The Sound of Music Revival 1981 - Articles Page 21

It was a gay ol' time here is Denver over past week as we played host to the GALA Choral Music Festival!

REBECCA, the new musical based on the classic novel by Daphne du Maurier novel, has found its male and female leads: Jill Paice will play the role of "I" and Ryan Silverman the role of "Maxim de Winter." REBECCA will open on Broadway Sunday, November 18 at The Broadhurst Theatre. Previews will begin Tuesday, October 30.

Today we are shining a light on one of the most respected and revered stage and screen stars of the last several decades who is known the world over for not only his stirring and commanding dramatic performances and touching and rib-tickling comedies on film, but also for his iconic roles on the stage playing Shakespeare, and, perhaps most of all, for his essaying of Captain Von Trapp in the celebrated Robert Wise film adaptation of Rodgers & Hammerstein's Tony Award-winning THE SOUND OF MUSIC - the elegant, graceful and eminently gifted Christopher Plummer. Looking back at a career spanning nearly seven decades, today we will focus on Plummer's most important and most fondly remembered roles to date - ranging from Sidney Lumet's STAGE STRUCK in 1958 to his Shakespeare stage work, THE SOUND OF MUSIC, THE RETURN OF THE PINK PANTHER, TV's THE THORN BIRDS, and, of course, his Academy Award-winning turn in last year's BEGINNERS - with a look ahead to the exceptionally enticing new Fathom in-cinema presentation of Des McAnuff's Stratford Shakespeare Festival production of THE TEMPEST starring Plummer as Prospero, in movie theaters nationwide on June 14 - what the 83-year-old actor has promised will be his final Shakespeare performance onstage. So, if there were ever a time to take a look back at one of the most remarkable Broadway/Hollywood crossover stars of the last century or the current one as he reaches yet another peek in a career populated with many highs, now is certainly the time! After all, as the oldest Oscar-winner to date, a midsummer night's dream has evidently quite quickly turned to a winter's tale - but with sound and fury signifying much, as we will see.

Norma Desmond sings about them "out there in the dark" in Sunset Boulevard, Lauren Bacall dealt with a particularly sinister and deranged one in her 1981 film The Fan, and virtually everyone you know who had taken to the stage in a show anywhere around the world can regale you with stories about their wild and woolly antics. "They," of course, are the fans, the audiences, the people for whom theater is presented every night.

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

April 19 and 20, 2012, EarShot (the National Orchestral Composition Discovery Network) and the San Diego Symphony (SDS), Jahja Ling, Music Director, will present the San Diego Symphony New Music Readings at Copley Symphony Hall (750 B Street, San Diego). On Friday, April 20 at 10am, the public will have the opportunity for a behind-the-scenes look at the process of bringing brand new orchestral works to life, as music by the four selected composers is read by the San Diego Symphony under the baton of guest conductor, James Feddeck. The composers-Paul Frucht, David Garner, Adam Greene, and Chen-Hui Jen-were selected through a national call for scores, which included over 250 applications. Two of the composers have strong ties to San Diego: Greene is an alumnus, and Jen is a current graduate student at University of California, San Diego (UCSD). During the Readings these young composers will receive feedback from mentor composers Robert Beaser, Rand Steiger, and John Corigliano, the conductor, and SDS principal musicians.

Pulling together all the roots and branches of Art Garfunkel's career in music, THE SINGER is a 40-song collection of songs hand-picked by the artist himself. Spanning the years from the first Simon & Garfunkel album of 1964 (Wednesday Morning, 3AM) up through 2007's Great American Songbook album (Some Enchanted Evening), this two-CD retrospective will be available at all physical and digital retail outlets starting April 10th through Columbia/Legacy, a division of SONY MUSIC ENTERTAINMENT.

April 19 and 20, 2012, EarShot (the National Orchestral Composition Discovery Network) and the San Diego Symphony (SDS), Jahja Ling, Music Director, will present the San Diego Symphony New Music Readings at Copley Symphony Hall (750 B Street, San Diego). On Friday, April 20 at 10am, the public will have the opportunity for a behind-the-scenes look at the process of bringing brand new orchestral works to life, as music by the four selected composers is read by the San Diego Symphony under the baton of guest conductor, James Feddeck. The composers-Paul Frucht, David Garner, Adam Greene, and Chen-Hui Jen-were selected through a national call for scores, which included over 250 applications. Two of the composers have strong ties to San Diego: Greene is an alumnus, and Jen is a current graduate student at University of California, San Diego (UCSD). During the Readings these young composers will receive feedback from mentor composers Robert Beaser, Rand Steiger, and John Corigliano, the conductor, and SDS principal musicians.

Today the Academy of Country Music is announcing the winners of awards that will not be televised during the live telecast of the 47th ANNUAL ACADEMY OF COUNTRY MUSIC AWARDS, telecast LIVE from the MGM Grand Garden Arena in Las Vegas on Sunday, April 1, 2012 at 8:00 PM live ET/delayed PT on the CBS Television Network, due to time constraints.

The Finborough Theatre's 'Celebrating British Music Theatre' series follows Perchance to Dream with Ivor Novello's last musical.

Pulling together all the roots and branches of Art Garfunkel's career in music, THE SINGER is a 40-song collection of songs hand-picked by the artist himself. Spanning the years from the first Simon & Garfunkel album of 1964 (Wednesday Morning, 3AM) up through 2007's Great American Songbook album (Some Enchanted Evening), this two-CD retrospective will be available at all physical and digital retail outlets starting April 10th through Columbia/Legacy, a division of SONY MUSIC ENTERTAINMENT.

The Finborough Theatre's 'Celebrating British Music Theatre' series follows Perchance to Dream with Ivor Novello's last musical.

BroadwayWorld.com reported the news exclusively on January 9, 2012 and now the The Public Theater has officially announced the line-up for the 50th Anniversary Shakespeare in the Park season at the Delacorte. Daniel Sullivan, who directed acclaimed productions of All's Well That Ends Well, The Merchant of Venice and Twelfth Night in the Park, will return to direct AS YOU LIKE IT in June with Lily Rabe as Rosalind. The second show of the 50th Anniversary summer season will be Stephen Sondheim and James Lapine's beloved musical INTO THE WOODS, directed by Timothy Sheader with co-direction by Liam Steel. Based on the Olivier Award-winning Regent's Park Open Air Theatre London production in 2010, The Public Theater's INTO THE WOODS will be an all new production with an American cast and designers and will be staged in one of the most beautiful outdoor venues in the world-the Delacorte Theater. INTO THE WOODS will begin performances at the end of July.

Museum of the Moving Image advances the public understanding and appreciation of the art, history, technique, and technology of film, television, and digital media.

Museum of the Moving Image advances the public understanding and appreciation of the art, history, technique, and technology of film, television, and digital media.

Today we are taking a look at the very best theatre-related entities in a variety of different categories - books, music, television, film, and, of course, theatre - as we look back on 2011 and all of the many marvelous moments of excitement, passion, joy and exultation that only theatre and theatre-related projects can possibly hope to provide. From Stephen Sondheim's LOOK, I MADE A HAT on the bookshelves of every Broadway baby worth their weight in sequins to Neil Patrick Harris and Patti LuPone in Sondheim's COMPANY on the big screen courtesy of Fathom to the stunning Broadway revival of FOLLIES starring Bernadette Peters and its tremendous new cast album, all the way to the thrills and chills of Andrew Lloyd Webber's PHANTOM OF THE OPERA LIVE AT THE ROYAL ALBERT HALL on the big screen and Blu-ray to the BOOK OF MORMON breaking Broadway records and even TV's best drama and comedy, both from mastermind Ryan Murphy - GLEE and AMERICAN HORROR STORY. Plus, we also have top film picks in the categories of Drama and Comedy, as well as the best of the best of them all, with Lars Von Trier's apocalyptic masterpiece MELANCHOLIA, George Clooney's play adaptation THE IDES OF MARCH and the 80s music video stylized thriller/drama DRIVE topping the list. All of that and a whole lot more awaits in this all-encompassing look back at the theatrical highlights in all entertainment realms in 2011, as well as a look ahead to what we cannot wait for in 2012!

ABC will be presenting a pre-New Year's celebration when it marks the 40th Anniversary of it's 'New Year's Rockin' Eve' television broadcast.

For all those silver and golden Broadway babies, young and green gleeks and plain old all-around entertainment enthusiasts of any age on your holiday shopping lists this year, today we have a SOUND OFF Special Edition 2011 Giving Gifts Guide sure to fulfill the wants, wishes, dreams and desires of your nearest and dearest theatre-loving family and friends with a white and red spotlight on the absolute essential must-haves for this holiday season! Among the festivities: we have GLEE taking on Joni Mitchell and Elvis; two charity albums benefiting arts-related causes and featuring Broadway's best; the most spectacular production of PHANTOM OF THE OPERA you are ever likely to see; candles coming in the six scents from THE SOUND OF MUSIC's beloved "My Favorite Things"; and, of course, Sondheim's massive new tome of the lyrics from the second act of his career - "with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany," no less - topping the list at #1! Plus, the most important gift of all!

New York's jazz heart wasn't always located downtown. Once it was found on 52nd Street and before that on 125th, and for many decades its most powerful radio voice has been WKCR-FM on the campus of Columbia University. Just a few yards away, jazz finds an uptown home at Columbia's Miller Theatre. This season, Melissa Smey has programmed groups from the top of her wish list in a Jazz series that begins with the inventive Lionel Loueke Trio and the Renee Rosnes Quartet.

Witness murder, mayhem and deception unfold in Arizona Theatre Company's world premiere thriller, Sherlock Holmes and the Adventure of The Suicide Club.

New York's jazz heart wasn't always located downtown. Once it was found on 52nd Street and before that on 125th, and for many decades its most powerful radio voice has been WKCR-FM on the campus of Columbia University. Just a few yards away, jazz finds an uptown home at Columbia's Miller Theatre. This season, Melissa Smey has programmed groups from the top of her wish list in a Jazz series that begins with the inventive Lionel Loueke Trio and the Renee Rosnes Quartet.

Since the 1986 opening of the The Edgerton Center, Sacred Heart University has generously shared this outstanding resource with the surrounding community, making professional-quality theatrical, musical and dance performances both affordable and accessible. James Earl Jones, Julie Harris and Dizzie Gillespie are just some of the outstanding artists to perform at the Edgerton Center over the years.

Jack Viertel, Artistic Director of New York City Center's Encores! series, today announced the final two directors for the 2012 Encores! season. As previously announced, James Lapine will direct the first Encores! show of the season, Stephen Sondheim's Merrily We Roll Along, opening on February 8, 2012. Marc Bruni will direct Rodgers and Hammerstein's rarely seen Pipe Dream, opening on March 28¸ and John Rando will direct Jule Styne and Leo Robin's Gentlemen Prefer Blondes opening on May 9. Music Director Rob Berman will conduct all three musicals. This year, the number of performances has been expanded: Pipe Dream and Gentlemen Prefer Blondes will play for seven performances each, and Merrily We Roll Along, extended for a two-week run, will play for 15 performances.

Since the 1986 opening of the The Edgerton Center, Sacred Heart University has generously shared this outstanding resource with the surrounding community, making professional-quality theatrical, musical and dance performances both affordable and accessible. James Earl Jones, Julie Harris and Dizzie Gillespie are just some of the outstanding artists to perform at the Edgerton Center over the years.

Never more apparent than at this very moment in history, the operatic emotions, over-the-top theatrics and outrageous outspokenness of the 1983 SCARFACE, new on Blu-ray this week, burst forth from screens both large and small, depending on your preferred venue. And, with the fiery, ferocious fearlessness that Brian DePalma so astutely and assuredly weaves his web of debauchery and demons of the soul, heart and mind with - its apotheosis residing in Al Pacino's legendary essaying of the title role - the world finally seems ready to see SCARFACE for what it really is: a classic American film. No, there are not many modern day classics and there certainly have not been over the last thirty years since its release, but SCARFACE is unquestionably now part of the great pantheon of American films - just as much as CITIZEN KANE, CABSABLANCA and THE GODFATHER before it - and with Fathom's re-release of the film in movie theaters for one night only last week, the impact of the film as felt in its true artistic home was something akin to transcendental. Indeed, I was lucky enough to check out the HD print in a showing in Ithaca, NY, last week, which was also accompanied by an ultra-informative and revealing behind-the-scenes look at the production and subsequent legacy of the near-thirty-year-old film which is also available in an even more expanded form on the new Blu-ray - including new interviews with Brian DePalma, Al Pacino, Steven Bauer, Robert Loggia, Martin Bregman, as well as comments from fellow filmmakers and fans like Eli Roth (who shares a particularly hilarious anecdote about reciting Lopez's monologue for classmates in sixth grade). The new Blu-ray is packed to the brim with Special Features - including this brand new hour-long making-of documentary to go along with the hours of bonuses ported over from many of the prior DVD releases. Yet, above all of these other virtues, the reason you must own SCARFACE on Blu-ray is not just because the HD remastering of the image is pristine, the 7.1 sound is perfect and the Special Features are overwhelmingly enjoyable, but - most of all - it is because SCARFACE is American movie-making at its finest - and most emotionally, visually and outwardly operatic. It sings. And stings. And zings. And, bring it - all.