Contact 2000 - Articles Page 13

Meet Alan Cumming, Tom Viola and Rivka S. Katvan on Wednesday, September 12, 6 to 8 p.m., at Soho Photo Gallery (located at 15 White St. in NYC). Join us for a conversation about fine-art photography, Broadway theater, and Broadway Cares/Equity Fights AIDS's fundraising work for critically needed services for people living with HIV/AIDS and their families nationwide. The conversation will be moderated by Randy Gener, New York editor/writer.

The Van Wezel Performing Arts Hall has announced that it has been ranked as the No. 1 Performing Arts Hall in North America in the 2,000 seat category of 'top spots' in Venues Today (July 2012 issue), the industry bible of performance venues.

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

One of the most versatile and original talents in contemporary world cinema, the Austrian filmmaker Michael Glawogger has made an art of crossing boundaries, both geographic and formal. Through tonight, April 29, 2012, Museum of the Moving Image will present the first U.S. retrospective to feature both Glawogger's documentary and fiction films.

One of the most versatile and original talents in contemporary world cinema, the Austrian filmmaker Michael Glawogger has made an art of crossing boundaries, both geographic and formal. From April 19-29, 2012, Museum of the Moving Image will present the first U.S. retrospective to feature both Glawogger's documentary and fiction films.

The John W. Engeman Theater presents four time Tony Award Winning Musical, 42nd STREET, beginning with previews on Thursday, April 12, 2012 at 8:00 p.m., an official opening on Saturday, April 14 at 8:00 p.m. and running through June 17, 2012. Tickets are on sale for $60 and may be purchased by calling (631) 261-2900, by visiting www.engemantheater.com, or at the Engeman Theater Box Office at 250 Main Street, Northport.

The Martin E. Segal Theatre Center (Frank Hentschker, Executive Director) has announced the rest of its Spring 2012 season, featuring 11 free events at the Graduate Center, including rarely-seen performances, premiere readings of international playwrights, and day-long symposia on everything from ecologically inspired performance (for Earth Day!) to the Group Theatre to innovative American women producers.

Today in 2000, Contact opened at the Vivien Beaumont Theatre, where it ran for 1010 performances.Contact: The Musical is a musical 'dance play' (some deemed it a ballet) that was developed by Susan Stroman and John Weidman, with its 'book' by Weidman and both choreography and direction by Stroman. It consists of three separate one-act dance plays. The show was received with much critical acclaim and won the 2000 Tony Award for Best Musical. A West End production opened at the Queen's Theatre in October 2002, and closed on May 10, 2003.

Country Dance*New York will present the Winter Meltdown contra dance on Saturday, March 10, 2012 from 9:00 pm to 11:45 pm at the Chinatown YMCA's Houston Street Center (273 Bowery, near Houston Street, Manhattan). No previous experience is required. From 8:30 pm to 9:00 pm there is a beginner's workshop, and the caller walks everyone through the patterns of each dance. Contra dancing is having a renaissance around the country, thanks to a thriving youth scene; high energy, acoustic music; and joyful, fast-paced, aerobic dancing. There is plenty of swinging your partner and lots of fun, flirting and eye contact. Some men wear kilts or skirts. Women dance with men, men dance with men, and women dance with women.

Country Dance*New York will present the Winter Meltdown contra dance on Saturday, March 10, 2012 from 9:00 pm to 11:45 pm at the Chinatown YMCA's Houston Street Center (273 Bowery, near Houston Street, Manhattan). No previous experience is required. From 8:30 pm to 9:00 pm there is a beginner's workshop, and the caller walks everyone through the patterns of each dance. Contra dancing is having a renaissance around the country, thanks to a thriving youth scene; high energy, acoustic music; and joyful, fast-paced, aerobic dancing. There is plenty of swinging your partner and lots of fun, flirting and eye contact. Some men wear kilts or skirts. Women dance with men, men dance with men, and women dance with women.

Manhattan Theatre Club has announced that two time Drama Desk Award nominee Margaret Colin ("Gossip Girl," MTC's Defiance) and four time Tony Award winner Boyd Gaines (Gypsy, Contact) will join Tony and Emmy Award winner John Lithgow in the cast of the world premiere of THE COLUMNIST by Tony and Pulitzer Prize winner David Auburn, directed by Tony Award winner Daniel Sullivan.

Also in the upcoming 'Rock of Ages' movie, Keith has many other TV, film and pop-music credits, as well as 4 B'way shows.

After CONTACT (a show that featured all pre-recorded music) controversially took home the 2000 Tony Award for Best Musical, the 'Best Special Theatrical Event' category was created to include shows that fit neither the description of a play nor a musical. After Broadway legend Liza Minnelli won the Special Event Tony in 2009, the category was officially retired, allowing shows that qualified to be nominated in other categories.

METROPOLITAN MUSEUM has announced CONCERTS for DECEMBER 2011 including Patti Smith and Friends , New York Philharmonic's CONTACT!, Homayun Sakhi, and Afghan Rubab Virtuoso. Metropolitan Museum Artists in Concert Begins Its Ninth Season. Judy Collins, Paul Winter, Anonymous 4, Vienna Boys Choir, Ebony Ecumenical Ensemble, and More Perform Christmas Concerts.

METROPOLITAN MUSEUM has announced CONCERTS for DECEMBER 2011 including Patti Smith and Friends , New York Philharmonic's CONTACT!, Homayun Sakhi, and Afghan Rubab Virtuoso. Metropolitan Museum Artists in Concert Begins Its Ninth Season. Judy Collins, Paul Winter, Anonymous 4, Vienna Boys Choir, Ebony Ecumenical Ensemble, and More Perform Christmas Concerts.

Where has all the Hollywood glamour of yesteryear gone? Thanks to the resourcefulness of producer, narrator and pianist Greg Schreiner, the revue Hollywood Revisited brings it all back, at least for a few fleeting moments. Revisited has become a resoundingly popular success with audiences over the past few years. On Sunday October 9, the show performed a concert at the Bellflower Civic Auditorium, just one of its many local gigs. The show performs not only in SoCal but all over the country as well as on Crystal Cruises. Schreiner, who has collected more than 350 original costumes from Hollywood films over the last decades, showcases the costumes in quite a novel way. Singers/dancers model them while engaging the audience in songs from the Golden Age of Cinema.

The Jefferson Performing Arts Society (JPAS) will hold a second round of auditions for specific roles in its 2011-2012 Season Thrusday, August 18, 2011 beginning at 6PM at the Westwego Performing Arts Theatre (177 Sala Avenue in Westwego, LA).

The Jefferson Performing Arts Society (JPAS) will hold a second round of auditions for specific roles in its 2011-2012 Season Wednesday and Thrusday, August 17 and 18, 2011 beginning at 6PM at the Westwego Performing Arts Theatre (177 Sala Avenue in Westwego, LA).

The Jefferson Performing Arts Society (JPAS) will hold a second round of auditions for specific roles in its 2011-2012 Season Wednesday and Thrusday, August 17 and 18, 2011 beginning at 6PM at the Westwego Performing Arts Theatre (177 Sala Avenue in Westwego, LA).

Victoria Theatre Association announces tickets will go on sale to the public for the 2011 - 2012 Miami Valley & Good Samaritan Hospitals Broadway Series presentation of The New Mel Brooks Musical Young Frankenstein, Friday, July 29, 2011, prior to the Michelob Ultra Cool Films Series showing of the 1974 film, Young Frankenstein, at the historic Victoria Theatre.

Cause Celebrè (Susan Charlotte, Founding Artistic Director) in association with Mary J. Davis is proud to celebrate a collection of worthy non-profits throughout the run of The Shoemaker and The Pretty Trap this summer, beginning July 14 through July 24 at Theatre Row's Acorn Theatre.

Cause Celebrè (Susan Charlotte, Founding Artistic Director) in association with Mary J. Davis is proud to celebrate a collection of worthy non-profits throughout the run of The Shoemaker and The Pretty Trap this summer, beginning July 14 through July 24 at Theatre Row's Acorn Theatre.

The Jefferson Performing Arts Society (JPAS) will hold auditions for its 2011-2012 Season Friday, Saturday and Sunday, June 10-12, 2011 at the Jefferson Performing Arts Center (EJ High School Auditorium), 400 Phlox Street in Metairie.

The Jefferson Performing Arts Society (JPAS) will hold auditions for its 2011-2012 Season Friday, Saturday and Sunday, June 10-12, 2011 at the Jefferson Performing Arts Center (EJ High School Auditorium), 400 Phlox Street in Metairie. JPAS seeks singers, dancers and actors ages 17 and up of all ethnicities for their 2011-2012 season productions.

An exhibition of the work of German artist Hans-Peter Feldmann (b. 1941, Dusseldorf), winner of the HUGO BOSS PRIZE 2010, will be on view at the Solomon R. Guggenheim Museum, May 20-November 2, 2011.