Producer Global Creatures have today released an 8-track preview of the score of KING KONG which features the work of some of the world's best contemporary artists, including 3D from Massive Attack, Sarah McLachlan, Justice, Guy Garvey from Elbow and The Avalanches. The music is being overseen by composer and arranger Marius de Vries, whose credits include the soundtracks for Moulin Rouge and Romeo + Juliet. Click below to listen!
Wednesday night was the second of Marilyn Maye's first 54 Below run (which will continue until March 16) and she sashayed around the stage in front of an almost full house like a woman of 35. Like most of her shows, Maye's performance was a 'live' cabaret Master Class for budding cabaret performers and seasoned professionals alike, and this 'Maye-den Voyage' never went adrift (thanks in part to solid and unobtrusive support from Tedd Frith on piano, Tom Hubbard on bass, and Jim Eklof on drums).
At last year's Manhattan Association of Cabarets and Clubs (MAC) Awards, two of the big winners were T. Oliver Reid (photo left) for Male Debut and Eric Michael Gillett for Major Artist, Male (and both could very likely be MAC nominees again this year). Almost a year later, two of New York cabaret's leading men performed new shows one night apart at 54 Below; Reid on February 6 with Drop Me Off in Harlem, and Gillett the next night with Careless Rhapsody: An Evening Dedicated to the Lyrics of Lorenz Hart. Ironically, what the shows had in common--besides being a fairly good fit of material to singer--was that the majority of their sets featured songs written in the 1930s but in very different styles. With Reid it was the jazz, swing and blues of Harlem; with Gillette it was the romantic Broadway musical sensibility of Hart's lyrics (paired with the timeless melodies of Richard Rodgers). While neither Reid's 'Harlem,' nor Gillett's 'Hart' were stirring or spectacular shows, they were both solid and entertaining enough that both could be nominated for BroadwayWorld.com Awards in 2013.
It's hard to believe that Amanda McBroom--who many consider to be one of the country's leading cabaret performers--had never played the elegant Cafe Carlyle before the current run of her new show A Valentine Rose. But better late than never because few things could warm the cockles of a romance-craved heart more on a frigid early February evening than McBroom sweeping into the Carlyle and singing songs about the vagaries of love that fit her special definition: 'Like a double expresso--a slice of life ground under pressure with a little bit of steam.'
Even her biggest fans among the opening night crowd were likely befuddled, slightly bothered, and even a tad bewildered when they heard that Christine Andreas' first cabaret show at 54 Below was called "Bemused," and not exactly sure what that meant. But they would ultimately end up being thoroughly bewitched by a wonderfully engaging show by this totally entertaining pro. While most current or former Broadway stars who are staging shows at 54 Below are performing what amounts to mini-concerts, the lady who first became a Broadway audience favorite as Eliza Doolittle in the 20th anniversary production of My Fair Lady (and is two-time Tony Award nominee) knows her way around cabaret and developed a charmingly creative conceit for this run (continuing on Jan. 29, Feb. 1, 2 at 8:30 pm and Jan. 30, 31 at 7 pm), which included songs from Broadway, pop, the Great American Songbook, and even Edith Piaf.
With her tribute show to the music of Harold Arlen and Duke Allington, 'When Harry Met The Duke' is Rosemary Loar's creative foray back into the caressing arms of the Great American Songbook. If you consider that the contemporary cabaret scene in New York is 30 years on (since the opening of Don't Tell Mama in 1982 and the start of MAC in 1983), there have been likely been thousands of cabaret shows with GAS themes and the interesting new ideas may be down to a precious few. And Loar, who has been performing cabaret shows during that same time frame, has managed to come up with yet another variation and her erudite and accessibly sophisticated show goes down like a delicious vodka martini topped with a skewer of blue cheese stuffed olives.
Tonight, December 14 and 15, 2012 at 8:00pm, The New York Pops will present an evening full of holiday cheer at Carnegie Hall's Stern Auditorium/Perelman Stage with Pink Martini: Joy to the World. Music Director and Conductor Steven Reineke will lead the orchestra in a seasonal celebration featuring guest artists Pink Martini as they perform festive favorites from their album Joy to World.
THE WONDERFUL WIZARD OF SONG: The Music of Harold Arlen, a musical revue featuring Stormy Weather, Come Rain or Come Shine, Paper Moon, Accentuate-The-Positive, Lets Fall in Love, and all the much-loved tunes from THE WIZARD OF OZ, begins previews at St. Luke's Theatre, 308 West 46th Street, NYC tonight, December 13 and opens officially on Thursday, January 10 at 8 PM.
THE WONDERFUL WIZARD OF SONG: The Music of Harold Arlen, a musical revue featuring Stormy Weather, Come Rain or Come Shine, Paper Moon, Accentuate-The-Positive, Lets Fall in Love, and all the much-loved tunes from THE WIZARD OF OZ, begins previews at St. Luke's Theatre, 308 West 46th Street, NYC on Thursday, December 13 and opens officially on Thursday, January 10 at 8 PM.
THE WONDERFUL WIZARD OF SONG: The Music of Harold Arlen, a musical revue featuring Stormy Weather, Come Rain or Come Shine, Paper Moon, Accentuate-The-Positive, Lets Fall in Love, and all the much-loved tunes from THE WIZARD OF OZ, begins previews at St. Luke's Theatre, 308 West 46th Street, NYC on Thursday, December 13 and opens officially on Thursday, January 10 at 8 PM.
On December 14 and 15, 2012 at 8:00pm, The New York Pops will present an evening full of holiday cheer at Carnegie Hall's Stern Auditorium/Perelman Stage with Pink Martini: Joy to the World. Music Director and Conductor Steven Reineke will lead the orchestra in a seasonal celebration featuring guest artists Pink Martini as they perform festive favorites from their album Joy to World.
One for My Baby, set to a score of some three dozen Harold Arlen classics and billed as "a song-and-dance celebration ofbig-city nightlife at the end of World War II," will have a private, industry-only workshop at the New 42nd Street Studios, 229 West 42 Street, tonight, October 11 and October 12.
One for My Baby, set to a score of some three dozen Harold Arlen classics and billed as "a song-and-dance celebration ofbig-city nightlife at the end of World War II," will have a private, industry-only workshop at the New 42nd Street Studios, 229 West 42 Street, this October 11 and October 12.
Gennaro Productions in association with The Midtown International Theatre Festival present Vincent Gorliormella's new outrageous comedy WHATTA YA NUTS! directed by Charles Messina, choreographed by Tricia Brouk, with musical Direction by Ray Naccari and songs by Harold Arlen, Ted Koehler, John Fogerty, Johnny Mercer, Henry Mancini, Wham!, Tom Jones, Les Reed, Geoff Stephens, and Neil Diamond. The show stars Al Sapienza, Ernest Mingione, Alex Ishkanian, Gina Ferranti, Autumn Ready Potter, Steven LaChioma and Valerie Smaldone. WHATTA YA NUTS! plays July 19 - August 5 at the June Havoc Theatre (312 West 36 Street - between Eighth & Ninth Avenues).
Following the Brighton Beach and Downtown Brooklyn series, the Brooklyn Phil concludes its 2011-12 relaunch season with three free concerts in the heart of BED-STUY, in partnership with Bedford Stuyvesant Restoration Corporation and Brooklyn Public Library.
Supported by a superb 10-piece orchestra (including six horn players), Catherine Russell's set at the Allen Room for Jazz at Lincoln Center was a tribute to songs her dad Luis recorded or performed with the great Louis Armstrong from the late 1920s through the 1930s. By the end of her show, Russell had clearly proven that she has become one of the finest interpreters of jazz and blues on the contemporary music scene.
For nearly 300 years, theatre scholars have doubtEd Lewis Theobald's claim that his Double Falsehood was an adaptation of Cardenio, a lost collaboration by William Shakespeare and John Fletcher. But the recent acceptance of highly-regarded publisher Arden Shakespeare has, in the eyes of many, provided a new entry for the Bard's canon. But while Brian Kulick's well-acted production for Classic Stage Company is a worthy mounting, the mystery of the play's origin stirs up more interest than anything left on the written page.
