Oh, Boy! 2003 - Articles Page 28

Sierra Repertory Theatre will open its 2013 season with the biographical musical BUDDY: The Buddy Holly Story. With nine shows in all, the recently announced 2013 season will also include a summer performance of Rodgers and Hammerstein's Oklahoma!, a fall performance of the comedic play Harvey, and a special Christmas run of It's a Wonderful Life: The Radio Play, which will close the season. Season tickets are now on sale, and general admission tickets go on sale to the public October 1.

According to a family spokesperson, composer Marvin Hamlisch passed away Monday evening at 68 years old following a brief illness. Here's an interview with the legendary man from 2010.

On Twitter Watch, Megan Hilty wrote 'Oh boy... First day of school has officially begun!

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!

Park Ridge native, Nick Cosgrove, the Frankie Valli alternate in the current national tour of the Broadway hit JERSEY BOYS, went back to his roots late last month in order to connect with aspiring theater students at his former high school, Maine South High School.

Frankie Valli, the frontman of The Four Seasons and inspiration for the Broadway hit JERSEY BOYS, recently performed for Chicago audiences on June 2nd at the Chicago Theater. Nick Cosgrove, who currently plays Valli in the JERSEY BOYS tour, had the opportunity to meet the man behind the show for the first time following his concert. BroadwayWorld brings you the exclusive photos of the two's encounter below.

In April of 2012, Peter Lockyer joined the U.S. Tour cast taking over the role of Jean Valjean. Peter Lockyer played Marius on Broadway many years ago and now has this new opportunity to play Jean Valjean. I recently interviewed Peter and learned a lot about his career and how he feels about being part of musical history.

Walnut Street Theatre finishes out its 203rd season with an all-new production of Broadway's Buddy-The Buddy Holly Story.

In April of 2012, Peter Lockyer joined the U.S. Tour cast taking over the role of Jean Valjean. Peter Lockyer played Marius on Broadway many years ago and now has this new opportunity to play Jean Valjean. I recently interviewed Peter and learned a lot about his career and how he feels about being part of musical history.

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

David Saint took time out of his busy schedule to speak with BWW about the current National tour of West Side Story as well as to remember his close friend and trusted mentor, famed librettist, director and screenwriter Arthur Laurents, who passed away a year ago at the age of 93.

Making a name for herself as a model at a very early age set the stage for a career on screens large and small - as well as the Broadway stage itself many, many times over - for iconic beauty Brooke Shields. On April 24, she takes on the role of the Baroness in a starry Carnegie Hall concert mounting of Rodgers & Hammerstein's much-loved musical classic THE SOUND OF MUSIC, co-starring previous InDepth InterView participant Tony Goldwyn as Captain Von Trapp in addition the subject of next week's upcoming InDepth InterView as Maria, rising star Laura Osnes. Sharing her insights on her many notable Broadway appearances since her bow in GREASE in the 1990s - including thoughts on her stints in CABARET, CHICAGO, WONDERFUL TOWN, THE ADDAMS FAMILY and more - Shields opens up about her affection for the theatrical form and her desire to pursue plays and musicals in the future. Additionally, Shields comments on her role opposite Miley Cyrus on HANNAH MONTANA, as well as her sitcom days on SUDDENLY SUSAN and upcoming film appearance in HOT FLASHES. Plus, all about her impressions of THE SOUND OF MUSIC and her affection for the classic score, original film and its stars as well as the challenges she faces taking on the tricky role of the Baroness in the gala Carnegie Hall concert event. All of that and much, much more!

In a recent chat with BWW, Fankhauser spoke about why he believes NEWSIES is a timeless 'coming of age' tale of a group of boys who work together and make their voices heard.

Recently, noted DREAMGIRLS composer Henry Krieger was generous enough to take a comprehensive look back at his many accomplishments onstage and onscreen with me, turning back the pages of time and sharing memories of DREAMGIRLS, both on Broadway and in Hollywood, THE TAP DANCE KID, SIDE SHOW, KEPT, ROMANTIC POETRY and beyond, as well as discuss many aspects of his exciting new family-friendly musical opening next week at the New Victory Theater, LUCKY DUCK. Over the course of our compelling conversation, Krieger also revealed new details about the forthcoming 2014 production of SIDE SHOW, to be directed by DREAMGIRLS film director and TWILIGHT: BREAKING DAWN helmer Bill Condon - to premiere first at the La Jolla Playhouse and then at the Kennedy Center, as it makes its way towards Broadway - as well as first news on a musical collaboration with lyricist David Yazbek based on the life of television evangelist Tammy Faye Bakker set to star Tony and Emmy-winning Broadway and GLEE standout Kristin Chenoweth. DREAMGIRLS to LUCKY DUCK and much, much more awaits!

Actor, Jonathan Hadley back in Charlotte as Bob Crewe in 'Jersey Boys,' The Story of Frankie Valli & The Four Seasons. Book by Marshall Brickman & Rick Elice, Music by Bob Gaudio, Lyrics by Bob Crewe, Directed by Des McAnuff.

In a recent chat with BWW, Boykin shared his thoughts on what it was like to finally appear on the Broadway stage in a play that has literally been a part of his life since the time he was a little boy growing up in West Greenville, South Carolina.

"Seussical Jr." In this fantastical, magical, musical extravaganza, Tony winners Lynn Ahrens and Stephen Flaherty (Lucky Stiff, My Favorite Year, Once on This Island, and Ragtime) have lovingly brought to life all of our favorite Dr. Seuss characters, including Horton the Elephant, The Cat in the Hat, Gertrude McFuzz, Lazy Mayzie and a little boy with a big imagination--Jojo. 'Oh, The Thinks You Can Think' captures the show's spirit of imagination, as the colorful characters transport us from the Jungle of Nool to the Circus McGurkus to the invisible world of the Who's.

Meryl Streep Got Bleeped. So goes the 2012 GOLDEN GLOBES broadcast and its destined subtitle for all time. A gallon of gaffes and a ton of risque fun made the night more memorable for its moments of awkwardness amidst technical tomfoolery, and, the many, many surprises in the winning categories, to make it an award show worth watching - but, at what cost? THE ARTIST, THE DESCENDENTS and Harvey Weinstein productions in general were the cause celebre of the entire affair, all things considered, with everything from MY WEEK WITH MARILYN's Michelle Williams and THE IRON LADY's Meryl Streep to Madonna's W.E. taking home gold. Showtime's HOMELAND took many of the top wins in the TV categories, though some truly sensational and exceedingly superb fan-favorites got their due, too - AMERICAN HORROR STORY's Jessica Lange and GAME OF THRONES's Peter Dinklage both received their rightful trophies for their exceptional work on two of the finest dramas on television (both nominated, but unfortunately losing out to Showtime's tense war drama HOMELAND). Laura Dern's effervescent showing on Showtime's ENLIGHTENED and Kelsey Grammer's brusque and brilliant BOSS also unexpectedly ruffled some probably prognosticator's feathers, as well, with their wins. Steven Spielberg and Martin Scorsese were saluted for THE ADVENTURES OF TIN TIN and HUGO, respectively, showing clear evidence of not one but two long-standing titans of Hollywood remaining at the top of their field for decades with no foreseeable end in sight. While warm-heartedness was sporadic and spicier, spacier fare was more the special of the day, there was plenty of delectable dessert - a gold-flecked tart, let's say - to go around.

"Seussical Jr." In this fantastical, magical, musical extravaganza, Tony winners Lynn Ahrens and Stephen Flaherty (Lucky Stiff, My Favorite Year, Once on This Island, and Ragtime) have lovingly brought to life all of our favorite Dr. Seuss characters, including Horton the Elephant, The Cat in the Hat, Gertrude McFuzz, Lazy Mayzie and a little boy with a big imagination--Jojo. 'Oh, The Thinks You Can Think' captures the show's spirit of imagination, as the colorful characters transport us from the Jungle of Nool to the Circus McGurkus to the invisible world of the Who's.

The ultra-starry cast for the upcoming feature film version of the international smash musical sensation LES MISERABLES finally got one step closer to finding its Eponine and Cossette this week, as offers have gone out to pop music superstar Taylor Swift and breakout screen starlet Amanda Seyfried for the hotly anticipated Tom Hooper adaptation of the tuner which will also star Hugh Jackman and Russell Crowe as Jean Valjean and Javert, respectively, Anne Hathaway as Fantine and Tony-winner Eddie Redmayne as Marius. While Seyfried is perhaps best known to Broadway babies for her lovable and memorable turn in the role of Meryl Streep's daughter in the ABBA jukebox movie musical MAMMA MIA!, Swift has displayed her ample affection for all things theatrical with her recent Broadway-themed SPEAK NOW tour as well as her memorable appearance on SATURDAY NIGHT LIVE and on concert stages around the world. Both ladies certainly have the musical chops to take on these much-beloved Broadway roles - even if the soundtrack is to actually be recorded live on set, as the director himself has confirmed he intends to do - and, while neither Swift nor Seyfried has been officially confirmed by the producers as of this writing, both appear to more than merely satisfy the complex casting necessities for the standout roles and the overall younger-sided casting of the feature film adaptation so far. Yet, no matter how fantastic they may turn out to be in the finished final film, it sure will be difficult to manage to make much of an impression with a cast as impossibly accomplished as the one assembled for this film up until now - Jackman, Crowe, Hathaway, Redmayne, Aaron Tveit, Helena Bonham Carter and Sacha Baron Cohen included! Plus, who knows what new musical numbers Alain Boublil and Claude-Michel Shonberg are cooking up - and what characters shall sing them?! Whatever comes to pass, Christmas 2012 will be all about LES MISERABLES: THE MOVIE MUSICAL for Broadway babies everywhere - many of whom who have been waiting for this moment (and this movie) to arrive for over 20 years! Let's hope it was worth the wait! Until then, we have this look and listen to what made these ladies oh-so right for the roles. After all, less than 360 days remain until the big 24601!

Sam Harris has perfected a pretty good stand-up act over the years. He loves to expound on everything from show business and Liza Minnelli ... to surgeries and artificial body parts ... to dieting and even whine about how a toddler can radically alter one's comfortable lifestyle...he's into sharing news, issues, trends, gossip...take his New Year's resolutions over the course of three years: 'Don't look back!...Don't look!...Don't.' In there somewhere is a valuable lesson on how to downsize. Wait a minute, does all this jabber need a point? Even if he says absolutely nothing, Harris' greatest talent is to entertain, to put on a show. And that he blessedly does. As witnessed by Saturday evening's joyful Sam Harris & Friends on the El Portal Mainstage, boy oh boy, he can also still SING! So can all of his guests: Tony winner Levi Kreis, David Burnham, Todd Schroeder and Olivier/Ovation winner Lesli Margherita. It's been a while since I've seen this much overwhelmingly glorious talent assembled on one stage.

Remember your first time? He was wearing that half mask, you were wearing your favorite Opera dress, all while you were sailing on a boat through the - Oh wait, that was Christine from Phantom of the Opera. But, tonight - relationships will be taken to the next level as it's time for two of our favorite couples to face the music of the night and take their own journey - sans the opera dress, the mask, and the boat - well - maybe. Artie takes his role of director of West Side Story to heart and proposes an interesting question to his stars Rachel and Blaine - if "Tonight" is about sexual awakening - what was yours like? Both are flustered - but take the question into account with their boyfriends. Blaine makes a visit to Dalton to invite the Warblers to opening night of West Side Story and encounters a rehearsal of "Uptown Girl" sung by Nick and a new Warbler, named Sebastian. Artie - after watching Coach Bieste run out of rehearsal upon his question to Rachel and Blaine - confronts her about her first time - to find she's interested in someone, but unsure how to pursue it. Also in pursuit - Sebastian chats up Blaine, clearly walking the line between flirtation and walking over the line. Finn goes to Puck for advice about garnering protection for his night with Rachel, while Kurt and Blaine discuss Kurt's bucket list of things - which prompts Blaine to ask about being adventurous while they're young, causing Kurt to question his words. Blaine goes to meet with Sebastian, who once again pushes the line - but Kurt arrives and instantly pushes back on the boy's advances, but agrees to sneak into a gay bar with him - shocking Blaine. Artie pushes the man who Bieste is interested in to ask her out - making it very obvious - while Rachel pushes Finn to commit, only to offend him when she lets slip why she wants to do it so badly. Cooter steps up to the plate to ask Bieste out, but her insecurity almost derails it - but things click and go on track for a date. Rachel, desperate to figure out what she did wrong - calls on the girls of glee club and becomes inspired by Tina's words about her first time with Mike. Meanwhile, Mike and his father come to words about his involved with West Side Story - both men saying things they will likely regret. Blaine and Kurt head to the gay bar - which reveals Sebastian once again attempting to push the line, while Kurt surprisingly runs into Karofsky, whose doing well while at his new school, seemingly putting a real truce to the events of the past. Kurt rains on Sebastian's parade by claiming Blaine on the dance floor, only to have an argument with Blaine after he gets too handsy as they get ready to leave - Blaine storms off, leaving Kurt hurt. Opening night of the musical comes and Artie is nervous, but his cast makes him feel like a grown man for the first time with their support. Santana, Puck, and the Sharks sing "America" - while Mike and the Jets crash the party. Backstage, Blaine and Rachel grow more nervous for being realistic about their roles, but agree - they can truly do this. After the show, Kurt meets Blaine on stage and they share a tender moment before leaving to go to Blaine's. Finn freaks out over the recruiter not looking at him seriously, his frustration about his future reaching a peak - which Rachel attempts to bring him down from. As "One Hand, One Heart" is recalled - both couples share their special first time. No opera dresses, no boats - but lots of love. Until next week, Gleeks.

Today we are talking to the songwriter responsible for the new collection of songs culled from his many musical theatre ventures, both new and old - oh-so-appropriately titled OUT OF CONTEXT - who perhaps is best known to Broadway babies as the composer/lyricist of the mid-00s Off-Broadway smash boy-band spoof musical ALTAR BOYZ - the versatile and fiercely committed Michael Patrick Walker. Talking all aspects of OUT OF CONTEXT - including working with the tremendous talent featured on the multi-faceted and highly entertaining album (many of whom are also InDepth InterView participants themselves), such as Cheyenne Jackson, Kelli O'Hara, Lisa Howard and many more - as well as describing the shows from whence these songs derived (such as THE DISTANT BELLS, which recently was work-shopped starring Chita Rivera and Ana Gasteyer, among others) Walker and I attempt to paint a picture of the career of a rising star composer such as himself and what we can look forward to from him in the future, near and far - and, of course, what is in the ether for the release party performance concert at Birdland on Monday night featuring Ann Harada, Lauren Kennedy, Peter Friedman, Kenita Miller, John Tartaglia, Julie Foldesi, Noah Galvin, Andy Karl, Tyler Maynard, Andy Mientus, Jim Stanek and Betsy Wolfe. Additionally, he shares his experiences working on screen-to-stage adaptations of KINKY BOOTS and SOAPDISH, as well as shares news of his upcoming musical with Rick Ellis of JERSEY BOYS fame and the Rockettes musical number that will be premiering this season at the annual Radio City Music Hall Christmas spectacular. Plus, we also discuss his compositional and lyrical inspirations, favorite scores and composers, thoughts on GLEE and much, much more!

The original Jersey Boy Frankie Valli will headline a one-night-only concert for his first-time-ever appearance at the Civic Center of Greater Des Moines on Friday, Oct. 28, 2011. With his three-and-a-half-octave vocal range, over 100 million records sold and a multi-decade career, iconic Frankie Valli, along with his The Four Seasons, demonstrate why they are still the hottest ticket in town with a catalog of hits like: 'Can't Take My Eyes Off Of You,' 'Big Girls Don't Cry,' 'Rag Doll,' 'Grease,' 'Dawn,' 'Let's Hang On,' 'Sherry,' 'December 1963 (Oh What a Night)' and so many more.

Hello again, Broadwayworld! It's Lourds Lane, book/music/lyrics writer of CHIX 6, and also performing as the violin playing misfit, RISE, in the show. We've had 3 weeks of shows and it's clear that CHIX 6 is resonating with audiences. We've received standing ovations every single show. This is more of an accomplishment than you might realize since we've played many shows to the Queens Theatre subscription audience where the average age was 80. No joke. In the first two weeks of performances, it felt like the Saturday matinee crowd would tell their parents to see the show which made Sunday matinee crowd even OLDER. The cast, who are mostly all Broadway veterans, have schooled me that typically, old folks don't stand up, even if they like the show. But with our show, these octogenarians jump to their feet without fail. 'Oh my gawsh, these kids are so tehhhlented!' As for the teenagers in the crowd, who've been showing up this past week, both girls AND boys have become rabid repeat fans. People wait outside the stage door weeping. Something is clearly working.