Better Late than Never! 1859 - Articles Page 26

It is better late than never for Lunchbox Theatrical Productions, Francis Lumen, Smart, and Citibank Philippines. Andrew Lloyd Webber's megamusical THE PHANTOM OF THE OPERA, based on the French novel 'Le Fantôme de l'Opéra' by Gaston Leroux, gets its Philippine premiere after 24 years since the production opened on Broadway. An international touring production of THE PHANTOM OF THE OPERA, featuring cast members from the United Kingdom, United States of America, Australia, and South Africa, runs at the Cultural Center of the Philippines' main theater from Saturday, August 25 to Sunday, October 14. Tickets go on sale to general public starting Tuesday, May 1. For Infinity (Powered by Smart) subscribers and Citibank cardholders, pre-selling of tickets is from Monday, March 19 to Monday, April 30.

TOUCH, the intriguing new drama series from Tim Kring (Heroes) and starring Kiefer Sutherland in his first television project since the Emmy-winning 24, will receive an unprecedented global launch for its March series premiere that includes coordinated worldwide distribution, marketing and advertising sponsorship.

Since NBC's musical drama series SMASH is kicking into high gear as the Marilyn Monroe musical that forms the core of the show's story approaches its first workshop presentation on Monday night's episode - with the highly awaited appearance of Broadway legend Bernadette Peters coming next week, as well; playing the mother of the Marilyn musical star, Ivy Lynn (Megan Hilty) - now is the ideal opportunity to, well, "Fade in on a girl / With a hunger for fame / And a face and a name to remember," to quote Marc Shaiman and Scott Wittman's crown jewel in a diadem of a songstack for the show-within-the-show, BOMBSHELL. The show-within-the-show is better that most scores on Broadway these days and that is a credit to the Tony-winning tunesmiths and their ability to make musical theatre that is polished and professional, yet totally fun, bawdy and accessible, as well. Look no further than this week's "History Is Made At Night" or last week's "Let's Be Bad" - to say nothing of the pilot's twofer of titanic theatrical prowess in the form of "The National Pastime" and the afore-quoted "Let Me Be Your Star". Plus, we have to remember, SMASH has not one Marilyn, but two, so the future possibilities of who will be singing these songs and how they will be presented is totally unknown. As we shall see in the clips below, "Let Me Be Your Star" will now have its third iteration on the show, acting as the opening number in the workshop presentation as Ivy Lynn belts it to the rafters, ballad-style - not unlike the Karen/Ivy stage sequence presented in Episode 2 as a dream. Using just the example of "Star", we can see how rich and rewarding it is to further explore the depths of drama and heights of wit amply apparent in the sometimes caustic, sometimes campy and always enjoyably, embraceable unique work of Shaiman & Wittman on their songs for SMASH. The story setting them up, drama surrounding and contained within them - with the meta-narrative of the behind-the-scenes going on we are privy to acting as another layer - makes the production numbers the most brightly glittering stars of the SMASH universe. Katharine McPhee's "Somewhere Over The Rainbow", "Call Me" and "Rumor Has It", as well as Hilty's "Crazy Dreams", were all viable and entertaining covers in their own right, yet the original songs are what make SMASH really sing - and zing, sting and ring-a-ding-ding.

As we near the halfway point for Season One, it is evident now more than ever that SMASH has established a pretty clear-cut style, structure and overall dramatic direction - each week we can depend upon most if not all of the following in one form or another: a fabulous Marilyn Monroe-themed musical production number; a soul-baring rehearsal scene or three; a pop cover or two (both a classic and a current one, if possible); some Derek (Jack Davenport) and Ivy (Megan Hilty) diva drama and hand-wringing; cattiness, backstabbing and shade thrown in the direction of, and almost always directly affecting, sweet-as-pie Karen (Katharine McPhee), an all-too sympathetic character who just can't seem to catch a break (bar mitzvah tween audiences excluded); a peek into the lives of the Marilyn musical songwriters, Julia (Debra Messing) and Tom (Christian Borle), currently developing the show-within-the-show before our very eyes and ears; Julia and Tom's subsequent respective romantic relationships and entanglements (showmances and otherwise; though it seems there are many more of the former than the latter with these two); and, of course, Anjelica Huston being both poignant in one way or another in her delicate portrayal of Eileen and also just plain divine as only she can be, kicking ass and taking names as the lead producer of the show-within-the-show. All in all, the show-within-the-show based on Marilyn Monroe acts as the real machine running SMASH and keeping it all connected. And, that about sums it up. Shake, stir and serve - there you have SMASH in a sentence or two. Better still, this formula really works - and also really works wonders, from time to time, too. Each week dishes up its fair share of surprises, as well. I mean, who could foresee that scintillating scene with Julia and Joe DiMaggio (Will Chase) post-rehearsal paralleling the Marilyn/DiMaggio duet just rehearsed? Or, furthermore, Karen positively killing Florence & The Machine at a bar mitzvah like she most certainly did? Best of all, Marc Shaiman and Scott Wittman provided another tantalizing and terrific new Marilyn song with a fiercely fresh style and sound in the spectacular form of the romantically rapturous, late-50s doo-wop-hued duet "History Is Made At Night", given a particularly playfully seductive performance by Chase and Hilty as the undeniably perfect Monroe and Joe DiMaggio (though Chase's character does not seem like he will be sticking around much longer). Plus, how badass was Eileen (Anjelica Huston) at the very end of the episode and how all around awesome was her delivery of the final line? Shoot to score, indeed - and, on 'Chemistry', there was more focus on the scoring, both in the musical and sexual senses, than on anything else. Above all, last night's SMASH showed that one aspect of show business shall always remain a viable, hot-cross-bun-level-hot commodity: sex.

National tour of revamped Broadway musical based on the darkly humorous comics of Charles Addams is more sweetly traditional than deliciously cutting edge

TOUCH, the intriguing new drama series from Tim Kring (Heroes) and starring Kiefer Sutherland in his first television project since the Emmy-winning 24, will receive an unprecedented global launch for its March series premiere that includes coordinated worldwide distribution, marketing and advertising sponsorship.

Having already broken down barriers in Season Three insofar as the depiction of gay teenage romance in concerned, last night on GLEE Ryan Murphy and company addressed lesbianism and its similarly taboo place in society - both in school and out. Brave and daring, GLEE's "I Kissed A Girl" episode surely opened up the doors to closets and more open conversations pertaining to human sexuality, yet it also painted a complex and all-too-real picture of the challenges facing teens of any and all sexual persuasions and how challenging it really is to be a teenager at the edge of seventeen in 2011. On the musical side, last night's show boasted an eclectic assortment of Sapphic-themed songs to go along with the dramatic content, such as Dolly Parton's "Jolene", Melissa Etheridge's "I'm The Only One", KD Lang's "Constant Craving" and Katy Perry's recent hit "I Kissed A Girl". With Pink's "F-ing Perfect" given the duet treatment courtesy of Kurt and Blaine and a stripped-down, male-sung version of Cyndi Lauper's "Girls Just Wanna Have Fun" rounding out the seriously stupendous songstack, it was a night to remember for many more reasons than merely oh-so-fabulously spilled slushies and touching coming out stories - the music really, truly acted as an elemental ingredient; even more than usual. So, too, did Naya Rivera's seriously fine acting throughout make her turn as Santana this season a truly Golden Globe and Emmy-worthy performance - not unlike how Kurt's complex coming out story rightfully acted as award bait for Chris Colfer in seasons past. So, for all of that - and to recount the stunning "Constant Craving" and all of the rest of the superb musical sequences; as well as all about Rachel's surprising expulsion from McKinley High right when Sectionals are quickly approaching - read on.

The latest non-Equity tour of one of the crown jewels of the American musical theater, "Fiddler On The Roof," pulled its bus and truck into the equally landmark Auditorium Theatre of Roosevelt University this week for a one-week Chicago stay, giving its mostly young and talented cast a chance to do some holiday shopping and, perhaps, sleep late.

On November 7th, Broadwayworld.com featured a pre-show interview with Roslyn Hart, star of the new monthly comedy show, Never Sleep Alone.

Today, BroadwayWorld is extremely proud to present an extensive conversation with the modern master of the musical theatre himself, Stephen Sondheim, all about the incredibly revealing and thoroughly riveting second volume of his complete collected (and annotated) lyrics (covering 1981-2011) - following last year's superlative FINISHING THE HAT - titled LOOK, I MADE A HAT. With ample insights pertaining to the Pulitzer Prize-winning SUNDAY IN THE PARK WITH GEORGE, INTO THE WOODS, ROAD SHOW, THE FROGS and many more, Sondheim and I also discuss some of his Hollywood endeavors - the proposed film adaptation of INTO THE WOODS, as well as the never-produced SINGING OUT LOUD and his Oscar-winning work for Warren Beatty's DICK TRACY - and his affection for - and process of adapting (in the case of WEST SIDE STORY, the CYMBELINE setting in THE FROGS and his recent scoring of the Public Theatre's production of KING LEAR starring Kevin Kline) - the works of William Shakespeare. Additionally, we discuss the upcoming Encores! revival of MERRILY WE ROLL ALONG starring Lin-Manuel Miranda, the currently-running revival of FOLLIES starring Bernadette Peters (as well as its brand new cast album), the West End transfer of the Michael Ball/Imelda Staunton-led SWEENEY TODD in the UK and much, much more!

WEST SIDE STORY is definitely back in a big way - in the last two weeks alone it has had its very own tribute episode on GLEE featuring four of the show's most famous songs, and, also, Fathom re-released the new HD remastering of the film in movie theaters nationwide for a one-night-only showing - so, given its 50th anniversary, the time has definitely come to pay tribute to one of the finest American movie musicals ever manufactured, which itself was based on one of the most innovative, controversial and progressive Broadway shows in history. From 'A Boy Like That' to 'Tonight' to 'Somewhere' and beyond, this is a score that has enraptured two or three entire generations - with very, very good reason; these songs are simply musical and lyrical magic. Truly, this is as good as musical theatre gets, and, furthermore, the 1960 film version by Jerome Robbins and Robert Wise is just as good. The combination of the two? Transcendent. No, never before has WEST SIDE STORY presented the power, potency, prescience and put forth the plosive overall 'pow!' to the system - heart, mind and body - than it does, here, now, on the absolutely sensational new 3-disc 50th Anniversary Blu-ray edition, which will be released on Tuesday. I was lucky enough to get a copy early and I was simply blown away in every single imaginable way. A red, hot and blue all-American movie masterpiece given its full, magnificent, ecstatic due on Blu-ray. Be prepared to be blown away. Bam!

Today we are talking to one of the brightest stars on Broadway whose career has virtually exploded over the last few years with recurring roles on Fox's hit musical dramedy series GLEE, as well as NBC's multi-award-winning 30 ROCK - in addition to his newly minted classic character in the canon of unforgettable personalities on Larry David's HBO series CURB YOUR ENTHUSIASM - the astonishingly gifted Cheyenne Jackson. Talking all about his Broadway roots and starring in musicals such as XANADU, FINIAN'S RAINBOW, ALL SHOOK UP and more, Jackson and I also discuss some of his favorite performers and co-stars and he shares fond remembrances of musicals and appearances past, as well as looks ahead to what he would like to do in the future, both near and far. Jackson also reveals what the next few months hold - the early 2012 return of 30 ROCK; the release of his new film THE GREEN - and describes what audiences can expect from his 50s and 60s-themed Carnegie Hall concert on November 18, CHEYENNE JACKSON'S COCKTAIL HOUR: MUSIC OF THE MAD MEN ERA. Plus, first news on his self-penned solo album with collaborator/muse Sia, as well as his upcoming film appearances - and much, much more!

Today we are talking to a Broadway stalwart with a string of hit shows on his resume - CATS, A CHORUS LINE, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, THE WHO'S TOMMY, CHICAGO and more included - as well as hit solo albums of his own, such as his new release CHANGE BEGINS WITH ME; the one and only Matt Zarley. He also shares all about the shoot for the three music videos for the songs on his new dance album - "WTF" and "Forgive Me" included. Additionally, he shares his thoughts on Broadway now versus when he started out in the late-80s, Gillian Lynne versus Michael Bennett, as well as opinions on GLEE, his own favorite shows and scores, co-stars' careers and much, much more!

With one of the most refreshingly unique career trajectories in recent show business history, the quirky late-80s/early-90s film star known for her outlandish John Waters comedies - HAIRSPRAY, CRY-BABY and SERIAL MOM included - parlayed her big screen success to a decade-long running eponymous talk-show in the 90s and early 00s that is still talked about to this day - look no further than Nicki Minaj's verse on the remix of Britney Spears' "Hold It Against Me" for proof - and, now, with news of the 2012 syndicated return of a new iteration of her show, a new memoir, as well as her current compelling casting on the new season of DANCING WITH THE STARS, Ricki Lake has clearly reached a new career high. Imparting her contagious energy and enthusiasm and amply displaying why she is the foremost queen of gab, Lake generously shares her thoughts on a range of topics - Broadway, Hollywood, GLEE, Sondheim, BOOK OF MORMON and much more included - and reveals details about her many upcoming projects and passion, as well as her ongoing star turn on TV's hottest reality competition, DANCING WITH THE STARS. While in rehearsal on Friday night, talking to me from the backstage costume fitting for DANCING/STARS - tutu included - and on the road back to her LA home - before attending Chaz Bono's party later that evening - Lake and I cover it all and she shows why she has been a TV fixture in millions of homes for twenty years and most likely will continue to be so for the next twenty or more - if we are lucky, that is. Plus, she also happens to be a big BroadwayWorld fan, to boot! Who could ask for anything more?

Today, in an extension of the FLASH FRIDAY column, we are sharpening our focus on the six upcoming revivals of musicals that are soon to hit the boards in the next few months (post-FOLLIES) and battle it out for the Best Revival as the Broadway season heats up just when the weather begins to cool: the classic Jule Styne/Bob Merrill musical that originally starred that star-of-stars, Barbra Streisand - FUNNY GIRL; the groundbreaking rock opera that rewrote the theatrical rulebook thanks to young creators Andrew Lloyd Webber and Tim Rice - JESUS CHRIST SUPERSTAR; the hippie, flower child take on the Christ story covering some similar Biblical ground to that of SUPERSTAR, with this one being the composing debut of WICKED songwriter Stephen Schwartz - GODSPELL; another Andrew Lloyd Webber/Tim Rice collaboration that won seven Tony Awards and acted as the vehicle for Patti LuPone's blazing Broadway debut in a starring role - EVITA; the significantly reworked, revised and rewritten new version of the beautifully scored time-travel musical by Burton Lane and Alan Jay Lerner, this time starring a male movie star crooner - ON A CLEAR DAY YOU CAN SEE FOREVER; and, the landmark American opera composed by the Gershwins with DuBose Haywerd - PORGY & BESS. While each and every one of these entities has a huge hit song or two that nearly everyone on the planet knows by heart - "Don't Rain On My Parade", "I Don't Know How To Love Him", "Day By Day", "Don't Cry For Me Argentina", "On A Clear Day…" and 'Summertime' included - each of these revivals also comes after a film version (or two) that, in more than a few of these cases, will be relatively difficult to top as far as expectations of many audience members undoubtedly will go. So, by taking a listen to the smash hit crossover songs from these musicals as well as looking at their respective film version's trailers - as well as a couple of surprises, too - perhaps we can glean some insight into what makes these generally pretty terrific properties so well worth reviving on Broadway, here, now, today, in 2011. Furthermore, all of this crystal ball commentary is not even taking into account the starry assortment of performers that have already been announced for these productions so far - especially with FUNNY GIRL's Lauren Ambrose and Bobby Cannavale, GODSPELL's Hunter Parrish, SUPERSTAR's lauded Josh Young, EVITA's Ricky Martin and Michael Cerveris, PORGY's Norm Lewis and Audra McDonald, as well as the leading man in what was once a leading lady's role (that of Barbara Harris) in ON A CLEAR DAY YOU CAN SEE FOREVER, Harry Connick, Jr.! What a tight race it is turning out to be for these new productions, particularly come Tony time in June! With rock to rhumba and borscht belt comedy to messianic hosannas and even full-out opera, seemingly every conceivable customer base is more than covered by this packed, potentially, well, awesome, season of shows - and many Broadway babies around BroadwayWorld are undoubtedly looking most forward to these six forthcoming revivals - with particularly good reason given the relative dearth of new musicals announced so far. So, let these revivals revive your flagging spirits as we leap into the 2011-2012 season with this comprehensive prospective and retrospective all about what makes them work so well in the first place and so worthy of another look!

It was March 12, 1994 when a young, 15 year-old Rob Diamond saw THE PHANTOM OF THE OPERA on Broadway for the first time, and came home on 'cloud nine', my life forever changed. I still remember vividly falling asleep that night listening to and discovering Michael Crawford, Sarah Brightman, Steve Barton and more on the show's original cast recording. I did this listening to a cassette tape that my parents had (which I had of course never before listened to), on my Walkman.

Audiences in Nashville and Middle Tennessee will have a wealth of new offerings awaiting them at the theater this weekend, as companies throughout the region roll out the red carpet for the opening of no fewer than ten new productions. Ranging from the tried and true (Arthur Miller's All My Sons from Tennessee Repertory Theatre, Belmont University Theatre's Dancing at Lughnasa, Lakewood Village Theatre's A Few Good Men and Annie at Towne Centre Theatre) to edgier fare (like The Rocky Horror Show at Boiler Room Theatre and David Mamet's American Buffalo at ACT 1) and newer, less familiar works (Trying from Tennessee Women's Theater Project and the debuting Sideshow Fringe Festival, a new endeavor from Actors Bridge Ensemble that features all manner of new offerings, including a 48-hour playwriting competition from which I'll be tweeting live reviews while the shows happen on Saturday from 6 to 7 p.m.), audiences have a full slate of offerings from which to choose this weekend.

Florida's Mount Dora High School has been getting a lot of extra attention in the past few weeks. Last month. One of their teachers, Jerry Buell took to his Facebook page after seeing a news story about marriage equality in New York. His status update said that he 'nearly threw up' upon hearing about the state's decision to allow gays and lesbians to marry.

In the interest of letting LGBT students at Mt. Dora H.S. know they are supported in their academic environment, a Change.org petition was launched by Jamie McGonnigal to get Mr. Buell's colleagues to put together an 'It Gets Better' video.

Just in time for this week's international movie theater broadcast of the simply must-see Shakespeare's Globe Film Series production of HENRY IV: Part 2 on August 18, Vice President of NCM Fathom, Dan Diamond, was kind enough discuss with me the role his company plays in bringing major entertainment events to movie screens around the world - such as Shakespeare‘s Globe Film Series, Stephen Sondheim's COMPANY: IN CONCERT, the Tony-winning Best Musical MEMPHIS, the 25th Anniversary concert presentation of LES MISEABLES, Metropolitan Opera broadcasts, ballet, sports events like last year's WIMBELDON in 3D, as well as the August 31 re-release of the new HD print of Brian DePalma's SCARFACE - plus, most importantly, what the eminently exciting future holds for Fathom. Additionally, we touch on upcoming innovations coming to a movie theater near you courtesy of Fathom, such as 4D and lensless 3D technologies and the possibility they hold for capturing live theatre on film, as well as the ever-expanding company's goals for improving the local arts scene in communities large and small, world-wide. In the age of GLEE bringing theatre to a larger audience than ever before, the time is surely right for feature film presentations in the cinema of the best of Broadway and live performance - as well the plans to present all 37 of Shakespeare's plays - and Diamond's commitment and passion for his work comes through in this expansive conversation touching on virtually every aspect of what makes Fathom so fascinating and a formative, necessary element in the foundering and sustaining of a local and national arts scene connected by a network of movie theaters. If all that were not enough, Diamond also clues us in on some future showings such as the new Ozzy Osbourne documentary by his son, Jack, the upcoming Floyd Mayweather boxing match and, just maybe, the upcoming 25th Anniversary production of THE PHANTOM OF THE OPERA slated for October.

Today we are talking to the man who makes all of the magic available to see in the Shakespeare's Globe Film Series actually happen onstage in the first place - such as this week's stunning showing of HENRY IV: Part 2 on August 18 -Shakespeare's Globe Artistic Director, Dominic Dromgoole. In addition to a thorough discussion of all aspects of the unprecedented series of performance captures that have taken place at Shakespeare's Globe so far - seven and counting - we also discuss many aspects of the Bard himself and what productions like HENRY IV: Parts 1 & 2 - both of which he directed - have to say to a twenty-first century audience. Besides that, Dromgoole sheds some light on some of the most memorable moments of his tenure at the Globe, as well as sharing his individual insight into everything from GLEE to Chekhov and, of course, we dissect a number of Shakespeare's most instructive, innovative and unforgettable scenes from many of his finest histories and latter plays, with a focus on HENRY IV and the future for the Shakespeare's Globe Film Series.

Even with all the bases covered and loaded given this stupendous creative team, a cast of veritable Broadway all-stars and a surprise bottom of the ninth pop fly play courtesy of Norbert Leo Butz's fresh Tony win, CATCH IF YOU CAN can't seem to get the break it deserves on Broadway. Sure, it just passed the hundred performance mark and it is alive and well, but it deserves far more praise than it has been given. After all, Marc Shaiman and Scott Wittman's score is every bit as ingratiating and endearing as their work on the Tony-winning Best Musical HAIRSPRAY and for that fact alone CATCH ME IF YOU CAN commands the utmost attention from any cast album collector or Broadway baby interested in keeping up with all the scores and stats of Broadway‘s best. And, yes, indeed, CATCH ME IF YOU CAN possesses a score among the very best of the 21st century and the best new score on Broadway this season. The songstack as represented on the brand new Original Broadway Cast Recording is even more entertaining and enlivening than the show's songs onstage - although they have all their own allure there - and that is a huge credit to the fiercely talented songwriting team who knocks each and every pitch clear out of the park; here, just as always. CATCH ME IF YOU CAN is a fully-decked game of far-flung, fun, and not-so-frivolous fantasy ably aided by some of the most inspiring leading male performances in musical theatre in many years thanks to the wonderful work by the aforementioned Butz, plus impossibly charismatic leading player Aaron Tveit and a sensitive and suave Tom Wopat.

John Larroquette is the 2011 recipient of the Tony Award for Best Featured Actor in a Musical for How To Succeed in Business Without Really Trying.

Nominations in 26 competitive categories for the American Theatre Wing's 65th Annual Antoinette Perry 'Tony' Awards were announced May 3, 2011 by Tony Award winning actor Matthew Broderick and Tony Award winning actress Anika Noni Rose, at the Tony Award Nominations Announcement sponsored by IBM.

Jenna gives a rundown of where she's been and what's coming up in the world of cabaret (and sometimes beyond!) This week's column features Jennifer Sheehan at The Metropolitan Room, Steve Sieck at Don't Tell Mama, Alex Getlin at Feinstein's, and Jarrod Spector, also at Feinstein's!