A long-time BWW regular, Greg Kerestan is proud to join the staff of his favorite website. Greg is a graduate of Duquesne University and Seton Hill University, where he studied both theatre and English. In his spare time, Greg works as a part-time actor and full-time playwright, lyricist and composer.
Any long-time theatregoer will have horror stories of audiences that got too enthusiastic at a show with well-known music, especially jukebox musicals made up of mostly pre-existing pop tunes. I've known people to hum or outright sing along, whoop, cheer and scream like they're at a concert, or even get up and dance in the aisles. At most shows, this behavior is frowned upon by other audience members, or suppressed by ushers. However, at 'Motown,' the Berry Gordy bio-musical, this engaged behavior is encouraged- hell, it's part of the show. You see, audiences at 'Motown' fill a triplicate role: first, the traditional audience at a play, watching the events unfold through the fourth wall; second, the (in-world) audience watching a Motown retrospective show; finally, the various real, historical audiences at performances by Motown artists, from Parisians getting to hear the first international performances by The Supremes, to a spontaneously integrated audience in the Deep South, at a Motown show interrupted by gunshots.BWW Reviews: TRANS-SIBERIAN ORCHESTRA Opens 'The Christmas Attic' at Consol Energy Center December 17, 2014