Just in time for the Season Three premiere of DOWNTON ABBEY on PBS stations across the US starting this Sunday, BroadwayWorld is pleased to present two exclusive images from the spectacular fact-filled THE CHRONICLES OF DOWNTON ABBEY by Jessica Fellowes, niece of creator Julian Fellowes.

2012 marked the passing of a number of notable entertainment icons whose influence will be felt for centuries to come, yet unquestionably one of the most pertinent people to pass on insofar as Broadway babies were concerned given his considerable contributions to musical theatre (and far, far beyond) was the one and only EGOT-plus recipient himself - that is: Emmy, Grammy, Oscar, Tony-winner; plus a spare Pulitzer Prize, in his case, as a matter of fact - legendary composer/conductor/arranger Marvin Hamlisch. And, last night, byway of PBS and Live From Lincoln Center, audiences across the country were treated to a live gala event celebrating his tremendous Broadway and Hollywood legacy - ONE SINGULAR SENSATION: CELEBRATING MARVIN HAMLISCH. Highlights of the star-studded night included SMASH Brian D'arcy James on a song he debuted in Hamlisch's short-running SWEET SMELL OF SUCCESS, Michael Feinstein with an emotional take on Hamlisch's self-professed favorite self-penned song, Raul Esparza and Kelli O'Hara on two obscure SWEET SMELL gems and Maria Friedman with a song from Hamlisch's forthcoming musical THE NUTTY PROFESSOR, with book and lyrics by Rupert Holmes, based on the comedic cinema classic by Jerry Lewis, with the moment of the night owing to O'Hara and McDonald joining SMASH lead Megan Hilty on a spine-tingling iteration of the stunning A CHORUS LINE trio "At The Ballet". Through the ears of Marvin, last night we were reminded that nobody did it quite like he did while remembering the way we were - and what we won't forget - while being entertained by some of the best songs of the last century offered by New York's finest performers, musicians and creative talents.

Today, in anticipation of the DVD release of NBC's hit musical drama series SMASH on January 8, BroadwayWorld is pleased to present this exclusive clip from the extensive behind-the-scenes features available on the complete Season One DVD box set! 2012 Tony Award winner for Best Featured Actor In A Musical, Christian Borle, along with SMASH executive producer and lauded theatrical producer Craig Zadan, expound upon some specifics of the hit series in this exclusive look at the bonus content present on the forthcoming DVD set. Enjoy!

Christmas Day 2012 marks the biggest and best day of the year for many Broadway babies around the world, but the anticipatory fervor has little to do with the man with the beard in red and white from the North Pole - you see, the guy in question in this equation is more apt to be seen in red and black and his origins are decidedly a bit more Gallic than Jolly Old St. Nick. The man whom I speak of is, of course, Jean Valjean, the protagonist of Victor Hugo's spellbinding 1862 historical epic LES MISERABLES, a novel which was subsequently adapted into a 1980 concert spectacular and ultimately a 1985 full-fledged stage musical, painstakingly developed through the shepherding of uber producer Cameron Mackintosh, alongside the talents responsible for breathing song into the story - original French composer/lyricist team Claude-Michel Schonberg and Alain Boublil (along with Jean-Marc Natel), to whom Mackintosh added English lyricist Herbert Kretzmer (and also contributor James Fenton). Through a special partnership with the Royal Shakespeare Company, LES MISERABLES: THE MUSICAL premiered at the Barbican Theatre in the West End soon thereafter under the direction of Trevor Nunn and John Caird and opened to largely negative reviews, albeit ecstatic, ebullient audiences. Broadway was next, where it went on to win Tony Awards for Best Musical, Best Actor, Best Featured Actress & Actor and even more (eight total). LES MISERABLES onstage was a hit like few others from then on and the rest, ze say, is history - or, in this case, l'histoire. Yet, on Christmas Day, the next step in the evolution of the worldwide phenomenon commonly and colloquially known as LES MIZ will occur - just days after the Mayan-predicted end of days, no less - and the movie musical adaptation of the stage show will finally become a reality, featuring an all-star cast comprised of Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Samantha Barks, Aaron Tveit, Sacha Baron Cohen and Helena Bonham Carter, among others. The time has come to hear the people sing onscreen at long, long last. But, first, how is the film?

Today we are featuring the second of two world exclusive song premieres from the brand new holiday music collection A VERY BROADWAY CHRISTMAS with GLEE star and Broadway notable Matthew Morrison lending his golden vocal tone and emotive delivery to the original John Glaudini/David Green song "Thankful". 'Tis the season, after all!

Today we are kicking off the first of two world exclusive song premieres from the brand new holiday music collection A VERY BROADWAY CHRISTMAS with original BEAUTY & THE BEAST star Susan Egan's hilarious and endearing take on a particularly theatrical holiday tune coming from the pens of RAGTIME composer/lyricist combination of Lynn Ahrens and Stephen Flaherty, "Christmas Cliches".

Liberally utilizing tried and true heartstring-tugging tropes masterfully displayed in holiday entities as diverse as LOVE, ACTUALLY, IT'S A WONDERFUL LIFE, A CHRISTMAS CAROL, HOLIDAY INN and even showing some Chanukah action sure to set virtually anybody's menorah fully alight thanks to the Puckerman brothers, GLEE's Christmas episode - this year, aptly titled 'Love, Actually' and written by Matthew Hodgson and directed by HAIRSPRAY and ROCK OF AGES movie musical helmer and a recent participant in this very column, Adam Shankman (available here) - was all in all a quite quintessential quintet of seasonal joy, cheer, and, well, glee, broaching the quoin of many and any a viewer's heart valves in so pleasingly enacting its ample entertainment value over the course of the episode's five featured segments within the winning framework. While the split-location structure of the series as dictated by the new style of GLEE 4.0 is assuredly more pronounced than would be the case had the proposed NYC-set spin-off gotten the greenlight by FOX, the cast and creators are making it all work and it is more seamless as it goes on - and the addictive, giddy, all-consuming glee of it all that drew us all in in the first season is still there to relish by Santa's sleigh-ful.

"For the first time in its charmed, yet pitiful, existence the New Directions has lost Sectionals," and, with that, indeed did "Christmas came early for one Sue Sylvester." As GLEE gave the gift of its inimitable takes on a number of musical theatre showstoppers - among them, songs from CHICAGO, COMPANY and HALLELUJAH, BABY - to gleeks around the world with last night aptly-titled "Swan Song" episode, the Lima-based glee club that now and always acts as the focal point of the show faced perhaps its most treacherous hurdle yet - and that's not even including Sue's evil shenanigans. In NYC, the temperature rose in much the same way that it actually unseasonably happened to do in Gothan itself this week with a spectacularly sexy "All That Jazz" and some seriously stage-worthy barn-burners courtesy of "Being Good Isn't Good Enough" - recently re-introduced to the world at large by no less than Barbra Streisand in her landmark 2012 tour (as well as on her recently released cut-out compilation RELEASE ME) - and COMPANY classic "Being Alive". While next week is sure to provide all the holiday cheer a show named GLEE could possibly muster - which is a whole lot - this week's "Swan Song" reminded us why GLEE connects and continues to express an all-too-rarely explored, expressed and enacted trope of those who are involved with the performing arts: competition inspires greater dedication.

Today we are talking again to one of Broadway's recent rising stars all about his sensational sophomore solo album, STILL DREAMING OF PARADISE, as well as his role in this weekend's invitation-only reading of the new musical AMAZING GRACE - 2011-2012 season standout and JESUS CHRIST SUPERSTAR Tony Award nominee Josh Young. Espousing on the many elements that converged to make his solo album a reality, Young outlines his process with his close collaborators by discussing the imperative inspirations, subsequent arrangement experimentation, actual studio recording, scientific song selection process, major project goals and a lot more, as well as shares memories of what many of the album's tracks mean to him on a personal level and what we can expect from albums from him in the future, near and far. Plus, Young reveals his affection for his first major New York post-SUPERSTAR production, AMAZING GRACE, as he shares his enthusiasm for the daring subject, rich source material - no less than the life of controversial historical figure John Newton - and the purportedly thrilling new score composed for it and the unique and compelling tale behind it as the new musical takes this next step in its developmental process in the Lincoln Center-set industry presentation. Additionally, Young touches upon his favorite memories from the Tony Awards and participating in the Transport Group's recent concert production of BABY - and much, much more!

Today BroadwayWorld is proud to present the third and fourth world premiere exclusive songs in a month's time, following "Look At Me, I'm Sandra Dee" performed by Kitty (Becca Tobin) and the New Directions girls as well as "Look At Me, I'm Sandra Dee (Reprise)" performed by Marley (Melissa Benoist): following "All That Jazz" from CHICAGO courtesy of Rachel (Lea Michele)and Cassandra (Kate Hudson), here is Cory Monteith, Darren Criss and the New Directions with a theatrically-attuned group reworking of the 80s Crowded House pop classic "Don't Dream It's Over" from this Thursday's brand new episode, "Swan Song".

Over the last two weeks, GLEE has bravely taken on a catalog comprising everything from David Bowie and Simon & Garfunkel to FOOTLOOSE, PROMISES, PROMISES, the Scissor Sisters, Kelly Clarkson and fun., to say nothing of Psy's current worldwide smash hit "Gangnam Style", and, in so doing, it is clearly showing no signs of slowing down - actually, its amped up. Mashing up the New Directions of the original glee club with the new crew comprised of GLEE PROJECT winners and new faces, to say nothing of the Season Four additional storyline following the New York City-set travails of Rachel (Lea Michele) and Kurt (Chris Colfer) with guest stars Kate Hudson and Sarah Jessica Parker, both "Dynamic Duets", written and directed by co-creator Ian Brennan, and "Thanksgiving", written by Russel Friend & Garrett Lerner, directed by Bradley Buecker, also introduced anomalous themes into the GLEE universe while juggling everything else - namely: super heroes and a holiday tribute, Thanksgiving. While this week's episode was perhaps more generally amiable and appealing and certainly more successful in its overall execution and worthy place in the upper half of the episode stack four seasons in, last week packed a plosive "Pow!" of a punch insofar as its appreciable visuals and creative utilization of the tried and true tropes of comic book lore, new and old.

Today we are talking to a recording artist whose new release, CLASSIC, virtually acts as an overview of his impressive career thus far, with its overall wide embrace of titanic vocals and big emotion while covering pop, opera, country, classical, religious themes, theatre music and more - celebrated crossover star David Phelps. In addition to all about CLASSIC, outlining its origins and creation, plus song selection process, actual recording and producing and more, Phelps also casts a glance back at his idiosyncratic journey thus far, opening up about the impetus for pursuing a life of music as well as how he has now made it a family tradition thanks to the participation of his siblings and even his daughter in a special duet on the stirring new release. Also, as well as all about CLASSIC and its current tour, Phelps cites his foremost influences, reflects on some of his favorite recordings to date, illustrates the finer points of his recording process with his collaborators, points out some of his favorite holiday song selections - and much, much more!

"No contact, not even in song." And, with those words, the epic romance of Rachel (Lea Michele) and Finn (Cory Monteith) - Finchel, familiarly, to fans of the show; gleeks - on Fox's hit musical dramedy series GLEE came to a horrific car crash of a coda - and all-too-appropriately so given the automatic, systematic, ultimatic GLEE GREASE tribute oh-so-amusingly billed as "Glease". The Robert Aguirre-Sarcasa-written, Michael Uppendahl-directed ep gave us a generous dose of GREASE justified by the glee club's take on the classic 50s tuner while also offering us some hair-raising dramatic and thematic developments, as well - Mr. Shue (Matt Morrison)'s sabbatical; the permanent ceasing of not one, not two, but three central romances of seasons' past; as well as the nefarious interception of Cassandra July (Kate Hudson) into the entanglements of the NYC-set storyline of the all-new, revamped GLEE S4.

The results are in! And, last night, after a month-long hiatus, GLEE came speeding back to the small screen with the spiffy and spunky new episode, "The Role You Were Born To Play" - a Michael Hitchcock-written, Brad Falchuk-directed entry to Fox's hit musical series centering on the auditions for this year's McKinley High musical - none other than the campy 50s musical comedy GREASE! And, indeed, GREASE is the word - and, furthermore, the musical GLEE was born to do.

While the scariness of the season may be all too real and in-your-face to East Coast BroadwayWorld readers due to Hurricane Sandy, late October is indeed the most frightening time of the year, so let's take a look at some of the top picks for Halloween 2012 - whether you are looking to pass some time in the storm, boiling up a cauldron of witch's brew for trick or treaters or donning devilish duds yourself.

Today BroadwayWorld is thrilled to present not one, but two world premiere exclusives from the upcoming GLEE tribute to GREASE - oh-so amusingly titled "Glease" - both the risque and rollicking "Look At Me, I'm Sandra Dee", performed by Becca Tobin (Kitty) and gleek girls, as well as the mournful, balladic "Look At Me, I'm Sandra Dee (Reprise)" passionately performed by Melissa Benoist (Marley).

Today BroadwayWorld is thrilled to present not one, but two world premiere exclusives from the upcoming GLEE tribute to GREASE - oh-so amusingly titled "Glease" - both the risque and rollicking "Look At Me, I'm Sandra Dee", performed by Becca Tobin (Kitty) and gleek girls, as well as the mournful, balladic "Look At Me, I'm Sandra Dee (Reprise)" passionately performed by Melissa Benoist (Marley).

Today we are talking to a breathtakingly gifted vocalist who premiered the first single from his brand new solo album COMFORTABLE right here in this very column on BroadwayWorld earlier this week - the one and only Tituss Burgess. In this career-spanning conversation, Burgess and I touch upon many of the Broadway entities which he has played a part in over the last decade or so - THE LITTLE MERMAID, JERSEY BOYS and GOOD VIBRATIONS included - as well as sharing some onset stories involving his stints on NBC's hit comedy 30 ROCK. Most of all, Burgess and I dissect the finer points of his sophomore solo album, COMFORTABLE, and he explains his songwriter process and progress, as well as the many influences and inspirations that have infused this passion project over the course of its years in writing, recording, and, now, finally, releasing. Plus, Burgess looks ahead to the future and clues us in on his late-night concert at New World Stages on Sunday night. All of that and much, much more!

This week on Week Four of THE X FACTOR, the first round of contestants to make it into the competition for the $5 million recording contract were let go at boot camp - and, on GLEE, romantic walking papers were issued willy-nilly as four long-standing relationships between central characters came to a conclusion (at least for now).

Today we have a super-special SOUND OFF exclusive taken from the sensational forthcoming sophomore solo album from Broadway notable and 30 ROCK standout Tituss Burgess, "I'll Be Alright".

This week marked the third X FACTOR/GLEE combo Thursday on Fox and both shows continued to deliver the chill-inducing trills and riff-tastic runs we have come to expect from the entertainment extravaganzas showing off TV's top vocalists, performers, celebrities, hottest songs and guest stars. Evidently, Sarah Jessica Parker and Britney Spears sure can spice up and heat up a cooling late-September autumnal soup!

This week saw the second Britney Spears-centric episode of the musical dramedy series GLEE, "Britney 2.0", as well as the second three-hour block of new episodes of the reality singing competition THE X FACTOR, the latter featuring none other than new judge Britney Spears as it continued to offer up even more preliminary auditions as the arbiters hone in on a Top 20 and we gear up for the live shows starting soon. While the theme of Thursday night on Fox may have very well been their $15 million investment given glam, grand primetime treatment as only the network AMERICAN IDOL and GLEE built really could, both shows proved that the pop princess of the 21st century is at the top of the entertainment heap for very good reason, leaving X FACTOR fans, gleeks and entertainment junkies alike left requesting one thing and one thing only by the time 11 o'clock rolled around: "Gimme gimme more."

This week saw the premieres of not one, but two of the biggest entertainment extravaganzas currently on show in the vast TV landscape, both on Fox - the season two debut of the reinvented reboot of the reality singing competition show THE X FACTOR (with Britney Spears and Demi Lovato as new judges), as well as the season four premiere of the returning, albeit re-jiggered, half-NYC-set GLEE (with a memorable Kate Hudson, and, also, Sarah Jessica Parker joining next week). While one may have been more successful than the other in pulling off its grand switcheroo (especially insofar as overall transitional smoothness, THE X FACTOR really seems to be finding its voice, pardon the puns), the sheer enjoyment levels achieved by each was enough to make both recommendable and worthy of review given their intrinsic ties to the performing arts realm and their exploration, exhibition and employment of the titular x factor. Individuals with that oh-so-unmistakable allure were on ample display both on THE X FACTOR and GLEE, making both properties once again worth revisiting each week this year, like last year - look no further than jaw-dropping X FACTOR audition of Carly Rose Sonenclar for clear-cut proof of that. Plus, next week, THE X FACTOR and GLEE shall share a similar theme when GLEE gets 1,2,3 (or, more to the point: 5,6,7,8) with a second Britney Spears tribute, "Britney 2.0"

A gay gallimaufry, Ryan Murphy and Ali Adler's new NBC half-hour comedy THE NEW NORMAL more than merely delivers on the premise of a meta-MODERN FAMILY complete with all the requisite Murphy touches - and much, much more. After all, Murphy is the man behind POPULAR and GLEE, two of the most genre-bending and outrageous TV comedies of the 21st century (in addition to the just 17-time nominated new FX horror series AMERICAN HORROR STORY), so THE NEW NORMAL provides him with a mainstream, mainstage, network series in which he can explore the lighter side of life while also imparting a serious, progressive and all-too-apropos message along the way: A family is a family is a family. Gay, straight or otherwise, a family is founded upon love and only love as its basis and the overriding theme of the series is exactly that. While this all may sound a bit ooey gooey and pat, it is anything but in its style, presentation and attitude.

Today we are talking to one of the most alluring and anomalous recording stars on the rise all about this week's US release of her sophomore album, BOYS DON'T CRY, a tribute to male songwriters of the 1970s - the ethereal Rumer. Discussing many aspects of this new release, as well as her previous studio work - such as her Burt Bacharach Christmas EP - Rumer sheds some light on what makes her such an arresting and intriguing performer to follow for the enthusiasts of intimate, revealing, performance-based artists around the world, as she herself reveals the early influences - Judy Garland, Barbra Streisand and Karen Carpenter most of all - that have shaped the unmistakable sound she continues to perfect on this moody, subdued and intoxicating new cover album. Plus, Rumer offers forth candid recollections of participating in recent gala concert presentations - none the least of which would be her superb "A House Is Not A Home" on the PBS Burt Bacharach edition of IN PERFORMANCE AT THE WHITE HOUSE - as well as recounts her own favorite performances, performers and albums and what she plans for the future; another new album is already in the ether! Additionally, Rumer also shares her thoughts on GLEE, provides amusing anecdotes about famous friends like Darryl Hall and Duffy, compares the recording industry now to the era BOYS DON'T CRY pays tribute to, recalls reactions to her dynamic new covers of these rare pop gems - all of that as well as much, much more!