Godspell - 1972 - West End Articles Page 8

Just days after producers Barry & Fran Weissler and Howard & Janet Kagan announced that American Repertory Theater's 40th Anniversary production of Roger O. Hirson and Stephen Schwartz's PIPPIN, directed by Diane Paulus, is headed to Broadway in Spring of 2013, the musical has created official pages on Twitter, Facebook and Instagram.

Producers Barry & Fran Weissler and Howard & Janet Kagan present the American Repertory Theater's 40th Anniversary production of Roger O. Hirson and Stephen Schwartz's PIPPIN, directed by Diane Paulus, on Broadway in the Spring of 2013.

Director Diane Paulus' bold new staging of the beloved 1970s pop musical 'Pippin' incorporates daring circus acrobatics with the original Bob Fosse choreography in order to push the theatrical envelope when it comes to being 'extraordinary'

New York City's acclaimed Children's Acting Academy (CAA), which made world headlines in September 2010 when four of its student actors were invited to participate as the United States representatives in the first ever international children's theatre exchange in London, England, is proud to announce more major successes by members of its student body.

Theatre at the Center, 1040 Ridge Road, Munster, IN announced today their 2013 season.

Liberty Showcase Theatre presents the musical GODSPELL by Stephen Schwartz and John-Michael Tebelak, directed by Ted McCadden and Jay Althouse, and choreographed by Doug Kotula, tonight, July 20 through July 29, 2012.

As a special homage to Theodore Mann, Circle in the Square's co-founder, artistic director, and co-producer who passed away on February 24th of this year, Circle in the Square Theatre School is inviting the theater-going public, the theater community and those who worked with him to share their remembrances of Mann and the over 175 productions that he with Jose Quintero, and later with Paul Libin brought to the stage.

As BroadwayWorld previously reported, Diane Paulus' upcoming production of Pippin might be heading to Broadway after it plays Cambridge's American Repertory Theater in December. Now the New York Times is reporting that Broadway favorites Patina Miller, Terrence Mann, and Charlotte d'Amboise are in talks to star in the production as 'Leading Player,' 'King Charles,' and 'Fastrada' respectively. Additionally, Damon Daunno, who recenty starred in Broadway's Brief Encounter is in talks to play the leading role.

According to the New York Times, Diane Paulus' upcoming production of Pippin might be heading to Broadway after it plays Cambridge's American Repertory Theater in December. Patrick Healy writes that producers Barry and Fran Weissler are looking into backing the show for a Broadway run. A spokesman told NYT: "It's a project that Barry and Fran are very interested in. They're huge fans of Diane. Right now they're just supporting the project."

Liberty Showcase Theatre will present the musical GODSPELL by Stephen Schwartz and John-Michael Tebelak, directed by Ted McCadden and Jay Althouse, and choreographed by Doug Kotula, July 20 through July 29, 2012.

A Memorial Tribute honoring Theodore Mann, Circle in the Square's Co-Founder, Artistic Director, and Co-Producer, who passed away on February 24 at the age of 87, will be held at Circle in the Square Theatre, 1633 Broadway, at 50th Street, today, May 1, at 1 p.m. Seating is open to the general public on a first come, first-served basis.

A Memorial Tribute honoring THEODORE MANN, Circle in the Square's Co-Founder, Artistic Director, and Co-Producer, who passed away on February 24 at the age of 87, will be held at Circle in the Square Theatre, 1633 Broadway, at 50th Street, on Tuesday, May 1, at 1 p.m. Seating is open to the general public on a first come, first-served basis.

The 1972 Bob Fosse dance spectacle and play-within-a-play "Pippin" (which produced a legendary Motown Records cast album, no less) opened in Lakeview this past October, courtesy of the Bohemian Theatre Ensemble. And now we have a "Pippin" for the north lakeshore, as The Music Theatre Company of Highland Park has mounted an enjoyable revival of its own, opening last weekend and running through May 6, 2012.Stephen Schwartz, one of the most popular Broadway composer-lyricists of the last 40 years, is riding high these days, with the continued mega-success of "Wicked," a late-career surprise for a guy who made his first big impact when he was just out of college in the very early 1970s. There's a revival of his "Godspell" playing on Broadway right now, directly adjacent to where "Wicked" is still selling out after 8 years, and two rival revivals of "Pippin" have been vying for Main Stem viability in recent months. Here in Chicago, we had a re-working of "Working" last spring, in a major production at the Broadway Playhouse at Water Tower Place, and a Schwartz career retrospective revue called "Snapshots" premiered at the Northlight Theatre in Skokie last fall. Schwartz himself was in town for both productions, rumored to be in love with our Chicago acting scene. The 1972 Bob Fosse dance spectacle and play-within-a-play "Pippin" (which produced a legendary Motown Records cast album, no less) opened in Lakeview this past October, courtesy of the Bohemian Theatre Ensemble. And now we have a "Pippin" for the north lakeshore, as The Music Theatre Company of Highland Park has mounted an enjoyable revival of its own, opening last weekend and running through May 6, 2012. Directed and choreographed by the company's founder and artistic director, Jessica Redish (how many hats IS that?), and music-directed by her "Merrily We Roll Along" partner, Ian Weinberger (their production of that problematic Stephen Sondheim show was very well received last year), this production utilizes Equity leads and a non-Equity ensemble, to interesting advantage. Many of the dance sequences look great, especially the opening number, "Magic To Do," the "Glory" sequence, the thrilling "Morning Glow" and several opportunities where Fosse trios are utilized (a lead dancer in front, flanked by a supporting dancer on each side). The women of the ensemble (Sasha Kostyrko, Kristin O'Connell, Emily Rogers and Lucy Zukaitis) are especially sexy, and the men (Brian M. Duncan, Tommy Rivera-Vega and Jeremy Sonkin) dance their socks off and carry out their small acting bits with verve. And the leading characters are played by actors with formidable singing chops, made all the more impressive by the fact that the cast is entirely unamplified. Leading Player Joey Stone has an extremely impressive, beautiful and flexible R&B voice, all runs and trills and idiomatic inflections that are very satisfying throughout (he's worked all over town since landing here five years ago, and it's easy to hear why). His stage presence is unmistakable, and you need to hear him sing these songs. You really do. The titular hero of the piece is embodied by the elfin, vaguely quirky-looking Andrew Keltz, who looks to be about 15 until you spy a little chest hair poking its way out of his shirt collar. His is not the most resonant vocal instrument, but he sounds entirely conversation and convincing every time he sings, and he too works all over the place. And he is not a conventional juvenile lead, but he plays them constantly, gifted with the innate ability to convey a searching, restless contemporary spirit, adrift in a society he doesn't understand. James Rank is the Charlemagne here, enacting all the hoary bluster and inner struggle of a man who is admittedly not a brain type of guy. His singing is a combination of exemplary Gilbert and Sullivan patter and baritonal bravado. However, he is saddled with the thankless number, "Welcome Home," which seems to always drag down the action with tons of exposition and not enough flash, so that all "Pippin" productions struggle in the early going. Thankfully, his prayer scene was remarkably nuanced. The veteran Peggy Roeder, playing Berthe until April 13 (she will be replaced by Cindy Gold, faculty member at Northwestern University and recently in "Show Boat" at Lyric Opera of Chicago), is hilarious and sings like the character actress she is, every note and word perfectly produced. And Angie Stemberg (Fastrada) and Jess Godwin (Catherine) are providing a school for contemporary musical theater singing in this production, with personalized stylings couched within perfectly placed belt techiques. If Zach Zube is not the ideal physical type for the character of Lewis, he nonetheless brings energy, focus and excitement to the role. However, young Theo is here portrayed by the pleasant commitment of young Isabelle Roberts, in a fascinating bit of pre-pubescent gender-bent casting. The orchestra of five, conducted by Weinberger and playing his orchestral reduction of the score, plays as softly as one could imagine a pop-rock score could be played, to their credit and the credit of sound designer Christopher Kriz. In addition to the songs I've already mentioned, I loved "On the Right Track," for its perfect blend of choreography, acting moments, use of the playing space and the singing of the two male leads, the lovely and still "Love Song" by Keltz and Godwin, and, especially, Roeder and Company's delivery of "No Time At All," complete with audience sing-along and hitting all the right showbiz mastery this number requires. Can I discuss the ending of the show for a bit? I know this show's coup de theatre ending is supposed to be a secret surprise, but it's over 40 years old, and fairly well known to the readers of BroadwayWorld. So, here I go. When the Leading Player proposed to Pippin that he should end his life in a glorious blazing bonfire and Pippin refuses, prompting the Leading Player to order the removal of all "theatrical" elements (lights, costumes, music) from Pippin and Catherine, I'm never quite sure that it ever truly works. First of all, is Pippin the character rebelling, or is the unnamed actor playing him in the Leading Player's troupe rebelling? And why does the L.P. get so upset? This is not set up very well by bookwriter Roger O. Hirson (was it Fosse's idea?), nor is it really explained--this oversized, childish reaction to an actor (or character) refusing to follow the script. If you don't know it's coming, it's shocking and unique and interesting. But once you think about it, it doesn't make a whole lot of sense. It makes a point, but it isn't as perfect an ending as I wish it were. Oh, well. Small quibble. That being said, this particular production handles it pretty well. The lights and flashiness of the show do indeed reach their peak just before the unforeseen turn of events, and the final image of Pippin, Catherine and Theo in their underwear does carry the meaning it is intended to convey. Actually, the lighting for this show (by Charles Cooper) is one of its best aspects. The lights change constantly, directing the eye and conveying the mood and creating the time and place. I was extremely impressed. I don't think the workable scenic design (Stephen M. Carmody), properties design (Nick Heggestad) or costume design (Jessica Snyder) of this production would come off near as well, were the lighting not so perfect. So, kudos to Reddish and TMTC for a fun, meaningful and stylistically appropriate "Pippin," with moments of real creativity. The level of vocal excellence here is not always heard in other small, intimate theaters, and speaks to the priorities of this still-young company. If you love that legendary cast album, you'll enjoy this production, even with a small orchestra. And the show's theme of staying true to oneself, while looking for love and finding joy and meaning in the simple things of life, is a timeless one, well worth revisiting. Applause for the company of "Pippin!" The Music Theatre Company's production of "Pippin," by Stephen Schwartz and Roger O. Hirson, plays March 22-May 6, 2012 at the Karger Center, 1850 Green Bay Road in Highland Park, directed and choreographed by Founding Artistic Director Jessica Reddish. Tickets are available by calling 847.579.4900 or by visiting www.themusictheatrecompany.org. PHOTOS: (top) Andrew Keltz as Pippin with (L to R) Emily Rogers, Lucy Zukaitis and Sasha Kostyrko in "Pippin" at The Music Theatre Company; (bottom) Joey Stone as the Leading Player with cast members of "Pippin" at The Music Theatre Company PHOTO CREDIT: www.jonathansportraits.com

A few days shy of the holiest week of the year for Christians - aptly named Holy Week, beginning with Palm Sunday and ending with Easter (with Holy Thursday and Good Friday, the most sacred events on the calendar coming between) - Andrew Lloyd Webber and Tim Rice's seminal rock opera JESUS CHRIST SUPERSTAR was resurrected on Broadway by TOMMY and JERSEY BOYS director Des McAnuff - modeled after the hit Stratford Shakespeare Festival production last year and comprised of many of the same cast members, including all three leads - to hails of praise and hosannas, mostly. While JESUS CHRIST SUPERSTAR itself will always divide audiences and critics alike - and not merely because of its controversial content and its button-pushing treatment of the hallowed tale it tells - the magnetism and sheer power that Lloyd Webber's propulsive, throbbing rock score imbues gives the show an energy, vitality and life rare to find in even the most earnestly effervescent and energetic of comparable entities - the recently revived and similarly-themed GODSPELL in a revival a few blocks away included. Then, there are Tim Rice's lyrics - oh-so-spot-on in 1970, but still biting and edgy today in McAnuff's hi-tech and elaborately presented new Broadway production. Using the book of John as the jumping off point, JESUS CHRIST SUPERSTAR tells the story of the last seven days in the life of Jesus Christ (Paul Nolan) and his subsequent betrayal by Judas (Josh Young) and sentencing to death at the hands of King Herod and Pontius Pilate (Tom Hewitt). The twelve apostles, Mary Magdalene and her female companions, lepers, Pharisees, priests and others populate the grand story told almost entirely through song - the show is 90% music - and Webber and Rice's score never, ever lets up. While this may not be the most faithful rendering as far as the Bible is concerned, nor the most historically accurate, SUPERSTAR is now available to experience for a whole new generation thanks to this new revival and the timing could not be more ideal. The time is ripe for a revival of SUPERSTAR, and, as Andrew Lloyd Webber himself has recently related, this new production of the show is the best ever as far as he is concerned. High praise indeed - coming from no less than the Lord.

A careful look through the New Testament indicates that Jesus Christ liked to eat. In addition to the notable Last Supper, he dined at the home of Martha and Mary; grilled fish at the seashore; multiplied loaves and fishes; was a guest at a friend's wedding at Cana; and ate with friends on the road to Emmaus. After healing Peter's mother-in-law, she got up and prepared a meal for Him and His coterie. It's a small wonder then that Hunter Parris, who plays Jesus in the Broadway revival of GODSPELL, chooses to be interviewed over lunch at one of his favorite Chelsea eateries.

American Repertory Theater (A.R.T.) has announced that it will present the musical Pippin as part of its 2012 - 13 Season. The production will be directed by Diane Paulus with choreography by Gypsy Snider of the Montreal-based circus company Les 7 doigts de la main, also known as 7 Fingers. Performances will begin in December 2012 at the Loeb Drama Center, Cambridge.

Happy Birthday, Stephen Schwartz! In a career spanning over four decades, Schwartz has written such hit musicals as Godspell (1971), Pippin (1972) and Wicked (2003). He has also contributed lyrics for a number of successful films, including Pocahontas (1995), The Hunchback of Notre Dame (1996), The Prince of Egypt (1998; music and lyrics) and Enchanted (2007). Schwartz has won the Drama Desk Award for Outstanding Lyrics, three Grammy Awards, three Academy Awards and has been nominated for six Tony Awards.

Earlier this week, Two Boots Pizza in Hell's Kitchen (9th Ave. and 44th St.) unveiled their new pizza inspired by GODSPELL. The GODSPELL pizza contains casear chicken, sun-dried tomatoes, roasted garlic and jalapeño pesto on a white pie. The cast was there for the big event, and you can check out photos form the festivities below!

The Broadway community mourns the loss of Theodore Mann, who passed away today. The marquees of Broadway theatres in New York will be dimmed in his memory tonight, February 24th, at exactly 8:00 p.m. for one minute.

On Thursday, February 16, 2012 musical director Paul Shaffer made a musical cameo at GODSPELL. He joined the cast in singing 'Learn Your Lessons Well' and accompanied them on the piano. Watch the performance below!

On Thursday, February 16, 2012, the company of Broadway's revival of Stephen Schwartz's rock musical GODSPELL will welcome the musical director and conductor of the original Broadway production -- 'Late Show with David Letterman' musical director Paul Shaffer -- in a special cameo appearance.

On Thursday, February 16, 2012, the company of Broadway's revival of Stephen Schwartz's rock musical GODSPELLwill welcome the musical director and conductor of the original Broadway production -- 'Late Show with David Letterman' musical director Paul Shaffer -- in a special cameo appearance.

Following on from Sunday in the Park with George, Little Shop of Horrors, La Cage aux Folles, A Little Night Music and Sweet Charity, the Menier Chocolate Factory is currently presenting Stephen Schwartz and Roger O. Hirson's Pippin. Pippin began previews on Tuesday, 22 November, opens officially on 7 December, and will run through 25 February, 2012. Buzz about West End and Broadway transfers of the production has already begun, with Stephen Schwartz fully supportive of both ideas. Below, BroadwayWorld brings you a first look at Pippin at Menier Chocholate Factory!

Following on from Sunday in the Park with George, Little Shop of Horrors, La Cage aux Folles, A Little Night Music and Sweet Charity, the Menier Chocolate Factory will present Pippin - music and lyrics by Stephen Schwartz and book by Roger O. Hirson. Pippin begins previews on Tuesday, 22 November, with the Press Night on Wednesday, 7 December. It runs until Saturday, 25 February, 2012.

At The Acting Company's Masquerade Gala on November 14 at Capitale, Brian Stokes Mitchell and Joseph Benincasa, Chairman and President respectively of The Actors Fund, will accept the Joan Warburg Humanitarian Award honoring the Fund's extraordinary legacy of providing health and human services to the entertainment community since 1882. James Bundy, Dean of Yale School of Drama and Artistic Director of Yale Repertory Theatre, will receive the John Houseman Award recognizing his profound commitment to the development of classical actors and a national audience for the theater. David Hyde Pierce and Charles S. Dutton will present the awards; the Godspell cast will entertain and Acting Company Alumnus Hamish Linklater (Seminar) emcees the evening for an industry-filled audience of producers, directors, entertainers and other notables including The Honorable Thomas Kean, legendary record producer Clive Davis, New York Times writer Enid Nemy and The Broadway League's Charlotte St. Martin. For ticket Information call: 212-258-3111 .