - with a look at his contributions to soundtracks like THE PRINCESS DIARIES - as well as his recent stint on ABC's DANCING WITH THE STARS. Also, his impressions of leading a musical as vaunted and revered as Tom Jones and Harvey Schmidt's THE FANTASTICKS and the importance he places on a theatre appearances. Additionally, Carter also opens up about his desire to expand his horizons and diversify even further in his future, as well as shines a light on the rehearsal process taking on the lead role in THE FANTASTICKS and what it was like working with original show creator, Tom Jones, in preparing for the role. All of that and much, much more!

One of the foremost male pop stars of the last twenty years is undeniably 'Livin' La Vida Loca' crooner Ricky Martin, so his deigning of appearing on next week's GLEE as a new Spanish teacher, David Martinez, is a cause celebre for fans of the Latin superstar, GLEE, or, even, for those who follow the artists whom he covers on the episode - LMFAO's 'Sexy And I Know It' and, the Queen of Pop herself, Madonna. Recalling the golden days of television when hit parade variety shows would cover top chart hits when they were fresh and new, Ricky Martin tackling Madonna two days after the Super Bowl - with, supposedly, a LMFAO cameo occurring during her highly anticipated performance on Sunday - and taking on one of the year's biggest songs so far, 'Sexy And I Know It', is pop culture must-see TV if there ever were any. Ricky Martin and Madonna are undeniably two of the most theatrical pop culture mainstays of the last few decades and their collective media super-blitz thanks to Martin's GLEE appearance and Madonna's Super Bowl performance is encapsulated perfectly in Martin's essaying of Madonna's classic caliente pop hit, 'La Isla Bonita'. Both Martin and Madonna can certainly command a stage - and an audience of thousands; or, even, millions, as they shall both prove yet again on Sunday and Tuesday, respectively - so, let's take a look at what we can look forward to from these two entertainment icons as we enter one of the most celebratory weekends of the year. First down!

"I don't want to see the spectacle that is Michael, I want to be the spectacle." And so goes the motto of GLEE giving Michael Jackson his musical due. Much like MJ brought together the worlds or pop and R&B and broke down racial barriers through his music and message, GLEE set the stage by placing our favorite gleeks in a battle with the Warblers - not unlike the Sharks vs. Jets of the recent WEST SIDE STORY tribute. And it was quite a sight to see - and hear. Like the memorable Britney Spears, Lady Gaga and Fleetwood Mac tributes before it, last night's "Michael" episode of GLEE was the realization of a life-long dream for many gleeks in the audience and the epic convergence of two pop culture dynasties. Series creator and show musical sequence mastermind Ryan Murphy penned the episode himself and the razor sharp dialogue was as biting and bizarre as always - in a good way. A very good way. And, the musical numbers? Even better. Filled with fun facts relating to the man in the mirror being honored and with more musical numbers than one could envision even fitting into an hour of network TV with story, too - and what plot developments - once again, GLEE made us remember that this is our very own spot in the entertainment universe, right at corner of Hollywood and Broadway. The joy that standing on that corner can make us all feel through sheer osmosis is transcendentally exciting, and, even more than that, exquisitely exciting. My, oh my - how we have missed thee, GLEE! True, it's only been a few weeks, but Season Three has been so consistently strong as to make each and every episode unmissable thus far and each pause positively interminable. After all, in just the last episode alone we were left with three marriage proposals! No more scattershot scenarios ala Season Two or heavy focus on the adults like Season One, Season Three is all about the cast of characters that comprise New Directions - and, Ma Ma Se, Ma Ma Sa, thank goodness that is the main subject being taught at McKinley High this semester. "Bad" to "Ben" to "Black Or White"; "Wanna Be Startin' Somethin'" and "Smooth Criminal", "Scream" and more, GLEE's MJ tribute was a true OMGLEE moment.

Today we are fortunate enough to feature an illuminating discussion with the star of PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL - PHANTOM 25 for short - who is also known for her appearances on Broadway and the West End in shows like THE LITTLE MERMAID, MASTER CLASS and the PHANTOM OF THE OPERA sequel itself, LOVE NEVER DIES - the one and only Sierra Boggess! In this PHANTOM-based conversation, Sierra and I analyze the phenomenal live PHANTOM 25 performance itself - to go along with our pre-performance chat from last year (available here) - and she describes all of the time, talent and art that went into putting it all together in celebration of the show's 25th year onstage - led by legendary producer Cameron Mackintosh, of course. In addition to a complete performance rundown, we also dissect the character of Christine and the importance of her journey over the course of the musical thriller to its themes of social acceptance, the power of musical performance, and, above all else, love - which, as we know, never dies. Additionally, she shares her ample enthusiasm for the simply tremendous DVD and Blu-ray experience of PHANTOM 25 (also, my SOUND OFF review of the live performance is available here) and details the experience of having now played Christine in three distinctly different PHANTOM-based experiences - PHANTOM in Las Vegas, LOVE NEVER DIES in the West End and PHANTOM OF THE OPERA LIVE AT THE ALBERT HALL.

This weekend, BroadwayWorld will be presenting an illuminating InDepth InterView with legendary composer Lord Andrew Lloyd Webber all about the enchanting new performance capture film version of his PHANTOM OF THE OPERA sequel, LOVE NEVER DIES. Until that chat, let's take a look back at some of the finest Andrew Lloyd Webber-related performances related to the entertainment dynasty built upon his operatic pop musical version of the classic Gaston Leroux novel that is about to celebrate its 10,000th performance on Broadway later this month, THE PHANTOM OF THE OPERA, as well as its continuation, LOVE NEVER DIES, and the two revivals of his two classic 70s hit stage collaborations with previous InDepth InterView participant Sir Tim Rice coming back to Broadway in a big way - JESUS CHRIST SUPERSTAR and EVITA. Plus, a look at the new Simon Phillips-directed production of LOVE NEVER DIES coming to Fathom-equipped movie theaters nationwide on February 28 and March 7, with DVD & Blu-ray after that, as well as the PHANTOM 25 DVD & Blu-ray being released in the US on February 7. It's a busy time of year for phans, clearly! Fetch your favorite mask and check out these four Andrew Lloyd Webber delicacies before they arrive!

I recently spoke to Tony-nominated ROCK OF AGES leading man about his new show, THE TOXIC AVENGER, and promised to hold this exclusive news before it was officially announced.

On Friday, I had the exceptional honor of talking to the most successful composer in the world, Lord Andrew Lloyd Webber, all about the unprecedented new HD film version of his thrilling new musical coming to movie theaters in February, a continuation of the story begun in THE PHANTOM OF THE OPERA, titled LOVE NEVER DIES. In addition to outlining the impossibly detailed process of bringing a production as complex as the Simon Phillips Australian staging of LOVE NEVER DIES to the big screen, we also discuss the genesis of the show and what an immense achievement it is to now have the original musical - in the form of the 25th anniversary Royal Albert Hall production of THE PHANTOM OF THE OPERA - as well as the sequel - LOVE NEVER DIES - committed to celluloid, mere months apart. Also, 2012 is certainly the year of the Lord on Broadway thanks to new revivals of two of his most beloved musicals, JESUS CHRIST SUPERSTAR and EVITA (the latter starring Ricky Martin), as well as the 10,000th performance of PHANTOM on Broadway. Plus, Lloyd Webber clues us in on which musical of his he would like to film next - SUNSET BOULVEVARD, with either Madonna or original Tony-winning star Glenn Close - and he also elaborates on the indescribable allure of the Phantom legend, now, nearly thirty years after the original show's debut and expresses his enthusiasm for the revolutionary new age of theatre-on-film we are experiencing now - all of that and much, much more!

Today we are talking to a star of many notable films and television shows who initially surprised many viewers with his commanding presence as the voice of the Beast in Disney's classic animated film BEAUTY & THE BEAST, now back in theaters for its twentieth anniversary (in 3D) - the one and only Robby Benson. In addition to telling us all about his impressions of and experiences working on BEAUTY & THE BEAST and what he thinks of the new 3D movie experience, he also shares his affection for co-stars Angela Lansbury and Paige O'Hara - both having been previous InDepth InterView participants, as well - and what the storied legacy of the film means to him. Also, Benson discusses his talented family, including his rock star wife, Karla DeVito, and their daughter, a star-on-the-rise in her own right, Lyric (her Benson-produced debut album, LYRIC'S LOVE LIGHT REVOLUTION, is available here) and details the many hats he wears as an actor, director, producer, author, singer and recording artist. Plus, recollections on ICE CASTLES and its haunting Marvin Hamlisch theme, directing FRIENDS and EVENING SHADE, his vivid memories of performing in OLIVER!, THE ROTHSCHILDS, THE PIRATES OF PENZANCE on Broadway and a discussion of his own semi-auto-biographical musical, OPEN HEART, and, of course, what it was like being suggested by Francis Ford Coppola to George Lucas for a role in STAR WARS - and much, much more!

Today we are honoring the first animated film to be nominated for Best Picture at the Academy Awards, which went on to win in the categories of Best Song and Best Score for Broadway's own Alan Menken and Howard Ashman - Disney's tale as old as time; the much-beloved and cherished BEAUTY & THE BEAST. Based on the French fairytale of its namesake, BEAUTY & THE BEAST was a landmark achievement in animated film and proved that Disney's previous animation renaissance mega-hit THE LITTLE MERMAID - also penned by Alan Menken and Howard Ashman - was much more than merely a fluke. A new age of animated film treated totally seriously by critics and audiences alike allowed for Disney to continue on with even more success in the following years with even bigger family-friendly hits like ALADDIN and THE LION KING. Yet, BEAUTY & THE BEAST is the most elegant and enrapturing of all Disney animated films from the last century and just may be the very finest of all their animated features that came to pass during that era of renewed interest in the late-1980s and early-1990s. Featuring the vocal talents of legendary stage and screen star Angela Lansbury - check out our extensive InDepth InterView for a few recollections about that experience here - as well as Broadway's own Paige O'Hara and TV/film notable Robby Benson - both of whom will be featured in extensive InDepth InterViews right here on BroadwayWorld next week. Beginning with a prologue and opening song sequence - "Belle" - to rank among the very best not only in film, but stage musicals, as well, BEAUTY & THE BEAST is a rich French country meal topped off by a dizzying array of aural, visual, emotional, comedic and dramatic treats. 'Belle' is merely the starter bread - or, should I say, pain. So, today, we pay tribute to BEAUTY & THE BEAST as it roars back to movie theaters nationwide, now in a diligently-recreated and astonishingly imagined brand new 3D realization. Before you go see all the stunning sights and sounds of the film itself, whether sampling the 3D version in your home 3D studio or out at the Cineplex, here we have some of the finest musical moments to delight in from the storied history of the immensely successful Disney classic in all three of its versions - original animated film, Broadway stage musical and 3D movie experience.

Showcasing six of the show's strongest supporting performers in a vast array of arresting ways in the first ten minutes was merely one of a myriad in the embarrassment of riches on view as GLEE roared its way back after a multi-week Winter hiatus last night. From GREASE done grandly and giving Amber Riley and Chord Overstreet a duet to linger in the memory - "Summer Nights" - to Helen Mirren's unexpected and unquestionably brilliant narration for Becky (Lauren Potter), and, the piece de resistance: Jayma Mays backed up by Jane Lynch and Dot Jones on the Laura Nyro-penned Fifth Dimension stoned-soul classic "Wedding Bell Blues" - ingeniously accredited to "Will!" in this iteration. While the opening sequence of the show packed a wallop and stood as clear evidence that at this stage in Season 3 GLEE is far from treading water and very well may be the most polished and smooth and consistent it has been since the first episodes of Season 1 (and even then). Matt Morrison and Kevin McHale - backed up by Harry Shum, Jr. and the boys of New Directions - strutted out the recent Maroon 5/Christina Aguilera hit "Moves Like Jagger" in a mash-up with the Rolling Stones' "Jumpin' Jack Flash" with sleek stylishness to spare and some ferociously fierce moves. REAL HOUSEWIVES reality star Nene Leakes as the synchronized swimming coach certainly made a strong first impression in her over-the-top and hilarious characterization of a, well, over-the-top and hilariously-written character (Sue Sylvester better watch out for her). Speaking of strong writing, co-creator Brad Falchuk wrote the 'Yes/No' episode and it was directed by a helmer of many of the show's best in previous season - an actor in his own right - Eric Stolz. Three knockout musical numbers in the first fifteen minutes in addition to the two aforementioned cameos was only the start of an episode evidencing the most consistently entertaining show on TV in top form as we head into the meaty middle of GLEE Season 3. Three proposals in, and all signs point to 'Yes' for GLEE in Season 3 - let us hope Rachel follows suit in her response to Finn when the show returns in two weeks with the highly-touted Michael Jackson tribute episode.