Harry Groener News

Sometimes the career you end up with is quite different from what you originally intended. Such is the case with Sue McMurtray. Although a career in show business was not one of her original intentions, McMurtray is retiring as Managing/Marketing Director at South Central Pennsylvania's famous Totem Pole Playhouse, after 28 years. Before McMurtray became a fixture at the summer theater she attended nursing school, became an x-ray technician and eventually ran the historic Penn National Inn, located nearby the Totem Pole Playhouse, between Gettysburg and Chambersburg, Pennsylvania.

Audiences don't want to miss this rare experience to spend an evening with one of America's favorite stars, Sally Struthers. Struthers will appear at the playhouse in SIMPLY: SALLY STRUTHERS, an intimate evening with the Emmy-winning actress...in words, song stories and laughter. Struthers will perform May 8th through May 12, 2013 and is limited to just under 2,000 tickets.

Appomattox, a sprawling political epic by Christopher Hampton taking place in 1865 and 1965 at the close of the American Civil War and the pivotal Civil Rights Era, opened Friday, October 5 at the Guthrie Theater to continue the Hampton Celebration. The play runs until November 11 on the Guthrie's McGuire Proscenium Stage, and is directed by David Esbjornson (Broadway/London: Driving Miss Daisy, A Few Good Men; Broadway: The Goat or Who is Sylvia?, The Ride Down Mt. Morgan; Guthrie: The Great Gatsby, Resurrection Blues). Check out photos from opening night below!

The Guthrie Theater today announced the full casts, comprising 39 actors, for the three plays of the Christopher Hampton Celebration. The previously announced celebration of the multi-faceted writer's work will occupy all three of the Guthrie's stages in an immersive and illuminating theatrical experience, with diverse casts tackling dynamic roles torn from the pages of world history.

The Jeff Awards Committee announced 197 nominations in 34 categories for Chicago Equity theatrical productions, which opened between August 1, 2011, and July 31, 2012. The Jeff Awards judges attended opening nights of 118 Equity productions offered by 55 producing organizations. From these openings, 96 productions were 'Jeff Recommended,' which made them eligible for award nominations.

The Jeff Awards Committee today announced 197 nominations in 34 categories for Chicago Equity theatrical productions, which opened between August 1, 2011, and July 31, 2012. The Jeff Awards judges attended opening nights of 118 Equity productions offered by 55 producing organizations. From these openings, 96 productions were 'Jeff Recommended,' which made them eligible for award nominations.

It's quite a shame when a well-written, absorbing play has three strikes against it from the onset. Such is the case with The Exorcist by John Pielmeier. The best-selling novel by William Peter Blatty and the 1973 boxoffice blockbuster film of the same name were so powerfully gripping and unforgettable that, with the play coming along 40 years later, for those of us that lived through the nightmare to end all nightmares, we've been there, seen that. For those of a newer, unfamiliar generation, it won't have enough special effects. Wisely, for my generation, the spinning head and green vomit in the original film are not recreated onstage. But, as a result, many may tune out or turn off preferring a midnight screening of the film on Netflix. As I already said, a shame, as Pielmeieir's script is psychologically thrilling on its own, so apt for the mature, questioning adult mind, and the production is extremely well directed by John Doyle and superbly acted by a first-rate ensemble headed by Brooke Shields in her best and most remarkable performance to date. But is all of this enough? Probably not.

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The Geffen Playhouse's world premiere stage adaptation of The Exorcist features Brooke Shields and Richard Chamberlain in the iconic roles of Chris MacNeil and Father Merrin, respectively, as well as Broadway actor David Wilson Barnes as the troubled young priest Father Damien Karras, Tony Award nominee Harry Groener takes on the role of Chris' charismatic director Burke Dennings and UCLA School of Theater, Film and Television graduate Emily Yetter plays the young Regan MacNeil.

The Exorcist opened last night, July 11, in the Gil Cates Theater at the Geffen Playhouse and runs through August, 12, 2012, starring Brooke Shields, Richard Chamberlain, David Wilson Barnes, Emily Yetter, and more. Check out the opening night party in the photos below!

HIGHLIGHTS OF THE WEEK: LA welcomes THE EXORCIST, DOGFIGHT hits Second Stage, Christian leaves STARCATCHER, and so much more!

The Geffen Playhouse's world premiere stage adaptation of The Exorcist features Brooke Shields and Richard Chamberlain in the iconic roles of Chris MacNeil and Father Merrin, respectively, as well as Broadway actor David Wilson Barnes as the troubled young priest Father Damien Karras, Tony Award nominee Harry Groener takes on the role of Chris' charismatic director Burke Dennings and UCLA School of Theater, Film and Television graduate Emily Yetter plays the young Regan MacNeil. The world premiere cast also includes Stephen Bogardus, Manoel Felciano, Tom Nelis and Roslyn Ruff. The play is written by John Pielmeier adapted from the novel by William Peter Blatty, and is directed by John Doyle. The Exorcist just began previews and opens in the Gil Cates Theater at the Geffen Playhouse on July 11, 2012 and runs through August, 12, 2012. Get a first look at the production in the photos below!

Producers Ben Sprecher and Sonia Friedman may bring their production of THE EXCORCIST, adapted from the 1971 novel by William Peter Blatty by John Pielmeier, to the John Golden Theatre on Broadway this fall, according to the New York Post.

The Geffen Playhouse's world premiere stage adaptation of The Exorcist showcases an award-winning design team - including world-renowned creative consultant Teller and internationally acclaimed spiritual composer Sir John Tavener - to bring playwright John Pielmeier's script and Tony Award winning director John Doyle's vision to life on stage. The team also includes Tony Award winning scenic/costume designer Scott Pask, lighting designer Jane Cox and sound designer Dan Moses Schreir. Working with Doyle, the design team will be tasked with creating a theatrical experience that engages the senses in a way that is unique to live performance.

In addition to an accomplished cast, the Geffen Playhouse's world premiere stage adaptation of The Exorcist showcases an award-winning design team - including world-renowned creative consultant Teller and internationally acclaimed spiritual composer Sir John Tavener - to bring playwright John Pielmeier's script and Tony Award winning director John Doyle's vision to life on stage. The team also includes Tony Award winning scenic/costume designer Scott Pask, lighting designer Jane Cox and sound designer Dan Moses Schreir. Working with Doyle, the design team will be tasked with creating a theatrical experience that engages the senses in a way that is unique to live performance.

Stage and screen stars Brooke Shields and Richard Chamberlain will take on the iconic roles of Chris MacNeil and Father Merrin in playwright John Pielmeier's world premiere of The Exorcist at the Geffen Playhouse. Helmed by acclaimed director John Doyle, who won a Tony Award for his striking reimagining of Sweeney Todd, this stage adaptation of William Peter Blatty's famous 1971 novel transforms the unsettling battles of good versus evil, faith versus fact and ego versus ethos into a uniquely theatrical experience as sophisticated as it is suspenseful.

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

Steppenwolf Theatre Company hosts an evening of conversation about the world of storytelling tonight, April 16 in Steppenwolf's Downstairs Theatre. Featured for the event are two expert storytellers, Tony Award-winning ensemble member Frank Galati and Pulitzer Prize-finalist E.L. Doctorow, moderated by Steppenwolf Artistic Director Martha Lavey.