Applause 1982 - Articles Page 5

Trinity Repertory Company previously announced that three local Rhode Island residents would be receiving Pell Awards this year in addition to Kate Burton, the recipient of the 2013 Pell Award for Lifetime Achievement in the Arts. The 17th annual Pell Awards will be held tonight, June 10, 2013 at Trinity Rep with a reception to follow next door at the Providence Public Library.

Crisp and witty, with an impeccable cast and sleek production values, Tom Stoppard's THE REAL THING at Studio Theatre will delight theatregoers who have long wished Stoppard would stop all his intellectual and political mind-bending and get down to the personal business of love once and for all.

Leading Australian theatre producer John Frost has announced that the role of Miss Lynch in the upcoming multi-million dollar production of GREASE will be played by television and theatre veteran Val Lehman.

Three-time Tony winning director Jack O'Brien's memoir 'Jack Be Nimble: The Accidental Education of an Unintentional Director' will be published by Farrar, Straus and Giroux on June 18, 2013. For Jack O'Brien, there's nothing like a first encounter with a great performer, nothing like the sound of an audience bursting into applause. In short, there's nothing like the theater. In the special interview below, director Richard Jay-Alexander chats with his friend about what fans can expect from the new book. Check it out below!

Trinity Repertory Company announced today that three local Rhode Island residents will be receiving Pell Awards this year in addition to Kate Burton, who had previously been announced as the recipient of the 2013 Pell Award for Lifetime Achievement in the Arts. The 17th annual Pell Awards will be held on Monday, June 10, 2013 at Trinity Rep with a reception to follow next door at the Providence Public Library.

Three-time Tony winning director Jack O'Brien's memoir 'Jack Be Nimble: The Accidental Education of an Unintentional Director' will be published by Farrar, Straus and Giroux on June 18, 2013.

La Jolla Playhouse announces a new play development initiative, the DNA New Work Series, entailing a six-week period of workshop productions and public readings of new plays and musicals, taking place today, January 24 through March 3, 2013. The focus of the DNA New Work Series is to allow playwrights and directors the opportunity to develop a script by providing rehearsal time, space and resources, culminating in a workshop production or public reading.

La Jolla Playhouse announces a new play development initiative, the DNA New Work Series, entailing a six-week period of workshop productions and public readings of new plays and musicals, taking place January 24 through March 3, 2013. The focus of the DNA New Work Series is to allow playwrights and directors the opportunity to develop a script by providing rehearsal time, space and resources, culminating in a workshop production or public reading.

SOUNDING BECKETT - a singular evening of theater and music that pairs three plays by Samuel Beckett from his 'ghost period' with new works by contemporary composers written expressly in response to those plays - will be presented tonight, September 14-23 at the Classic Stage Company (136 E. 13 St.) in Manhattan.

SOUNDING BECKETT - a singular evening of theater and music that pairs three plays by Samuel Beckett from his 'ghost period' with new works by contemporary composers written expressly in response to those plays - will be presented September 14-23 at the Classic Stage Company (136 E. 13 St.) in Manhattan.

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

The Joyce Theater (Linda Shelton, Executive Director) announced today the programming for its Fall ‘12/Winter ‘13 Season.

James William Productions and Stephenie Skyllas will present Kurt Peterson and Victoria Mallory in 'When Everything Was Possible, A Concert (with comments),' for one night only, Sunday April 29th (7:30pm) at New York City Center (131 West 55th Street, between 6th and 7th Avenues), as a benefit for Broadway Cares/Equity Fights AIDS. They will be joined by a thirteen-piece band (Michael Rafter, Music Director), playing new orchestrations by Tony Award winner Jonathan Tunick. Larry Moss directs, with musical staging by Joshua Bergasse ("Smash"). Carolyn Wong will provide lighting design, with sound design by Leon Rothenberg and projection design by Telegraphicmedia.

James William Productions and Stephenie Skyllas present Kurt Peterson and Victoria Mallory in When Everything Was Possible, A Concert (with comments), for one night only tonight, April 29th (7:30pm) at New York City Center (131 West 55th Street, between 6th and 7th Avenues), as a benefit for Broadway Cares/Equity Fights AIDS. They are joined by a thirteen-piece band (Michael Rafter, Music Director), playing new orchestrations by Tony Award winner Jonathan Tunick. Larry Moss directs, with musical staging by Joshua Bergasse ("Smash"). Carolyn Wong provides lighting design, with sound design by Leon Rothenberg and projection design by Telegraphicmedia.

The 28th Annual Southland Theatre Artists Goodwill Event-S.T.A.G.E.- presents ORIGINAL CAST 3, a musical celebration showcasingartists from theater, television and cabaret performing songs they originated in musical productions, for one-night-only, tonight, April 28 at 7:30PM. This year, the annual event, which benefits AIDS Project Los Angeles, will return to the Saban Theatre Beverly Hills.

James William Productions and Stephenie Skyllas will present Kurt Peterson and Victoria Mallory in 'When Everything Was Possible, A Concert (with comments),' for one night only, Sunday April 29th (7:30pm) at New York City Center (131 West 55th Street, between 6th and 7th Avenues), as a benefit for Broadway Cares/Equity Fights AIDS. They will be joined by a thirteen-piece band (Michael Rafter, Music Director), playing new orchestrations by Tony Award winner Jonathan Tunick. Larry Moss directs, with musical staging by Joshua Bergasse ("Smash"). Carolyn Wong will provide lighting design, with sound design by Leon Rothenberg and projection design by Telegraphicmedia.

Surprise guest, lyricist Alain Boublil appears on stage at Baltimore's Meyerhoff Symphony Hall to the delight of an SRO crowd

BASE Entertainment has just announced that DINER, a new musical based on the critically acclaimed 1982 film with a book by Academy Award winner and original DINER screenwriter Barry Levinson and music & lyrics by 9-time Grammy Award-winning singer-songwriter Sheryl Crow, will have its pre-Broadway world premiere at San Francisco's SHN Curran Theatre (445 Geary Street). Directed and choreographed by Tony Award winner Kathleen Marshall, DINER will play a strictly limited four week engagement from Tuesday, October 23, 2012, through Sunday, November 18, 2012, with an opening night of Friday, November 2, 2012. Due to these confirmed San Francisco dates DINER will now bow on Broadway in the spring of 2013, instead of the fall of 2012 as previously announced. Design team and casting will be announced at a later date.

The 28th Annual Southland Theatre Artists Goodwill Event-S.T.A.G.E.-will presentORIGINAL CAST 3, a musical celebration showcasingartists from theater, television and cabaret performing songs they originated in musical productions, for one-night-only onSaturday, April 28 at 7:30PM. This year, the annual event, which benefits AIDS Project Los Angeles, will return to the Saban Theatre Beverly Hills.

James William Productions and Stephenie Skyllas will present Kurt Peterson and Victoria Mallory in When Everything Was Possible, A Concert (with comments), for one night only, Sunday April 29th (7:30pm) at New York City Center (131 West 55th Street, between 6th and 7th Avenues), as a benefit for Broadway Cares/Equity Fights AIDS. They will be joined by a thirteen-piece band (Michael Rafter, Music Director), playing new orchestrations by Tony Award winner Jonathan Tunick. Larry Moss directs, with musical staging by Joshua Bergasse ("Smash"). Carolyn Wong will provide lighting design, with sound design by Leon Rothenberg and projection design by Telegraphicmedia.

Following The Straits' recent debut show at the Royal Albert Hall in May 2011, original Dire Straits members Alan Clark and Chris White continue their UK tour as the recently formed band 'The Straits' tonight at the York Barbican (Friday October 7th).

David West in Association with John Freedson will present MADAME X with book, music and lyrics Geard Alessandrini & Robert Hetzel and directed by Mr. Alessandrini at the New York Musical Theatre Festival.

BASE Entertainment (Co-CEO's Scott Zeiger and Brian Becker) announced that DINER, a new musical inspired by the critically acclaimed 1982 film, will come to Broadway in the fall of 2012. With a book by Academy Award and Emmy Award winner Barry Levinson and music & lyrics by Grammy Award-winning singer-songwriter Sheryl Crow, DINER will be directed and choreographed by Tony Award winner Kathleen Marshall. DINER marks the Broadway debut of both Barry Levinson and Sheryl Crow. Prior to its Broadway bow, DINER will play a limited out of town engagement in a city TBD in the summer of 2012. Design team and casting will be announced at a later date.

From June 30-July 9, ImprovBoston presents T: An MBTA Musical, a musical comedy inspired by the trials and tribulations of taking Boston's favorite public transportation.

Classic tunes from Fiddler on the Roof, Fiorello!, She Loves Me, The Apple Tree, and others will fill the air at New Yorks legendary National Arts Club on Monday May 16, 2011 as The Theatre Museum pays tribute to famed Broadway lyricist Sheldon Harnick -- its 2011 Career Achievement Award recipient.