Barks Swiftly Takes Role

Theater preservers can let out a sigh of relief! The reports of Taylor Swift playing Eponine in the Les Miserables movie were wrong. Swift is not in fact taking the role because Samantha Bark is. Bark played Eponine in the 25th Anniversary production of Les Miserables.

Raven-Symone to Raise Her Voice?

Could lil Raven-Symone be heading to the Great White Way? That's the report coming from deadline.com. Raven-Symone, most recently known for her work on her Disney Channel sitcom "That's So Raven", is said to be taking over for Patina Miller in Sister Act at the end of March. So, will this stunt casting work or will she be the Oliver Factor (google it if you don't know the reference) of Sister Act?

Review: Secrets in the Woods

Every family has secrets. It’s reality. And it’s also the key ingredient when making a family drama. Daniel Talbott’s wonderfully heart-numbing new play Yosemite has a big secret, but these siblings are doing everything in their power to bury it. Literally.
Yosemite follows three siblings, Jake, Ruby, and Jer, played with ease by Seth Numrich, Libby Woodbridge, and Noah Galvin respectively, as they journey to a secluded area of the wintery woods behind their trailer. Almost immediately we know what’s inside the garbage bag Ruby holds just by the way she holds it. But the true mystery is what happened. The siblings in Yosemite aren’t quite “trailer trash” but they also don’t live the life of luxury, which is part of the reason why their secret needed to be buried. The majority of the play Numrich’s Jake is at verbal odds with Woodbridge’s Ruby, yelling and getting down on her for nearly anything that comes out of her mouth, but deep down, Jake is the parental figure for both Ruby and Jer. And of course, the anger comes out because the situation isn’t quite ideal. Jake wants what’s best for his siblings and will whatever it takes for them to escape the life they’re trapped in. The big secret is ultimately revealed when Julie, played by stunning Kathryn Erbe, the mother, tracks her kids down wanting to know what’s taking them so long. She does her best to be a mother, but in the end, she’s lost in herself. Julie does nothing but antagonize Jake while attempting to nurture Ruby and Jer. Unfortunately, Jake gets the final word against Julie who leaves Jake to his duties.

The beauty of the acting in Yosemite comes in the silence. In the moments of limited dialogue, the trio is captivating. You watch their every move, from Numrich’s digging to Woodbridge’s shivering to Galvin’s stick snapping. Director Pedro Pascal guides the actors to make the most in the silence and with Talbott’s great script. Woodbridge is quite strong as Ruby and does a tremendous job playing off of the sensational Seth Numrich. Janie Bullard’s wonderful ambience of sound helps define the landscape that scenic designer Raul Abrego has created. The design is specific down to every last detail. Even Tristan Raines’s costumes are wonderfully detailed oriented. His mismatched hand-me-down winter wear defines the down and out status of the family in every detail, including a piece of duct tape on Ruby’s boot.
The only trouble I had with Yosemite was something little, but ultimately huge. When Julie enters, she enters with a gun. She holds the gun a bit clumsily, stands it against a tree, and then it just sits. And sits. And sits. Until Julie leaves with it. When bringing a weapon into audience view, there should be a real defined reason. And for the majority of the play, it was just there and I sat waiting for something to happen with it. At the end of the play, there is an off stage action for it. Hence the reason for the gun. I almost wished we never saw the gun, or had that final moment. End the play on a more ambiguous note.
But gun or not, Yosemite leaves you numb. You leave wanting to give someone you love a hug. Yosemite is not to be missed.

Shameless Plug: Exposure

Tonight at 7:00pm, DreamStem Productions presents Dreams on the Page: Exposure by yours truly, Michael Bradley. Directed by Leah Benavides, the cast includes Kyla Blocker, Corey Camperchioli, Meredith Cody, Remy Germinario, Alex Mandell, Ryan McCurdy, John Moser, Julio C. Pena, and Donnell Smith. The reading of Exposure begins at 7 at Ripley-Grier Studio (520 8th Ave, 16O, 16th Floor). Tickets are only $5!

Spotlight On...Nick Blaemire

Name: Nick Blaemire

Hometown: Bethesda, MD

Education: University of Michigan

Select Credits: "The Big C" (Owen, Showtime); Glory Days (Composer/Lyricist; Circle in the Square Theatre); Cry-Baby (Whiffle, Marquis Theatre); Altar Boyz (Abraham - 1st National Tour)

Why theater?: Because it's the most fulfilling way to connect with a large group of people about issues and stories you believe in. It's a way to make people think, feel, and remind people that we're all human beings and need to be good to each other.

What is it like being a part of Godspell?: It's a total blast. It's kind of like returning to kindergarten, and then growing back up to adulthood every evening. The cast is supremely talented and we're so lucky to get to do a show where we don't ever leave the stage, and get to show so many facets of our personalities.

What kind of theater speaks to you? What or who inspires you as an artist?: I love being part of art that says something fresh about being a person - whether its the underbelly or a reminder of all the things we're capable of, layered, nuanced theatre with rich characters and surprising stories always attract me. I'm inspired by the work of ballsy writers who are willing to try new, risky things, and actors with strong work ethics, and unique perspectives on how to look at a situation or character. Tom Hanks, Dustin Hoffman, Matt Damon, Steven Spielberg, Tom Stoppard, Stephen Sondheim, James Lapine - those kind of people :).

Any roles you’re dying to play?: Lately i've been really excited about the prospect of playing new roles, stuff no one's gotten to touch yet, that maybe hasn’t even been completely figured out yet. But in terms of stuff that's already been written, and for theatre, I'd love to play George in Sunday…, Charley in Merrily…, Mark in Rent, Batboy in Batboy

You’re an actor and writer. Do you prefer one over the other?: I've actually found them to be very complimentary disciplines. When i get tired of acting, I inevitably want to start writing again, and vice versa. They really feed each other. And lately i've been lucky enough to get to do them both pretty much every day, so i'm sitting in an embarrassment of artistic riches over here.

What’s your favorite showtune?: "Our Time" from Merrily We Roll Along or "Sunday" from Sunday in the Park with George.

If you could work with anyone you’ve yet to work with, who would it be?: Tom Hanks, Dustin Hoffman, Matt Damon, Steven Spielberg, Tom Stoppard, Stephen Sondheim…

Who would play you in a movie about yourself and what would it be called?: ooh man, I dont know - maybe Shia Lebouf? And it'd be called “Accentuated Features”, in honor of my schnoz and big ears.

What show have you recommended to your friends?: I haven’t gotten to see much lately because of Godspell, but I hear Once is incredible.

What’s up next?: I'm releasing my first EP with my band The Hustle, which should be out by the end of February, continuing to play gigs with them, and I just completed new drafts for two original musicals i'm writing, After Robert Hutchens, which we workshopped up at Williamstown Theatre Festival this summer, and When the World Ends, which we just did a reading of over at Ars Nova!

For more on Nick, visit him at http://www.nick-blaemire.com/ and http://www.youtube.com/results?search_query=nick+blaemire+and+the+hustle.

Review: Music Takes Centerstage

Putting up a revival of a successful classical musical can be a challenge. You want to honor the original yet put your own spin on it. A recent trend in musical revivals is the attempt of updating the piece. The Gershwin’s Porgy and Bess brought in a new playwright to bring dimensionality to the original characters. On a Clear Day You Can See Forever used the classic story and put a gay spin on it. Both pieces got slammed by fellow artists (Mr. Sondheim) or critics (NY Times) respectively. So how do you update a classic musical without being a complete disaster? Look at the folks over at Godspell. Sure, it’s not perfect, but it actually works. The musical is a timeless piece, yet if you tried to put the original score back on Broadway, it would bomb. So what do you do? Throw in current references, jokes, and props and make the score that reflects the modern style of music. It's a recipe for potential success.
The highlight of the new revival of Godspell is the orchestration. Michael Holland has done a phenomenal job at reinventing the sounds of Stephen Schwartz’s original music. He keeps what the audience is familiar with but puts a new spin to it. There’s no doubt that you’ll want to purchase the soundtrack after leaving the show. But there’s a more to the production than the music. And that is what leaves you wanting more. Daniel Goldstein’s direction is at times a bit static, especially in act one. The parables come off more as sketch comedy scenes. Sure, they’re beyond entertaining and the ensemble does a wonderful job, they just seem a tad disconnected from the music. If the goal of putting on a musical is entertaining the audience, then it was a major success on Goldstein’s part. I was entertained. And he has brought along a sensational ensemble with him.

The ensemble is an energetic group of youngsters who never have a dull moment in the spotlight. And believe me, each person gets their time to shine. It’s hard to pick out a standout in this group of talent, but there were some moments that were better than others. Like Uzo Aduba’s hilarious take on Donald Trump or Morgan James’s sexy “Turn Back, O Man” or Nick Blaemire’s energetic “We Beseech Thee.” And of course anything Lindsy Mendez or Telly Leung does is wonderful. Even Wallace Smith gets some fabulous stage time as the very principal character, Judas. His duet in “All for the Best” is a highlight. The most pleasantly surprising performance of the night was by Hunter Parrish as Jesus. He doesn’t have the pipes that some of his fellow actors have, but he exudes charm like no other. He speaks, you listen. His performance of “Beautiful City” is simply beautiful. Say what you will about Parrish, he’s got potential to be a bigger star.
The overall design of the production was a tad mixed. David Korin’s magical set was innovative. David Weiner did a nice job highlighting the band without becoming distracting. And of course the lighting during the pinnacle moment at the end was beautiful. Miranda Hoffman’s costumes seemed a bit wild and came from stock in a costume shop. And then there’s the band. As mentioned before, the music was tremendous and the boys in the band played it with ease.
If you’re a fan of the original incarnations of Godspell, you may be confused and disappointed with the liberties taken in the new revival. But for a first timer like myself, I couldn’t help but want more.

Everyday I'm Shufflin'

The past two days in theater news has been crazy! Shows are coming while others are going, rather not coming at all. Where to begin? Rebecca, the newest attempt to bring back the epic musical, will not play Broadway this year. It was supposed to take the Broadhurst. So with open space, someone was bound to come in a take it! And no doubt, it's the unnecessary revival of A Streetcar Named Desire starring Blair Underwood. Dates are still being determined. Next Capathia Jenkins has joined the cast of Newsies playing Medda. And finally, "Smash" star and Tony nominee Christian Borle is confirmed for Peter and the Starcatcher. Borle received much acclaim for his Black Stache. Phew! That's a lot!

Shameless Plug: Flying Snakes in 3-D!

Looking for some fun theater this weekend? Check out my pals at Flying Snakes in 3-D at the Brick Theater! For tickets and more on Flying Snakes in 3-D visit http://bricktheater.com/.

Spotlight On...Daniel Talbott

Name: Daniel Talbott

Hometown: San Francisco, Bay Area

Education: Solano College Theater ATP, Juilliard BFA

Select Credits: an actor, director, playwright, producer, literary manager, and artistic director. His most recent work as an actor includes the Theatre for One project in Times Square and around NYC, The Merry Wives of Windsor (Shakespeare Festival of St. Louis), Master Builder (Irish Rep), Rocket City (Alabama Shakespeare Festival), Tartuffe (McCarter Theatre/Yale Rep), Marat/Sade (Classical Theatre of Harlem), the feature film "Pretty Bird", "Dreaming American", and "The Big C" on Showtime. Recent producing credits include Elective Affinities with Zoe Caldwell, and the ongoing Cino Nights series at the Seventh Street Small Stage/Jimmy’s No. 43. Recent directing work includes Lake Water (Neighborhood Productions), Eightythree Down (Hard Sparks), Much Ado About Nothing (Boomerang), Squealer (Lesser America at Theater for the New City), The Umbrella Plays (the teacup company/FringeNYC – Overall Excellence Award: Outstanding Play and at The Tank), and Keep Your Baggage With You (at all times) (Theater for the New City). His play Yosemite will be produced this season at Rattlestick Playwrights Theater.  
Why theater?: My first real experience with theater was when I was a little kid and I saw Peter Pan with my Grandma Lou and some of our family’s best friends, The Palmers, in San Francisco, and I guess when the pirates started coming for the kids I jumped up on my seat and screamed ‘They’re coming!’ ‘THEY’RE COMING!’ ‘They’re going to get you!’ and basically dissolved into madness.  It took a bunch more years though for me to find the theatre, and in my junior year of high school I took a class at ACT in San Francisco at their wonderful Young Conservatory with the brilliant Andrew Dolan. I got in the elevator at 30 Grant Street, and something made sense for the first time in my life.  It was before the class even started.  And I was like, I’m going to do this.  I know it sounds crazy but something in that elevator ride…just made sense, and I was basically like, if I’m shit at this or if I’m good at this, I’m going to do it. I had horrible stage fright (and I was really bad – I was really terrible…I was terrified), I couldn’t memorize a fuckin’ line.  I was horrible, but I was just like, I’m going to do this. This is going to sound so fucking hokey, but some people say "I’ve got a calling to go into the priesthood" or "I had a calling to be a firefighter" or something, but it was the first time in my whole life that I felt whole.  It made sense and I just knew…and I can't describe it more than that, but it was like this was going to be my life, and I just made a decision.

Tell us about Yosemite: It’s a play that was commissioned by the wonderful ladies of the 24Seven Lab (Sharon Freedman, Edith Freni, and Sarah Hayon) who I love, and it literally wouldn’t exist without them and all their love and support.  It’s also a play that I wrote for one of my best friends and one of the greatest actors and people and I know, Seth Numrich. It’s about family, it’s about horrible loss and poverty and what that does to people, and it’s mostly about love between a family--love that’s so huge it can’t be contained by the world and how that gets you through. That’s at least what it’s about for me in my heart, and what I hope it’s about for other people in a bunch of different ways.  I guess I’m also realizing it’s a lot about not having a dad, in essence a dad who for all intents and purposes is dead, and my imagination of what that would be if that dad had been there, and was an extraordinary father, and what would happen if that vanished, and a family lost that suddenly.

What inspired you to write Yosemite?: This play is so much for my family who I love deeply, and who I have been through a lot with, and it's especially for my brothers and sisters and my mom, and again my dad. There was a time that we lived in a place that was full of so many people, and especially their kids, who had such great intentions and tons of heart and imagination, but were absolutely crushed and destroyed by poverty and drugs and loss. Life can be really, really tough, but through each other, and with each other, I feel so many of us were able to crawl out of that pit, and I couldn't be more thankful for that - and this play is about that for me. This play is so much for them and for my family, and it's crazy cause again I just have no idea if it's going to mean anything to anyone else. I really hope it does and that that heart and insane struggle translates in some way, and that folks get it and love it (and the people in it) like I do, but I just don't know. It terrifies me, but as with the rest of my life, I feel like I'm surrounded by family and friends with this cast and crew and Rattlestick, and that gives me strength. God I love all these guys (Pedro, Seth, Libby, Katie, Noah, Mikey, Sam, Eugenia, Janie, Raul, Tristan, Joel, David, Brian, Denis, Julie and all the Rattlestick gang) and am so thankful they’re in my life and that they have my back.

What kind of theater speaks to you? What or who inspires you as artists?: I love any type of theater that has integrity at its core and is trying desperately to actively, dangerously, humanly, vulnerably say something.  Theater that’s about ego, snobbery, and careerism is not interesting to me in the least. Corporate and detrimental institutional attitudes about theater are not interesting to me either, and honestly cheapen and affect the work in a negative way.  No one needs to act that way to make a life in this brilliant, essential, old as fucking time, shamanistic art form.  I think theater should be for everybody, and I think it’s an art form of gypsies.  I don’t care where it is, and I could give a fuck less about the whole Off-Off Broadway, Off-Broadway, Broadway thing.  Great work is great work and can be done anywhere, and with any budget, you just have to open yourself to what’s there and get creative and fucking burn the shit out of whatever you’re working on. There are so many theater, television, and film artists who inspire me, and of course so many folks who are artists in their own field.  I love Ariane Mnouchkine, Caryl Churchill, Tennessee Williams, Shakespeare, Eugene O’Neill, Harold Pinter, Samuel Beckett, Sarah Kane, Larry Kramer, John Guare, Mark Schultz, Lucy Thurber, Adam Rapp, David Adjmi, Laura Eason, Daniel Aukin, Jennifer Ehle, Sam Gold, Pedro Pascal, Kirsten Kelly, Stephen Daldry, Joseph Papp, Morgan Jenness, Jim Nicola, Jack Doulin, Sarah Ruhl, Annie Baker, Ken Urban, Stephen Willems, The Amoralists, Zoe Caldwell, Marian Seldes, Brian Murray, Michelle Williams, Heath Ledger, Roberta Maxwell, Alvin Epstein, Seth Numrich, Katie Erbe, Noah Galvin, Libby Woodbridge, Brian Miskell, Jimmy Davis, Martin and Rochelle Denton, Jelena Stupljanin, all the Cino writers both past and present, Doric Wilson, Cate Blanchett, Kim Stanley, Laurette Taylor, Marlon Brando, Albert Finney, Estelle Parsons, Cherry Jones, Judi Dench,  Steppenwolf and all its company members, Stephen Adly Guirgis, Philip Seymour Hoffman.  Patti Smith, Nan Goldin, Ryan McGinley, Pina Bausch, Marina Abramovic, Diane Arbus, Beethoven, Henri Cartier-Bresson, Nina Simone, Lauryn Hill, Jay-Z, Francis Bacon, Egan Schiele, Juergen Teller, Joseph Cornell, Marc Chagall. I have to put Roger Federer, and Venus and Serena Williams in too. And more than anybody else, my Rising Phoenix Rep, Rattlestick, and piece by piece families.  Addie, Sam Soule, Julie Kline, Denis Butkus, David Van Asselt, Brian Long, Wendy vanden Heuvel and tons and tons of others, and if I left someone off (cause I definitely did) please forgive me!  Mostly, I’m inspired by my favorite guy on earth, my son Bailey, he’s everything to me and is the reason both A and I try to grind like we do.   

You’re a triple threat: actor, director, writer. Do you have a favorite? Is it hard going from one hat to another?: I don’t have a favorite thing at all, I just want to be working all the time and feel so lucky that people let me work with them and are interested in working with me.  I love all of it and it all terrifies me in different ways and I think all opens me up and helps me learn and grow in the other areas.

If you could work with anyone you’ve yet to work with, who would it be?: Alive? All of those folks above and tons of others.  It would be pretty amazing to be able to work with the Group Theatre when it was starting out. Kim Stanley, Geraldine Page, Tennessee Williams, Laurette Taylor and Sarah Kane.  These are just the first folks who came to my mind.

Who would play you in a movie about yourself and what would it be called?: Gabourey Sidibe (who I love!) and I don’t know what it would be called! ☺ I fucking love me some Gabourey Sidibe and think she’s genius, and crazy want her to play me and my alter ego Tasia.

What show have you recommended to your friends?: I feel bad that I actually haven’t really been able to see anything since the new year, but I really loved Shame, and go see anything at the Neue Gallerie. 

What’s up next?: I feel so lucky to be getting to work with the extraordinary Boomerang folks again and all the brilliant actors who are busting it on Much Ado About Nothing.  I love Shakespeare and can’t wait to dive in with all those amazing and huge hearted folks again.  I CAN’T WAIT.  TERRIFIED, and can’t wait.

Review: When Snakes Soar

Why do we do theater? It’s a very loaded question that nearly every theater artist asks themselves, at least once in their life. Or maybe once a day, depending on how crazy this field makes you. But that was the question posed in Flying Snakes in 3-D! Now you must be asking yourself, how does that question correlate to that wild title? Simple. Everywhere Theatre Group, in a meta sense, decides to create a work of theater to help figure out why they do theater, the dying art form in the rapidly rising world of film and TV. So they attempt to create this wild play that is better suited for the other media: Flying Snakes…in 3-D.
Flying Snakes in 3-D is part experimental theater with a dash of plot in parody form. The actors play an assortment of stock action movie characters set to a brilliant video backdrop, created by Chase Voorhees. The top notch video design at times was so well done, you almost wanted to watch that instead of the actors. The writing is over-the-top, which allows for some fun over-the-top acting. Lindsay Mack, the only member of ETG brave enough to step on stage, plays Inis Goodheart, the scientist who unleashes the killer Flying Snakes on America, is wonderful to watch on stage. She owns her moments and shines in the comedy. Unfortunately, she is occasionally brought down by her scene partner Cory Hibbs as Frank Scheckles, another doctor who accidently unleashed the snakes. Some of the best moments came from the secondary characters, which seems to be the theme in most action movies. The ragtag group of Americans who set out to stop the Flying Snakes, also known as the F.U.C.K.E.R.S., are wild and crazy and strive in their moment in the spotlight. Their introductions, again with a great video background, are highlights. T. Ray Campbell plays a cowboy who knows no mercy. Eevin Hartsough plays a pregnant psychic with a psychic unborn child. But it’s Kim Gainer’s Governor Rosa Gomez and Chris Tyler’s outrageous basketball (and Shaq) loving Jayleen Shebazz that steal the show. I will say, I was wishing for a “Kazaam” reference.
All of these parody moments were entertaining and wonderful to watch. The subtle references to why doing theater is hard was refreshing because it was subtle. But the second the subtlety moved into the spotlight, the cohesion seemed to die and we were being told what to think. Bashing an audience over the head with an answer is never a good idea. But maybe that’s the point? Maybe we needed that bash.
Flying Snakes in 3-D is an ambitious and entertaining night of theater. Expect to laugh and have fun.

Spotlight On...Nikki Renee Daniels

Name: Nikki Renee Daniels

Hometown: Atlanta, GA

Education: BFA in Musical Theater from the University of Cincinnati, College-Conservatory of Music (CCM)

Select Credits: Recent Broadway- Anything Goes; Promises, Promises; Les Miserables revival.  Favorite Regional- Caroline or Change (Emmie, The Guthrie); Beauty and the Beast (Belle, North Shore Music Theater and American Musical Theater of San Jose); Ray Charles Live! (Della B, Pasadena Playhouse)

Why theater?: I've always loved singing, and I thought about going to school as a Classical Voice major, but I love singing in all kinds of different styles, and I've definitely been able to do that in the theater.

What is it like being a part of Porgy and Bess?: Being a part of this show is literally a dream come true.  "Summertime" was one of the first songs that I learned when I started singing, so to be able to sing it every night on a Broadway stage is amazing. I have learned so much working with this talented cast, especially from watching Audra. 

What kind of theater speaks to you? What or who inspires you as artists?: Basically I love anything that moves me.  I like a wide variety of shows, but I love it when you can feel the emotion emanating from the stage.  Shows like The Normal Heart and the Deaf West revival of Big River come to mind. I am inspired by the entire cast of The Gershwin's Porgy and Bess for sure!  It is such an amazing assembly of talent, and I feel blessed to be up there with them every night.

Any roles you’re dying to play?: There are a few roles that I wanted to play, but I am getting a little too old for them now.  I would love for my next show to be something new that I can create from scratch.

What’s your favorite showtune?: "Summertime"!  I also love singing "Home" from The Wiz.

If you could work with anyone you’ve yet to work with, who would it be?: I would love to get to do a show with my husband, Jeff Kready :-)

Who would play you in a movie about yourself and what would it be called?:  Kerry Washington would be a great choice because I actually get mistaken for her on the street sometimes!  As for a title, I guess I'd say it could be called "Lucky Gal"

What show have you recommended to your friends?:  Other than The Gershwin's Porgy and Bess?  I'd recommend Anything Goes or The Book of Mormon.

What’s up next?: I am coming out with a solo CD very soon- I'm really excited about it.  It's called "Home" because I sing two songs called Home on it.  It will be available on iTunes and CD Baby.

For more information on Nikki, find her fan page at https://www.facebook.com/nikkireneedaniels

Smash Pilot Online! (and a Smash!)

Just can't wait to see the new hit "Smash"? Well, you don't have to! NBC has released the Pilot and now you can get a sneak of the brilliant new show. I watched and let me tell you, A+. Since the show is theater related, theaterinthenow.com will be reviewing each episode after it airs! I won't spoil the Pilot until it airs on TV, but if I were you, I'd watch now! Below is the link to download the Pilot. Feel free to share your thoughts! 

http://itunes.apple.com/us/tv-season/smash-season-1/id492511667

Review: Ghosts of Follies Past

There’s a reason why drama and theater go hand-in-hand. It’s because theater people are filled with way too much drama. Especially the love square in the revival of Follies. This classic Sondheim show has been through the grinder, so it would be pointless for me to say that James Goldman’s book is abysmal. So we’ll completely bypass those points and discuss the production.
The musical transfer that previously played The Kennedy Center and will soon travel to Los Angeles is simple and stark. But that’s what the play calls for. It takes place in a theater that is soon to be demolished and turned into a parking lot so why not bring the set into the audience of the Marquis Theater? Upon entrance before the show, the precedence is set. You can hear the ghosts of Follies past. From tapping to chatter. It’s present. And so are the Follies girl “ghosts” throughout the production. The stage pictures of the Follies girls are sometimes stunning. They appear when you least likely expect them, and rarely are they a distraction. Unfortunately, distraction is ever-present once the Follies reunion begins. Eric Schaeffer’s staging is often static. The way the musical is set up, there is action that takes place downstage, but in reality, there is a party happening upstage, and thus, becomes distracting. I learned while doing high school theater about being present but not distracting in the background. Unfortunately, this company neglected that education. Additionally, the book is set up to present song and immediate dialogue, often by a character that enters the stage. And well, it appeared quite amateurish since a spotlight was used every single time. Perhaps these scenelets were asked to take place in various locations in the theater, but in this production, it’s all on stage. And it’s hard to believe that these tender discussions would happen with a potentially present listening audience is upstage. The majority of these dialogues are about Sally asking Ben to love her, despite being married to Buddy for a number of years. Is it believable that it takes Sally thirty plus years to admit her love because she can only say it in person? Probably not. Again, all of these issues aren’t Schaeffer’s fault. He’s done the best he can with a terrible book. The majority of theater-goers attending Follies are there to listen to Sondheim’s famous score. Follies is a musical where we long for the next hit song and want to skip the dialogue (hence why this production’s cast album is glorious).

What the book lacks, the stage pictures make up for. In not so many words, they are often wonderful. The use of Young and Old characters is sublime. It’s moving. We’ve all had those nutty moments when we return to our old stomping grounds and imagine our past selves present again. Nostalgia. That’s why Follies resonates. “Who’s That Woman” is the big wow moment of the show because we get to see the past interact with the present through dance. It’s engaging and truly a wonderful number. As is the scene late in Act II before entering Loveland where an intertwining scene of past and present between the love-square squabble and discuss the future. It works.
It’s pretty safe to say that this is an All-Star cast. Watching the sensational Jan Maxwell is like watching a master class in performing. She is the perfect Phyllis. The right mix of comedy and pity. And that dancing, right on! Danny Burstein’s Buddy is loveable. You feel for him as Sally virtually dumps him on the spot, and later has his own “Rose’s Turn” moment. Both Maxwell and Burstein should expect a seat at the Tony Awards. As will at least one of the supporting ladies, who will probably all be fighting for a spot. Jayne Houdyshell is a hoot singing the iconic “Broadway Baby.” Terri White is sublime as Stella. And then you have Elaine Paige’s Carlotta who brings the house down with “I'm Still Here.” Nick Verina and Lora Lee Gayer shine as Young Ben and Young Sally. But the sad part of the acting company is Bernadette Peters. Sally should be off-balanced and mildy depressed and quite a bit neurotic. Peters just plays her as dim. She does redeem herself quite handsomely singing “Losing My Mind.” Unfortunately, it’s too late in the show to start caring about her character. By that point, I just wanted more Jan Maxwell.
Follies is a good production. It has some remarkable performances. But despite a stellar ensemble, the book is just too flawed to be a smash.

A True Cinderella

From reality star to certain Broadway royalty, Laura Osnes has will don the coveted glass slipper in the revamped Rodgers and Hammerstein's Cinderella. Directed by Mark Brokaw with a revised book by Douglas Carter Beane, Cinderella is aiming to hit Broadway in the 2012-2013 season. And I'm totally cool with this casting!

Spotlight On...Michael Judson Berry

Name: Michael Judson Berry

Hometown: Syracuse, NY

Education: Boston University

Select Credits: Go West- the new Village People musical (Tulsa); Spamalot (Patsy, National Tour)

Why theater?: Why theater? Well, I did my first show when I was six. I did King and I, I was the little kid who got to look up her dress and I got a huge laugh every night, it was just the greatest feeling in the world. When I finished that show, I was super sad so I told my mom “I want to do that again!” So I did Oliver and I kept doing theater. It was the one consistent in my life, I guess. I did a lot of different sports but I always did theater. When it came to look at colleges, obviously there was no question, this is what I was doing. I don’t know, I’ve always been in love with it. I love story telling. I love that aspect to it. Being able to touch people in different ways. I love doing comedy and being able to make people laugh for two hours. Giving them that escape is just beautiful.

Tell us about Spamalot: As our King Arthur says, “A satirical spin on the classic Arthurian tale.” It’s a takeoff of the classic of the Monty Python film, “Monty Python and the Holy Grail”, which is their hilarious turn on the King Arthur story and his god-given quest to find the Holy Grail. And obviously in the musical version, they take all of the best parts of the movie and then apply it to making fun of Broadway, but of course they toss in a little bit of romance here and there, and it ends with a wedding like any great, funny musical should.

What is it like being a part of Spamalot and being on tour?: It’s an experience. It’s my first tour. It’s wonderful because it’s such a great ensemble show. Even everyone in the ensemble have their own little moment to shine. And the principles are all fairly even. We all feel important. It’s a really nice harmony. And the cast gets along really well which I think is a rare and really nice thing that we’ve all become really good friends. Our tour schedules really insane. I think we’re in nine different cities in eleven days. We spend a lot of time together. But the fun side of it is we get to see the country. We’re taking the show that is so funny to parts of the country, and with what’s going on right now is fun because I feel like our country is in such a bad place economically and Washington is such a mess, so people are looking for some kind of escape. Especially when we get to some of the smaller cities that have been hit hard with everything that’s been going on, it’s sold out. It’s packed. They may not have much money, but they’ll spend it on something like this. It’s a really nice gift for us that they’ll see us and it’s nice to know that we’re giving them that little treat. That’s the kinda cool part for me.

What kind of theater speaks to you? What or who inspires you as artists?: Theater that is accessible to me, that has something in it that touches me personally. I feel like I’m inspired by so many people. I’m fascinated by actors who can really transform themselves. Like Mark Rylance, who you see in Boeing-Boeing, which is a farce where he’s this quiet Midwestern guy, to Jerusalem where he’s like this disgusting man in the woods to his King Richard II. Someone who can do comedy and drama equally as well. Or someone like Jan Maxwell, who can transfer between Chitty Chitty Bang Bang to Follies to Lend Me a Tenor, who can put themselves in any situation and still be incredible.

Any roles you’re dying to play?: Ahhh! There are so many. Patsy was one of them, so this worked out really well. This was one of my dream roles so it’s really exciting that my first big job is in one of these roles that I’ve wanted to play since the show came out. I’ve always wanted to play Guido in Nine, we’ll see if that ever happens. I’ll have to wait another 20 years before that one will come true.

What’s your favorite showtune?: I love “My Romance.” I think it’s one of the most beautiful songs I’ve ever heard. It’s so simple.

If you could work with anyone you’ve yet to work with, who would it be?: Christine Ebersole. I’ve seen her in two shows, I think she’s incredible, and she’s a family friend. That would just be really cool to be like, “ah, I know you and I think you’re brilliant.”

Who would play you in a movie about yourself and what would it be called?: These are good questions Michael Block! Who would play me in a movie? Probably Darren Criss because he looks like me and he also has thick eyebrows, but he’s more famous. So he would get the role of playing me over me. It would probably be called “My Features Are Too Big.”

What show have you recommended to your friends?: Anything Goes is so much fun. War Horse, even though I haven’t seen it or get a ticket.

What’s up next?: Right now, they’re talking about extending the tour for an extra two months, which is very exciting. And then, I’m torn between moving back to Los Angeles and pursing television and film or coming back to New York having this nice credit. Trying to figure out where I want to live is what’s up next.

Catch Michael on tour in Spamalot by visiting http://www.montypythonsspamalot.com/index.php

Jordan Back in Newsies

Jeremy Jordan is thanking someone for the early closing of Bonnie and Clyde because a month later, he probably wouldn't have been so lucky...lucky enough to star on the Broadway bow of Newsies. This will be the second musical Jordan stars in during the 2011-2012 Broadway season. Here's hoping this one turns out better for him!

Movie Musical News Update!

Riding on the heels of the Les Miserables movie comes news of the long awaited Into the Woods movie adaptation and Jersey Boys. Both movies have some heavy hitters attached to them. Rob Marshall, who has movie musical experience (virtually creating the same movie just with different songs...Chicago and Nine) is said to direct Into the Woods while Jersey Boys will be written by John Logan of Red fame, who also penned the scripts for Sweeney Todd the movie and, coming full circle, Les Miserables. If ITW turns into a movie told through someone's mind, I'm out!

Into the Woods to Play the Woods

Looks like The Public's summer is about to be a little more Sonheim than Shakespeare. The hit Regent Park production of Into the Woods is headed to the Delacorte Theater. And of course, a big name is being sought out for the role of the Witch. Are we really in need of another production of Into the Woods in New York? I guess it's as sight specific as you can get...unless of course you have the audience travel along with the characters a la Sleep No More...I smell new idea!

Spotlight On...Jan Maxwell

Name: Jan Maxwell

Hometown: West Fargo, North Dakota

Education: Moorhead State University, Moorhead, Minnesota

Select Credits: Currently in Follies at the Marquis Theater

Why theater?: Why breathe?

Tell us about Follies: It’s a great show. Come see it!

What is it like being a part of Follies: It’s a great honor. Stephen Sondheim is a wonderful lyricist/composer and it’s thrilling to sing his songs. It’s also difficult. The musical is very emotionally and physically draining, but it has its rewards. And I get to be amongst all these musical theatre divas and I’ve learned so much about the stamina and preparation of being in a musical with this range.

What kind of theater speaks to you? What or who inspires you as artists?: Mostly I like to do political theatre. There is nothing like a great political play, something that is real, entertaining, and makes you think of the big picture. We hopefully learn from our history and it’s important to tell what’s going on in the world in compelling ways.

You have a special connection to Howard Barker. What is it about his work that draws you in?: I like the density of his plays. I love the political nature of them and that they are so incredibly smart and actor friendly. His plays are bit like modern Shakespeare to me. I wish we had an American equivalent to his talent, because his plays obviously are more about British politics and from a British point of view.

Any roles you’re dying to play?: I would like to do new plays. Creating roles is more interesting to me than doing a role that has already been done.

What’s your favorite showtune?: Too many to name. I like Sondheim’s “Loving You.” I don’t know what it’s called but the lyric is “more I cannot wish you, than to wish you find your love”— Sarah’s father sings it to her in Guys and Dolls. I love “Do You Love Me” from Fiddler. Camelot. I could go on and on.

If you could work with anyone you’ve yet to work with, who would it be?: Christopher Guest

Who would play you in a movie about yourself and what would it be called?: PeeWee Herman in “What Was That Noise?” (I have no idea why I’m saying this)

What show have you recommended to your friends?: I’m still recommending GATZ which will be done at the Public again this year.

What’s up next?: I have no idea. No job, no hope, no future . . . I’m a pessimist.

To see Jan in the smash hit Follies, visit http://folliesbroadway.com/. Must end January 22nd!

Shameless Plug: Nominate theaterinthenow.com for a Shorty Award!

Ok, first shamless plug of the year! Take a quick second and visit http://shortyawards.com/category/blogger/1 and nominate yours truly for Best Blogger in Social Media. Thanks all around!

Hollywood Riser Chastain Comes to Broadway

It was inevitable, right? Jessica Chastain, the up-and-coming it girl of Hollywood will be making her Broadway debut this fall in The Heiress. This will probably be after she snags and Oscar nomination for her performance in "The Help." The Julliard trained actress is no stranger to the New York stage having worked at the Public and Playwrights Horizons. Who's ready for the Chastain fangirls?

Houdini Musical to Feature Wolverine

Hugh Jackman finished his little tribute show to himself just to announce he'll be back! In the 2013-2014 Broadway season, Jackman will star as the master of escape, Harry Houdini in Houdini written by Aaron Sorkin and the perennial Tony Award loser, Stephen Schwartz. An interesting combo if I do say so myself. What do we think? Hit or miss? I'm thinking Jackman should be like Houdini and escape while he can!

Spotlight On...Randy Redd

photo credit: Sasha Israel

Name: Randy Redd (Randall Gordon)

Hometown: Brookhaven, Mississippi (it was named after the town of Brookhaven, New York by founder Samuel Jayne in 1818.)

Education: Florida State University (in Tallahassee, Florida)

Select Credits: I made my Broadway debut as an actor in 1998 in Parade at Lincoln Center. Other shows in New York include Smoke On The Mountain, The Burnt Part Boys, a new musical at Playwrights Horizons, Terrence McNally's Some Men at Second Stage, Ring Of Fire on Broadway and Million Dollar Quartet on Broadway and currently at New World Stages.

Why theater?: When I was a kid I thought I wanted to be a pediatrician. It sounded specific. And smart. That changed, however, after my first appearance on stage. My piano teacher's living room on Storm Avenue was Carnegie Hall and all eyes were on 8-year-old me at Miss Fannie's Steinway in a powder blue leisure suit and brand new Buster Brown shoes. I gave a public piano recital every year until I was 17. I was always putting on shows though. Christmas pageants, talent shows, fashion shows, magic shows, parades. Other than a cataclysmic 6-day stint as a waiter, I've worked in the theater. Those jobs have ranged from playing a purse-snatching teenage vandal in Eliot Spitzer's first campaign commercial and trekking all over the country in a cramped children's theater van to the Tony Awards and a performance last year at Carnegie Hall - on 57th Street.

Tell us about Million Dollar Quartet: In 1956 the 4 musicians gathered at Sun Records in Memphis for one of the greatest jam sessions ever. Directed by Eric Schaeffer, the show was inspired by the recording session that brought together Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins for the first and only time. Million Dollar Quartet opened on Broadway in 2010 and moved to New World Stages this past summer. MDQ is currently on tour and has been running successfully in Chicago since 2008.

What is it like being a part of Million Dollar Quartet?: It's ridiculously fun but always challenging. I have never been more grateful. I've had a lot of really great jobs but I've never had a long-running steady gig with a group of people that I love seeing everyday. It's not like going to work - it's going to play.

What’s life like as an understudy?: I've never had a job like this. I had a number of featured roles and covered several roles in Parade but I only had to go on once. Getting the chance to sing "Big News" in that show was thrilling but, at the time, the pressure and anticipation was so intense that I always said I'd never be an understudy or standby again. I learned MDQ in less than a week. I was cast on a Monday and had rehearsal with the company the following Friday. I am in awe of this stunning cast and still so intimidated by their talent but that day I was blown away by their generosity and support. As an understudy I get to have my cake and...then have some more cake. It's pretty dreamy and I'm very thankful.

What’s it like playing a rock icon?: It's like everybody's rock star fantasy come true. Not only is Jerry Lee Lewis written as an intensely passionate performer but he's also the funniest and cockiest bad ass I've ever gotten to play! When I saw the show for the first time I was knocked out by Levi Kreis's performance - he is a brilliant musician, a fabulous entertainer and he brought so much of himself to the part that I never dreamed I'd actually get to tackle that role myself. He played the piano BACKWARDS! I have an obligation to the guys on stage but I feel a huge responsibility to our audiences and fans. So many of the people who come to see the show grew up with these legends and have listened to this music their whole lives. They know the words to every song and they sing along. You don't want to let them down. One night a man was waiting to meet me after the show. He waited until the crowd had cleared. He strutted up to me, introduced himself and told me that that he had seen Jerry Lee Lewis in concert over 50 times. "I saw 'The Killer' in person 52 times!" And then he just stared at me. There was something in his eyes that left me speechless. I didn't know how to respond. I didn't know what he was going to say or do next. I was relieved and humbled when he said, "Brother, you NAILED it!"

What kind of theater speaks to you?: I have a reputation for not liking anything. However, that's not true. I do not like fluff. I like to be entertained but in the theater I crave a good story told with a muscular, personal point of view. You know, you can feel it - a story that can and should only be told on stage. I am moved by theater that selfishly knows what it is and lives so fully on the stage and in its Self that it can not be copied. I loved Enda Walsh's plays at St. Ann's Warehouse, Sleep No More and Rude Mechanicals' The Method Gun but I'm also a huge fan of shows like Rock Of Ages and Million Dollar Quartet.

What or who inspires you as an artist?: History, imagination and truth. Good stories inspire me. Of course, I'm inspired by my brilliant friends and their work, my students and their successes - especially my students. But mostly I'm motivated and energized by the mystery of it all, the deceptive puzzle of creating and building something personal, magical and impossible.

Any roles you’re dying to play?: I never really think about this but I'd really like to play George Seurat in Sunday In The Park With George, Frank 'N' Furter in Rocky Horror and I'd still like to play Hedwig. I also keep a list of the real people whose stories I'd like to tell. Charlie Chaplin and Charles Manson are at the top of that list.

What’s your favorite show tune?: "With A Little Bit Of Luck" from My Fair Lady - "Oh, you can walk the straight and narrow; but with a little bit of luck you'll run amuck!"

If you could work with anyone you’ve yet to work with, who would it be?: Adam Guettel.

Who would play you in a movie about yourself and what would it be called?: My friends all say Colin Farrell. But I'd pick Robert Downey, Jr. I'd call it "One Of Us Cannot Be Wrong". Maybe Joel and Ethan Coen would make it.

What show have you recommended to your friends?: Most recently, Other Desert Cities. Before that, Southern Comfort by Dan Collins and Julianne Wick Davis directed by Tom Caruso at CAP21.

What’s up next?: I've written a new musical with Susan Blair Ross called Touché. Susan and I have known each other for 20 years. We played twins in my first show in New York - a gospel musical called Smoke On The Mountain. She guffawed on stage at my pitiful fiddle playing and we have been friends ever since. We're hoping to see it produced in 2012. James Lecesne and I are working on an adaptation of a short novel by Penelope Fitzgerald called Human Voices. I've known James even longer - we met in Miami at the Coconut Grove Playhouse doing One Man Band. I'm writing a new musical with my best friend and collaborator David Pittu. David and I met on the national tour of Parade. Together we wrote What's That Smell: The Music Of Jacob Sterling. I'm also directing a project at CAP21 featuring songs by Dan Mills and an original musical created by the Urban Youth Theater at Abrons Arts Center.

To catch Randy in Million Dollar Quartet, visit http://www.milliondollarquartetlive.com/index.html

Les Mis Finalizes Cast

Ok, as you know I've been monitoring the Les Miserables casting like a hawk. Some moments it's been good. Others it's been out of control. Mrs. Tim Burton, Helena Bonham Carter will be the wife of Sacha Baron Cohen as the Thenardiers. But the big news is the casting of Eponine and Cosette. Drum roll please...Taylor Swift and Amanda Seyfried respectively. Apparently Revolutionary France was filled with blondes. The tally of stars has risen to astronomical proportions. Taylor Swift, Amanda Seyfried, Helena Bonham Carter, Sacha Baron Cohen, Hugh Jackman, Russel Crowe, Eddie Redmayne, Aaron Tveit, and Anne Hathaway. Well, if this doesn't get Hollywood attention, someone needs to be fired!

Lyssie J to Take Final Shot

In a rough market for theater, the critically acclaimed (by me and the Times) musical Lysistrata Jones will play its final performance Sunday, January 8th. It will have played 34 preview performances and 30 regular performances.

Naked No More

It's the end of an era. The long running musical revue, Naked Boys Singing is about to end its run on January 28th. It will have played 3,069 performances. I still think there's some time to do some stunt casting...I'm just saying...

Spotlight On...Callan Bergmann

Name: Callan Bergmann


Hometown: Gowanda, NY


Education: Studied musical theatre and dance at Point Park University


Select Credits: Silence! The Musical (Dream Hannibal/Dance Captain, Off-Broadway); Lucky Guy (Buckaroo, Off-Broadway); Hairspray (Sketch at Paper Mill Playhouse; IQ at The MUNY; Fender at Pittsburgh CLO… I only have one Nicest Kid left. It’ll happen someday); A Christmas Carol (Pearlie, North Shore Music Theater)



Why theater?: I do theater because I wake up every morning excited about my job. I love performing in front of a live audience. I love that the show changes every night depending on the energy of the audience. And mostly, I love inspiring people who see me perform. 


Tell us about Silence! The Musical: “Silence! The Musical is a hilarious parody based on the Academy Award winning film The Silence of the Lambs. Rookie FBI agent Clarice Starling matches wits with the brilliant but insane cannibal, Dr. Hannibal Lecter in order to catch the serial killer known as Buffalo Bill. Clarice faces her own demons while racing the clock to unlock Lecter’s clues before another innocent girl is killed and skinned by Buffalo Bill. It is a laugh-out-loud naughty satire featuring a singing chorus of floppy eared lambs narrating the action as Buffalo Bill gleefully dances a hoedown while kidnapping hapless Catherine Martin. Even Dr. Lecter, scary as ever, sings about the life he’d like to lead someday outside the prison walls.”…I’m not going to lie, I took that right off of the website.


What is it like being a part of Silence! The Musical?: Honestly, I never stop laughing. I work with some of the most talented and hilarious people in the business. We have a very small cast and have become a happy little family. And by happy I mean; weird, loony, dysfunctional, wonderful family. I love every second of it. Silence has become my home away from home. And sometimes it has plain and simply become my home. I spend so much time at the theatre that I often sleep there. Don’t tell anyone that though!


What kind of theater speaks to you?: I think that most theatre speaks to me. Well, concert dance tends to not use a lot of speaking. However, I’ve seen quite a few dance performances that use spoken word. It seems to be becoming more and more popular. Opera doesn’t really speak either because it’s all singing. One could argue that singing is a form of speaking though. Wait, is this what the question was asking. I don’t really understand…


Any roles you’re dying to play?: I recently saw Priscilla Queen of the Desert and would die to play Adam/Felicia, currently played by Nick Adams on Broadway. Of course that would require years upon years of dieting and working out. I’ll start after the holidays! I could never refuse my moms Christmas treats.


What’s your favorite showtune?: “Bewitched, Bothered, and Bewildered” from Pal Joey is my jam. Particularly, the 1995 Patti LuPone version. Also, anything sung by Kim in Miss Saigon is pure gold. That is another dream role of mine.


If you could work with anyone you’ve yet to work with, who would it be?: The first person that comes to my mind is Tupac Shakur. Unfortunately, that won’t be happening anytime soon. I’ll have to go with my second choice: Joe Mantello. 


Who would play you in a movie about yourself and what would it be called?: I would obviously have to be played by someone really, ridiculously good looking. Maybe a young Brad Pitt or Jude Law. I think I would call it “The Boy With The Dragon Tattoo”, or possibly “The Starve Yourself Games”.


What show have you recommended to your friends?: GO. SEE. BILLY ELLIOT. Before it closes. I cried. Any show that makes me cry is definitely worth seeing!


What’s up next?: Right now I am just trucking along and having a fantastic time at Silence. I’m very excited for whatever lies ahead though. I’m also in the process of creating my own brand of peanut butter, but we’ll save that discussion for another interview.

 For tickets to Silence! the Musical visit http://www.silencethemusicalnyc.com/