It is a rare enough occurrence for a genuine born and bred Broadway star to emerge post-millennium, but one as astonishingly versatile as Raul Esparza, having scored accolades since his blazing debut in a string of hit plays and musicals, ranging from Mamet and Sondheim and Pinter to CHITTY CHITTY BANG BANG and his aforementioned Broadway bow in THE ROCKY HORROR SHOW, is a downright cause for celebration. Esparza makes his grand return to the Broadway stage in a musical with his upcoming starring role in Alan Menken & Glenn Slater's adaptation of the Steve Martin film LEAP OF FAITH, featuring a country and gospel influenced score and a spirited, energetic production by Christopher Ashley (who, incidentally, helmed Esparza's first Broadway show, ROCKY HORROR). While Esparza has been seen in many - most, if not quite all - Broadway seasons in the decade since 2001, he has also scored in leading roles in regional productions such as 2002's spectacular SUNDAY IN THE PARK WITH GEORGE and MERRILY WE ROLL ALONG revivals, part of the unprecedented Sondheim Celebration, as well as the Cincinnati Playhouse COMPANY, directed by John Doyle, which transferred to Broadway and was subsequently preserved on DVD and Blu-ray, in addition to being presented on PBS as part of Great Performances. Besides Esparza's many notable musical revival performances (lest we forget his essaying of the Emcee in CABARET), he also created the Broadway iterations of his roles in the controversial and brilliantly scored TABOO, produced by Rosie O'Donnell and composed by Boy George, as well as the stage adaptation of the hit family classic CHITTY CHITTY BANG BANG, as well as originating the lead role in TICK, TICK...BOOM! Having played three of Sondheim's most memorable male roles was not enough, though, apparently, for Esparza recently took on the part of the hapless Hapgood in Sondheim's ANYONE CAN WHISTLE when it was revived at City Center's Encores! - with Tony-winners Donna Murphy and Sutton Foster his co-stars, no less - with much success. Yet, in one of a myriad of examples of the broad spectrum of Esparza's abilities, it is instructive to remember he first made a name for himself with the role of Che in an Andrew Lloyd Webber & Tim Rice show, directed by no less than the ultimate man of the theatre himself, Harold Prince - EVITA, which, of course, is being revived this season with Ricky Martin in the role of Che. Besides Esparza's many musical roles throughout the past decade and prior, he has also carved out a seriously impressive straight drama resume, having appeared in plays by the great playwrights of our age, such as Pinter (THE HOMECOMING), Mamet (SPEED-THE-PLOW), Stoppard (ARCADIA) and, the greatest of all, Shakespeare (AS YOU LIKE IT, part of Shakespeare In The Park). ROCKY HORROR to ARCADIA to, now, with LEAP OF FAITH, Esparza constantly and consistently surprises fans and audiences alike with his audacious choice in roles and electrifying performances that are indelibly enjoyable in their uniqueness, variety and sheer breadth of emotion - time and time again. Yes, indeed, Raul Esparza is the best of the best Broadway has to offer, so let us hope LEAP OF FAITH is the ideal star vehicle for one of the most charismatic and multi-talented leading men of the 21st century and that it brings him his well-deserved Best Actor Tony at last.

Today we are changing it up a bit by aiming our focus on a Grammy-winning pop/folk sensation who has created quite an impressive catalog of songs in his decade in the spotlight - some of his best work in live shows in lieu of studio albums, making him an ideal fit for this particularly performance-based column - the geek in the pink himself, Mr. Jason Mraz. This week marks the release of his new EP, titled LIVE IS A FOUR LETTER WORD, which acts as the appetizer to his much-awaited follow-up to the incredibly successful WE SING, WE DANCE, WE STEAL THINGS - which featured his biggest hit to date, "I'm Yours"; along with the Grammy-winning Best Pop Duet, "Lucky", which was also featured on Season Two of GLEE - LOVE IS A FOUR LETTER WORD. Four letters or more, Mraz proves time and time again he is a master storyteller with an unmistakable, singular style all his own - the handful of new songs featured on this spectacular live album attesting to that with grand, soulful regard. Even allowing for some audience banter and amusing back-and-forths, the LIVE IS A FOUR LETTER WORD EP is the ideal way to bring us all up to date with one of the most compelling solo acts that you can consistently find out on the road trying out charismatic and dramatic new material, the new compositions featured here in a special solo YouTube concert acting as a perfect counterpoint in a career packed with a vast array of musical styles, aural sounds and sonic textures that only Mr. A-Z would dare compose and expose to the world. If the rest of the album follows the lyrical strength and musical dexterity of this EP release, we are in for quite a ride come April 17. Plus, we also have a look at his moving and memorable new single, "I Won't Give Up"!

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

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

This weekend, BroadwayWorld will be presenting an illuminating InDepth InterView with legendary composer Lord Andrew Lloyd Webber all about the enchanting new performance capture film version of his PHANTOM OF THE OPERA sequel, LOVE NEVER DIES. Until that chat, let's take a look back at some of the finest Andrew Lloyd Webber-related performances related to the entertainment dynasty built upon his operatic pop musical version of the classic Gaston Leroux novel that is about to celebrate its 10,000th performance on Broadway later this month, THE PHANTOM OF THE OPERA, as well as its continuation, LOVE NEVER DIES, and the two revivals of his two classic 70s hit stage collaborations with previous InDepth InterView participant Sir Tim Rice coming back to Broadway in a big way - JESUS CHRIST SUPERSTAR and EVITA. Plus, a look at the new Simon Phillips-directed production of LOVE NEVER DIES coming to Fathom-equipped movie theaters nationwide on February 28 and March 7, with DVD & Blu-ray after that, as well as the PHANTOM 25 DVD & Blu-ray being released in the US on February 7. It's a busy time of year for phans, clearly! Fetch your favorite mask and check out these four Andrew Lloyd Webber delicacies before they arrive!

Today we are honoring the first animated film to be nominated for Best Picture at the Academy Awards, which went on to win in the categories of Best Song and Best Score for Broadway's own Alan Menken and Howard Ashman - Disney's tale as old as time; the much-beloved and cherished BEAUTY & THE BEAST. Based on the French fairytale of its namesake, BEAUTY & THE BEAST was a landmark achievement in animated film and proved that Disney's previous animation renaissance mega-hit THE LITTLE MERMAID - also penned by Alan Menken and Howard Ashman - was much more than merely a fluke. A new age of animated film treated totally seriously by critics and audiences alike allowed for Disney to continue on with even more success in the following years with even bigger family-friendly hits like ALADDIN and THE LION KING. Yet, BEAUTY & THE BEAST is the most elegant and enrapturing of all Disney animated films from the last century and just may be the very finest of all their animated features that came to pass during that era of renewed interest in the late-1980s and early-1990s. Featuring the vocal talents of legendary stage and screen star Angela Lansbury - check out our extensive InDepth InterView for a few recollections about that experience here - as well as Broadway's own Paige O'Hara and TV/film notable Robby Benson - both of whom will be featured in extensive InDepth InterViews right here on BroadwayWorld next week. Beginning with a prologue and opening song sequence - "Belle" - to rank among the very best not only in film, but stage musicals, as well, BEAUTY & THE BEAST is a rich French country meal topped off by a dizzying array of aural, visual, emotional, comedic and dramatic treats. 'Belle' is merely the starter bread - or, should I say, pain. So, today, we pay tribute to BEAUTY & THE BEAST as it roars back to movie theaters nationwide, now in a diligently-recreated and astonishingly imagined brand new 3D realization. Before you go see all the stunning sights and sounds of the film itself, whether sampling the 3D version in your home 3D studio or out at the Cineplex, here we have some of the finest musical moments to delight in from the storied history of the immensely successful Disney classic in all three of its versions - original animated film, Broadway stage musical and 3D movie experience.

Today, as a special corollary column to this weekend's extensive InDepth InterView with Tony-nominated stage and screen star Constantine Maroulis, we are shining a special spotlight on his career trajectory as he has risen up through the ranks to become one of the most successful alumni of AMERICAN IDOL from humble beginnings in the non-Equity tour of RENT. Since that landmark Pulitzer Prize-winning rock musical, Constantine has carved out a unique niche in the Broadway landscape as one of most charismatic and compelling performers of rock-based musical theatre, who has also shown considerable skills tackling the more diverse scores of shows such as JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS, THE WEDDING SINGER, and, now, THE TOXIC AVENGER, co-composed by the Tony-winning team behind MEMPHIS comprised of Bon Jovi's David Bryan and Joe DiPietro. Of course, no Constantine-centric conversation would be complete without a thorough look at his unforgettable turn in the hit 80s rock jukebox musical ROCK OF AGES, the expanded film adaptation of which he will be taking to the big screen later this year. RENT to IDOL to TOXIC AVENGER and beyond, Constantine Maroulis is one of the brightest shining new Broadway stars of the 21st century and it will be a treat to see and hear TOXIC AVENGER as it sets its sights on the Great White Way.

The ultra-starry cast for the upcoming feature film version of the international smash musical sensation LES MISERABLES finally got one step closer to finding its Eponine and Cossette this week, as offers have gone out to pop music superstar Taylor Swift and breakout screen starlet Amanda Seyfried for the hotly anticipated Tom Hooper adaptation of the tuner which will also star Hugh Jackman and Russell Crowe as Jean Valjean and Javert, respectively, Anne Hathaway as Fantine and Tony-winner Eddie Redmayne as Marius. While Seyfried is perhaps best known to Broadway babies for her lovable and memorable turn in the role of Meryl Streep's daughter in the ABBA jukebox movie musical MAMMA MIA!, Swift has displayed her ample affection for all things theatrical with her recent Broadway-themed SPEAK NOW tour as well as her memorable appearance on SATURDAY NIGHT LIVE and on concert stages around the world. Both ladies certainly have the musical chops to take on these much-beloved Broadway roles - even if the soundtrack is to actually be recorded live on set, as the director himself has confirmed he intends to do - and, while neither Swift nor Seyfried has been officially confirmed by the producers as of this writing, both appear to more than merely satisfy the complex casting necessities for the standout roles and the overall younger-sided casting of the feature film adaptation so far. Yet, no matter how fantastic they may turn out to be in the finished final film, it sure will be difficult to manage to make much of an impression with a cast as impossibly accomplished as the one assembled for this film up until now - Jackman, Crowe, Hathaway, Redmayne, Aaron Tveit, Helena Bonham Carter and Sacha Baron Cohen included! Plus, who knows what new musical numbers Alain Boublil and Claude-Michel Shonberg are cooking up - and what characters shall sing them?! Whatever comes to pass, Christmas 2012 will be all about LES MISERABLES: THE MOVIE MUSICAL for Broadway babies everywhere - many of whom who have been waiting for this moment (and this movie) to arrive for over 20 years! Let's hope it was worth the wait! Until then, we have this look and listen to what made these ladies oh-so right for the roles. After all, less than 360 days remain until the big 24601!

Stage and screen superstar Scarlett Johansson is known to most theatre fans for her tremendous work in the recent revival of Arthur Miller's A VIEW FROM THE BRIDGE, directed by Gregory Mosher and co-starring fellow InDepth InterView participant Liev Schreiber, for which she rightly took home the 2010 Tony Award for Best Featured Actress In A Play. Before then, Johansson was perhaps best known for her leading role in Sofia Coppola's moving contemporary drama LOST IN TRANSLATION, co-starring Bill Murray, as well as for her featured roles in some big-budget Hollywood films with top-tier talent and directors - THE PRESTIGE with Christopher Nolan (co-starring Christian Bale and Hugh Jackman), THE BLACH DAHLIA with Brian DePalma, THE ISLAND with Michael Bay (co-starring Ewan MacGregor), THE SPIRIT with Frank Miller; as well as a string of quirky and unique independent films such as GHOST WORLD, A LOVE SONG FOR BOBBY LONG and her unforgettable work in THE HORSE WHISPERER under the guiding force of director Robert Redford. Since then, she has become a franchise superhero superstar thanks to her role in the international smash hit IRON MAN 2, co-starring Robert Downey, Jr. and Samuel L. Jackson, both of whom she reteams with in this Spring's tent-pole entertainment attraction THE AVENGERS, directed by BUFFY THE VAMPIRE SLAYER and occasional GLEE-helmer Joss Whedon, which also features Mark Ruffalo, Chris Hemsworth, Jeremy Renner and Chris Evans as the classic Marvel comic book heroes. Today marks the opening night of her newest feature film, WE BOUGHT A ZOO, directed by Cameron Crowe and co-starring Matt Damon and Thomas Haden Church, which finds Scarlett back in familiar territory - after all, she is celebrated by many entertainment enthusiasts for her sterling, unsurpassed work in three highly-acclaimed and endlessly enjoyable Woody Allen films: MATCH POINT, SCOOP and VICKY CRISTINA BARCELONA. In celebration of WE BOUGHT A ZOO, today we shall shine a special solo spotlight on one of the brightest stars on Broadway or in Hollywood who is sure to delight us in theaters and on screens for many years to come - she has already been legitimately acting for nearly 20 years of her 27 on earth, after all. So, whether stage or screen, comedy or drama, music or mime, Scarlett Johansson can clearly do it all and we will sample some of the best clips from her career so far as we look forward to WE BOUGHT A ZOO, THE AVENGERS and everything else that is next for her in her rise to the top ranks of Broadway and Hollywood.

Controversy is never too far offstage in any Simon Cowell production - manufactured, actual or otherwise - and the debut season of the US edition of his international smash reality singing competition THE X FACTOR on Fox has been overloaded with drama, meltdowns, breakdowns and buckets of tears. Stars have been made and dreams have been broken - par for the course, as always, on a singing show like this. Yet, no one on the show, whether judge or participant - no, not even Paula Abdul, Rachel Crow or the flasher himself - has been met with the irate hate and all-around ire of fans and critics alike quite like new judge Nicole Scherzinger. Sure, Simon cajoles her and criticizes her too much - to much winning effect - amping up the competition amongst the four judges, as is his wont - and, really, that's the whole hook of the show, anyway. The ex-Pussycat Dolls front-woman (remember 'Don't Cha'?), Scherzinger has had middling success in her solo career post-Pussycats in the US, yet she has racked up #1 hits overseas, and, had her last album not been plagued with stateside release issues, perhaps there would be a larger audience more aware of her repertoire and irreproachable talent here on these shores. Alas, many are meeting her for the first time in her new role as an X FACTOR judge - responsible for the most difficult category, no less; the Over 30s - and perhaps that is not the best light to make first impressions under. No matter what her judging abilities are, the girl can clearly sing - and sing well - which is more than can be said of many in similar roles on other singing-centered shows (or even this one). In addition to that, she has shown a remarkable stage presence - particularly in her essaying of the role of Maureen (made famous in the original Broadway cast by WICKED Tony Award winner Idina Menzel) in RENT at the Hollywood Bowl, directed by Neil Patrick Harris - and, even more recently, has displayed her legit side with her stunning performance of the title song from Andrew Lloyd Webber's PHANTOM OF THE OPERA - alongside four famous Phantoms - at the Royal Variety Performance last week for the queen. Just last night, Scherzinger took center stage on the X FACTOR's results show to sing her surprisingly strong new single, 'Pretty' - an episode which also saw the final remaining contestant under her tutelage remaining in the competition, Josh Krajcik, survive another week and make it into the Top 4 - and proceeded to positively set the night alight. Haters can hate, but Scherzinger undoubtedly proved any naysayers wrong insofar as her fierce talent and reason for appearing on the show as a judge is concerned - no question. Post-Pussycat Dolls, Scherzinger seems to be flying high - lest we forget: she also won DANCING WITH THE STARS early last year - and the stages of New York and London seem a perfect place for her to show off her considerable triple-threat abilities in the future, whether near or far. Plus, if she can make it in show business with that last name, you have to at the very least appreciate her striving for authenticity at all times - like it or not. Scherzinger not only sings like an angel, she looks like one, too. She is the whole package and definitely possesses the X factor - and maybe a Y and Z, too.

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!

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.

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!

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.

While GLEE is on hiatus until its long-awaited return on November 1 and X-FACTOR was pre-empted and moved around as a result of the World Series games, DANCING WITH THE STARS has kept up the Broadway quotient on prime time TV in the interim in a major way thanks to this week's two-night Great White Way salute featuring Tony-winner and Emmy-winner Kristin Chenoweth. Fan favorites J.R. Martinez and his partner Karina Smirnoff made their mark with CHICAGO'S sizzling "Hot Honey Rag" and this week's InDepth InterView participant Ricki Lake - along with her partner, show favorite Derek Hough - made a splash with a rollicking "The Lady Is A Tramp" from Frank Loesser's classic score for GUYS & DOLLS, and even Nancy Grace got into the snazzy act with a spirited and jolly "Always Look On The Bright Side Of Life" from SPAMALOT with her partner Tristan MacManus. Yet, some groups fared less well - Chaz Bono and Lacey Schwimmer failed to find the music or the magic of the night with "The Phantom Of The Opera" and they were sent home on Wednesday as a result (penguin critiques and Cher tweets notwithstanding). And, so, too, did Hope Solo and show-standout Maksim Chmerkovskiy falter with their less than impassioned performance of an outright odd head-scratcher of a quickstep song selection, RENT's "Seasons Of Love". Yet, on the ever-improving side of things reside Rob Kardashian and Cheryl Burke, who managed to bring some JERSEY BOYS-esque swagger to The Four Seasons smash "Walk Like A Man" from the Tony-winning musical revue. Additionally, David Arquette and Kym Johnson ended up somewhere in the middle, with a somewhat tentative treatment of the GREASE warhorse "We Go Together", which still managed to minisculely evoke John Travolta and Olivia Newton-John in the movie. While some stars certainly shone much brighter than others - J.R. and Ricki undoubtedly seem to be battling it out for top honors - Broadway Week on DANCING WITH THE STARS was generally a resounding success for many concerned. And, that's not even mentioning the spectacular group performance mash-up of "Hey, Big Spender" from SWEET CHARITY and "Money, Money" from CABARET (choreographed by Kevin Maher); Kenny Ortega's specialty number encompassing three famous theatrical standards, specially designed for HIGH SCHOOL MUSICAL and IN THE HEIGHTS star Corbin Bleu; or - most of all - Kristin Chenoweth's two stupendous star turns; first, singing a song she made famous for a whole new generation alongside Lea Michele on GLEE - the classic Kander & Ebb CABARET's "Maybe This Time"; which was followed by MY FAIR LADY's 'I Could Have Danced All Night' - and, on the second night, performing the title track from her new solo album, SOME LESSONS LEARNED. Broadway stars to dancing stars to reality stars and beyond, Broadway Week on DANCING WITH THE STARS managed to sparkle and shine with panache.

Today we are turning our attention to one of the biggest and brightest rising stars in classical music whose seriously awesome piano prowess will be in full view this weekend in two special showings on October 22 and 24 when Fathom presents his solo debut, broadcast internationally in movie theaters - pianist phenomenon Lang Lang performs Lizst's Concerto No. 1 live from Philadelphia on Liszt's 200th birthday. While Lang Lang has taken the classical music scene by storm at only 29, this event will provide the opportunity for an even larger international audience to fall under the spell of his emotional, sensitive and powerful piano concert skills, with the advantage of witnessing Lang perform with the additional symphonic support of the Philadelphia Orchestra under the baton of Charles Dutoit - an orchestra of special personal meaning to Lang. Raised in China, but studying in Philadelphia for nearly a decade makes this a truly momentous culminating event for Lang Lang's life and career as a man and as an artist and we can certainly bet that the Kimmel Arts Center is the perfect venue for such an aural feast for the senses featuring some of Liszt's most famous and beloved compositions. Performances of Liszt's Concerto No. 1 and Liberstraum No. 3 seem to be forgone conclusions, yet what else from the expressive catalogue of Liszt's work shall Lang perchance sample? The Hungarian Waltz No. 2, perhaps? La Campanella? What else? Be there tomorrow to find out for once and all!

Hugh Jackman is everywhere this week and it appears he has really arrived in a big way, both in Hollywood and on Broadway - announcing his return to the Great White Way later this season in a solo musical; starring in a new Dreamworks action CGI extravaganza opening in theaters soon, REEL STEEL; as well as the biggest news of all (which is saying something), his being cast in the lead role of Jean Valjean in the big screen version of the international musical sensation LES MISERABLES, opposite Russell Crowe as Javert. Broadway babies have known since his Tony-winning work in the Peter Allen musical THE BOY FROM OZ that Hugh can cut up a carpet and knock out a tune like the best gypsies in town, but it is his immediate and lasting rapport with the audience and his eminently likeable manner that seems to pour forth from every orifice that make him perhaps the greatest Broadway leading man of the twenty-first century. With these new endeavors offering ample opportunities for Hugh to sing, strut and show his stuff for an international audience in a major way, his one-man-musical and LES MIZ are the ideal way to showcase his significant triple-threat talents in full while REEL STEEL fulfills his action star ascent. So, today we are going to take a look at some of Hugh's best filmed stage work as available on YouTube, complete with his equal parts rousing, exhilarating and phenomenal Tony Awards performances over the last few years - including this year's unforgettable duet with Neil Patrick Harris; as well as his inimitable take on the disco DREAMGIRLS knock-out "One Night Only", and, of course, a glimpse at his actual Tony-winning role itself as the Boy From Oz. In addition to all of that, we also have his pseudo-audition for LES MIZ in the form his duet with Anne Hathaway at the Oscars - and rumors are flying that Hathaway has been cast in the role of Fantine in the film after all, the character who sings the song they share in one of today's featured clips, the classic "On My Own". We also take a look at REEL STEEL and his brand new stage show in its tryout form in both Toronto and San Francisco, plus his live in-character retort to a cell phone while starring with Daniel Craig in A STEADY RAIN and much, much more!

Today we are continuing our series on theatrically-related 2012 Oscar hopefuls with a look at the just-released trailer for David Cronenberg's new film A DANGEROUS METHOD starring Keira Knightley, Michael Fassbender, Viggo Mortensen and Vincent Cassel. Based on a play about the friendship, lives and studies of scientists/philosophers/doctors Sigmund Freud and Carl Jung and how it pertains to a female patient, Sabina, penned by DANGEROUS LIASONS and ATONEMENT scribe Christopher Hampton, titled THE TALKING CURE, Hampton also penned the screenplay for this film adaptation, which also credits John Kerr's examination of Freud and Jung's studies and personal lives, A MOST DANGEROUS METHOD. Given the films R-rating, Cronenberg will evidently be given full reign to follow the story's explorations of the dark recesses of human psychology and how it manifests in our sexuality. While Cronenberg has repeatedly proven his prowess with intimate character studies in recent years with his superb string of dramas such as SPIDER starring Ralph Fiennes, A HISTORY OF VIOLENCE with Viggo Mortensen and Maria Bello and, most recently, the unforgettable EASTERN PROMISES with Mortensen and Naomi Watts, A DANGEROUS METHOD is his first bid for Oscar gold this decade and for the first time in his forty year career he may finally be awarded for his cinematic legacy given this perfect storm of his idiosyncratic cinematic sensibilities married to charismatic lead performances by four of the hottest names in drama telling a story that only Cronenberg could tell this well - with a screenplay by one of the great playwrights and screenwriters of our age, as well. If the early reviews from the Venice Film Festival, where the film premiered earlier this week, and spellbinding images and scenes on display in the new trailer for the film are any indication of what we can expect from A DANGEROUS METHOD onscreen, this could very well be the film to sweep all the statuettes at the Oscars.

Few names in the modern lexicon can and do raise such vitriolic and vociferous reactions from film fans, Broadway babies and pop culture mavens alike - let alone everybody else - and not only for his classic spate of films, but, even more so because of his tumultuous personal life and the fact it has been painted on pages in the press for decades; yet, no question, the name Roman Polanski does just that. Given what has come to pass in his oft-vaunted career, the perils of his private life have always informed his art in one way or another - from his war-torn orphan upbringing in Europe in a concentration camp to his wife and son's brutal slaying by the Manson Family to the infamous rape case that made him a fugitive to the US; up to the new millennium and the recent HBO documentary examining the court case and, of course, the upcoming feature film, CARNAGE, itself. From the suffocating claustrophobia and bizarre social and sexual proclivity examinations in KNIFE IN THE WATER, REPULSION and CUL-DE-SAC, to his more mainstream US films like the horror classic ROSEMARY'S BABY and, in my critics' opinion one of the finest films ever made, CHINATOWN. Taking into account his seamless stage-to-screen transfer of DEATH AND THE MAIDEN in 1994, Polanski's CARNAGE could very well stand alongside that tremendous achievement as a solid film all its own - even divorced from its theatrical roots - especially judging from the looks of today's just-released trailer for the feature film version, coming out in December as one of the year's most highly-anticipated Oscar-bait entries being released at the end of the year (as always). For those not familiar with the hit source play, GOD OF CARNAGE concerns itself with one evening and the meeting of two couples in Manhattan to discuss their sons' situation in school and over the course of the colorful extended conversation the tables are turned and the parents reveal themselves to be children at heart - in more ways than one.

When a performance montage this fantastic comes along you are caught up in the spirit and lost in the moment in a magical way that only truly transcendent performances can conjure - and, on Monday night, on the stage of the unassuming fireworks spectacular from Washington, D.C., A CAPITOL FOURTH, on PBS, hosted by Jimmy Smits, such a momentous musical theatre moment occurred. While it is no surprise that Broadway star Kelli O'Hara was note-perfect, gorgeous and spirited, the fact that she brought such an air of star presence to the proceedings and performed with such precision made the medley burst, much like a firework, into something truly, well, spectacular. The addition of GLEE star and Broadway baby Matt Morrison on a pristine "Tonight" from WEST SIDE STORY brought the entire enterprise to new emotional and musical heights. What a rare and celebratory treat it is to have a look at these patriotic and, alternately, pathos-infused performances going into the weekend, post-Fourth - plus, "America" from Josh Groban and a MILLION DOLLAR QUARTET medley!

Today, in honor of the nationwide release of Stephen Sondheim's COMPANY in movie theaters, we are celebrating the many accomplishments of the film's director who has made a name for himself in the twenty-first century as the finest and most productive theatrical filmmaker of our age - Lonny Price. With his string of highly successful filmed stage performances before COMPANY ranging from last year's stupendous SONDHEIM! THE BIRTHDAY CONCERT back to SWEENEY TODD: IN CONCERT starring George Hearn and Patti LuPone, CANDIDE starring Kristin Chenoweth, CAMELOT with Gabriel Byrne, as well as well as the LIVE FROM LINCOLN center broadcast of Sondheim's PASSION and the forthcoming feature film version of Athol Fugard's Pulitzer prize-winning MASTER HAROLD AND THE BOYS, Price is ushering in a new era of theatrical films for television and, now, the cinema. So, let's go back and take a look at what led up to the feature film live capture of COMPANY taking musical theatre to an entirely new level - and an enormously appreciative audience. Three Is Company

On this very day in 1943, Michael DiFiglia was born in Buffalo, New York, and the world of Broadway would simply never be the same. Cutting his teeth with the accomplished choreography for A JOYFUL NOISE, PROMISES, PROMISES, SEESAW and COCO was merely the beginning of a career that would virtually rewrite and revolutionize the ways and means by which a director could yield ultimate control over a project. With COMPANY and FOLLIES, the later co-directing with Hal Prince, Bennett solidified himself as one of the most talented and brilliant choreographers of his generation and, shortly thereafter, proved with A CHORUS LINE that he was a master theatrical engineer with few, if any, peers. Worldwide success, Tony Awards and the Pulitzer Prize were just the gravy. Who else but Michael Bennett would then, or ever, receive - or should I say, earn - the credit "Entire Production Conceived, Produced and Directed by," besides him? While BALLROOM failed to live up to A CHORUS LINE in mostly every way, he soon after reinvented the wheel yet again with DREAMGIRLS in 1981. We never got to see his productions of CHESS and SCANDAL, both of which he was in the latter stages of developing at the time of his death in 1988. Broadway has never been the same since he's been gone. So, today, on the day following a glittering new production of COMPANY at Lincoln Center - with the complete dance sequence "Tick Tock" fully restored, now with five dancers - we take a tip of the top hat to the tops in taps, temerity and truthfulness onstage - the one and only Michael Bennett.

This week, in a corollary column to tonight's InDepth InterView: John Leguizamo, who can currently be seen nightly in his one-man-show GHETTO KLOWN on Broadway, we have an abundance of performance clips from his past stage shows - FREAK, SEXAHOLIX, SPIC-O-RAMA and more - as well as clips from his most beloved films - THE PEST, CARLITO'S WAY and TO WONG FOO, THANKS FOR EVERYTHING, JULIE NEWMAR, among others - as well as a look at his most memorable and mind-blowing characters - ranging from Tybalt in Baz Luhrmann's ROMEO + JULIET to Toulouse Lautrec himself in MOULIN ROUGE - all coming on the heels of the nationwide release of his newest feature film, THE LINCOLN LAWYER, co-starring Matthew McConaughey, Marisa Tomei, Josh Lucas and William H. Macy, which we take a cursory look at, too, of course. Plus, some musical theatre parodies, celebrity impressions, his debut appearance in a Madonna music video, and even a visit from Elmo himself!

Following the news this week of the passing of Elizabeth Taylor, we are taking a look back at some of her most memorable screen appearances over the years, beginning with LASSIE COME HOME and NATIONAL VELVET, and ranging from Vincente Minnelli's loveable comedies FATHER OF THE BRIDE and its equal sequel FATHER'S LITTLE DIVIDEND, to her unforgettable dramatic performance in A PLACE IN THE SUN, to the series of legendary pictures produced alongside her (sometime) husband and (always) love of her life Richard Burton, in roles ranging from Antony and Cleopatra in, of course, CLEOPATRA, to BOOM! Based on Tennessee Williams' THE MILK TRAIN DOESN'T STOP HERE ANYMORE - with a screenplay by Williams himself (his sole screen adaptation) - and one of the greatest films in cinematic history, based on one of the most important plays of the latter half of the twentieth century: Edward Albee's WHO'S AFRAID OF VIRGINIA WOOLF? That's not even mentioning her iconic performance in Williams' CAT ON A HOT TIN ROOF and SUDDENLY, LAST SUMMER - plus, BUTTERFIELD 8 (her first Oscar win), A PLACE IN THE SUN and GIANT. Who knows, there may even be time for a little FLINSTONES action, as well! Here we have a surefire spangled salute to one of the last great stars Broadway and Hollywood has known.

Today, in honor of THE BOOK OF MORMON in previews on Broadway, we are taking a look at one of the most controversial and well-crafted musicals of the last twenty years - strange as it may seem at first to consider it so - the feature film animated musical adaptation of the Trey Parker/Matt Stone Comedy Central juggernaut SOUTH PARK, SOUTH PARK: BIGGER, LONGER & UNCUT! Plus, we have a glimpse of the three other Parker/Stone musicals, past - CANNIBAL! THE MUSICAL, TEAM AMERICA: WORLD POLICE - and present - THE BOOK OF MORMON - as well as a nod to the man behind much of the music of the SOUTH PARK musical, Marc Shaiman - represented himself by a Broadway musical currently in previews, CATCH ME IF YOU CAN. So, come on down to South Park and see if you can't unwind!