One Night Stand - 1981 - West End Articles Page 13

The Film Society of Lincoln Center's annual horror fest Scary Movies returns for its 6th edition featuring a blood-curdling collection of first-time New York City screenings of highly anticipated horror films and thrillers, genre rarities and fan favorites.

Warner Bros. announced today that the 1939 classic The Wizard of Oz will be fully restored and converted into 3D, as a part of the studio's 90th Anniversary celebration next year. The film is currently being restored and will be released on Blu-ray 3D in either September or October of next year.

George Street Playhouse and Artistic Director David Saint have announced that full casting for their 2012-13 season opener, One Slight Hitch, has been completed. Joining the previously-announced Mark Linn-Baker will be Clea Alsip, Rosie Benton, Lauren Ashley Carter, Scott Drummond, Lizbeth Mackay and Christopher Tocco. Helmed by Joe Grifasi, this tale of matrimonial mayhem will begin performances tonight, October 2 and continue through Sunday, October 28. Opening night, with a dessert reception sponsored by Stage Left and Catherine Lombardi restaurants, will be Friday, October 5.

George Street Playhouse and Artistic Director David Saint have announced that full casting for their 2012-13 season opener, One Slight Hitch, has been completed. Joining the previously-announced Mark Linn-Baker will be Clea Alsip, Rosie Benton, Lauren Ashley Carter, Scott Drummond, Lizbeth Mackay and Christopher Tocco. Helmed by Joe Grifasi, this tale of matrimonial mayhem will begin performances Tuesday, October 2 and continue through Sunday, October 28. Opening night, with a dessert reception sponsored by Stage Left and Catherine Lombardi restaurants, will be Friday, October 5.

Comedian and commentator Lewis Black shows off his playwriting prowess with ACT - A Contemporary Theatre's production of the wedding day comedy One Slight Hitch. The play is the West Coast debut of a new work by Black, who is not only a Comedy Central regular and a contributor to the award winning The Daily Show with Jon Stewart, but also a stand-up performer and studied playwright.

Today we are shining a light on one of the most respected and revered stage and screen stars of the last several decades who is known the world over for not only his stirring and commanding dramatic performances and touching and rib-tickling comedies on film, but also for his iconic roles on the stage playing Shakespeare, and, perhaps most of all, for his essaying of Captain Von Trapp in the celebrated Robert Wise film adaptation of Rodgers & Hammerstein's Tony Award-winning THE SOUND OF MUSIC - the elegant, graceful and eminently gifted Christopher Plummer. Looking back at a career spanning nearly seven decades, today we will focus on Plummer's most important and most fondly remembered roles to date - ranging from Sidney Lumet's STAGE STRUCK in 1958 to his Shakespeare stage work, THE SOUND OF MUSIC, THE RETURN OF THE PINK PANTHER, TV's THE THORN BIRDS, and, of course, his Academy Award-winning turn in last year's BEGINNERS - with a look ahead to the exceptionally enticing new Fathom in-cinema presentation of Des McAnuff's Stratford Shakespeare Festival production of THE TEMPEST starring Plummer as Prospero, in movie theaters nationwide on June 14 - what the 83-year-old actor has promised will be his final Shakespeare performance onstage. So, if there were ever a time to take a look back at one of the most remarkable Broadway/Hollywood crossover stars of the last century or the current one as he reaches yet another peek in a career populated with many highs, now is certainly the time! After all, as the oldest Oscar-winner to date, a midsummer night's dream has evidently quite quickly turned to a winter's tale - but with sound and fury signifying much, as we will see.

The Nuyorican Poets Cafe will commemorate its 40th Anniversary with a range of new multi-arts performances, retrospective events and infrastructure upgrades. Beginning with preview events this summer, the Cafe's 40thAnniversary season will showcase the work of dozens of poets, playwrights, actors, musicians, burlesque performers, multimedia artists and educators.

Comedian and commentator Lewis Black shows off his playwriting prowess with ACT - A Contemporary Theatre's production of the wedding day comedy One Slight Hitch. The play is the West Coast debut of a new work by Black, who is not only a Comedy Central regular and a contributor to the award winning The Daily Show with Jon Stewart, but also a stand-up performer and studied playwright.

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

On the heels of the most successful year and quarter in network history, SCIENCE takes a bold step toward the future by unveiling its 2012-2013 Upfront slate in New York today. The network, which broke ratings records in 2011, continued its momentum by posting its most-watched first quarter ever in 2012. One of cable's fastest-growing networks, SCIENCE will be in more than 80 million homes in 2013.

Five time Tony® award-winning Broadway producer, Jon B. Platt, will be presented The Commercial Theater Institute's Robert Whitehead Award for "outstanding achievement in commercial theatre producing" at a reception at Sardi's on Tuesday, March 13, 2012. David Stone, Stuart Thompson, and Bob Wankel will present the award.

Needing no introduction, popular TV star of the 60s, 70s and 80s impressionist Rich Little, who is known for his impressions of Ronald Regan, Jimmy Stewart, George Burns, Richard Nixon, among others, will appear at the Welk Resort in Escondido Wednesday February 29 thru Sunday March 4. In our interview he gives us a little preview of his latest solo show Jimmy Stewart and Friends, which he hopes to eventually take into New York.

Five time Tony® award-winning Broadway producer, Jon B. Platt, will be presented The Commercial Theater Institute's Robert Whitehead Award for "outstanding achievement in commercial theatre producing" at a reception at Sardi's on Tuesday, March 13, 2012. David Stone, Stuart Thompson, and Bob Wankel will present the award.

Hugh Jackman will return to Broadway during the 2013/2014 season starring as America's greatest showman in HOUDINI, an original musical. Making his Broadway debut as librettist, Academy Award and six-time Emmy Award winner Aaron Sorkin will collaborate with three-time Academy Award and four-time Grammy Award winner Stephen Schwartz. Directed by three-time Tony Award winner Jack O'Brien, HOUDINI is presented by film and theatre producer Scott Sanders and David Rockwell. Mr. Rockwell will also design the sets for HOUDINI. Additional HOUDINI casting, creative team and design team to be announced at a later date.

In honor of La MaMa's 50th Anniversary season, Italy's Dario D'Ambrosi will stage 'Teatro Patologico in New York,' a festival of Pathological Theater and Film, December 15 to 22, 2011, mounting one large new work plus three smaller plays that are a cross-section of his 31 years of productions at La MaMa.

Producers Joan Stein and Richard Frankel announced today that Standing On Ceremony: The Gay Marriage Plays will welcome Award-winning comedian Kate Clinton and playwright Paul Rudnick (who is receiving rave reviews for his Standing On Ceremony short plays "My Husband" and "The Gay Agenda") for a post-performance Q&A following the 8:00 PM performance on Wednesday, December 7 at the Minetta Lane Theatre (18 Minetta Lane).

Producers Joan Stein and Richard Frankel announced today that Standing On Ceremony: The Gay Marriage Plays will welcome Award-winning comedian Kate Clinton and playwright Paul Rudnick (who is receiving rave reviews for his Standing On Ceremony short plays "My Husband" and "The Gay Agenda") for a post-performance Q&A following the 8:00 PM performance on Wednesday, December 7 at the Minetta Lane Theatre (18 Minetta Lane).

R.E.M. shocked the world with the news that they had decided to 'call it a day as a band' via a statement on their website, and the beloved band announced that they will release their final album, R.E.M., Part Lies, Part Heart, Part Truth, Part Garbage, 1982 - 2011, on Warner Bros. Records on November 15th, 2011.

After R.E.M. ignited the blogosphere on September 21st with the news that they had decided to 'call it a day as a band' via a statement on their website, the beloved band have announced that they will release their final album, R.E.M., Part Lies, Part Heart, Part Truth, Part Garbage, 1982 - 2011, on Warner Bros. Records on November 15th, 2011.

In honor of La MaMa's 50th Anniversary season, Italy's Dario D'Ambrosi will stage 'Teatro Patologico in New York,' a festival of Pathological Theater and Film, December 15 to 22, 2011, mounting one large new work plus three smaller plays that are a cross-section of his 31 years of productions at La MaMa.

With more than 40 million records sold worldwide and countless sold-out tours, Rush - Geddy Lee, Alex Lifeson and Neil Peart - are not only one of the most successful and influential bands in rock history but continue to garner new fans and continue in popularity every year.

R.E.M. shocked the world with the news that they had decided to 'call it a day as a band' via a statement on their website, and the beloved band announced that they will release their final album, R.E.M., Part Lies, Part Heart, Part Truth, Part Garbage, 1982 - 2011, on Warner Bros. Records on November 15th, 2011.

Highline Ballroom Announces is schedule of upcoming events:

After R.E.M. ignited the blogosphere on September 21st with the news that they had decided to 'call it a day as a band' via a statement on their website, the beloved band have announced that they will release their final album, R.E.M., Part Lies, Part Heart, Part Truth, Part Garbage, 1982 - 2011, on Warner Bros. Records on November 15th, 2011.

Never more apparent than at this very moment in history, the operatic emotions, over-the-top theatrics and outrageous outspokenness of the 1983 SCARFACE, new on Blu-ray this week, burst forth from screens both large and small, depending on your preferred venue. And, with the fiery, ferocious fearlessness that Brian DePalma so astutely and assuredly weaves his web of debauchery and demons of the soul, heart and mind with - its apotheosis residing in Al Pacino's legendary essaying of the title role - the world finally seems ready to see SCARFACE for what it really is: a classic American film. No, there are not many modern day classics and there certainly have not been over the last thirty years since its release, but SCARFACE is unquestionably now part of the great pantheon of American films - just as much as CITIZEN KANE, CABSABLANCA and THE GODFATHER before it - and with Fathom's re-release of the film in movie theaters for one night only last week, the impact of the film as felt in its true artistic home was something akin to transcendental. Indeed, I was lucky enough to check out the HD print in a showing in Ithaca, NY, last week, which was also accompanied by an ultra-informative and revealing behind-the-scenes look at the production and subsequent legacy of the near-thirty-year-old film which is also available in an even more expanded form on the new Blu-ray - including new interviews with Brian DePalma, Al Pacino, Steven Bauer, Robert Loggia, Martin Bregman, as well as comments from fellow filmmakers and fans like Eli Roth (who shares a particularly hilarious anecdote about reciting Lopez's monologue for classmates in sixth grade). The new Blu-ray is packed to the brim with Special Features - including this brand new hour-long making-of documentary to go along with the hours of bonuses ported over from many of the prior DVD releases. Yet, above all of these other virtues, the reason you must own SCARFACE on Blu-ray is not just because the HD remastering of the image is pristine, the 7.1 sound is perfect and the Special Features are overwhelmingly enjoyable, but - most of all - it is because SCARFACE is American movie-making at its finest - and most emotionally, visually and outwardly operatic. It sings. And stings. And zings. And, bring it - all.