St. James Theatre, the first newly-built theatre complex in central London in 30 years, will open to the public in early August 2012, rising from the site of the former Westminster Theatre at 12 Palace Street in the heart of Victoria. David Gilmore, Artistic Director, today announced the theatre's first season of work.
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 New Actors Company in association with Neil McPherson for the Finborough Theatre presents THE GRAND DUKE. The Finborough Theatre's 'Celebrating British Music Theatre' series continues with the first fully staged professional UK production of Gilbert and Sullivan's final operetta, The Grand Duke, since the original 1896 production. It opens at the Finborough Theatre for a strictly limited run of six Sundays and Mondays from Sunday, 1 April 2012.
The 2012 spring and summer season at The Joyce Theater will offer audiences the chance to see companies and artists from all over the world performing on its stage.
For a combination of jazz dialogue, education, and live performance, look no further than the National Jazz Museum in September.
Staging one of the theatre's most unique and unclassifiable pieces, Brecht & Weill's THE SEVEN DEADLY SINS for the New York City Ballet, starting May 11 and running through May 16, is just the latest act in a career made up of anomalies, seemingly built upon always attempting to do the impossible - from her Broadway debut, trying to bring balletic bravado to Trevor Nunn's terminally troubled 1988 musical CHESS (a project begun under the guidance of Michael Bennett before his death), up through the trying-but-Tony-winning TITANIC in 1997 and, this century, SWING! starring Ann Hampton Callaway and Laura Benanti and a succession of successful regional ballets and theatre pieces - the gifted and dynamic director/choreographer Lynne Taylor-Corbett continues to challenge herself, her peers and audiences with each of her audacious new endeavors. THE SEVEN DEADLY SINS, starring two-time Tony-winning Broadway legend Patti LuPone as Anna I, is a particularly problematic play - or is it a musical? Or, is it a ballet? A song-spiel? - and in this revealing and engaging discussion, Ms. Taylor-Corbett and I attempt to deduce the themes, analyze the structure and look back at the authors' lives to gain insight into the perplexing America painted by Brecht and Weill in the forty-minute-long theatrical experiment. Also, in this complete conversation, Lynne and I take a look back at her long and varied career and she generously shares her thoughts on where the place of dance is in the twenty-first century, the exhilaration of working with a theatre artist like Patti LuPone, her own inspirations and formative experiences in the theatre, the legacy of Michael Powell and THE RED SHOES, the theatre versus the dance world, her son Shaun's career, and much, much more! Further information on THE SEVEN DEADLY SINS - including tickets - is available here.
On this very day in 1943, Michael DiFiglia was born in Buffalo, New York, and the world of Broadway would simply never be the same. Cutting his teeth with the accomplished choreography for A JOYFUL NOISE, PROMISES, PROMISES, SEESAW and COCO was merely the beginning of a career that would virtually rewrite and revolutionize the ways and means by which a director could yield ultimate control over a project. With COMPANY and FOLLIES, the later co-directing with Hal Prince, Bennett solidified himself as one of the most talented and brilliant choreographers of his generation and, shortly thereafter, proved with A CHORUS LINE that he was a master theatrical engineer with few, if any, peers. Worldwide success, Tony Awards and the Pulitzer Prize were just the gravy. Who else but Michael Bennett would then, or ever, receive - or should I say, earn - the credit "Entire Production Conceived, Produced and Directed by," besides him? While BALLROOM failed to live up to A CHORUS LINE in mostly every way, he soon after reinvented the wheel yet again with DREAMGIRLS in 1981. We never got to see his productions of CHESS and SCANDAL, both of which he was in the latter stages of developing at the time of his death in 1988. Broadway has never been the same since he's been gone. So, today, on the day following a glittering new production of COMPANY at Lincoln Center - with the complete dance sequence "Tick Tock" fully restored, now with five dancers - we take a tip of the top hat to the tops in taps, temerity and truthfulness onstage - the one and only Michael Bennett.
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