Dallas Theater Center presents Joseph and the Amazing Technicolor Dreamcoat at the Dee and Charles Wyly Theatre at the AT&T Performing Arts Center June 22 - Aug. 5. DTC Associate Artistic Director Joel Ferrell will direct and choreograph a fresh retelling of this family-friendly musical staring Sydney James Harcourt as Joseph and Dallas favorite Liz Mikel as the Narrator.
Gary Naylor is immersed in the fog of war, as he is made to feel N-N-N-N-Nineteen again.
During May and June the Brooklyn Museum will present a wide array of public programs for adults, teens, families, and kids including art-making classes and workshops; talks and tours; Thursdays @ 7, a series of engaging adult programs that takes place every Thursday evening; and the return of the Audiophile concert series.
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 Gladstone will present THE COMMUNICATION CORD by Brian Friel and directed by John P. Kelly from March 28th through April 14th.
The Gladstone will present THE COMMUNICATION CORD by Brian Friel and directed by John P. Kelly from March 28th through April 14th.
The Gladstone will present THE COMMUNICATION CORD by Brian Friel and directed by John P. Kelly from March 28th through April 14th.
The landmark trial of the Scottsboro Boys is brought to life in Philadelphia Theatre Company's production of the multiple Tony-nominated musical The Scottsboro Boys with music and lyrics by the legendary team of John Kander and Fred Ebb and book by David Thompson, running January 20-February 19 at the Suzanne Roberts Theatre (Broad and Lombard Streets).
The Christmas tree and Neapolitan Baroque crèche at The Metropolitan Museum of Art, a long-standing yuletide tradition in New York, is now on view for the holiday season through January 8, 2012.
The landmark trial of the Scottsboro Boys is brought to life in Philadelphia Theatre Company's production of the multiple Tony-nominated musical The Scottsboro Boys with music and lyrics by the legendary team of John Kander and Fred Ebb and book by David Thompson, running January 20-February 19 at the Suzanne Roberts Theatre (Broad and Lombard Streets).
The Christmas tree and Neapolitan Baroque crèche at The Metropolitan Museum of Art, a long-standing yuletide tradition in New York, is now on view for the holiday season through January 8, 2012.
New York Women in Film & Television (NYWIFT), which has supported the advancement of women in the entertainment industry for more than 30 years, will present their 31th annual Muse Awards at a gala luncheon to be held Wednesday, December 7th at the New York Hilton.
The Jewish Museum will present An Artist Remembers: Hanukkah Lamps Selected by Maurice Sendak from December 2, 2011 through January 29, 2012.
The Jewish Museum will present An Artist Remembers: Hanukkah Lamps Selected by Maurice Sendak from December 2, 2011 through January 29, 2012.
The Fabulous Fox Theatre continues its tradition of bringing the best of Broadway to St. Louis audiences since 1982.
Labyrinth Theater Company has announced final casting for the World Premiere Production of The Atmosphere of Memory by David Bar Katz. Performances begin Saturday, October 15th with Opening Night scheduled for October 30th at Labyrinth's new home, the Bank Street Theater for a limited engagement through Sunday, November 13th.
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.
Following a heartfelt and entertaining memorial for Sidney Lumet at Lincoln Center's Alice Tully Hall with speakers and performers including Lauren Bacall, Walter Bernstein, Bobby Cannavale, Glenn Close, Jonathan Demme, James Gandolfini, Philip Seymour Hoffman, Jenny Lumet, David Mamet, Phylilis Newman and Christopher Walken among others, the Film Society of Lincoln Center has announced the details today for a retrospective of the admired and beloved director's work, Prince of the City: Remembering Sidney Lumet which will screen at the Walter Reade Theater July 19 - 25.
Following a heartfelt and entertaining memorial for Sidney Lumet at Lincoln Center's Alice Tully Hall with speakers and performers including Lauren Bacall, Walter Bernstein, Bobby Cannavale, Glenn Close, Jonathan Demme, James Gandolfini, Philip Seymour Hoffman, Jenny Lumet, David Mamet, Phylilis Newman and Christopher Walken among others, the Film Society of Lincoln Center has announced the details today for a retrospective of the admired and beloved director's work, Prince of the City: Remembering Sidney Lumet which will screen at the Walter Reade Theater July 19 - 25.
MUSEUM OF THE MOVING IMAGE announces their EXHIBITION AND PROGRAM OVERVIEW for JULY-SEPTEMBER 2011
WPTV News Anchor Lauren LaPonzina will Co-Host with Caras & Emmy-Winning Director Deborah Novak While Taping a Pledge Event for Use at Other PBS TV Stations.
WXEL-TV42, the area's public television station, today announced that it will be presenting the Florida broadcast premiere of the hot new documentary STEVEN CARAS: SEE THEM DANCE on Tuesday, June 7, at 8 p.m.
With his intense poetic style, Jerzy Skolimowksi has been one of the most distinctive voices in international cinema since he emerged as a leading figure in the 1960s Polish New Wave.
For the first time together on the Fox Theatre stage, America's favorite sibling entertainers will star in Donny & Marie - Christmas In Detroit, a holiday production that will play a limited engagement of seven performances from Tuesday, Nov. 29 through Sunday, December 4 at the Fox Theatre. Part of the Fox 2011 - 2012 Theater Series presented by Fifth Third Bank. Tickets (range from $30 - $100) tickets are now on sale.
WPTV News Anchor Lauren LaPonzina will Co-Host with Caras & Emmy-Winning Director Deborah Novak While Taping a Pledge Event for Use at Other PBS TV Stations.
WXEL-TV42, the area's public television station, today announced that it will be presenting the Florida broadcast premiere of the hot new documentary STEVEN CARAS: SEE THEM DANCE on Tuesday, June 7, at 8 p.m.
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