And if that's too serious for you, or you're getting as sick of election related items as I am, you'll enjoy today's hilarious episode of Turning the Tables, as casting director Merri Sugarman auditions for Fantine in Les Miserables!
Monday brought the launch of the teaser trailer for Disney's upcoming live action BEAUTY AND THE BEAST, available here. It quickly set the Internet on fire, surpassing even the new Star Wars film for first-day views .
Short Answer... no. The star will reprise her Tony Award-winning performance as Yitzhak in the upcoming National Tour of Hedwig and the Angry Inch, in performances at both the SHN Golden Gate Theatre in San Francisco (October 2-30, 2016) and the Hollywood Pantages Theatre in Los Angeles (November 1-27, 2016). She will join previously-announced Darren Criss on the tour.
Below, watch as Hall is joined onstage by her past costars in her final Broadway curtain call:
In a groundbreaking twist, Lena Hall will also play the role of Hedwig for one performance a week in San Francisco and Los Angeles. It is a rare occasion for a Tony Award winner to go on national tour, and historic for the same person to play both Hedwig and Yitzhak. Book writer John Cameron Mitchell enthused, "Oh my Goddess, Lena Hall is the only talent I know who could play a brilliant Yitzhak and Hedwig in the same production. Talk about finding your other half. It's Hedwig history in the making."
Hall, thrilled at the opportunity to explore and express this double role, explains, "I'm thrilled to be returning to Hedwig and the Angry Inch performing not one, but two iconic roles in Los Angeles and my hometown of San Francisco. I have never been one to shy away from a challenge and playing Hedwig has always been a dream of mine. To be able to play both Yitzhak and Hedwig in the same day presents one of the biggest challenges I have seen to date and I'm so excited! Not only will I get to share the stage with my fellow San Francisco native and friend Darren Criss; but I will also get a chance to begin my own journey as the glam rock heroine Hedwig. To tell her story in my hometown and in Los Angeles is the greatest homecoming I can think of, and I am looking forward to sharing this journey with my friends, family and Hedheads."
Today's Sunday Watch from my inbox - Rex Harrison and Julie Andrews recreate the first rehearsal for "My Fair Lady." From the CBS-TV 2 hour spectacular, "The Fabulous Fifties", which aired on Friday January 29, 1960.
Bonus Sunday Read - 'I’m being the bravest I have ever been': He thought his career was over after a devastating illness – but Michael Crawford is poised to make a stunning West End comeback... aged 74
Methinks that intrusive uses of technology at the theatre is a topic that we're going to continue to discuss and be plagued with ... and even more so as the wearables market starts to heat up with the next version of Apple's Watch due later this year, along with new and updated entries from everyone from Google on down.
Over at the Huffington Post, Cara Joy David looks at the start of the problem - and asks if 'we', including BroadwayWorld, shows, performers, producers and even the introduction of food are partially to blame.
Via Rick McKay on Facebook, after seeing the wonderful revival of SHE LOVES ME, was a great YouTube Flashback with an accompanying story.
Rick writes "What made Laura's performance especially touching to Jamie [deRoy] and I is that 18 years ago when we were producing at PBS, Jamie asked me if I would do an episode of her cable show JAMIE DEROY & FRIENDS, and I wrote, shot and edited a piece about THE SOUND OF MUSIC with Jamie hosting. At the time an un unknown and VERY young Laura Benanti was the understudy to Rebecca Luker's Maria Von Trapp. And as fate would have it, we were there the day that 19 year-old Laura got the word that she would be replacing Rebecca in the role, and of course we were the first to ever film young Laura on her journey to the Tony award-winning theatre/film/television actress/singer she has become. Click below to see Laura almost 20 years ago in our footage talking about what this break would mean to her. She shows up about 2 minutes in."
BROADWAY: BEYOND THE GOLDEN AGE, Award-winning director Rick McKay's anxiously awaited sequel to his 2004 hit film, BROADWAY: THE GOLDEN AGE, made its World Premiere in January to a sold-out crowd at the 27th annual Palm Springs International Film Festival. The new film, the second installment of Rick McKay's BROADWAY: THE GOLDEN AGE FILM TRILOGY, once again features a cast of 100 legendary stars. McKay and his legendary cast tell the story of the heyday of Broadway, this time from 1959 to 1983, utilizing interviews commingled with extremely rare, restored, never-before-seen performance footage, home movies and photos, many from the casts' personal collections, to create a one-of-a-kind, first person history that comes to life on screen. Visit www.broadwaythemovie.com for more about the film.
Michael Paulson over at the NY Times has a fascinating piece up today about the effect of HAMILTON on the touring market, and more specifically how it's causing a massive influx in subscriptions THIS season for patrons looking to reserve their spots in line to buy tickets for the mega-hit NEXT season.
Some aren't thrilled about this effect, with Alyssa Rosenberg writing in the Washington Post that "I dearly hope that the region’s premiere arts institution finds ways for people who can’t afford a high-dollar entry fee, but are willing to invest their time, patience and energy in waiting for tickets, to get some sort of priority opportunity to buy “Hamilton” seats. No one is entitled to see a musical that’s expensive to produce and in high demand. But neither should people who can scrape up the money for tickets to one show but not for two full season subscriptions be completely shut out of the opportunity to see an incredibly significant piece of theater."
Personally, I'd be surprised if seeing the phenomenal effects of, and attention to the popular lottery here in New York that they won't find a way to replicate that across the country.
In San Francisco for example, reports Paulson they're expecting to sell double their number of subscriptions this year and in Chicago (where the show will play an extended run), its Fall package is complete sold out.
This is all great news I think for regional theaters across the country.
But, the real challenge will be keeping those subscribers after HAMILTON has left the building. Ideas?