Up in the 80s - 1981 - London Fringe Articles Page 11

Recounting the life of one of the founding fathers of the gay liberation movement, the inspiring documentary VITO debuts tonight, JULY 23 (9:00-10:45 p.m. ET/PT), exclusively on HBO.

Recounting the life of one of the founding fathers of the gay liberation movement, the inspiring documentary VITO debuts MONDAY, JULY 23 (9:00-10:45 p.m. ET/PT), exclusively on HBO.

The Go-Go's will perform at the Mahaffey Center on Wednesday, September 19 at 7:30 PM. Tickets: $35 - $60. Tickets go on sale this Saturday, June 30 at noon!

Broadway, television, and film acting veteran Brian d'Arcy James admitted he was pumped to finally perform a show of the 1980s pop songs he loves. The two-time Tony Award-nominee made a seemingly effortless transition from the Broadway stage to a nightclub stage, proving to be an energetic, engaging, enthusiastic, and effervescent concert performer with on-stage charisma and self-deprecation to spare during his first solo concert show at the new 54 Below nightclub.

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

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.

The hilarious, roller-skating, musical adventure about following your dreams rolls along to the original hit score composed by pop-rock legends Jeff Lynne and John Farrar, including "Magic," "All Over the World," "Suddenly," "I'm Alive," "Evil Woman," "Have You Never Been Mellow" and "Xanadu," to name a few, and is based on the cult-classic movie that starred Olivia Newton-John, John Travolta and Gene Kelly.

The hilarious, roller-skating, musical adventure about following your dreams rolls along to the original hit score composed by pop-rock legends Jeff Lynne and John Farrar, including "Magic," "All Over the World," "Suddenly," "I'm Alive," "Evil Woman," "Have You Never Been Mellow" and "Xanadu," to name a few, and is based on the cult-classic movie that starred Olivia Newton-John, John Travolta and Gene Kelly.

Today we are taking a look at the very best theatre-related entities in a variety of different categories - books, music, television, film, and, of course, theatre - as we look back on 2011 and all of the many marvelous moments of excitement, passion, joy and exultation that only theatre and theatre-related projects can possibly hope to provide. From Stephen Sondheim's LOOK, I MADE A HAT on the bookshelves of every Broadway baby worth their weight in sequins to Neil Patrick Harris and Patti LuPone in Sondheim's COMPANY on the big screen courtesy of Fathom to the stunning Broadway revival of FOLLIES starring Bernadette Peters and its tremendous new cast album, all the way to the thrills and chills of Andrew Lloyd Webber's PHANTOM OF THE OPERA LIVE AT THE ROYAL ALBERT HALL on the big screen and Blu-ray to the BOOK OF MORMON breaking Broadway records and even TV's best drama and comedy, both from mastermind Ryan Murphy - GLEE and AMERICAN HORROR STORY. Plus, we also have top film picks in the categories of Drama and Comedy, as well as the best of the best of them all, with Lars Von Trier's apocalyptic masterpiece MELANCHOLIA, George Clooney's play adaptation THE IDES OF MARCH and the 80s music video stylized thriller/drama DRIVE topping the list. All of that and a whole lot more awaits in this all-encompassing look back at the theatrical highlights in all entertainment realms in 2011, as well as a look ahead to what we cannot wait for in 2012!

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.

Gary Naylor meets the legendary Russian clown Slava Polunin.

At the peak of its success and influence during the 1980s and '90s, New York-based indie label Profile Records boasted an artist roster that read like the Who's Who of hip-hop and rap stars - from Run-D.M.C., Dana Dane, Special Ed and Rob Base, to DJ Quik, Nine, Poor Righteous Teachers, and Onyx, to name just a few.

Modern-day master of musical theatre Stephen Sondheim is about to release the second book of his complete collected lyrics - covering mostly everything written in the last three decades and in this one so far - titled after a line from what may very well be his ultimate masterpiece, the Pulitzer Prize-winning SUNDAY IN THE PARK WITH GEORGE - LOOK, I MADE A HAT; Collected Lyrics (1981-2011) with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany. So, today, we are going to be taking a look at a litany of the finest moments from Sondheim's post-SWEENEY TODD musicals that are highlighted in LOOK, I MADE A HAT and perhaps discover a few of the many reasons why Sondheim's musicals - whether late-period or early on- are the best of the best Broadway has to offer - now or ever. And, what an absolutely mind-blowing list it is - and what a masterpiece of a book!

STOMP - the multi-award winning, international hit show - celebrates its 20th birthday this autumn with special events throughout London on Monday 14th November, culminating in a thrilling and unique performance of the show.

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.

On Sunday October 30 Sterling's Upstairs at Vitello's presented a unique treat in cabaret with the dual sounds of Broadway's Randall Phillips and pop singer Jerry Sharell in Together Again. Musical direction was by the wonderful Todd Schroeder on piano with Bill Brendle on keyboard, Jack LeCompte on drums, Tim Christensen on bass, and Tony Mandracchia on guitar.

The Town Hall, New York City's landmark theatre and concert venue (123 West 43rd Street), is pleased to honor two influential women: Judith Jamison, Artistic Director Emerita of Alvin Ailey American Dance Theater, and Dr. Joyce F. Brown, President of the Fashion Institute of Technology.

The Town Hall, New York City's landmark theatre and concert venue (123 West 43rd Street), is pleased to honor two influential women: Judith Jamison, Artistic Director Emerita of Alvin Ailey American Dance Theater, and Dr. Joyce F. Brown, President of the Fashion Institute of Technology.

STOMP - the multi-award winning, international hit show - celebrates its 20th birthday this autumn with special events throughout London on Monday 14th November, culminating in a thrilling and unique performance of the show.

Is there a trend with Tony-nominated stars of Broadway musicals taking the show on the road?

Over a 40-year career, Gary Wright has performed in front of millions of people, had his music licensed to blockbuster movies and television shows, and continues to have his music played on radio on a daily basis.

The Museum is housed in a building owned by the City of New York and its operations are made possible in part by public funds provided through the New York City Department of Cultural Affairs, the New York City Economic Development Corporation, the New York State Council on the Arts, the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Services, and the Natural Heritage Trust (administered by the New York State Office of Parks, Recreation, and Historic Preservation). The Museum also receives generous support from numerous corporations, foundations, and individuals. For more information, please visit http://movingimage.us.

The Museum is housed in a building owned by the City of New York and its operations are made possible in part by public funds provided through the New York City Department of Cultural Affairs, the New York City Economic Development Corporation, the New York State Council on the Arts, the National Endowment for the Arts, the National Endowment for the Humanities, the Institute of Museum and Library Services, and the Natural Heritage Trust (administered by the New York State Office of Parks, Recreation, and Historic Preservation). The Museum also receives generous support from numerous corporations, foundations, and individuals. For more information, please visit http://movingimage.us.

Fourteen-time GRAMMY® Award-winner Ricky Skaggs' career is easily among the most significant in recent country music history.

Fourteen-time GRAMMY Award-winner Ricky Skaggs' career is easily among the most significant in recent country music history. If Skaggs' burgeoning trophy case full of awards wasn't already enough evidence of that fact, consider that legendary guitarist Chet Atkins once credited Skaggs with 'single-handedly saving country music.' His life's path has taken him to various musical genres, from where it all began in bluegrass music, to striking out on new musical journeys, while still leaving his musical roots intact.