The Real Thing Revival 2000 - Articles Page 15

Meet Alan Cumming, Tom Viola and Rivka S. Katvan tonight, September 12, 6 to 8 p.m., at Soho Photo Gallery (located at 15 White St. in NYC). Join us for a conversation about fine-art photography, Broadway theater, and Broadway Cares/Equity Fights AIDS's fundraising work for critically needed services for people living with HIV/AIDS and their families nationwide. The conversation will be moderated by Randy Gener, New York editor/writer.

Meet Alan Cumming, Tom Viola and Rivka S. Katvan on Wednesday, September 12, 6 to 8 p.m., at Soho Photo Gallery (located at 15 White St. in NYC). Join us for a conversation about fine-art photography, Broadway theater, and Broadway Cares/Equity Fights AIDS's fundraising work for critically needed services for people living with HIV/AIDS and their families nationwide. The conversation will be moderated by Randy Gener, New York editor/writer.

Atlanta audiences will have the chance to meet the latest incarnation of these fabulous characters when The Addams Family makes its way to the Fabulous Fox Theatre August 14 - 19. Portraying the cool and confident matriarch, Morticia, is Broadway veteran Sara Gettelfinger who sat down with me to talk about her experience with following her own dreams of being an actor.

Let's see what the critics had to say about this new musical comedy!

Today, we have two unique-and we daresay spectacular and wonderful-women who are paired together, thanks to director Paul J. Cook, in helping to bring Pippin to life at the Boiler Room Theatre: Jennifer Whitcomb-Oliva and Lynda Cameron-Bayer. Jennifer is part of the powerhouse cast of the Stephen Schwartz musical (which has been acclaimed by every critic in town), while Lynda is the production's costume designer, dressing the ensemble in a gorgeous assortment of circus-inspired garb. Each woman, at any particular time, is sure to knock your socks off, so be prepared to lose 'em…

Andrew Jackson, that guy on the twenty dollar bill and the United States' infamous seventh president, is alive and well in Houston. Remembered for the Indian Removal Act and initiating what would later be called Jacksonian Populism, this iconic badass president is the central character in Michael Friedman's comedic Wild West rock musical BLOODY BLOODY ANDREW JACKSON, which is being produced this month by Houston's Generations: A Theatre Company. George Brock, founding Artistic Director for Generations and Director of BLOODY BLOODY ANDREW JACKSON, assembled a panel of his cast, crew, and creative team to discuss the rip-roaringly raucous show and why you MUST see it!

The Huntington Theatre Company of Boston presents the world premiere of a haunting new play by Kirsten Greenidge which illuminates subtle but lingering racial issues involving opportunity, belonging, and the American Dream

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

The McCallum Theatre, the Coachella Valley's premiere theatrical venue, celebrates its 25th Anniversary Season with a star-studded lineup of Classical Music, Jazz, Cabaret, Comedy and a Broadway Blockbuster Series which includes Rock of Ages, Dreamgirls and West Side Story. The McCallum Theatre opened its doors on January 2, 1988 with a gala performance honoring Bob Hope that was nationally televised. Since then The McCallum has been the Coachella Valley's mecca for world-class entertainment including an extensive array of Broadway and Cabaret offerings. The man behind the tremendous success of the McCallum's eclectic performance calendar for the past thirteen years is Mitch Gershenfeld, Director of Presentations and Theatre Operations, who will take the helm as the theatre's President and CEO beginning June 1. I had the opportunity to sit down with Mr. Gershenfeld as he begins preparations for The McCallum's exciting Silver Anniversary Season. Gershenfeld is warm, passionate, highly astute, a performing arts afficionado and a genuinely kind man. Here are a few highlights from that conversation.

Arthur Miller's DEATH OF A SALESMAN broke the house record of the Barrymore Theatre (243 West 47th Street), grossing $692,192 over seven performances for the week ending February 26, 2012. The strictly limited engagement opens Thursday, March 15, 2012. Arthur Miller's Tony Award and Pulitzer Prize-winning DEATH OF A SALESMAN, is directed by eight-time Tony Award® winner Mike Nichols and stars Academy Award® winner Philip Seymour Hoffman as Willy Loman, Obie Award winner Linda Emond as Linda Loman and Andrew Garfield (The Social Network, The Amazing Spider-Man), making his Broadway debut as Biff Loman. The strictly limited engagement opens Thursday, March 15, 2012. For tickets, visit Telecharge.com or call 212-239-6200.

Nathalie Armin, Paul Bhattacharjee, Simon Chandler, Michael Cochrane, Tariq Jordan, Belinda Lang, Shereen Martin, Daniel Rabin, Simon Rouse, Rick Warden and David Yip comprise the cast for THE BOMB - a partial history.

John Logan, the playwright responsible for the Mark Rothko-inspired 2010 Tony Award winner for Best Play, RED, is also a name familiar to movie buffs around the world who may very well have enjoyed his considerable contributions to cinema - among them, the screenplays for 2000 Best Picture Oscar-winner GLADIATOR (directed by Ridley Scott), Oliver Stone's ANY GIVEN SUNDAY, Martin Scorsese's THE AVIATOR, Tim Burton's film adaptation of Stephen Sondheim's SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (2008 Golden Globe winner for Best Picture, Musical Or Comedy) and many more. Discussing his collaborations with those lauded directors as well as his work for the stage - going all the way back to his Chicago roots - Logan and I also touch on some of his incredibly exciting upcoming projects - the new Sam Mendes James Bond film, SKYFALL; the Ralph Fiennes-directed adaptation of Shakespeare's CORIOLANUS; Martin Scorsese's critically lauded HUGO, now in theaters; and, Steven Spielberg's forthcoming biopic of LINCOLN, co-written with Tony Kushner and starring Daniel Day-Lewis. Additionally, Logan illustrates his appreciation for RED Tony-winning leading man Eddie Redmayne, who also starred in the Kathryn Bigelow-directed HBO pilot of Logan's aborted Broadway-themed musical series, A MIRACULOUS YEAR. All of that, plus early casting ideas for Sweeney and Mrs. Lovett, as well as much, much more!

Writers' Theatre opens its 2011/12 Season with The Real Thing by Tom Stoppard, directed by Artistic Director Michael Halberstram. The production closes November 20, 2011 at Writers' Theatre, 325 Tudor Court in Glencoe.

Lincoln Center's upcoming White Light Festival (October 20-November 19, 2011), in its second season, will include two outstanding theater productions among the range of works of music, film, dance, art and discussion to be presented.

Acclaimed theater company Playwrights Horizons (Tim Sanford, Artistic Director; Leslie Marcus, Managing Director) has announced the line-up of performers participating in the return of its popular benefit evening STORIES ON 5 STORIES: Dirty Laundry on Monday evening, October 17.

Lincoln Center's upcoming White Light Festival (October 20-November 19, 2011), in its second season, will include two outstanding theater productions among the range of works of music, film, dance, art and discussion to be presented.

WaterTower Theatre (WTT) has announced its slate of new Board officers and Board members at its recent Annual Meeting held this month.

Writers' Theatre Artistic Director Michael Halberstam and Executive Director Kathryn M. Lipuma announce the launch of Writers' 20th Anniversary Season with The Real Thing by Tom Stoppard, directed by Michael Halberstam.

Writers' Theatre opens its 2011/12 Season with The Real Thing by Tom Stoppard, directed by Artistic Director Michael Halberstram. The production runs September 13-November 20, 2011 at Writers' Theatre, 325 Tudor Court in Glencoe.

Writers' Theatre Artistic Director Michael Halberstam and Executive Director Kathryn M. Lipuma announce the launch of Writers' 20th Anniversary Season with The Real Thing by Tom Stoppard, directed by Michael Halberstam.

Artistic Director Michael Halberstam and Executive Director Kathryn Lipuma announce a one-week extension to the World Premiere of The Detective's Wife by Keith Huff, directed by Gary Griffin. Due to high demand, an additional six performances have been added for The Detective's Wife, now playing at Writers' Theatre, 664 Vernon Avenue in Glencoe, through August 14, 2011.

Artistic Director Michael Halberstam and Executive Director Kathyryn Lipuma announce a one-week extension to the World Premiere of The Detective's Wife by Keith Huff, directed by Gary Griffin.

Writers' Theatre Artistic Director Michael Halberstam and Executive Director Kathryn M. Lipuma announce the world premiere of The Detective's Wife by Keith Huff, directed by Gary Griffin and featuring Barbara Robertson. The Detective's Wife closes July 31, 2011 at Writers' Theatre, 664 Vernon Avenue in Glencoe.

Artistic Director Michael Halberstam and Executive Director Kathryn Lipuma announce a one-week extension to the World Premiere of The Detective's Wife by Keith Huff, directed by Gary Griffin. Due to high demand, an additional six performances have been added for The Detective's Wife, now playing at Writers' Theatre, 664 Vernon Avenue in Glencoe, through August 14, 2011.

Writers' Theatre opens its 2011/12 Season with The Real Thing by Tom Stoppard, directed by Artistic Director Michael Halberstram. The production runs September 13-November 20, 2011 at Writers' Theatre, 325 Tudor Court in Glencoe.