Give Me Your Answer, Do! 1999 - Articles Page 20

According to a report from whatsonstage.com, Daniel Lapaine and Darrel D'Silva will join previously cast Sheridan Smith in Ibsen's Hedda Gabler at the Old Vic. Previews begin tonight, September 5, with an opening set on September 12, 2012.

Today we are talking to a spectacularly talented stage and screen star who has appeared in countless film and TV properties over the years as well as in many remarkable theatrical productions all about her major role on the USA special miniseries event POLITICAL ANIMALS, which concludes this Sunday at 9 PM - Carla Gugino. In her many film roles - including SON IN LAW, MICHAEL, SNAKE EYES, the SPY KIDS trilogy, SIN CITY, NIGHT AT THE MUSEUM, WATCHMEN, SUCKER PUNCH, MR. POPPER'S PENGUINS and NEW YEAR'S EVE, to name but a few - as well as in her string of stage successes - Arthur Miller's AFTER THE FALL, Tennessee Williams's SUDDENLY, LAST SUMMER, Eugene O'Neill's DESIRE UNDER THE ELMS, and, most recently, treading the boards with Rosemary Harris and Jim Dale in THE ROAD TO MECCA - Gugino has displayed a considerable commitment to her craft and a striking sensitivity for the medium she is inhabiting.

Martha Wilkinson, the nine-time First Night Award-winning actress (who's been singled out for honors by both The Tennessean and Nashville Scene, as well) who is one of the few actors in Nashville whose very name can lend starpower to the box office of any show she's in, is back onstage this weekend in Nashville Shakespeare Festival's World War II-era adaptation of Much Ado About Nothing. So, in honor of Martha's role as "the ultimate diva of Nashville theater," we've come up with a poll, asking the $64,000 Question: What Martha Wilkinson role would you love to see her play onstage again?

Despite being completely busy preparing for the concert staging of A TOUCH OF VENUS, Paul Hope, Artistic Director and Founder of Bayou City Concert Musicals, took a break from his busy schedule to talk to me about his innovative and charitable organization. Since it's inception, Bayou City Concert Musicals has been providing Houston audiences with well-produced and lauded performances of often-neglected musicals. Continuing to grow an ever-increasing loyal audience and fan following, I asked Paul Hope to tell me more about Bayou City Concert Musicals and the shows they choose to produce.

Today we are talking to a multi-talented performer who has performed on Broadway in everything from BROOKLYN to WICKED who made her most recent Broadway bows standing by in both ON A CLEAR DAY YOU CAN SEE FOREVER and PRISCILLA, QUEEN OF THE DESERT - the dynamic and compelling Julie Reiber. Talking all about her new solo album, LOVE TRAVELS, and its various inspirations as well as casting a look back at her many Broadway, touring and regional roles thus far in her eclectic career - ALL SHOOK UP, SWEENEY TODD and many more included - Reiber and I attempt to illustrate her unique place on Broadway and what she would like to pursue in the future, both on the stage and in the recording studio. Additionally, Reiber opens up about her exhaustive song selection process for LOVE TRAVELS and shares candid stories of the recording process of her solo debut, including providing some background on the songs that did not make the cut, how the sterling arrangements arose out of the material and the process of becoming a singer-songwriter in her own right over the project's three-year-long creation. Also, Reiber outlines her experiences performing in the out-of-town tryout of the new musical adaptation of Armistead Maupin's TALES OF THE CITY penned by rock super group Scissor Sisters and expresses her desire to continue with future iterations of the 70s-set Broadway-bound tuner as she looks ahead to her new roles of recording artist, and, also, she is happy to announce, mother. Plus, Julie offers details on her role in the heretofore little-known Meat Loaf-inspired movie musical ECLIPSE OF THE HEART (hopefully released some red moon soon), expresses her thoughts on GLEE and SMASH, compared Broadway now versus a decade ago - and much, much more!

Today we are talking to Patricia Kelly, the widow of one of the most iconic and influential performers in entertainment history, Gene Kelly, all about her husband's incomparable career on Broadway and in Hollywood, in honor of his centennial. Tracing Gene Kelly's journey from his theatre roots starring in Cole Porter's LEAVE IT TO ME!, Rodgers & Hart's PAL JOEY and William Saroyan's Pulitzer Prize-winning THE TIME OF YOUR LIFE on Broadway to his unforgettable screen appearances in many of the greatest movie musicals ever made - COVER GIRL, SINGIN' IN THE RAIN, THE PIRATE, AN AMERICAN IN PARIS and many more included - Mrs. Kelly gives us a look into the life of one of the most important artists of the twentieth century. In addition to behind-the-scenes stories involving Kelly's frequent collaborators - such as esteemed director Vincente Minnelli, songwriter and producer Arthur Freed, arranger Saul Chaplin and others - Mrs. Kelly also shares candid anecdotes involving her husband's involvement with directing Rodgers & Hammerstein's FLOWER DRUM SONG on Broadway, helming the feature film adaptation of HELLO, DOLLY! starring Barbra Streisand, as well as his appearing in two idiosyncratic movie musicals later in his life, LES DEMOISELLES DE ROCHEFORT (THE YOUNG GIRLS OF ROCHEFORT) for Jacques Demy, as well as his au revoir to movie musicals in form of the Olivia Newton-John roller disco starrer XANADU. Additionally, Mrs. Kelly fills us in on all the details about this weekend's two-night Gene Kelly retrospective celebration, which she leads and narrates, as part of GENE KELLY @ 100 and her future plans for the multimedia presentation - each evening titled AN EVENING OF GENE KELLY and CHANGING THE LOOK OF DANCE ON FILM, respective - as she begins to tour the show across the country. Plus, reflections on SINGIN' IN THE RAIN's 60th anniversary and the recent Fathom HD premiere presentation in theaters, the impact of Kelly's work behind the camera, his choreographic legacy, what a legend is like at home, memories of attending the opening night of THE PHANTOM OF THE OPERA (starring HELLO, DOLLY! lead Michael Crawford), what the master would say about GLEE, SMASH, BUNHEADS and today's movie musical renaissance, as well as much, much more!

Today we are talking to one of Broadway's most recent stars to make a big impression in Hollywood with his many recent TV and film appearances - from GLEE, 30 ROCK and CURB YOUR ENTHUSIASM to the forthcoming HBO Liberace biopic BEHIND THE CANDELABRA as well as the new NBC series MOCKINGBIRD LANE - following his stints on the Great White Way in the lead roles of musicals such as ALL SHOOK UP, XANADU and FINIAN'S RAINBOW - the convivial, exceedingly talented Cheyenne Jackson. Giving us an all-access pass to his new role as songwriter, crafting two pop gems - "Drive" and "Before You" - and creating accompanying music videos for them as a preview of his forthcoming EP, which will also include collaborations with Sia and more. In addition to his recording career and songwriting responsibilities, Jackson also has a number of high profile film and TV projects coming up and he gives us the 411 on his role opposite Michael Douglas in the new Steven Soderbergh HBO film BEHIND THE CANDELABRA, as well as shares his experiences filming the new Bryan Fuller-created NBC reboot of THE MUNSTERS titled MOCKINGBIRD LANE. Also, will he be returning to 30 ROCK for its final season? What about a GLEE reprise? Plus, Jackson fills us in on the newest member of his family, as well as recollections of working on Dustin Lance Black's remarkable landmark PROP 8 live multi-media presentation, his involvement with Neil LaBute's THE HEART OF THE MATTER, his new film MUTUAL FRIENDS, participating in BARACK ON BROADWAY duetting with SMASH star Megan Hilty and what we can expect from his appearance in the new Christopher Ashley-directed movie musical adaptation of Ahrens & Flaherty's LUCKY STIFF. All of that and much, much more!

According to a report from whatsonstage.com, Daniel Lapaine and Darrel D'Silva will join previously cast Sheridan Smith in Ibsen's Hedda Gabler at the Old Vic. Previews begin September 5, with an opening set on September 12, 2012.

Sheridan Smith will star in the Old Vic's production of HEDDA GABLER by Henrik Ibsen, in a version by Brian Friel directed by Anna Mackmin. The show begins previews on the 5th of September and opens on the 12th for a run until the 10th of Novemeber.

Today we are talking to one of the entertainment industry's most celebrated Broadway/Hollywood crossover stars, who has gone from memorable cameo childhood roles on the big screen in hit properties such as NATIONAL LAMPOON'S VACATION and FATAL ATTRACTION to big Broadway success with her stints in STARLIGHT EXPRESS and GRAND HOTEL later that decade, to small screen success with ALLY MCBEAL in the 90s all the way to Tony-winning and Olivier-winning glory with the sensational revival of NINE in 2003 on Broadway, directed by David Leveaux, and GUYS & DOLLS in the West End, directed by Michael Grandage - as well as three Emmy nominations for her seven-year stint on NBC's richly awarded and highly celebrated Tina Fey comedy 30 ROCK - the precocious, alluring and arousing Jane Krawkowski. Sharing the details about her upcoming concert performance at Town Hall on June 8, Krakowski opens up about the many lauded composers and creators she has collaborated with over the years - Andrew Lloyd Webber, Stephen Sondheim, Marc Shaiman, Scott Wittman, Maury Yeston, Tommy Tune, Steven Spielberg and many more - and what we can expect from her brassy and bawdy solo show, in addition to shedding some light on her Broadway days; whether on roller skates in STARLIGHT EXPRESS and the workshop of XANADU or treading the boards in workshops and productions for master director Tommy Tune. Also, Krakowski clues us in on where her classic 30 ROCK character Jenna Maroney will end up in the final, seventh season of the show that begins shooting in August and reveals her affection for her 30 ROCK and DAMN YANKEES co-star Cheyenne Jackson and their experiences filming the recent live episode (and singing the theme song). Plus, potential future stage roles she would like to essay someday - KISS OF THR SPIDER WOMAN, perhaps? Or, maybe, a reprise of her Adelaide in GUYS & DOLLS? Dot in SUNDAY IN THE PARK WITH GEORGE, even? - as well as Milliken Breakfast Show memories from the 1970s and much, much more!

BroadwayWorld.com is excited to share a weekly series developed by the Theatre Communications Group! This week Kate Burton shares pivotal moments in her theatre career and why the arts matter to her!

Don Dinicola, composer of the score for the production of Ten Blocks on the Camino Real, will be at the Charlestown Working Theater for a free, post-show discussion about his composing for live theater. He will be joined by director Davis Robinson, the musicians, and the cast. This presentation is made possible by a grant from the New England Foundation for the Arts, and was originally scheduled for Friday, May 4th. The forum is free and open to the public. The forum will begin at 9:15, immediately after the 8pm performance.

Don Dinicola, composer of the score for the production of Ten Blocks on the Camino Real, will be at the Charlestown Working Theater for a free, post-show discussion about his composing for live theater. He will be joined by director Davis Robinson, the musicians, and the cast. This presentation is made possible by a grant from the New England Foundation for the Arts, and was originally scheduled for Friday, May 4th. The forum is free and open to the public. The forum will begin at 9:15, immediately after the 8pm performance.

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

Ah, Wilderness!, Eugene O'Neill's depiction of American family life at the turn of the 20th century, will kick off the two-month citywide Eugene O'Neill Festival at Arena Stage at the Mead Center for American Theater.

Today we are talking to one of the brightest stars of the new millennium who has made a name for himself on Broadway with impressive performances in straight plays and musicals, as well as comedic and dramatic films and even stand-up comedy, as we shall see on Tuesday night for his ongoing monthly comedy showcase now at Joe's Pub, FIND THE FUNNY - the preternaturally gifted Benjamin Walker. Looking back on his performances on Broadway, from INHERIT THE WIND opposite Christopher Plummer and Denis O'Hare all the way to his starring role in the recent emo rock musical BLOODY BLOODY ANDREW JACKSON, Walker discusses his perception of the roles he has played so far as well as the finer points of working on those shows, in addition to shining a light on his stand-up comedy roots, how he came to devise FIND THE FUNNY and what we can expect from the show on Tuesday night. Plus, Walker clues us in on his new feature film title role in ABRAHAM LINCOLN: VAMPIRE HUNTER, as well as shares details on his re-teaming with Christopher Plummer in the new Stephen Frears film MUHAMMAD ALI'S GREATEST FIGHT. All of that and much, much more!

Ah, Wilderness!, Eugene O'Neill's joyous and truthful depiction of American family life at the turn of the 20thcentury, will kick off the two-month citywide Eugene O'Neill Festival at Arena Stage at the Mead Center for American Theater. From a playwright better known for his darker stories comes the brilliant Ah, Wilderness!, O'Neill's singular comedy that represents a fantasy of what his own childhood might have been. Helen Hayes Award winner and former Arena Stage Associate Artistic Director Kyle Donnelly returns to direct her 21st show at Arena Stage, which features an almost entirely local cast led by Rick Foucheux, Nancy Robinette and June Schreiner. Ah, Wilderness! runs March 9-April 8, 2012 in the Fichandler Stage.

Ah, Wilderness!, Eugene O'Neill's depiction of American family life at the turn of the 20th century, will kick off the two-month citywide Eugene O'Neill Festival at Arena Stage at the Mead Center for American Theater.

Today we are talking to one of the busiest lyricists in show business, Glenn Slater, all about today's movie theater showing of his collaboration with Andrew Lloyd Webber, LOVE NEVER DIES - a continuation of the world's most successful show, THE PHANTOM OF THE OPERA - and the spectacular Simon Phillips-directed Australian production of it filmed for the ages and presented in hundreds of movie theaters across the country, with an encore cinema showing on March 7 prior to its DVD/Blu-ray release in the Spring. Besides discussing all aspects of the writing of the show and its West End debut, Slater also elaborates on the rewriting of the show and how this new production and unprecedented in-theater presentation is the ultimate realization of Lloyd Webber's dream vision for the musical drama - something the Lord shared with me himself when he recently did this column.

Ah, Wilderness!, Eugene O'Neill's joyous and truthful depiction of American family life at the turn of the 20thcentury, will kick off the two-month citywide Eugene O'Neill Festival at Arena Stage at the Mead Center for American Theater. From a playwright better known for his darker stories comes the brilliant Ah, Wilderness!, O'Neill's singular comedy that represents a fantasy of what his own childhood might have been. Helen Hayes Award winner and former Arena Stage Associate Artistic Director Kyle Donnelly returns to direct her 21st show at Arena Stage, which features an almost entirely local cast led by Rick Foucheux, Nancy Robinette and June Schreiner. Ah, Wilderness! runs March 9-April 8, 2012 in the Fichandler Stage.

The Drama Desk and Obie Award-winning Keen Company (Carl Forsman, Artistic Director/Damon Chua, Executive Director) today announced that Kate Turnbull would join Kathleen Chalfant and Richard Easton for Tina Howe's Painting Churches, the 1983 Pulitzer Prize finalist. Keen Artistic Director Carl Forsman directs.

Ah, Wilderness!, Eugene O'Neill's depiction of American family life at the turn of the 20th century, will kick off the two-month citywide Eugene O'Neill Festival at Arena Stage at the Mead Center for American Theater.

Broadway is certainly full of them: those amazing performers dubbed as 'triple threats'--those singer/dancer/actor-types that are just brimming with an abundance of extraordinary talent. David Elder rightly belongs in this revered group, and has proven the label quite a lot over the years, working steadily on the stage with an envious consistency. For the holiday season, he's bringing his knack for entertaining audiences as one of the leads in the touring stage version of Irving Berlin's WHITE CHRISTMAS, playing at the Segerstrom Center for the Arts in Costa Mesa through January 1, 2012. Before arriving in Orange County where he'll spend the remainder of the holidays, Elder chatted with BroadwayWorld's Michael Lawrence Quintos about his early interests, his fulfilling career in musical theater, and his tap-happy foray into Danny Kaye's shoes.

The Drama Desk and Obie Award-winning Keen Company (Carl Forsman, Artistic Director/Damon Chua, Executive Director) today announced that Kate Turnbull would join Kathleen Chalfant and Richard Easton for Tina Howe's Painting Churches, the 1983 Pulitzer Prize finalist. Keen Artistic Director Carl Forsman directs.

The Drama Desk and Obie Award-winning Keen Company (Carl Forsman, Artistic Director/Damon Chua, Executive Director) today announced that Kathleen Chalfant and Richard Easton would lead the cast of Tina Howe's Painting Churches, the 1983 Pulitzer Prize finalist. Keen Artistic Director Carl Forsman directs.