Betty Buckley News

Alley Theatre Artistic Director Gregory Boyd previously announced the cast and creative team for the Alley Theatre's new production of Theresa Rebeck's WHAT WE'RE UP AGAINST, part of the Alley Theatre's New Play Initiative. WHAT WE'RE UP AGAINST runs on the Alley Theatre's Neuhaus Stage tonight, May 11 through June 12, 2012.

DOMA Theatre Company continues its 2012 musical season with a collection of stories by multiple award-winning composer/lyricist Jason Robert Brown, opens tonight, May 11 at The MET Theatre in Los Angeles. Marco Gomez directs, Dolf Ramos is musical director and Angela Todaro choreographs. The cast is comprised of four singers: Andrea Arvanigian, Malek Hanna, Mookie Johnson and Joanne O'Brien.

SD Productions is pleased to announce final casting set for "A DANCE for RYLIE," presented as a part of the 4th annual Planet Connections Theatre Festivity. The Equity Showcase stars Philip Deyesso*, Valerie Lemon*, Adam Ryan Tackett* & Kimberly Michelle Thomas. The ensemble features: Brandon Contreras*, Joey Nisivoccia, Taylor Noble & Whitney Winfield. The musical will be directed and choreographed by Bob Cline with Lighting Design by Graham Kindred and Sound Design by Joe DeVico. *Actors appear courtesy of Actors' Equity Association.

In preparation for it's opening at the Arts Theatre on May 18, the team of THE MYSTERY OF EDWIN DROOD have released this video trailer, featuring one of the songs from the show.

Actor and daughter of the late ITC Board Member Barbara Manuell, Lynn Manuell wrote the following as a plea to help the Illinois Theatre Center finish its season before its impending closure.

After rave reviews for three Fort Worth concerts last month, Tony Award winner and Broadway legend, Betty Buckley, is bringing her new show "Ah Men! The Boys of Broadway" back to Fort Worth in May for two encore performances. The shows will be May 15 and 16 at The Modern Art Museum of Fort Worth.

Tonight on Ammmerican Idol, the top four is revealed, Carrie Underwood and Coldplay perform, and more! Who was headed home after a night of 60s and British pop? Find out now!

Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. And I, who saw the original Broadway production twice during that heady decade and have not seen the show in any form since then, was eager to go and see what the fuss was, and is, all about. So I went, Tuesday night. If you've never seen this show, if you kids have never seen it, or if you want to experience the magic of this unique theatrical masterpiece one more time, then this is a great opportunity to do so, as this is the only remaining North American production to (somewhat) accurately replicate the award-winning, record-setting British musical that took America and the world by storm thirty years ago. This tour of non-Equity performers, with its usual orchestra of five beefed up to eight for a weeklong stand (May 1-6) in a major theatrical market, has enough going for it that I highly recommend it. It's a little like entering a time machine, and there's a lot of sleight of hand, but it works. Let me explain. What is "Cats?" Much maligned by insiders, derided as dated by visual artists, underrated by dance teachers and ignored by voice teachers (save for its megahit song, "Memory," which is heard twice, but never in the sheet music version everything has heard and claims to know), it is in many ways a dichotomy. It's a dance show (choreography by Gillian Lynne) written by a singer's songwriter (Andrew Lloyd Webber), as well as a British song cycle based on poems written by a St. Louis-born English poet (T. S. Eliot) who never intended his work ("Old Possum's Book Of Practical Cats," and other snippets) to be either musicalized or staged. Its plot, slight though it is, is also the subject of much derision, but to this observer is very reminiscent of "A Chorus Line," a universally revered work that does include dialogue and more depth of character, but also honors unity of time and place. However, there are indeed works that dispense with plot entirely, and which people unabashedly love (you know, revues--"Ain't Misbehavin'" comes to mind), and even shows like "Forever Plaid" and Lloyd Webber's "Starlight Express" feature heaven-going as a climax that is not entirely a surprise. So, enough complaining about there being no dramatic tension, already. But the spectacle! Is it a rock concert with dance, a dance concert with character, a makeup and hair extravaganza with arena-style lighting (still thrilling, the work of David Hersey, as recreated by Rick Belzer), a radio-friendly cast album with a decidedly British keyboard-rock spin, an intellectual set of inscrutable poems with earworm melodies, an environmental theater piece that's fun for all ages (an unmistakeable set and costume design by the remarkable John Napier)--what exactly is going on? The answer, of course, is all of the above. Oh, and it owes a lot to the English music hall tradition and to contemporary classical music, too, not to mention Puccini. Name another show that encompasses so much. Not to mention that original marketing campaign. Aside from his immature works (the children's show "Joseph And The Amazing Technicolor Dreamcoat" and others), Lloyd Webber's previous shows written with Tim Rice (the two nominated for the Best Revival of a Musical Tony Award this year, "Jesus Christ Superstar" and "Evita,") were both introduced to the world via record albums and marketing campaigns that featured a logo rather than a star name and image. But "Cats" seemed to take that even further, dispensing with the concept album and zeroing in on the show AS the star. Indeed, this show has no leading roles. Really. But who can forget that moon/cats' eyes/dancer silhouette logo, and the letters of the title in color-coordinated graffiti (echoing the oversized junkyard scene design). It was exciting and revolutionary at the time, and the only shows that have done it better since then (Lloyd Webber's "The Phantom Of The Opera" and director Trevor Nunn's "Les Miserables," all three produced by wunderkind Cameron Mackintosh) are the only ones that have run longer in London and New York, due to the lessons they learned from the feline juggernaut before us now. It was "the birth of the musical spectacular," as Broadway In Chicago's promotional materials tell us. This particular edition of the endless "Cats" tour, directed and choreographed by Richard Stafford and featuring mostly young, recent graduates of top U.S. musical theater and dance schools, is indeed "cut down" from the total makeover that the Winter Garden Theatre in New York displayed for the 18 years it played there (1982-2000). But the "Christmas lights" that once ringed the audience do indeed extend past the proscenium arch, and the cast makes several trips out into the aisles, a nice touch. The back wall of the set does not swing down to reveal the ship's set needed for the "Growltiger's Last Stand" sequence--they use drops and a false proscenium downstage center here, and I almost liked it better. The set as a whole is not as detailed and certainly not as deep as it once was, but if you haven't seen the video of the London production, or the show as it played in the early '80s, you would be none the wiser. Sound-wise, I have to give credit to sound designer Duncan Robert Edwards, musical supervisor Kristen Blodgette and music director J. Michael Duff. I swear the show sounds better than ever, even with a smaller orchestra than originally employed. And I could understand the lyrics! The costumes and makeup design look simplified to me, though, but again, a newcomer to the proceedings wouldn't know. And do I care of part of the set is inflatable, as rumor would have it? I don't care how they get it from city to city, or how quickly they do it, but somebody does care, and they figured out a way to make it work! The floating tire and the thing that comes down from the fly space (spoiler alert?) look great, absolutely. Absolutely. The cast is led by Melissa Grohowski as Grizabella, the role made famous by Elaine Paige and Betty Buckley and carrying with it, shall we say, a certain expectation of a certain money note. Boy, does Ms. Grohowski deliver! Three people stood during the applause for the number. Bravo to Clemmons/Dewing Casting, I say! The two singing roles for the men, Old Deuteronomy and Gus/Growltiger/Bustopher Jones, are essayed here by Nathan Morgan and Christopher E. Sidori, who both acquitted themselves well and were very effective theatrically, whatever their actual ages. Among the dance roles, Daniel J. Self as the narrator Munkustrap, Chris Stevens as Rum Tum Tugger and especially Chaz Wolcott as Mistoffelees were crowd pleasers: Self with his movement detailing, Stevens with his Elvis impersonation and Wolcott with his amazing fouette turns. The cast of two dozen or so performers dances uniformly well, and sings very well, too, save for a few minor quibbles with single lines here. And there or some missing low notes that older performers would probably have no trouble with. But these are easily forgiven. Who cares if the leading lights of Broadway (Harry Groener, Terrence Mann, Anna McNeely and of course Ken Page) have been replaced in these roles by recent graduates of Wright State, SUNY-Purchase and Oklahoma City University? These energetic, disciplined performers are working their tails off (pun intended), singing like people who can't dance a lick and are basking in the glow of theater history with every city they visit. Yes, the show has moments that seem a little longwinded, and sure, it doesn't challenge your intellect as much as it challenges your wallet and your caffeine intake (it takes place at night, and everybody is dressed like a cat!). But I challenge you to remain unmoved when Grizabella begs for physical contact, when old Gus relives his moment of youthful theatrical triumph, when assorted junk becomes the train that Skimbleshanks loves, and when the sopranos of the ensemble soar on the words, "'Round the cathedral rang 'Vivat!" Come on! It's "Cats." It's eye and ear candy galore. I don't even like cats, but I do like "Cats." Very much. "Cats" plays this week only, Tuesday night through Sunday night, with additional matinee performances on Saturday and Sunday, at the Cadillac Palace Theatre, 151 W. Randolph Street in Chicago. Tickets are available at all Broadway In Chicago box offices, the Ticket Kiosk at Water Tower Place, all Ticketmaster retail outlets, by phone (800.775.2000) and online at www.BroadwayInChicago.com. Photos: Melissa Grohowski; The Cast

Broadway composer Jason Robert Brown has just announced in his blog the release of two seperate sheet music book and accompaniment CD sets of his music. He writes: 'My editor at Hal Leonard, the estimable Rick Walters, called me in 2010 with the idea that we should do a book-and-CD folio of me playing accompaniments to my own songs, with a male and female edition. I thought it was a fantastic idea, and now it's finally out in the world!' The Female edition and Male edition are both available on Amazon.com, as well as iTunes and Sheet Music Direct.

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

SD Productions presents A DANCE FOR RYLIE as a part of the 4th annual Planet Connections Theatre Festivity. Donations collected at each performance will benefit the Ali Forney Center, an organization that provides housing for homeless LGBT youth.

Following its run at the Landor Theatre, The Mystery of Edwin Drood, based on Dickens' final unfinished novel, with book, music and lyrics by Rupert Holmes, directed by Matthew Gould, will get a 4-week season at the Arts Theatre from Friday 18 May - Sunday 17 June. The opening night is on Tuesday 22 May at 7.30pm.

The singer, actress and comedienne Kaye Ballard, the Grammy and Tony Award-winning singer/songwriter and actress Dee Dee Bridgewater, and the jazz trumpeter and cornetist Warren Vaché will be the special honorees of the 2012 Bistro Awards tonight, April 23 at 6:30pm. Taking place at Gotham Comedy Club, 208 West 23rd Street (between 7th & 8th avenues), the 27th Annual Bistro Awards gala, which celebrates outstanding achievement in New York cabaret and jazz, will also recognize 22 other artists and shows.

Alley Theatre Artistic Director Gregory Boyd announces the cast and creative team for the Alley Theatre's new production of Theresa Rebeck's WHAT WE'RE UP AGAINST, part of the Alley Theatre's New Play Initiative. WHAT WE'RE UP AGAINST runs on the Alley Theatre's Neuhaus Stage May 11 through June 12, 2012.

In 1950, Billy Wilder wrote and directed what is now regarded as one of the finest movies ever made - Sunset Boulevard, starring silent screen legend Gloria Swanson as silent screen legend Norma Desmond. A biting, incisive insight into the star system of the ‘old' Hollywood, set in the era when talkies had overtaken silent movies, Sunset Boulevard became an instant smash hit, a multi-award winning success (nominated for 11 Academy Awards and winning 3), an all-time classic and is regularly featured on the ‘top ten' lists of best movies ever made.

Betty Buckley and pianist Christian Jacob will bring Buckley's show, "Ah, Men! The Boys of Broadway," to Fort Worth, Texas at the Modern Art Museum of Fort Worth Wednesday, April 18 at 7:30p, Thursday, April 19 at 7:30pm, and Saturday, April 21 at 8:00pm, with a Q & A with Betty after the show on April 19.

Actor/singer Rich Hebert will open tonight, Thursday, April 12, at the Pantages Theatre in Hollywood for Broadway LA in the second national tour and the Los Angeles premiere of Billy Elliot, playing Billy's dad.

DOMA Theatre Company continues its 2012 musical season with a collection of stories by multiple award-winning composer/lyricist Jason Robert Brown, opens on May 11 at The MET Theatre in Los Angeles. Marco Gomez directs, Dolf Ramos is musical director and Angela Todaro choreographs. The cast is comprised of four singers: Andrea Arvanigian, Malek Hanna, Mookie Johnson and Joanne O'Brien.

Following sell-out shows across the UK in 2011, John will headline three exclusive summer outdoor performances, 21st June 2012 at the Scarborough Open Air Theatre, 22nd June 2012 at Glasgow Green and 23rd June 2012 at Tower Festival Headland, Blackpool.