Pat Cerasaro - Page 186

Today, BroadwayWorld is thrilled to host the world premiere of a spectacularly sensational showstopper from the forthcoming soundtrack recording for the show-within-the-show on NBC's hit musical dramedy series SMASH, which returns at 9 PM this Tuesday, February 5 - 'Cut, Print… Moving On,' which acts as the Act One Finale, no less. The BOMBSHELL soundtrack itself - featuring show stars Katharine McPhee, Megan Hilty, Debra Messing and Christian Borle, as well as guest stars Bernadette Peters, Will Chase and more - hits on February 12.

Last night's buck naked, buck wild episode of GLEE, 'Naked' - written and directed by series co-creators Ryan Murphy and Ian Brennan - acted as evidence that GLEE is about more than mere surface sheen, shine and brilliantine vacuity and it owes its continued success to the its three best features - or, make that assets - the music, the message and the cast. Dressed to the nines or in the all together, as last night's case may have been, taken all together, GLEE continues to hit the high notes, touch the heart and showcase top talent. 'Naked' was one more episode in a surprisingly strong and enjoyable Season Four, albeit a bit body-conscious. Plus, the grand returns of Santana (Naya Rivera), Quinn (Dianna Agron) and Miss Pillsbury (Jayma Mays).

Today we are talking to a phenomenally talented performer who has starred in a string of contemporary musicals, ranging from replacement gigs in the Broadway productions of Elton John & Tim Rice's AIDA and Stephen Schwartz's WICKED to creating lead roles in Jim Steinman's DANCE OF THE VAMPIRES and Lin-Manuel Miranda's IN THE HEIGHTS, in addition to her memorable contributions to the Laura Nyro revue, ELI'S COMIN', Off-Broadway - the one and only Mandy Gonzalez. Discussing her time spent in many of the aforementioned shows as well as her experiences inhabiting the wildly different characters within each, Gonzalez shares her infectious enthusiasm for performance and her appreciation for having participated in such landmark shows. Most importantly, Gonzalez shares stories from the heated rehearsal rooms backstage at the 24-Hour Musicals celebration and what participating in the event that would form the basis for ONE NIGHT STAND, a documentary film being released in select cities this Wednesday, January 30. Additionally, Gonzalez reflects on her new role as a mom, as well as roles she would enjoy pursuing in the future, onstage and off, as well as her own favorite shows and scores. All of that and much, much more!

Last night, GLEE made its big Winter return on FOX with Episode 11 of Season Four, titled 'Sadie Hawkins' and a virtually (and sonically) dizzyingly plot-packed and music-bedecked episode written by Ross Maxwell and directed by Bradley Buecker. New characters were introduced, romances were born and furthered and a lot of songs were sung - all in all, a GLEE just right for the midway point of the year.

With news coming late this week of a revised and reworked edition of the Cole Porter/Abe Burrows Golden Age musical CAN-CAN aiming for a reading in October and the possibility of a potential major production thereafter, now seems like a tres bien moment in time to glance back at the underappreciated charms of this alluring, Paris-set show. Plus, from Gwen Verdon, Patti LuPone, Eartha Kitt, Shirley MacLaine and Chita Rivera to Frank Sinatra, Dean Martin, Kelly Clarkson, MAD MEN's Christina Hendricks and many more, this clip collection has more than just an errant bright bulb or two to add to the already magnificent and romantic sights of the city of lights.

Today we are talking to the proud "Pope Of Trash" himself - the iconic writer/director of such seminal cinematic entries as cult classics PINK FLAMINGOS, FEMALE TROUBLE, DESPERATE LIVING, HAIRSPRAY, CRY BABY, SERIAL MOM, CECIL B. DEMENTED, A DIRTY SHAME and many more - the one and only John Waters. Packing a characteristically caustic conversation into a relatively brief time slot was no trouble for Waters, for he and I cover a wide range of topics, from his favorite 2012 films to his all-time favorite movie musicals and much more. Most importantly, Waters discusses his process in adapting the hit Tony Award-winning stage property HAIRSPRAY into concert form and what we can expect from his newly-penned narration and role as narrator in the live Baltimore Symphony Orchestra presentation of HAIRSPRAY: IN CONCERT on January 24. Additionally, Waters expounds on his experiences creating the original HAIRSPRAY film and how it compares to both its musical sister, as well as the hit 2007 feature film adaptation of it (in which he makes a cameo appearance as - what else? - "the flasher who lives next door"). Plus, Waters opens up about the plot and themes of HAIRSPRAY 2: WHITE LIPSTICK, a project he was commissioned to create a few years ago as a new film project but which is currently on hold indefinitely. All of that, filming the remarkable 2012 horror film EXCISION, memories of the recently deceased Patti Page and the unforgettable use of the Bob Merrill pop earworm "How Much Is That Doggie In The Window" at the grand finale of PINK FLAMINGOS, an update on his children's film project, FRUITCAKE, as well as details about his new book and what we can expect from Waters in 2013 insofar as personal speaking engagements go - and, how Justin Bieber is the new Shirley Temple. All of that and much, much more awaits!

Today, in honor of the release of the complete Season One of NBC's hit musical drama series SMASH on DVD, we are revisiting some of the most memorable and truly tremendous musical numbers from the show so far - all available on the four-disc box set, available now - as we anticipate the grand return of the show on February 5. A look at Season Two, too!

Today we are talking to a talented writer and journalist who has penned the definitive book on the hottest UK crossover TV series of the new millennium, the early 20th century-set family period drama DOWNTON ABBEY, with her estimable new tome now available, THE CHRONICLES OF DOWNTON ABBEY: A NEW ERA - Jessica Fellowes. Discussing many of the most alluring aspects of the hit Brit series, especially insofar as an international audience is concerned, as well as adding even more historical, political and social insight into the proceedings on the show over the course of its run so far, Fellowes and I assess many of the most arresting aspects of the three seasons of the series as well as the comprehensive behind-the-scenes look that she provides (along with Matthew Sturgis) in THE CHRONICLES OF DOWNTON ABBEY: A NEW ERA. All of that, discussion of the third season of the series which premieres in the US on PBS January 6, first news on Jessica's uncle Julian's new historical series for NBC, THE GUILDED AGE and much, much more!

Just in time for the Season Three premiere of DOWNTON ABBEY on PBS stations across the US starting this Sunday, BroadwayWorld is pleased to present two exclusive images from the spectacular fact-filled THE CHRONICLES OF DOWNTON ABBEY by Jessica Fellowes, niece of creator Julian Fellowes.

2012 marked the passing of a number of notable entertainment icons whose influence will be felt for centuries to come, yet unquestionably one of the most pertinent people to pass on insofar as Broadway babies were concerned given his considerable contributions to musical theatre (and far, far beyond) was the one and only EGOT-plus recipient himself - that is: Emmy, Grammy, Oscar, Tony-winner; plus a spare Pulitzer Prize, in his case, as a matter of fact - legendary composer/conductor/arranger Marvin Hamlisch. And, last night, byway of PBS and Live From Lincoln Center, audiences across the country were treated to a live gala event celebrating his tremendous Broadway and Hollywood legacy - ONE SINGULAR SENSATION: CELEBRATING MARVIN HAMLISCH. Highlights of the star-studded night included SMASH Brian D'arcy James on a song he debuted in Hamlisch's short-running SWEET SMELL OF SUCCESS, Michael Feinstein with an emotional take on Hamlisch's self-professed favorite self-penned song, Raul Esparza and Kelli O'Hara on two obscure SWEET SMELL gems and Maria Friedman with a song from Hamlisch's forthcoming musical THE NUTTY PROFESSOR, with book and lyrics by Rupert Holmes, based on the comedic cinema classic by Jerry Lewis, with the moment of the night owing to O'Hara and McDonald joining SMASH lead Megan Hilty on a spine-tingling iteration of the stunning A CHORUS LINE trio "At The Ballet". Through the ears of Marvin, last night we were reminded that nobody did it quite like he did while remembering the way we were - and what we won't forget - while being entertained by some of the best songs of the last century offered by New York's finest performers, musicians and creative talents.

Today, in anticipation of the DVD release of NBC's hit musical drama series SMASH on January 8, BroadwayWorld is pleased to present this exclusive clip from the extensive behind-the-scenes features available on the complete Season One DVD box set! 2012 Tony Award winner for Best Featured Actor In A Musical, Christian Borle, along with SMASH executive producer and lauded theatrical producer Craig Zadan, expound upon some specifics of the hit series in this exclusive look at the bonus content present on the forthcoming DVD set. Enjoy!

Christmas Day 2012 marks the biggest and best day of the year for many Broadway babies around the world, but the anticipatory fervor has little to do with the man with the beard in red and white from the North Pole - you see, the guy in question in this equation is more apt to be seen in red and black and his origins are decidedly a bit more Gallic than Jolly Old St. Nick. The man whom I speak of is, of course, Jean Valjean, the protagonist of Victor Hugo's spellbinding 1862 historical epic LES MISERABLES, a novel which was subsequently adapted into a 1980 concert spectacular and ultimately a 1985 full-fledged stage musical, painstakingly developed through the shepherding of uber producer Cameron Mackintosh, alongside the talents responsible for breathing song into the story - original French composer/lyricist team Claude-Michel Schonberg and Alain Boublil (along with Jean-Marc Natel), to whom Mackintosh added English lyricist Herbert Kretzmer (and also contributor James Fenton). Through a special partnership with the Royal Shakespeare Company, LES MISERABLES: THE MUSICAL premiered at the Barbican Theatre in the West End soon thereafter under the direction of Trevor Nunn and John Caird and opened to largely negative reviews, albeit ecstatic, ebullient audiences. Broadway was next, where it went on to win Tony Awards for Best Musical, Best Actor, Best Featured Actress & Actor and even more (eight total). LES MISERABLES onstage was a hit like few others from then on and the rest, ze say, is history - or, in this case, l'histoire. Yet, on Christmas Day, the next step in the evolution of the worldwide phenomenon commonly and colloquially known as LES MIZ will occur - just days after the Mayan-predicted end of days, no less - and the movie musical adaptation of the stage show will finally become a reality, featuring an all-star cast comprised of Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Samantha Barks, Aaron Tveit, Sacha Baron Cohen and Helena Bonham Carter, among others. The time has come to hear the people sing onscreen at long, long last. But, first, how is the film?

While many MIZ-heads may have assumed the film adaptation of their beloved musical would never actually come to fruition, here it really is, all too soon available for all to see - lo, more than twenty years after it was first announced byway of an official promo ad in a tour souvenir going as far back as the late-1980s. I was lucky enough to catch an advance screening during the dawning days of December and many small moments, full musical sequences and my first impressions themselves have filled me with a certain kind of inexpressible enrapturing ecstasy heretofore inexperienced, coming as a direct result, no doubt, of the sheer force of power the film exacts in its relentless, barreling, blazingly bravado-bedecked style - a style, I can firmly say, is completely unique in movie history. LES MISERABLES is a lot of things, but, first and foremost, it is that which it is unlike that makes it most remarkable of all; that is: it is unlike any movie musical ever made. And, it is a masterpiece.

Today we are talking to a tremendously talented triple-threat star all about her many recent and upcoming endeavors, including the forthcoming feature films ADDICTED, 1982 and THE LAST LETTER, as well as the pilot for a new TV series, GUILTY, and, of course, her debut solo album project - the magnetic and beautiful Sharon Leal. In addition to discussing many aspects of her films to date and her starry assortment of co-stars and collaborators on them - Jennifer Hudson, Bill Condon, Bernie Mac, Samuel L. Jackson, Pam Grier, Chris Brown, McG and Cuba Gooding, Jr. included - Leal and I also discuss her theatrically-attuned work thus far in her career, having appeared on Broadway in RENT, as well as in starring in BRIGHT LIGHTS, BIG CITY, regional work and in a prominent featured role as part of the big screen film adaptation of DREAMGIRLS. Plus, Leal recounts her fruitful artistic and romantic relationship with recent fellow InDepth InterView participant, choreographer/director Paul Becker, and also outlines her plans for the future, near and far, as she anticipates continuing work on her solo album project and promoting her many current projects while taking a temporary holiday break - all of that and much, much more awaits!

Today we are featuring the second of two world exclusive song premieres from the brand new holiday music collection A VERY BROADWAY CHRISTMAS with GLEE star and Broadway notable Matthew Morrison lending his golden vocal tone and emotive delivery to the original John Glaudini/David Green song "Thankful". 'Tis the season, after all!

Today we are kicking off the first of two world exclusive song premieres from the brand new holiday music collection A VERY BROADWAY CHRISTMAS with original BEAUTY & THE BEAST star Susan Egan's hilarious and endearing take on a particularly theatrical holiday tune coming from the pens of RAGTIME composer/lyricist combination of Lynn Ahrens and Stephen Flaherty, "Christmas Cliches".

Today we are talking to a versatile performer first known to the world at large through her iconic early-career movie theme recordings - singing the Oscar-winning 'The Morning After' from THE POSEIDON ADVENTURE, as well as the classic themes from THE TOWERING INFERNO, SUPERMAN and musical material and a memorable musical moment in AIRPLANE!; in addition to her many full-length studio albums later in life - who then emerged as a compelling theatrical performer with a string of roles on Broadway, Off Broadway and in regional theater - a replacement star of NINE, as well as THE PIRATES OF PENZANCE, as well as original cast member of 1989's THE 3 PENNY OPERA, 1984's premire production of BROWNSTONE, and, most recently, a Broadway featured cast member in LITTLE WOMEN - the radiant and vocally resplendent Maureen McGovern. Looking back on her remarkable career and taking us on the journey from Hollywood to Broadway and beyond, McGovern reflects on some famous co-stars and her side of the riveting productions she participated in both onstage and onscreen, as well as opens up about some of her favorite recordings and composers to date insofar as her recording career is concerned, to say nothing of her proud position as the so-deemed self-confessed 'Disaster Theme Queen'. We also outline her cabaret work over the years, in anticipation of McGovern's week of shows at 54 Below, titled HOME FOR THE HOLIDAYS, beginning December 18 and running through December 23, where she will be sharing some of her favorite seasonal songs, new and old, as well as reviving some of her show-stopping standards and iconic movie themes and perhaps a surprise or two, too. Additionally, we touch upon her bio-musical, CARRY IT ON, her new women writer retrospective concert show and much, much more!

Liberally utilizing tried and true heartstring-tugging tropes masterfully displayed in holiday entities as diverse as LOVE, ACTUALLY, IT'S A WONDERFUL LIFE, A CHRISTMAS CAROL, HOLIDAY INN and even showing some Chanukah action sure to set virtually anybody's menorah fully alight thanks to the Puckerman brothers, GLEE's Christmas episode - this year, aptly titled 'Love, Actually' and written by Matthew Hodgson and directed by HAIRSPRAY and ROCK OF AGES movie musical helmer and a recent participant in this very column, Adam Shankman (available here) - was all in all a quite quintessential quintet of seasonal joy, cheer, and, well, glee, broaching the quoin of many and any a viewer's heart valves in so pleasingly enacting its ample entertainment value over the course of the episode's five featured segments within the winning framework. While the split-location structure of the series as dictated by the new style of GLEE 4.0 is assuredly more pronounced than would be the case had the proposed NYC-set spin-off gotten the greenlight by FOX, the cast and creators are making it all work and it is more seamless as it goes on - and the addictive, giddy, all-consuming glee of it all that drew us all in in the first season is still there to relish by Santa's sleigh-ful.

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!

As a companion column to this weekend's extensive, exclusive InDepth InterView with Broadway and Hollywood star Patrick Wilson, today, let's take a look at twenty takes (or so) of this versatile and multi-talented stage and screen star in a vast array of impressive roles - everything from showing off his vocal chops with a live duet of an Andrew Lloyd Webber anthem from THE PHANTOM OF THE OPERA with SHAMELESS star Emmy Rossum to showing it all with a fully-bared FULL MONTY performance to trailers for some of his most impressive film performances (ANGELS IN AMERICA, LITTLE CHILDREN, HARD CANDY, WATCHMEN and INSIDIOUS among them) to his most recent work in PROMETHEUS, YOUNG ADULT and the forthcoming THE CONJURING. Plus, a charming GAP ad with Claire Danes, a hilarious College Humor Clip, the National Anthem and much, much more!