Pat Cerasaro - Page 203

When a performance montage this fantastic comes along you are caught up in the spirit and lost in the moment in a magical way that only truly transcendent performances can conjure - and, on Monday night, on the stage of the unassuming fireworks spectacular from Washington, D.C., A CAPITOL FOURTH, on PBS, hosted by Jimmy Smits, such a momentous musical theatre moment occurred. While it is no surprise that Broadway star Kelli O'Hara was note-perfect, gorgeous and spirited, the fact that she brought such an air of star presence to the proceedings and performed with such precision made the medley burst, much like a firework, into something truly, well, spectacular. The addition of GLEE star and Broadway baby Matt Morrison on a pristine "Tonight" from WEST SIDE STORY brought the entire enterprise to new emotional and musical heights. What a rare and celebratory treat it is to have a look at these patriotic and, alternately, pathos-infused performances going into the weekend, post-Fourth - plus, "America" from Josh Groban and a MILLION DOLLAR QUARTET medley!

Even with all the bases covered and loaded given this stupendous creative team, a cast of veritable Broadway all-stars and a surprise bottom of the ninth pop fly play courtesy of Norbert Leo Butz's fresh Tony win, CATCH IF YOU CAN can't seem to get the break it deserves on Broadway. Sure, it just passed the hundred performance mark and it is alive and well, but it deserves far more praise than it has been given. After all, Marc Shaiman and Scott Wittman's score is every bit as ingratiating and endearing as their work on the Tony-winning Best Musical HAIRSPRAY and for that fact alone CATCH ME IF YOU CAN commands the utmost attention from any cast album collector or Broadway baby interested in keeping up with all the scores and stats of Broadway‘s best. And, yes, indeed, CATCH ME IF YOU CAN possesses a score among the very best of the 21st century and the best new score on Broadway this season. The songstack as represented on the brand new Original Broadway Cast Recording is even more entertaining and enlivening than the show's songs onstage - although they have all their own allure there - and that is a huge credit to the fiercely talented songwriting team who knocks each and every pitch clear out of the park; here, just as always. CATCH ME IF YOU CAN is a fully-decked game of far-flung, fun, and not-so-frivolous fantasy ably aided by some of the most inspiring leading male performances in musical theatre in many years thanks to the wonderful work by the aforementioned Butz, plus impossibly charismatic leading player Aaron Tveit and a sensitive and suave Tom Wopat.

Today we are continuing out summer series on the TV shows featuring some of the brightest and best talent onscreen and onstage with the second part of BroadwayWorld's series on USA's new primetime network drama NECESSARY ROUGHNESS focusing on screen and stage star Scott Cohen who plays Nico on the show. Featuring an impressive assortment of players known for roles on screens large and small and stages far and wide, NECESSARY ROUGHNESS was created by Craig Shapiro and Liz Kruger and features Callie Thorne, Marc Blucas, Scott Cohen, Mehcad Brooks and Andrea Anders. The show centers on therapist Dr. Dani Santino (Thorne) and her suddenly crumbling domestic life coming in the wake of her husband's (Craig Bierko) newly discovered affair, just as she enters a new area of expertise in her field and starts taking on the clients of her career - chief among them being star quarterback TK (Brooks). Will her newfound romance with Matthew (Blucas) and his relationship to the team lead to a fumble? And who exactly is the shadowy figure behind the scenes, Nico (Cohen)? Plus, how will Dr. Santino balance the roles of therapist, mother and newly-single woman approaching her forties? NECESSARY ROUGHNESS goes in for a touchdown by bringing together issues from all sides and taking them on play-by-play - because, after all, as the tagline goes: 'Everyone has issues to tackle.' Touchdown!

Today we are continuing out summer series on the TV shows featuring some of the brightest and best talent onscreen and onstage with the first part of BroadwayWorld's series on USA's new primetime network drama NECESSARY ROUGHNESS. Featuring an impressive assortment of players known for roles on screens large and small and stages far and wide, NECESSARY ROUGHNESS was created by Craig Shapiro and Liz Kruger and features Callie Thorne, Marc Blucas, Scott Cohen, Mehcad Brooks and Andrea Anders. The show centers on therapist Dr. Dani Santino (Thorne) and her suddenly crumbling domestic life coming in the wake of her husband's (Craig Bierko) newly discovered affair, just as she enters a new area of expertise in her field and starts taking on the toughest clients of her career - chief among them being star quarterback TK (Brooks). Will her newfound romance with the team's trainer, Matthew (Blucas), and, furthermore, his relationship to TK's team, lead to an unforeseen fumble? And, who exactly is the shadowy figure behind the scenes, Nico (Cohen), and what exactly does he want from Dr. Dani? Plus, how will she balance the roles of therapist, mother and newly-divorced woman on her own for the first time? NECESSARY ROUGHNESS goes in for a cathartic touchdown by bringing together issues from all sides of the field of life and taking them on play-by-play - because, after all, as the tagline goes: 'Everyone has issues to tackle.' Family to football to romance and far beyond, NECESSARY ROUGHNESS is a high-scorer - and, after all, this is only the build-up to the big game, which plays in prime time every Wednesday night at 10 PM on USA.

Continuing the BRIDGING TV & THEATRE: DROP DEAD DIVA series, today, here is my extended conversation with Tony-nominee and Broadway star Kate Levering about starring in seven Broadway shows - CHICAGO and 42nd STREET included - by the time she was twenty-two, as well as working with Harry Connick, Jr. and Norbert Leo Butz on THOU SHALT NOT and auditioning for legendary dancer and choreographer Ann Reinking (and her words of wisdom), plus all about Levering's work on DROP DEAD DIVA and what we can expect in the surprising twists for her feisty character in season two as well as her other television work - including co-starring with Taye Diggs, Idina Menzel, Christina Hendricks and Craig Bierko. Additionally, we discuss the charitable organization that is closest to Kate's heart, Purse of Hope [www.PurseofHope.org].

Coming quick and sprightly on the heels of the smash-hit movie theater presentation of Stephen Sondheim's COMPANY, Shakespeare's Globe London Cinema Series is setting out to do for Shakespeare and classical theatre what COMPANY did for Sondheim and musicals with THE MERRY WIVES OF WINDSOR. Beginning on Monday, hundreds of select movie theaters nationwide will present a special showing of Shakespeare's coy and daring comedy THE MERRY WIVES OF WINDSOR as the inaugural showing of The Globe London Cinema Series, and, with it, we, as the avid audience, will be ushered into a new era for Shakespeare - both live and on film. How easily and affordably we may now witness world-class entertainment from the very front rows of the finest playhouses in the world in the way only a special event cinema broadcast such as Shakespeare's Globe London Cinema Series presentation of THE MERRY WIVES OF WINDSOR can provide! Such are the joys of traveling to the nearest multiplex near you hosting a Shakespeare's Globe presentation - such as on Monday at 6:30 PM with MERRY WIVES - as opposed to a transatlantic flight and accommodations in the UK were you to try to catch the show live and in person (with the hope to score some rare tickets). Plus, you can't beat these seats - or the sights and sounds only the real, true home of W.S. - The Globe - can supply.

Just moments ago the trailer for the 2011 re-imagining of the 1984 Herbert Ross musical film FOOTLOOSE hit the internet, and while the emphasis was on the attractive, largely up-and-coming cast and the gritty, earthy take on the revamped and modernized material, there were enough glimpses of boot-kickin', booty shakin' and barn-stormin' to please the gleeks, DWTS addicts and Broadway musical fans out there in the dark, as well. After all, it isn't very often at all anymore that a film boasting a musical element as prevalent as that in the new 2011 FOOTLOOSE comes along, so - if only for that - it's a cause for anticipatory excitement. Directed by HUSTLE & FLOW helmer Craig Brewer, the new Craig Zadan/Neil Meron-produced big screen version of the classic story of a town that banishes dancing and the scrappy new kid on the bleak block who puts the spark back in their step clearly appears to be a fully-functioning new twist on the tale all its own, ready to reintroduce the story to a whole new generation hungry for a dance-heavy hit. After all, it's been quite awhile since there was a decent movie-musical or music/dance-centric film - HAIRSPRAY, actually (also a Zadan/Meron production), and CHICAGO before that. While this new FOOTLOOSE does not have any traditional burst-into-song moments - as the late-90s Broadway stage version did (though the original film did not) - the dance element is at the forefront of the proceedings, front and center. Yet, what music can we expect?

Over the course of the next several weeks, we are going to be taking an extensive look at the sights and sounds both onscreen and onset of the hit TV dramedy series DROP DEAD DIVA - new episodes airing Sunday nights at 9 PM on Lifetime starting this week - featuring exclusive interviews with the leading lady divas and dashing supporting men on the LA-based supernatural legal series. Featuring a memorable collection of musical performances and Broadway guest stars over the years - Paula Abdul, Rosie O‘Donnell, Delta Burke and many more included - DROP DEAD DIVA is the quintessential TV series for Broadway babies looking for some laughs and levity - the latter available in many more ways than one, given the show's heavenly aspirations. DROP DEAD DIVA centers on a legal eagle named Jane whose body acts as the means for the indomitable spirit of a model, Deb, who loses her life, to make a second chance and how the girl inside must learn to adjust to looking like the woman on the outside that she is now. In other words, a model finds out what it means to look like everyone else, in a delightfully quirky twist of fate - and learns to be a lawyer, too. Season Three picks up with the cliffhanger car crash that closed last season in a dark and shocking way. What will Grayson remember of the conversation he had with Jane pre-crash? What will Jane do to save him? What about his engagement (to somebody else)? What will happen back at the office with Teri, Kim and Parker? What about Stacy and Fred? All these questions and many more will most assuredly be answered (or beginning to be answered) come Sunday night! Plus, a musical number featuring LeAnn Rimes! Don't miss it! So, without further ado, kicking off our BRIDGING TV & THEATRE: DROP DEAD DIVA series , here is a concise and charming chat with irrepressible comedienne and comic actress Margaret Cho, who plays the role of legal assistant Teri on the show. Cho is no stranger to the world of television, having starred in ALL-AMERICAN GIRL in the mid-90s on ABC, filming several television comedy specials and recently headlining her own reality TV series, THE MARGARET CHO SHOW.

Today, in honor of the nationwide release of Stephen Sondheim's COMPANY in movie theaters, we are celebrating the many accomplishments of the film's director who has made a name for himself in the twenty-first century as the finest and most productive theatrical filmmaker of our age - Lonny Price. With his string of highly successful filmed stage performances before COMPANY ranging from last year's stupendous SONDHEIM! THE BIRTHDAY CONCERT back to SWEENEY TODD: IN CONCERT starring George Hearn and Patti LuPone, CANDIDE starring Kristin Chenoweth, CAMELOT with Gabriel Byrne, as well as well as the LIVE FROM LINCOLN center broadcast of Sondheim's PASSION and the forthcoming feature film version of Athol Fugard's Pulitzer prize-winning MASTER HAROLD AND THE BOYS, Price is ushering in a new era of theatrical films for television and, now, the cinema. So, let's go back and take a look at what led up to the feature film live capture of COMPANY taking musical theatre to an entirely new level - and an enormously appreciative audience. Three Is Company

Bridging the gap between theatre, television and film in a thrilling and revolutionary new way with this week's premiere of STEPHEN SONDHEIM'S COMPANY, in select movie theaters nationwide Wednesday through Saturday (with a return engagement already scheduled for early July), director Lonny Price has introduced Sondheim's seminal concept musical comedy to a whole new generation of gleeks, as well as reverently keep the flame of the fire in the heart, soul and mind of this complex, rich and rewarding show for Broadway babies who already know its genius. Additionally, Neil Patrick Harris, Christina Hendricks, Stephen Colbert, Jon Cryer, Katie Finneran, Aaron Lazar, Martha Plimpton, Patti Lupone and the rest of the cast are absolutely perfect for their roles and bring a live spontaneity and verve to their material - the kind which you usually only see in the very best shows on Broadway - and that sense of timing, precise editing and overall polished presentation style is a sure credit to Price's positively sublime direction of the live stage production with the NY Philharmonic, as well as - and maybe even more so - the movie version of the live show in theaters now. It bursts with energy and, well, aliveness, just like a real Broadway show. Make that: Just like a real Broadway smash hit. Talking all aspects of COMPANY: THE MOVIE while still editing it last month, Price was kind enough to open up about what the rehearsal process was like, filming it live and working with the all-star cast, as well as much, much more - all coming on the heels of last year‘s rapturously received Ellen Krass production of SONDHEIM! THE BIRTHDAY CONCERT, undoubtedly the finest Broadway concert capture of our age. Price discusses his affection for the material and the man behind the music, plus his smashing leading ladies. Plus: what's next? Be sure to stay tuned for the complete InDepth InterView featuring Price's recollections on Sondheim's MERRILY WE ROLL ALONG (and his forthcoming documentary about it), A CLASS ACT, directing DESPERATE HOUSEWIVES and news about the feature film version of Athol Fugard's MASTER HAROLD AND THE BOYS coming later this year - a play which he starred in on Broadway twenty-five years ago. Actor, producer, director and, now, filmmaker - Price can clearly do it all!

A BOOK OF MORMON sweep - Best Musical, Best Direction, Best Score and Best Featured Actress included - with a few unexpected moments along the routine ride was the 2011 Tony Awards in a nutshell - and, if we're putting best things first: it was Neil Patrick Harris and Hugh Jackman that took the prize as Best Actor and Best Featured Actor last night - no question about that. Not only was Harris an assured and energizing presence and great all-around host, he proved that he can roll with the punches no matter what happens - flubs, flop sweat or otherwise. Speaking of which: while Brooke Shields may not be taking home the top prize for her performance this time, certainly the ladies delivered in a big way thanks to the performance of Patina Miller and company from SISTER ACT and Sutton Foster's simply sensational 'Anything Goes'. Additionally, Daniel Radcliffe and newly-minted Tony-winner John Larroquette with the cast of HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING generated quite a white hot heat, as did Norbert Leo Butz and Aaron Tveit leading the medley from CATCH ME IF YOU CAN. While MORMON and THE NORMAL HEART gathered the king's ransom of the big awards - with WAR HORSE winning Best Play, Direction and more - some upsets occurred to spice things up and the specialty material for Neil Patrick Harris brought back memories of the Alexander Cohen broadcasts that mark the finest era of the Tony Awards presentation on television. It could have been better, for sure, but it could - and has been - much, much worse. 6.5/10 - to use the SPIDER-MAN joke scale and match NPH's score.

Stephen Sondheim's COMPANY is in over five hundred movie theaters starting on Wednesday and that simple fact is enough to make one want to celebrate with a thousand vodka stingers - and imbibe in the delectable Sondheim zingers. I was lucky enough to see COMPANY last week and I can tell you that not only is it the best live representation of the show that any audience could ask for - Broadway babies, Sondheim neophytes and everything in between and far, far beyond - but a considerable reexamination of the themes, elements, emotions and the steely, chrome machinations ringing within the heartbeat of the show's cynical core. Lonny Price's COMPANY is something unique in modern entertainment, on Broadway, on film or anywhere else - it is multi-dimensional in a revolutionary way that is, frankly, unprecedented. This is Broadway in the 21st century at its best with a cast led by the brightest stars in the Broadway and TV universe on full display for a film audience and if this enterprise is successful, the mind marvels at the endless possibilities this format could afford in the future, both near and far. Yes, this is what you have been waiting for - whoever you are. If you love music, if you love wit, if you love comedy, if you love to laugh and think simultaneously - COMPANY is for you. Yes, this is that kind of review - and, thank goodness it is. It's due all the praise of a birthday boy like Bobby - with a generous dose of icing black as death; or, night. Icing

Considering the fact that it is Broadway's longest running show - and, not only that, but also the most successful entertainment of all time - the top spot in our 2011 31 Days of the Tony Awards Countdown should be, must be and is: THE PHANTOM OF THE OPERA and its multi-Tony-winning composer and producer, Lord Andrew Lloyd Webber, its director, Hal Prince - the King of the Tony Awards with 21 wins - as well as the original Phantom himself, Tony-winner Michael Crawford. Now that original PHANTOM composer Andrew Lloyd Webber has written a sequel to the smash hit musical juggernaut - the wildly different LOVE NEVER DIES; two different versions of it, to be exact: one in the West End, and, the exceptionally elaborate Simon Phillips production in Australia - a dicey proposition for a show that, for me, delivers on its premise and possesses a score with the potential to be just as classic as PHANTOM's iconic score undoubtedly is - the world of PHANTOM is reaching a new generation in a whole new way. With clips of Michael Crawford performing alongside Lord Lloyd Webber's then-wife Sarah Brightman - the score's inspiration and the original Christine in the West End and on Broadway - on that year's Tony Awards, as well as the 2006 Tony Awards tribute to PHANTOM's legendary director - as well as EVITA's, also by Andrew Lloyd Webber - the one and only Hal Prince, twenty-one-time Tony Award winner - we also can boast a bevy of clips featuring Tony-winner Michael Crawford singing the show's most famous song, "The Music Of The Night". What a trio - and what a note to go out on -Crawford's in "MOTN" and otherwise!

THE THREEPENNY OPERA to WICKED to ROCKY HORROR to PASSION onstage - and, before that, believe it or not: THE REAL LIVE BRADY BUNCH TOUR - in addition to SATURDAY NIGHT LIVE to MEAN GIRLS on screens large and small: the multi-talented Ana Gasteyer continues to surprise us with every new venture - and aren't we lucky! Ms. Gasteyer's exceedingly elegant new cabaret show at Feinstein's, appropriately titled ELEGANT SONGS FROM A HANDSOME WOMAN - this coming Monday at 8:30 PM, and also on Monday, June 27 - will give her a chance to show off her considerable singing skills. In this all-encompassing interview we discuss the inspiration and ideas involved in her new cabaret piece and exactly what we can expect on Monday night, plus all about her upcoming multi-episode arc on HBO's CURB YOUR ENTHUSIASM and co-starring in a brand new ABC series coming this Fall, SUBURGATORY. Additionally, we parse her stage work with everyone from Joe Mantello to Mary Zimmermann and her experiences working on live TV for six years on NBC's SATURDAY NIGHT LIVE - plus, first news about her role in Tyler Perry's WE THE PEOPLES and her recollections on the fantastic REEFER MADNESS: THE MOVIE MUSICAL - as well as working with Raul Esparza, Lindsay Lohan, Tina Fey, Larry David - and much, much more!

Liza. Four letters say all you need to know about Broadway. She is Broadway, after all, and in many ways the ultimate Broadway icon, just as her mother Judy Garland was the ultimate Hollywood icon. No one in their prime was better. Just recently in Tony Awards history, Miss Minnelli proved she could rock the socks off of the entire world with her magnificent performance of "And The World Goes Round" - the capper of the 2009 Tony Awards opening number, perhaps the biggest of all time. Today, we take a look at Liza at the Tony Awards - and, considering today is Tony's Eve, the timing is just right. How else does a real Broadway baby spend a Saturday night - all alone in your room (or not) - than with Miss Minnelli?

"I can tell you that sometimes you have to wait fifty years and sometimes it comes in a year, but whenever it comes," then, the most dramatic pause imaginable - and the smile. That's a quote from Lena Horne on the occasion of the legendary actress and singer winning her Special Tony Award for her one-woman-show LENA HORNE: THE LADY & HER MUSIC at the 1981 Tony Awards. Lady, indeed - and a tune or two, too (maybe even a song from THE WIZ!), is on the Tony Awards menu today!

As we inch closer and closer to the Broadway's biggest night on Sunday, today we have the choreographic centerpiece of our extensive Tony Award countdown with a focus on the genius of Michael Bennett. While we have already featured his shows COMPANY, FOLLIES, A CHORUS LINE and DREAMGIRLS - and even took a look at the recent smash hit revival of PROMISES, PROMISES starring Sean Hayes and Kristin Chenoweth - today's triple dose of clips (with a few surprises) is undoubtedly as close as one can get to theatrical crack cocaine: "Turkey Lurkey Time" from the original Broadway production of PROMISES, PROMISES, "Fifty Percent" from BALLROOM performed by Dorothy Loudon and - one of the most elaborate numbers in Tony Awards history - "Always Mademoiselle" from COCO starring Katharine Hepburn. So, see some of the reasons why these are the best of the best of Bennett and, therefore, the best of the best of Broadway right here!

Directing the Broadway premieres of entities as diverse as Edward Albee's blisteringly brilliant modern tragedy THE GOAT, OR WHO IS SYLVIA? - as well as Albee's THE PLAY ABOUT THE BABY Off-Broadway; in addition to other notable Off-Broadway credits including the recent revival of Larry Kramer's Pulitzer-prize-winning THE NORMAL HEART starring Raul Esparza - to Arthur Miller's THE RIDE DOWN MT. MORGAN starring Patrick Stewart, Farah Fawcett's troubled star vehicle BOBBI BOLAND, up to this season's hit revival of Alfred Uhry'ss DRIVING MISS DAISY starring James Earl Jones and Vanessa Redgrave and the brand new Shakespeare-In-The-Park production of MEASURE FOR MEASURE - beginning previews at the Delacorte Theater in Central Park this week - director David Esbjornson's work is always vivid, human and compelling. Taking on one of Shakespeare's most problematic plays is merely one of the many challenges for Esbjornson and that has been even further compounded by the intense and sporadic rehearsal nature of playing two new productions simultaneously in repertory, as the Public is doing this season with MEASURE FOR MEASURE along with Daniel Sullivan's ALL'S WELL THAT ENDS WELL - which was featured in this very column last week. Talking about all aspects of this revolutionary new take on MEASURE FOR MEASURE as well as his past work, Esbjornson and I shine a light on the sensitive and moving productions that he has provided the theatre community with in his tenure, foremost of all being this new MEASURE FOR MEASURE.

Having designed the stage sets for the Broadway productions of THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE, LOVEMUSIK, JAY JOHNSON: TWO AND ONLY, SONDHEIM ON SONDHEIM, ROCK OF AGES, and his Tony-nominated work on THE SCOTTSBORO BOYS this season, through his revolutionary and spare designs Beowulf Boritt has positioned himself as one of the most creative and sought-after stage innovators of the twenty-first century. Discussing all aspects of the Off Broadway and Broadway productions of THE SCOTTSBORO BOYS and tracing the progress of the design of the show from inspiration to model to actual set, we also discuss some of his past accomplishments - working with the great directors Hal Prince, James Lapine, SCOTTSBORO's Susan Stroman, and Lynne Taylor-Corbett; the latter his collaborator on THE SEVEN DEADLY SINS with the New York City Ballet last month - and some enticing new productions he is developing and has coming up in the near future - PARADISE FOUND, REEL-TO- REAL, THE TOXIC AVENGER in Houston, THE TEMPEST in Dallas, the ROCK OF AGES tour and West End mounting, THE SCOTTSBORO BOYS in San Diego, and more!

Today we are featuring one of Broadway's most accomplished and charismatic leading men who has solidified himself as one of the premiere theatrical interpreters of our age in his performances on Broadway in both musicals and plays, off-Broadway and even in Shakespeare-In-The-Park productions: Raul Esparza. Mr. Esparza can certainly do it all and even though he has yet to take home a Tony Award of his own, he has enacted two of the most memorable recent performances on the yearly telecast: first, in his Broadway debut role as Riff Raff in the 2000 revival of THE ROCKY HORROR SHOW and, most recently, performing a full-bodied, soul-bared "Being Alive" from COMPANY. So, let's take a look back at those two unforgettable performances and perhaps surprise or two, as well!