Porchlight Music Theatre presents Pal Joey, book by John O'Hara, music by Richard Rodgers and lyrics by Lorenz Hart, April 20 - May 26, at Stage 773, 1225 West Belmont Ave. Directed by Porchlight Music Theatre's Artistic Director, Michael Weber with music direction by Porchlight Artistic Associate Doug Peck (reuniting with Weber for the first time since their collaboration on Porchlight's triumphant production of Assassins) and choreography by Porchlight Artistic Associate Brenda Didier, Pal Joey stars Adrian Aguliar, 'Joey Evans,' Susie McMonagle, 'Vera Simpson,' Laura Savage, 'Linda English,' Matt Orlando, 'Ludlow Lowell' and Sharriese Hamilton, 'Gladys Bumps.'
Porchlight Music Theatre presents Pal Joey, book by John O'Hara, music by Richard Rodgers and lyrics by Lorenz Hart, April 20 - May 26, at Stage 773, 1225 West Belmont Ave. Directed by Porchlight Music Theatre's Artistic Director, Michael Weber with music direction by Porchlight Artistic Associate Doug Peck (reuniting with Weber for the first time since their collaboration on Porchlight's triumphant production of Assassins) and choreography by Porchlight Artistic Associate Brenda Didier, Pal Joey stars Adrian Aguilar, 'Joey Evans,' Susie McMonagle, 'Vera Simpson,' Laura Savage, 'Linda English,' Matt Orlando, 'Ludlow Lowell' and Sharriese Hamilton, 'Gladys Bumps.' Meet the cast in the photos below!
Today in 1948, opened at the Shubert Theatre. Kiss Me, Kate is a musical with music and lyrics by Cole Porter. It is structured as a play within a play, where the interior play is a musical version of William Shakespeare's The Taming of the Shrew. The original production starred Alfred Drake, Patricia Morison, Lisa Kirk and Harold Lang. Kiss Me, Kate was a response to Rodgers and Hammerstein's Oklahoma! and other integrated musicals, and it proved to be his biggest hit and the only one of his shows to run for more than 1,000 performances on Broadway. It won the first Tony Award presented for Best Musical, in 1949.
According to Baz Bamigboye for Daily Mail, Trevor Nunn's upcoming production of KISS ME KATE will transfer to the Old Vic after playing Chichester Festival Theatre this June. The production, which will star Hannah Waddingham, Alex Bourne and Adam Garcia, is set to open at CFT on June 18 and run through September 1. Possible transfer dates have not yet been announced.
Today in 1948, opened at the Shubert Theatre. Kiss Me, Kate is a musical with music and lyrics by Cole Porter. It is structured as a play within a play, where the interior play is a musical version of William Shakespeare's The Taming of the Shrew. The original production starred Alfred Drake, Patricia Morison, Lisa Kirk and Harold Lang. Kiss Me, Kate was a response to Rodgers and Hammerstein's Oklahoma! and other integrated musicals, and it proved to be his biggest hit and the only one of his shows to run for more than 1,000 performances on Broadway. It won the first Tony Award presented for Best Musical, in 1949.
According to Baz Bamigoye for Daily Mial, Trevor Nunn will direct a production of KISS ME KATE at Chichester Festival Theatre next year, which will likely make a West End transfer soon after. To read the full article, click here.
Masterworks Broadway continues to explore the rich history of its unequaled Broadway and Off-Broadway catalogue with the release of three highly requested classic cast recordings previously unavailable in the CD era - Regina, Song of Norway and Make A Wish.
Masterworks Broadway continues to explore the rich history of its unequaled Broadway and Off-Broadway catalogue with the release of three highly requested classic cast recordings previously unavailable in the CD era - Regina, Song of Norway and Make A Wish.
In case this is your first time reading one of my reviews of a Broadway revival of a classic musical, allow me introduce you to my personal prejudice. I completely abhor the now very common practice of revising the book and messing with the score of any musical theatre piece after the authors are deceased. If a composer, bookwriter or lyricist is around to approve of changes, that's swell, but all too often their estates will allow anything from the sparse, but significant, tweaks to South Pacific to the wholesale revisions of The Pajama Game and The Music Man. Even more deplorable is the practice of letting these changes go uncredited, as was done in the three examples just cited, giving audiences no clue that what they are watching is not wholly the musical the original authors wrote.
