Oklahoma! - 1984 - US Tour Articles Page 16

Producers of THE ADDAMS FAMILY announced additional dates today for the Fall 2012 leg of the musical's North American tour. The production will play Dallas (Oct. 2 - 21), Seattle (Oct. 24 - Nov. 11), Salt Lake City (Nov. 13 - 18), Las Vegas (Nov.20 - 25), Tempe (Dec. 11 - 16) and Costa Mesa (Dec. 18 - 30). Plus, Curtis Holbrook (West Side Story, Xanadu) will join the cast of the national tour as "Lucas Beineke."

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!

Music Theatre of Connecticut School of Performing Arts presents FOOTLOOSE, a fully staged and costumed production performed by MTC School of Performing Arts students.

The national tour of The Addams Family, a new musical based on the bizarre and beloved family of characters created by legendary cartoonist Charles Addams, will make its Pennsylvania premiere in Pittsburgh tonight, July 31 and play through Sunday, August 12, 2012, at the Benedum Center as part of the Pittsburgh CLO summer season and PNC Broadway Across America-Pittsburgh 2011-12 series.

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.

Music Theatre of Connecticut School of Performing Arts presents FOOTLOOSE, a fully staged and costumed production performed by MTC School of Performing Arts students.

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!

Anthony Freud, general director of Lyric Opera of Chicago, announced today the creative team and performance dates for Oklahoma! The classic American musical by Richard Rodgers and Oscar Hammerstein II will receive its Lyric Opera premiere in May 2013, following the company's regular opera season.

Full casting has been announced for theupcoming national tour of THE ADDAMS FAMILY, a new musical based on the bizarre and beloved family of characters created by legendary cartoonist Charles Addams, which will make its Pennsylvania premiere in Pittsburgh, Tuesday, July 31 - Sunday, August 12, 2012, at the Benedum Center

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.

Lookingglass Theatre Company presents the world premiere of EASTLAND: A NEW MUSICAL, written by Artistic Director Andrew White with music by Ben Sussman and Artistic Associate Andre Pluess and directed by Amanda Dehnert. The production runs June 6 - July 29, 2012 at Lookingglass Theatre Company, located inside Chicago's historic Water Tower Water Works, 821 N. Michigan Ave. at Pearson. The Press Opening is tonight, June 16, 2012 at 7:30 p.m.

The Way Off Broadway Dinner Theatre is cutting loose this summer with the dance musical Footloose. The stage production, based on the Paramount Pictures film, opens at the Frederick theatre tonight, June 15th and run through August 25th.

The Public Theater announced today that Tony Award winner Denis O'Hare has been cast as The Baker in Stephen Sondheim and James Lapine's beloved musical INTO THE WOODS, directed by Timothy Sheader with co-direction by Liam Steel. INTO THE WOODS will be O'Hare's Shakespeare in the Park debut. Previews begin on Monday, July 23 at the Delacorte Theater and continue for five weeks through Saturday, August 25, with an official press opening on Thursday, August 9.

The Way Off Broadway Dinner Theatre is getting ready to cut loose this summer with the dance musical Footloose. The stage production, based on the Paramount Pictures film, will open at the Frederick theatre on Friday, June 15th and run through August 25th.

Lookingglass Theatre Company presents the world premiere of EASTLAND: A NEW MUSICAL, written by Artistic Director Andrew White with music by Ben Sussman and Artistic Associate Andre Pluess and directed by Amanda Dehnert. The production runs June 6 - July 29, 2012 at Lookingglass Theatre Company, located inside Chicago's historic Water Tower Water Works, 821 N. Michigan Ave. at Pearson. The Press Opening is Saturday, June 16, 2012 at 7:30 p.m.

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

American Repertory Theater (A.R.T.) begins performances of the world premiere production FUTURITY: A MUSICAL BY THE LISPS, with music and lyrics by Cesar Alvarez with The Lisps; book by Molly Rice and Cesar Alvarez; directed by Sarah Benson.Performances run from Friday, March 16 through Sunday, April 15, 2012 at the A.R.T.'s second space, OBERON, at 2 Arrow Street, Cambridge.

Rachel York will join Megan Hilty in the Encores! production of Gentlemen Prefer Blondes, opening May 9 at New York City Center. York will play the brunette, Dorothy Shaw, best friend of Lorelei, the diamond-loving blonde played by Hilty. Gentlemen Prefer Blondes will be directed by John Rando with music direction by Rob Berman and choreography by Randy Skinner and will play for seven performances, May 9 - 13, at New York City Center, 55th Street between 6th and 7th Avenues.

The Public Theater has announced additional casting today for the 50th Anniversary season of free Shakespeare in the Park at the Delacorte. David Furr (Orlando) and Stephen Spinella (Jaques) join the previously announced MacIntyre Dixon (Adam), Renee Elise Goldsberry (Celia), Omar Metwally (Oliver), and Lily Rabe (Rosalind) in Shakespeare's comedy AS YOU LIKE IT, directed by Daniel Sullivan.

American Repertory Theater (A.R.T.) begins performances of the world premiere production FUTURITY: A MUSICAL BY THE LISPS, with music and lyrics by Cesar Alvarez with The Lisps; book by Molly Rice and Cesar Alvarez; directed by Sarah Benson.Performances run from Friday, March 16 through Sunday, April 15, 2012 at the A.R.T.'s second space, OBERON, at 2 Arrow Street, Cambridge.

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.

TNT will once again air exclusive live coverage of the 2012 NBA All-Star Weekend from Orlando, Feb. 23-26. The network's more than 15 hours of live coverage tips off on Thursday, Feb. 23, with doubleheader action beginning at 7 p.m. (ET) with NBA Tip-Off presented by AutoTrader.com airing live from Orlando.

American Repertory Theater (A.R.T.) begins performances of the world premiere production FUTURITY: A MUSICAL BY THE LISPS, with music and lyrics by Cesar Alvarez with The Lisps; book by Molly Rice and Cesar Alvarez; directed by Sarah Benson.Performances run from Friday, March 16 through Sunday, April 15, 2012 at the A.R.T.'s second space, OBERON, at 2 Arrow Street, Cambridge.

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.