Duncan Robert Edwards
Latest News on Duncan Robert Edwards:
XANADU Tour Announces Additional Casting and Dates - Boston, Baltimore, Detroit, Cincinnati, and More! (Aug 8, 2019)
Tony-Winning FUN HOME Opens July 5th in Weston (Jun 26, 2018)
BWW Reviews: There's Something About CATS at the Cadillac Palace Theatre (May 2, 2012)
XANADU Tour Announces Additional Casting and Dates - Boston, Baltimore, Detroit, Cincinnati, and More! (Aug 8, 2019)
Tony-Winning FUN HOME Opens July 5th in Weston (Jun 26, 2018)
BWW Reviews: There's Something About CATS at the Cadillac Palace Theatre (May 2, 2012)
Productions
Awards and Nominations
Drama Desk Awards - 2007 - Outstanding Sound Design
Duncan Robert Edwards, LoveMusik
Videos
News
XANADU Tour Announces Additional Casting and Dates - Boston, Baltimore, Detroit, Cincinnati, and More!
Complete casting and select tour dates have been announced for the National Tour of the Tony Award-nominated roller-skating smash hit musical XANADU, starring previously announced 'RuPaul's Drag Race' season five winner, Jinkx Monsoon (Calliope), and season seven finalist, Ginger Minj (Melpomene).
Complete casting and select tour dates have been announced for the National Tour of the Tony Award-nominated roller-skating smash hit musical XANADU, starring previously announced 'RuPaul's Drag Race' season five winner, Jinkx Monsoon (Calliope), and season seven finalist, Ginger Minj (Melpomene).
Tony-Winning FUN HOME Opens July 5th in Weston
The Weston Playhouse Theatre is thrilled to present the five-time Tony Award-winning musical Fun Home to its new flexible 140-seat Second Stage, Weston Playhouse at Walker Farm. Refreshingly honest and wildly innovative, Fun Home is based on Vermont author and cartoonist Alison Bechdel's acclaimed graphic memoir. Audiences will follow Bechdel at three different life stages as she grows and grapples with her uniquely dysfunctional family, her sexuality, and her father's secrets.
The Weston Playhouse Theatre is thrilled to present the five-time Tony Award-winning musical Fun Home to its new flexible 140-seat Second Stage, Weston Playhouse at Walker Farm. Refreshingly honest and wildly innovative, Fun Home is based on Vermont author and cartoonist Alison Bechdel's acclaimed graphic memoir. Audiences will follow Bechdel at three different life stages as she grows and grapples with her uniquely dysfunctional family, her sexuality, and her father's secrets.
BWW Reviews: There's Something About CATS at the Cadillac Palace Theatre
Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. And I, who saw the original Broadway production twice during that heady decade and have not seen the show in any form since then, was eager to go and see what the fuss was, and is, all about. So I went, Tuesday night. If you've never seen this show, if you kids have never seen it, or if you want to experience the magic of this unique theatrical masterpiece one more time, then this is a great opportunity to do so, as this is the only remaining North American production to (somewhat) accurately replicate the award-winning, record-setting British musical that took America and the world by storm thirty years ago. This tour of non-Equity performers, with its usual orchestra of five beefed up to eight for a weeklong stand (May 1-6) in a major theatrical market, has enough going for it that I highly recommend it. It's a little like entering a time machine, and there's a lot of sleight of hand, but it works. Let me explain. What is "Cats?" Much maligned by insiders, derided as dated by visual artists, underrated by dance teachers and ignored by voice teachers (save for its megahit song, "Memory," which is heard twice, but never in the sheet music version everything has heard and claims to know), it is in many ways a dichotomy. It's a dance show (choreography by Gillian Lynne) written by a singer's songwriter (Andrew Lloyd Webber), as well as a British song cycle based on poems written by a St. Louis-born English poet (T. S. Eliot) who never intended his work ("Old Possum's Book Of Practical Cats," and other snippets) to be either musicalized or staged. Its plot, slight though it is, is also the subject of much derision, but to this observer is very reminiscent of "A Chorus Line," a universally revered work that does include dialogue and more depth of character, but also honors unity of time and place. However, there are indeed works that dispense with plot entirely, and which people unabashedly love (you know, revues--"Ain't Misbehavin'" comes to mind), and even shows like "Forever Plaid" and Lloyd Webber's "Starlight Express" feature heaven-going as a climax that is not entirely a surprise. So, enough complaining about there being no dramatic tension, already. But the spectacle! Is it a rock concert with dance, a dance concert with character, a makeup and hair extravaganza with arena-style lighting (still thrilling, the work of David Hersey, as recreated by Rick Belzer), a radio-friendly cast album with a decidedly British keyboard-rock spin, an intellectual set of inscrutable poems with earworm melodies, an environmental theater piece that's fun for all ages (an unmistakeable set and costume design by the remarkable John Napier)--what exactly is going on? The answer, of course, is all of the above. Oh, and it owes a lot to the English music hall tradition and to contemporary classical music, too, not to mention Puccini. Name another show that encompasses so much. Not to mention that original marketing campaign. Aside from his immature works (the children's show "Joseph And The Amazing Technicolor Dreamcoat" and others), Lloyd Webber's previous shows written with Tim Rice (the two nominated for the Best Revival of a Musical Tony Award this year, "Jesus Christ Superstar" and "Evita,") were both introduced to the world via record albums and marketing campaigns that featured a logo rather than a star name and image. But "Cats" seemed to take that even further, dispensing with the concept album and zeroing in on the show AS the star. Indeed, this show has no leading roles. Really. But who can forget that moon/cats' eyes/dancer silhouette logo, and the letters of the title in color-coordinated graffiti (echoing the oversized junkyard scene design). It was exciting and revolutionary at the time, and the only shows that have done it better since then (Lloyd Webber's "The Phantom Of The Opera" and director Trevor Nunn's "Les Miserables," all three produced by wunderkind Cameron Mackintosh) are the only ones that have run longer in London and New York, due to the lessons they learned from the feline juggernaut before us now. It was "the birth of the musical spectacular," as Broadway In Chicago's promotional materials tell us. This particular edition of the endless "Cats" tour, directed and choreographed by Richard Stafford and featuring mostly young, recent graduates of top U.S. musical theater and dance schools, is indeed "cut down" from the total makeover that the Winter Garden Theatre in New York displayed for the 18 years it played there (1982-2000). But the "Christmas lights" that once ringed the audience do indeed extend past the proscenium arch, and the cast makes several trips out into the aisles, a nice touch. The back wall of the set does not swing down to reveal the ship's set needed for the "Growltiger's Last Stand" sequence--they use drops and a false proscenium downstage center here, and I almost liked it better. The set as a whole is not as detailed and certainly not as deep as it once was, but if you haven't seen the video of the London production, or the show as it played in the early '80s, you would be none the wiser. Sound-wise, I have to give credit to sound designer Duncan Robert Edwards, musical supervisor Kristen Blodgette and music director J. Michael Duff. I swear the show sounds better than ever, even with a smaller orchestra than originally employed. And I could understand the lyrics! The costumes and makeup design look simplified to me, though, but again, a newcomer to the proceedings wouldn't know. And do I care of part of the set is inflatable, as rumor would have it? I don't care how they get it from city to city, or how quickly they do it, but somebody does care, and they figured out a way to make it work! The floating tire and the thing that comes down from the fly space (spoiler alert?) look great, absolutely. Absolutely. The cast is led by Melissa Grohowski as Grizabella, the role made famous by Elaine Paige and Betty Buckley and carrying with it, shall we say, a certain expectation of a certain money note. Boy, does Ms. Grohowski deliver! Three people stood during the applause for the number. Bravo to Clemmons/Dewing Casting, I say! The two singing roles for the men, Old Deuteronomy and Gus/Growltiger/Bustopher Jones, are essayed here by Nathan Morgan and Christopher E. Sidori, who both acquitted themselves well and were very effective theatrically, whatever their actual ages. Among the dance roles, Daniel J. Self as the narrator Munkustrap, Chris Stevens as Rum Tum Tugger and especially Chaz Wolcott as Mistoffelees were crowd pleasers: Self with his movement detailing, Stevens with his Elvis impersonation and Wolcott with his amazing fouette turns. The cast of two dozen or so performers dances uniformly well, and sings very well, too, save for a few minor quibbles with single lines here. And there or some missing low notes that older performers would probably have no trouble with. But these are easily forgiven. Who cares if the leading lights of Broadway (Harry Groener, Terrence Mann, Anna McNeely and of course Ken Page) have been replaced in these roles by recent graduates of Wright State, SUNY-Purchase and Oklahoma City University? These energetic, disciplined performers are working their tails off (pun intended), singing like people who can't dance a lick and are basking in the glow of theater history with every city they visit. Yes, the show has moments that seem a little longwinded, and sure, it doesn't challenge your intellect as much as it challenges your wallet and your caffeine intake (it takes place at night, and everybody is dressed like a cat!). But I challenge you to remain unmoved when Grizabella begs for physical contact, when old Gus relives his moment of youthful theatrical triumph, when assorted junk becomes the train that Skimbleshanks loves, and when the sopranos of the ensemble soar on the words, "'Round the cathedral rang 'Vivat!" Come on! It's "Cats." It's eye and ear candy galore. I don't even like cats, but I do like "Cats." Very much. "Cats" plays this week only, Tuesday night through Sunday night, with additional matinee performances on Saturday and Sunday, at the Cadillac Palace Theatre, 151 W. Randolph Street in Chicago. Tickets are available at all Broadway In Chicago box offices, the Ticket Kiosk at Water Tower Place, all Ticketmaster retail outlets, by phone (800.775.2000) and online at www.BroadwayInChicago.com. Photos: Melissa Grohowski; The Cast
Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. And I, who saw the original Broadway production twice during that heady decade and have not seen the show in any form since then, was eager to go and see what the fuss was, and is, all about. So I went, Tuesday night. If you've never seen this show, if you kids have never seen it, or if you want to experience the magic of this unique theatrical masterpiece one more time, then this is a great opportunity to do so, as this is the only remaining North American production to (somewhat) accurately replicate the award-winning, record-setting British musical that took America and the world by storm thirty years ago. This tour of non-Equity performers, with its usual orchestra of five beefed up to eight for a weeklong stand (May 1-6) in a major theatrical market, has enough going for it that I highly recommend it. It's a little like entering a time machine, and there's a lot of sleight of hand, but it works. Let me explain. What is "Cats?" Much maligned by insiders, derided as dated by visual artists, underrated by dance teachers and ignored by voice teachers (save for its megahit song, "Memory," which is heard twice, but never in the sheet music version everything has heard and claims to know), it is in many ways a dichotomy. It's a dance show (choreography by Gillian Lynne) written by a singer's songwriter (Andrew Lloyd Webber), as well as a British song cycle based on poems written by a St. Louis-born English poet (T. S. Eliot) who never intended his work ("Old Possum's Book Of Practical Cats," and other snippets) to be either musicalized or staged. Its plot, slight though it is, is also the subject of much derision, but to this observer is very reminiscent of "A Chorus Line," a universally revered work that does include dialogue and more depth of character, but also honors unity of time and place. However, there are indeed works that dispense with plot entirely, and which people unabashedly love (you know, revues--"Ain't Misbehavin'" comes to mind), and even shows like "Forever Plaid" and Lloyd Webber's "Starlight Express" feature heaven-going as a climax that is not entirely a surprise. So, enough complaining about there being no dramatic tension, already. But the spectacle! Is it a rock concert with dance, a dance concert with character, a makeup and hair extravaganza with arena-style lighting (still thrilling, the work of David Hersey, as recreated by Rick Belzer), a radio-friendly cast album with a decidedly British keyboard-rock spin, an intellectual set of inscrutable poems with earworm melodies, an environmental theater piece that's fun for all ages (an unmistakeable set and costume design by the remarkable John Napier)--what exactly is going on? The answer, of course, is all of the above. Oh, and it owes a lot to the English music hall tradition and to contemporary classical music, too, not to mention Puccini. Name another show that encompasses so much. Not to mention that original marketing campaign. Aside from his immature works (the children's show "Joseph And The Amazing Technicolor Dreamcoat" and others), Lloyd Webber's previous shows written with Tim Rice (the two nominated for the Best Revival of a Musical Tony Award this year, "Jesus Christ Superstar" and "Evita,") were both introduced to the world via record albums and marketing campaigns that featured a logo rather than a star name and image. But "Cats" seemed to take that even further, dispensing with the concept album and zeroing in on the show AS the star. Indeed, this show has no leading roles. Really. But who can forget that moon/cats' eyes/dancer silhouette logo, and the letters of the title in color-coordinated graffiti (echoing the oversized junkyard scene design). It was exciting and revolutionary at the time, and the only shows that have done it better since then (Lloyd Webber's "The Phantom Of The Opera" and director Trevor Nunn's "Les Miserables," all three produced by wunderkind Cameron Mackintosh) are the only ones that have run longer in London and New York, due to the lessons they learned from the feline juggernaut before us now. It was "the birth of the musical spectacular," as Broadway In Chicago's promotional materials tell us. This particular edition of the endless "Cats" tour, directed and choreographed by Richard Stafford and featuring mostly young, recent graduates of top U.S. musical theater and dance schools, is indeed "cut down" from the total makeover that the Winter Garden Theatre in New York displayed for the 18 years it played there (1982-2000). But the "Christmas lights" that once ringed the audience do indeed extend past the proscenium arch, and the cast makes several trips out into the aisles, a nice touch. The back wall of the set does not swing down to reveal the ship's set needed for the "Growltiger's Last Stand" sequence--they use drops and a false proscenium downstage center here, and I almost liked it better. The set as a whole is not as detailed and certainly not as deep as it once was, but if you haven't seen the video of the London production, or the show as it played in the early '80s, you would be none the wiser. Sound-wise, I have to give credit to sound designer Duncan Robert Edwards, musical supervisor Kristen Blodgette and music director J. Michael Duff. I swear the show sounds better than ever, even with a smaller orchestra than originally employed. And I could understand the lyrics! The costumes and makeup design look simplified to me, though, but again, a newcomer to the proceedings wouldn't know. And do I care of part of the set is inflatable, as rumor would have it? I don't care how they get it from city to city, or how quickly they do it, but somebody does care, and they figured out a way to make it work! The floating tire and the thing that comes down from the fly space (spoiler alert?) look great, absolutely. Absolutely. The cast is led by Melissa Grohowski as Grizabella, the role made famous by Elaine Paige and Betty Buckley and carrying with it, shall we say, a certain expectation of a certain money note. Boy, does Ms. Grohowski deliver! Three people stood during the applause for the number. Bravo to Clemmons/Dewing Casting, I say! The two singing roles for the men, Old Deuteronomy and Gus/Growltiger/Bustopher Jones, are essayed here by Nathan Morgan and Christopher E. Sidori, who both acquitted themselves well and were very effective theatrically, whatever their actual ages. Among the dance roles, Daniel J. Self as the narrator Munkustrap, Chris Stevens as Rum Tum Tugger and especially Chaz Wolcott as Mistoffelees were crowd pleasers: Self with his movement detailing, Stevens with his Elvis impersonation and Wolcott with his amazing fouette turns. The cast of two dozen or so performers dances uniformly well, and sings very well, too, save for a few minor quibbles with single lines here. And there or some missing low notes that older performers would probably have no trouble with. But these are easily forgiven. Who cares if the leading lights of Broadway (Harry Groener, Terrence Mann, Anna McNeely and of course Ken Page) have been replaced in these roles by recent graduates of Wright State, SUNY-Purchase and Oklahoma City University? These energetic, disciplined performers are working their tails off (pun intended), singing like people who can't dance a lick and are basking in the glow of theater history with every city they visit. Yes, the show has moments that seem a little longwinded, and sure, it doesn't challenge your intellect as much as it challenges your wallet and your caffeine intake (it takes place at night, and everybody is dressed like a cat!). But I challenge you to remain unmoved when Grizabella begs for physical contact, when old Gus relives his moment of youthful theatrical triumph, when assorted junk becomes the train that Skimbleshanks loves, and when the sopranos of the ensemble soar on the words, "'Round the cathedral rang 'Vivat!" Come on! It's "Cats." It's eye and ear candy galore. I don't even like cats, but I do like "Cats." Very much. "Cats" plays this week only, Tuesday night through Sunday night, with additional matinee performances on Saturday and Sunday, at the Cadillac Palace Theatre, 151 W. Randolph Street in Chicago. Tickets are available at all Broadway In Chicago box offices, the Ticket Kiosk at Water Tower Place, all Ticketmaster retail outlets, by phone (800.775.2000) and online at www.BroadwayInChicago.com. Photos: Melissa Grohowski; The Cast
A Road Weary 'Fiddler on the Roof'
A grandfatherly Topol is a kinder, gentler Tevye in this 'farewell tour' of Stein, Bock and Harnick's enduring musical masterpiece about the delicate balance of tradition and change
A grandfatherly Topol is a kinder, gentler Tevye in this 'farewell tour' of Stein, Bock and Harnick's enduring musical masterpiece about the delicate balance of tradition and change
A Road Weary 'Fiddler on the Roof'
A grandfatherly Topol is a kinder, gentler Tevye in this 'farewell tour' of Stein, Bock and Harnick's enduring musical masterpiece about the delicate balance of tradition and change
A grandfatherly Topol is a kinder, gentler Tevye in this 'farewell tour' of Stein, Bock and Harnick's enduring musical masterpiece about the delicate balance of tradition and change
Topol In 'Fiddler On The Roof' Masterpiece Opens Tonight
Revisiting one of the great performances in the history of modern American musical theater, local theater devotees will have the opportunity to once again experience the brilliant TOPOL as he performs his Oscar-nominated role of Tevye in his farewell tour of the multi Tony Award-winning Broadway musical FIDDLER ON THE ROOF. Playing Tuesday, October 6 through Sunday, October 18, FIDDLER marks the opening show of the Broadway Across America-Ft. Lauderdale 2009-2010 season which will present six-major musical productions presented by Florida Theatrical Association at the Broward Center for the Performing Arts.
Revisiting one of the great performances in the history of modern American musical theater, local theater devotees will have the opportunity to once again experience the brilliant TOPOL as he performs his Oscar-nominated role of Tevye in his farewell tour of the multi Tony Award-winning Broadway musical FIDDLER ON THE ROOF. Playing Tuesday, October 6 through Sunday, October 18, FIDDLER marks the opening show of the Broadway Across America-Ft. Lauderdale 2009-2010 season which will present six-major musical productions presented by Florida Theatrical Association at the Broward Center for the Performing Arts.
Topol In 'Fiddler On The Roof' Kicks Off Ft. Lauderdale Broadway Across America Season
Revisiting one of the great performances in the history of modern American musical theater, local theater devotees will have the opportunity to once again experience the brilliant TOPOL as he performs his Oscar-nominated role of Tevye in his farewell tour of the multi Tony Award-winning Broadway musical FIDDLER ON THE ROOF. Playing Tuesday, October 6 through Sunday, October 18, FIDDLER marks the opening show of the Broadway Across America-Ft. Lauderdale 2009-2010 season which will present six-major musical productions presented by Florida Theatrical Association at the Broward Center for the Performing Arts.
Revisiting one of the great performances in the history of modern American musical theater, local theater devotees will have the opportunity to once again experience the brilliant TOPOL as he performs his Oscar-nominated role of Tevye in his farewell tour of the multi Tony Award-winning Broadway musical FIDDLER ON THE ROOF. Playing Tuesday, October 6 through Sunday, October 18, FIDDLER marks the opening show of the Broadway Across America-Ft. Lauderdale 2009-2010 season which will present six-major musical productions presented by Florida Theatrical Association at the Broward Center for the Performing Arts.
SHN Announces 09-10 Citibank Best Of Broadway Season Featuring Chaim Topol, Susan Stroman And More
SHN is pleased to announce the 2009-2010 Citibank Best of Broadway season, under the direction of Carole Shorenstein Hays and Robert Nederlander presented at San Francisco's Orpheum, Curran and Golden Gate Theatres. SHN, the pre-eminent theatrical entertainment company in San Francisco, offers the ultimate Broadway experience to all Bay Area audiences.
SHN is pleased to announce the 2009-2010 Citibank Best of Broadway season, under the direction of Carole Shorenstein Hays and Robert Nederlander presented at San Francisco's Orpheum, Curran and Golden Gate Theatres. SHN, the pre-eminent theatrical entertainment company in San Francisco, offers the ultimate Broadway experience to all Bay Area audiences.
Photo Flash: Topol Schleps Into San Diego Civic Theatre In FIDDLER ON THE ROOF 7/14-19
?Without our traditions, our lives would be as shaky as...as a Fiddler on the Roof,? announces Tevye, a humble milkman from the Russian village of Anatevka. So begins a tale of love and laughter, devotion and defiance, and changing traditions. The Tony Award® winning Fiddler on the Roof continues to capture the hearts of people all over the world with its universal appeal. This North American Tour offers audiences a once-in-a-lifetime opportunity to see Jerome Robbins? original Broadway direction and choreography, complete with the star of the original West End production and the 1971 film, Chaim Topol. A Broadway/San Diego ~ A Nederlander Presentation, it will play at San Diego Civic Theatre, July 14 ? 19, 2009.
?Without our traditions, our lives would be as shaky as...as a Fiddler on the Roof,? announces Tevye, a humble milkman from the Russian village of Anatevka. So begins a tale of love and laughter, devotion and defiance, and changing traditions. The Tony Award® winning Fiddler on the Roof continues to capture the hearts of people all over the world with its universal appeal. This North American Tour offers audiences a once-in-a-lifetime opportunity to see Jerome Robbins? original Broadway direction and choreography, complete with the star of the original West End production and the 1971 film, Chaim Topol. A Broadway/San Diego ~ A Nederlander Presentation, it will play at San Diego Civic Theatre, July 14 ? 19, 2009.
MOVIN' OUT Returns To Atlanta's Fox Theater 5/1- 5/3
MOVIN' OUT, the Tony Award-winning new musical conceived, choreographed and directed by Twyla Tharp and based on 24 classic songs by Billy Joel, comes back to Atlanta for a special engagement at The Fabulous Fox Theatre May 1 - 3, 2009, presented as a season special by Fidelity Investments Broadway Across America - Atlanta. Tickets will go on sale to the public Sunday, March 8.
MOVIN' OUT, the Tony Award-winning new musical conceived, choreographed and directed by Twyla Tharp and based on 24 classic songs by Billy Joel, comes back to Atlanta for a special engagement at The Fabulous Fox Theatre May 1 - 3, 2009, presented as a season special by Fidelity Investments Broadway Across America - Atlanta. Tickets will go on sale to the public Sunday, March 8.
'Movin' Out' Tells the Story of Movin' On
Twyla Tharp's pulsating rock ballet set to the music of Billy Joel tells a stirring tale of love, loss, war and coming home through a cleverly staged blend of dance and song
Twyla Tharp's pulsating rock ballet set to the music of Billy Joel tells a stirring tale of love, loss, war and coming home through a cleverly staged blend of dance and song
MOVIN' OUT Returns To Atlanta's Fox Theater 5/1- 5/3
MOVIN' OUT, the Tony Award-winning new musical conceived, choreographed and directed by Twyla Tharp and based on 24 classic songs by Billy Joel, comes back to Atlanta for a special engagement at The Fabulous Fox Theatre May 1 - 3, 2009, presented as a season special by Fidelity Investments Broadway Across America - Atlanta. Tickets will go on sale to the public Sunday, March 8.
MOVIN' OUT, the Tony Award-winning new musical conceived, choreographed and directed by Twyla Tharp and based on 24 classic songs by Billy Joel, comes back to Atlanta for a special engagement at The Fabulous Fox Theatre May 1 - 3, 2009, presented as a season special by Fidelity Investments Broadway Across America - Atlanta. Tickets will go on sale to the public Sunday, March 8.
Tharp's MOVIN' OUT 'Moves In' To The Benedum Center 2/27
MOVIN' OUT, the Tony Award-winning new musical conceived, choreographed and directed by Twyla Tharp and based on 24 classic songs by Billy Joel, is movin' in to Pittsburgh's Benedum Center on Friday, February 27, through Sunday, March 1, 2009. Tickets ($24-$62) will go on sale on Friday, January 16, 2009, at the Box Office at Theater Square, online at pgharts.org and by calling 412-456-6666. MOVIN' OUT is a special presentation of the PNC Broadway Across America - Pittsburgh series, presented by The Pittsburgh Cultural Trust, Pittsburgh Symphony and Broadway Across America.
MOVIN' OUT, the Tony Award-winning new musical conceived, choreographed and directed by Twyla Tharp and based on 24 classic songs by Billy Joel, is movin' in to Pittsburgh's Benedum Center on Friday, February 27, through Sunday, March 1, 2009. Tickets ($24-$62) will go on sale on Friday, January 16, 2009, at the Box Office at Theater Square, online at pgharts.org and by calling 412-456-6666. MOVIN' OUT is a special presentation of the PNC Broadway Across America - Pittsburgh series, presented by The Pittsburgh Cultural Trust, Pittsburgh Symphony and Broadway Across America.
Tharp's MOVIN' OUT 'Moves In' To The Benedum Center 2/27
MOVIN' OUT, the Tony Award-winning new musical conceived, choreographed and directed by Twyla Tharp and based on 24 classic songs by Billy Joel, is movin' in to Pittsburgh's Benedum Center on Friday, February 27, through Sunday, March 1, 2009. Tickets ($24-$62) will go on sale on Friday, January 16, 2009, at the Box Office at Theater Square, online at pgharts.org and by calling 412-456-6666. MOVIN' OUT is a special presentation of the PNC Broadway Across America - Pittsburgh series, presented by The Pittsburgh Cultural Trust, Pittsburgh Symphony and Broadway Across America.
MOVIN' OUT, the Tony Award-winning new musical conceived, choreographed and directed by Twyla Tharp and based on 24 classic songs by Billy Joel, is movin' in to Pittsburgh's Benedum Center on Friday, February 27, through Sunday, March 1, 2009. Tickets ($24-$62) will go on sale on Friday, January 16, 2009, at the Box Office at Theater Square, online at pgharts.org and by calling 412-456-6666. MOVIN' OUT is a special presentation of the PNC Broadway Across America - Pittsburgh series, presented by The Pittsburgh Cultural Trust, Pittsburgh Symphony and Broadway Across America.
Las Vegas 'High School Musical' Announces Casting
Casting has been announced for the Las Vegas engagement of Disney's 'High School Musical'.
Casting has been announced for the Las Vegas engagement of Disney's 'High School Musical'.
Casting Announced for San Jose 'High School Musical'
Casting has been announced for the American Musical Theatre of San Jose engagement of Disney's 'High School Musical' which begins June 10th.
Casting has been announced for the American Musical Theatre of San Jose engagement of Disney's 'High School Musical' which begins June 10th.
Tickets for Touring 'High School Musical' Go on Sale 4/5
Disney Theatrical Productions and Theater of the Stars announced today that tickets for the new touring stage version of the phenomenally popular Disney's High School Musical will go on sale to the public on Saturday, April 5 from 10:00 am to 4:00 pm at the Fox Theatre Box Office, 660 Peachtree Street, Atlanta, GA 30308. The Atlanta engagement will run from Friday, August 15 through Sunday, August 24 for 13 performances only.
Disney Theatrical Productions and Theater of the Stars announced today that tickets for the new touring stage version of the phenomenally popular Disney's High School Musical will go on sale to the public on Saturday, April 5 from 10:00 am to 4:00 pm at the Fox Theatre Box Office, 660 Peachtree Street, Atlanta, GA 30308. The Atlanta engagement will run from Friday, August 15 through Sunday, August 24 for 13 performances only.
Cast Annouced for SF Engagement of 'High School Musical'
Casting has been announced for the San Francisco engagement of Disney's High School Musical playing the Orpheum Theatre April 15-27, 2008.
Casting has been announced for the San Francisco engagement of Disney's High School Musical playing the Orpheum Theatre April 15-27, 2008.
'High School Musical' Tour Pops into SF April 15-27, 2008
SHN is pleased to announce the national tour of Disney's High School Musical will play San Francisco's Orpheum Theatre April 15-27, 2008.
SHN is pleased to announce the national tour of Disney's High School Musical will play San Francisco's Orpheum Theatre April 15-27, 2008.
'High School Musical 'Leaps into Toronto September 4
Casting has been announced for the Toronto engagement of Disney's HIGH SCHOOL MUSICAL. Presented by Disney Theatrical Productions, the division responsible for such smash Broadway hits as The Lion King, Beauty and the Beast and Mary Poppins, and David Mirvish, HIGH SCHOOL MUSICAL is based on the 2006 Emmy Award-winning Disney Channel Original Movie. The touring company, which is anticipated to travel to more than 60 cities across the United States and Canada, includes a live orchestra and a cast of 34 talented theatrical performers.
Casting has been announced for the Toronto engagement of Disney's HIGH SCHOOL MUSICAL. Presented by Disney Theatrical Productions, the division responsible for such smash Broadway hits as The Lion King, Beauty and the Beast and Mary Poppins, and David Mirvish, HIGH SCHOOL MUSICAL is based on the 2006 Emmy Award-winning Disney Channel Original Movie. The touring company, which is anticipated to travel to more than 60 cities across the United States and Canada, includes a live orchestra and a cast of 34 talented theatrical performers.
FREQUENTLY ASKED QUESTIONS
What awards has Duncan Robert Edwards been nominated for?
and Outstanding Sound Design (Drama Desk Awards) for LoveMusik.
Videos