The storyline: It is evening and a mother reminds her small child to put his toy-trains away and to go to bed. In the child's dream, the locomotives come alive: It is the night of the world championships for locomotives.
The young steam locomotive Rusty, charming but definitely no longer technically up to date, appears to stand no chance against its more modern challengers, such as the macho Greaseball. This self-confident diesel locomotive rocks like Elvis and conquers the hearts of its many female fans. When Electra, an ultra-modern e-locomotive, suddenly makes its appearance, the situation seems hopeless for the young steam locomotive. Beautiful Pearl, a 1st-class coach, leaves Rusty for Electra.
Three, two, one- go! The flags come down, the lights flash and the helmets sparkle. Locomotives and their coaches are hurtling along the tracks at lightning speed. The conflict between the trains comes to a climax, since the methods used to win this international race are not always fair. Suddenly it appears, the legendary "Starlight Express", like a fiery comet's tail in the sky. The night is full of glittering stars as Rusty finds out what is most important in life: believing in yourself. He finds new courage to enter the finale - and Pearl begins to understand who her true love belongs to...
Billy Crystal will return to Broadway this fall for a 9-week-only limited engagement of his Tony Award-winning, record-breaking play 700 SUNDAYS. This will mark the final engagement of this production. Previews will begin Tuesday, November 5, 2013 at the Imperial Theatre (249 West 45th Street) with opening night scheduled for Wednesday, November 13, 2013 and a final performance set for Sunday, January 5, 2014. 700 SUNDAYSis performed and written by Mr. Crystal with additional content by Alan Zweibel and direction by Des McAnuff.
From 13 May 2013 Anna-Jane Casey will join the West End cast of Billy Elliot the Musical at the Victoria Palace Theatre to play Billy's dance teacher Mrs Wilkinson. Also joining the cast are Kevin Wathen as Billy's brother, Tony, Howard Crossley as George and Alexander Loxton as Older Billy.
According to a feature about the new UK arena touring production of Jesus Christ Superstar in the Sydney Morning Herald, Andrew Lloyd Webber reveals he would like to collaborate with Stephen Sondheim.
According to whatsonstage.com, STARLIGHT EXPRESS may be heading to the Phoenix Theatre at the West End next near where BLOOD BROTHERS is set to close.
Trevor Nunn is to direct Rob Brydon, Nigel Harman and Ashley Jensen in Alan Ayckbourn's A CHORUS OF DISAPPROVAL, opening at the Harold Pinter Theatre in the Autumn. Jessica Ellerby, Barrie Rutter, Paul Thornley and Susan Tracy will join previously announced company members Teresa Banham, Daisy Beaumont, Georgia Brown, Rob Compton, Matthew Cottle and Steven Edis.
Trevor Nunn is to direct a cast including Rob Brydon, Nigel Harman and Ashley Jensen in Alan Ayckbourn's A CHORUS OF DISAPPROVAL opening at the Harold Pinter Theatre later this year.
Trevor Nunn is to direct a cast including Rob Brydon, Nigel Harman and Ashley Jensen in Alan Ayckbourn's A Chorus of Disapproval opening at the Harold Pinter Theatre later this year. Joining the trio on stage will be Teresa Banham, Daisy Beaumont, Georgia Brown, Rob Compton, Matthew Cottle and Steven Edis, who is also the show's Musical Director. The production runs September 17, 2012 - January 5, 2013, with an opening night scheduled for September 27, 2012.
Bill Kenwright presents one of the best loved and longest running musicals in theatrical history, as Andrew Lloyd Webber's sensational Starlight Express explodes back onto the stage with a new production for 2012, set to take the UK by electrifying storm. Starlight Express just opened at the New Wimbledon Theatre. Go behind the scenes of the production below!
Bill Kenwright presents one of the best loved and longest running musicals in theatrical history, as Andrew Lloyd Webber's sensational Starlight Express explodes back onto the stage with a new production for 2012, set to take the UK by electrifying storm. Starlight Express just opened at the New Wimbledon Theatre. Check out highlights below!
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
Mc Coy Rigby Entertainment & Fox Operator Bill Malone of FX Arts have announced the third in its brand new 'Broadway Series' of shows, with the songs of one of the most iconic figures in the history of music, RING OF FIRE: THE MUSIC OF JOHNNY CASH, with musical direction by Jeff Lisenby, choreography by Jane Lanier and directed by and starring from the original New York production, Jason Edwards.
Mc Coy Rigby Entertainment & Fox Operator Bill Malone of FX Arts have announced the third in its brand new 'Broadway Series' of shows, with the songs of one of the most iconic figures in the history of music, RING OF FIRE: THE MUSIC OF JOHNNY CASH, with musical direction by Jeff Lisenby, choreography by Jane Lanier and directed by and starring from the original New York production, Jason Edwards.
A multi-talented cast and onstage band bring to life the famous songs of 'The Man In Black' when Cabrillo Music Theatre's production of RING OF FIRE: THE MUSIC OF JOHNNY CASH makes its Thousand Oaks premiere at the Civic Arts Plaza.
Chichester Festival Theatre celebrates its 50th birthday with an anniversary season that echoes and acknowledges the past while also looking to the future. Uncle Vanya was part of Chichester's very first season in 1962 and became a key part of its history and is revisited during Festival 2012. The Way of the World in 1984 has also become an emblematic production; the play will feature again this year.
A multi-talented cast and onstage band bring to life the famous songs of 'The Man In Black' when Cabrillo Music Theatre's production of RING OF FIRE: THE MUSIC OF JOHNNY CASH makes its Thousand Oaks premiere at the Civic Arts Plaza.
A multi-talented cast and onstage band bring to life the famous songs of 'The Man In Black' when Cabrillo Music Theatre's production of RING OF FIRE: THE MUSIC OF JOHNNY CASH makes its Thousand Oaks premiere at the Civic Arts Plaza.
Mc Coy Rigby Entertainment & Fox Operator Bill Malone of FX Arts have announced the third in its brand new "Broadway Series" of shows, with the songs of one of the most iconic figures in the history of music, RING OF FIRE: THE MUSIC OF JOHNNY CASH, with musical direction by Jeff Lisenby, choreography by Jane Lanier and directed by and starring from the original New York production, Jason Edwards.
A multi-talented cast and onstage band bring to life the famous songs of 'The Man In Black' when Cabrillo Music Theatre's production of RING OF FIRE: THE MUSIC OF JOHNNY CASH makes its Thousand Oaks premiere at the Civic Arts Plaza.
With all the hooplah surrounding the casting of Taylor Swift, who has yet to be officially announced, in the upcoming big screen adaptation of Les Miserables, it seemed like the perfect time to show off a Youtube treasure of the original Tony-winning Eponine, Frances Ruffelle. In the video below, Rufelle sings the strret urchin's anthem, 'On My Own.' Click below to check it out!
A multi-talented cast and onstage band bring to life the famous songs of 'The Man In Black' when Cabrillo Music Theatre's production of RING OF FIRE: THE MUSIC OF JOHNNY CASH makes its Thousand Oaks premiere at the Civic Arts Plaza.
Broadway stars Jessie Buckley and Maria Friedman and acclaimed Broadway composer Tim Rice will join the Cantabile vocal quartet in two Christmas concerts on December 17th and 21st. The concerts will benefit the Caron Keating Foundation. The concerts will be directed by Hugh Wooldridge and choreographed by Andrew Wright.
Broadway stars Jessie Buckley and Maria Friedman and acclaimed Broadway composer Tim Rice will join the Cantabile vocal quartet in two Christmas concerts on December 17th and 21st. The concerts will benefit the Caron Keating Foundation. The concerts will be directed by Hugh Wooldridge and choreographed by Andrew Wright.
Broadway stars Jessie Buckley and Maria Friedman and acclaimed Broadway composer Tim Rice will join the Cantabile vocal quartet in two Christmas concerts on December 17th and 21st. The concerts will benefit the Caron Keating Foundation. The concerts will be directed by Hugh Wooldridge and choreographed by Andrew Wright.
Andrew Lloyd Webber's hugely successful musical on roller skates STARLIGHT EXPRESS - 'A Cinderella-meets-train enthusiast love story' - will play in New Zealand, for the first time, in July and August of 2009.
Andrew Lloyd Webber's hugely successful musical on roller skates STARLIGHT EXPRESS - 'A Cinderella-meets-train enthusiast love story' - will play in New Zealand, for the first time, in July and August of 2009.
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