The Love Machine - 2000 - Off-Broadway Articles Page 16

Five powerful productions have been scheduled for Center Theatre Group's 2013 season at the Mark Taper Forum, it was announced today by CTG Artistic Director Michael Ritchie.

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!

The Keegan Theatre has announced its line-up for the 2012-2013 season, the company's sixteenth. All performances will be at the Church Street Theater in Washington, DC. Artist and production information, performance dates/times, and ticketing information will be available all season long at www.keegantheatre.com.

The 20th Anniversary season of New York City Center's Tony Award-winning Encores! series will open on January 30, 2013 with Fiorello!, the show that launched the series in 1994. The season will continue with It's a Bird...It's a Plane...It's Superman, followed by On Your Toes. A Gala Encores! at 20 Celebration on November 12, 2012 will star Tony Award nominees and Encores! alumni Rauil Esparza and Kelli O'Hara.

BRING IT ON: THE MUSICAL is headed to Broadway following a tour that began in 2011. The show will play Broadway's St. James Theater, beginning previews on July 12th, opening August 1st and running through October 7th.

SpeakEasy Stage presents the Boston Premiere of the hit Broadway musical comedy XANADU. This acclaimed show will be the company's 100th production and opens tonight, May 11.

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

Kelly Clarkson, Linkin Park, Nelly Furtado and Usher have been announced as the second round of artists to perform at the '2012 Billboard Music Awards,' airing live from the MGM Grand Garden Arena in Las Vegas on SUNDAY, MAY 20 (8:00-11:00 p.m., ET) on the ABC Television Network.

Beginning May 11, SpeakEasy Stage presents the Boston Premiere of the hit Broadway musical comedy XANADU. This acclaimed show will be the company's 100th production and opens May 11.

The Capitol Center for the Arts today announced an exciting lineup of performances for its seventeenth season.

This Upfront season, Animal Planet advances its richest slate of original programming to date. The Planet's bringing back 13 returning 'Surprisingly Human' hit series and introducing a pack of new titles. Heading into the Upfront with strong momentum, Animal Planet has seen a nearly 25 percent ratings increase with both men and women driving gains.

Tony Award winning triple threat Donna McKechnie will always be remembered as Cassie in A Chorus Line, and of course for her solo within it 'The Music and the Mirror'. This vet of Broadway, TV and film is currently teaching a musical comedy class at HB Studio in New York and in our chat offers some choice anecdotes from her career. She will appear in Original Cast 3, this year's S.T.A.G.E. (Southland Theatrical Artists Goodwill Event) benefit for APLA (Aids Project Los Angeles) Saturday April 28 at the Saban Theatre.

On last night's episode of ABC's DANCING WITH THE STARS themed 'The Most Memorable Year of My Life,' the remaining eleven couples were challenged to perform a meaningful dance using any style dance of their choice.

On Tuesday, acclaimed singer and songwriter Seal returns to the ballroom performing 'Lean On Me' from his latest album 'Soul 2.' His soulful performance will be accompanied by four members of the Troupe. Also hitting the stage is best-selling country vocal group, Rascal Flatts, with a network TV debut performance of 'Changed,' the title of their new album due out April 3rd.

The 2012 Actors Studio Drama School Repertory Season performances will take place at The Theater at Dance New Amsterdam, 53 Chambers St., just north of City Hall, Wednesdays through Fridays at 8 p.m. and Saturdays at 3 and 8 p.m. from March 28 through April 28. The full schedule and information about plays, actors, directors and playwrights can be found online at www.Pace.edu/ASDSRep

The 2012 Tribeca Film Festival (TFF), presented by American Express®, today announced the World Narrative and Documentary Competition film selections, along with selections for the out-of-competition Viewpoints section-the program established last year that highlights personal stories in international and independent cinema. Forty-six of the 90 feature-length films were announced. The 11th edition of the Festival will take place from April 18 to April 29 at locations around New York City.

'Bring It On: The Musical' opened on Friday, November 11 at the Center Theatre Group/Ahmanson Theatre. Currently in previews, the production will continue through December 10. 'Bring It On: The Musical' unites some of the top creative minds on Broadway for an explosive new musical comedy that raises the stakes on over-the-top high school rivalries. Set against the world of competitive cheerleading, this powerhouse new show hilariously proves that winning isn't everything when it means losing something - or someone - you really care about.

The Colony Theatre is thrilled to present the fourth production of its 37th season of shows - the Los Angeles Premiere of TRAVELS WITH MY AUNT, written by Graham Greene, adapted for the stage by Giles Havergal, and directed by David Dean Bottrell.

The Colony Theatre is thrilled to present the fourth production of its 37th season of shows - the Los Angeles Premiere of TRAVELS WITH MY AUNT, written by Graham Greene, adapted for the stage by Giles Havergal, and directed by David Dean Bottrell.

The Colony Theatre is thrilled to present the fourth production of its 37th season of shows - the Los Angeles Premiere of TRAVELS WITH MY AUNT, written by Graham Greene, adapted for the stage by Giles Havergal, and directed by David Dean Bottrell.

New Repertory Theatre, in residence at the Arsenal Center for the Arts has announced Collected Stories by 2000 Pulitzer Prize playwright Donald Margulies.

New Repertory Theatre, in residence at the Arsenal Center for the Arts has announced Collected Stories by 2000 Pulitzer Prize playwright Donald Margulies.

The 2011/12 season of the Los Angeles Philharmonic begins today.

New Repertory Theatre, in residence at the Arsenal Center for the Arts has announced Collected Stories by 2000 Pulitzer Prize playwright Donald Margulies.

Cymbeline is back! Two sold-out weeks last January for Fiasco Theater's production of Cymbeline wasn't nearly long enough to satisfy the demands of a theatre-going public hungry for, as Ben Brantley of The New York Times wrote, 'the comedy, poignancy and unlikely magic of Cymbeline.'