Yangtze Repertory Theatre's 20th anniversary production is 'The Empress Dowager,' a three-act epic examining 40 years of the reign of the Manchu empress who ruled China from behind the throne. It recounts the perilous journey of an ancient kingdom seeking a place in the modern world. The play is written and directed by Joanna Chan, Artistic Director, and will be performed by a cast of 25 in Mandarin Chinese with English subtitles. Theater for the New City, 155 First Ave., will present the piece tonight, May 31 to June 23.
From May 28 to June 7, 2014, the New York Philharmonic will present the inaugural NY PHIL BIENNIAL, a kaleidoscopic exploration of today's music by a wide range of contemporary and modern composers that will showcase an array of curatorial voices through concerts presented with partners in venues both on and off the Lincoln Center campus.
Director/choreographer Amy McCleary puts on a lavish production of one of the world's most popular musicals
Yangtze Repertory Theatre's 20th anniversary production is 'The Empress Dowager,' a three-act epic examining 40 years of the reign of the Manchu empress who ruled China from behind the throne. It recounts the perilous journey of an ancient kingdom seeking a place in the modern world. The play is written and directed by Joanna Chan, Artistic Director, and will be performed by a cast of 25 in Mandarin Chinese with English subtitles. Theater for the New City, 155 First Ave., will present the piece May 31 to June 23.
The Public Theater announced another two week extension today for the world premiere musical HERE LIES LOVE, with concept and lyrics by David Byrne, music by David Byrne and Fatboy Slim, additional music by Tom Gandey and J Pardo, and choreography by Annie-B Parson. Directed by Alex Timbers, HERE LIES LOVE began performances on Tuesday, April 2 and has been extended twice due to high demand. The new 360 degree musical will now run through Sunday, June 2 in The Public's LuEsther Theater, with an official press opening on Tuesday, April 23.
The theatre programme for the Manchester International Festival 2013 has been announced. MIF13 commissions include: The Machine, The Old Woman, Macbeth, The Masque of Anarchy and The Rite of Spring.
The Rubin Museum will explore illusion and human perception in this year's edition of the popular Brainwave series of on-stage conversations between mind scientists and thinkers from diverse walks of life. Opening today, February 6, the series will include 20 on-stage conversations, 50 film screenings, and an interactive experience in which the museum will become a Memory Palace. While illusion is usually associated with vision, the series will engage audiences through all five senses to provide a comprehensive understanding of the subject.
The Rubin Museum will explore illusion and human perception in this year's edition of the popular Brainwave series of on-stage conversations between mind scientists and thinkers from diverse walks of life. Opening on February 6, the series will include 20 on-stage conversations, 50 film screenings, and an interactive experience in which the museum will become a Memory Palace. While illusion is usually associated with vision, the series will engage audiences through all five senses to provide a comprehensive understanding of the subject.
Happy New Year, all! To kick off this brand new year, BroadwayWorld looks ahead at all the upcoming productions slated to take the Broadway stage in 2013!
Today we are talking to a Tony Award-winning Broadway and Hollywood notable all about his terrifically theatrical background - having appeared in musicals ranging from his debut in the ill-fated MERRILY WE ROLL ALONG to his Tony Award-winning work in JEROME ROBBINS' BROADWAY to most recent role as the artistic director of LA's lauded Reprise! Theatre Company - the one and only Jason Alexander. Expounding upon his big Broadway break in Stephen Sondheim & Harold Prince's MERRILY and what it was like to witness the two titans as they developed the piece, Alexander shares his insights into the art of Broadway and also casts a glance back at his roles in Kander & Ebb's THE RINK, Mel Brooks's THE PRODUCERS and directing Sondheim‘s musicals himself (such as SUNDAY IN THE PARK WITH GEORGE with frequent InDepth InterView participant Kelli O‘Hara). Alexander also opens up about some of his most celebrated dramatic and comedic work to date - to say nothing of the iconic TV dynasty of SEINFELD, we also touch upon the TV movie musicals adaptation of A CHRISTMAS CAROL (with a score by Alan Menken & Lynn Ahrens), co-starring Kelsey Grammer, and Rodgers & Hammerstein's CINDERELLA, (with fellow InDepth InterView participant Bernadette Peters), as well as his recent appearance on HARRY'S LAW and more. Plus, Alexander outlines his featured role in the forthcoming Christopher Ashley feature film adaptation of the Ahrens & Flaherty musical comedy LUCKY STIFF, the future for a revival of the Richard Rodgers/Martin Charnin Bible-based Moses musical TWO BY TWO (co-starring SMASH's Megan Hilty once again, perhaps?) - and much, much more!
MERRILY WE ROLL ALONG began performances 16 November 2012 - 23 February 2013.
Stephen Sondheim and George Furth, with triple Olivier award winner Maria Friedman are making her professional directorial debut at the Chocolate Factory.
Last week I had the distinct pleasure of speaking to Tony Award-winning SPRING AWAKENING songwriter Duncan Sheik all about his staggering spate of upcoming stage projects - the musical stage adaptation of the controversial Bret Easton Ellis bestseller AMERICAN PSYCHO, as well as his Steven Sater collaborations on THE NIGHTENGALE, WHISPER HOUSE, MR. CHESS and ALICE included - in addition to all about his upcoming concert appearance on November 23 at the Gramercy Theatre. Additionally, the Grammy-nominated singer-songwriter also expounded upon his career thus far and we took a look back at some of his favorite scores and composers, as well as the individuals to have the most impact on him and how that has played out in both his theatre and recording career. Plus, Sheik shares exciting exclusive news on the development of the forthcoming film adaptation of SPRING AWAKENING, directed by McG, to potentially begin filming next summer if all goes as planned, as well as opens up with his feelings on GLEE's recent homage to his hit 90s single "Barely Breathing" and his original SPRING AWAKENING leads Lea Michele and Jonathan Groff, as well as news about his upcoming solo album and the many, many stage projects he currently has in development. All of that and much, much more!
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.
Sundance Institute previously announced the participants for its annual Creative Producing Labs and Creative Producing Summit, both held in the same week at the Sundance Resort in Sundance, Utah.
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.
Exhibitions and programs to be coming to the Jewish Museum.
A Chorus Line, the powerful and emotion-filled musical about the trials and tribulations of forging a life in the theater, will play in Pittsburgh tonight, June 15 through June 24 at the Benedum Center. Directed and choreographed by original A Chorus Line cast member Baayork Lee, this bona fide Broadway hit features an incredible ensemble cast composed of exciting Broadway stars and Pittsburgh CLO veterans.
A Chorus Line, the powerful and emotion-filled musical about the trials and tribulations of forging a life in the theater, will play in Pittsburgh June 15-24 at the Benedum Center. Directed and choreographed by original A Chorus Line cast member Baayork Lee, this bona fide Broadway hit features an incredible ensemble cast composed of exciting Broadway stars and Pittsburgh CLO veterans.
From June 29 to October 3, 2012, the Guggenheim Museum will present Rineke Dijkstra: A Retrospective, an extensive midcareer survey and the first major exhibition of the artist's work organized by a North American institution. It is the most comprehensive museum exhibition of the artist's oeuvre to date.
Norma Desmond sings about them "out there in the dark" in Sunset Boulevard, Lauren Bacall dealt with a particularly sinister and deranged one in her 1981 film The Fan, and virtually everyone you know who had taken to the stage in a show anywhere around the world can regale you with stories about their wild and woolly antics. "They," of course, are the fans, the audiences, the people for whom theater is presented every night.
Cincinnati Shakespeare Company today announced "The Complete Works of William Shakespeare (Abridged)" by Adam Long, Daniel Singer and Jess Winfield, the madcap comedy that condenses all thirty-eight of Shakespeare's plays into just ninety-seven minutes. Featuring Billy Chace, Travis McElroy and Nick Rose, "The Complete Works of William Shakespeare (Abridged)" opens June 8, 2011 and runs through June 30, 2012.
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.
The Finborough Theatre's 'Celebrating British Music Theatre' series follows Perchance to Dream with Ivor Novello's last musical.
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