Pat Cerasaro - Page 197

Today we have a super-special triple-focus Flash Friday dedicated not only to two of the top-tier talents in the entertainment history ever - Judy Garland and Michael Crawford - but, also, to the ever-lasting entity through which they are now, forever, inextricably linked - THE WIZARD OF OZ. Of course, Judy Garland famously starred in the original 1939 film adaptation of the L. Frank Baum children's classic, but, just this past year, Andrew Lloyd Webber, Tim Rice and Jeremy Sams adapted the classic film for the stage to much success and added a number of significant new songs to the Harold Arlen/E.Y. Harburg score. Be sure to catch my exclusive InDepth InterView with Michael Crawford that went live earlier this evening to read all about the new stage spectacular, as well as his affection for Judy Garland in the original film and some of his own favorite Christmas and holiday songs. Additionally, next Tuesday GLEE will be paying tribute to Judy Garland in the form of a mid-1960s-style TV Christmas special homage, so now is certainly as good a time as any to look back at the unparalleled performance of Garland in THE WIZARD OF OZ - for which she won a juvenile Academy Award - as well as her 1963 Christmas special which featured guest performances by Mel Torme, Liza Minnelli and more! So, make this a truly Mikey & Judy holiday season - as opposed to Mickey & Judy one - with this spotlight on Michael Crawford and Judy Garland and both their OZ-ian and Christmas connections - and a GLEE-ful surprise or two, too. After all, 'tis the season!

If only for originating the title role in the longest-running and most successful musical in world history - THE PHANTOM OF THE OPERA - which is merely one of the many impossibly impressive moments in a fifty-year career that truly defies description - Michael Crawford is known and loved the world over. From the Broadway and West End stage to the concert stage; the recording studio to the movie studio; performing everywhere imaginable - he has conquered it all. In a resume-spanning conversation that takes us from Broadway to Hollywood and to the stage of the London Palladium where he is now starring as the eponymous WIZARD OF OZ in Andrew Lloyd Webber's new theatrical adaptation of the classic film, Crawford and I take a look back at his many notable stage roles - among them, BILLY, BARNUM, DANCE OF THE VAMPIRES and, most recently, Andrew Lloyd Webber's THE WOMAN IN WHITE - and he also generously shares stories and recollections of the esteemed figures he has collaborated with over the years, including Barbra Streisand, John Lennon, Oliver Reed, David Foster, Stephen Sondheim, Hal Prince, Sarah Brightman and many more! Additionally, Crawford shares his insightful opinions on the state of theatre today and how it has changed over the course of his decades spent in show business, as well as looks ahead to returning to the concert stage following his departure from THE WIZARD OF OZ in the West End in February. So, catch Crawford while you can - and your little dog, too!

The long-awaited return of Trouty Mouth himself - Chord Overstreet; singing Toby Keith's "Red Solo Cup", no less - was only the beginning of the big moves and even bigger events of last night's epic GLEE "Sectionals" episode. Yes, this year's sectionals competition certainly spelled a vast departure from less successful years' past and seeing and hearing New Directions taking on the vaunted catalog of Michael Jackson was the convergence of two true blue pop culture institutions coming together and making musical magic at long, long last - from "ABC" to "Man In The Mirror". Michael's sister Janet got her hotly anticipated GLEE treatment, as well, in the form of a syncopated and spirited "Control", during the stylishly executed Jackson tribute sequence. For the Broadway babies amongst the gleeks, we also were treated to an EVITA homage from Ohio's rival glee group, the Unitards, led by GLEE PROJECT's Lindsay Pearce. In addition to Finn and Rachel's discovery of White Chocolate (aka Sam) making ends meet as a stripper - as well as their subsequent reclaiming of him back to McKinley High and to the ranks of New Directions - "Sectionals" proved to be a strong and satisfying end to the journey of Season Three: Part 1 and next week's Christmas episode seems poised to provide ample entertainment value over the rushed tying up of loose dramatic ends as the series prepares to go on a brief hiatus until February. "Sectionals" displayed the continued rise to prominence - musical, dramatic and otherwise - of some featured players to the top of the star ranks and afforded Chord Overstreet and Darren Criss in particular with some delectable dramatic and musical moments - providing a distinct parallel to off-stage/off-show realities; Criss having become the biggest GLEE breakout star of all in a very short span of time - with Harry Shum, Jr. and Jenna Ushkowitz given solo moments to shine, as well. So, too, did Dianna Agron get her dramatic due at long last and her bumpy and grumpy story arc for Season 3 seems to be finding its footing and justification in the overall themes of the consistently strong season - her particularly well-delivered and delicately measured scene with Idina Menzel's Shelby (the adoptive mother to Quinn and Puck's baby, Beth) being a dramatic highlight of the season so far. So, too, was Finn and Blaine's scene in the gym an understated and sensitive reading of this episode's particularly smart and sharp script. Lea Michele continues to get short shrift in the musical department, but her leading of Fun.'s "We Are Young" was a welcome reminder of her golden instrument. So, while there were definitely many dramatic moments to remember in "Sectionals", the music - as always and forever - was the central delight and the payoff of the pairing of GLEE and the music of Michael Jackson (and Janet) was generally well worth the wait.

The premiere of a new Lady Gaga music video is always a cause celebre for entertainment lovers of any sort, but earlier today Gaga gave us a truly theatrical - and totally, wildly, adorably surreal - early Christmas treat of epic proportions in the form of the short film "Marry The Night". Part TOMMY, part David Lynch-ian fever dream, part throwback music video, with the rest unmistakably, unquestionably and undoubtedly all Gaga. Directed by Gaga herself, the "Marry The Night" music video puts into question the term itself - much like Kanye West's exquisite mini-movie musical treatment of eight of his songs from his Grammy-nominated opus MY BEATIFUL DARK TWISTED FANTASY in the form of the "Runaway" short film/music video from late last year - and, now, once again, Gaga has redefined not only the genre she is working in, but the entire music and theatre game itself. Daring, edgy, avant garde and more bizarre than anything you are likely to see at any multiplex this weekend - let alone on sweet, safe Broadway - the "Marry The Night" film is nothing short of Gaga firing on all axels - in this case, literally - and setting the stage afire with her fierce, determined conviction to following her own oh-so-idiosyncratic vision through to its ultimate - and oft-ugly; and, just as often, gorgeous - end. Actually, ends are what this video is about in many ways - from asses to hosannas. This isn't your mama's music video - or Madonna's, either (a trait which has been ascribed to Gaga videos past) - but what it is is the most over-the-top theatrical and unabashedly excessive - and best - music-related film of the year. Just don't call it a music video.

Last night, I spoke to two-time Tony-winner Katie Finneran all about her new Fox sitcom I HATE MY TEENAGE DAUGHTER, co-starring Jaime Pressly, which premiered yesterday at 9:30 PM. Additionally, Finneran and I discuss her recent role in the terrific live performance film adaptation of Stephen Sondheim's COMPANY, co-starring Neil Patrick Harris and Patti LuPone, and we also take a look back at her two Tony-winning Broadway roles from earlier this decade - the lauded Jeremy Sams revival of the comedy NOISES OFF, as well as Rob Ashford's revival of the Burt Bacharach/Hal David/Neil Simon PROMISES, PROMISES. Also, Finneran describes the feeling of reaching a career peak such as she has achieved this year - a new Tony Award, the COMPANY film and headlining a sitcom of her own - and also relates how her role as a new mom has influenced her participation on the battle-of-the-generations comedy. All of that - plus, reminiscences of working on DAMAGES, OZ, roles she would like to play in the future (Dolly, Mame and The Baker's Wife included) and much, much more!

Having already broken down barriers in Season Three insofar as the depiction of gay teenage romance in concerned, last night on GLEE Ryan Murphy and company addressed lesbianism and its similarly taboo place in society - both in school and out. Brave and daring, GLEE's "I Kissed A Girl" episode surely opened up the doors to closets and more open conversations pertaining to human sexuality, yet it also painted a complex and all-too-real picture of the challenges facing teens of any and all sexual persuasions and how challenging it really is to be a teenager at the edge of seventeen in 2011. On the musical side, last night's show boasted an eclectic assortment of Sapphic-themed songs to go along with the dramatic content, such as Dolly Parton's "Jolene", Melissa Etheridge's "I'm The Only One", KD Lang's "Constant Craving" and Katy Perry's recent hit "I Kissed A Girl". With Pink's "F-ing Perfect" given the duet treatment courtesy of Kurt and Blaine and a stripped-down, male-sung version of Cyndi Lauper's "Girls Just Wanna Have Fun" rounding out the seriously stupendous songstack, it was a night to remember for many more reasons than merely oh-so-fabulously spilled slushies and touching coming out stories - the music really, truly acted as an elemental ingredient; even more than usual. So, too, did Naya Rivera's seriously fine acting throughout make her turn as Santana this season a truly Golden Globe and Emmy-worthy performance - not unlike how Kurt's complex coming out story rightfully acted as award bait for Chris Colfer in seasons past. So, for all of that - and to recount the stunning "Constant Craving" and all of the rest of the superb musical sequences; as well as all about Rachel's surprising expulsion from McKinley High right when Sectionals are quickly approaching - read on.

Having composed the musical scores for some of the biggest films of the century so far, Alexandre Desplat has displayed an uncanny ability to tap into the thoughts, emotions and even the very dramatic themes inherent in properties as diverse as - just to use his most recent projects as examples - TWILIGHT: NEW MOON, HARRY POTTER & THE DEATHLY HALLOWS, Roman Polanski's THE GHOST WRITER and CARNAGE, Stephen Daldry's upcoming EXTREMELY LOUD AND INCREDIBLY CLOSE, George Clooney's THE IDES OF MARCH (another stage-to-screen adaptation like CARNAGE), Terrence Malick's THE TREE OF LIFE, as well as the main theme for MY WEEK WITH MARILYN - performed on the soundtrack by noted pianist Lang Lang. Discussing all aspects of his compositional process as well as outlining his interactions with the respective directors of each entity - his ongoing collaboration with Roman Polanski, first and foremost - Desplat and I delve into the delicate art of film composing and how he has achieved such great success and international acclaim for his incredibly impressive work on a heady list of projects in a relatively short period of time - last year's Best Picture Oscar-winner THE KING'S SPEECH included. Desplat and I also touch on some of his own favorite film composers and he shares his opinions on Broadway and Hollywood music icons such as Bernstein, Sondheim, Cole Porter, Michel Legrand, fellow Modern Music Master Mark Isham and also sheds some light on his plans for the future - and much, much more!

Today, BroadwayWorld is extremely proud to present an extensive conversation with the modern master of the musical theatre himself, Stephen Sondheim, all about the incredibly revealing and thoroughly riveting second volume of his complete collected (and annotated) lyrics (covering 1981-2011) - following last year's superlative FINISHING THE HAT - titled LOOK, I MADE A HAT. With ample insights pertaining to the Pulitzer Prize-winning SUNDAY IN THE PARK WITH GEORGE, INTO THE WOODS, ROAD SHOW, THE FROGS and many more, Sondheim and I also discuss some of his Hollywood endeavors - the proposed film adaptation of INTO THE WOODS, as well as the never-produced SINGING OUT LOUD and his Oscar-winning work for Warren Beatty's DICK TRACY - and his affection for - and process of adapting (in the case of WEST SIDE STORY, the CYMBELINE setting in THE FROGS and his recent scoring of the Public Theatre's production of KING LEAR starring Kevin Kline) - the works of William Shakespeare. Additionally, we discuss the upcoming Encores! revival of MERRILY WE ROLL ALONG starring Lin-Manuel Miranda, the currently-running revival of FOLLIES starring Bernadette Peters (as well as its brand new cast album), the West End transfer of the Michael Ball/Imelda Staunton-led SWEENEY TODD in the UK and much, much more!

Modern-day master of musical theatre Stephen Sondheim is about to release the second book of his complete collected lyrics - covering mostly everything written in the last three decades and in this one so far - titled after a line from what may very well be his ultimate masterpiece, the Pulitzer Prize-winning SUNDAY IN THE PARK WITH GEORGE - LOOK, I MADE A HAT; Collected Lyrics (1981-2011) with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany. So, today, we are going to be taking a look at a litany of the finest moments from Sondheim's post-SWEENEY TODD musicals that are highlighted in LOOK, I MADE A HAT and perhaps discover a few of the many reasons why Sondheim's musicals - whether late-period or early on- are the best of the best Broadway has to offer - now or ever. And, what an absolutely mind-blowing list it is - and what a masterpiece of a book!

Noted thespian and master theatre and film director Kenneth Branagh has found himself at a career peak in 2011, excelling in both entertainment arenas with his striking, visionary blockbuster THOR being one of the year's biggest hits as well as his simply incredible portrayal of Laurence Olivier in the new film MY WEEK WITH MARILYN generating considerable Oscar buzz. Sharing his cordial and candid insights on a number of topics ranging from his beginnings in Shakespeare to his directing and acting in a string of Shakespearean stage plays and films - his iconic films of HENRY V and HAMLET among them - Branagh also illustrates his impressions of fellow acting titans such as Sir Anthony Hopkins, Sir John Gielgud, Ralph Fiennes, Dame Judi Dench, Simon Callow and many more. Plus, he shares his deep affection for the most famous musical theatre Shakespeare adaptation of all time - the classic WEST SIDE STORY; based on ROMEO & JULIET - as well as his love of the work of Stephen Sondheim as a composer/lyricist in his own right. Plus, news on his desire to do Broadway in the future, as well as all about Branagh's new lead role in the Belfast-to-West End transfer of THE PAINKILLER - and much, much more!

The fine art of the mash-up has been a hallowed tradition that has been explored to a significant extent on GLEE since the very beginning, so a night filled with only such two-stack tracks would seem to be the ideal way to celebrate the show's 300th musical performance to date, which came in last night's "Mash-Off" episode. The mash-ups blasted off in a grand manner and the carefully-constructed couplings were often quite brilliant twists on the sounds of the original singles - the spectacular 300th performance showcase of Adele's "Rumor Has It' and "Someone Like You" acting as the musical apotheosis of the evening. Mixing disparate elements from the incredibly diverse musical catalogs of Adele, Lady Gaga, Hall & Oates, Pat Benatar, Blondie, Van Halen, Eddie Rabbit and Crystal Gayle, "Mash-Off" managed to shine a light on the couples singing the musical mergings, as well as provide the high entertainment value implicit in any episode so far on the resoundingly strong third season of GLEE.

WEST SIDE STORY is definitely back in a big way - in the last two weeks alone it has had its very own tribute episode on GLEE featuring four of the show's most famous songs, and, also, Fathom re-released the new HD remastering of the film in movie theaters nationwide for a one-night-only showing - so, given its 50th anniversary, the time has definitely come to pay tribute to one of the finest American movie musicals ever manufactured, which itself was based on one of the most innovative, controversial and progressive Broadway shows in history. From 'A Boy Like That' to 'Tonight' to 'Somewhere' and beyond, this is a score that has enraptured two or three entire generations - with very, very good reason; these songs are simply musical and lyrical magic. Truly, this is as good as musical theatre gets, and, furthermore, the 1960 film version by Jerome Robbins and Robert Wise is just as good. The combination of the two? Transcendent. No, never before has WEST SIDE STORY presented the power, potency, prescience and put forth the plosive overall 'pow!' to the system - heart, mind and body - than it does, here, now, on the absolutely sensational new 3-disc 50th Anniversary Blu-ray edition, which will be released on Tuesday. I was lucky enough to get a copy early and I was simply blown away in every single imaginable way. A red, hot and blue all-American movie masterpiece given its full, magnificent, ecstatic due on Blu-ray. Be prepared to be blown away. Bam!

Two tremendous Tony-winning triple-threats make a grand return to the town that made them household names over thirty years ago in EVITA and set up show shop for two months - yes, Patti LuPone and Mandy Patinkin are back on Broadway with their new double-showcase concert spectacular, AN EVENING WITH PATTI LUPONE AND MANDY PATINKIN. In honor of these two theatrical heavyweights returning to the Broadway concert stage in this new special limited engagement beginning November 16, today we are shining a bright spotlight on some of Patti and Mandy's most beloved and most electrifying moments in their exceptional careers on stages and on screens large and small - EVITA being the white-hot beginnings of it all. EVITA opened on Broadway back in 1979 under the expert and assured direction of theatrical icon Hal Prince and went on to win 7 Tony Awards, including top honors for LuPone, Patinkin, Prince and the show's authors - Andrew Lloyd Webber and Tim Rice (the latter of whom won two) - as well as Best Musical. So, with moments from LES MISERABLES, SUNDAY IN THE PARK WITH GEORGE, GYPSY, THE WILD PARTY and much, much more - in addition to some clips from their concert appearances of more recent vintage, such as when they both appeared in the thrilling SONDHEIM! THE BIRTHDAY CONCERT - today's countdown is sure to perfectly set the stage for the incredible virtuosity to be expected from these titanic talents come Wednesday's first preview (with the show itself running through the holidays until January 13) at the Ethel Barrymore Theater.

Today we are talking to one of the brightest stars on Broadway whose career has virtually exploded over the last few years with recurring roles on Fox's hit musical dramedy series GLEE, as well as NBC's multi-award-winning 30 ROCK - in addition to his newly minted classic character in the canon of unforgettable personalities on Larry David's HBO series CURB YOUR ENTHUSIASM - the astonishingly gifted Cheyenne Jackson. Talking all about his Broadway roots and starring in musicals such as XANADU, FINIAN'S RAINBOW, ALL SHOOK UP and more, Jackson and I also discuss some of his favorite performers and co-stars and he shares fond remembrances of musicals and appearances past, as well as looks ahead to what he would like to do in the future, both near and far. Jackson also reveals what the next few months hold - the early 2012 return of 30 ROCK; the release of his new film THE GREEN - and describes what audiences can expect from his 50s and 60s-themed Carnegie Hall concert on November 18, CHEYENNE JACKSON'S COCKTAIL HOUR: MUSIC OF THE MAD MEN ERA. Plus, first news on his self-penned solo album with collaborator/muse Sia, as well as his upcoming film appearances - and much, much more!

The potential prospect of the entertainment behemoth known as GLEE taking on perhaps the finest American musical ever written - WEST SIDE STORY - is enough to make any Broadway baby near-exultant, yet when the songs of the classic Bernstein/Sondheim score then are allowed to act as all-too-apt musical commentary on risque dramatic content in the highly controversial episode itself - all-too-appropriately named "The First Time" - a cataclysmic consequence can almost be counted on to inevitably arise. And, it did. Again. And again. And again - all night long. While it may have very well been Kurt, Rachel and Blaine's first roll in the hay, it would be akin to searching for a needle in a haystack to find much - if any - fault whatsoever with GLEE's button-pushing and excellently played tribute to Tony and Maria. Given what resulted from the doomed coupling of those Shakespeareans - Tony and Maria being more modern-day answers to Romeo and Juliet, of course - the ire of all the up-in-arms conservative helicopter parents in the country - and Capulets and Montagues, too, for that matter - could not even dare to try and contain the joy, excitement and sheer pleasure of what is undoubtedly one of GLEE's finest hours to date. There was a message or two to be learned, too. Yes, indeed, GLEE taking on WEST SIDE STORY went all the way - and then some. So, whether you are a Jet or Shark, you must be compelled to give it up for GLEE and its ode to WEST SIDE STORY.

Today we are talking to a Broadway stalwart with a string of hit shows on his resume - CATS, A CHORUS LINE, JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, THE WHO'S TOMMY, CHICAGO and more included - as well as hit solo albums of his own, such as his new release CHANGE BEGINS WITH ME; the one and only Matt Zarley. He also shares all about the shoot for the three music videos for the songs on his new dance album - "WTF" and "Forgive Me" included. Additionally, he shares his thoughts on Broadway now versus when he started out in the late-80s, Gillian Lynne versus Michael Bennett, as well as opinions on GLEE, his own favorite shows and scores, co-stars' careers and much, much more!

Today we are going to continue our ongoing interview series focusing on composers whose work transcends merely one medium with this highly-lauded and respected film and television composer known for over 100 film scores in his thirty year career - such as his Academy Award-nominated work on CRASH; as well as this year's WARRIOR starring Tom Hardy, in theaters now - the immensely talented Mark Isham! Detailing the challenge of scoring each and every episode of ABC's hit new fairytale-themed series ONCE UPON A TIME and what it is like bringing the magical Disney wonderland of the show to musical life every week - as well as some hints of what we can expect in future episodes - we also look back at many of his most notable collaborations over his accomplished career, many with some of the finest theatre and film directors of our age - Sidney Lumet, Robert Altman and David Mamet included. Additionally, Isham shares insights into the work of fellow composers soon to be featured in this column - such as Alexandre Desplat and Alan Menken - as well as what we can look forward to from him in the future, near and far - on screens, both small and large! Plus - much, much more!

Fiercely idiosyncratic and refreshingly impassioned, actress and performance artist Roslyn Hart is entirely her own entity unto herself - and with this year's previous hit solo show, SHELLS, and, now, next week's NEVER SLEEP ALONE, she is carving out a distinctively hip and edgy corner of the new 21st century theatre world as she takes her unique one-woman-shows around the world - and, always, back to New York. Talking all aspects of her new dating seminar-style spoof show, NEVER SLEEP ALONE, as well as its origins and inspirations - an engagement that defies description and which arrives with ample audience participation opportunities; as Hart is wont to offer so that all involved may relish her uproarious responses - Hart and I delve into the deep, dark depths of the dating pool in 2011 and discuss the finer aspects of the densely detailed characters she creates in her solo spotlight shows, new and old. Additionally, Hart also shares exciting news about SHELLS being developed into a television comedy, as well as her experience appearing earlier this year on HBO's BORED TO DEATH. Plus, what audiences can expect from NEVER SLEEP ALONE and the future appearances she may make as her freshly-born alter-ego, sexual psychologist and music therapist Dr. Alex Schiller - and much, much more!

Today we are talking to the songwriter responsible for the new collection of songs culled from his many musical theatre ventures, both new and old - oh-so-appropriately titled OUT OF CONTEXT - who perhaps is best known to Broadway babies as the composer/lyricist of the mid-00s Off-Broadway smash boy-band spoof musical ALTAR BOYZ - the versatile and fiercely committed Michael Patrick Walker. Talking all aspects of OUT OF CONTEXT - including working with the tremendous talent featured on the multi-faceted and highly entertaining album (many of whom are also InDepth InterView participants themselves), such as Cheyenne Jackson, Kelli O'Hara, Lisa Howard and many more - as well as describing the shows from whence these songs derived (such as THE DISTANT BELLS, which recently was work-shopped starring Chita Rivera and Ana Gasteyer, among others) Walker and I attempt to paint a picture of the career of a rising star composer such as himself and what we can look forward to from him in the future, near and far - and, of course, what is in the ether for the release party performance concert at Birdland on Monday night featuring Ann Harada, Lauren Kennedy, Peter Friedman, Kenita Miller, John Tartaglia, Julie Foldesi, Noah Galvin, Andy Karl, Tyler Maynard, Andy Mientus, Jim Stanek and Betsy Wolfe. Additionally, he shares his experiences working on screen-to-stage adaptations of KINKY BOOTS and SOAPDISH, as well as shares news of his upcoming musical with Rick Ellis of JERSEY BOYS fame and the Rockettes musical number that will be premiering this season at the annual Radio City Music Hall Christmas spectacular. Plus, we also discuss his compositional and lyrical inspirations, favorite scores and composers, thoughts on GLEE and much, much more!

Pioneer, innovator and the voice of an entire new musical theatre generation coming in the dawning of the age of GLEE, Tony Award recipient and Grammy-winning composer, lyricist and performer Lin-Manuel Miranda has merged the worlds of the two most significant of original American art forms - musicals and rap - in such a striking and surprisingly inventive way with his hit musical IN THE HEIGHTS - currently touring the country - and is setting out to do the same with his fresh collaboration with Pulitzer Prize-winning NEXT TO NORMAL composer Tom Kitt on their new musical BRING IT ON!, currently in previews out of town in Los Angeles as it eyes New York. In addition to discussing the development of IN THE HEIGHTS and BRING IT ON! in detail, Miranda and I also outline his experience working alongside the two modern-day masters of the musical theatre - Stephen Sondheim and the recently deceased Arthur Laurents - on the Spanish translation and new lyrics for the recent bilingual revival of WEST SIDE STORY - in addition to his forthcoming ALEXANDER HAMILTON project, which Miranda recently performed a medley from for President Obama himself at the White House Poetry Jam. As if all of that were not enough, we also delve into his thought process as he sets out to take on one of Sondheim's most challenging roles in all of musical theatre - that of Charley Kringas in MERRILY WE ROLL ALONG at Encores!, under the direction of James Lapine. Plus, news on his new feature film THE ODD LIFE OF TIMOTHY GREEN, as well as recollections of his fondest Broadway shows, scores, cast albums, movie musicals and general musical and theatrical inspirations - and his favorite Shakespeare plays, too - as well as much, much more!