Pat Cerasaro - Page 205

Click below for the WORLD PREMIERE of the performance of 'For Good' from WICKED by Stephen Schwartz, as performed by Lea Michele and Chris Colfer in the Season Two finale of Fox's GLEE, premiering Tuesday at 8 PM. On the stage of the Gershwin Theater where WICKED plays eight times a week, Rachel and Kurt form a diva mutual-appreciation-society befitting of Elphaba and G(a)linda and share their affection and love for each other as performers - as well as people. Of special note to Broadway babies: both of the original Broadway witches in WICKED who first sang 'For Good' have made memorable appearances on GLEE in the last two seasons, with Idina Menzel essaying the role of Rachel Berry's mother, Shelby, and Kristin Chenoweth winning over fans with her award-nominated stint as boozy April Rhodes. Continuing what was begun with Michele and Colfer‘s dueling versions of 'Defying Gravity' last season, WICKED's unforgettable Act One Finale, here is the end of Act Two - 'For Good'; as is oh-so befitting of the close of Season Two of GLEE.

Culled from as A-list a list as you are ever likely to acquire - Steven Spielberg, Robert Greenblatt, Craig Zadan, Neil Meron, Michael Mayer, Theresa Rebeck and Marc Shaiman/Scott Wittman onwards - SMASH is the adult answer to riveting dramatic musical entertainment coming with heart, laughs, unforgettable characters and some of the biggest twists this side of the starry stages on the Great White Way. Oh, yeah, and those hallowed Broadway halls, too. Plus, SMASH provides a great new opportunity to showcase the unbelievable talent on display on the stages of Broadway and Off-Broadway and beyond, particularly given the fact that it is shot in New York and it is being cast by the biggest casting director on Broadway, Bernie Telsey. Consider the theatre-centric casting LAW & ORDER times seventy six (trombones). All of New York is the talent pool from which the stage of SMASH shall be set. And, what exactly is SMASH about, anyway? Well, SMASH is all about Broadway and what makes a musical tick - from the very inception of the show's idea by the songwriters, through writing, rehearsals and the road; all the way to the big Broadway opening where dreams are made - and nightmares born - on one magnificent, momentous night. As viewers, we are taken inside the ticking clock of the show and we experience each and every one of the multitude of machinations enacted by everyone from the stars - Marilyn Monroe, and the actress playing her, Ivy; and, more importantly, her alternative, Karen - to the overworked director (Derek), harried songwriters Tom and Julia, and the speculative and cutthroat producer behind it all, Eileen.

The penultimate episode of Season Two of GLEE on Fox last night was just about everything you could ask for from a funereally-themed Very Special Episode such as that on this show - and, in addition to the doom and gloom, we even got a scintillating 'Back To Black' from Santana and Lea Michele miraculously making 'My Man' all her own! Sure, the requisite gospel/r&b moment came courtesy of Amber Riley, as you would certainly expect it to given GLEE's lineage - particularly a GLEE with a funereal theme - yet the show managed to stay mostly out of the maudlin, morbid and mundane and remain its frothy, effervescent self - while always keeping it real and grounded in reality. Truly. Yes, indeed, GLEE's 'Funeral' episode put the 'real' in 'funereal' much more so than the 'fun' - but, there was some of that to be had, as well; for sure. Of special note, 'Funeral' also featured the continued extended return of Broadway baby and GLEE fan-favorite Jonathan Groff as Jessie St. James, and although he did not grace us with a song this week he certainly left a lasting impression - particularly coming after last week‘s triumph, which was the GLEE musical pinnacle of Season Two thanks to him and Ms. Michele. Indeed, Lea Michele - by way of Barbra Streisand and Fanny Brice - took the lead last night and stole the show. The ladies ruled the night on the 'Funeral' episode of GLEE - Lea Michele and Jane Lynch, first and foremost.

As a super-special Spring extension of BroadwayWorld's SOUND OFF column, every day until the Tony Awards on June 12 we will be presenting a spectacular new entry in the SPOTLIGHT ON THE 2011 TONY AWARDS series featuring a particularly entertaining, interesting, relevant and exciting Tony Awards-related clip from the last sixty-three years of the ceremonies (and subsequent seasons on Broadway) with a rundown and commentary on the sights, sounds and showmanship on display in each carefully chosen selection - all, of course, coming in anticipation of Broadway's biggest night, which will be broadcast on CBS this year, as always. Once again this year, BroadwayWorld is the official home of the 2011 Tony Awards and we will also be featuring exclusive interviews, articles, photos, video content, interactive features and more in the coming days and weeks leading up to the event so be sure to check back daily for your theatre fix!

As a super-special Spring extension of BroadwayWorld's SOUND OFF column, every day until the Tony Awards on June 12 we will be presenting a spectacular new entry in the SPOTLIGHT ON THE 2011 TONY AWARDS series featuring a particularly entertaining, interesting, relevant and exciting Tony Awards-related clip from the last sixty-three years of the ceremonies (and subsequent seasons on Broadway) with a rundown and commentary on the sights, sounds and showmanship on display in each carefully chosen selection - all, of course, coming in anticipation of Broadway's biggest night, which will be broadcast on CBS this year, as always. Once again this year, BroadwayWorld is the official home of the 2011 Tony Awards and we will also be featuring exclusive interviews, articles, photos, video content, interactive features and more in the coming days and weeks leading up to the event so be sure to check back daily for your theatre fix!

As a super-special Spring extension of BroadwayWorld's SOUND OFF column, every day until the Tony Awards on June 12 we will be presenting a spectacular new entry in the SPOTLIGHT ON THE 2011 TONY AWARDS series featuring a particularly entertaining, interesting, relevant and exciting Tony Awards-related clip from the last sixty-three years of the ceremonies (and subsequent seasons on Broadway) with a rundown and commentary on the sights, sounds and showmanship on display in each carefully chosen selection - all, of course, coming in anticipation of Broadway's biggest night, which will be broadcast on CBS this year, as always. Once again this year, BroadwayWorld is the official home of the 2011 Tony Awards and we will also be featuring exclusive interviews, articles, photos, video content, interactive features and more in the coming days and weeks leading up to the event so be sure to check back daily for your theatre fix!

As a super-special Spring extension of BroadwayWorld's SOUND OFF column, every day until the Tony Awards on June 12 we will be presenting a spectacular new entry in the SPOTLIGHT ON THE 2011 TONY AWARDS series featuring a particularly entertaining, interesting, relevant and exciting Tony Awards-related clip from the last sixty-three years of the ceremonies (and subsequent seasons on Broadway) with a rundown and commentary on the sights, sounds and showmanship on display in each carefully chosen selection - all, of course, coming in anticipation of Broadway's biggest night, which will be broadcast on CBS this year, as always. Once again this year, BroadwayWorld is the official home of the 2011 Tony Awards and we will also be featuring exclusive interviews, articles, photos, video content, interactive features and more in the coming days and weeks leading up to the event so be sure to check back daily for your theatre fix!

Adele, Adele, Adele - everywhere! At least this week - or, it seems that way, doesn't it? No, no, I'm not complaining - who could? - but, between the spine-tingling cover of "Rolling In The Deep" on GLEE performed by Lea Michele and Jonathan Groff and Adele's own performance of the same song on Tuesday night's DANCING WITH THE STARS, in addition to her album 21 becoming the fastest-selling album by any artist Amazon.com history and currently sitting atop the iTunes charts, is sure cause for celebration for her fans - of which there are more and more around the world every day. Attention is particularly due for those new to her charms. This Grammy-winner for Best New Artist (over Lady Gaga, no less) has a voice to raise rafters and set souls alight and her fierce talent is amply evident on her two albums, with "Chasing Pavements" and "Running In The Deep" being her best known songs Stateside so far and ample proof of her abilities. In this timely SATURDAY SPECIAL we sample Adele's music videos - including the stunning visuals in "Chasing Pavements" and her cover of Bob Dylan's "Make You Feel My Love" - as well as live performances - such as the spellbinding and elegant "Somebody To Love" on the Brit Awards earlier this year - in addition to her Grammy Award acceptance speech, a four-way comparison of different takes on "Rolling In The Deep" - and much, much more.

Legends in their own time, ascending to the top ranks of the Hollywood and Broadway songwriting landscape, Marc Shaiman and Scott Wittman have accomplished and climbed to heights most of what many film fans, Broadway babies and general entertainment junkies only dream of witnessing and ascending to. Marc Shaiman's work with Trey Parker and Matt Stone on SOUTH PARK: BIGGER, LONGER & UNCUT prompted Stephen Sondheim - as he told me himself - to cite it as one of the best musicals of the era. And, it is - as is their Tony-winning Best Musical HAIRSPRAY, based on the film by Pope of Trash John Waters. Featuring John Travolta, Michelle Pfeiffer, Zac Efron, Queen Latifah and an all-around-amazing cast of triple-threats, the stunning Craig Zadan/Neil Meron-produced film version of HAIRSPRAY may be the greatest cinematic Shaiman and/or Wittman accomplishment so far. Then, there is CATCH ME IF YOU CAN - one of the snappiest new scores on Broadway in a strangely strong season of original scores - boasting boss Sinatra blues and sizzling Shirelles riffs and everything else that's swingin' in between. Up next for the team - onstage and off - is a stage adaptation of Roald Dahl's CHARLIE & THE CHOCOLATE FACTORY directed by Oscar-winning director Sam Mendes, in addition to what is perhaps the most exciting prospect on their impossibly cluttered horizon: the new Steven Speilberg/Craig Zadan/Neil Meron musical/comedy/drama series SMASH which has just been picked up for the Fall season on NBC! In this exclusive, extensive and exhaustive conversation we cover it all from HAIRSPRAY to CATCH ME to CHARLIE to all about SMASH and far, far beyond!

With a 2011 Tony nomination for Best Featured Actor In A Play for his magnetic turn in the critically-hailed revival of Larry Kramer's THE NORMAL HEART on Broadway and a leading role on Showtime's THE BIG C co-starring real-life close friend Laura Linney, as well as a busy film career that boats memorable turns in THE REF, ME & MY SHADOWS: LIFE WITH JUDY GARLAND, FLAGS OF OUR FATHERS, the recent remake of THE TAKING OF PELHAM 123 and TRANSFORMERS: REVENGE OF THE FALLEN, John Benjamin Hickey is a very busy man. Nevertheless, he was kind enough to recently take some time out of his beyond busy schedule to talk all about his stage and screen career - including sharing some revealing anecdotes about starring in THE CRUCIBLE with Liam Neeson and Linney, as well as working with the esteemed playwright Arthur Miller himself, in addition to his work in Terrance McNally's LOVE, VALOUR, COMPASSION, Sam Mendes and Rob Marshall's revival of CABARET, and, of course, all about the George C. Wolfe/Joel Grey production of THE NORMAL HEART starring director/actor Joe Mantello that he is participating in now. Plus, we have his thoughts on his recent GOOD WIFE appearance, feelings on the place of political theatre in society today, what roles he would like to take on in the future, his affection for the work of Edward Albee - and much, much more.

As a super-special Spring extension of BroadwayWorld's SOUND OFF column, every day until the Tony Awards on June 12 we will be presenting a spectacular new entry in the SPOTLIGHT ON THE 2011 TONY AWARDS series featuring a particularly entertaining, interesting, relevant and exciting Tony Awards-related clip from the last sixty-three years of the ceremonies (and subsequent seasons on Broadway) with a rundown and commentary on the sights, sounds and showmanship on display in each carefully chosen selection - all, of course, coming in anticipation of Broadway's biggest night, which will be broadcast on CBS this year, as always. Once again this year, BroadwayWorld is the official home of the 2011 Tony Awards and we will also be featuring exclusive interviews, articles, photos, video content, interactive features and more in the coming days and weeks leading up to the event so be sure to check back daily for your theatre fix!

As a super-special Spring extension of BroadwayWorld's SOUND OFF column, every day until the Tony Awards on June 12 we will be presenting a spectacular new entry in the SPOTLIGHT ON THE 2011 TONY AWARDS series featuring a particularly entertaining, interesting, relevant and exciting Tony Awards-related clip from the last sixty-three years of the ceremonies (and subsequent seasons on Broadway) with a rundown and commentary on the sights, sounds and showmanship on display in each carefully chosen selection - all, of course, coming in anticipation of Broadway's biggest night, which will be broadcast on CBS this year, as always. Once again this year, BroadwayWorld is the official home of the 2011 Tony Awards and we will also be featuring exclusive interviews, articles, photos, video content, interactive features and more in the coming days and weeks leading up to the event so be sure to check back daily for your theatre fix!

As a super-special Spring extension of BroadwayWorld's SOUND OFF column, every day from now until the Tony Awards on June 12 we will be presenting a spectacular new entry in the SPOTLIGHT ON THE 2011 TONY AWARDS series featuring a particularly entertaining, interesting, relevant and exciting Tony Awards-related clip from the last sixty-three years of the ceremonies (and subsequent seasons on Broadway) with a rundown and commentary on the sights, sounds and showmanship on display in each carefully chosen selection - all, of course, coming in anticipation of Broadway's biggest night, which will be broadcast on CBS this year, as always. Once again this year, BroadwayWorld is the official home of the 2011 Tony Awards and we will also be featuring exclusive interviews, articles, photos, video content, interactive features and more in the coming days and weeks leading up to the event so be sure to check back daily for your theatre fix!

Boasting the big, bright and blazing return of Broadway baby Jonathan Groff as show-favorite featured guest star Jesse St. James and the very finest vocal song performance of Season Two so far, last night's 'Prom Queen' episode of GLEE was everything but CARRIE's bucket of pig's blood on top. Speaking of pigs, Karofsky certainly got his comeuppance - quite heartfelt in its denouement - at long, long last, on the dramatic side of the story, and the audience got to musically pig-out and irreverently indulge in the frothy pop confections of Benny Andersson, Bjorn Ulvaeus & Stig Andersen - otherwise known as ABBA - with the rousing gleeked-out, tweaked-out rendering of the newly-crowned MAMMA MIA super-anthem 'Dancing Queen', as well as partake in the pop culture right-this-moment fun of the funky Black Kids' song 'I‘m Not Gonna Teach Your Boyfriend To Dance With You' courtesy of fan favorite Darren Criss at his hipster height, and the YouTube sensation Rebecca Black‘s 'Friday', performed by the boys of New Directions riotously right. Kings, queens, hearts, diamond tiaras and even a few jokers were in the deck as the hand was played out in this brisk, brash and glossy entry in the spectacularly strong - if dramatically inert more often than not - second half of Season Two. So, today, we dust off our best blue tuxes and pop the cheapest pink champagne for a guilty pleasure edition of the weekly SOUND OFF reviews of GLEE that will be wrapping up - so very sorry to say - all too soon at the end of this month with the highly-awaited season finale on May 24 and our year-end rap up soon thereafter. But, with this column as well as with GLEE, certainly the very best is yet to come - and, even if not, this is good enough.

Today we are talking to the star of two of the hottest shows of this season - THE MERCHANT OF VENICE and WAR HORSE - none other than the young and talented Seth Numrich. Starring in the new permanent production at Lincoln Center Theater's Vivian Beaumont - the critically hailed National Theatre import of Nick Stafford's WAR HORSE; directed by Marianne Elliot and Tom Morris - is his new gig, but in this extensive conversation we also take a look back at his time spent earlier this year in the rapturously-received Public Theater/Shakespeare In The Park production of William Shakespeare's THE MERCHANT OF VENICE starring Al Pacino and Lily Rabe. Additionally, we discuss his education at Juilliard, working with innovative playwright Charles Mee, his work with the Rising Pheonix Rep., what other Shakespearean roles he would like to take on in the future, his favorite shows currently running, Broadway versus Central Park, and much, much more! Plus, we have the first news about his independent feature film debut, PRIVATE ROMEO, premiering next month.

Today we are talking to one of the brightest lights in the Broadway galaxy who has wowed West End and Broadway audiences alike with her tour de force performances in MISS SAIGON and LES MISERABLES, sold out stadiums the world over with her acclaimed concert appearances - many of them also available on CD and DVD - and, now, Lea Salonga tells us all about her experiences with LES MISERABLES over the years - the star-studded 10th Anniversary Concert Dream Cast performance, to essaying the role of Fantine in the Broadway revival opposite Norm Lewis and Aaron Lazar, among others, to preserving her take on the show‘s most famous song, 'I Dreamed A Dream', and the role of Fantine, for all time in the stunning 25th Anniversary LES MISERABLES: LIVE IN CONCERT, available now on DVD and Blu-ray. In addition to all things LES MIZ, including some fantastic behind-the-scenes stories, Lea and I also discuss her favorite moments in the show, its themes, how she got into the role every night - and, again, anew, for the concert celebration - and the unmistakable power and sweep of the concert as presented in full HD on Blu-Ray. Additionally, we touch on her favorite cast-mates, future roles, preferred performers, current obsessions and, even, a little GLEE - including her cross-Pacific flight with new breakout star Darren Criss. Most importantly, she shares her most pressing political and moral concerns as they pertain to our thorough consideration and discussion of the prescient themes at the core of Victor Hugo's classic tragedy and what message the novel and the show have for audiences today around the world - as well as much, much more! And, just what did Lea think of Anne Hathaway's take on 'On My Own' from LES MIZ at this year's Oscars? The LES MISERABLES: LIVE IN CONCERT DVD and Blu-ray are available now to own and can be purchased here.

Last night GLEE took on the catalogue of Fleetwood Mac - namely, their 1977 Grammy-winning Album of the Year, RUMOURS - and proved that you can do justice to the originals - as inimitable as they may be - but still go your own way with them. And, have your own way. Also, Broadway baby Kristin Chenoweth made her long-awaited return as boozy April Rhodes just in time to duet with Matt Morrison on the Stevie Nicks-penned classic 'Dreams' and a few of the secondary leads - namely Santana, Artie and Quinn - got a chance to shine with these silvery takes on the solid gold classic rock tracks. While some of the tribute shows have been hit-or-miss in the past, Fleetwood Mac and the self-avowed queen gleek herself, Stevie Nicks - who was on set for Gwyneth Paltrow's taping of 'Landslide' earlier this year, cheering the cast on - surely won't be digging an early grave with her silver spoon after hearing and seeing these sensitive and respectful takes on her tunes - and Lindsey Buckingham‘s and Christine McVie‘s, as well. But, I guess if anyone in the group has an issue with any of these covers, they can always cast a spell using some white witches and black magic. Speaking of which - or witch - too bad they didn't do 'Gold Dust Woman' or 'Silver Springs'! And, no cover of 'The Chain'? But, I suppose they're saving them for 'Rumours: Part 2' or, perhaps, an all-Stevie Nicks episode - particularly if it happened to feature songs from her splendid new album, IN YOUR DREAMS, which is out this week (her first new album this decade). So, break out your feathers, rings, and shawls, we've got all the gypsy magic you can handle inside thanks to the ever-revolving door of the ever-evolving cast of GLEE paying due respect to the similarly designed/aligned folk/rock super-group of the 70s making their momentous musical marriage somehow oh-so-apropos to the times, no?

Staging one of the theatre's most unique and unclassifiable pieces, Brecht & Weill's THE SEVEN DEADLY SINS for the New York City Ballet, starting May 11 and running through May 16, is just the latest act in a career made up of anomalies, seemingly built upon always attempting to do the impossible - from her Broadway debut, trying to bring balletic bravado to Trevor Nunn's terminally troubled 1988 musical CHESS (a project begun under the guidance of Michael Bennett before his death), up through the trying-but-Tony-winning TITANIC in 1997 and, this century, SWING! starring Ann Hampton Callaway and Laura Benanti and a succession of successful regional ballets and theatre pieces - the gifted and dynamic director/choreographer Lynne Taylor-Corbett continues to challenge herself, her peers and audiences with each of her audacious new endeavors. THE SEVEN DEADLY SINS, starring two-time Tony-winning Broadway legend Patti LuPone as Anna I, is a particularly problematic play - or is it a musical? Or, is it a ballet? A song-spiel? - and in this revealing and engaging discussion, Ms. Taylor-Corbett and I attempt to deduce the themes, analyze the structure and look back at the authors' lives to gain insight into the perplexing America painted by Brecht and Weill in the forty-minute-long theatrical experiment. Also, in this complete conversation, Lynne and I take a look back at her long and varied career and she generously shares her thoughts on where the place of dance is in the twenty-first century, the exhilaration of working with a theatre artist like Patti LuPone, her own inspirations and formative experiences in the theatre, the legacy of Michael Powell and THE RED SHOES, the theatre versus the dance world, her son Shaun's career, and much, much more! Further information on THE SEVEN DEADLY SINS - including tickets - is available here.

Staging one of the theatre's most unique and unclassifiable pieces, Brecht & Weill's THE SEVEN DEADLY SINS for the New York City Ballet, starting May 11 and running through May 16, is just the latest act in a career made up of anomalies, seemingly built upon always attempting to do the impossible - from her Broadway debut, trying to bring balletic bravado to Trevor Nunn's terminally troubled 1988 musical CHESS (a project begun under the guidance of Michael Bennett before his death), up through the trying-but-Tony-winning TITANIC in 1997 and, this century, SWING! starring Ann Hampton Callaway and Laura Benanti and a succession of successful regional ballets and theatre pieces - the gifted and dynamic director/choreographer Lynne Taylor-Corbett continues to challenge herself, her peers and audiences with each of her audacious new endeavors. THE SEVEN DEADLY SINS, starring two-time Tony-winning Broadway legend Patti LuPone as Anna I, is a particularly problematic play - or is it a musical? Or, is it a ballet? A song-spiel? - and in this revealing and engaging discussion, Ms. Taylor-Corbett and I attempt to deduce the themes, analyze the structure and look back at the authors' lives to gain insight into the perplexing America painted by Brecht and Weill in the forty-minute-long theatrical experiment. Also, in this complete conversation, Lynne and I take a look back at her long and varied career and she generously shares her thoughts on where the place of dance is in the twenty-first century, the exhilaration of working with a theatre artist like Patti LuPone, her own inspirations and formative experiences in the theatre, the legacy of Michael Powell and THE RED SHOES, the theatre versus the dance world, her son Shaun's career, and much, much more! Further information on THE SEVEN DEADLY SINS - including tickets - is available here.

In a very short time since his Broadway debut roughly ten years ago, Aaron Lazar has crafted a particularly impressive career consisting of a striking series featured and leading roles in everything from LES MISERABLES and A TALE OF TWO CITIES to THE LIGHT IN THE PIAZZA - and the sensational PBS Live From Lincoln Center telecast of it - to his superb turn as Count Carl Magnus in the recent revival of Stephen Sondheim's A LITTLE NIGHT MUSIC starring Catherine Zeta-Jones and Angela Lansbury to, most recently, Lonny Price's rapturously received presentation of Sondheim's COMPANY: IN CONCERT starring Neil Patrick Harris and Patti LuPone at Lincoln Center - which will soon be seen in 500+ movie theaters nationwide starting in June. In this revealing conversation we discuss all of the aforementioned peformances, as well as what we can expect from the forthcoming Clint Eastwood film J. EDGAR starring Leonardo DiCaprio and Josh Lucas, written by Dustin Lance Black, with Lazar in a featured role, as well as his upcoming dates premiering his new show at Feinstein‘s in June. Before all of that, you can catch Aaron live and in person May 2 at the NY Pops Tribute to Bob Hope, which will also feature performances by Kelli O'Hara, Tom Wopat and many more in addition to a special presentation by Angela Lansbury. More information about the event - and tickets - is available here.