If They Could See Me Now! - 1984 - London Articles Page 8

Celebration Theatre in association with DEMAND PRoductions and Peter Schneider have announced the first show of its celebratory 30th Anniversary Season, the smash-hit, critically-acclaimed world premiere musical, JUSTIN LOVE, book by Patricia Cotter and David Elzer, story by David Elzer and Bret Calder, music by Lori Scarlett and David Manning, lyrics by Lori Scarlett, directed by Michael Matthews, choreography by Janet Roston and musical direction by Gregory Nabours is adding performances through Sunday, December 16 at Celebration Theatre, 7051B Santa Monica Blvd in Hollywood.

Oh those wonderful Philly actors! Some come and go but they all call Philadelphia home. Let's zero in on one of Philly's brightest stars- Jeff Coon.

Celebration Theatre in association with DEMAND PRoductions and Peter Schneider have announced the first show of its celebratory 30th Anniversary Season, the world premiere musical, JUSTIN LOVE, with book by Patricia Cotter and David Elzer, story by David Elzer and Bret Calder, music by Lori Scarlett and David Manning and lyrics by Lori Scarlett. The show will be directed by Michael Matthews with choreography by Janet Roston and musical direction by Gregory Nabours. JUSTIN LOVE will begin previews tonight, September 7, and will open on Friday, September 21, running through Sunday, November 18, 2012, at Celebration Theatre, 7051B Santa Monica Blvd in Hollywood.

Celebration Theatre in association with DEMAND PRoductions and Peter Schneider have announced the first show of its celebratory 30th Anniversary Season, the world premiere musical, JUSTIN LOVE, with book by Patricia Cotter and David Elzer, story by David Elzer and Bret Calder, music by Lori Scarlett and David Manning and lyrics by Lori Scarlett. The show will be directed by Michael Matthews with choreography by Janet Roston and musical direction by Gregory Nabours. JUSTIN LOVE will begin previews on Friday, September 7, and will open on Friday, September 21, running through Sunday, November 18, 2012, at Celebration Theatre, 7051B Santa Monica Blvd in Hollywood.

Today we are talking to a terrifically talented triple-threat who has made appearances on Broadway in entities as diverse as David Merrick's original Gower Champion-directed production of 42nd STREET, her debut, to roles in Susan Stroman's CRAZY FOR YOU, Hal Prince's landmark revival of SHOW BOAT and the Mark Bramble revival of 42nd STREET to THE CIVIL WAR, MAMMA MIA!, YOUNG FRANKENSTEIN, ELF, and, most recently, as the star of BABY, IT'S YOU! - to say nothing of her Tony Award-winning turn in THE DROWSY CHAPERONE - the thoroughly delightful and dynamic dame herself, Beth Leavel. Discussing some of her career highlights thus far - such as the night of her Tony Award win - while generously sharing her caustic wit and giving us a glimpse into the life of a modern-day leading lady, Leavel also offers us some insights into her newest role - one originally essayed by no less than Broadway icon Ethel Merman - that of Irving Berlin's heroine, Mrs. Sally Adams, in the politically-themed musical comedy CALL ME MADAM, playing at the Lyric Theatre of Oklahoma, July 24-28. In addition to all about CALL ME MADAM, Leavel also imparts her affection for past co-stars and collaborators - Sutton Foster, Christine Ebersole, Andrea Martin, Millicent Martin, Dolores Grey, Burt Bacharach and more included - and looks ahead to some parts that she would potentially consider pursuing in the future (MINSKY'S perhaps?). All of that and much, much more!

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

To mark the one year anniversary of the passing of famed Broadway librettist,screenwriter and director Arthur Laurents, BroadwayWorld spoke with his close friend and the literary executor of his estate, David Saint.

Those who have made significant contributions to the arts in a variety of categories will be recognized for their achievements in enriching the communities and citizens of Utah at the 7th Annual Star Awards held Saturday, February 25, 2012 at the SCERA Center for the Arts in Orem.

Those who have made significant contributions to the arts in a variety of categories will be recognized for their achievements in enriching the communities and citizens of Utah at the 7th Annual Star Awards held Saturday, February 25, 2012 at the SCERA Center for the Arts in Orem.

David Mamet's classic 1984 'always be closing' play about the desperation and drama surrounding cutthroat real estate brokers remains pertinent in this time of recession and foreclosures.

When the night is dark and stormy, or the mist is rising on the moors under a full moon; when there are macabre stirrings in the tomb, or the unearthly howling of laughter from audience members - it must be the season for THE MYSTERY OF IRMA VEP, Charles Ludlam's ribald sendup of gothic romance and horror that begins preview next Wednesday, October 12, opens October 15, and continues through November 6 at RUBICON THEATRE COMPANY.

When the night is dark and stormy, or the mist is rising on the moors under a full moon; when there are macabre stirrings in the tomb, or the unearthly howling of laughter from audience members - it must be the season for THE MYSTERY OF IRMA VEP, Charles Ludlam's ribald sendup of gothic romance and horror that begins preview next Wednesday, October 12, opens October 15, and continues through November 6 at RUBICON THEATRE COMPANY.

When the night is dark and stormy, or the mist is rising on the moors under a full moon; when there are macabre stirrings in the tomb, or the unearthly howling of laughter from audience members - it must be the season for THE MYSTERY OF IRMA VEP, Charles Ludlam's ribald sendup of gothic romance and horror that begins preview next Wednesday, October 12, opens October 15, and continues through November 6 at RUBICON THEATRE COMPANY.

The latest in unauthorized gossip and buzz from the heart of Chicago's showtune video bars, and musical theater news from Chicago to Broadway. Gary Griffin's 'Follies,' David Cromer's 'Rent,' two productions of 'Joseph...' in November, cabaret nights at Stage 773, the 'Footloose' remake and more...

Highline Ballroom Announces is schedule of upcoming events:

An actor's actor Gary Cole, who made a big splash as Dr. Jeffrey MacDonald in TV's Mow Fatal Vision in 1984 and has never stopped working since, will soon open at the Geffen in Tracy Letts' new play Superior Donuts. Whether it be drama like In the Line of Fire on screen, the TV series Midnight Caller (1988-91) or Letts' August Osage County on stage, or comedy as in the theatrical film The Brady Bunch, Cole is comfortable in every medium and makes the work look easy. Usually cast as a psycho or abusive husband, in Donuts he plays the aging Chicago shop owner, a role which brings him closer to his roots there. He was an original member of the Steppenwolf Theatre, along with John Malkovich, Laurie Metcalf and Gary Sinise. In our chat, Cole talks about the play, his favorite roles and the process of acting.

Doug Haverty and Adryan Russ are getting ready to open their latest musical, iGhost, May 20th at the Lyric Theare in Los Angeles. Here they talk about what it's like to be longtime collaborators.

Peter Nero and the Philly Pops® adds a twist of comedy to its unique blend of musical entertainment with Music and Comedy featuring Robert Klein (March 30, April 1-3, 2011).

Peter Nero and the Philly Pops® adds a twist of comedy to its unique blend of musical entertainment with Music and Comedy featuring Robert Klein (March 30, April 1-3, 2011).

Today we are talking to one of the most influential musical theatre writers of all time, having written the book and lyrics for JESUS CHRIST SUPERSTAR, EVITA, CHESS and many more, as well as contributing lyrics to the stage adaptation of Disney's BEAUTY & THE BEAST and winning Oscars for his work on Disney's ALADDIN with Alan Menken and THE LION KING with Elton John - as well as sharing a Tony for Best Score with Elton John for AIDA in 2002 - who is now preparing for the world premiere of Andrew Lloyd Webber's new production of THE WIZARD OF OZ for which the superstar composing team has rejoined once again to pen five new songs - Sir Tim Rice. Discussing everything from his 70s Andrew Lloyd Webber collaborations to CHESS to the first news on his new musical version of FROM HERE TO ETERNITY, to GLEE and beyond, plus a look at his roots - all with an emphasis on his commitment to craft and bringing new audiences to the theatre. Sir Tim was kind and generous enough to illuminate his illustrious career in Hollywood, the West End and on Broadway exclusively for BroadwayWorld.

Today we are taking a look at one of the most exciting DVD/Blu-Ray releases of the year - perhaps ever, at least as far as Broadway connoisseurs are concerned. Taped back in mid-March of this year, a week before the actual central celebratory event itself occurred, comes SONDHEIM! The Birthday Concert, which will also be shown next Wednesday on PBS as part of this season's sensational series of GREAT PERFORMANCES at 9 PM on WNET in New York and across the country. This is a once-in-a-lifetime event that has been ever-so-lovingly rendered on disc in high definition preserving a heavenly host of the very best Broadway talent one could ever possibly ask to be assembled. SONDHEIM! has it all.

Today we are talking to the legendary Broadway and Hollywood composer best known for his work with estimable lyricist Fred Ebb on legendary shows such as CABARET, CHICAGO, THE RINK, KISS OF THE SPIDERWOMAN and THE VISIT - as well as the classic, Oscar-winning film adaptations of those first two shows - who also composed the unofficial New York anthem 'New York, New York' and yesterday premiered his newest original musical on Broadway: THE SCOTTSBORO BOYS - none other than thoughtful and gentle genius John Kander. We discuss his fifty-year career writing with Fred Ebb, writing for Liza Minnelli and Kristin Chenoweth, working with directors like Bob Fosse, Hal Prince and Susan Stroman, plus his thoughts on GLEE, the future of his shows written before Ebb's passing - as well as some SCOTTSBORO BOYS talk - in this comprehensive conversation on all things razzle-dazzlingly resplendent as only Kander & Ebb can claim be. Plus, Kander dissects and discusses the writing process of five of his finest compositions! Start spreadin' the news...

Ever since Carly discovered the voice of Freddie Mercury, she has been in love with his theatrical, rocker glam persona. Freddie Mercury could sing anything...in any style, and that alone is an art to celebrate. After covering and loving his music for years, Ms. Ozard and musical director Joe Wicht are creating 'Somebody To Love: My Musical Tribute to Freddie Mercury.' Carly will be Queen for a day, paying homage to her idol, and sharing historic and interesting facts about Mercury's public and intimate lifestyle. Carly relates to Mercury's flair for theatrical and dramatic performing, incorporating his work into a night of fabulous cabaret.

Rock 'n' roll and a whole lot more are at the soul of Broadway Rocks!, the special Broadway Showstoppers program opening Peter Nero and the Philly Pops' exciting 2010-11 season (October 6, 8, 9, and 10, 2010).

Rock 'n' roll and a whole lot more are at the soul of Broadway Rocks!, the special Broadway Showstoppers program opening Peter Nero and the Philly Pops' exciting 2010-11 season (October 6, 8, 9, and 10, 2010).