Herbert Ross News

Hilda Morales was born in N.Y. City, and grew up in Puerto Rico. Her early training was with Ana Garcia of the Ballet San Juan. At 14 years of age, Ms. Morales received a Ford Foundation Scholarship to study at George Balanchine's School of American Ballet. She danced as a principal dancer with the Pennsylvania Ballet, soloist with American Ballet Theatre, artist-in-residence with the Colorado Ballet and guest appearances with Les Grands Ballets Canadiens, Albuquerque Ballet and Jacksonville Ballet. During her dancing career, Ms. Morales performed in full-length classic ballets as well as works by George Balanchine, Jerome Robbins, Agnes de Mille, Antony Tudor, John Butler, Alvin Ailey, and Jose Limon. Ms. Morales was featured in the movie The Turning Point, in the role of Sandra, directed by Herbert Ross. She guest teaches and is on the faculty of the Central Pennsylvania summer programs, and joined The Hartt School faculty in 1998.

In 1984 Tod Booth was hired to direct at the then-named Alhambra Dinner Theatre. The show? I Ought to be in Pictures starring Claude Akins. Five weeks later, on a return trip to watch a show, while sitting at table B15 with owner Leon Simon, Tod made an offer to buy the Alhambra. The deal was done on a napkin. In two years he took the gross revenue from $700,000 to $2,500,000 and was named 'Entrepreneur of the Year' by the Jacksonville Business Journal. The rest, as Tod says, 'is history.' While not necessarily billed as an anniversary, it's hard to miss the parallels between the 1984 production and the 2014 production: Tod is still directing and the Alhambra is still bringing in big-name guest stars, this time Richard Karn from television's Home Improvement. I Ought to be in Pictures opens February 12, 2014 at the nation's longest running professional dinner theater.

The Museum of the Moving Image's popular series See It Big! will turn its focus to the movie musical with a fourteen-film celebration of the genre, from today, January 24 through February 28, 2014. Musicals are, by their very nature, filled with spectacle. They are heightened forms of storytelling, in which the narrative is amplified by song and dance, where characters express their innermost feelings in the most extravagant ways imaginable. It is a genre that celebrates excess and stylization, and the best examples of the form can only be truly enjoyed... big!

The Museum of the Moving Image's popular series See It Big! will turn its focus to the movie musical with a fourteen-film celebration of the genre, from January 24 through February 28, 2014. Musicals are, by their very nature, filled with spectacle. They are heightened forms of storytelling, in which the narrative is amplified by song and dance, where characters express their innermost feelings in the most extravagant ways imaginable. It is a genre that celebrates excess and stylization, and the best examples of the form can only be truly enjoyed… big!

George Burns, Walter Matthau and Steve McQueen topline July's Reel 13 on THIRTEEN!

Two stars of the landmark television series 'Taxi,' Judd Hirsch and Danny DeVito, will reunite on the stage of the Center Theatre Group/Ahmanson Theatre in Los Angeles in Neil Simon's 'The Sunshine Boys,' directed by Thea Sharrock.

The 2013-2014 Center Theatre Group/Ahmanson Theatre season was announced today by CTG Artistic Director Michael Ritchie.

Garrett Lewis, four time Academy Award nominated set decorator, dancer and actor, died Tuesday, January 29 at the age of 77. He was born in St. Louis, Missouri in 1935 and died at his home in Woodland Hills, California of natural causes.

Grace Gummer, Corey Stoll, and Treat Williams join Tony and Emmy Award-winning actress, Ellen Barkin, in The Parisian Woman. Commissioned by The Flea Theater, Beau Willimon has adapted Henry Becque's La Parisienne, now set in contemporary Washington D.C. To what lengths will a woman go to advance the political career of her husband? The Parisian Woman tears the veil off adultery in this modern retelling of the scandalous affairs of a bored and intelligent wife left to her own devices. Directed by Joel Schumacher.

Grace Gummer, Corey Stoll, and Treat Williams join Tony and Emmy Award-winning actress, Ellen Barkin, in The Parisian Woman. Commissioned by The Flea Theater, Beau Willimon has adapted Henry Becque's La Parisienne, now set in contemporary Washington D.C. To what lengths will a woman go to advance the political career of her husband? The Parisian Woman tears the veil off adultery in this modern retelling of the scandalous affairs of a bored and intelligent wife left to her own devices. Directed by Joel Schumacher.

The Flea Theater commissioned Academy Award nominee Beau Willimon to adapt Henry Becque's La Parisienne for The Flea. Directed by Joel Schumacher and starring Ellen Barkin, The Parisian Woman is now set in contemporary Washington D.C. To what lengths will a woman go to advance the political career of her husband? The Parisian Woman tears the veil off adultery in this modern retelling of the scandalous affairs of a bored and intelligent wife left to her own devices.

Sometimes once is just not enough, so, today, we have a super-special encore conversation with a recent InDepth InterView participant who shares even more candid tales from her impossibly colorful, genre-spanning career on Broadway and in Hollywood - star of properties as diverse as the Broadway musicals MR. PRESIDENT, KELLY and THEY'RE PLAYING OUR SONG, to movies like MOONSTRUCK and SHALL WE DANCE to her numerous TV appearances on everything from MATCH GAME to QUINCY to 30 ROCK - chameleon-like comedienne and actress Anita Gillette. Discussing some of the more ribald and hilarious stories from her idiosyncratic showbiz career - such as the riotous backstage goings-on out of town at the tryout of one of Broadway biggest bombs, KELLY - as well as spine-tingling "you had to be there"-type memories of the Golden Age - like Irving Berlin stopping by the Winter Garden every Wednesday just to see her Act One showstopper in ALL AMERICAN - Gillette paints a vivid picture of an era gone by, and, also, looks ahead to exciting future endeavors - especially the upcoming Ed Burns-directed feature film, THE FITZGERALD FAMILY CHRISTMAS, opening wide later this year. Of course, Gillette returns to the NYC stage the next two Mondays - September 24 and October 1 - with her new Birdland show, AFTER ALL, so in this all-encompassing conversation we also discuss the themes, style, songs and stories we can anticipate from that intimate solo piece, as well, and she generously shares her recollections of working with some of the men who penned many of the sensational songs she will be performing and figure in to some of the tales she will tell - Charles Strouse, Marvin Hamlisch, Jule Styne, Neil Simon, Woody Allen, Mel Brooks and the aforementioned Irving Berlin included. All of that and much, much more!

Young dancers in central Indiana can study with ballet greats by taking part in the Indianapolis City Ballet's Master Class Series. The 2012-2013 series, ICB's fourth season, is sponsored by philanthropists Jock and Penny Fortune and takes its first leap Sept. 9, 2012.

Today we are talking to a celebrated comedienne and actress known for her decades-spanning career on screens and stages large and small - from making her Broadway debut in the original Jerome Robbins production of GYPSY on Broadway in 1960 to her many musical roles throughout the 60s to her countless game show and variety show appearances following that all the way to creating an unforgettable character in MOONSTRUCK in the 1980s, as well as her subsequent oft-Neil Simon stage work; now, playing Tina Fey's sweet and daffy mom on NBC's 30 ROCK and, most recently, appearing in Nora & Celia Ephron's LOVE, LOSS AND WHAT I WORE and the Playwright's Horizons premiere production of THE BIG MEAL in the new millennium - the one of a kind Anita Gillette. Analyzing her nearly sixty-year career and sharing candid stories of her brushes with some of Broadway and Hollywood's brightest talents - Jule Styne to Ethel Merman to Irving Berlin to Burt Lancaster and beyond - Gillette paints a vivid portrait of the tail end of the Golden Age of Broadway and the heady game show days of TV in the 1960s and 70s to her lauded stage work with Neil Simon and many of the great comedy and musical writers in the years since. Additionally, Gillette and I discuss her current essaying of the role of Mae Peterson in the new Regal Music Theatre production of Charles Strouse and Lee Adams's BYE BYE BIRDIE in Massachusetts as she looks towards opening night tomorrow and relates her joy in participating in a production that has some behind-the-scenes help by her loving granddaughter (while another attends their summer camp). Plus, Gillette's observations on sharing a soundstage with Alec Baldwin, Tina Fey, Elaine Stritch and Buck Henry for a recent 30 ROCK shoot, reflections on her fondest and most celebrated comedy roles, hilarious memories of appearing in some short-running flops (JIMMY, SKYSKRAPER) as well as in some big hits (GYPSY), her upcoming series of master classes titled "Life In The Business", her return to Birdland with her concert show, AFTER ALL, her role in an upcoming Ed Burns film and maybe even a role in a new Alexander Payne film - all of that, all about attending the Diamond Jubilee celebration in the United Kingdom and much, much more!

In light of this week's news of the passing of noted author, playwright, producer and director Nora Ephron, today we are highlighting some of the most memorable moments from her accomplished and versatile career onscreen and onstage. Ephron's artistic output consisted of collections of essays, memoirs, novels, screenplays, feature films, plays and producing duties on projects close to her heart, as well as a considerable amount of awareness raising for women's causes and general charitable work for the arts. While perhaps best known for her much-loved trio of romantic comedies WHEN HARRY MET SALLY…, SLEEPLESS IN SEATTLE and YOU'VE GOT MAIL, Ephron also penned the screenplay for the Mike Nichols biopic SILKWOOD about whistleblower Karen Silkwood, as well as wrote and directed the recent hit comedy JULIE & JULIA, re-teaming with her friend and consistent collaborator, three-time Oscar-winner Meryl Streep. Incidentally, Streep actually played Ephron - or at least a thinly-veiled version of her - in the 1986 Mike Nichols film HEARTBURN, based on her novel of the same name. While BEWITCHED, LUCKY NUMBERS and HANGING UP may have failed to ignite, Ephron created fine films with the angelically-themed John Travolta starrer MICHAEL and the Julie Kavner vehicle THIS IS YOUR LIFE, as well as crafted indelible characters in screenplays such as COOKIE, MIXED NUTS and MY BLUE HEAVEN. Closing out her career, Ephron showcased Streep once again and rising star Amy Adams shone brightly in the fun and frothy JULIE & JULIA, ending Ephron's film output with a hit to go along with her successful early beginnings as an essayist, humorist and cultural commentator - having penned essay collections in the 1970s such as WALLFLOWER AT THE ORGY, CRAZY SALAD: SOME THINGS ABOUT WOMEN, SCRIBBLE, SCRIBBLE: NOTES ON THE MEDIA, and, more recently, I FEEL BAD ABOUT MY NECK: AND OTHER THOUGHTS ON BEING A WOMAN and I REMEMBER NOTHING: AND OTHER REFLECTIONS - who famously parlayed those skills into TV writing, and, then, her Oscar-nominated work on SILKWOOD - arguably her finest dramatic work of all in film. As far as Ephron's stage ventures are concerned, besides the forthcoming musical adaptation of SLEEPLESS IN SEATTLE currently being developed under director Lonny Price and her writing of next season's purportedly Tom Hanks-headlining Broadway bow in LUCKY GUY, Ephron penned the 2002 Jack O'Brien play with music (by no less than Marvin Hamlisch and Craig Carnelia) IMAGINARY FRIENDS, starring Cherry Jones and Swoozie Kurtz, as well as the recently-closed Off Broadway smash, LOVE, LOSS AND WHAT I WORE, co-written with her sister, Delia Ephron. JFK White House intern to New York Post columnist to celebrated essayist to Oscar-nominated screenwriter, director and producer, Ephron left a significant mark on society and also crafted some heartwarming - or, should that be: heartburning - stories along the way.

Today we are talking to a Tony Award-winning legend famous for his performances starring in the original Broadway productions of PIPPIN and JESUS CHRIST SUPERSTAR, as well as his celebrated turns in stage and screen projects as diverse as ALL THAT JAZZ, SWEET CHARITY, CHICAGO, FOSSE, WICKED, GRIND, ROOTS, I'M NOT RAPPAPORT, GOLDEN BOY, IDLEWILD, FUNNY LADY, HOW I MET YOUR MOTHER and many more - the simply incredible Ben Vereen. Discussing many of his most fondly remembered roles and recounting his experiences working with many legendary directors and collaborators - Bob Fosse, Hal Prince, Tom O'Horgan, Herbert Ross, Ann Reinking, Dan Sullivan, Sammy Davis, Jr., Barbra Streisand, Liza Minnelli and many more among them - Vereen paints a vivid picture of a bygone Broadway and reminisces about many of the most significant theatrical creators of the past fifty years and his roles in their stage and film projects. Additionally, Vereen fills us in on what we can expect from his upcoming solo spotlight show - a career retrospective - that will be kicking off at 54 Below on July 10 for a two-week engagement before an even larger, Broadway-bound mounting later this year at Princeton. Also, Vereen elaborates on the causes closest to his heart, shares thoughts on GLEE and SMASH, future plans and much, much more!

In the first of three collaborations together this spring, Ailyn Perez and Stephen Costello reprise headline the Los Angeles Opera's signature production of Puccini's masterpiece. Marking Costello's house debut, the revival opens for six performances on May 12.

Joining Danny DeVito and Richard Griffiths as the ageing vaudevillian team Willie Clark and Al Lewis in Neil Simon's award-winning comedy The Sunshine Boys are Rebecca Blackstone (Miss MacKintosh), Nick Blakeley (Eddie), Peter Cadden (Voice of TV Director), Johnnie Fiori (Registered Nurse), Adam Levy (Ben Silverman) and William Maxwell (Patient).

Patrick Summers continues his first season at the helm of the Houston Grand Opera this spring, leading performances of Verdi's Don Carlos (April 13-28) and Donizetti's Mary Stuart (April 21-May 4). Summers - named HGO's Artistic and Music Director in May 2011, following a 13-year period as Music Director - began his Houston season withVerdi's La traviata. Last fall, the conductor continued his long association with San Francisco Opera as principal guest conductor, leading the world premiere of Christopher Theofanidis' Heart of a Soldier and, soon after, the company premiere of Handel's Xerxes. He returns to the West Coast this spring, making his Los Angeles Opera debut by conducting Puccini's La boheme (May 12-June 2).

Just announced is official word that Thea Sharrock is set to direct Danny DeVito and Richard Griffiths as the ageing vaudevillian team Willie Clark and Al Lewis in Neil Simon's award-wining comedy, The Sunshine Boys. Previewing from 27 April with press night on 17 May, The Sunshine Boys is booking at the Savoy Theatre for a strictly limited run until 28 July 2012. The Sunshine Boys has designs by Hildegard Bechtler with lighting by Neil Austin and sound by Ian Dickinson for Autograph. Further casting will be announced shortly.