Pat Cerasaro - Page 201

Over the course of the next several weeks, we are going to be taking an extensive look at the sights and sounds both onscreen and onset of the hit TV dramedy series DROP DEAD DIVA - new episodes airing Sunday nights at 9 PM on Lifetime starting this week - featuring exclusive interviews with the leading lady divas and dashing supporting men on the LA-based supernatural legal series. Featuring a memorable collection of musical performances and Broadway guest stars over the years - Paula Abdul, Rosie O‘Donnell, Delta Burke and many more included - DROP DEAD DIVA is the quintessential TV series for Broadway babies looking for some laughs and levity - the latter available in many more ways than one, given the show's heavenly aspirations. DROP DEAD DIVA centers on a legal eagle named Jane whose body acts as the means for the indomitable spirit of a model, Deb, who loses her life, to make a second chance and how the girl inside must learn to adjust to looking like the woman on the outside that she is now. In other words, a model finds out what it means to look like everyone else, in a delightfully quirky twist of fate - and learns to be a lawyer, too. Season Three picks up with the cliffhanger car crash that closed last season in a dark and shocking way. What will Grayson remember of the conversation he had with Jane pre-crash? What will Jane do to save him? What about his engagement (to somebody else)? What will happen back at the office with Teri, Kim and Parker? What about Stacy and Fred? All these questions and many more will most assuredly be answered (or beginning to be answered) come Sunday night! Plus, a musical number featuring LeAnn Rimes! Don't miss it! So, without further ado, kicking off our BRIDGING TV & THEATRE: DROP DEAD DIVA series , here is a concise and charming chat with irrepressible comedienne and comic actress Margaret Cho, who plays the role of legal assistant Teri on the show. Cho is no stranger to the world of television, having starred in ALL-AMERICAN GIRL in the mid-90s on ABC, filming several television comedy specials and recently headlining her own reality TV series, THE MARGARET CHO SHOW.

Bridging the gap between theatre, television and film in a thrilling and revolutionary new way with this week's premiere of STEPHEN SONDHEIM'S COMPANY, in select movie theaters nationwide Wednesday through Saturday (with a return engagement already scheduled for early July), director Lonny Price has introduced Sondheim's seminal concept musical comedy to a whole new generation of gleeks, as well as reverently keep the flame of the fire in the heart, soul and mind of this complex, rich and rewarding show for Broadway babies who already know its genius. Additionally, Neil Patrick Harris, Christina Hendricks, Stephen Colbert, Jon Cryer, Katie Finneran, Aaron Lazar, Martha Plimpton, Patti Lupone and the rest of the cast are absolutely perfect for their roles and bring a live spontaneity and verve to their material - the kind which you usually only see in the very best shows on Broadway - and that sense of timing, precise editing and overall polished presentation style is a sure credit to Price's positively sublime direction of the live stage production with the NY Philharmonic, as well as - and maybe even more so - the movie version of the live show in theaters now. It bursts with energy and, well, aliveness, just like a real Broadway show. Make that: Just like a real Broadway smash hit. Talking all aspects of COMPANY: THE MOVIE while still editing it last month, Price was kind enough to open up about what the rehearsal process was like, filming it live and working with the all-star cast, as well as much, much more - all coming on the heels of last year‘s rapturously received Ellen Krass production of SONDHEIM! THE BIRTHDAY CONCERT, undoubtedly the finest Broadway concert capture of our age. Price discusses his affection for the material and the man behind the music, plus his smashing leading ladies. Plus: what's next? Be sure to stay tuned for the complete InDepth InterView featuring Price's recollections on Sondheim's MERRILY WE ROLL ALONG (and his forthcoming documentary about it), A CLASS ACT, directing DESPERATE HOUSEWIVES and news about the feature film version of Athol Fugard's MASTER HAROLD AND THE BOYS coming later this year - a play which he starred in on Broadway twenty-five years ago. Actor, producer, director and, now, filmmaker - Price can clearly do it all!

Directing the Broadway premieres of entities as diverse as Edward Albee's blisteringly brilliant modern tragedy THE GOAT, OR WHO IS SYLVIA? - as well as Albee's THE PLAY ABOUT THE BABY Off-Broadway; in addition to other notable Off-Broadway credits including the recent revival of Larry Kramer's Pulitzer-prize-winning THE NORMAL HEART starring Raul Esparza - to Arthur Miller's THE RIDE DOWN MT. MORGAN starring Patrick Stewart, Farah Fawcett's troubled star vehicle BOBBI BOLAND, up to this season's hit revival of Alfred Uhry'ss DRIVING MISS DAISY starring James Earl Jones and Vanessa Redgrave and the brand new Shakespeare-In-The-Park production of MEASURE FOR MEASURE - beginning previews at the Delacorte Theater in Central Park this week - director David Esbjornson's work is always vivid, human and compelling. Taking on one of Shakespeare's most problematic plays is merely one of the many challenges for Esbjornson and that has been even further compounded by the intense and sporadic rehearsal nature of playing two new productions simultaneously in repertory, as the Public is doing this season with MEASURE FOR MEASURE along with Daniel Sullivan's ALL'S WELL THAT ENDS WELL - which was featured in this very column last week. Talking about all aspects of this revolutionary new take on MEASURE FOR MEASURE as well as his past work, Esbjornson and I shine a light on the sensitive and moving productions that he has provided the theatre community with in his tenure, foremost of all being this new MEASURE FOR MEASURE.

Having designed the stage sets for the Broadway productions of THE 25th ANNUAL PUTNAM COUNTY SPELLING BEE, LOVEMUSIK, JAY JOHNSON: TWO AND ONLY, SONDHEIM ON SONDHEIM, ROCK OF AGES, and his Tony-nominated work on THE SCOTTSBORO BOYS this season, through his revolutionary and spare designs Beowulf Boritt has positioned himself as one of the most creative and sought-after stage innovators of the twenty-first century. Discussing all aspects of the Off Broadway and Broadway productions of THE SCOTTSBORO BOYS and tracing the progress of the design of the show from inspiration to model to actual set, we also discuss some of his past accomplishments - working with the great directors Hal Prince, James Lapine, SCOTTSBORO's Susan Stroman, and Lynne Taylor-Corbett; the latter his collaborator on THE SEVEN DEADLY SINS with the New York City Ballet last month - and some enticing new productions he is developing and has coming up in the near future - PARADISE FOUND, REEL-TO- REAL, THE TOXIC AVENGER in Houston, THE TEMPEST in Dallas, the ROCK OF AGES tour and West End mounting, THE SCOTTSBORO BOYS in San Diego, and more!

Coming quick on the heels of last month's extensive acting-based discussion in BroadwayWorld's SPOTLIGHT ON THE NY POPS series, today we are again highlighting one of the brightest stars on Broadway and talking about all aspects of her stupendous and multi-faceted new album, ALWAYS - online and in stores next week - and, also, all about her solo concert at The Town Hall this Friday night, what surprises may be in store, and, additionally, what we can possibly expect from her onstage in the near future. BRIDGES OF MADISON COUNTY? FINDING NEVERLAND? What about Encores!? GENTLEMEN PREFER BLONDES? MERRILY WE ROLL ALONG? All are possibilities - just not Bartlett Sher's FUNNY GIRL! One thing is for sure: whatever Kelli O'Hara is doing, Broadway babies will be watching intently! In addition to tomorrow's gig at The Town Hall, Ms. O'Hara will also be a part of a benefit at Le Poisson Rouge on June 7 and featured on the A CAPITOL FOURTH PBS special alongside GLEE star Matt Morrison on July 4.

Today we are listening to one of the most highly-anticipated cast albums of the season, featuring a bona fide Hollywood star at its center - none other than Harry Potter himself, no less - in one of the most celebrated of Golden Age musicals. I am speaking, of course, of the 2010 Broadway revival of HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING starring Daniel Radcliffe alongside Emmy-winner Tammy Blanchard, Tony nominee John Larroquette, and Christopher J. Hanke in the role made famous in the original production by cutup comedian Charles Nelson Reilly. So, just how well does Frank Loesser and Abe Burrows' Pulitzer Prize-winning musical hold up on record nearly fifty years after its inception and original cast album? How does this recording stack up next to the treasured Original Broadway Cast Recording - the flawless Sony Masterworks reissue reviewed in this very column last year included - as well as the film soundtrack and 1995 revival recording? Furthermore - and, the question on everyone's lips; or the ponderousness perched on the extremity of everyone's earlobes - is Mr. Radcliffe more or less than his stalwart predecessor in the role of J. Pierrepont Finch - MAD MEN's Robert Morse - and, how does he measure up to the Tony-winning lead of the Des McAnuff revival from the 90s, Matthew Broderick? Clearly, this HOW TO SUCCEED is its own thing. And how - and, how much! The revival recording of HOW TO SUCCEED is a more-than-filling meal with appetizers, desserts and some more-then-generous 1960s sized cocktails thrown in for good measure - more than measuring up to what has come before, in the process. But, how exactly do you like your food served up? And, your drinks prepared? Many should be more than satiated - this HOW TO SUCCEED certainly succeeds.

Having directed a handful of the most acclaimed performances of the season - among them Al Pacino and Lily Rabe in THE MERCHANT OF VENICE, as well as GOOD PEOPLE'S Frances McDormand- the last thing you would expect Daniel Sullivan to be doing would be taking on one of Shakespeare's most problematic plays - ALL'S WELL THAT ENDS WELL - and putting it on in Central Park; yet, Mr. Sullivan soldiers on.

Today we are talking to the eponymous star of SHELLS herself - Roslyn Hart - in addition to the writer/director of the (mostly) one-woman-show, Nick Chase, that is equal parts 21st century party girl antics, Sandra Bernhard-esque confessionals, songs evocative of Kiki & Herb, and Joan Rivers-style in-your-face humor - all with an ultra-twenty-first century, tongue-in-cheek spin parodying the vacuous personalities of the people on magazine covers today and sending up the excesses of our own society and what we value. Plus, there are some specially selected song choices on display for all to enjoy, as well - ranging from outrageous original material to covers of songs such as Marilyn Manson's 'The Beautiful People' and Janet Jackson's 'If' - and, as a special bonus, performance clips of both those numbers from SHELLS are also available at the end of the article! SHELLS opens tomorrow night at 9:30 PM at Joe's Pub. Tickets are available here.

Today, we are talking to GLEE fan favorite - as Jesse St. James - and theatre superstar - from SPRING AWAKENING on Broadway to DEATHTRAP in the West End - the charismatic and magnetic Jonathan Groff. In this world exclusive interview, Jonathan and I discuss all things GLEE and all about working on the second season of the hit show - and, most importantly, everything about the season finale - with GLEE stars Lea Michele, Cheyenne Jackson, and Charice, in addition to working with Kristin Chenoweth, Idina Menzel and GLEE creator/show-runner Ryan Murphy. Additionally, in this complete conversation, we take a look back at Groff's many stage roles ranging from HAIR and THE BACCHAE in Central Park for the Public Theater, to SPRING AWAKENING on Broadway, DEATHTRAP in the West End, as well as his debut in IN MY LIFE - a show whose composer/lyricist/writer, Joe Brooks, was just in the news following his apparent suicide this weekend. Jonathan and I also touch on his blazing feature film debut in Ang Lee's TAKING WOODSTOCK co-starring Liev Schreiber, as well as his work on the pilot for Ryan Murphy's PRETTY/HANDSOME, co-starring Joseph Fiennes and Blythe Danner, and his participation in the new independent film TWELVE THIRTY. We also take a look ahead to the future and deduce what is next for one of the brightest talents on Broadway - all of that and much, much more!

Legends in their own time, ascending to the top ranks of the Hollywood and Broadway songwriting landscape, Marc Shaiman and Scott Wittman have accomplished and climbed to heights most of what many film fans, Broadway babies and general entertainment junkies only dream of witnessing and ascending to. Marc Shaiman's work with Trey Parker and Matt Stone on SOUTH PARK: BIGGER, LONGER & UNCUT prompted Stephen Sondheim - as he told me himself - to cite it as one of the best musicals of the era. And, it is - as is their Tony-winning Best Musical HAIRSPRAY, based on the film by Pope of Trash John Waters. Featuring John Travolta, Michelle Pfeiffer, Zac Efron, Queen Latifah and an all-around-amazing cast of triple-threats, the stunning Craig Zadan/Neil Meron-produced film version of HAIRSPRAY may be the greatest cinematic Shaiman and/or Wittman accomplishment so far. Then, there is CATCH ME IF YOU CAN - one of the snappiest new scores on Broadway in a strangely strong season of original scores - boasting boss Sinatra blues and sizzling Shirelles riffs and everything else that's swingin' in between. Up next for the team - onstage and off - is a stage adaptation of Roald Dahl's CHARLIE & THE CHOCOLATE FACTORY directed by Oscar-winning director Sam Mendes, in addition to what is perhaps the most exciting prospect on their impossibly cluttered horizon: the new Steven Speilberg/Craig Zadan/Neil Meron musical/comedy/drama series SMASH which has just been picked up for the Fall season on NBC! In this exclusive, extensive and exhaustive conversation we cover it all from HAIRSPRAY to CATCH ME to CHARLIE to all about SMASH and far, far beyond!

With a 2011 Tony nomination for Best Featured Actor In A Play for his magnetic turn in the critically-hailed revival of Larry Kramer's THE NORMAL HEART on Broadway and a leading role on Showtime's THE BIG C co-starring real-life close friend Laura Linney, as well as a busy film career that boats memorable turns in THE REF, ME & MY SHADOWS: LIFE WITH JUDY GARLAND, FLAGS OF OUR FATHERS, the recent remake of THE TAKING OF PELHAM 123 and TRANSFORMERS: REVENGE OF THE FALLEN, John Benjamin Hickey is a very busy man. Nevertheless, he was kind enough to recently take some time out of his beyond busy schedule to talk all about his stage and screen career - including sharing some revealing anecdotes about starring in THE CRUCIBLE with Liam Neeson and Linney, as well as working with the esteemed playwright Arthur Miller himself, in addition to his work in Terrance McNally's LOVE, VALOUR, COMPASSION, Sam Mendes and Rob Marshall's revival of CABARET, and, of course, all about the George C. Wolfe/Joel Grey production of THE NORMAL HEART starring director/actor Joe Mantello that he is participating in now. Plus, we have his thoughts on his recent GOOD WIFE appearance, feelings on the place of political theatre in society today, what roles he would like to take on in the future, his affection for the work of Edward Albee - and much, much more.

Today we are talking to the star of two of the hottest shows of this season - THE MERCHANT OF VENICE and WAR HORSE - none other than the young and talented Seth Numrich. Starring in the new permanent production at Lincoln Center Theater's Vivian Beaumont - the critically hailed National Theatre import of Nick Stafford's WAR HORSE; directed by Marianne Elliot and Tom Morris - is his new gig, but in this extensive conversation we also take a look back at his time spent earlier this year in the rapturously-received Public Theater/Shakespeare In The Park production of William Shakespeare's THE MERCHANT OF VENICE starring Al Pacino and Lily Rabe. Additionally, we discuss his education at Juilliard, working with innovative playwright Charles Mee, his work with the Rising Pheonix Rep., what other Shakespearean roles he would like to take on in the future, his favorite shows currently running, Broadway versus Central Park, and much, much more! Plus, we have the first news about his independent feature film debut, PRIVATE ROMEO, premiering next month.

Today we are talking to one of the brightest lights in the Broadway galaxy who has wowed West End and Broadway audiences alike with her tour de force performances in MISS SAIGON and LES MISERABLES, sold out stadiums the world over with her acclaimed concert appearances - many of them also available on CD and DVD - and, now, Lea Salonga tells us all about her experiences with LES MISERABLES over the years - the star-studded 10th Anniversary Concert Dream Cast performance, to essaying the role of Fantine in the Broadway revival opposite Norm Lewis and Aaron Lazar, among others, to preserving her take on the show‘s most famous song, 'I Dreamed A Dream', and the role of Fantine, for all time in the stunning 25th Anniversary LES MISERABLES: LIVE IN CONCERT, available now on DVD and Blu-ray. In addition to all things LES MIZ, including some fantastic behind-the-scenes stories, Lea and I also discuss her favorite moments in the show, its themes, how she got into the role every night - and, again, anew, for the concert celebration - and the unmistakable power and sweep of the concert as presented in full HD on Blu-Ray. Additionally, we touch on her favorite cast-mates, future roles, preferred performers, current obsessions and, even, a little GLEE - including her cross-Pacific flight with new breakout star Darren Criss. Most importantly, she shares her most pressing political and moral concerns as they pertain to our thorough consideration and discussion of the prescient themes at the core of Victor Hugo's classic tragedy and what message the novel and the show have for audiences today around the world - as well as much, much more! And, just what did Lea think of Anne Hathaway's take on 'On My Own' from LES MIZ at this year's Oscars? The LES MISERABLES: LIVE IN CONCERT DVD and Blu-ray are available now to own and can be purchased here.

Staging one of the theatre's most unique and unclassifiable pieces, Brecht & Weill's THE SEVEN DEADLY SINS for the New York City Ballet, starting May 11 and running through May 16, is just the latest act in a career made up of anomalies, seemingly built upon always attempting to do the impossible - from her Broadway debut, trying to bring balletic bravado to Trevor Nunn's terminally troubled 1988 musical CHESS (a project begun under the guidance of Michael Bennett before his death), up through the trying-but-Tony-winning TITANIC in 1997 and, this century, SWING! starring Ann Hampton Callaway and Laura Benanti and a succession of successful regional ballets and theatre pieces - the gifted and dynamic director/choreographer Lynne Taylor-Corbett continues to challenge herself, her peers and audiences with each of her audacious new endeavors. THE SEVEN DEADLY SINS, starring two-time Tony-winning Broadway legend Patti LuPone as Anna I, is a particularly problematic play - or is it a musical? Or, is it a ballet? A song-spiel? - and in this revealing and engaging discussion, Ms. Taylor-Corbett and I attempt to deduce the themes, analyze the structure and look back at the authors' lives to gain insight into the perplexing America painted by Brecht and Weill in the forty-minute-long theatrical experiment. Also, in this complete conversation, Lynne and I take a look back at her long and varied career and she generously shares her thoughts on where the place of dance is in the twenty-first century, the exhilaration of working with a theatre artist like Patti LuPone, her own inspirations and formative experiences in the theatre, the legacy of Michael Powell and THE RED SHOES, the theatre versus the dance world, her son Shaun's career, and much, much more! Further information on THE SEVEN DEADLY SINS - including tickets - is available here.

Staging one of the theatre's most unique and unclassifiable pieces, Brecht & Weill's THE SEVEN DEADLY SINS for the New York City Ballet, starting May 11 and running through May 16, is just the latest act in a career made up of anomalies, seemingly built upon always attempting to do the impossible - from her Broadway debut, trying to bring balletic bravado to Trevor Nunn's terminally troubled 1988 musical CHESS (a project begun under the guidance of Michael Bennett before his death), up through the trying-but-Tony-winning TITANIC in 1997 and, this century, SWING! starring Ann Hampton Callaway and Laura Benanti and a succession of successful regional ballets and theatre pieces - the gifted and dynamic director/choreographer Lynne Taylor-Corbett continues to challenge herself, her peers and audiences with each of her audacious new endeavors. THE SEVEN DEADLY SINS, starring two-time Tony-winning Broadway legend Patti LuPone as Anna I, is a particularly problematic play - or is it a musical? Or, is it a ballet? A song-spiel? - and in this revealing and engaging discussion, Ms. Taylor-Corbett and I attempt to deduce the themes, analyze the structure and look back at the authors' lives to gain insight into the perplexing America painted by Brecht and Weill in the forty-minute-long theatrical experiment. Also, in this complete conversation, Lynne and I take a look back at her long and varied career and she generously shares her thoughts on where the place of dance is in the twenty-first century, the exhilaration of working with a theatre artist like Patti LuPone, her own inspirations and formative experiences in the theatre, the legacy of Michael Powell and THE RED SHOES, the theatre versus the dance world, her son Shaun's career, and much, much more! Further information on THE SEVEN DEADLY SINS - including tickets - is available here.

In a very short time since his Broadway debut roughly ten years ago, Aaron Lazar has crafted a particularly impressive career consisting of a striking series featured and leading roles in everything from LES MISERABLES and A TALE OF TWO CITIES to THE LIGHT IN THE PIAZZA - and the sensational PBS Live From Lincoln Center telecast of it - to his superb turn as Count Carl Magnus in the recent revival of Stephen Sondheim's A LITTLE NIGHT MUSIC starring Catherine Zeta-Jones and Angela Lansbury to, most recently, Lonny Price's rapturously received presentation of Sondheim's COMPANY: IN CONCERT starring Neil Patrick Harris and Patti LuPone at Lincoln Center - which will soon be seen in 500+ movie theaters nationwide starting in June. In this revealing conversation we discuss all of the aforementioned peformances, as well as what we can expect from the forthcoming Clint Eastwood film J. EDGAR starring Leonardo DiCaprio and Josh Lucas, written by Dustin Lance Black, with Lazar in a featured role, as well as his upcoming dates premiering his new show at Feinstein‘s in June. Before all of that, you can catch Aaron live and in person May 2 at the NY Pops Tribute to Bob Hope, which will also feature performances by Kelli O'Hara, Tom Wopat and many more in addition to a special presentation by Angela Lansbury. More information about the event - and tickets - is available here.

One of the busiest leading men on Broadway since his two-year stint in the smash hit revival of Irving Berlin's ANNIE GET YOUR GUN co-starring Bernadette Peters (and, later, Susan Lucci and Reba McIntire), having appeared in Joe Mantello's highly-lauded revival of David Mamet's Pulitzer Prize-winning GLENGARRY GLEN ROSS and last season's Sondheim musical retrospective SONDHEIM ON SONDHEIM, the original star of DUKES OF HAZZARD himself, Tom Wopat, can currently be seen eight times a week in the jet-set new musical CATCH ME IF YOU CAN by Marc Shaiman and Scott Wittman. In this career-spanning retrospective interview, Wopat and I take a look at his TV work ranging from directing DUKES to co-starring on CYBILL and bring it all the way to today with TAKING CHANCE on HBO and last year's JONAH HEX feature film. We also have news on John Doyle's directorial debut MAIN ST. co-starring Orlando Bloom, Ellen Burstyn and many more, as well as a thorough discussion of his musical side: Sondheim, his recording career, upcoming albums, concerts and more - plus, a complete consideration of his newest Broadway venture CATCH ME IF YOU CAN in anticipation of the NY Pops tribute to Bob Hope that he is co-starring in alongside Kelli O'Hara, Aaron Lazar and many more this Monday, also featuring a special presentation by legendary theatre icon Angela Lansbury. More information - and tickets - are available here.

From her creation of the pivotal roles of Susan in Marvin Hamlisch & Craig Carnelia's simply smashing (if underappreciated) SWEET SMELL OF SUCCESS and Clara in Adam Guettel & Craig Lucas's five-time Tony-winning THE LIGHT IN THE PIAZZA, to her effortless essaying of two of the most beloved female roles in the musical theater canon, opposite two of the biggest leading men on Broadway - THE PAJAMA GAME with Harry Connick, Jr. and SOUTH PACIFIC with Matthew Morrison (and Paulo Szot) - in addition to her work in Frank Wildhorn's JEKYLL & HYDE and DRACULA, Stephen Sondheim's FOLLIES and SUNDAY IN THE PARK WITH GEORGE, along with her stunning studio albums - all of these are just some of the reasons why Kelli O'Hara is in a very special class of performers. In this all-encompassing conversation we discuss all of the aforementioned shows, as well as working with all of her fabulous co-stars and collaborators, and we also take a look at her recording studio work with Harry Connick, Jr. and take a look ahead to her sophomore solo album, ALWAYS which will be released on June 3. Plus, we have first news on her new roles in the musical versions of THE BRIDGES OF MADISON COUNTY, written by Jason Robert Brown, and FINDING NEVERLAND by Scott Frankel. We even have dish on working with Liza Minnelli and shooting SEX & THE CITY 2! This is all coming in anticipation of the tribute to Bob Hope at the NY Pops gala on May 2, which will also feature performances by Tom Wopat and Aaron Lazar - both of whom we will continue our SPOTLIGHT ON NY POPS series with later on this weekend. Don't miss them or a special presentation by theatre legend Angela Lansbury! Further information about the NY POPS event - including tickets - is available here.

Reviews likes hers last week usually only come once in a lifetime and there is no question whatsoever that the brightest new star on Broadway is none other than SISTER ACT's own Patina Miller. She is a superstar of the highest order singing one of the strongest scores on Broadway in years - from the gifted, gilded pen of six-time Oscar-winner Alan Menken. In this extensive, exclusive conversation we discuss her long history with the role, her recent performance in the Encores! staging of Weill's LOST IN THE STARS, as well as her work with Henry Krieger on both his recent musical ROMANTIC POETRY and being a runner-up on the DREAMGIRLS movie when the role of Effie White went to Jennifer Hudson. Additionally, we discuss HAIR, working with Sondheim on BEING ALIVE, her own favorite recent shows, her close friendship with fellow West End/Broadway criss-crosser Jonathan Groff, her soap stint on ALL MY CHILDREN, what her solo album would sound like, and much, much more!

This weekend marks the opening of his new vampire-centric horror film STAKE LAND, and you can catch him every week on FOX's hit series FRINGE, but Michael Cerveris is certainly best known for his series of stunning performances in some of the finest musical theatre productions of the 21st century - John Doyle's SWEENEY TODD and Joe Mantello's ASSASSINS chief among them - as well as for originating the title role in Pete Townshend's singular Broadway foray, The Who's TOMMY. With a captivating new double-disc concept album - NINE LIVES - out now, it seems that Cerveris has found a way to juggle it all. In this extensive two-part conversation, we take a look back at his experiences in the aforementioned Sondheim musicals, as well as his series of performances in Sondheim shows under the direction of Lonny Price at the Ravinia Festival co-starring Audra McDonald and Patti LuPone, and also touch upon his work in plays, such as his recent Kent in Kevin Kline's KING LEAR at The Public, HEDDA GABLER opposite Mary Louise Parker, and Sarah Ruhl's IN THE NEXT ROOM (OR THE VIBRATOR PLAY). Additionally, he shares his Tony memories, singing SWEENEY TODD at the recent SONDHEIM! Celebration, HEDWIG & THE ANGRY INCH, TITANIC and much, much more in this compelling and comprehensive conversation. His new feature film STAKE LAND opens in selected cities this weekend and Part II arrives next week!