Pat Cerasaro - Page 190

On Thursday, three-time Tony Award-winning Broadway composer Richard Adler passed away at the ripe old age of 90. Responsible for two of the biggest Broadway smash hits of the 1950s, THE PAJAMA GAME and GAMN YANKEES, Adler never quite managed to equal his career-high double-hitter of that era, yet his earlier work with Tony Bennett ('Rags To Riches'), Doris Day ('Everybody Loves A Lover') and Marilyn Monroe (the iconic 'Happy Birthday, Mr. President') surely shall solidify his place in the firmament of entertainment history along with his two classic musicals from the Golden Age. Winning both Best Score and Best Musical for both THE PAJAMA GAME and DAMN YANKEES, Adler's partnership with lyricist Jerry Ross - which began on Broadway in 1953 with JOHN MURRAY ANDERSON'S ALMANAC - was tragically cut short just months after the DAMN YANKEES premiere when Ross was diagnosed with lung disease and passed away soon thereafter. Yet, thanks to the beloved film versions of THE PAJAMA GAME and DAMN YANKEES and continued interest in the entities as expressed in the revivals and reappraisals of both onstage from Broadway to Biloxi to Bombay year after year, the snappy, snazzy tunes of Adler and Ross live on eight times a week all around the world - even now, more than fifty years after they premiered. Unfortunately, Adler's subsequent shows with other collaborators post-1955 failed to capture the early magic of his previous projects with Ross and his earlier musical and theatrical endeavors in the pop arena, with the racially charged KWAMINA flopping on Broadway in 1961 (though he took home a Best Composer Tony Award for his efforts anyway) and the awkwardly titled MUSIC IS failing to recreate the magic of its source material, Shakespeare's TWELFTH NIGHT, in 1976. A MOTER'S KISSES, starring Bea Arthur and a young Bernadette Peters, died on the road, as well. In the intervening years, Adler attempted musical adaptations taken from a number of intriguing sources - OF HUMAN BONDAGE and others among them - though only his ballet scores seemed to reach an audience; particularly his last, commissioned for a new production of Lorca's THE HOUSE OF BERNARDA ALBA in 1998. Of course, THE PAJAMA GAME has had two Broadway revivals - most recently the rapturously received Kathleen Marshall-directed production starring Harry Connick, Jr. and Kelli O'Hara; and DAMN YANKEES famously returned to the Great White Way with much ado in 1994 starring Victor Garber. Now seems particularly ripe for remounting YANKEES, as we approach twenty years in its absence - especially given the musical's seriously smashing showing at Encores! in 2007. Who knows, perhaps some risky producer will even take a chance on a new production of KWAMINA, MUSIC IS, A MOTHER'S KISSES or one of the bottom drawer shows someday soon to see if they possess any of the limitless potential shown by Adler's earlier work. Or maybe a stage treatment of his TV musical GIFT OF THE MAGI (originally composed for then-wife Sally Ann Howes)? Or, better yet, how about a revue? What a stupendous songstack Adler created over the course of his career - 'Whatever Lola Wants' to 'Hey There' to 'Hernando's Hideaway' to 'You Gotta Have Heart' to 'Steam Heat' to the aforementioned Bennett, Day and Monroe standards and so many more chestnuts.

Today we are talking to an iconic Tony Award-winning star who made her name as a teenager singing on TV variety shows - THE LAWRENCE WELK SHOW and SING ALONG WITH MITCH included - and then went on to a multimedia career in film and theatre, conquering Broadway with her Tony-winning turn in the Jule Styne/Arthur Laurents musical HALLELUJAH, BABY! in 1967 and returning to the stage in the subsequent decades in a host of Broadway productions, such as BLUES IN THE NIGHT, JERRY'S GIRLS, ANYTHING GOES, August Wilson's KING HEDLEY II and her celebrated Muzzy in THOROUGHLY MODERN MILLIE - a role she reprises in the new Muny production of the Tony Award-winning Best Musical beginning this week - the one and only Leslie Uggams. Taking a thorough look back at her career thus far, Uggams opens up about her many successes and how she has endured for fifty years in show business and shares recollections of many of her most noted co-stars and collaborators, all the way up to the recent 2012 Encores! PIPE DREAM. Additionally, Uggams comments on her film and TV appearances over the years, speaking about her work in INHERIT THE WIND, TWO WEEKS IN ANOTHER TOWN, ROOTS and beyond. Plus, she shares her candid opinions on GLEE, SMASH, Broadway then versus now, future plans for her Lena Horne solo show and thoughts on other roles she would enjoy pursuing - and much, much more!

Today we are talking to a supremely gifted performer who can be seen eight times a week on Broadway in the currently running Des McAnuff revival of Andrew Lloyd Webber and Tim Rice's JESUS CHRIST SUPERSTAR, Jeremy Kushnier. Tracing his Broadway trajectory from his memorable debut in FOOTLOOSE back in the late 1990s to his impressive regional theatre and concert work - CHESS to The Dream Engine to BRIGHT LIGHTS, BIG CITY and beyond - to his success touring in AIDA, RENT and others, up to his most recent gig in JERSEY BOYS, Kushnier opens up about his diverse career thus far and what we can expect from him in the future, near and far. Plus, Kushnier analyzes the five roles he has essayed in the current production of SUPERSTAR so far, since he was first brought into the production as a standby and understudy, after all - Jesus, Judas, Pilate and two different priests - and shares his enthusiasm for the dazzling, Tony Award-nominated production - all of this as he prepares for his long-awaited upcoming solo spotlight concert at Birdland on June 18! Additionally, Kushnier shares plans and wishes for a forthcoming solo album, as well as offers his thoughts on GLEE, SMASH and much, much more!

Today we are talking to an actor who has appeared in over fifty feature films and starred in plays on Broadway and in the West End all about his career thus far, looking ahead to his new role as John Sculley in the forthcoming jOBS, co-starring Ashton Kutcher as Steve Jobs and Josh Gad as Steve Wozniak, directed by Joshua Michael Stewart - the one and only Matthew Modine. In this all-encompassing chat tracing the past to the present, Modine also manages to give us the scoop on his featured role in the final part of Christopher Nolan's BATMAN trilogy, THE DARK KNIGHT RISES, and shares his candid impressions of working with Anne Hathaway, Joseph Gordon-Levitt and the rest of the starry cast of the sure-to-be blockbuster of the summer. Additionally, Modine illustrates his experiences working with director Robert Altman on screen and stage projects as diverse as SHORT CUTS and STREAMERS on film, Arthur Miller's FINISHING THE PICTURE in Chicago and RESURRECTION BLUES at the Old Vic in the West End and Modine expresses his overall general enthusiasm for acting and reveals deeply probing insight into many of his most memorable and famous roles to date - ranging from roles in Stanley Kubrick's FULL METAL JACKET to Alan Parker's BIRDY to his work with Oliver Stone, Tony Richardson, Jonathan Demme, John Sayles, Mike Figgis, John Schlesinger and others. All of that, a thorough discussion of his recent roles in the theatrical productions of TO KILL A MOCKINGBIRD and THE MIRACLE WORKER, as well as recollections of working on many of his most beloved projects to date, such as AND THE BAND PLAYED ON, THE REAL BLONDE, ORPHANS, CUTTHROAT ISLAND, BYE BYE LOVE, THE HOTEL NEW HAMPSHIRE, WEEDS - and much, much more!

Today we are concluding our two-part look at the life and career of legendary stage and screen icon Christopher Plummer by focusing on some of the finest films, television and filmed stage performances of his career thus far, as we anticipate the nationwide release of his newest stage and screen venture, the cinematic presentation of his recent turn as Prospero at the Stratford Shakespeare Festival in Des McAnuff's THE TEMPEST, presented by Fathom-equipped movie theaters on June 13, followed by a Q&A with Plummer. From his stage debut in the late-1940s through to his spectacular screen career begun with Sidney Lumet's STAGE STRUCK in 1958, in this career-spanning clip collection we will be sampling many of the most memorable and most notable projects from a rich resume ranging from almost every major male role in the canon of Shakespeare - AS YOU LIKE IT to THE WINTER'S TALE - to the work of Lilian Hellman, Bertolt Brecht, Henrik Ibsen, Anton Chekhov and Peter Shaffer to Rodgers & Hammerstein's THE SOUND OF MUSIC on film to the Tony Award-winning Anthony Burgess musical adaptation of CYRANO onstage, to TV's THE THORN BIRDS and ON GOLDEN POND all the way to last year's double-header of brilliance in both David Fincher's THE GIRL WITH THE DRAGTON TATTOO and BEGINNERS, the latter being the part for which Plummer finally received a Best Actor Academy Award. Of course, besides his well-earned Oscar, Plummer has amassed many other top honors over the course of his sixty-year-career, as well - two Tony Awards (for CYRANO, a musical, and BARRYMORE, a two-person mostly monologue); a Golden Globe; two Emmy Awards; a SAG Award; a Genie; the list goes on and on… as does Christopher Plummer's reputable and riveting career.

Earlier today I had the extreme privilege of speaking to one of the biggest Broadway stars of the new millennium all about her new ABC Family original series BUNHEADS - two-time Tony Award-winning triple-threat dynamo Sutton Foster. Candidly recalling her professional beginnings, auditioning for the national tour of THE WILL ROGERS FOLLIES at only 17 for director/choreographer Jeff Calhoun - our recent 2012 Tony Awards special chat available here - and starring in GREASE on Broadway under his direction shortly thereafter, Foster also shares her post-Tony Awards night memories from ten years ago today, when she first won a trophy for her star-making turn in THOROUGHLY MODERN MILLIE. Clearly, Foster has remained busy since her Tony-winning Reno Sweeney in the hit revival of ANYTHING GOES last season, as well, with the fantastic new Amy Sherman-Palladino-penned BUNHEADS proving to be the ideal opportunity for her to bring her considerable stage chops to the small screen and show off her serious skills as a comedienne, dancer, singer and actress to a whole new audience in a major way. Of course, Broadway babies have known for over a decade that Sutton Foster is the rare star that comes along once a generation and BUNHEADS now gives her the national stage so that she may give the world everything she's got to give - and that's a whole lot. In addition to an analysis of the central character on BUNHEADS, Michelle, and a look ahead to what we can expect in the ensuing season that kicks off tonight at 9 PM on ABC Family with the enchanting and hilarious pilot episode, Sutton and I also shine a light on the many musical theatre associations in the BUNHEADS universe, current and future - such as the razzle dazzle Las Vegas opening number of the pilot, penned by songwriters Marc Shaiman and Scott Wittman, which was originally performed on Broadway in CATCH ME IF YOU CAN; BUNHEADS series regular and A CHORUS LINE original cast standout Kelly Bishop as Michelle's domineering ballet instructor mother-in-law; Michelle's determination to land a lead role in CHICAGO someday; and, we even discuss some possibilities for musical numbers and song sequences on BUNHEADS in the future ("At The Ballet", perhaps?). Plus, Sutton shares her thoughts on SMASH, expresses her interest in exploring a revival of THE UNSINKABLE MOLLY BROWN onstage soon and much, much more!

Overflowing with enthusiasm and energy, the true star of the 2012 Tony Awards was unquestionably three-time host and affable Broadway spokesman extraordinaire Neil Patrick Harris, doing what he does best - namely, being the host with the most. Whether web-slinging behind Angela Lansbury and Ted Chapin or leading a spectacular production number with Patti LuPone and a lawnmower, Harris proved yet again why is he is the best in the biz at this sort of thing - well, right up there along with Hugh Jackman, at least. Speaking of whom, in addition to a goosebump-inducing trailer for the forthcoming Tom Hooper-directed film adaptation of the Broadway sensation LES MISERABLES, Hugh Jackman was featured on the Tony Awards telecast and personally on hand to receive a well-earned special Tony Award for his many fundraising successes over the course of his three-show Broadway career, as was crossover superstar Bernadette Peters who took home a special Tony Award for her BC/EFA and Broadway Barks efforts. Adding to the star quotient of the night was Broadway/Hollywood super direct Mike Nichols, giving one of the classiest (despite the CBS-sanction bleep; on the same word as during Danny Burstein's FOLLIES turn, "godammit", incidentlly) and most profound acceptance speeches on the Tony Awards in recent memory - breaking the current record with, now, six Best Director statuettes, by the way. As far as musical performances go, in addition to Harris's triptych of showstoppers throughout the show - without even mentioning the many biting and sassy remarks, jokes and offhand commets; staged and otherwise - there were some seriously strong showings from almost all new musicals and revivals currently running, and even one or two terrific turns from productions already shuttered. The musical highlights of the night were Josh Young and the cast of JESUS CHRIST SUPERSTAR in a spirited and divine take on the title song from the celebrated Andrew Lloyd Webber/Tim Rice rock opera, as well as good showings from new musical head-to-head, nail-bite-worthy competitors, ONCE and NEWSIES, plus one or two other swoon-worthy moments, too. The 2011-2012 Broadway season may not have been a record-breaker insofar as outstanding content and memorable modern classics - while NEWSIES is certainly a smash, last year's THE BOOK OF MORMON is the type of hit we only see once a decade or so, and, therefore, is a bit eclipsed; and, ONCE won Best Musical, anyway - but Harris and the team of this year's show made it an unusually entertaining and unique Tony telecast, even when compared to the finest shows on the past - particularly those from the rightly lauded Cohen era. ONCE may have dominated the wins, but the many musical numbers showed that there is a lot of room for enjoyment whether or not your personal favorite show took home the prizes. Most of all, Neil Patrick Harris proved he was once, twice, three times a Tony triumph.

With only one day to go before the big day on CBS at 8 PM tomorrow, today we are shining a spotlight on a currently-running Broadway musical that has recently become the longest-running American musical in Broadway history - beating even the champ, A CHORUS LINE - John Kander, Fred Ebb and Bob Fosse's landmark 1920s vaudeville satire CHICAGO.

Today BroadwayWorld's 2012 Tony Awards Clip Countdown continues by highlighting one of the most innovative and unforgettable musicals ever composed - the Leonard Bernstein/Stephen Sondheim/Arthur Laurents/Jerome Robbins masterpiece WEST SIDE STORY.

Today we are shining a light on one of the most respected and revered stage and screen stars of the last several decades who is known the world over for not only his stirring and commanding dramatic performances and touching and rib-tickling comedies on film, but also for his iconic roles on the stage playing Shakespeare, and, perhaps most of all, for his essaying of Captain Von Trapp in the celebrated Robert Wise film adaptation of Rodgers & Hammerstein's Tony Award-winning THE SOUND OF MUSIC - the elegant, graceful and eminently gifted Christopher Plummer. Looking back at a career spanning nearly seven decades, today we will focus on Plummer's most important and most fondly remembered roles to date - ranging from Sidney Lumet's STAGE STRUCK in 1958 to his Shakespeare stage work, THE SOUND OF MUSIC, THE RETURN OF THE PINK PANTHER, TV's THE THORN BIRDS, and, of course, his Academy Award-winning turn in last year's BEGINNERS - with a look ahead to the exceptionally enticing new Fathom in-cinema presentation of Des McAnuff's Stratford Shakespeare Festival production of THE TEMPEST starring Plummer as Prospero, in movie theaters nationwide on June 14 - what the 83-year-old actor has promised will be his final Shakespeare performance onstage. So, if there were ever a time to take a look back at one of the most remarkable Broadway/Hollywood crossover stars of the last century or the current one as he reaches yet another peek in a career populated with many highs, now is certainly the time! After all, as the oldest Oscar-winner to date, a midsummer night's dream has evidently quite quickly turned to a winter's tale - but with sound and fury signifying much, as we will see.

Today we are talking to the noted director of one of the most successful stage-to-screen adaptations of the new century, HAIRSPRAY, about his brand new feature film adaptation of Broadway's currently running 80s stadium rock smash hit ROCK OF AGES - the eminently talented Adam Shankman. Discussing the starry cast of ROCK OF AGES - Tom Cruise, Catherine Zeta-Jones, Alec Baldwin, Russell Brand and Mary J. Blige included - as well as the expanded songstack of the reconceived film version - which now includes Joan Jett's 'I Love Rock N Roll' and Def Leppard's 'Pour Some Sugar On me', among others - Shankman imparts his infectious enthusiasm for the movie musical format and expresses his relishing of the exciting possibilities afforded by the heavy metal jukebox property. Additionally, Shankman reminisces on his experiences filming HAIRSPRAY and confirms his future re-teaming with HAIRSPRAY and HIGH SCHOOL MUSICAL superstar Zac Efron on an upcoming film comedy which begins shooting next month, titled THIS IS WHERE I LEAVE YOU, co-starring Jason Bateman and Goldie Hawn. Plus, memories of choreographing Paul Thomas Anderson's BOOGIE NIGHTS, directing two episodes of GLEE, working with Carrie Ann Inaba on ROCKULA more than twenty years ago (his film debut), anecdotes about SMASH - and much, much more!

Today we continue the 2012 Tony Awards Clip Countdown with a match-up of epic proportions that seemed to signify more than merely friendly competition for theatre's top honors being awarded that night - THE LION KING versus RAGTIME.

Today we are talking to the Tony Award-nominated Best Featured Actor In A Musical who has set Broadway ablaze with his much-talked-about portrayal of Judas in Des McAnuff's spectacular revival of Andrew Lloyd Webber and Tim Rice's seminal rock opera, JESUS CHRIST SUPERSTAR - the electric and charismatic Josh Young. Tracing his journey with the Biblically-themed musical from the hallowed grounds of the Stratford Shakespeare Festival in Canada - where he first made his mark on the theatre world with his acting of another iconic Lloyd Webber/Rice anti-hero, Che in EVITA; as well as THE GRAPES OF WRATH - all the way to La Jolla in California, and, now, to eight performances a week on the Great White Way, Young shares his overflowing enthusiasm for the theatrical form and details his life as a performer; a veritable dream come true for the self-proclaimed Broadway baby. In addition to all about his perspective on Judas and his thoughts on the daring and innovative SUPERSTAR, Young also describes working with Tony-winning director Des McAnuff and how his training at the Royal Shakespeare Festival has prepared him for the rigors of a Broadway hit. Plus, Young looks back on past performances and his favorite roles to date as well as shines a light on some of the parts he would consider taking on in the future, both near and far. Plus, Young reacts to his Tony Award nomination, fills us in on genesis of the many new lyrics for the heavenly SUPERSTAR revival, shares thoughts on GLEE, SMASH and much, much more!

As our yearly Tony Awards Clip Countdown continues on in 2012 as we quickly approach the night we have all been waiting for - the Tony Awards on June 10 - today we are paying tribute to a concept musical that changed the game and heralded the arrival of Stephen Sondheim and Hal Prince as the true theatrical titans of the 1970s (along with Michael Bennett in a choreography capacity) - COMPANY.

Today we are continuing the 2012 Tony Awards Clip Countdown with another pairing sure to instigate ample amounts of approbation and opprobrium - now, just as it did twenty-five years ago - the famous Tony Awards battle of THE PHANTOM OF THE OPERA versus INTO THE WOODS.

Today we are continuing our analysis of the best Tony Awards clips of all time with an entertainment behemoth that defied the odds - and defied critics and even gravity in the process - to become the biggest hit of the new millennium: the Oz-ian meta-musical by Winnie Holzman and Stephen Schwartz, WICKED.

Today we are talking to one of the entertainment industry's most celebrated Broadway/Hollywood crossover stars, who has gone from memorable cameo childhood roles on the big screen in hit properties such as NATIONAL LAMPOON'S VACATION and FATAL ATTRACTION to big Broadway success with her stints in STARLIGHT EXPRESS and GRAND HOTEL later that decade, to small screen success with ALLY MCBEAL in the 90s all the way to Tony-winning and Olivier-winning glory with the sensational revival of NINE in 2003 on Broadway, directed by David Leveaux, and GUYS & DOLLS in the West End, directed by Michael Grandage - as well as three Emmy nominations for her seven-year stint on NBC's richly awarded and highly celebrated Tina Fey comedy 30 ROCK - the precocious, alluring and arousing Jane Krawkowski. Sharing the details about her upcoming concert performance at Town Hall on June 8, Krakowski opens up about the many lauded composers and creators she has collaborated with over the years - Andrew Lloyd Webber, Stephen Sondheim, Marc Shaiman, Scott Wittman, Maury Yeston, Tommy Tune, Steven Spielberg and many more - and what we can expect from her brassy and bawdy solo show, in addition to shedding some light on her Broadway days; whether on roller skates in STARLIGHT EXPRESS and the workshop of XANADU or treading the boards in workshops and productions for master director Tommy Tune. Also, Krakowski clues us in on where her classic 30 ROCK character Jenna Maroney will end up in the final, seventh season of the show that begins shooting in August and reveals her affection for her 30 ROCK and DAMN YANKEES co-star Cheyenne Jackson and their experiences filming the recent live episode (and singing the theme song). Plus, potential future stage roles she would like to essay someday - KISS OF THR SPIDER WOMAN, perhaps? Or, maybe, a reprise of her Adelaide in GUYS & DOLLS? Dot in SUNDAY IN THE PARK WITH GEORGE, even? - as well as Milliken Breakfast Show memories from the 1970s and much, much more!

The final ten! Our extensive countdown of the greatest Tony Awards moments of all time - culminating in this year's ceremony, June 10 on CBS - continues today with a surefire must-see clip featuring one of the most glamorous, and, well, grand musicals of the 1980s or 1990s - GRAND HOTEL.

Today we are talking to a two-time Tony Award winning lyricist and book writer who was responsible for the 2010 Best Musical winner, MEMPHIS, and who has since written the libretto of the Gershwin revue NICE WORK IF YOU CAN GET and received a well-earned Tony nomination for his efforts; one of the show's ten nods - Joe DiPietro. In this concluding portion of our conversation, DiPietro and I break down the process of creating NICE WORK IF YOU CAN GET IT and he comments on the starry cast - including Matthew Broderick, Kelli O'Hara, Judy Kaye and Estelle Parsons - and the process of collaboration in bringing the 2012 Tony Awards top nominee to the Broadway stage. Additionally, DiPietro fills us in on the future for THE TOXIC AVENGER and its tentative Broadway plans, as well as the upcoming West End mountings of MEMPHIS and, hopefully, NICE WORK - and, a look ahead to his next David Bryan collaboration, CHASING THE SONG, as well. Plus, a glance back at his work on I LOVE YOU, YOU'RE PERFECT NOW CHANGE, F*CKING MEN and ALLEGRO and his favorite current pop acts.

Today we are talking to a two-time Tony Award winning lyricist and book writer who was responsible for the 2010 Best Musical winner, MEMPHIS, and who has since written the libretto of the Gershwin revue NICE WORK IF YOU CAN GET and received a well-earned Tony nomination for his efforts; one of the show's ten nods - Joe DiPietro. Discussing the finer points of his many musicals with a special focus on the two currently running on Broadway - MEMPHIS and NICE WORK - DiPietro eloquently elaborates on the process of creating both shows and the challenges new musicals these days face on their developmental road to Broadway. Additionally, we discuss Montego Glover, Chad Kimball, Matthew Broderick, Kelli O'Hara, Judy Kaye, Adam Pascal and the many other talented individuals onstage and off who have participated in the two hit productions treading the boards eight times a week. Besides the complete 411 on MEMPHIS in Part I and NICE WORK IF YOU CAN GET IT in Part II, DiPietro also opens up about his new musical endeavor with Bon Jovi and MEMPHIS composer David Bryan, THE TOXIC AVENGER, and its star, Constantine Maroulis - and don't miss my exclusive interview with Constantine all about the most recent Alley Theater iteration of the show, available here. Plus, DiPietro shares fond remembrances of shows past - I LOVE YOU, YOU'RE PERFECT, NOW CHANGE, F*CKING MEN and ALLEGRO - and future - CHASING THE DREAM - and expresses his infectious enthusiasm for the theatrical arts in general by revealing his early theatre memories, favorite scores and general love for the art form. All of that and much, much more! In Part I, DiPietro and I analyze MEMPHIS and take a step-by-step look at its creation and the development of the Tony Award-winning Best Musical. Additionally, DiPietro shares his theatrical influences and the shows and scores that meant the most to him growing up. Plus, he shares his thoughts on GLEE, SMASH and the new movie musical era.