Pat Cerasaro - Page 194

Today we are continuing BroadwayWorld's extensive coverage of NBC's hit musical drama series SMASH with a new entry in our ever-expanding collection of interviews with the cast, creative team and guest stars of the Broadway-based show - don't forget to check out the previous InDepth InterView with songwriters Marc Shaiman and Scott Wittman, as well (available here) - by talking to the leading lady of the show-within-the-show on SMASH itself all about her role on the series; the blonde bombshell of BOMBSHELL, Megan Hilty. In this candid conversation, Hilty and I discuss portraying a musical Marilyn Monroe and the volatile Broadway star playing her, Ivy Lynn, as well as her own personal experiences working on SMASH as we look ahead to the upcoming episodes which will feature the biggest musical sequence on the series so far and will also include guest appearances by Norbert Leo Butz, Marc Kudisch, Uma Thurman and more as BOMBSHELL heads towards its long-awaited big Boston tryout for the season finale. Additionally, Hilty and I take a look back at her prior musical theatre appearances, winning hearts the country over in her starring roles in WICKED and 9-TO-5 on Broadway, in LA and on tour - both under the direction of master director Joe Mantello - and, also, take a look ahead to the forthcoming Encores! GENTLEMEN PREFER BLONDES, which she will be headlining later this Spring. Plus, Hilty shares her experiences working with this week's SMASH guest star and Tony-winning legend Bernadette Peters and reflects on her forthcoming Disney animated film in the TINKER BELL series that features another dynamic diva, her SMASH co-star and fellow participant in this column, Oscar-winner Anjelica Huston (our interview coming up next week) - as well as touching on DOROTHY OF OZ (co-starring Lea Michele), her new animated TV project for Nickelodeon - ROBOTS & MONSTERS - and first news of a solo album coming soon. All of that and much, much more!

When a big Broadway star like Bernadette Peters makes her way onto a national TV program, Broadway babies await it with abated breath. Yet, when a big Broadway star like Bernadette Peters appears on an actual musical TV series like SMASH, Broadway babies have reason to throw an all-out bacchanal - and, last night, they most certainly had a reason cause celebre. While GLEE has spoiled us with a plethora of guest stars from Broadway and Hollywood over the course of its three seasons - Kristin Chenoweth, Idina Menzel, Carol Burnett and Patti LuPone among them - the presence of two-time Tony Award-winner Peters - to say nothing of the forthcoming appearances by Norbert Leo Butz and Marc Kudisch - is a gift from the theatrical gods that instantly makes SMASH must-see-TV for the theatrically attuned among us (which, let's be honest, is most of us). Playing Ivy Lynn's blithely selfish and calculating former star of a mother, Leigh, Peters wrought every last ounce of bravado out of her bravura performance recreation of "Everything's Coming Up Roses" from GYPSY - a show she famously starred in under the direction of Sam Mendes earlier this century - and made her thorny scenes with Megan Hilty blossom; her overall star turn giving the entire affair a cold, brusque but all-too-believable bloom - ice in veins all too tangibly real to feel. The tension was certainly thick for the first workshop performance of the show-within-the-show on SMASH, as well, but Hilty still managed to set fire to her scenes and songs - and McPhee shows considerable promise with her burgeoning pop music career (and next week's Ryan Tedder-composed "Touch Me" sequence seems certain to deliver on the sultry, sexy siren of song front as McPhee comes closer to getting the role of Marilyn). And, speaking of songs knocked out of the park for the umpteenth time by this all-star musical team responsible for SMASH, besides the slowed down grand slam ballad version of "Let Me Be Your Star" - given a bluesy Broadway belt only the very best, like Hilty, could possibly provide - we were also treated to a striking and wholly stylistically unique new Marilyn Monroe/Joe DiMaggio song in the form of the arresting "On Lexington & 52nd Street", another homerun to tick off on the perfect scorecard for songwriters Marc Shaiman and Scott Wittman on SMASH so far; Will Chase's best (and, apparently, last) showcase. Film noir with a pulsating, almost atonal, steely and terse tinge, this is the sort of character number that seamlessly presents plot development and character exposition simultaneously in a purely, thrillingly theatrical manner and the type of dramatic and musical merging of storytelling SMASH excels at most of all, time after time after time after time. While "Everything's Coming Up Roses" was a strong cover of a classic Broadway barn-burner on account of Peters, "On Lexington & 52nd Street" expertly showcased the type of entertainment entity SMASH can ultimately be at its very best, firing on all axels - and how utterly enthralling in its layers of meta-narratives the real-life/showbiz soap saga that make it all come together it can fascinatingly be. Additionally, the workshop musical montage was the best example yet of how excitingly combustible and hot SMASH can really be when the boiler at its core is at full blast as it was sporadically last night in the appropriately titled "The Workshop" episode - almost always fueled by the simply spectacular songs for the show-within-the-show.

Today we are talking to an iconic performer known for his decades on stages and screens around the world, from his variety show roots with sister Marie and their eponymous 70s television staple to his solo pop career in the 1980s and roles in Broadway and Hollywood and beyond since then - the one and only Donny Osmond. Osmond and I recount many of his marvelous show business memories in this all-inclusive chat, putting a particular emphasis on his theatre roles - most of all, his work in the film version of Andrew Lloyd Webber's JOSEPH & THE AMAZING TECHNICOLOR DREAMCOAT, filmed in 1999 and presented next week in a super-special Sing-A-Long showing with an exclusive live Q&A hosted by Osmond in Fathom-equipped movie theaters nationwide on March 26. In addition to all about the filming of the spectacular movie musical version of JOSEPH helmed by Steven Pimlott and co-starring Maria Friedman, Osmond and I discuss his experiences playing the title role in the show for six years throughout the 1990s and how he looks back on his experiences in the Biblically-themed pop/rock operetta. Plus, Osmond shares insights into the work of Andrew Lloyd Webber, as well as shares stories of working with legends such as Gene Kelly, Richard Attenborough, Joan Collins and touches upon his appearances in MULAN onscreen, BEAUTY & THE BEAST onstage, DANCING WITH THE STARS on TV - and much, much more!

Since NBC's musical drama series SMASH is kicking into high gear as the Marilyn Monroe musical that forms the core of the show's story approaches its first workshop presentation on Monday night's episode - with the highly awaited appearance of Broadway legend Bernadette Peters coming next week, as well; playing the mother of the Marilyn musical star, Ivy Lynn (Megan Hilty) - now is the ideal opportunity to, well, "Fade in on a girl / With a hunger for fame / And a face and a name to remember," to quote Marc Shaiman and Scott Wittman's crown jewel in a diadem of a songstack for the show-within-the-show, BOMBSHELL. The show-within-the-show is better that most scores on Broadway these days and that is a credit to the Tony-winning tunesmiths and their ability to make musical theatre that is polished and professional, yet totally fun, bawdy and accessible, as well. Look no further than this week's "History Is Made At Night" or last week's "Let's Be Bad" - to say nothing of the pilot's twofer of titanic theatrical prowess in the form of "The National Pastime" and the afore-quoted "Let Me Be Your Star". Plus, we have to remember, SMASH has not one Marilyn, but two, so the future possibilities of who will be singing these songs and how they will be presented is totally unknown. As we shall see in the clips below, "Let Me Be Your Star" will now have its third iteration on the show, acting as the opening number in the workshop presentation as Ivy Lynn belts it to the rafters, ballad-style - not unlike the Karen/Ivy stage sequence presented in Episode 2 as a dream. Using just the example of "Star", we can see how rich and rewarding it is to further explore the depths of drama and heights of wit amply apparent in the sometimes caustic, sometimes campy and always enjoyably, embraceable unique work of Shaiman & Wittman on their songs for SMASH. The story setting them up, drama surrounding and contained within them - with the meta-narrative of the behind-the-scenes going on we are privy to acting as another layer - makes the production numbers the most brightly glittering stars of the SMASH universe. Katharine McPhee's "Somewhere Over The Rainbow", "Call Me" and "Rumor Has It", as well as Hilty's "Crazy Dreams", were all viable and entertaining covers in their own right, yet the original songs are what make SMASH really sing - and zing, sting and ring-a-ding-ding.

Yesterday, I had the exceptional privilege of talking to Oscar-winning stage and screen star Anjelica Huston and Broadway sensation Megan Hilty all about the new NBC musical series SMASH and their roles in it, and, while both their complete Spotlight On SMASH InDepth InterViews will be coming in full next week, we have some breaking news to share with you now that is certain to excite the many SMASH fans here on BroadwayWorld and beyond!

Today we are talking to a queen of the concert stage famous for her decades touring the country who has also made a mark on the recording industry with her countless remarkable albums and who will be returning to New York with an intimate show dedicated to her favorite leading ladies of song, titled SONGBIRDS - the one and only Linda Eder.

As we near the halfway point for Season One, it is evident now more than ever that SMASH has established a pretty clear-cut style, structure and overall dramatic direction - each week we can depend upon most if not all of the following in one form or another: a fabulous Marilyn Monroe-themed musical production number; a soul-baring rehearsal scene or three; a pop cover or two (both a classic and a current one, if possible); some Derek (Jack Davenport) and Ivy (Megan Hilty) diva drama and hand-wringing; cattiness, backstabbing and shade thrown in the direction of, and almost always directly affecting, sweet-as-pie Karen (Katharine McPhee), an all-too sympathetic character who just can't seem to catch a break (bar mitzvah tween audiences excluded); a peek into the lives of the Marilyn musical songwriters, Julia (Debra Messing) and Tom (Christian Borle), currently developing the show-within-the-show before our very eyes and ears; Julia and Tom's subsequent respective romantic relationships and entanglements (showmances and otherwise; though it seems there are many more of the former than the latter with these two); and, of course, Anjelica Huston being both poignant in one way or another in her delicate portrayal of Eileen and also just plain divine as only she can be, kicking ass and taking names as the lead producer of the show-within-the-show. All in all, the show-within-the-show based on Marilyn Monroe acts as the real machine running SMASH and keeping it all connected. And, that about sums it up. Shake, stir and serve - there you have SMASH in a sentence or two. Better still, this formula really works - and also really works wonders, from time to time, too. Each week dishes up its fair share of surprises, as well. I mean, who could foresee that scintillating scene with Julia and Joe DiMaggio (Will Chase) post-rehearsal paralleling the Marilyn/DiMaggio duet just rehearsed? Or, furthermore, Karen positively killing Florence & The Machine at a bar mitzvah like she most certainly did? Best of all, Marc Shaiman and Scott Wittman provided another tantalizing and terrific new Marilyn song with a fiercely fresh style and sound in the spectacular form of the romantically rapturous, late-50s doo-wop-hued duet "History Is Made At Night", given a particularly playfully seductive performance by Chase and Hilty as the undeniably perfect Monroe and Joe DiMaggio (though Chase's character does not seem like he will be sticking around much longer). Plus, how badass was Eileen (Anjelica Huston) at the very end of the episode and how all around awesome was her delivery of the final line? Shoot to score, indeed - and, on 'Chemistry', there was more focus on the scoring, both in the musical and sexual senses, than on anything else. Above all, last night's SMASH showed that one aspect of show business shall always remain a viable, hot-cross-bun-level-hot commodity: sex.

Recently, noted DREAMGIRLS composer Henry Krieger was generous enough to take a comprehensive look back at his many accomplishments onstage and onscreen with me, turning back the pages of time and sharing memories of DREAMGIRLS, both on Broadway and in Hollywood, THE TAP DANCE KID, SIDE SHOW, KEPT, ROMANTIC POETRY and beyond, as well as discuss many aspects of his exciting new family-friendly musical opening next week at the New Victory Theater, LUCKY DUCK. Over the course of our compelling conversation, Krieger also revealed new details about the forthcoming 2014 production of SIDE SHOW, to be directed by DREAMGIRLS film director and TWILIGHT: BREAKING DAWN helmer Bill Condon - to premiere first at the La Jolla Playhouse and then at the Kennedy Center, as it makes its way towards Broadway - as well as first news on a musical collaboration with lyricist David Yazbek based on the life of television evangelist Tammy Faye Bakker set to star Tony and Emmy-winning Broadway and GLEE standout Kristin Chenoweth. DREAMGIRLS to LUCKY DUCK and much, much more awaits!

It is a rare enough occurrence for a genuine born and bred Broadway star to emerge post-millennium, but one as astonishingly versatile as Raul Esparza, having scored accolades since his blazing debut in a string of hit plays and musicals, ranging from Mamet and Sondheim and Pinter to CHITTY CHITTY BANG BANG and his aforementioned Broadway bow in THE ROCKY HORROR SHOW, is a downright cause for celebration. Esparza makes his grand return to the Broadway stage in a musical with his upcoming starring role in Alan Menken & Glenn Slater's adaptation of the Steve Martin film LEAP OF FAITH, featuring a country and gospel influenced score and a spirited, energetic production by Christopher Ashley (who, incidentally, helmed Esparza's first Broadway show, ROCKY HORROR). While Esparza has been seen in many - most, if not quite all - Broadway seasons in the decade since 2001, he has also scored in leading roles in regional productions such as 2002's spectacular SUNDAY IN THE PARK WITH GEORGE and MERRILY WE ROLL ALONG revivals, part of the unprecedented Sondheim Celebration, as well as the Cincinnati Playhouse COMPANY, directed by John Doyle, which transferred to Broadway and was subsequently preserved on DVD and Blu-ray, in addition to being presented on PBS as part of Great Performances. Besides Esparza's many notable musical revival performances (lest we forget his essaying of the Emcee in CABARET), he also created the Broadway iterations of his roles in the controversial and brilliantly scored TABOO, produced by Rosie O'Donnell and composed by Boy George, as well as the stage adaptation of the hit family classic CHITTY CHITTY BANG BANG, as well as originating the lead role in TICK, TICK...BOOM! Having played three of Sondheim's most memorable male roles was not enough, though, apparently, for Esparza recently took on the part of the hapless Hapgood in Sondheim's ANYONE CAN WHISTLE when it was revived at City Center's Encores! - with Tony-winners Donna Murphy and Sutton Foster his co-stars, no less - with much success. Yet, in one of a myriad of examples of the broad spectrum of Esparza's abilities, it is instructive to remember he first made a name for himself with the role of Che in an Andrew Lloyd Webber & Tim Rice show, directed by no less than the ultimate man of the theatre himself, Harold Prince - EVITA, which, of course, is being revived this season with Ricky Martin in the role of Che. Besides Esparza's many musical roles throughout the past decade and prior, he has also carved out a seriously impressive straight drama resume, having appeared in plays by the great playwrights of our age, such as Pinter (THE HOMECOMING), Mamet (SPEED-THE-PLOW), Stoppard (ARCADIA) and, the greatest of all, Shakespeare (AS YOU LIKE IT, part of Shakespeare In The Park). ROCKY HORROR to ARCADIA to, now, with LEAP OF FAITH, Esparza constantly and consistently surprises fans and audiences alike with his audacious choice in roles and electrifying performances that are indelibly enjoyable in their uniqueness, variety and sheer breadth of emotion - time and time again. Yes, indeed, Raul Esparza is the best of the best Broadway has to offer, so let us hope LEAP OF FAITH is the ideal star vehicle for one of the most charismatic and multi-talented leading men of the 21st century and that it brings him his well-deserved Best Actor Tony at last.

Today we are talking to one half of the supremely talented composing team responsible for ZOMBIE PROM, THE FIX, THE WITCHES OF EASTWICK, and, now, BROTHER RUSSIA, the lyricist of the formidable Dempsey/Rowe himself, John Dempsey. In this career-spanning conversation, Dempsey and I discuss major and minor details of his handful of skillfully written and entertaining shows written with the collaboration of composer Dana Rowe (who will also be highlighted in this column next week), in particular their affiliation with legendary producer Cameron Mackintosh and Signature Theater founder and director Eric Schaeffer, director of the US premieres of three of their musicals, including the most current one opening later this month - as well as touch on his work with Boublil & Shonberg on THE PIRATE QUEEN and his musical adaptation of the religious-themed film SAVED! As if all of that were not enough, Dempsey and I also dissect the finer points of the new Dempsey/Rowe show in previews in Washington, D.C., BROTHER RUSSIA, as he outlines its inspiration, purpose, style and the intriguing story of the new heavy metal fairy tale meta rock opera - all of that and much, much more.

Noted DREAMGIRLS composer Henry Krieger was generous enough to take a comprehensive look back at his many accomplishments onstage and onscreen earlier this week with me, as well as discuss aspects of his new musical opening next week, LUCKY DUCK, and over the course of that compelling conversation - which will be available in a complete InDepth InterView next week - he revealed new details about the forthcoming 2014 production of SIDE SHOW, to be directed by DREAMGIRLS film director and TWILIGHT: BREAKING DAWN helmer Bill Condon, to premiere first at the La Jolla Playhouse and then at the Kennedy Center, as it makes its way towards Broadway. Comments from that portion of our conversation follow below.

In honor of the encore screening of Andrew Lloyd Webber's LOVE NEVER DIES at Fathom-equipped movie theaters across the US today, following the rapturously received first showing late last month, this week we are highlighting the show's central stars, Anna O'Byrne and Ben Lewis, and speaking to them all about the spectacular Coney Island-set PHANTOM OF THE OPERA musical sequel. Following the previous interviews in this series with composer Andrew Lloyd Webber and lyricist Glenn Slater, this LOVE NEVER DIES series shines a special spotlight on the risky and ambitious new theatrical venture, which originally began in London's West End and has now been thrillingly filmed in its completely reconceived and rewritten Australian iteration directed by visionary innovator Simon Phillips. In an unprecedented move, Fathom will be presenting the elegantly designed film of the stage show in over 500 movie theaters nationwide, making LOVE NEVER DIES an absolute must-see for Broadway babies curious to see where the story of the Phantom, Christine and the rest ends up ten years later - and, also, a real treat for just plain entertainment enthusiasts in general out there. To paraphrase from the musical drama itself, the special screenings of LOVE NEVER DIES prove that love does, indeed, live on. Today, in this LOVE NEVER DIES focused portion of the upcoming complete InDepth InterView, LOVE NEVER DIES star Ben Lewis and I discuss his insights into playing the Phantom, working with the phenomenally talented cast featuring Anna O'Byrne as Christine, as well as what his impressions are of the final finished film version of the show now that he has seen it on the big screen - all of that and much, much more!

In honor of the encore screening of Andrew Lloyd Webber's LOVE NEVER DIES at Fathom-equipped movie theaters across the US on March 7, following the rapturously received first showing late last month, this week we are highlighting the show's central stars, Anna O'Byrne and Ben Lewis, and speaking to them all about the spectacular Coney Island-set PHANTOM OF THE OPERA musical sequel. Following the previous interviews in this series with composer Andrew Lloyd Webber and lyricist Glenn Slater, this LOVE NEVER DIES series shines a special spotlight on the risky and ambitious new theatrical venture, which originally began in London's West End and has now been thrillingly filmed in its completely reconceived and rewritten Australian iteration directed by visionary innovator Simon Phillips. In an unprecedented move, Fathom will be presenting the elegantly designed film of the stage show in over 500 movie theaters nationwide, making LOVE NEVER DIES an absolute must-see for Broadway babies curious to see where the story of the Phantom, Christine and the rest ends up ten years later - and, also, a real treat for just plain entertainment enthusiasts in general. To paraphrase from the musical drama itself, the special screenings of LOVE NEVER DIES prove that love does, indeed, live on. Today, in this LOVE NEVER DIES focused portion of the upcoming complete InDepth InterView, LOVE NEVER DIES star Anna O'Byrne and I discuss her affiliation with Andrew Lloyd Webber, the nature of playing Christine in the original PHANTOM and, now, its sequel, as well as performing musical theatre as an opera-trained actress and much, much more!

Packing more music per minute than any episode of the show since the pilot, last night's SMASH showed the ever-developing musical dramedy series finding its footing and delineating the many relationships and interrelationships of the onstage and backstage cast of characters that populate it - and, as always, the music made the night. Will Chase scored yet again with a soulful "Song For You"; McPhee emanated sultriness in her cover of James Brown's "It's A Man's Man's World"; and, in particular, Megan Hilty made the bawdiest and most big Broadway-sounding song from the Marilyn Monroe musical we have yet heard hit like Joe DiMaggio's bat when it met a meatball in the big 20th Century Fox production number we are sure to remember. When it comes to the musical numbers, SMASH is adult musical storytelling done exceptionally well with a precise, professional sheen. The story and characters have exhibited a lot of areas where they could go in future episodes, and, now, by the fifth episode, the style and music/drama formula is being perfected right before our eyes. What has resulted is that we are witnessing SMASH as a show finding its voice with all the world to hear - not an enviable position to be in, but that is the name of the game of a network TV gamble on the level of this. And, anyway, what sights and sounds we have to look forward to in the coming weeks as the Marilyn musical within the show begins to take a more tangible shape - and Bernadette Peters makes her SMASH debut in less than two weeks!

Today we are changing it up a bit by aiming our focus on a Grammy-winning pop/folk sensation who has created quite an impressive catalog of songs in his decade in the spotlight - some of his best work in live shows in lieu of studio albums, making him an ideal fit for this particularly performance-based column - the geek in the pink himself, Mr. Jason Mraz. This week marks the release of his new EP, titled LIVE IS A FOUR LETTER WORD, which acts as the appetizer to his much-awaited follow-up to the incredibly successful WE SING, WE DANCE, WE STEAL THINGS - which featured his biggest hit to date, "I'm Yours"; along with the Grammy-winning Best Pop Duet, "Lucky", which was also featured on Season Two of GLEE - LOVE IS A FOUR LETTER WORD. Four letters or more, Mraz proves time and time again he is a master storyteller with an unmistakable, singular style all his own - the handful of new songs featured on this spectacular live album attesting to that with grand, soulful regard. Even allowing for some audience banter and amusing back-and-forths, the LIVE IS A FOUR LETTER WORD EP is the ideal way to bring us all up to date with one of the most compelling solo acts that you can consistently find out on the road trying out charismatic and dramatic new material, the new compositions featured here in a special solo YouTube concert acting as a perfect counterpoint in a career packed with a vast array of musical styles, aural sounds and sonic textures that only Mr. A-Z would dare compose and expose to the world. If the rest of the album follows the lyrical strength and musical dexterity of this EP release, we are in for quite a ride come April 17. Plus, we also have a look at his moving and memorable new single, "I Won't Give Up"!

Today we are completing our triptych look at the leading ladies of the new BAM production of RICHARD III, directed by Sam Mendes and starring Kevin Spacey, with a solo spotlight on a stage and screen star known for her wide range of roles in dramas, comedies, musicals, television and film - the one and only Haydn Gwynne. In addition to all about her intense preparation for her role in the searing and prescient Shakespearean historical tragedy, Gwynne also recounts her experiences working with Mendes, Spacey and the previous ladies who have participated in this RICHARD III spotlight with whom she shares the stage every night now through March 4, Gemma Jones and Maureen Anderman. Besides all about RICHARD III and its international tour begun at the Old Vic in London's West End and ending up in New York at BAM, Gwynne and I also discuss her recent stage work in Elton John and Lee Hall's Tony-winning international hit BILLY ELLIOT and working with theatre and film director Stephen Daldry on it, as well as some remembrances of her other notable stage and screen roles, old and new - prior musicals (such as CITY OF ANGELS), as well as her recent guest-starring stint on the hit BBC series SHERLOCK included, as well as a look ahead to her new feature film, HUNKY DORY, starring Minnie Driver. All of that and much, much more!

Today we are talking to one of the busiest lyricists in show business, Glenn Slater, all about today's movie theater showing of his collaboration with Andrew Lloyd Webber, LOVE NEVER DIES - a continuation of the world's most successful show, THE PHANTOM OF THE OPERA - and the spectacular Simon Phillips-directed Australian production of it filmed for the ages and presented in hundreds of movie theaters across the country, with an encore cinema showing on March 7 prior to its DVD/Blu-ray release in the Spring. Besides discussing all aspects of the writing of the show and its West End debut, Slater also elaborates on the rewriting of the show and how this new production and unprecedented in-theater presentation is the ultimate realization of Lloyd Webber's dream vision for the musical drama - something the Lord shared with me himself when he recently did this column.

Today we are talking to one of the busiest lyricists in show business, Glenn Slater. In the first part of our extensive discussion, besides discussing all aspects of the writing of LOVE NEVER DIES with Andrew Lloyd Webber and its West End debut, Slater also elaborated on the rewriting of the show and how this new Australian production and unprecedented in-theater presentation of it across the US is the ultimate realization of Lloyd Webber's dream vision for the musical drama - something the Lord shared with me himself when he recently did this column. In addition to all about LOVE NEVER DIES, in this second half of our recent chat Slater and I also trace his career trajectory to date, with a focus on his recent collaborations with composer Alan Menken on the smash hit Disney animated film, TANGLED, along with the currently-running Broadway hit, SISTER ACT, and, the upcoming Spring opening of their new musical, LEAP OF FAITH, starring Raul Esparza, as well as their previous theatre venture, THE LITTLE MERMAID. Plus, Slater shines some light on his upcoming projects, which include a Dreamworks animated musical with Menken, as well as a stage collaboration with his wife, Wendy Leigh Wilf, titled BEATSVILLE - all of that and much, much more!

SMASH is out for blood - wolf's blood, that is. So, go howl! In the climax of the series so far - at least since that thrilling finale to the pilot episode - the wildly talented cast of characters that inhabit SMASH were joined in purpose and performance for the first time onscreen all together, singing "I Never Met A Wolf That Didn't Like To Howl" - well, at least the current top choices for Marilyn Monroe (Megan Hilty) and Joe DiMaggio (Will Chase) by the songwriting duo (portrayed by Debra Messing and Christian Borle) behind the show-within-the-show; guest appearance by prospective investor portrayed by pop idol and current Broadway star Nick Jonas notwithstanding. Yet, Katharine McPhee shone bright in her secondary storyline, bringing defiant joie de vivre to a karaoke cover of Adele's soulful earworm "Rumor Has It" at the close of the show. Nick Jonas got a moment in the musical spotlight, as well, in a self-played piano accompanied cover of Michael Buble's "Haven't Met You Yet". On the dramatic side of SMASH, the twists and turns of the theatre-centric musical series are beginning to create intriguing complexities for the individuals caught in the tumult - none the least being the budding romances between Derek (Jack Davenport) and Ivy Lynn (Megan Hilty), but also the secret liaison rekindled of one half of the songwriting duo (Messing) and Joltin' Joe (Chase) himself. Plus, the other half of the team behind the Marilyn musical, Tom (Christian Borle), finally got his own romantic plotline and sudsy, soap-ish moment. It seems to be a prerequisite that each cast member have a post-coital scene at some point, so, one supposes Eileen (Anjelica Huston) and her ex husband, Jerry (Michael Cristofer), may re-team behind the scenes - or, maybe not. Eileen was given finest material of the night as far as I'm concerned and Huston's delicate portrayal of a woman conflicted was artful in its attentiveness and believability. She imbues the material with a grace and gravitas that few stars can consistently achieve as she has done throughout her career and continues to do so here on SMASH. Episode Four cleanly and clearly displayed the attributes we came to love about the pilot - natural integration of fabulous Marilyn-themed musical numbers into the drama, as in "Howl"; superlative new renditions of modern-day pop hits, such as "Rumor Has It"; and a specialty song or two, too, like Nick Jonas and his Michael Buble party accompaniment. While it did not break new ground as far as where the show is heading as a series like last week's show, this episode gave us an inkling of the entertainment experience coming in the next few weeks as we anticipate the arrival of many new and exciting guest stars, such as Bernadette Peters and Uma Thurman, in addition to the pain, passion, ecstasy and As for the rest of the drama, music and comedy, read on!

Billy Crystal was nine for nine with his stupendous hosting - particularly thanks to his superlative musical material courtesy of Tony-winning tunesmith Marc Shaiman - yet, the 2012 Oscars were all about the awards, for once, with a heavy helping of superstars and surprises. A glamorous and generally genial broadcast, more than many in recent years this years, last night's top entertainment honors came across as a class act on the elegantly produced and impressively rendered broadcast, from beginning to end - unscripted screenwriters' Angelina impressions aside. Crytal's hilarious opening montage allowed the Oscar host extraordinaire the opportunity to enact his oh-so-idiosyncratic take on the year's top nominated films - including a kiss with George Clooney ala THE DESCENDANTS and a Justin Bieber/Sammy Davis, Jr. skit inspired by Woody Allen's MIDNIGHT IN PARIS, both of which went on to win the Best Screenplay categories - and remind us why he is tops. The portrait of the winner of Best Picture may have been painted long before last night for THE ARTIST, yet the 2012 Academy Awards show was packed with a plethora of surprises in technical and even some major categories, with Martin Scorsese's HUGO also scoring big and Meryl Streep winning her third statuette, this time for her Best Actress turn in THE IRON LADY, uncanny in her portrayal of British prime minister Margaret Thatcher. Additionally, THE ARTIST's Jean Judarjin took home Best Actor - over Hollywood titan George Clooney, no less - for his superb performance as a Gene Kelly-esque silent film star (save a few words at the very meta finale). The supporting categories showed some love to expected winners Octavia Spencer - for the audience hit, THE HELP - as well as veteran actor Christopher Plummer - for the indie release, BEGINNERS. Cirque Du Soleil afforded us some spectacle in the form of a 3D aerial classic film homage as only they could create and present, but Crystal's inimitable opening sequence - film sequence and crisply amusing song acting as the ideal entree into the awards season's show of shows - were the night's undeniable highlights. So, too, on the performance front did the In Memoriam sequence shine thanks to a soulful rendering of "What A Wonderful World" by Esperanza Spalding. Many of the major categories may have went the way we have all predicted, yet important categories also went to a surprisingly large smattering of the year's other fine filmatic achievements, as well, making it an entertaining and overall quite pleasing broadcast when considering the conservative slate of films nominated this season.