Pat Cerasaro - Page 198

Meryl Streep Got Bleeped. So goes the 2012 GOLDEN GLOBES broadcast and its destined subtitle for all time. A gallon of gaffes and a ton of risque fun made the night more memorable for its moments of awkwardness amidst technical tomfoolery, and, the many, many surprises in the winning categories, to make it an award show worth watching - but, at what cost? THE ARTIST, THE DESCENDENTS and Harvey Weinstein productions in general were the cause celebre of the entire affair, all things considered, with everything from MY WEEK WITH MARILYN's Michelle Williams and THE IRON LADY's Meryl Streep to Madonna's W.E. taking home gold. Showtime's HOMELAND took many of the top wins in the TV categories, though some truly sensational and exceedingly superb fan-favorites got their due, too - AMERICAN HORROR STORY's Jessica Lange and GAME OF THRONES's Peter Dinklage both received their rightful trophies for their exceptional work on two of the finest dramas on television (both nominated, but unfortunately losing out to Showtime's tense war drama HOMELAND). Laura Dern's effervescent showing on Showtime's ENLIGHTENED and Kelsey Grammer's brusque and brilliant BOSS also unexpectedly ruffled some probably prognosticator's feathers, as well, with their wins. Steven Spielberg and Martin Scorsese were saluted for THE ADVENTURES OF TIN TIN and HUGO, respectively, showing clear evidence of not one but two long-standing titans of Hollywood remaining at the top of their field for decades with no foreseeable end in sight. While warm-heartedness was sporadic and spicier, spacier fare was more the special of the day, there was plenty of delectable dessert - a gold-flecked tart, let's say - to go around.

Today we are talking to the cultural raconteur, inimitable political commentator and monologue artist Justin Sayre all about the 2012 edition of his solo show THE MEETING, a gathering of the I.O.S. (International Order Of Sodomites), which returns to The Duplex on Thursday, January 19 at 9:30 PM for a spotlight show dedicated to the one and only Dolly Parton. Much like a modern-day Quentin Crisp (who Sayre has saluted in past engagements), Sayre's erudite wit and idiosyncratic views on society have made him one of the hottest names in the downtown experimental theatre scene and in this all-encompassing conversation we discuss his many influences - ranging from Sandra Bernhard to fellow InDepth InterView participant Margaret Cho to Lenny Bruce, Jack Benny, George Carlin and beyond - as well as what we can expect from the upcoming shows in this, THE MEETING's third successful year onstage. Additionally, Sayre shares his views on many of the GLBT issues of today and generously defines camp as he sees it - and his "supernatural instinct" for it - as well as gives us a taste of the utterly unique performance style he employs in his shows that is unmistakably all his own. Plus, Justin's takes on the Kardashians, Michelle Bachmann, Rick Santorum, Sarah Palin and much, much more!

Today, as a special corollary column to this weekend's extensive InDepth InterView with Tony-nominated stage and screen star Constantine Maroulis, we are shining a special spotlight on his career trajectory as he has risen up through the ranks to become one of the most successful alumni of AMERICAN IDOL from humble beginnings in the non-Equity tour of RENT. Since that landmark Pulitzer Prize-winning rock musical, Constantine has carved out a unique niche in the Broadway landscape as one of most charismatic and compelling performers of rock-based musical theatre, who has also shown considerable skills tackling the more diverse scores of shows such as JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS, THE WEDDING SINGER, and, now, THE TOXIC AVENGER, co-composed by the Tony-winning team behind MEMPHIS comprised of Bon Jovi's David Bryan and Joe DiPietro. Of course, no Constantine-centric conversation would be complete without a thorough look at his unforgettable turn in the hit 80s rock jukebox musical ROCK OF AGES, the expanded film adaptation of which he will be taking to the big screen later this year. RENT to IDOL to TOXIC AVENGER and beyond, Constantine Maroulis is one of the brightest shining new Broadway stars of the 21st century and it will be a treat to see and hear TOXIC AVENGER as it sets its sights on the Great White Way.

On Friday, I had the enviable privilege of talking to ROCK OF AGES Tony Award nominee and AMERICAN IDOL star Constantine Maroulis all about the new musical he is starring in at the Alley Theater in Houston as it eyes Broadway, THE TOXIC AVENGER. In addition to discussing all aspects of the science fiction-themed musical spoof and its creators, David Bryan and Joe DiPietro - of MEMPHIS fame - Maroulis and I also take a look back at his career onstage thus far and his essaying of roles in RENT, JESUS CHRIST SUPERSTAR, THE WEDDING SINGER and JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS and ROCK OF AGES, as well as what we can expect from him in the future, near and far. Additionally, he shares his reflections on appearing on AMERICAN IDOL Season 4 and being mentored by fellow InDepth InterView participant Simon Cowell, as well as the immense impact that that entertainment entity, along with GLEE, has had on a whole new generation of theatregoers in the 21st century. Plus, Constantine clues us in to the exciting expansions that have been made to ROCK OF AGES for the forthcoming feature film version that he makes an appearance in, directed by HAIRSPRAY's Adam Shankman, and also shares his experiences recording the ASTEP benefit album A NEW YORK CITY CHRISTMAS, his new role as a dad and much, much more!

The ultra-starry cast for the upcoming feature film version of the international smash musical sensation LES MISERABLES finally got one step closer to finding its Eponine and Cossette this week, as offers have gone out to pop music superstar Taylor Swift and breakout screen starlet Amanda Seyfried for the hotly anticipated Tom Hooper adaptation of the tuner which will also star Hugh Jackman and Russell Crowe as Jean Valjean and Javert, respectively, Anne Hathaway as Fantine and Tony-winner Eddie Redmayne as Marius. While Seyfried is perhaps best known to Broadway babies for her lovable and memorable turn in the role of Meryl Streep's daughter in the ABBA jukebox movie musical MAMMA MIA!, Swift has displayed her ample affection for all things theatrical with her recent Broadway-themed SPEAK NOW tour as well as her memorable appearance on SATURDAY NIGHT LIVE and on concert stages around the world. Both ladies certainly have the musical chops to take on these much-beloved Broadway roles - even if the soundtrack is to actually be recorded live on set, as the director himself has confirmed he intends to do - and, while neither Swift nor Seyfried has been officially confirmed by the producers as of this writing, both appear to more than merely satisfy the complex casting necessities for the standout roles and the overall younger-sided casting of the feature film adaptation so far. Yet, no matter how fantastic they may turn out to be in the finished final film, it sure will be difficult to manage to make much of an impression with a cast as impossibly accomplished as the one assembled for this film up until now - Jackman, Crowe, Hathaway, Redmayne, Aaron Tveit, Helena Bonham Carter and Sacha Baron Cohen included! Plus, who knows what new musical numbers Alain Boublil and Claude-Michel Shonberg are cooking up - and what characters shall sing them?! Whatever comes to pass, Christmas 2012 will be all about LES MISERABLES: THE MOVIE MUSICAL for Broadway babies everywhere - many of whom who have been waiting for this moment (and this movie) to arrive for over 20 years! Let's hope it was worth the wait! Until then, we have this look and listen to what made these ladies oh-so right for the roles. After all, less than 360 days remain until the big 24601!

Today we are taking a look at the very best theatre-related entities in a variety of different categories - books, music, television, film, and, of course, theatre - as we look back on 2011 and all of the many marvelous moments of excitement, passion, joy and exultation that only theatre and theatre-related projects can possibly hope to provide. From Stephen Sondheim's LOOK, I MADE A HAT on the bookshelves of every Broadway baby worth their weight in sequins to Neil Patrick Harris and Patti LuPone in Sondheim's COMPANY on the big screen courtesy of Fathom to the stunning Broadway revival of FOLLIES starring Bernadette Peters and its tremendous new cast album, all the way to the thrills and chills of Andrew Lloyd Webber's PHANTOM OF THE OPERA LIVE AT THE ROYAL ALBERT HALL on the big screen and Blu-ray to the BOOK OF MORMON breaking Broadway records and even TV's best drama and comedy, both from mastermind Ryan Murphy - GLEE and AMERICAN HORROR STORY. Plus, we also have top film picks in the categories of Drama and Comedy, as well as the best of the best of them all, with Lars Von Trier's apocalyptic masterpiece MELANCHOLIA, George Clooney's play adaptation THE IDES OF MARCH and the 80s music video stylized thriller/drama DRIVE topping the list. All of that and a whole lot more awaits in this all-encompassing look back at the theatrical highlights in all entertainment realms in 2011, as well as a look ahead to what we cannot wait for in 2012!

Today, as a well-earned holiday surprise for all of the millions of Broadway babies who read Broadway World all year long, we have a sneak preview of next year's upcoming InDepth InterView with leading lady stage superstar Sierra Boggess, best known to Broadway and West End audiences for her creation of the title role in THE LITTLE MERMAID, as well as originating the role of Christine in both PHANTOM VEGAS - the Las Vegas iteration of the international sensation THE PHANTOM OF THE OPERA, directed by original helmer Hal Prince - and LOVE NEVER DIES, the recent Andrew Lloyd Webber-penned musical sequel to the original thriller/romance tuner, as well as her most recent essaying of the role in the absolutely phantastic 25th anniversary production THE PHANTOM OF THE OPERA AT THE ROYAL ALBERT HALL, which will be released on Blu-ray and DVD in the US in 2012. Before we get to all about PHANTOM 25 - lest we forget, Ms. Boggess was also generous enough to tell us all about the show when it was still in rehearsals (you can read that chat here) - Boggess shares her affection for another recent InDepth InterView participant who shared the stage with her at the thrilling encore for PHANTOM 25 - the one and only Phantom of legend himself, Michael Crawford, as well as all about her participation in the yearly ASTEP charity concert CHRISTMAS IN NEW YORK CITY and the cast recording of it featuring herself along with Raul Esparza, Andy Karl, Orfeh, Constantine Maroulis and many more! Plus, insight into her preparations for her next Broadway role, that of Rebecca in the lavish stage spectacular REBECCA and much, much more!

Stage and screen superstar Scarlett Johansson is known to most theatre fans for her tremendous work in the recent revival of Arthur Miller's A VIEW FROM THE BRIDGE, directed by Gregory Mosher and co-starring fellow InDepth InterView participant Liev Schreiber, for which she rightly took home the 2010 Tony Award for Best Featured Actress In A Play. Before then, Johansson was perhaps best known for her leading role in Sofia Coppola's moving contemporary drama LOST IN TRANSLATION, co-starring Bill Murray, as well as for her featured roles in some big-budget Hollywood films with top-tier talent and directors - THE PRESTIGE with Christopher Nolan (co-starring Christian Bale and Hugh Jackman), THE BLACH DAHLIA with Brian DePalma, THE ISLAND with Michael Bay (co-starring Ewan MacGregor), THE SPIRIT with Frank Miller; as well as a string of quirky and unique independent films such as GHOST WORLD, A LOVE SONG FOR BOBBY LONG and her unforgettable work in THE HORSE WHISPERER under the guiding force of director Robert Redford. Since then, she has become a franchise superhero superstar thanks to her role in the international smash hit IRON MAN 2, co-starring Robert Downey, Jr. and Samuel L. Jackson, both of whom she reteams with in this Spring's tent-pole entertainment attraction THE AVENGERS, directed by BUFFY THE VAMPIRE SLAYER and occasional GLEE-helmer Joss Whedon, which also features Mark Ruffalo, Chris Hemsworth, Jeremy Renner and Chris Evans as the classic Marvel comic book heroes. Today marks the opening night of her newest feature film, WE BOUGHT A ZOO, directed by Cameron Crowe and co-starring Matt Damon and Thomas Haden Church, which finds Scarlett back in familiar territory - after all, she is celebrated by many entertainment enthusiasts for her sterling, unsurpassed work in three highly-acclaimed and endlessly enjoyable Woody Allen films: MATCH POINT, SCOOP and VICKY CRISTINA BARCELONA. In celebration of WE BOUGHT A ZOO, today we shall shine a special solo spotlight on one of the brightest stars on Broadway or in Hollywood who is sure to delight us in theaters and on screens for many years to come - she has already been legitimately acting for nearly 20 years of her 27 on earth, after all. So, whether stage or screen, comedy or drama, music or mime, Scarlett Johansson can clearly do it all and we will sample some of the best clips from her career so far as we look forward to WE BOUGHT A ZOO, THE AVENGERS and everything else that is next for her in her rise to the top ranks of Broadway and Hollywood.

Discussing all aspects of her sensitive, charming and emotional new collection of songs, MY LIFELONG LOVE, today we are talking to composer Georgia Stitt, a uniquely gifted artist whose moving new album is an ideal representation of the many facets of her songwriting abilities as well as a portal into her own genre-spanning inspirations and projects from which a number of these songs are culled - many musicals included! In addition to all about MY LIFELONG LOVE and the fabulous Broadway personalities appearing on it - such as Jessie Tyler Ferguson, Susan Egan, Shoshana Bean and Brian D'Arcy James - Stitt also illustrates how her personal life and role as a mother to two daughters has influenced her craft and career, as well as what we can expect from her in the future - like the new jukebox musical, HELLO! MY BABY, and the original musical, BIG RED SUN. Plus, working on the recording of the new ballet, THE TRUMPET OF THE SWAN, with her husband, Tony-winner Jason Robert Brown; music directing and acting as vocal coach on AMERICA'S GOT TALENT and GREASE: YOU'RE THE ONE THAT I WANT, an overview of the musicals she is working on currently - and much, much more!

For all those silver and golden Broadway babies, young and green gleeks and plain old all-around entertainment enthusiasts of any age on your holiday shopping lists this year, today we have a SOUND OFF Special Edition 2011 Giving Gifts Guide sure to fulfill the wants, wishes, dreams and desires of your nearest and dearest theatre-loving family and friends with a white and red spotlight on the absolute essential must-haves for this holiday season! Among the festivities: we have GLEE taking on Joni Mitchell and Elvis; two charity albums benefiting arts-related causes and featuring Broadway's best; the most spectacular production of PHANTOM OF THE OPERA you are ever likely to see; candles coming in the six scents from THE SOUND OF MUSIC's beloved "My Favorite Things"; and, of course, Sondheim's massive new tome of the lyrics from the second act of his career - "with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany," no less - topping the list at #1! Plus, the most important gift of all!

Controversy is never too far offstage in any Simon Cowell production - manufactured, actual or otherwise - and the debut season of the US edition of his international smash reality singing competition THE X FACTOR on Fox has been overloaded with drama, meltdowns, breakdowns and buckets of tears. Stars have been made and dreams have been broken - par for the course, as always, on a singing show like this. Yet, no one on the show, whether judge or participant - no, not even Paula Abdul, Rachel Crow or the flasher himself - has been met with the irate hate and all-around ire of fans and critics alike quite like new judge Nicole Scherzinger. Sure, Simon cajoles her and criticizes her too much - to much winning effect - amping up the competition amongst the four judges, as is his wont - and, really, that's the whole hook of the show, anyway. The ex-Pussycat Dolls front-woman (remember 'Don't Cha'?), Scherzinger has had middling success in her solo career post-Pussycats in the US, yet she has racked up #1 hits overseas, and, had her last album not been plagued with stateside release issues, perhaps there would be a larger audience more aware of her repertoire and irreproachable talent here on these shores. Alas, many are meeting her for the first time in her new role as an X FACTOR judge - responsible for the most difficult category, no less; the Over 30s - and perhaps that is not the best light to make first impressions under. No matter what her judging abilities are, the girl can clearly sing - and sing well - which is more than can be said of many in similar roles on other singing-centered shows (or even this one). In addition to that, she has shown a remarkable stage presence - particularly in her essaying of the role of Maureen (made famous in the original Broadway cast by WICKED Tony Award winner Idina Menzel) in RENT at the Hollywood Bowl, directed by Neil Patrick Harris - and, even more recently, has displayed her legit side with her stunning performance of the title song from Andrew Lloyd Webber's PHANTOM OF THE OPERA - alongside four famous Phantoms - at the Royal Variety Performance last week for the queen. Just last night, Scherzinger took center stage on the X FACTOR's results show to sing her surprisingly strong new single, 'Pretty' - an episode which also saw the final remaining contestant under her tutelage remaining in the competition, Josh Krajcik, survive another week and make it into the Top 4 - and proceeded to positively set the night alight. Haters can hate, but Scherzinger undoubtedly proved any naysayers wrong insofar as her fierce talent and reason for appearing on the show as a judge is concerned - no question. Post-Pussycat Dolls, Scherzinger seems to be flying high - lest we forget: she also won DANCING WITH THE STARS early last year - and the stages of New York and London seem a perfect place for her to show off her considerable triple-threat abilities in the future, whether near or far. Plus, if she can make it in show business with that last name, you have to at the very least appreciate her striving for authenticity at all times - like it or not. Scherzinger not only sings like an angel, she looks like one, too. She is the whole package and definitely possesses the X factor - and maybe a Y and Z, too.

John Logan, the playwright responsible for the Mark Rothko-inspired 2010 Tony Award winner for Best Play, RED, is also a name familiar to movie buffs around the world who may very well have enjoyed his considerable contributions to cinema - among them, the screenplays for 2000 Best Picture Oscar-winner GLADIATOR (directed by Ridley Scott), Oliver Stone's ANY GIVEN SUNDAY, Martin Scorsese's THE AVIATOR, Tim Burton's film adaptation of Stephen Sondheim's SWEENEY TODD: THE DEMON BARBER OF FLEET STREET (2008 Golden Globe winner for Best Picture, Musical Or Comedy) and many more. Discussing his collaborations with those lauded directors as well as his work for the stage - going all the way back to his Chicago roots - Logan and I also touch on some of his incredibly exciting upcoming projects - the new Sam Mendes James Bond film, SKYFALL; the Ralph Fiennes-directed adaptation of Shakespeare's CORIOLANUS; Martin Scorsese's critically lauded HUGO, now in theaters; and, Steven Spielberg's forthcoming biopic of LINCOLN, co-written with Tony Kushner and starring Daniel Day-Lewis. Additionally, Logan illustrates his appreciation for RED Tony-winning leading man Eddie Redmayne, who also starred in the Kathryn Bigelow-directed HBO pilot of Logan's aborted Broadway-themed musical series, A MIRACULOUS YEAR. All of that, plus early casting ideas for Sweeney and Mrs. Lovett, as well as much, much more!

A television staple since the very beginnings of the format, the Christmas episode is a tried and true trope of TV this time of year and no show promises more hatfuls of holiday cheer and buckets of glee more than, well, GLEE does - and, last night, on the seasonally-themed "Extraordinary Merry Christmas" (titled after one of the two new original songs penned for the episode), GLEE was a cool, neon blue star in the oft-midnight black galaxy - one far, far away, evidently; especially given the Chewbacca cameo and STAR WARS CHRISTMAS SPECIAL nods - of network TV today (or ever, for that matter). Capturing the copious charm of the cast and commonalities of the holidays among us all, the Matthew Morrison-directed Christmas special was a jolly Santa, his decked-out sleigh and all the merry reindeer to go along with them. Positively overflowing with song selections from the simply spectacular GLEE: CHRISTMAS VOLUME 2 - available now - last night's GLEE was not only a holiday music lover's and gleek's dream, but it also came with a maraschino cherry on top for the Broadway babies among us - THE SOUND OF Music's "My Favorite Things"; sung in Summer in the famous Rodgers & Hammerstein show and Robert Wise film version, the song has nevertheless become widely associated with the season due in no small part to Barbra Streisand's unforgettable inclusion of it on her peerless 1967 classic, A CHRISTMAS ALBUM. "Extraordinary Merry Christmas" also gave Sue Sylvester some room to exact her ongoing revenge - and redemption - while the rest of the episode contained a multitude of New Directions-centric plot developments, surprises and, of course, seriously Santa-friendly musical numbers - all, fascinatingly enough, with an all-inclusive (and, even, religion-friendly; in Rory's nativity story scene) style. Not that Judy Garland's Christmas classic special wasn't paid as much homage as Santa and the baby Jesus were - as we should always expect from GLEE - because it was. More on that in a moment. So much to discuss!

Today we have a super-special triple-focus Flash Friday dedicated not only to two of the top-tier talents in the entertainment history ever - Judy Garland and Michael Crawford - but, also, to the ever-lasting entity through which they are now, forever, inextricably linked - THE WIZARD OF OZ. Of course, Judy Garland famously starred in the original 1939 film adaptation of the L. Frank Baum children's classic, but, just this past year, Andrew Lloyd Webber, Tim Rice and Jeremy Sams adapted the classic film for the stage to much success and added a number of significant new songs to the Harold Arlen/E.Y. Harburg score. Be sure to catch my exclusive InDepth InterView with Michael Crawford that went live earlier this evening to read all about the new stage spectacular, as well as his affection for Judy Garland in the original film and some of his own favorite Christmas and holiday songs. Additionally, next Tuesday GLEE will be paying tribute to Judy Garland in the form of a mid-1960s-style TV Christmas special homage, so now is certainly as good a time as any to look back at the unparalleled performance of Garland in THE WIZARD OF OZ - for which she won a juvenile Academy Award - as well as her 1963 Christmas special which featured guest performances by Mel Torme, Liza Minnelli and more! So, make this a truly Mikey & Judy holiday season - as opposed to Mickey & Judy one - with this spotlight on Michael Crawford and Judy Garland and both their OZ-ian and Christmas connections - and a GLEE-ful surprise or two, too. After all, 'tis the season!

If only for originating the title role in the longest-running and most successful musical in world history - THE PHANTOM OF THE OPERA - which is merely one of the many impossibly impressive moments in a fifty-year career that truly defies description - Michael Crawford is known and loved the world over. From the Broadway and West End stage to the concert stage; the recording studio to the movie studio; performing everywhere imaginable - he has conquered it all. In a resume-spanning conversation that takes us from Broadway to Hollywood and to the stage of the London Palladium where he is now starring as the eponymous WIZARD OF OZ in Andrew Lloyd Webber's new theatrical adaptation of the classic film, Crawford and I take a look back at his many notable stage roles - among them, BILLY, BARNUM, DANCE OF THE VAMPIRES and, most recently, Andrew Lloyd Webber's THE WOMAN IN WHITE - and he also generously shares stories and recollections of the esteemed figures he has collaborated with over the years, including Barbra Streisand, John Lennon, Oliver Reed, David Foster, Stephen Sondheim, Hal Prince, Sarah Brightman and many more! Additionally, Crawford shares his insightful opinions on the state of theatre today and how it has changed over the course of his decades spent in show business, as well as looks ahead to returning to the concert stage following his departure from THE WIZARD OF OZ in the West End in February. So, catch Crawford while you can - and your little dog, too!

The long-awaited return of Trouty Mouth himself - Chord Overstreet; singing Toby Keith's "Red Solo Cup", no less - was only the beginning of the big moves and even bigger events of last night's epic GLEE "Sectionals" episode. Yes, this year's sectionals competition certainly spelled a vast departure from less successful years' past and seeing and hearing New Directions taking on the vaunted catalog of Michael Jackson was the convergence of two true blue pop culture institutions coming together and making musical magic at long, long last - from "ABC" to "Man In The Mirror". Michael's sister Janet got her hotly anticipated GLEE treatment, as well, in the form of a syncopated and spirited "Control", during the stylishly executed Jackson tribute sequence. For the Broadway babies amongst the gleeks, we also were treated to an EVITA homage from Ohio's rival glee group, the Unitards, led by GLEE PROJECT's Lindsay Pearce. In addition to Finn and Rachel's discovery of White Chocolate (aka Sam) making ends meet as a stripper - as well as their subsequent reclaiming of him back to McKinley High and to the ranks of New Directions - "Sectionals" proved to be a strong and satisfying end to the journey of Season Three: Part 1 and next week's Christmas episode seems poised to provide ample entertainment value over the rushed tying up of loose dramatic ends as the series prepares to go on a brief hiatus until February. "Sectionals" displayed the continued rise to prominence - musical, dramatic and otherwise - of some featured players to the top of the star ranks and afforded Chord Overstreet and Darren Criss in particular with some delectable dramatic and musical moments - providing a distinct parallel to off-stage/off-show realities; Criss having become the biggest GLEE breakout star of all in a very short span of time - with Harry Shum, Jr. and Jenna Ushkowitz given solo moments to shine, as well. So, too, did Dianna Agron get her dramatic due at long last and her bumpy and grumpy story arc for Season 3 seems to be finding its footing and justification in the overall themes of the consistently strong season - her particularly well-delivered and delicately measured scene with Idina Menzel's Shelby (the adoptive mother to Quinn and Puck's baby, Beth) being a dramatic highlight of the season so far. So, too, was Finn and Blaine's scene in the gym an understated and sensitive reading of this episode's particularly smart and sharp script. Lea Michele continues to get short shrift in the musical department, but her leading of Fun.'s "We Are Young" was a welcome reminder of her golden instrument. So, while there were definitely many dramatic moments to remember in "Sectionals", the music - as always and forever - was the central delight and the payoff of the pairing of GLEE and the music of Michael Jackson (and Janet) was generally well worth the wait.

The premiere of a new Lady Gaga music video is always a cause celebre for entertainment lovers of any sort, but earlier today Gaga gave us a truly theatrical - and totally, wildly, adorably surreal - early Christmas treat of epic proportions in the form of the short film "Marry The Night". Part TOMMY, part David Lynch-ian fever dream, part throwback music video, with the rest unmistakably, unquestionably and undoubtedly all Gaga. Directed by Gaga herself, the "Marry The Night" music video puts into question the term itself - much like Kanye West's exquisite mini-movie musical treatment of eight of his songs from his Grammy-nominated opus MY BEATIFUL DARK TWISTED FANTASY in the form of the "Runaway" short film/music video from late last year - and, now, once again, Gaga has redefined not only the genre she is working in, but the entire music and theatre game itself. Daring, edgy, avant garde and more bizarre than anything you are likely to see at any multiplex this weekend - let alone on sweet, safe Broadway - the "Marry The Night" film is nothing short of Gaga firing on all axels - in this case, literally - and setting the stage afire with her fierce, determined conviction to following her own oh-so-idiosyncratic vision through to its ultimate - and oft-ugly; and, just as often, gorgeous - end. Actually, ends are what this video is about in many ways - from asses to hosannas. This isn't your mama's music video - or Madonna's, either (a trait which has been ascribed to Gaga videos past) - but what it is is the most over-the-top theatrical and unabashedly excessive - and best - music-related film of the year. Just don't call it a music video.

Last night, I spoke to two-time Tony-winner Katie Finneran all about her new Fox sitcom I HATE MY TEENAGE DAUGHTER, co-starring Jaime Pressly, which premiered yesterday at 9:30 PM. Additionally, Finneran and I discuss her recent role in the terrific live performance film adaptation of Stephen Sondheim's COMPANY, co-starring Neil Patrick Harris and Patti LuPone, and we also take a look back at her two Tony-winning Broadway roles from earlier this decade - the lauded Jeremy Sams revival of the comedy NOISES OFF, as well as Rob Ashford's revival of the Burt Bacharach/Hal David/Neil Simon PROMISES, PROMISES. Also, Finneran describes the feeling of reaching a career peak such as she has achieved this year - a new Tony Award, the COMPANY film and headlining a sitcom of her own - and also relates how her role as a new mom has influenced her participation on the battle-of-the-generations comedy. All of that - plus, reminiscences of working on DAMAGES, OZ, roles she would like to play in the future (Dolly, Mame and The Baker's Wife included) and much, much more!

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.

Having composed the musical scores for some of the biggest films of the century so far, Alexandre Desplat has displayed an uncanny ability to tap into the thoughts, emotions and even the very dramatic themes inherent in properties as diverse as - just to use his most recent projects as examples - TWILIGHT: NEW MOON, HARRY POTTER & THE DEATHLY HALLOWS, Roman Polanski's THE GHOST WRITER and CARNAGE, Stephen Daldry's upcoming EXTREMELY LOUD AND INCREDIBLY CLOSE, George Clooney's THE IDES OF MARCH (another stage-to-screen adaptation like CARNAGE), Terrence Malick's THE TREE OF LIFE, as well as the main theme for MY WEEK WITH MARILYN - performed on the soundtrack by noted pianist Lang Lang. Discussing all aspects of his compositional process as well as outlining his interactions with the respective directors of each entity - his ongoing collaboration with Roman Polanski, first and foremost - Desplat and I delve into the delicate art of film composing and how he has achieved such great success and international acclaim for his incredibly impressive work on a heady list of projects in a relatively short period of time - last year's Best Picture Oscar-winner THE KING'S SPEECH included. Desplat and I also touch on some of his own favorite film composers and he shares his opinions on Broadway and Hollywood music icons such as Bernstein, Sondheim, Cole Porter, Michel Legrand, fellow Modern Music Master Mark Isham and also sheds some light on his plans for the future - and much, much more!