Terrence Mann News

Connecticut Repertory Theatre (CRT) launches its 2012 Nutmeg Summer Series with Man of La Mancha, running June 7 – 16 in the intimate Harriett S. Jorgensen Theatre (lower Jorgensen Auditorium) on the UConn campus, Storrs. (more...)

Connecticut Repertory TheatreÂ’s popular Nutmeg Summer Series will feature two award-winning Broadway musicals, Man of La Mancha and Pirates of Penzance, and Neil SimonÂ’s The Odd Couple starring Pat Sajak and Joe Moore. Tickets are available as a subscription or as single tickets by calling 860-486-2113 and visiting www.crt.uconnn.edu. (more...)

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 (more...)

Surprise guest, lyricist Alain Boublil appears on stage at Baltimore's Meyerhoff Symphony Hall to the delight of an SRO crowd (more...)

Principal Pops Conductor Jack Everly leads the Baltimore Symphony Orchestra and Baltimore Choral Arts Society in a concert featuring popular favorites from musicals such as Les Misérables and Miss Saigon on Thursday, April 19 at 8 p.m. at the Music Center at Strathmore, Friday, April 20 at 8 p.m., Saturday, April 21 at 8 p.m. and Sunday, April 22 at 3 p.m. at the Joseph Meyerhoff Symphony Hall. Entitled “Do You Hear the People Sing,” this program celebrates music by two of the world’s most prolific writers of modern musical theatre, Alain Boublil and Claude?Michel Schönberg, whose masterpiece Les Misérables is the longest?running musical in the world. Also included in the program are selections from the award?winning team’s shows Martin Guerre, Pirate Queen, and La Revolution Francaise. Please see below for complete program details. (more...)

The NC Theatre will present OLIVER! from July 17th through July 22nd at the Raleigh Memorial Auditorium. (more...)

Ending on a nod to Michael Bennett’s heart-stopping coup de theatre Act One Finale to DREAMGIRLS - with the button of Karen (Katharine McPhee)‘s exquisitely and evocatively emotional “Never Give All The Heart” giving way to a grand diva entrance for the highly anticipated debut of special SMASH guest star, Uma Thurman, who took the applause (and generated even more awe for the moment, in turn) - last night’s “The Understudy” episode of NBC’s hit musical dramedy series SMASH was one of the strongest episodes since the first few, with three new outstanding Marc Shaiman/Scott Wittman songs as well as Megan Hilty’s sensitive cover of Kelly Clarkson’s “Breakaway”. In addition to the mega-wattage jolt of the final few moments provided by PULP FICTION and KILL BILL movie icon Thurman, we were also treated to another new multi-arc guest star in the guise of Tony Award-winning LES MIZ and CATS lead Terrence Mann. “The Understudy” had a central focus on many of the stronger dramatic, thematic and musical touchstones of the series so far and with even a cursory consideration of cumulative of content to date it is clear to witness that we are seeing major pay-offs for many story arcs and plot elements buried as far back as the stupendous pilot episode. Indeed, with Christian Borle, Megan Hilty and Katharine McPhee all given a big musical moment, the plot and music were drawn together pleasingly and privatively - particularly in the aforementioned crowning achievement of “Never Give All The Heart”; perhaps the finest ballad from BOMBSHELL, the Marilyn Monroe show-within-the-series, yet presented on SMASH. Each week, the elements we enjoy most seem to be amplified while the lesser subject matter is strengthened by new plot developments and enhanced perspective due to the various circumstances concerning the cast of characters. Let’s go one by one through the cast and see where we have ended up since the pilot as we had into the final third of SMASH Season One. (more...)

Terrence Mann and Charlotte dÂ’Amboise are bringing their popular Triple Arts musical theater workshops for young performers to National Dance Institute in New York City this summer. (more...)

The Dallas Pops, American Airlines Center and CBS Radio just presented an epic-size concert event at the American Airlines Center on March 23. The show Do You Hear the People Sing featured the music of Les Misérables, Miss Saigon, in a Broadway-style concert on a scale seldom seen. The show was created by Alain Boublil and Claude-Michel Schönberg, composer and lyricist for Les Misérables, Miss Saigon, Pirate Queen, and more. BroadwayWorld brings you photos from the special concert event below! (more...)

The Utah Symphony has announced three Broadway-related concerts in the coming year. (more...)

Today in 1987, Les Miserables opened at the Broadway Theatre, where it ran for 6680 performances. Written by Claude-Michel Schönberg, based on the novel by Victor Hugo, Les Miserables is set in early 19th-century France. The plot follows the stories of many characters as they struggle for redemption and revolution. An ensemble that includes prostitutes, student revolutionaries, factory workers, and others joins the lead characters. In January 2010, it played its ten-thousandth performance in London, at Queen's Theatre in London's West End. On 3 October 2010, the show celebrated its 25th anniversary with three productions running in the same city: the original show at London's West End; the Twenty-Fifth Anniversary touring production at the original home of the show, the Barbican Centre; and the Twenty-Fifth Anniversary concert at London's O2 Arena. The original Broadway cast included Colm Wilkinson as Jean Valjean, David Bryant as Marius, Judy Kuhn as Cosette, Michael Maguire as Enjolras, Frances Ruffelle as Éponine, Braden Danner as Gavroche, Donna Vivino as Young Cosette, Jennifer Butt as Madame Thénardier, Leo Burmester as Thénardier, Randy Graff as Fantine, and Terrence Mann as Javert. (more...)

The musical Carrie made her return eagerly awaiting return to New York City last night after the show's notoriously short 1988 run on Broadway. This brand new and revised production, now playing at the Lucille Lortel Theatre (121 Christopher Street), has already extended its run, and will now play performances through April 22, 2012. Check out photos below from the opening night red carpet! (more...)

Paper Mill Playhouse has just announced casting for Damn Yankees, directed by Paper Mill Playhouse's Producing Artistic Director, Mark S. Hoebee, with choreography by Denis Jones. The cast features Howard McGillin (Applegate), Chryssie Whitehead (Lola), Christopher Charles Wood (Joe Hardy), Joseph Kolinski (Joe Boyd), Patti Cohenour (Meg Boyd) and Nancy Anderson (Gloria Thorpe). Damn Yankees begins performances on Wednesday, March 7, 2012, and runs at the Millburn, New Jersey theater through Sunday, April 1, 2012. (more...)

SMASH will have its premiere on the NBC network on February, 6, 2012. Developed from an idea of Executive Producer and multiple Emmy and Oscar winner Steven Spielberg, SMASH explores the subculture of musical theatre; celebrating the beauty and heartbreak of Broadway. Boasting a stellar cast from stage and screen, SMASH stars Emmy award winning actress Debra Messing, Academy Award winner Anjelica Huston, Katharine McPhee, Jack Davenport, Tony Award nominee Christian Borle, Megan Hilty and Tony Award nominee Brian d'Arcy James. BroadwayWorld is obsessed with the hilarious video below, which features the talents of John Walton West in a GLEE PROJECT- like version of SMASH. The spoof features impressions of Norbert Leo Butz, Matthew Broderick, Terrence Mann, Mandy Patinkin, and BroadwayWorld'd own Richard Ridge! Click below to check it out! (more...)

Today we are honoring the first animated film to be nominated for Best Picture at the Academy Awards, which went on to win in the categories of Best Song and Best Score for Broadway’s own Alan Menken and Howard Ashman - Disney’s tale as old as time; the much-beloved and cherished BEAUTY & THE BEAST. Based on the French fairytale of its namesake, BEAUTY & THE BEAST was a landmark achievement in animated film and proved that Disney’s previous animation renaissance mega-hit THE LITTLE MERMAID - also penned by Alan Menken and Howard Ashman - was much more than merely a fluke. A new age of animated film treated totally seriously by critics and audiences alike allowed for Disney to continue on with even more success in the following years with even bigger family-friendly hits like ALADDIN and THE LION KING. Yet, BEAUTY & THE BEAST is the most elegant and enrapturing of all Disney animated films from the last century and just may be the very finest of all their animated features that came to pass during that era of renewed interest in the late-1980s and early-1990s. Featuring the vocal talents of legendary stage and screen star Angela Lansbury - check out our extensive InDepth InterView for a few recollections about that experience here - as well as Broadway’s own Paige O’Hara and TV/film notable Robby Benson - both of whom will be featured in extensive InDepth InterViews right here on BroadwayWorld next week. Beginning with a prologue and opening song sequence - “Belle” - to rank among the very best not only in film, but stage musicals, as well, BEAUTY & THE BEAST is a rich French country meal topped off by a dizzying array of aural, visual, emotional, comedic and dramatic treats. "Belle" is merely the starter bread - or, should I say, pain. So, today, we pay tribute to BEAUTY & THE BEAST as it roars back to movie theaters nationwide, now in a diligently-recreated and astonishingly imagined brand new 3D realization. Before you go see all the stunning sights and sounds of the film itself, whether sampling the 3D version in your home 3D studio or out at the Cineplex, here we have some of the finest musical moments to delight in from the storied history of the immensely successful Disney classic in all three of its versions - original animated film, Broadway stage musical and 3D movie experience. (more...)

Get a look back at the production, from Chicago to Broadway and beyond! (more...)

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! (more...)

On Monday, November 14, Sonnet Repertory Theatre hosted its Tenth Annual Benefit and Cabaret. The event brought together a diverse and talented group of performers and composers at Joe's Pub to honor award-winning director and teacher, Gerald Freedman. Celebrating Freedman's career, this evening featured some of Broadway's greatest talents and legends, including Brian d'Arcy James, Jennifer Ferrin, Penny Fuller, Hal Holbrook, Rebecca Naomi Jones, Jeremy Jordan, Kevin Kline, Patti LuPone, Terrence Mann, John Mauceri, Estelle Parsons, Austin Pendleton, Bryce Pinkham,Wesley Taylor, Alfred Uhry, Price Waldman, and Emily Young, and including special video tributes by Olympia Dukakis and Chita Rivera. BroadwayWorld was on hand for the concert and brings you full photo coverage below! (more...)

We'll have photo coverage up shortly, but couldn't resist bringing you a quick preview 'Freeze Frame' from Sonnet Repertory Theatre's Tenth Annual Benefit and Cabaret on Monday, November 14 of Patti LuPone and Kevin Kline. (more...)

Sonnet Repertory Theatre will present their Tenth Annual Benefit and Cabaret on Monday, November 14, bringing together a diverse and talented group of performers and composers at Joe's Pub to honor award-winning director and teacher, Gerald Freedman. (more...)