A Gershwin Musicade
Today we are talking to a two-time Tony Award winning lyricist and book writer who was responsible for the 2010 Best Musical winner, MEMPHIS, and who has since written the libretto of the Gershwin revue NICE WORK IF YOU CAN GET and received a well-earned Tony nomination for his efforts; one of the show's ten nods - Joe DiPietro. In this concluding portion of our conversation, DiPietro and I break down the process of creating NICE WORK IF YOU CAN GET IT and he comments on the starry cast - including Matthew Broderick, Kelli O'Hara, Judy Kaye and Estelle Parsons - and the process of collaboration in bringing the 2012 Tony Awards top nominee to the Broadway stage. Additionally, DiPietro fills us in on the future for THE TOXIC AVENGER and its tentative Broadway plans, as well as the upcoming West End mountings of MEMPHIS and, hopefully, NICE WORK - and, a look ahead to his next David Bryan collaboration, CHASING THE SONG, as well. Plus, a glance back at his work on I LOVE YOU, YOU'RE PERFECT NOW CHANGE, F*CKING MEN and ALLEGRO and his favorite current pop acts.
NBC has released a clip from its new medical drama, DO NOT HARM which will star stage veterans Steven Pasquale, Phylicia Rashad and Michael Esper. View a sneak peek of the new series as well as an interview with Pasquale below!
Melissa Chalsma is one busy woman. Wife, mom, actor, director and full-time artistic director of Independent Shakespeare Co., she knows firsthand what it's like to try and balance more than you think you can. There's always time for a little girl talk though so between juggling kids and rehearsals we grabbed a few minutes to talk about ISC's upcoming performance of As You Like It, how storytelling shapes our world, and those L.A. streets paved with gold. Read on!
"Prom-asaurus" proved that GLEE can still pack a powerful pop culture punch when required to do so; and when it wants to - and spike it with some effervescence and make it pop, too. Even those among us who don't partake in drinking the GLEE Kool-Aid, all must agree that there was more than one episode's fair share of fun, frivolity, twists and tunes, with some very fitting dramatic and musicals moments that we have by now come to anticipate from the genre-hopping musical dramedy enterprise - all of it integrated effectively into the stream-lined storyline, as well. Prom. It's all about prom this time of year and GLEE always makes a point to pay tribute to the month of May in this way. It is in pop culture melding mega-moments like last night's One Direction cover by way of GLEE - "What You Makes You Beautiful" - that we are again reminded of the special place GLEE holds in the American pop pantheon of the 21st century - using real, of-the-moment pop songs and utilizing them to comment on current events while musicalizing and dramatizing the lives of high school students. The classic cuts that come along are a bonus, really, when one considers GLEE from this viewpoint, though the contemporary covers have become the bread and butter of song sales for the mega-music-selling series - "Teenage Dream" by Blaine & The Warblers, as well as the Troubletones's Adele "Someone Like You/Rumor Has It" mash-up sold nearly as many copies as their predecessors - the originals - as far as iTunes sales go. Though FOX channel-mate Simon Cowell of course discovered and shepherds the international pop smash super group One Direction, their musical appearance on GLEE this season marks the continued exposure of the of-the-moment boy band phenomena we have not seen the likes of in over a decade - not since the days of N*SYNC and the Backstreet Boys - after the New Directions success with The Wanted's "Glad You Came" a few episodes back and their upcoming continued presence, no doubt, in addition. What makes GLEE must-see-TV week after week is more often than not the try-anything approach of the creators and cast - some sequences shockingly come off brilliantly and hit all-too-squarely their intended targets, while others fall far short and flop completely, even embarrassingly so. To crib a phrase from One Direction's hit single, what makes GLEE beautiful is that GLEE does not always know what makes it beautiful - experiencing drama coming to us delivered from that rocky, risky-to-mount precipice is sometimes frustrating, sometimes rewarding, but almost always somehow more than merely satisfying.
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
NICE WORK IF YOU CAN GET IT, featuring music and lyrics by George Gershwin and Ira Gershwin and a book by Joe DiPietro, stars Matthew Broderick and Kelli O'Hara. The production is directed and choreographed by Kathleen Marshall and it opens tonight, April 24, 2012 at Broadway's Imperial Theatre! Let's see what the critics had to say...
On April 20 and 21 Peter Mac repeated one of his most challenging shows honoring Judy Garland: Judy at Carnegie Hall. To sing all 26 dynamic tunes at the highest peak as well as to replicate in minute detail the deliciously droll Garland anecdotes about her encounters with a chic Parisian hairdresser or a disgustingly insincere London press woman ... this is a huge...no, daunting task to pull off. Only a truly gifted performer can do it, and there is literally no one who comes even close to Peter Mac, who sings the only sincere loving tribute to Judy Garland anywhere. Mac gave 150% this past weekend and will do so again this coming weekend April 27 and 28 at the French Quarter inside the French Market in Hollywood. The show is astounding from start to finish. Mac, like Garland, works at a harrowingly brisk pace throughout accompanied at the piano by wonderful musical director Bryan Miller and by Kevin Widener on percussion. Mac even manages to throw in a few of his own jokes like the one about Tallulah Bankhead wiring 'Kisses on your opening' or talking freely about composer Noel Coward who never held back an opinion. Judy Garland would have been 90 years old in June of this year, and what devilish great fun to hear Mac shout out as Garland herself would undoubtedly say, 'I'm too old for this shit!'
According to EW.com, NBC's comedy 30 ROCK is planning to stage another live episode. The series broadcast their first live episode last season and the cast and crew are reportedly eager to do it again. The live episode is set to air April 26.
Known for her many memorable roles on stages and screens large and small, many from the canon of William Shakespeare (OTHELLO, MACBETH) and Edward Albee (THE LADY FROM DUBUQUE, SEASCAPE, WHO'S AFRAID OF VIRGINIA WOOLF? & LISTENING), Maureen Anderman is making her grand return to the realm of Shakespeare onstage in New York with the new BAM production of RICHARD III directed by Sam Mendes, starring Kevin Spacey. In addition to illustrating many aspects of the rapturously received revival of the historical tragedy as she has traveled with it around the world, Anderman and I also discuss her affiliation with Shakespeare and what she derives from performing his greatest works, with RICHARD III being the central focus. Also, Anderman details her experiences working with Edward Albee on the original Broadway productions of THE LADY FROM DUBUQUE and SEASCAPE, as well as offering some candid observations on some of her favorite feature film and television appearances over the years - THE DAYS AND NIGHTS OF MOLLY DODD and LAW & ORDER included. As well as all of that, Anderman also shines a light on her recent standby duties for Vanessa Redgrave in THE YEAR OF MAGICAL THINKING and DRIVING MISS DAISY, as well as the forthcoming Westport Country Playhouse production of MAGICAL THINKING in which she will be starring later this year.
Eugene O'Neill's Hughie opened last week at The Theatre Centre, and it is the inaugural presentation of the new Alley Theatre Workshop. Director David Ferry and actor Michael Kash spoke withe BWW about why they chose this particular piece, and about why it is relevant in today's troubling times.
Ricky Gervais, who is hosting the 69th annual "Golden Globes," sat down with Matt Lauer for an exclusive interview that will air on NBC's DATELINE on Sunday, January 8 at 7pm ET. In the interview, Gervais talks to Lauer about the "Golden Globes," and says "I do it my way. I get final edit on everything. And everything I do turns out like I wanted… And they don't know what I'm gonna say. And they won't know what I'm gonna say till I say it."
The new musical comedy NICE WORK IF YOU CAN GET IT, with music and lyrics by George Gershwin and Ira Gershwin and a book by two-time Tony Award-winner Joe DiPietro (Memphis), will open on Tuesday, April 24 at Broadway's Imperial Theatre (249 West 45th Street).
Ricky Gervais, who is hosting the 69th annual "Golden Globes," sat down with Matt Lauer for an exclusive interview that will air on NBC's DATELINE on Sunday, January 8 at 7pm ET. In the interview, Gervais talks to Lauer about the "Golden Globes," and says "I do it my way. I get final edit on everything. And everything I do turns out like I wanted… And they don't know what I'm gonna say. And they won't know what I'm gonna say till I say it."
Having already broken down barriers in Season Three insofar as the depiction of gay teenage romance in concerned, last night on GLEE Ryan Murphy and company addressed lesbianism and its similarly taboo place in society - both in school and out. Brave and daring, GLEE's "I Kissed A Girl" episode surely opened up the doors to closets and more open conversations pertaining to human sexuality, yet it also painted a complex and all-too-real picture of the challenges facing teens of any and all sexual persuasions and how challenging it really is to be a teenager at the edge of seventeen in 2011. On the musical side, last night's show boasted an eclectic assortment of Sapphic-themed songs to go along with the dramatic content, such as Dolly Parton's "Jolene", Melissa Etheridge's "I'm The Only One", KD Lang's "Constant Craving" and Katy Perry's recent hit "I Kissed A Girl". With Pink's "F-ing Perfect" given the duet treatment courtesy of Kurt and Blaine and a stripped-down, male-sung version of Cyndi Lauper's "Girls Just Wanna Have Fun" rounding out the seriously stupendous songstack, it was a night to remember for many more reasons than merely oh-so-fabulously spilled slushies and touching coming out stories - the music really, truly acted as an elemental ingredient; even more than usual. So, too, did Naya Rivera's seriously fine acting throughout make her turn as Santana this season a truly Golden Globe and Emmy-worthy performance - not unlike how Kurt's complex coming out story rightfully acted as award bait for Chris Colfer in seasons past. So, for all of that - and to recount the stunning "Constant Craving" and all of the rest of the superb musical sequences; as well as all about Rachel's surprising expulsion from McKinley High right when Sectionals are quickly approaching - read on.
Two tremendous Tony-winning triple-threats make a grand return to the town that made them household names over thirty years ago in EVITA and set up show shop for two months - yes, Patti LuPone and Mandy Patinkin are back on Broadway with their new double-showcase concert spectacular, AN EVENING WITH PATTI LUPONE AND MANDY PATINKIN. In honor of these two theatrical heavyweights returning to the Broadway concert stage in this new special limited engagement beginning November 16, today we are shining a bright spotlight on some of Patti and Mandy's most beloved and most electrifying moments in their exceptional careers on stages and on screens large and small - EVITA being the white-hot beginnings of it all. EVITA opened on Broadway back in 1979 under the expert and assured direction of theatrical icon Hal Prince and went on to win 7 Tony Awards, including top honors for LuPone, Patinkin, Prince and the show's authors - Andrew Lloyd Webber and Tim Rice (the latter of whom won two) - as well as Best Musical. So, with moments from LES MISERABLES, SUNDAY IN THE PARK WITH GEORGE, GYPSY, THE WILD PARTY and much, much more - in addition to some clips from their concert appearances of more recent vintage, such as when they both appeared in the thrilling SONDHEIM! THE BIRTHDAY CONCERT - today's countdown is sure to perfectly set the stage for the incredible virtuosity to be expected from these titanic talents come Wednesday's first preview (with the show itself running through the holidays until January 13) at the Ethel Barrymore Theater.
Remember your first time? He was wearing that half mask, you were wearing your favorite Opera dress, all while you were sailing on a boat through the -
Oh wait, that was Christine from Phantom of the Opera.
But, tonight - relationships will be taken to the next level as it's time for two of our favorite couples to face the music of the night and take their own journey - sans the opera dress, the mask, and the boat - well - maybe.
Artie takes his role of director of West Side Story to heart and proposes an interesting question to his stars Rachel and Blaine - if "Tonight" is about sexual awakening - what was yours like? Both are flustered - but take the question into account with their boyfriends. Blaine makes a visit to Dalton to invite the Warblers to opening night of West Side Story and encounters a rehearsal of "Uptown Girl" sung by Nick and a new Warbler, named Sebastian. Artie - after watching Coach Bieste run out of rehearsal upon his question to Rachel and Blaine - confronts her about her first time - to find she's interested in someone, but unsure how to pursue it. Also in pursuit - Sebastian chats up Blaine, clearly walking the line between flirtation and walking over the line.
Finn goes to Puck for advice about garnering protection for his night with Rachel, while Kurt and Blaine discuss Kurt's bucket list of things - which prompts Blaine to ask about being adventurous while they're young, causing Kurt to question his words. Blaine goes to meet with Sebastian, who once again pushes the line - but Kurt arrives and instantly pushes back on the boy's advances, but agrees to sneak into a gay bar with him - shocking Blaine. Artie pushes the man who Bieste is interested in to ask her out - making it very obvious - while Rachel pushes Finn to commit, only to offend him when she lets slip why she wants to do it so badly.
Cooter steps up to the plate to ask Bieste out, but her insecurity almost derails it - but things click and go on track for a date. Rachel, desperate to figure out what she did wrong - calls on the girls of glee club and becomes inspired by Tina's words about her first time with Mike. Meanwhile, Mike and his father come to words about his involved with West Side Story - both men saying things they will likely regret.
Blaine and Kurt head to the gay bar - which reveals Sebastian once again attempting to push the line, while Kurt surprisingly runs into Karofsky, whose doing well while at his new school, seemingly putting a real truce to the events of the past. Kurt rains on Sebastian's parade by claiming Blaine on the dance floor, only to have an argument with Blaine after he gets too handsy as they get ready to leave - Blaine storms off, leaving Kurt hurt.
Opening night of the musical comes and Artie is nervous, but his cast makes him feel like a grown man for the first time with their support. Santana, Puck, and the Sharks sing "America" - while Mike and the Jets crash the party. Backstage, Blaine and Rachel grow more nervous for being realistic about their roles, but agree - they can truly do this.
After the show, Kurt meets Blaine on stage and they share a tender moment before leaving to go to Blaine's. Finn freaks out over the recruiter not looking at him seriously, his frustration about his future reaching a peak - which Rachel attempts to bring him down from. As "One Hand, One Heart" is recalled - both couples share their special first time.
No opera dresses, no boats - but lots of love. Until next week, Gleeks.
Pioneer, innovator and the voice of an entire new musical theatre generation coming in the dawning of the age of GLEE, Tony Award recipient and Grammy-winning composer, lyricist and performer Lin-Manuel Miranda has merged the worlds of the two most significant of original American art forms - musicals and rap - in such a striking and surprisingly inventive way with his hit musical IN THE HEIGHTS - currently touring the country - and is setting out to do the same with his fresh collaboration with Pulitzer Prize-winning NEXT TO NORMAL composer Tom Kitt on their new musical BRING IT ON!, currently in previews out of town in Los Angeles as it eyes New York. In addition to discussing the development of IN THE HEIGHTS and BRING IT ON! in detail, Miranda and I also outline his experience working alongside the two modern-day masters of the musical theatre - Stephen Sondheim and the recently deceased Arthur Laurents - on the Spanish translation and new lyrics for the recent bilingual revival of WEST SIDE STORY - in addition to his forthcoming ALEXANDER HAMILTON project, which Miranda recently performed a medley from for President Obama himself at the White House Poetry Jam. As if all of that were not enough, we also delve into his thought process as he sets out to take on one of Sondheim's most challenging roles in all of musical theatre - that of Charley Kringas in MERRILY WE ROLL ALONG at Encores!, under the direction of James Lapine. Plus, news on his new feature film THE ODD LIFE OF TIMOTHY GREEN, as well as recollections of his fondest Broadway shows, scores, cast albums, movie musicals and general musical and theatrical inspirations - and his favorite Shakespeare plays, too - as well as much, much more!
In just a few short years since his sensational debut in Lawrence Kasdan's MUMFORD, rising star Jason Ritter has carved out an impressive indie resume - including noted standouts such as THE EDUCATION OF CHARLIE BANKS, HAPPY ENDINGS and GOOD DICK - in addition to a successful TV career - having appeared in featured roles in JOAN OF ARCADIA and THE CLASS before his leading role on THE EVENT last season - but theatre fans are certainly aware of considerable stage skills, as well, having performed in plays for many esteemed directors and premiering works by the likes of Neil LaBute and Wendy Wasserstein. While there has been the occasional big budget vehicle, too - SWIMFAN and FREDDY VS. JASON included - it is Ritter's fierce commitment to fine storytelling and intriguing projects that make him truly one to watch. Discussing many aspects of his busy career from THE DREAMER OF OZ opposite his iconic father, John - now available on the WIZARD OF OZ Blu-ray box-set - all the way up to his forthcoming films such as THE PERFECT FAMILY co-starring two previous InDepth InterView participants, Kathleen Turner and Sharon Lawrence, plus THE FIVE STAGES OF GRIEF, FREE SAMPLES, an untilled Mark Webber project, I AM I and his new Disney animated series, GRAVITY FALLS. With an emphasis on his theatre background and insights into the currently running LA Theatreworks presentation of COMPLETENESS, Ritter and I shine some light on a career that, based on what we have already seen from him onstage and onscreen, clearly knows no bounds whatsoever. Some people can do it all and do it all brilliantly and Jason Ritter has clearly proven he is one of those select, special few.
Once you enter the world according to Phil Olson, there's no turning back. Be prepared to have a good time, or bust! Their fourth Don't Hug Me musical in a row, Don't Hug Me, I'm Pregnant - they referring to the Olson brothers Phil and Paul - is as usual obscenely silly and over-the-top, but a definite charmer, no matter how tired the pregnant jokes become. Now at the Secret Rose Theatre the show is guaranteed to please and has big bit written all over it. Ya, sure, you betcha!
Barrington Stage Company's world premiere musical 'The Game,' a 'breathtakingly beautiful' adaptation of 'Les Liaisons Dangereuses,' returns to the Berkshires for a second chance at a longer life
Another wonderful evening of song from Kritzerland, Bruce Kimmel's production label, at the Gardenia on Wednesday August 3, this time saluting the music of Harvey Schmidt and Tom Jones, and congrats are in as this show marks Kritzerland's 12th consecutive show in its series at the Gardenia! Schmidt and Jones penned The Fantasticks, I Do! I Do!, among the most famous, and less so: 110 In the Shade, Collette Collage, Celebration and even a musical entitled The Bone Room. On hand to perform were musical director John Boswell and special guest Rex Smith, Lauren Rubin, Michaelia Leigh, Will Collyer, Camille Saviola, Michael Hawkins, 13 year-old Melody Hollis and even Guy Haines - I mean, Bruce Kimmel himself - singing. And I'm here to tell you, he didn't sound half bad! Kimmel as always introduced the evening with interesting composer trivia and anecdotes. The music showcased included well known tunes and lesser known or unfamiliar ones. Schmidt and Jones may not have had the popularity of Rodgers and Hammerstein, Lerner and Lowe, or Kander and Ebb, but one thing is certain they sure did pen some eclectically beautiful songs!
How in the world do Broadway actors do it? I'm talking about the music: how do they sing through the same cast album so many times in a row and be able to get it out of their heads when they're done? I'm plagued by an album-long earworm: the 2009 Revival Cast Recording of one of the greatest musicals of all time: HAIR.
'Who would have thought that a young boy from Weymouth would become part of such a large family of vagabonds,' remarked Hal Holbrook about the actors and industry professionals that gathered to honor him at the 15th annual TONY Award party in Los Angeles. 'Not all of us have been lucky enough to make a steady income from this profession we love so much. It's nice to know an organization such as the Actors Fund exists to watch our backs, while we concentrate on using our craft to make the world a richer place to live,' added Holbrook just after friend and colleague, Sean Penn, presented the accomplished thespian with the Julie Harris Award. Penn, who directed Holbrook in 'Into The Wild,' said 'Hal always got it in the first take, but you wanted him to do it again, just so you could watch him work.'
Diminutive 5' Pia Zadora makes a come back with new act. 'I'm nowhere in my career right now...' Zadora shares, '...except singing.' Zadora combined forces with three-time Emmy-winning director/choreographer Walter Painter and Emmy-nominated writer Jon Macks to create this seamless, steamlined 75-minute act, receiving an exclusive booking at the Rrazz Room in the Hotel Nikko, San Francisco.
In a very short time since his Broadway debut roughly ten years ago, Aaron Lazar has crafted a particularly impressive career consisting of a striking series featured and leading roles in everything from LES MISERABLES and A TALE OF TWO CITIES to THE LIGHT IN THE PIAZZA - and the sensational PBS Live From Lincoln Center telecast of it - to his superb turn as Count Carl Magnus in the recent revival of Stephen Sondheim's A LITTLE NIGHT MUSIC starring Catherine Zeta-Jones and Angela Lansbury to, most recently, Lonny Price's rapturously received presentation of Sondheim's COMPANY: IN CONCERT starring Neil Patrick Harris and Patti LuPone at Lincoln Center - which will soon be seen in 500+ movie theaters nationwide starting in June. In this revealing conversation we discuss all of the aforementioned peformances, as well as what we can expect from the forthcoming Clint Eastwood film J. EDGAR starring Leonardo DiCaprio and Josh Lucas, written by Dustin Lance Black, with Lazar in a featured role, as well as his upcoming dates premiering his new show at Feinstein‘s in June. Before all of that, you can catch Aaron live and in person May 2 at the NY Pops Tribute to Bob Hope, which will also feature performances by Kelli O'Hara, Tom Wopat and many more in addition to a special presentation by Angela Lansbury. More information about the event - and tickets - is available here.
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