Joseph and the Amazing Technicolor Dreamcoat - 2000 - Regional (US) Articles Page 9

The RRazz Room, San Francisco's premier nightclub, presents the debut duo engagement of stage and screen star, FRANC D'AMBROSIO, and Broadway star, JERI SAGER. For their show, "Together Again...For The First Time," the powerhouse duo will perform their favorite Broadway and pop hits along with stories of their early days together in New York City. The show will run December 11 through December 15.

Ambassador Theatre Group (ATG) has successfully bid to continue operating the Regent Theatre and Victoria Hall in Stoke-on-Trent for the next ten years following a comprehensive tender process. The contract will be awarded by Stoke-On-Trent City Council following a ten day period required under contract law.

The Fine Arts Center's Theatre Company presents A Christmas Story, the stage play adaptation of the Christmas film, Nov. 29 - Dec. 23, in the SaG?Ji Theatre.

ANNIE, the new production of the Tony Award-winning musical, went into rehearsal today in New York City with its full company. The production begins previews October 3, 2012 and opens November 8, 2012 at the Palace Theatre (Broadway at 47th Street). Meet the full cast below!

"Seussical" opens at NTC at 8:00 pm tonight, August 30. This zany musical debuted on Broadway in 2000 and has been a favorite with children and regional theatres ever since. The music was written by Lynn Aherns and Stephen Flaherty, who also wrote "Ragtime," which Newnan High School performed this past spring. Below are interviews with the show's director, Dave Dorrell, and choreographer Emily Moore.

"Seussical" opens at NTC at 8:00 pm on August 30. This zany musical debuted on Broadway in 2000 and has been a favorite with children and regional theatres ever since. The music was written by Lynn Aherns and Stephen Flaherty, who also wrote "Ragtime," which Newnan High School performed this past spring. Below are interviews with the show's director, Dave Dorrell, and choreographer Emily Moore.

ANNIE, the new production of the Tony Award-winning musical, went into rehearsal today in New York City with its full company. The production begins previews October 3, 2012 and opens November 8, 2012 at the Palace Theatre (Broadway at 47th Street). Meet the full cast below!

Warner Bros. Theatre Ventures, Neal Street Productions and Kevin McCormick today announced that their production of Roald Dahl's Charlie and the Chocolate Factory will open at the London Palladium in June 2013 after a preview period. The new stage musical will be directed by Sam Mendes, with a book by David Greig and new songs from Marc Shaiman and Scott Wittman.

Chris Isaacson has announced that Upright Cabaret's AMERICAN ICON Series ends another stunning season with VIVA LAS VEGAS - a presentation of personality and pop that honors the flashiest performers of all time: Elvis, Cher and Elton John. Joining the group of all-star performers will be Patrick Cassidy.

Three-time Tony Award-nominated actor Marc Kudisch will play the title role in Westport Country Playhouse's July staging of Moliere's "Tartuffe," directed by David Kennedy, Playhouse associate artistic director.

The Muny announced today principal casting for the third show of its 94th season, Disney's Aladdin (July 5-13), directed by Gary Griffin, and choreographed by Alex Sanchez. Tony® Nominees Robin de Jesus and John Tartaglia star as Aladdin and the Genie, respectively. Joining them will be Jason Graae as Omar, Curtis Holbrook as Iago, Francis Jue as Kassim, Eddie Korbich as Babkak, Samantha Massell as Jasmine, Ken Page as the Sultan, and Thom Sesma as Jafar.

Chris Isaacson has announced that Upright Cabaret's AMERICAN ICON Series ends another stunning season with VIVA LAS VEGAS - a presentation of personality and pop that honors the flashiest performers of all time: Elvis, Cher and Elton John. Joining the group of all-star performers will be Patrick Cassidy.

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

Damn Yankees is headed to The 5th Avenue Theatre! This musical comedy is the story of an aging baseball fan who makes a deal with the Devil so his beloved hometown team can beat the Yankees in the race for the pennant. From the songwriting team of The Pajama Game, Damn Yankees is filled with hit songs including "Two Lost Souls" and the sultry favorite, "Whatever Lola Wants, Lola Gets." The Paper Mill Playhouse production will slide into Seattle this April. The creative team includes direction by Mark S. Hoebee (Paper Mill's Producing Artistic Director), music direction by Ben Whiteley, and choreography by Denis Michael Jones.

Celebrating 50 years in music, multi-Grammy® winner and Band Leader Sergio Mendes and three-time Grammy® winner Jon Secada bring a Brazilian high-energy style of Latin Jazz featuring Mendes' mix of light jazz, bossa nova beats and contemporary soft pop melodies, and vocal stylings of Jon Secada. Catch the performance at Van Wezel Performing Arts Hall, Sun. Apr. 15, 2012 at 7:00 PM.

Celebrating 50 years in music, multi-Grammy® winner and Band Leader Sergio Mendes and three-time Grammy® winner Jon Secada bring a Brazilian high-energy style of Latin Jazz featuring Mendes' mix of light jazz, bossa nova beats and contemporary soft pop melodies, and vocal stylings of Jon Secada. Catch the performance at Van Wezel Performing Arts Hall, Sun. Apr. 15, 2012 at 7:00 PM.

Damn Yankees is headed to The 5th Avenue Theatre! This musical comedy is the story of an aging baseball fan who makes a deal with the Devil so his beloved hometown team can beat the Yankees in the race for the pennant. From the songwriting team of The Pajama Game, Damn Yankees is filled with hit songs including "Two Lost Souls" and the sultry favorite, "Whatever Lola Wants, Lola Gets." The Paper Mill Playhouse production will slide into Seattle this April. The creative team includes direction by Mark S. Hoebee (Paper Mill's Producing Artistic Director), music direction by Ben Whiteley, and choreography by Denis Michael Jones.

The latest in unauthorized gossip and buzz from the heart of Chicago's showtune video bars, and musical theater news from Chicago to Broadway. 'Bring It On,' season announcements from Broadway In Chicago, Porchlight and Paramount, Idina and Kristin tour dates, Andrew Lloyd Webber in movie theaters and more....

San Diego REPertory Theatre (San Diego REP) has announced the fifth production of the company's 36th season, In the Wake.

San Diego REPertory Theatre (San Diego REP) has announced the fifth production of the company's 36th season, In the Wake.

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.

San Diego REPertory Theatre (San Diego REP) has announced the fifth production of the company's 36th season, In the Wake.

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.

San Diego REPertory Theatre (San Diego REP) has announced the fifth production of the company's 36th season, In the Wake.