Pat Cerasaro - Page 195

One of the top-tier performers of a promising new generation of young stars on Broadway, Matt Doyle has appeared in both dramatic musicals and plays in establishing a versatile stage and screen career ranging from a multi-episode arc on GOSSIP GIRL to starring in SPRING AWAKENING on Broadway, as well as the recent revival of BYE BYE BIRDIE, in addition to his most recent New York credit, the highly acclaimed WAR HORSE at Lincoln Center. Equally at home in musicals and straight drama, Doyle's most recently released film venture is an intriguing and compelling independent feature showcasing his WAR HORSE co-star and fellow InDepth InterView participant Seth Numrich with a stylish and intense military school-set adaptation of ROMEO & JULIET titled PRIVATE ROMEO that, fortunately for all of us, also allows Doyle the chance to sing. Having studied at the Royal Academy in London, Doyle was perfectly prepared for his Shakespearean role in PRIVATE ROMEO and that training was also was influential to his success in the aforementioned musicals and plays he has starred in, as he generously fills us in on many memorable moments in his career to date and even shares his most recent experiences doing Michael John LaChiusa's GIANT. Exciting projects coming up next include a sequel to his 2011 EP, DAYLIGHT, titled - appropriately enough - SUNSET, as well as roles in theatre pieces currently in development. Plus, Doyle and I discuss sharing the stage with the starry original cast of SPRING AWAKENING such as GLEE stars Lea Michele and Jonathan Groff and much, much more!

Today, in honor of Sunday's Oscar telecast, we are going to take a look at some of the most memorable opening numbers and musical montages from the Academy Awards over the years, with a special focus, of course, on theatrically-related presentations and performers. The 2012 night of Oscar gold marks the return of frequent host Billy Crystal, so we are sure to be in for some truly terrific movie parodies and unscripted asides to have us rolling in aisles over the course of the hotly anticipated award show's three hours - Hollywood's night of nights. From the infamous Allan Carr-produced show in 1989 to some of the best moments from Crystal, Whoopi Goldberg, Ellen Degeneres, Anne Hathaway and Hugh Jackman, this collection of clips surely has something to please all the movie buffs, Broadway babies and all-around entertainment enthusiasts out there reading this who will be tuning in to the big show this weekend - from 1965 to 2011, we have it all. Plus, after all, how could we possibly miss a night this big? Whether the top winner of the night ends up being THE ARTIST, THE HELP, HUGO or THE DESCENDANTS, Billy Crystal is guaranteed to make the night run as smoothly and enjoyably as possible - and, potentially, much much more (as the following clips clearly show). As for the rest of the night's proceedings? Well, we will have to wait and see what happens!

Known for her many memorable roles on stages and screens large and small, many from the canon of William Shakespeare (OTHELLO, MACBETH) and Edward Albee (THE LADY FROM DUBUQUE, SEASCAPE, WHO'S AFRAID OF VIRGINIA WOOLF? & LISTENING), Maureen Anderman is making her grand return to the realm of Shakespeare onstage in New York with the new BAM production of RICHARD III directed by Sam Mendes, starring Kevin Spacey. In addition to illustrating many aspects of the rapturously received revival of the historical tragedy as she has traveled with it around the world, Anderman and I also discuss her affiliation with Shakespeare and what she derives from performing his greatest works, with RICHARD III being the central focus. Also, Anderman details her experiences working with Edward Albee on the original Broadway productions of THE LADY FROM DUBUQUE and SEASCAPE, as well as offering some candid observations on some of her favorite feature film and television appearances over the years - THE DAYS AND NIGHTS OF MOLLY DODD and LAW & ORDER included. As well as all of that, Anderman also shines a light on her recent standby duties for Vanessa Redgrave in THE YEAR OF MAGICAL THINKING and DRIVING MISS DAISY, as well as the forthcoming Westport Country Playhouse production of MAGICAL THINKING in which she will be starring later this year.

Today we are talking to a stand-up comedienne celebrated for her caustic wit, erudite political humor and illuminating social observations who has also made a name for herself over the last two decades as an actress by appearing in over 100 feature films and television shows, including recurring roles on the TV series SATURDAY NIGHT LIVE, THE BEN STILLER SHOW, THE LARRY SANDERS SHOW and 24, as well as her film resume, ranging from roles in ROMY & MICHELE'S HIGH SCHOOL REUNION to WET HOT AMERICAN SUMMER to REALITY BITES, COP LAND, THE CABLE GUY, NOW AND THEN and many more - the one and only Janeane Garofalo. In addition to a twenty-year career retrospective, touching upon many of her most notable big screen and small screen appearances - sharing comments on many of her favorite colleagues and co-stars along the way - Garofalo also opens up about the theatrically attuned work she has previously done - such as HBO's THE LARAMIE PROJECT - and, most importantly, fills us in on the new play she is starring in for The New Group, RUSSIAN TRANSPORT, directed by Scott Elliott. Besides all about RUSSIAN TRANSPORT, her character in it and the political and social issues the new original play bravely tackles, Garofalo shares her enthusiasm for her newfound experiences in the theatre world and her intention of pursuing a theatre career further. Also, she clues us in on her upcoming film projects, BAD PARENTS and GENERAL EDUCATION, and offers her classic views on current politics as only she can, in her own delightfully droll and ingratiatingly idiosyncratic fashion - plus, much, much more!

Fourteen episodes in, with eight more to come after the seven week hiatus that just began, GLEE's Season Three has been filled with shocks and surprises, but none so shocking and surprising as last night's potentially fatal collision involving the one and only Quinn Fabray, Dianna Agron. In the show's final moments, the danger of auto texting was made painfully plain to see as Quinn's car was demolished by an oncoming truck as she typed the episode's title into her phone, "On My Way," - on her way to the wedding of Rachel (Lea Michele) and Finn (Cory Monteith), that is. 'Chapel Of Love' playing on the radio gave the scene an extra added note of morbid irony and twisted the dramatic knife in a way few enterprises dare to do, as well - a NIP/TUCK twist (as Ryan Murphy would have it). So, is this really the last we shall see of Quinn on GLEE? We will have to wait until April to see, but some pictures have already surfaced of Quinn wheelchair racing with Artie (Kevin McHale) onset, so perhaps she survives after all. Besides Quinn's catastrophe, one of the most complex and controversial secondary characters on the show, closeted gay football player and Kurt's former McKinley High bully par excellence, Max Karofsky, succumbed to a heartbreakingly presented suicide attempt, but survived to fight another day. Will Quinn be as lucky? What will become of her daughter, Beth - sired with Puck (Mark Salling) back in Season One - who is being raised by Rachel's birth mother, Shelby (Idina Menzel)? Does this mean we will be seeing more of Ms. Menzel in the back 8 of the season? Will Puck and Shelby rekindle their romance in the wake of Quinn's crash and subsequent rehabilitation or, maybe, death? Only time will tell, it seems. In an episode packing an incredible punch, GLEE'S "On My Way" delivered the drama, the social commentary, the laughs, tears, joy and, of course, the music as stylishly and successfully as any of its finest episodes ever have, even if some of the questionable of-the-moment contemporary song selections at the central Regionals competition failed to fully ignite as other songs may very well have done. Indeed, last night's GLEE was all any gleek could ask for from the Winter Finale of their favorite show, and, if we are forced to wait a few weeks for the next episode, best to go out on a big, bad cliffhanger that makes a splash.

"Baby, I would catch a grenade for you," as Bruno Mars wrote in his international smash hit song "Grenade", recently nominated for a Grammy, and, so, too, would Joe DiMaggio catch a grenade for Marilyn Monroe, and, maybe - just maybe - married Broadway star Michael Swift (Will Chase) will cross the line into the danger zone and rekindle his romance with former flame (similarly, married with children) Julia (Debra Messing), half of the songwriting team responsible for the spectacular musical-within-the-show on NBC's SMASH. Yes, the third episode of the new musical drama series was a much different experience from the first two shows, with Karen (Katharine McPhee)'s journey back home to Iowa - complete with down-home karaoke baby shower and Gretchen Wilson's "Redneck Woman" - and the introduction of Broadway star Will Chase's character and the subsequent exploration of his prior trysts with Julia, as well as detailing more of Ivy (Megan Hilty) and Derek (Jack Davenport)'s hot and heavy romance. So, too, did the dissolving marriage between the Marilyn musical's lead producer, Eileen (Anjelica Huston) and her ex (Michael Cristofer) see further shading, as did the trusting and caring coupling of Karen and Dev (Raza Jaffrey). Along with recurring guest stars Dylan Baker and Becky Ann Baker as Karen's supportive but speculative parents, "Enter Mr. DiMaggio" was a relationship-themed episode that reached its thematic, dramatic and musical apotheosis in the stunning new Marc Shaiman/Scott Wittman Marilyn musical composition, "Mr. & Mrs. Smith", ending the episode on a stylish and all-too-apropos note. A hard rock rendering of the aforementioned Bruno Mars pop hit "Grenade", as well as Karen's spirited country karaoke "Redneck Woman" were the other musical entertainments in an episode that showed that SMASH does, indeed, have legs - a Rockette-worthy line of them, actually - and this story can sustain more than a handful of episodes or, even, a season or two. Sure, this episode had a different feel than the first two, more Broadway-based shows, yet the series seems to be finding a rhythm that is particularly appreciable at this very, very early stage of the game. After all, the first two episodes of an hour-long adult drama such as SMASH usually set the scene for the series as a whole, if they even succeed at accomplishing that. So far, SMASH has already gone far beyond that, and, I promise, next week will be more along the lines of the first two entries, showcasing the simple fact that this tree has many, many branches and exceptionally deep roots supporting the strong core of central and supporting performers that make up its trunk. Episode Three was a gamble that largely paid off dramatically and thematically, and, wow, that final number was a home run hit truly worthy of a show billing itself as SMASH.

Today we are kicking off our trio of InDepth InterViews with the leading ladies of the new BAM production of RICHARD III by talking to stage and screen star Gemma Jones all about her role in the politically-themed Shakespeare historical drama, which continues performances at the Brooklyn Academy of Music through March 4.

In an absolutely uncannily coincidental occurrence last night, the Valentine's Day episode of GLEE included among its song-stack the all-time most memorable Whitney Houston ballad of all time, originally sung by Dolly Parton in 1974 but made famous by Houston on the soundtrack of the 1992 film THE BODYGUARD, in which she also starred, "I Will Always Love You". While this episode was filmed weeks ago - long before Houston's sudden passing, of course - the fact that this was the moment GLEE finally tackled one of the biggest songs ever - a single that originally stayed atop the chart for more than 3 months - comes as a definite shock and surprise; and, also, somehow, a fitting tribute. The tasteful "We Will Always Love You" card at the end of the program dedicated the episode to Houston's memory, in a last minute addition to the long-wrapped show by the powers-that-be. It hit just the right chord - as did the effervescently enjoyable if slight episode. Amber Riley wrought the high emotion out of the Houston barn-burner in a manner that surely would do the gospel singer of Whitney's own roots more than merely proud and the overall show was a sure success as far as knockout musical numbers go. As for the rest of the "Heart" Valentine's show, we were treated to a number of well-played guest appearances, such as Rachel's two dads, essayed all-too-deliciously by Jeff Goldblum and Brian Stokes Mitchell, in addition to THE GLEE PROJECT winner Samuel Larsen's much ballyhooed debut on the show. Former TGP finalist and Season Three GLEE featured player Damian McGinty also got more focus than usual, as did Amber Riley, who emerged as the star of this particular episode. Courtesy of a lively and raucous "Love Shack", Darren Criss made his welcome return after a few episodes out. The rest of the songs added to the overall candy-coated allure of the sweet and sugary confection of a show. No, "Heart" was not an episode that will linger forever in the memory like some in GLEE's past, but the music made the night - and, in the case of "I Will Always Love You", made it really pack a punch when we needed it. It most closely resembled the wedding episode from last season, I thought - which is certainly a compliment. Plus, "Heart" featured the return of Karofsky - in gorilla suit, no less - and many dramatic twists for the gleeks we have all come to know and love. And, just how adorable is Sugar Motta?!

Last night, SMASH cast Marilyn Monroe in the big Broadway musical based on her life at the show's center. Or, did they? While Ivy Lynn (Megan Hilty) may have done whatever it took to make an impression on the show's lothario director, Derek (Jack Davenport), it was Ivy's long-standing friendship with the songwriting team of Julia & Tom (Debra Messing & Christian Borle) and the belief in her readily apparent talent by the lead producer, Eileen (Anjelica Huston), that really sealed the deal. So, where does that leave Karen (Katharine McPhee)? In the chorus, it seems - at least for now. The drama escalated and reached an early peak along with the crescendos of Marc Shaiman and Scott Wittman's smashing "Twentieth Century Fox Mambo" showstopper - the musical highlight of the impossibly strong second episode - as the heated fully-staged and fully-choreographed audition gave way to a dream reality which finally showed us all out there in the audience what a Karen/Marilyn could potentially be: a true blonde bombshell to beat the band. Of course, nothing is quite so cut and dry as it may appear and Karen may get her chance in the spotlight on the actual Marilyn musical's stage after all. Yet, for the next few episodes at least, Ivy is the star of the show - and she is going to wring every last wiggle, coo and peck out of the role. Plus, who can put over a number in true Broadway fashion - as Marilyn Monroe, perfectly played, no less - than Megan Hilty? Did you hear her line in the newly envisioned 'Let Me Be Your Star'? In much the same way as Hilty with the Broadway pizazz, McPhee effortlessly puts over treacherously tricky pop songs with smoothness, sweetness and near-tangible sincerety and conviction. Which way will the score ultimately go - and, furthermore, what shall be of the show that contains it? Will the musical be more Norma Jean or more Marilyn, thus more befitting of Karen or Ivy, respectively? Who knows, perhaps there ultimately will be two Marilyns required - as was proposed in this very column last week at this time and seems the logical ultimate conclusion of the casting dilemma at the show's core. We will certainly have to wait and find out what happens next on SMASH and what the show ends up requiring of its incredibly talented cast of hoofers and stars-to-be. Plus, Nick Jonas, Uma Thurman and Bernadette Peters make guest star debuts in the next several weeks!

Coming quick on the heels of the untimely death of iconic pop singer and film star Whitney Houston was last night's subdued and largely somber 2012 Grammy Awards telecast which had a definite focus on three soulful leading ladies in particular: Whitney, Jennifer Hudson and Adele, the latter being the night's across-the-board big winner. Begun on the completely wrong foot with an awkward and inappropriate religious tribute to Houston by charismatic but ineffectual host LL Cool J, the rest of the Grammy show managed to have sporadic moments of entertainment - the best and brightest being Bruno Mars, Foo Fighters, Tony Bennett & Carrie Underwood, as well as the button-pushing performance by rap/pop notable Nicki Minaj and some polished country stars. Pushing boundaries with an exorcism-themed theatrical spectacular, complete with a Leonard Bernstein/Stephen Sondheim sample from WEST SIDE STORY in the form of "I Feel Pretty", surely Nicki Minaj made many fans - and more than a few enemies, no doubt - with her expressive and eccentric production number, "Roman Holiday" - complete with priests, fire pits, confessional booths and levitations! The Grammys definitely had many lows and a few memorable highs beyond Minaj's exorcism, though, for the night was a veritable wake for Houston and a celebration of her musical legacy. Oscar-winning DREAMGIRLS star Jennifer Hudson gave Ms. Houston a truly tasteful and respectful tribute to mark the occasion.

The entire entertainment world is reeling. We have lost one of our most iconic pop, R&B and soundtrack performers this evening - as well as a formidable movie star in her own right - Whitney Houston was just reported dead at the age of 48. Having had one of the most successful and most multimedia of careers of any multi-hyphenate star in recent memory, Houston scored multiple Grammys and racked up countless nominations over the course of her multi-decade recording career, yet her most notable contributions to the world of music reside in her outstanding soundtrack work - most of all, the songs for the film in which she made the transition into feature film leading lady, 1992's THE BODYGUARD. The biggest hit from THE BODYGUARD's blockbuster soundtrack was undoubtedly Houston's rendition of a Dolly Parton song originally recorded in 1974 and later made famous by Parton in the feature film version of the Broadway hit THE BEST LITTLE WHOREHOUSE IN TEXAS, "I Will Always Love You". In addition to Houston's sensational work on that mega-selling soundtrack - one of the Top 5 best-selling soundtracks of all time - she also provided her dramatic and vocal skills to the multi-platinum soundtracks to THE PREACHER'S WIFE and WAITING TO EXHALE, both films which she also starred in to much box office success. An Oscar-winning duet with Mariah Carey, "When You Believe" by WICKED's Stephen Schwartz from THE PRINCE OF EGYPT is yet another diadem in Houston's triple crown of accomplishments in the realms of music, film and television - having dominated all. Theatre fans may know Houston best for her incomparable portrayal of the Fairy Godmother in the incredibly successful 1997 ABC TV adaptation of Rodgers & Hammerstein's CINDERELLA starring Brandy and produced by Craig Zadan and Neil Meron. In addition to Houston's contributions to THE BODYGUARD, THE PREACHER'S WIFE, WAITING TO EXHALE, THE PRINCE OF EGYPT and CINDERELLA, Houston also rose to fame early in her career for her rendition of "Home" from THE WIZ on THE Merv Griffin SHOW, as well as made a mark with a Cissy Houston duet on the CHESS international smash, "I Know Him So Well" on her second hit album. The last project Houston was working on prior to her death on Saturday night was the feature film musical SPARKLE, co-starring AMERICAN IDOL winner and Broadway standout Jordin Sparks. SPARKLE reportedly completed production of principal photography and soundtrack sessions, though it is not clear when the musical remake will now be released in light of Houston's unexpected death. No matter the circumstances of her life and death, Whitney Houston most surely left a legacy that will never be forgotten by those that adored her for her vast multitude of talents and many notable accomplishments in all areas of entertainment.

Song stylist and performance artist Kim Smith is a truly unique performer who brings together the worlds of cabaret and theatre in a wholly idiosyncratic and arrestingly amusing manner. Part Marlene Dietrich, part Eartha Kitt and all Kim Smith, Kim and I recently had the chance to discuss his solo show, MISFIT - what inspired it; what he will be singing; what we can expect from the show - as well as a host of other topics, such as his Australian upbringing, the music and performers who inspire him most, performing in Sondheim's MERRILY WE ROLL ALONG and other musicals, as well as other collaborations with director Christian Coulson. Plus, Smith and I take an overview of his favorite current pop artists - many of whom he pays tribute to in his shows, such as Bjork and Robyn - and what elements draw him most in creating his series of surreal solo shows, the most recent being the highly regarded MISFIT, which returns to New York this Sunday. Also, we have first news on his forthcoming solo album and much, much more!

Winner of 7 Academy Awards, including Best Picture, Best Actress - Gwyneth Paltrow and Best Supporting Actress - Judi Dench, SHAKESPEARE IN LOVE is noted playwright and screenwriter Tom Stoppard's imaginative restaging and reworking of the story of William Shakespeare which proceeds to present a thesis for how he came to write many of the finest dramas and comedies written in the English language. Boasting gorgeous costumes, breathtaking sets and an unmistakably Shakespearean atmosphere, SHAKESPEARE IN LOVE has aged considerably well and looks even more rapturous and resplendent on Blu-ray than it ever has before. The new Blu-ray also comes with a fascinating slew of special features, the most appreciable of all being the two commentary tracks, one from director John Madden and another from assorted cast and crew members. Boasting an all-star cast to best even the Bard's vaunted coterie of performers themselves, SHAKESPEARE IN LOVE is lousy with pedigree - and nearly every actor makes his or her mark over the quite tight, terse running time of the film. In addition to the aforementioned Oscar-betrothed leading lady and supporting player, the cast of SHAKESPEARE IN LOVE also boasts recent Oscar-winner for THE KING'S SPEECH, Colin Firth, in a memorable role, as well as a charismatic lead performance by Joseph Fiennes as the titular playwright. Additionally, British stage stars Simon Callow, Antony Sher, Imelda Staunton, Tom Wilkinson and Tony Award-winning Australian leading man Geoffrey Rush all make solid impressions in their smaller roles. Yet, as with all of the greatest works of William Shakespeare, the text is the star, and Stoppard's precise and exacting script is much like a modern Shakespeare play in the way it juggles moments of levity, intrigue, history, comedy, tragedy and love into the drama of the film. While SHAKESPEARE IN LOVE may have been somewhat derided at the time for being too light to win over that year's favorite, SAVING PRIVATE RYAN, time has been kind to the theatrically-tinged film, and, dare I say, it is even more enjoyable and entertaining now, on Blu-ray, than it may have even been at the time of its release fifteen years ago. All the world may be a stage, by SHAKESPEARE IN LOVE is a Hollywood film relating to Shakespeare worth your time, attention and investment.

Headlining the most successful entertainment of all time, THE PHANTOM OF THE OPERA, Michael Crawford was actually not the first name the creative team considered for the gothic musical undertaking during its creation in the mid-1980s, believe it or not. Steve Harley famously recorded the original single of the title song with composer Lord Andrew Lloyd Webber's muse Sarah Brightman and subsequently starred in the grandiose Ken Russell fever dream music video. While the public and critics alike assumed Harley's bid for the lead role in the gestating show was all but guaranteed after the video debut, it was not meant to be. Master director Hal Prince had his sights set on a British stage and screen star who had made a name with American audiences decades before in the troubled film versions of two Broadway hits - A FUNNY THING HAPPENED ON THE WAY TO THE FORUM and HELLO, DOLLY! - as well as made a name for himself the world over in the British sitcom SOME MOTHERS DO 'AVE 'EM. Crawford had also cemented his place in the musical theatre with his roles in FLOWERS FOR ALGERNON and BILLY, but it was PHANTOM that would catapult him into the ranks of iconic musical megastar. So, today, let us take a look at what made Michael Crawford's performance in THE PHANTOM OF THE OPERA so unforgettable as we celebrate this week's US release of the simply spectacular DVD/Blu-ray of the 25th anniversary production mounted late last year at the Royal Albert Hall starring Ramim Karimloo and Sierra Boggess, loving assembled and presented by original lead producer Cameron Mackintosh and featuring a grand finale complete with original PHANTOM cast-members Sarah Brightman and Michael Crawford, among a host of other glories.

Completing the Lima Sound Machine in a truly terrific way, Ricky Martin made his highly-awaited GLEE debut last night and the word on the tips of tongues wagging across the country today is undoubtedly duende. Dwarf, you say? No, not dwarf - to paraphrase the idea of the term, a passion for performance. That being the definition, no show currently on TV packs more duende into each and every minute than GLEE. A dramatic and musical marriage to beat the band and infusing the show with some spine-tingling spark and verve, Ricky Martin made his musical moments really matter. Both Ricky's cover of LMFAO's international smash hit, remixed and sung alongside none other than Madonna on Sunday night's Super Bowl, "Sexy And I Know It" - in a new bilingual iteration - and Madonna's own "La Isla Bonita", in a moving and exceedingly pleasing pairing with Season 3 standout Naya Rivera, allowed for Ricky Martin to make his musical mark on the GLEE universe in much the same way Neil Patrick Harris, Kristin Chenoweth, Idina Menzel, Jonathan Groff, Gwyneth Paltrow and many other featured guest stars have done in leaving indelible impressions that still linger in the memory. The Ian Brennan-penned "The Spanish Teacher" occasionally may have lapsed into Season Two variety show territory, but acted as an enlivening - and, eventually, surprisingly poignant - episode to occur at this point in the show's history. Will David Ramirez return to McKinley High to guest lecture a glee club rehearsal or two? We will have to stayed tuned to see - and hear - but, until then, this episode went a long way in furthering Sue's development as well as giving Finn and Kurt a welcome bonding scene. Beyond all that, though, Matt Morrison played a hard-to-swallow storyline about a non-Spanish speaking Spanish teacher with finesse and ease, letting Martin shine - or, should I say, twinkle. Like teeth - or stars - that is.

Get SMASH-ed. Last night, NBC unveiled the most sparkling, dazzling jewel of many a TV season with the hotly anticipated debut of the new musical dramedy series SMASH. Hatched from an idea by mega-mogul Steven Spielberg and given life by playwright Theresa Rebeck, director Michael Mayer and songwriters Marc Shaiman and Scott Wittman, SMASH follows the journey of the auditioning actors and creative team of a new Broadway musical about Marilyn Monroe from inception to final presentation on opening night and follows the highs and lows of making a hit show on the Great White Way. While I have only viewed the first four episodes, I can tell you that this show certainly knows where it is heading and heads will unquestionably turn with each new surprise and dramatic twist along the way - and that's to say nothing of the simply stupendous presentation of original songs by Shaiman & Wittman for the musical-within-the-show and spirited, inventive covers of pop hits, new and old, ranging from Adele to Blondie to Bruno Mars and beyond. In just the first four episodes alone, SMASH manages to pack more sheer entertainment value into its running time than virtually any other show on network TV - besides GLEE, that is. Ah, yes: GLEE. Comparisons will be made - and most critics have already made them - but, the truth of the matter really is that there is more than enough room on network TV for two music-themed shows that tell their story through song from time to time. After all, on SMASH, there are a lot dramatically justified reasons to break out into a song - or four. Plus, there's certainly a big enough audience out there to justify AMERICAN IDOL, THE VOICE, THE X FACTOR and AMERICA'S GOT TALENT - to name just the network reality competition shows focusing on performance-based entertainment - so why can't GLEE and SMASH happily co-exist on TV together? As SMASH shows, if there can be two Marilyns in a Marilyn Monroe musical, then anything is possible. The possibilities are as vast and numerous as the possible subjects for a new Broadway musical - endless. Endless, too, is the enjoyment and entertainment value SMASH potentially can provide for many more seasons to come. All that is needed, wanted and so desperately desired is an audience - so, let SMASH be your star.

Epic Egyptian pageantry. Gold galore. Soldiers by the score. An entrance befitting of - and evoking - Cleopatra, set to the instantly recognizable strains of "Vogue", and the love affair began again. Between Madonna and America, that is. It has been a tumultuous and trying relationship, at times, but, at heart, Madonna represents the ultimate American dream of making a superstar of one's self - Michigan to Milan; pop starlet to mega-mogul; cheerleader to icon. Madonna's career has been up and down and she has certainly seen it all in her half century on this planet, but, last night, she showed the world all she was worth. And more. Throwback and cutting edge, some avant garde choreography and even a few stumbles on that indescribable, but nevertheless impressive, field-spanning LCD set. Then, in a spectacular column of smoke, she vanished. A ghost. Yes, indeed, Madonna made magic out of her Super Bowl main-stage chance to strut - and lip-sync - for all she is worth, and, gosh darn it, you gotta give it up for the Material girl. In carrying off something that could have been chaotically cacophonous and gruesomely calculated - and, more than not, it usually is in this instance on the international stage; good intentions, hype and Nipple-gate notwithstanding - came off as a genuine bid to do the biggest, best and most theatrical presentation on the Super Bowl yet - and, in that regard, Madonna was MVP. MDNA is the title of her new album - her 12th - and the lead single, "Give Me All Your Luvin'" - the first of a purported eighteen tracks - was given a spirited airing with the helpful aid of Nicki Minaj and M.I.A. LMFAO and Cee-lo Green guested, as well, but Madonna made her moment count in a truly memorable and thrilling way. "Vogue" through "Music" to the grand, million candlelit finale featuring the stirring "Like A Prayer", Madonna towed the line, but never crossed it to the detriment of the overall presentation - so often what happens to boundary pushing pop artists such as herself; she calls the shots, as she always does, and it came off as 100% Madonna, for better and best. While she may have had her crass moments over the course of her incredible career, Madonna's Super Bowl performance was all a fan or a viewer could ask for as far as cutting-edge spectacle and stage effects go - plus, those tunes are some of the most classic pop songs of the last century. Madonna managed to move from ancient Egyptian to futuristic alien with aplomp and never break a sweat. A bit robotic, sure. Was she nervous? Obviously. But, she made it work - and work it she did. Best Super Bowl Half Time Show ever? Best Super Bowl Half Time Show Ever. Madonna shows us all how it's done - lip-synced or not. Music really does bring the people together - especially over Madonna.

Having previously appeared on Broadway in SEUSSICAL: THE MUSICAL as a teen, and, now, Off-Broadway, in the revival production of the timeless musical THE FANTASTICKS, actor and pop star Aaron Carter has fit a lot of experience into his less-than-quarter-century-long life. Besides his stage roles, Carter has amassed a more than merely respectable resume, having had three chart-topping albums, numerous soundtrack featured spots and even headlining his own feature films. In this career-spanning conversation, Carter and I take a look back at his tween pop superstar heyday - with a look at his contributions to soundtracks like THE PRINCESS DIARIES - as well as his recent stint on ABC's DANCING WITH THE STARS. Also, his impressions of leading a musical as vaunted and revered as Tom Jones and Harvey Schmidt's THE FANTASTICKS and the importance he places on a theatre appearances. Additionally, Carter also opens up about his desire to expand his horizons and diversify even further in his future, as well as shines a light on the rehearsal process taking on the lead role in THE FANTASTICKS and what it was like working with original show creator, Tom Jones, in preparing for the role. All of that and much, much more!

One of the foremost male pop stars of the last twenty years is undeniably 'Livin' La Vida Loca' crooner Ricky Martin, so his deigning of appearing on next week's GLEE as a new Spanish teacher, David Martinez, is a cause celebre for fans of the Latin superstar, GLEE, or, even, for those who follow the artists whom he covers on the episode - LMFAO's 'Sexy And I Know It' and, the Queen of Pop herself, Madonna. Recalling the golden days of television when hit parade variety shows would cover top chart hits when they were fresh and new, Ricky Martin tackling Madonna two days after the Super Bowl - with, supposedly, a LMFAO cameo occurring during her highly anticipated performance on Sunday - and taking on one of the year's biggest songs so far, 'Sexy And I Know It', is pop culture must-see TV if there ever were any. Ricky Martin and Madonna are undeniably two of the most theatrical pop culture mainstays of the last few decades and their collective media super-blitz thanks to Martin's GLEE appearance and Madonna's Super Bowl performance is encapsulated perfectly in Martin's essaying of Madonna's classic caliente pop hit, 'La Isla Bonita'. Both Martin and Madonna can certainly command a stage - and an audience of thousands; or, even, millions, as they shall both prove yet again on Sunday and Tuesday, respectively - so, let's take a look at what we can look forward to from these two entertainment icons as we enter one of the most celebratory weekends of the year. First down!

"I don't want to see the spectacle that is Michael, I want to be the spectacle." And so goes the motto of GLEE giving Michael Jackson his musical due. Much like MJ brought together the worlds or pop and R&B and broke down racial barriers through his music and message, GLEE set the stage by placing our favorite gleeks in a battle with the Warblers - not unlike the Sharks vs. Jets of the recent WEST SIDE STORY tribute. And it was quite a sight to see - and hear. Like the memorable Britney Spears, Lady Gaga and Fleetwood Mac tributes before it, last night's "Michael" episode of GLEE was the realization of a life-long dream for many gleeks in the audience and the epic convergence of two pop culture dynasties. Series creator and show musical sequence mastermind Ryan Murphy penned the episode himself and the razor sharp dialogue was as biting and bizarre as always - in a good way. A very good way. And, the musical numbers? Even better. Filled with fun facts relating to the man in the mirror being honored and with more musical numbers than one could envision even fitting into an hour of network TV with story, too - and what plot developments - once again, GLEE made us remember that this is our very own spot in the entertainment universe, right at corner of Hollywood and Broadway. The joy that standing on that corner can make us all feel through sheer osmosis is transcendentally exciting, and, even more than that, exquisitely exciting. My, oh my - how we have missed thee, GLEE! True, it's only been a few weeks, but Season Three has been so consistently strong as to make each and every episode unmissable thus far and each pause positively interminable. After all, in just the last episode alone we were left with three marriage proposals! No more scattershot scenarios ala Season Two or heavy focus on the adults like Season One, Season Three is all about the cast of characters that comprise New Directions - and, Ma Ma Se, Ma Ma Sa, thank goodness that is the main subject being taught at McKinley High this semester. "Bad" to "Ben" to "Black Or White"; "Wanna Be Startin' Somethin'" and "Smooth Criminal", "Scream" and more, GLEE's MJ tribute was a true OMGLEE moment.