Wendi Reichstein - Page 2

Okay ya'll- it's winter finale time. We know a wedding is happening (I think it's safe to say this is the equivalent of Beyoncé and Jay Z's union to NASHVILLE's country world) and, it being the last episode for at least a couple of months, we know a pretty great cliffhanger is coming, as well. The skeptic in me things these two things will be one in the same- anyone else fantasizing about Deacon stopping the wedding?

In a little town known as New York City, on a tiny street known as Broadway, the Roundabout Theatre Company took the 1930's Cole Porter classic Anything Goes and revived it on the Great White Way. Starring Tony Winner (soon to be two time Tony Winner) Sutton Foster as Reno Sweeney, Broadway's sweetheart Laura Osnes in the role of Hope Harcourt, and the legendary Joel Grey as Moonface Martin. The show went on to win the 2011 Tony Award for Best Revival of a Musical, awarded Foster her second Tony, and also took home the prize for Best Choreography before closing in July 2012. Two years later, the award-winning revival hit the road in the U.S. national tour, surprisingly (coming from someone who saw the revival on Broadway) rivaling its New York counterpart.

If there was ever a timeless holiday tradition, specifically in the world of performing arts, it is The Nutcracker ballet. In fact, one of my first memories of the theatre was seeing the Houston Ballet with my mother and grandmother at the age of 8 (and hadn't seen it since). Whether you go for the sparkling costumes, the familiar music, the festive atmosphere, or the lovable story- most patrons of this ballet favorite have a story to tell or a memory to share, and Ballet Austin did a spectacular job of keeping that memory alive.

It's Christmas in NASHVILLE and slowly but surely- in true holiday spirit- everyone is getting back together (and I mean that only semi-literally). Juliette and Avery are at doctor's appointments together, albeit uncomfortably; Gunnar, Avery, and Zoey's band is reuniting, again, albeit uncomfortably; Will and Layla are adapting to life as spectacle reality stars, a situation that is surprisingly bonding them in a likable way (for once), and Rayna, finally getting a breath of fresh air before the wedding craziness, comes face to face with an inaccurate (in true paparazzi fashion) Rolling Stone feature about her and Deacon. Merry Christmas, y'all.

It's the day of the show y'all! Nearly two minutes in we're greeted with pre-show jitters, emotional flashbacks, glitz, glamour, and a lingering prenuptial agreement. Despite the nerves, unasked questions, and shaky confidences of our favorite characters, even a fictional Country Music Awards is a thrill. Especially because they include real-life country stars like Brad Paisley and Carrie Underwood.

While NASHVILLE's writers have been described (by me) as leaning on the cliché side, having a flair for the dramatic, and trying to multitask too much at once, at the start of this episode they've gotten it right. The quick, influential one-liners that pretty much perfectly depict where our favorite characters are right now lead the episode- starting with a stubborn Avery and Juliette.

If you follow the theatre scene of Austin, Texas at all, then you've most likely seen or heard something related to Dirty Dancing the Musical at Bass Concert Hall. The signage, the posters, the advertisements, even the ticket listings bill the production as a musical. As a part of Lexus' Broadway in Austin, it isn't far-fetched to assume the production, much like Legally Blonde the Musical or Once, is a musical version of the popular film. Which is why, after seeing the production's Austin opening, I took myself back to the internet to scour the details of the show.

Another year, another round of Country Music Awards, and a pretty accurate standing of how our favorite NASHVILLE characters are doing 6 episodes in. 6 inevitable nominations for superstar Rayna James- even more of a milestone since the launch of Highway 65. 5 nominations for her country icon Luke Wheeler- expected. The notion that the combined eleven nominations are only the result of the world-famous engagement sending Rayna into the doubt and turmoil we've seen for the past few episodes? Also expected. A nomination for the emerging Sadie Stone (ahem, otherwise known as our favorite Broadway star turned country queen Laura Benanti), who just signed to Highway 65 and has the most adorable gal-pal friendship with Rayna, a nomination for Will Lexington, whose not-so-stoked wife Layla Grant watches in (obvious) envy, and not a one nominations for the infamous Juliette Barnes. Sounds about right, no?

On any decently written drama, there's always that one character that you absolutely hate, but at the same time want them to stay on the show due to all of the engaging, crazy, can't-look-away drama they cause. On THE OC, it was Oliver. On GOSSIP GIRL, it was Georgina. And on NASHVILLE, it's Jeff Fordham. Not only is he about to attempt to sign Maddie and Daphne to his label- without Rayna's knowledge nor permission, but he's right on the heels of Will's alleged affair with his 'trainer,' and cockily shoving a non-disclosure agreement in his face. You want to punch Jeff in the face (along with several of the characters on the show), but at the same time, he is driving so much conflict that without him you wouldn't be half as interested. And that, fellow Nashies, is what you call superb acting on top of excellent writing.

At the beginning of the NASHVILLE episode we're left with a lot of questions (though I'm sure I say this every week…it being a high-intensity drama, and all). Gunnar and Scarlett have some sexual-tension-filled-quasi-romance going on, that Zoe is slowly but surely becoming more aware and jealous of, Avery is seconds away from an obvious alcohol binge-turned-addiction, Juliette is in search of an adoption agency, and Jeff Fordham shows up at Maddie and Daphne's school with a questionable $25,000 donation and a silent auction bid to golf with the mayor. The only question we don't have is whether we will see Ms. Broadway Baby Laura Benanti (Rayna's request to meet with Sadie Stone in the first scene of the evening solidifies this…thank goodness!).

Ruke or Layna? Country's newest power couple is all Nashville is talking about. While Luke is soaking up the spotlight and scheduling wedding dates in between world tours and press appearances, the (god awful) celebrity nickname is the least of Rayna's worries. Always one for family over fame, her apprehension is palpable, as is Maddie's. The romantic in me hopes their anxiety stems from the same source- Deacon. The Nashville fan in me knows we won't know the answer any time soon. But as the November date is set, and the wheels start turning, we can all see it's only a matter of time before something breaks Rayna.

While I'm always excited for 9:00 PM on Wednesdays to roll around, tonight was particularly exciting for this self-proclaimed Broadway fanatic- and unless you've been loving under a rock these past few weeks, it's not hard to guess why. Broadway royalty, otherwise known as Tony winner Ms. Laura Benanti (who is also a fan of the show, I may add), officially made her long-awaited appearance on NASHVILLE (alongside Broadway veteran and seasoned cast member Will Chase), which begs the question, “Is there anything she can't do?” Apparently not.

In true soap-opera drama fashion, NASHVILLE gives us a peek of a very intense near future before rewinding us back about 12 hours. In this sneak peek, we're greeted with an indecisive Rayna, Juliette having a meltdown Britney Spears style (haircut and all), a very confused, trying-to-hide-the-truth-that-her-husband-just-came-out-to-her Layla, and a very angry Luke Wheeler who, after unexpectedly punching Deacon in the face, exclaiming “Why can't you just let her be happy?” To which Deacon responds, “Why can't you?” And thus begins Season 3 of NASHVILLE Half a day earlier, we begin to taxing, but nonetheless exciting task, of putting the pieces together. Scarlett is headed out of NASHVILLE, Juliette is begging for Avery's forgiveness, and Will and Layla are trying, albeit poorly, to continue their charade.

"I really, really miss high school theatre." This was the first thought I had as I entered, sat and watched, and exited McCallum Fine Arts Academy' production of The Producers. Because I first-handedly know how much work- and how much fun- it is to spend countless hours rehearsing (need to interject that these dedicated students spent their summer rehearsing for this show), running the show countless times, and making several costume and set changes, showstopping numbers, and putting on a beloved Broadway musical on their high school stage look easy. And MacTheatre pulled it off.

While it feels like an eternity since we last heard those words, fortunately, they will grace our television screens yet again in less than one month. On one hand, this talent-filled, multi-faceted show returning to Pprimetime feels like a front row seat at a Rayna James concert (which, literally, happens to be the very first episode- get ready for a live broadcast of our favorite Nashville singers). On the other hand, it's been so long since the season 2 finale that we're a bit hazy on everything that went down. Before Nashville attempts to catch you up in its cliché pre-show 30 seconds, allow me to step in and review.

Tradition. The world in itself embodies the theme of the well-known and beloved musical Fiddler on the Roof. For over half a century now, the timeless tale of Teyve, a loveable yet customary man raising five daughters in 19th century Russia, has touched a plethora of audiences, ranging in age, faith, and beliefs. As far as old-fashioned musical theater goes, Fiddler reaps tradition in every which way. From its hummable, fun-loving numbers, to its relatable characters and relationships, Fiddler on the Roof encompasses known tradition, both within the script and upon the stage.

As a self-proclaimed theatre nerd, I have a bit of an embarrassing confession: I have never seen Chicago on stage. I've belted the soundtrack, seen the movie countless times, and even walked past the Ambassador Theater on Broadway (that counts-right?). But I had not yet seen this musical favorite live, until Wednesday night at the opening of Summer Stock Austin's Chicago. And yes, was it all that and a side of jazz.

While riding along the freeway, drivers are often faced with the oxymoron of a car wreck on the side of the road. Though it is often gruesome and inappropriate to stare, it is equally as challenging to look away. No matter how shocking or repugnant, your eyes are glued to the scene, both attempting to understand what has just happened, and seeing what will happen next. Such was my experience at the Salvage Vanguard Theatre, watching the regional premiere of Silence! The Musical. Did I love it? No. But despite its raunchy lyrics and eye roll-worthy dialogue, its redeeming music and talented ensemble kept me in my seat for nearly an hour and a half.