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Photo Flash: THE LION IN WINTER Roars onto the Theatre Memphis Lohrey Stage
by Nora Dominick - Memphis
(01/19/2016) - The Lion in Winter by James Goldman reigns over the Lohrey Stage at Theatre Memphis January 22 - February 7, 2016. As historical fiction this modern classic pits Queen Eleanor of Aquitaine (after a decade of imprisonment for her part in a rebellion) against her husband King Henry II of England, Eleanor arrives at court during a Christmas furlough and proceeds to scheme to challenge the King's authority and his choice of heir to the throne. The fray engulfs their three sons and French royalty who all lay claim to rule.
by Nora Dominick - Memphis
(01/19/2016) - The Lion in Winter by James Goldman reigns over the Lohrey Stage at Theatre Memphis January 22 - February 7, 2016. As historical fiction this modern classic pits Queen Eleanor of Aquitaine (after a decade of imprisonment for her part in a rebellion) against her husband King Henry II of England, Eleanor arrives at court during a Christmas furlough and proceeds to scheme to challenge the King's authority and his choice of heir to the throne. The fray engulfs their three sons and French royalty who all lay claim to rule.
Photo Flash: Meet the Cast of GCT's MIRACLE ON 34TH STREET: A LIVE RADIO PLAY
by BWW News Desk - Memphis
(11/16/2015) - Germantown Community Theatre invites MidSouth families to gather and enjoy this 1940's style radio play presented live on the GCT stage. BroadwayWorld has a sneak peek at the cast of MIRACLE ON 34TH STREET below!
by BWW News Desk - Memphis
(11/16/2015) - Germantown Community Theatre invites MidSouth families to gather and enjoy this 1940's style radio play presented live on the GCT stage. BroadwayWorld has a sneak peek at the cast of MIRACLE ON 34TH STREET below!
BWW Review: CINDERELLA Enchants at Memphis Orpheum
by Caroline Sposto - Memphis
(10/15/2015) - CINDERELLA is the only Rodgers and Hammerstein musical that was originally written for television. Its first performance was broadcast live on CBS on March 31, 1957 as a vehicle for Julie Andrews, who played the title role. It was subsequently remade for television twice. The 1965 version starred Lesley Ann Warren, and the 1997 one starred Brandy Norwood.
by Caroline Sposto - Memphis
(10/15/2015) - CINDERELLA is the only Rodgers and Hammerstein musical that was originally written for television. Its first performance was broadcast live on CBS on March 31, 1957 as a vehicle for Julie Andrews, who played the title role. It was subsequently remade for television twice. The 1965 version starred Lesley Ann Warren, and the 1997 one starred Brandy Norwood.
BWW Interview: Delving into the Mind of Actor Delvyn Brown
by Caroline Sposto - Memphis
(10/12/2015) - Last spring I sat with a rapt audience seeing Levi Frazier, Junior's new play For Our Freedom and Yours, a one-man show is based on the life of Ira Frederick Aldridge, a 19th Century African American actor who, against all odds, achieved a distinguished stage career during the era of slavery. The drama takes place on the evening of August 7, 1867 in Lodz, Poland.
by Caroline Sposto - Memphis
(10/12/2015) - Last spring I sat with a rapt audience seeing Levi Frazier, Junior's new play For Our Freedom and Yours, a one-man show is based on the life of Ira Frederick Aldridge, a 19th Century African American actor who, against all odds, achieved a distinguished stage career during the era of slavery. The drama takes place on the evening of August 7, 1867 in Lodz, Poland.
BWW Reviews: Poignant Palmers Ace The Gin Game
by Caroline Sposto - Memphis
(09/28/2015) - Two lonely people find each other in a nursing home, they hit it off, and a congenial conversation leads to a series of card games. But in that sequestered and artificial world, low stakes become high. When one's life is over, without being over, what else could happen? Both characters are complex, vulnerable, and proud. With each hand, their regrets and hostilities rise to the surface.
by Caroline Sposto - Memphis
(09/28/2015) - Two lonely people find each other in a nursing home, they hit it off, and a congenial conversation leads to a series of card games. But in that sequestered and artificial world, low stakes become high. When one's life is over, without being over, what else could happen? Both characters are complex, vulnerable, and proud. With each hand, their regrets and hostilities rise to the surface.
Photo Coverage: Sneak Peek at THE SOUND OF MUSIC National Tour Meet & Greet Starring Ashley Brown, Ben Davis and More!
by Walter McBride - Broadway
(09/03/2015) - A brand new production of THE SOUND OF MUSIC, directed by three-time Tony Award winner Jack O'Brien, hits the road for a national tour. This lavish new production launches this September at the Ahmanson Theatre in Los Angeles, under the auspices of the Center Theatre Group, and will then tour North America for multiple seasons, playing multi-week and week-long engagements. BroadwayWorld brings you shots of the meet and greet below!
by Walter McBride - Broadway
(09/03/2015) - A brand new production of THE SOUND OF MUSIC, directed by three-time Tony Award winner Jack O'Brien, hits the road for a national tour. This lavish new production launches this September at the Ahmanson Theatre in Los Angeles, under the auspices of the Center Theatre Group, and will then tour North America for multiple seasons, playing multi-week and week-long engagements. BroadwayWorld brings you shots of the meet and greet below!
BWW Reviews: MOTOWN the Musical at Memphis Orpheum
by Caroline Sposto - Memphis
(07/16/2015) - I grew up on vinyl records, 'hit parades' and transistor radios tuned to the AM dial. I love Motown Music. But I felt skeptical about a breezy staged extravaganza about Berry Gordy's mercurial career. Five minutes into the opening medley, this stunning production won me over. This is NOT your assembly line jukebox musical!
by Caroline Sposto - Memphis
(07/16/2015) - I grew up on vinyl records, 'hit parades' and transistor radios tuned to the AM dial. I love Motown Music. But I felt skeptical about a breezy staged extravaganza about Berry Gordy's mercurial career. Five minutes into the opening medley, this stunning production won me over. This is NOT your assembly line jukebox musical!
BWW Features: Jill Guyton Nee Brings Momemtum to Memphis
by Caroline Sposto - Memphis
(06/17/2015) - I first met Jill Guyton Nee last fall shortly after she arrived at the University of Memphis as an Associate Professor and Director of Dance. Exceedingly youthful, unassuming, and softspoken, this award-winning perfomer and choreographer has brought fresh focus and energy not only to the U of M Deparment od Theatre & Dance, but also to the local arts scene.
by Caroline Sposto - Memphis
(06/17/2015) - I first met Jill Guyton Nee last fall shortly after she arrived at the University of Memphis as an Associate Professor and Director of Dance. Exceedingly youthful, unassuming, and softspoken, this award-winning perfomer and choreographer has brought fresh focus and energy not only to the U of M Deparment od Theatre & Dance, but also to the local arts scene.
Photo Flash: Sneak Peek at Diana DeGarmo and More in Studio Tenn's THE WIZARD OF OZ
by Christina Mancuso - Memphis
(06/12/2015) - After wrapping up the highly-acclaimed JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT tour, which she co-starred in alongside husband Ace Young, Diana DeGarmo will lead the cast of Studio Tenn's upcoming production of THE WIZARD OF OZ June 13 and 14. Check out a sneak peek behind the scenes below!
by Christina Mancuso - Memphis
(06/12/2015) - After wrapping up the highly-acclaimed JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT tour, which she co-starred in alongside husband Ace Young, Diana DeGarmo will lead the cast of Studio Tenn's upcoming production of THE WIZARD OF OZ June 13 and 14. Check out a sneak peek behind the scenes below!
Photo Flash: First Look at TSC's A MIDSUMMER NIGHT's DREAM
by BWW News Desk - Memphis
(06/04/2015) - Tennessee Shakespeare Company, in partnership with the University of Memphis' Department of Theatre and Dance, presents Shakespeare's comedy A Midsummer Night's Dream directed by Stephanie Shine, beginning tonight, June 4, and playing through June 21 at the U of M's Theatre located on Central Avenue. BroadwayWorld has a first look at the cast in action below!
by BWW News Desk - Memphis
(06/04/2015) - Tennessee Shakespeare Company, in partnership with the University of Memphis' Department of Theatre and Dance, presents Shakespeare's comedy A Midsummer Night's Dream directed by Stephanie Shine, beginning tonight, June 4, and playing through June 21 at the U of M's Theatre located on Central Avenue. BroadwayWorld has a first look at the cast in action below!
BWW Reviews: KINKY BOOTS is a Kick in the Pants!
by Caroline Sposto - Memphis
(05/26/2015) - Tim Firth and Geoff Deane first picked up the true story of W J Brooks and Co., a fifth generation Northamptonshire shoe factory that survived the 1990's by switching from classic brogues to footwear for drag queens after cheap imports flooded the market. The 2005 film Kinky Boots starred Joel Edgerton as factory owner Charlie Price.
by Caroline Sposto - Memphis
(05/26/2015) - Tim Firth and Geoff Deane first picked up the true story of W J Brooks and Co., a fifth generation Northamptonshire shoe factory that survived the 1990's by switching from classic brogues to footwear for drag queens after cheap imports flooded the market. The 2005 film Kinky Boots starred Joel Edgerton as factory owner Charlie Price.
Photo Flash: First Look at Diana DeGarmo as 'Dorothy' in Studio Tenn's THE WIZARD OF OZ
by Tyler Peterson - Broadway
(05/12/2015) - After wrapping up the highly-acclaimed JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT tour, which she co-starred in alongside husband Ace Young, Diana DeGarmo will lead the cast of Studio Tenn's upcoming production of THE WIZARD OF OZ. Below, check out a first look at the stage and AMERICAN IDOL veteran in costume, which she posted to Instagram just earlier today!
by Tyler Peterson - Broadway
(05/12/2015) - After wrapping up the highly-acclaimed JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT tour, which she co-starred in alongside husband Ace Young, Diana DeGarmo will lead the cast of Studio Tenn's upcoming production of THE WIZARD OF OZ. Below, check out a first look at the stage and AMERICAN IDOL veteran in costume, which she posted to Instagram just earlier today!
Photo Flash: First Look at Theatre Memphis' RAPTURE, BLISTER, BURN
by Tyler Peterson - Memphis
(04/13/2015) - A 2013 Pulitzer Prize finalist fresh from off-Broadway, the regional premiere of Rapture, Blister, Burn, by Gina Gionfriddoushers into the Next Stage at Theatre Memphis and runs April 3 - 19, 2105.
by Tyler Peterson - Memphis
(04/13/2015) - A 2013 Pulitzer Prize finalist fresh from off-Broadway, the regional premiere of Rapture, Blister, Burn, by Gina Gionfriddoushers into the Next Stage at Theatre Memphis and runs April 3 - 19, 2105.
BWW Reviews: Theatre Memphis' RAPTURE, BLISTER, BURN - 'Blistered Sisters'
by Joseph Baker - Memphis
(04/13/2015) - While watching the Next Stage production of Gina Gionfriddo's RAPTURE, BLISTER, BURN at Theatre Memphis, I was reminded of John Van Druten's screenplay for the 1943 Warner Brothers film OLD ACQUAINTANCE. It was one of those 'women pictures' which provided thespic opportunities for the likes of actresses like Bette Davis and Miriam Hopkins, who, in fact, were the lead players in this particular film. In their youth, the two women had been friends, but as their paths parted in life, the Davis character, brittle and alone, became a critically acclaimed (if financially challenged) author, while the Hopkins character, finally penning a bestseller (trash that it is, it rakes in the 'big bucks'), jealously desires what Davis has. I couldn't help thinking, if Gionfriddo's RAPTURE had fallen into the hands of a director like Vincent Sherman, I could see Davis as the 'Catherine Croll' character, who, despite national recognition and an evidently fulfilling career, begins to have doubts about her life choices. (If you've ever seen the famous car scene in Joseph L. Mankiewicz's ALL ABOUT EVE, also starring Davis, you'll hear the character of stage actress 'Margo Channing' lament what a woman gives up when she devotes herself entirely to a career: I wonder if this very scene influenced Ms. Gionfriddo in her characterizations.) The other character, 'Gwen,' would obviously have been given over to Hopkins, who would have shone as the once promising woman who jettisoned her own burgeoning promise to marry 'Don Harper,' who once had been Catherine's intended (George Brent, anyone?).
by Joseph Baker - Memphis
(04/13/2015) - While watching the Next Stage production of Gina Gionfriddo's RAPTURE, BLISTER, BURN at Theatre Memphis, I was reminded of John Van Druten's screenplay for the 1943 Warner Brothers film OLD ACQUAINTANCE. It was one of those 'women pictures' which provided thespic opportunities for the likes of actresses like Bette Davis and Miriam Hopkins, who, in fact, were the lead players in this particular film. In their youth, the two women had been friends, but as their paths parted in life, the Davis character, brittle and alone, became a critically acclaimed (if financially challenged) author, while the Hopkins character, finally penning a bestseller (trash that it is, it rakes in the 'big bucks'), jealously desires what Davis has. I couldn't help thinking, if Gionfriddo's RAPTURE had fallen into the hands of a director like Vincent Sherman, I could see Davis as the 'Catherine Croll' character, who, despite national recognition and an evidently fulfilling career, begins to have doubts about her life choices. (If you've ever seen the famous car scene in Joseph L. Mankiewicz's ALL ABOUT EVE, also starring Davis, you'll hear the character of stage actress 'Margo Channing' lament what a woman gives up when she devotes herself entirely to a career: I wonder if this very scene influenced Ms. Gionfriddo in her characterizations.) The other character, 'Gwen,' would obviously have been given over to Hopkins, who would have shone as the once promising woman who jettisoned her own burgeoning promise to marry 'Don Harper,' who once had been Catherine's intended (George Brent, anyone?).
BWW Reviews: COME BACK TO THE FIVE AND DIME, JIMMY DEAN Proves Timeless
by Caroline Sposto - Memphis
(03/30/2015) - Ed Graczyk's 1976 drama 'Come back to the Five and Dime, Jimmy Dean' has a simple premise: It's September 30, 1975, and a small town dime store in West Texas is hosting the reunion of a James Dean Fan Club to mark the 20-year anniversary of Giant, which was filmed nearby. The underlying premise is you can't go home again.
by Caroline Sposto - Memphis
(03/30/2015) - Ed Graczyk's 1976 drama 'Come back to the Five and Dime, Jimmy Dean' has a simple premise: It's September 30, 1975, and a small town dime store in West Texas is hosting the reunion of a James Dean Fan Club to mark the 20-year anniversary of Giant, which was filmed nearby. The underlying premise is you can't go home again.
BWW Reviews: PLAYHOUSE Gets Serious With THE SEAGULL
by Joseph Baker - Memphis
(03/16/2015) - Staging a play by Henrik Ibsen or Anton Chekhov poses certain problems for theatre groups. On the one hand, there is a commitment to 'the classics' - and there is an opportunity for actors (especially young ones) to examine their talents and extend them in directions they have not gone before. The 'downside' is the reputation such plays have as 'talkfests,' for they are often deliberate and detailed in their construction of characters and relationships. I was reminded of this during both the performance and the intermission of Playhouse on the Square's production of Chekhov's THE SEAGULL (which, literally, follows on the 'heels' of THE ROCKY HORROR PICTURE SHOW). During Intermission, two couples stood next to my seat and discussed the play. With a hint of apology, one lady stated, 'The actors are very good, but I really prefer the musicals.' Yet, as I watched and listened to the play, I glanced at one audience member, leaning forward and rapt in concentration; and further down my row, another could audibly be heard gasping at the insensitivity of 'Madame Arkandina' toward her son.
by Joseph Baker - Memphis
(03/16/2015) - Staging a play by Henrik Ibsen or Anton Chekhov poses certain problems for theatre groups. On the one hand, there is a commitment to 'the classics' - and there is an opportunity for actors (especially young ones) to examine their talents and extend them in directions they have not gone before. The 'downside' is the reputation such plays have as 'talkfests,' for they are often deliberate and detailed in their construction of characters and relationships. I was reminded of this during both the performance and the intermission of Playhouse on the Square's production of Chekhov's THE SEAGULL (which, literally, follows on the 'heels' of THE ROCKY HORROR PICTURE SHOW). During Intermission, two couples stood next to my seat and discussed the play. With a hint of apology, one lady stated, 'The actors are very good, but I really prefer the musicals.' Yet, as I watched and listened to the play, I glanced at one audience member, leaning forward and rapt in concentration; and further down my row, another could audibly be heard gasping at the insensitivity of 'Madame Arkandina' toward her son.
Photo Flash: First Look - THE BOY FROM OZ at Theatre Memphis
by Sally Henry Fuller - Memphis
(03/14/2015) - The Boy from Oz opens March 6 and runs through March 29, 2015, on the Lohrey Stage at Theatre Memphis. Touted as one of the national premieres on its return to the United States, this 'life of' musical tells the story of Peter Allen's rise from an intro act for Judy Garland, to his marriage to her daughter, Liza Minnelli, through his triumph as an Oscar-winning song writer and Radio City Music Hall concert star and his untimely death. Below, BroadwayWorld brings you a first look at the show!
by Sally Henry Fuller - Memphis
(03/14/2015) - The Boy from Oz opens March 6 and runs through March 29, 2015, on the Lohrey Stage at Theatre Memphis. Touted as one of the national premieres on its return to the United States, this 'life of' musical tells the story of Peter Allen's rise from an intro act for Judy Garland, to his marriage to her daughter, Liza Minnelli, through his triumph as an Oscar-winning song writer and Radio City Music Hall concert star and his untimely death. Below, BroadwayWorld brings you a first look at the show!
Photo Flash: First Look at Theatre Memphis' THE BOY FROM OZ
by Tyler Peterson - Memphis
(03/10/2015) - The Boy from Oz runs through March 29, 2015, on the Lohrey Stage at Theatre Memphis. Touted as one of the national premieres on its return to the United States, this 'life of' musical tells the story of Peter Allen's rise from an intro act forJudy Garland, to his marriage to her daughter, Liza Minnelli, through his triumph as an Oscar-winning song writer and Radio City Music Hall concert star and his untimely death. Featuring the original songs made popular in night clubs and on tours, memorable hits as 'Don't Cry Out Loud,' 'Love Don't Need a Reason,' 'Everything Old is New Again' and 'I Go to Rio' are included In this all out extravaganza.
by Tyler Peterson - Memphis
(03/10/2015) - The Boy from Oz runs through March 29, 2015, on the Lohrey Stage at Theatre Memphis. Touted as one of the national premieres on its return to the United States, this 'life of' musical tells the story of Peter Allen's rise from an intro act forJudy Garland, to his marriage to her daughter, Liza Minnelli, through his triumph as an Oscar-winning song writer and Radio City Music Hall concert star and his untimely death. Featuring the original songs made popular in night clubs and on tours, memorable hits as 'Don't Cry Out Loud,' 'Love Don't Need a Reason,' 'Everything Old is New Again' and 'I Go to Rio' are included In this all out extravaganza.
BWW Reviews: THE LION KING Tour Captivates Memphis
by Caroline Sposto - Memphis
(02/09/2015) - It's only fair to start with a confession: I have purposely avoided seeing 'The Lion King' on stage for seventeen years. You see, when the Disney movie came out (1994) I was raising two small children. (If you need further explanation, ask any parent shepherding tots through Frozen Mania.)
by Caroline Sposto - Memphis
(02/09/2015) - It's only fair to start with a confession: I have purposely avoided seeing 'The Lion King' on stage for seventeen years. You see, when the Disney movie came out (1994) I was raising two small children. (If you need further explanation, ask any parent shepherding tots through Frozen Mania.)
BWW Features: Lessac for You
by Caroline Sposto - Memphis
(01/19/2015) - Years ago, when I lived in Los Angeles, I knew a character actor who was a little paunchy, had an off-kilter face and thinning hair. Though his looks were unremarkable, he exuded a certain je ne sais quoi. When I teased him about his popularity with women, he gave me a conspiratorial wink and said, 'My voice is the sexiest part of my body.' I laughed because this was absolutely true!
by Caroline Sposto - Memphis
(01/19/2015) - Years ago, when I lived in Los Angeles, I knew a character actor who was a little paunchy, had an off-kilter face and thinning hair. Though his looks were unremarkable, he exuded a certain je ne sais quoi. When I teased him about his popularity with women, he gave me a conspiratorial wink and said, 'My voice is the sexiest part of my body.' I laughed because this was absolutely true!
BWW Reviews: Theatre Works Explores Why WE LIVE HERE
by Joseph Baker - Memphis
(01/05/2015) - I like the title of Harold Ellis Clark's WE LIVE HERE, winner of the NewWorks@TheWorks playwriting competition hosted by Playhouse on the Square and now playing at Theatre Works. If you emphasize the word WE, it offers two different interpretations: (1) It could refer to the racist white characters in the play, who don't relish the idea of ceding part of their predominately white neighborhood in Metarie to the black characters who have had the questionable luck of winning a post-Hurricane Katrina lottery; or (2) it could refer to the black characters themselves, who defiantly (and rightly) have planted their feet on new, if rocky, turf. In fact, any of the three words in the title could be emphasized and, consequently, offer a new facet inviting a different interpretation.
by Joseph Baker - Memphis
(01/05/2015) - I like the title of Harold Ellis Clark's WE LIVE HERE, winner of the NewWorks@TheWorks playwriting competition hosted by Playhouse on the Square and now playing at Theatre Works. If you emphasize the word WE, it offers two different interpretations: (1) It could refer to the racist white characters in the play, who don't relish the idea of ceding part of their predominately white neighborhood in Metarie to the black characters who have had the questionable luck of winning a post-Hurricane Katrina lottery; or (2) it could refer to the black characters themselves, who defiantly (and rightly) have planted their feet on new, if rocky, turf. In fact, any of the three words in the title could be emphasized and, consequently, offer a new facet inviting a different interpretation.
BWW Reviews: A CHRISTMAS STORY, THE MUSICAL Redefines The Ghost of Christmas Past
by Caroline Sposto - Memphis
(11/28/2014) - This exuberant stage production is like a Norman Rockwell painting brought to life. Set in Hohman, Indiana in 1940, raconteur, Jean Shepherd (Chris Carsten) reminiscences about nine-year-old Ralphie's quest for an official Red Ryder, Carbine-Action, 200-Shot Range Model Air Rifle B-B gun.
by Caroline Sposto - Memphis
(11/28/2014) - This exuberant stage production is like a Norman Rockwell painting brought to life. Set in Hohman, Indiana in 1940, raconteur, Jean Shepherd (Chris Carsten) reminiscences about nine-year-old Ralphie's quest for an official Red Ryder, Carbine-Action, 200-Shot Range Model Air Rifle B-B gun.
BWW Reviews: The Orpheum Thinks ONCE Is Not Enough
by Joseph Baker - Memphis
(10/29/2014) - Despite the fact that I am a great lover of cinema, the film version of ONCE (2006) somehow eluded me; now, the musical stage adaptation, with music by Glen Hansard and Marketa Irglova and a book by Enda Walsh, is affording Memphians an 'off season' 'pub crawl' at the historic Orpheum Theatre - and though I have never been particularly fond of Irish whimsy (Barry Fitzgerald's coy old priest in GOING MY WAY is probably the source of that), and though PBS repeats of performances of clarion-voiced Irish lasses sawing away at violins and Riverdancers send me reaching for the remote, I am happy to report that . . . I finally 'get it.' ONCE is a refreshingly 'laid back' vehicle for a musical; its often wistful, incisive, perceptive numbers are an intimate alternative to the often overblown showstoppers of larger musicals.
by Joseph Baker - Memphis
(10/29/2014) - Despite the fact that I am a great lover of cinema, the film version of ONCE (2006) somehow eluded me; now, the musical stage adaptation, with music by Glen Hansard and Marketa Irglova and a book by Enda Walsh, is affording Memphians an 'off season' 'pub crawl' at the historic Orpheum Theatre - and though I have never been particularly fond of Irish whimsy (Barry Fitzgerald's coy old priest in GOING MY WAY is probably the source of that), and though PBS repeats of performances of clarion-voiced Irish lasses sawing away at violins and Riverdancers send me reaching for the remote, I am happy to report that . . . I finally 'get it.' ONCE is a refreshingly 'laid back' vehicle for a musical; its often wistful, incisive, perceptive numbers are an intimate alternative to the often overblown showstoppers of larger musicals.
BWW Reviews: Voices of the South Goes the DISTANCE
by Joseph Baker - Memphis
(10/27/2014) - If anyone ever told me that, on a Saturday night, I would be watching a play about an elderly woman suffering from the horrors of Alzheimer's Disease, I would question that person's sanity. However, having 'sung the praises' of actor/playwright Jerre Dye on more than one occasion, and having read a couple of rapturous local reviews, I decided to forgo a nearby musical concert by Luna Nova ( a musical venue I have ardently supported) and see Mr. Dye's DISTANCE at Voices of the South. I was not disappointed. Legendary actress Bette Davis famously proclaimed, 'Old age ain't no place for sissies' (and she knew well the truth of that, having suffered strokes, a mastectomy, and, worse, the betrayal of a daughter); compound 'old age' with Alzheimer's or dementia, and you can magnify the truth of that tenfold.
by Joseph Baker - Memphis
(10/27/2014) - If anyone ever told me that, on a Saturday night, I would be watching a play about an elderly woman suffering from the horrors of Alzheimer's Disease, I would question that person's sanity. However, having 'sung the praises' of actor/playwright Jerre Dye on more than one occasion, and having read a couple of rapturous local reviews, I decided to forgo a nearby musical concert by Luna Nova ( a musical venue I have ardently supported) and see Mr. Dye's DISTANCE at Voices of the South. I was not disappointed. Legendary actress Bette Davis famously proclaimed, 'Old age ain't no place for sissies' (and she knew well the truth of that, having suffered strokes, a mastectomy, and, worse, the betrayal of a daughter); compound 'old age' with Alzheimer's or dementia, and you can magnify the truth of that tenfold.
BWW Reviews: Theatre Memphis Spit-Polishes THE HEIRESS
by Joseph Baker - Memphis
(10/24/2014) - THE HEIRESS, Ruth and Augustus Goetz's 1947 adaptation of Henry James' WASHINGTON SQUARE and currently occupying the Lohrey Stage at Theatre Memphis, has had a long and steady run on stages throughout the world - and why not? Tightly corseted, polite to a fault, and observing proprieties, this intelligently written script captures the essence of the James source material without the convoluted, complex sentences that, alas, repel many readers. As tautly drawn as the material on one of the samplers for which its heroine is noted, when one of the characters punctuates the prevailing politeness with a barbed or telling line of dialogue, it's as if a sharp and jagged blade suddenly ripped through the fabric of the needlework itself. All this play needs for a successful run is a handsome set, period costumes - and four or five gifted players.
by Joseph Baker - Memphis
(10/24/2014) - THE HEIRESS, Ruth and Augustus Goetz's 1947 adaptation of Henry James' WASHINGTON SQUARE and currently occupying the Lohrey Stage at Theatre Memphis, has had a long and steady run on stages throughout the world - and why not? Tightly corseted, polite to a fault, and observing proprieties, this intelligently written script captures the essence of the James source material without the convoluted, complex sentences that, alas, repel many readers. As tautly drawn as the material on one of the samplers for which its heroine is noted, when one of the characters punctuates the prevailing politeness with a barbed or telling line of dialogue, it's as if a sharp and jagged blade suddenly ripped through the fabric of the needlework itself. All this play needs for a successful run is a handsome set, period costumes - and four or five gifted players.
BWW Reviews: Circuit Playhouse Remembers THE FANTASTICKS
by Joseph Baker - Memphis
(10/13/2014) - Just a few weeks ago I was dodging a falling chandelier at the Orpheum's staging of PHANTOM OF THE OPERA; at the 'Phantom Event' held prior to the play, I was reminded of all the physical (as well as fiscal) requirements for properly staging this production. I kept thinking, 'How many small, financially strapped towns would breathe a sigh of relief if the proceeds from such a production were to come their way?' Well, that's one extreme of theatre. Tonight I was exposed to the opposite; Circuit Playhouse's production of Harvey Schmidt and Tom Jones' allegorical THE FANTASTICKS reminded me of Thornton Wilder's minimalism in the staging of OUR TOWN. If musicals like PHANTOM and LES MISERABLES are the 'central air' of theatre, THE FANTASTICKS is rather like a quaint little oscillating fan. Yet, its breeze can be refreshing.
by Joseph Baker - Memphis
(10/13/2014) - Just a few weeks ago I was dodging a falling chandelier at the Orpheum's staging of PHANTOM OF THE OPERA; at the 'Phantom Event' held prior to the play, I was reminded of all the physical (as well as fiscal) requirements for properly staging this production. I kept thinking, 'How many small, financially strapped towns would breathe a sigh of relief if the proceeds from such a production were to come their way?' Well, that's one extreme of theatre. Tonight I was exposed to the opposite; Circuit Playhouse's production of Harvey Schmidt and Tom Jones' allegorical THE FANTASTICKS reminded me of Thornton Wilder's minimalism in the staging of OUR TOWN. If musicals like PHANTOM and LES MISERABLES are the 'central air' of theatre, THE FANTASTICKS is rather like a quaint little oscillating fan. Yet, its breeze can be refreshing.
BWW Reviews: Playhouse Offers ONE MAN, TWO GUVNORS - and Numerous Laughs
by Joseph Baker - Memphis
(10/03/2014) - With its emphasis on improvisation, stock characters, and a genial carnival atmosphere, the Commedia dell' arte (dating back as early as the 16th century) has never had much appeal to me; I generally find the productions thumb-twiddling after a while. I certainly had my reservations about Playhouse on the Square's current production, ONE MAN, TWO GUVNORS, adapted by British playwright Richard Bean from a 1743 play by Venetian Carlo Goldoni. However, as much as I cringe at the thought of a play written in this tradition, at the opposite end I am very much a fan of British humor at its silliest - from the 1930's and 40's comedies of Will Hay (who, at least in a number of films, utilized his own kind of stock company) to the sketches of Benny Hill and Rowan Atkinson's delightful MR. BEAN (and wasn't there a group called MONTY PYTHON?) That said, Mr. Bean's sublimely silly little take on the Goldoni play, removed in time and place to early 1960's Brighton, has a plot that bounces from corner to corner of the proscenium like a ping pong ball on Ritalin.
by Joseph Baker - Memphis
(10/03/2014) - With its emphasis on improvisation, stock characters, and a genial carnival atmosphere, the Commedia dell' arte (dating back as early as the 16th century) has never had much appeal to me; I generally find the productions thumb-twiddling after a while. I certainly had my reservations about Playhouse on the Square's current production, ONE MAN, TWO GUVNORS, adapted by British playwright Richard Bean from a 1743 play by Venetian Carlo Goldoni. However, as much as I cringe at the thought of a play written in this tradition, at the opposite end I am very much a fan of British humor at its silliest - from the 1930's and 40's comedies of Will Hay (who, at least in a number of films, utilized his own kind of stock company) to the sketches of Benny Hill and Rowan Atkinson's delightful MR. BEAN (and wasn't there a group called MONTY PYTHON?) That said, Mr. Bean's sublimely silly little take on the Goldoni play, removed in time and place to early 1960's Brighton, has a plot that bounces from corner to corner of the proscenium like a ping pong ball on Ritalin.
BWW Reviews: 'Don't Sit Under the Chandelier with Anyone Else But Me' - PHANTOM Haunts the Orpheum
by Joseph Baker - Memphis
(09/29/2014) - When Gaston Leroux published THE PHANTOM OF THE OPERA back in 1911, little did he realize the numerous chandeliers that would come crashing down through the decades, and I've witnessed a good number of them. First, in 1925, there was 'the Man of a Thousand Faces,' Lon Chaney, Sr., who frightened poor Mary Philbin (a well-done version, even IF the film was silent); then, for Universal in 1941, Claude Rains (Bette Davis' favorite co-star) was a more subdued vocal coach for soprano Susanna Foster (a wooden Nelson Eddy, alas, is a greater impending horror as 'Raoul'). I could go on - even Herbert Lom, the actor who was the harried police superior to Peter Sellers' 'Inspector Clousseau,' took a swing on the old light fixture. (And let us not forget diminutive Paul Williams in the slightly askew PHANTOM OF THE PARADISE.) All of these pale, of course, in comparison to the legendary interpretation by Michael Crawford in the Andrew Lloyd Webber musical, which first brought the audience to its feet in 1986.
by Joseph Baker - Memphis
(09/29/2014) - When Gaston Leroux published THE PHANTOM OF THE OPERA back in 1911, little did he realize the numerous chandeliers that would come crashing down through the decades, and I've witnessed a good number of them. First, in 1925, there was 'the Man of a Thousand Faces,' Lon Chaney, Sr., who frightened poor Mary Philbin (a well-done version, even IF the film was silent); then, for Universal in 1941, Claude Rains (Bette Davis' favorite co-star) was a more subdued vocal coach for soprano Susanna Foster (a wooden Nelson Eddy, alas, is a greater impending horror as 'Raoul'). I could go on - even Herbert Lom, the actor who was the harried police superior to Peter Sellers' 'Inspector Clousseau,' took a swing on the old light fixture. (And let us not forget diminutive Paul Williams in the slightly askew PHANTOM OF THE PARADISE.) All of these pale, of course, in comparison to the legendary interpretation by Michael Crawford in the Andrew Lloyd Webber musical, which first brought the audience to its feet in 1986.
BWW Reviews: BEST OF ENEMIES Enlightens as It Entertains
by Joseph Baker - Memphis
(09/02/2014) - I wasn't quite sure what to expect from Circuit Playhouse's production of Mark St. Germain's BEST OF ENEMIES - a civics lesson or an evening at the theatre. As I settled into my seat and gazed at the essentially bare set (a few platforms and chairs), I listened to bits and snatches of speeches and recollections by the likes of Barry Goldwater, Lyndon Johnson, Martin Luther King, and 'ordinary' people affected by the changes wrought by Civil Rights legislation and, in particular, the desegregation of schools. While waiting for the play to begin, I recalled just having seen MARY POPPINS last weekend at Playhouse on the Square; I thought of 'Just a Spoonful of Sugar' making the medicine go down - and considered Playhouse's crowd-pleasing musical version of John Waters' HAIRSPRAY, which drew theatre-hungry crowds just a few weeks ago. Waters, I thought, had the right idea: The seriousness of racial injustice was made delightfully palatable by the sweetness and humor of the songs in that show. I dreaded what was to follow. However, like the main characters of the play I was about to see, I had my own misconceptions, for BEST OF ENEMIES held many surprises for me - and all of them good.
by Joseph Baker - Memphis
(09/02/2014) - I wasn't quite sure what to expect from Circuit Playhouse's production of Mark St. Germain's BEST OF ENEMIES - a civics lesson or an evening at the theatre. As I settled into my seat and gazed at the essentially bare set (a few platforms and chairs), I listened to bits and snatches of speeches and recollections by the likes of Barry Goldwater, Lyndon Johnson, Martin Luther King, and 'ordinary' people affected by the changes wrought by Civil Rights legislation and, in particular, the desegregation of schools. While waiting for the play to begin, I recalled just having seen MARY POPPINS last weekend at Playhouse on the Square; I thought of 'Just a Spoonful of Sugar' making the medicine go down - and considered Playhouse's crowd-pleasing musical version of John Waters' HAIRSPRAY, which drew theatre-hungry crowds just a few weeks ago. Waters, I thought, had the right idea: The seriousness of racial injustice was made delightfully palatable by the sweetness and humor of the songs in that show. I dreaded what was to follow. However, like the main characters of the play I was about to see, I had my own misconceptions, for BEST OF ENEMIES held many surprises for me - and all of them good.
BWW Reviews: Theatre Memphis Nudges Us to Buy Halloween Candy Early with THE ADDAMS FAMILY
by Joseph Baker - Memphis
(09/01/2014) - There's Nothing Dead About Theatre Memphis' Ghoulishly Delightful Production of THE ADDAMS FAMILY
by Joseph Baker - Memphis
(09/01/2014) - There's Nothing Dead About Theatre Memphis' Ghoulishly Delightful Production of THE ADDAMS FAMILY
BWW Reviews: POTS at The Works Series Takes a Giant Step with 4000 MILES
by Joseph Baker - Memphis
(07/13/2014) - Amy Herzog's family drama (albeit a drama with a number of very funny moments) 4000 MILES is unobtrusively generating a thoughtful, low-key alternative to the outsized HAIRSPRAY (already a sellout at 'Big Sister' Playhouse on the Square just a block or so away); and it's a safe bet that a number of theatre-going Memphians are already trekking south to DeSoto Family Theatre's epic presentation of LES MISERABLES. However, this intelligent, intimate little piece is currently providing a rewarding alternative at Theatre Works, quietly nestled across from the parking garage at Overton Square.
by Joseph Baker - Memphis
(07/13/2014) - Amy Herzog's family drama (albeit a drama with a number of very funny moments) 4000 MILES is unobtrusively generating a thoughtful, low-key alternative to the outsized HAIRSPRAY (already a sellout at 'Big Sister' Playhouse on the Square just a block or so away); and it's a safe bet that a number of theatre-going Memphians are already trekking south to DeSoto Family Theatre's epic presentation of LES MISERABLES. However, this intelligent, intimate little piece is currently providing a rewarding alternative at Theatre Works, quietly nestled across from the parking garage at Overton Square.
BWW Reviews: DeSoto Family Theatre Storms the Barricades With LES MIS
by Joseph Baker - Memphis
(07/07/2014) - There were several reasons that I almost denied myself the pleasure of attending DeSoto Family Theatre's new production of Boublil and Schonberg's LES MISERABLES, the epic (and enduring) musical version of Victor Hugo's massive nineteenth century novel. I hereby state my preconceived notions - and hope to explain why I was so ill-opined.
by Joseph Baker - Memphis
(07/07/2014) - There were several reasons that I almost denied myself the pleasure of attending DeSoto Family Theatre's new production of Boublil and Schonberg's LES MISERABLES, the epic (and enduring) musical version of Victor Hugo's massive nineteenth century novel. I hereby state my preconceived notions - and hope to explain why I was so ill-opined.
BWW Reviews: The Orpheum Proselytizes - Sort of - With THE BOOK OF MORMON
by Joseph Baker - Memphis
(06/26/2014) - I see them occasionally - white shirts (usually with pockets), black trousers, clean-shaven, and cradling folders and totes. They often are on a corner; at times, they are walking through the parking lots of apartment complexes. They are unfailingly polite; more often than not, they respect our 'Puh-lease'-don't-bother-me looks or our efforts to look as if more important business is calling us elsewhere. These sweet-natured people are usually more interested in our welfare than we ourselves are, and, well, that's nice.
by Joseph Baker - Memphis
(06/26/2014) - I see them occasionally - white shirts (usually with pockets), black trousers, clean-shaven, and cradling folders and totes. They often are on a corner; at times, they are walking through the parking lots of apartment complexes. They are unfailingly polite; more often than not, they respect our 'Puh-lease'-don't-bother-me looks or our efforts to look as if more important business is calling us elsewhere. These sweet-natured people are usually more interested in our welfare than we ourselves are, and, well, that's nice.
BWW Reviews: Theatre Memphis Toots Its Horns in THE MUSIC MAN
by Joseph Baker - Memphis
(06/16/2014) - A number of years ago, I was ordering breakfast at the Dogwood Cabin in Gatlinburg, Tennessee, and before the food arrived, a barbershop quartet began to harmonize. 'How delightful,' I thought - and then there was another song, followed by yet another: A barbershop quartet convention was in town, and several groups were scattered throughout the restaurant and waiting for their opportunity to perform. Before my pancake syrup was even out of the bottle, I was already craving some antidotal 'heavy metal.' Such experiences remind me of Mark Twain's story CAPTAIN STORMFIELD'S VISIT TO HEAVEN: Upon first arriving behind the Pearly Gates, the Captain is delighted to hear the heavenly harps; but as time passes, the harmonies become stultifying. Thankfully, the barbershop quartet that strolls through Theatre Memphis' colorful new production of Meredith Willson's THE MUSIC MAN never overstays its welcome.
by Joseph Baker - Memphis
(06/16/2014) - A number of years ago, I was ordering breakfast at the Dogwood Cabin in Gatlinburg, Tennessee, and before the food arrived, a barbershop quartet began to harmonize. 'How delightful,' I thought - and then there was another song, followed by yet another: A barbershop quartet convention was in town, and several groups were scattered throughout the restaurant and waiting for their opportunity to perform. Before my pancake syrup was even out of the bottle, I was already craving some antidotal 'heavy metal.' Such experiences remind me of Mark Twain's story CAPTAIN STORMFIELD'S VISIT TO HEAVEN: Upon first arriving behind the Pearly Gates, the Captain is delighted to hear the heavenly harps; but as time passes, the harmonies become stultifying. Thankfully, the barbershop quartet that strolls through Theatre Memphis' colorful new production of Meredith Willson's THE MUSIC MAN never overstays its welcome.
Photo Flash: Germantown Community Theatre Hops Down the Rabbit Hole with Disney's ALICE IN WONDERLAND, 6/20-29
by BWW News Desk - Memphis
(06/03/2014) - Germantown Community Theatre's All Children's Theatre program presents DISNEY'S ALICE IN WONDERLAND, JR. Join Alice's madcap adventures in Wonderland as she chases the White Rabbit, races the Dodo Bird, raps with a bubble-blowing Caterpillar, and beats the Queen of Hearts at her own game!
by BWW News Desk - Memphis
(06/03/2014) - Germantown Community Theatre's All Children's Theatre program presents DISNEY'S ALICE IN WONDERLAND, JR. Join Alice's madcap adventures in Wonderland as she chases the White Rabbit, races the Dodo Bird, raps with a bubble-blowing Caterpillar, and beats the Queen of Hearts at her own game!
BWW Reviews: Circuit Invites the Audience into THE LYONS Den
by Joseph Baker - Memphis
(06/02/2014) - There's a moment in the first act of Nicky Silver's THE LYONS when dying patriarch 'Ben' is asked whether he is in pain; his response, a monosyllabic 'Yes,' hardly ranks with any of the brilliantly barbed lines scattered throughout the play, but as intoned by veteran actor Ron Gephart, it acquires a startling variety of shades. As uttered by this gifted performer, a number of insights can be gained into the unfortunate Ben's character: Frustration, resignation, intolerance. If Mr. Gephart can manage that by simply saying 'Yes,' imagine what he is able to do with the dialogues and monologs that follow.
by Joseph Baker - Memphis
(06/02/2014) - There's a moment in the first act of Nicky Silver's THE LYONS when dying patriarch 'Ben' is asked whether he is in pain; his response, a monosyllabic 'Yes,' hardly ranks with any of the brilliantly barbed lines scattered throughout the play, but as intoned by veteran actor Ron Gephart, it acquires a startling variety of shades. As uttered by this gifted performer, a number of insights can be gained into the unfortunate Ben's character: Frustration, resignation, intolerance. If Mr. Gephart can manage that by simply saying 'Yes,' imagine what he is able to do with the dialogues and monologs that follow.
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