Michael Detroit News

Elton John's score enlivens Playhouse's BILLY ELLIOT.

The 47th season for Playhouse on the Square begins with the regional premiere of Billy Elliot the Musical! Set in a northern English town amidst the turbulent 1984 miners' strike, Billy Elliot the Musical is the inspiring tale of one boy's journey as he exchanges his boxing gloves for ballet shoes. Featuring music by Elton John, The New York Times declares that Billy Elliot the Musical 'isn't a dance show; it's about why people need dance.'

The 47th season for Playhouse on the Square begins with the regional premiere of Billy Elliot the Musical! Set in a northern English town amidst the turbulent 1984 miners' strike, Billy Elliot the Musical is the inspiring tale of one boy's journey as he exchanges his boxing gloves for ballet shoes. Featuring music by Elton John, The New York Times declares that Billy Elliot the Musical 'isn't a dance show; it's about why people need dance.'

It's early June in Memphis, but, with the recent success of Playhouse on the Square's KISS ME, KATE and, now, Theatre Memphis' sparkling production of ANYTHING GOES, we seem to be having, as my late grandmother might say, 'another 'cole' snap' - Cole Porter, that is. Who would not welcome the giddy book by the great P.G. Wodehouse and Guy Bolton, with a reworking by Howard Lindsay and Russel Crouse? And who has not delighted to such songs as 'You're the Top,' 'I Get a Kick Out of You,' 'Blow, Gabriel, Blow,' 'It's De-Lovely,' and, of course, the title tune?

There's something intrinsically dramatic about a formidable artist/instructor who, because of whatever circumstances, finds that he or she has to step down a rung on the ladder of fame in order not to slip from that ladder altogether. It isn't necessarily a new theme that Theresa Rebeck tackles in the acid-etched comedy SEMINAR, directed by Irene Crist and currently running at Circuit Playhouse. While watching it, I was reminded of other works dealing with artists who, out of necessity, must share their genius (and sharpen their verbal talons) on eager, ambitious upstarts. Not too long ago, there was a production of John Logan's RED, about the artist Mark Rothko and his fictional assistant. Nor should we forget Terrence McNally's MASTER CLASS, with diva Maria Callas holding a voice master class with students trembling under her aura. Other, similar (if fictional) titles leap to mind: Consider that holy terror from THE PAPER CHASE, 'Professor Kingsfield' (John Houseman), intimidating Timothy Bottoms' frustrated law student. To these master instructors we can now add the imperious 'Leonard' (deliciously played by Michael Detroit, who, as a real-life instructor, has an innate understanding of the interplay between teacher and student), a famous novelist who has been to the well of inspiration once too often and is now (for $5000 per student) reluctantly willing to train his weary eyes on material that more often than not elicits blistering barbs of criticism; and a varied and pretentious lot they are - the affluent 'Kate' (whose spacious and expensive apartment furnishes the setting for the seminar meetings, and whose six-year struggle with a story is rather like a plane that bumps along a runway and can't quite take flight); the name-dropping 'Douglas,' who has written something fit for THE NEW YORKER (ordinarily an impressive feat - except when Leonard derides its 'detached intelligence'); the opportunistic 'Izzy,' who isn't beyond parlaying her particular affinity for sex into a form of self-promotion; and, finally, the disproving 'Martin,' whose intellectual probity causes him to roll his eyes at the pretentiousness of people like Douglas.

Now that Memphis in May has finally bid adieu to the Sunset Symphony, crowned the winners of the barbecue contest,and trod well the welcome mat to the magnficent new Bass Pro Shop, Memphians can look to its theatres, old and new, for diversions of a histrionic nature.

Four aspiring young novelists sign up for private writing lessons with Leonard, a once celebrated literary figure. Under his recklessly brilliant and unorthodox instruction, some thrive and others flounder, alliances are made and broken, sex is used as a weapon, and hearts are unmoored. The wordplay is not the only thing that turns vicious, as innocence collides with experience in this sharp comedy.

Four aspiring young novelists sign up for private writing lessons with Leonard, a once celebrated literary figure. Under his recklessly brilliant and unorthodox instruction, some thrive and others flounder, alliances are made and broken, sex is used as a weapon, and hearts are unmoored. The wordplay is not the only thing that turns vicious, as innocence collides with experience in this sharp comedy.

Playhouse on the Square's 38th Annual Original Art Auction will take place today, April 25. With over 150 Artists contributing one-of-a-kind pieces for a live and silent auction, the PARTY is happening at Playhouse on the Square on April 25.

Playhouse on the Square's 38th Annual Original Art Auction will take place on Saturday, April 25. With over 150 Artists contributing one-of-a-kind pieces for a live and silent auction, the PARTY is happening at Playhouse on the Square on April 25.

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.

Follow us into a world of moonlight and magic as we celebrate our 45th anniversary with the musical that started it all for Circuit Playhouse, Inc. The Fantasticks tells the story of Matt and Luisa who fall in love at the hands of their meddling fathers, grow apart, and find their way back to each other. With a timeless score that includes the songs 'Try To Remember' and 'They Were You,' The Fantsticks is a musical gem that will delight all ages.

Follow us into a world of moonlight and magic as we celebrate our 45th anniversary with the musical that started it all for Circuit Playhouse, Inc. The Fantasticks tells the story of Matt and Luisa who fall in love at the hands of their meddling fathers, grow apart, and find their way back to each other. With a timeless score that includes the songs "Try To Remember" and "They Were You," The Fantsticks is a musical gem that will delight all ages.

When Playhouse on the Square first showcased the musical version of the giddy John Waters' romp HAIRSPRAY a few seasons back, terpsichorean dynamo Courtney Oliver (as 'Tracy Turnblad') and theatre veteran Ken Zimmerman ('Miss Edna') left the stage each night with clamorous standing ovations for them and their colorful cohorts. I saw it more than once; it was the kind of theatrical experience that not only made you want to see it repeatedly, but one to which you longed to introduce others. I was thrilled to learn not only that HAIRSPRAY would return to end the current season at Playhouse, but that it would also reunite most of the original cast - and would be directed by the ever reliable Dave Landis.

It's 1962, the '50s are out, and change is in the air. Baltimore's Tracy Turnblad, a big girl with big hair and an even bigger heart, has only one passion - to dance. She wins a spot on the local TV dance program, 'The Corny Collins Show' and, overnight, is transformed from outsider to irrepressible teen celebrity. But can a trendsetter in dance and fashion vanquish the program's reigning princess, win the heart of heartthrob Link Larkin, and integrate a television show without denting her 'do? Only in Hairspray!

It's 1962, the '50s are out, and change is in the air. Baltimore's Tracy Turnblad, a big girl with big hair and an even bigger heart, has only one passion - to dance. She wins a spot on the local TV dance program, 'The Corny Collins Show' and, overnight, is transformed from outsider to irrepressible teen celebrity. But can a trendsetter in dance and fashion vanquish the program's reigning princess, win the heart of heartthrob Link Larkin, and integrate a television show without denting her 'do? Only in Hairspray!

Playhouse on the Square's 37th Annual Original Art Auction will take place on Saturday, April 26th. With over 125 Artists contributing one-of-a-kind pieces for a live and silent auction, the PARTY is happening at Playhouse on the Square today, April 26.

Playhouse on the Square's 37th Annual Original Art Auction will take place on Saturday, April 26th. With over 125 Artists contributing one-of-a-kind pieces for a live and silent auction, the PARTY is happening at Playhouse on the Square on April 26. The Annual Original Art Auction has become the party of the year, with hundreds of people attending in hopes of finding that perfect piece of art. Auctioneers Gene Katz, Michael Detroit, and Ann Marie Hall help to create a great PARTY atmosphere for the serious art buyer to the novice. Admission is $25 (which will be deducted from the purchase price of the art!) and hors d'oeuvres and beverages are complimentary. The Live Auction begins at 6:30 pm. For more information, please call Whitney Jo at (901) 725-0776. See you at the PARTY! www.playhouseonthesquare.org

n 1995, Playhouse on the Square founded the United Professional Theater Auditions (UPTA) to give professional actors and technicians from all over the country access to quality, paying theatres, as well as to offer theatres access to quality talent that can work year-round. Between Thursday, February 6th and Monday, February 10th, more than 900 actors and production personnel came to Memphis to audition and interview for 82 theatre companies from across the U.S. and around the world. According to Associate Playhouse Producer, Michael Detroit, 'It's sort of like American Idol meets Job Fair.