Theater in the Now

Spotlight On...Jelena Stupljanin

2012-03-07T11:32:00.000-05:00

Name: Jelena Stupljanin

Hometown: Belgrade, Serbia

Education: BFA in Acting from the Academy of Dramatic Arts in Belgrade, Serbia; also, attended the Lee Strasberg theater and film Institute, NYC

Select Credits: Much Ado About Nothing (Margaret, Boomerang Theater Company); Stray Dog (Elsie, Cino Nights with Rising Phoenix Rep); Woman-Bomb (Solo performance, United Solo Festival); Progress (She, HERE Art Center); Wild Honey (Maria, Atelje 212, Belgrade, Serbia); Bash (She, Yugoslav Drama Theater); Alice (Alice, co-production with Atelje 212, Belgrade, Serbia and Intercult, Stockholm, Sweden); First Love (The Girl, Atelje 212, Belgrade, Serbia) Phantoms (Sana, Atelje 212, Belgrade, Serbia); Front Page Doll (Babe the 'Doll', Musical Theater 'Terazije', Belgrade, Serbia); “Cirkus Columbia” (Azra, dir by Bosnian Oscar winner Danis Tanovic, Best Actress award at the Alexandria film festival, Egypt); “The Ambulance” (Sofie, dir. by Goran Radovanovic); “New York- Belgrade” (Katarina, dir by Nikita Milivojevic); “Foxes” (Stasha, TV Series, National Serbian Broadcast Channel 1)

Why theater?: There's something about when the house lights go off and the stage lights light up that opens the whole new world to me, the world of the plays I'm doing. And, that feeling to me is the most thrilling, beautiful and, at the same time the most scary and the most safe thing I'm experiencing when I'm on stage. I always love actors that I'm performing with because I think those are one of the most vulnerable yet one of the strongest people I know and to be sharing the stage with fellow actors and to be exploring the world of plays is something I would love to be doing for the rest of my life.

Tell us about Much Ado About Nothing: Daniel Talbott directed Much Ado About Nothing last Summer in Central Park for Boomerang Theater company and I was part of that production as well and, now we're back with it again. Although it was suppose to be the same show as the last Summer, it really now is a new one. We're now in the close theater space which brought the whole new feeling to the play and with several other new cast members (mostly for the lead parts) who brought the new energy to it so, we're doing almost this whole new production of it which is great.

What is it like being a part of Much Ado About Nothing?: I am having so much fun doing this show over again and I was thrilled when I heard that we'll be playing it this time as the Boomerang's Repertory season show over at the Secret Theater! Needles to say, it's one of the Shakespeare's most beautiful plays and Daniel has a way of making it so alive and, also he made it speak so well to the modern time and I'm just really having a blast, exploring it all over again and with him and, playing it with the company of brilliant and amazingly talented actors.

What kind of theater speaks to you? What or who inspires you as an artist?: I love theater that addresses the issues of our time. But, having said that, I absolutely love both comedy and drama. What's important to me is to see or to be part of the show that hopefully can evoke emotions, feelings in the audience that they can carry with them after the show is over and that will make them think and perhaps even change in a better way. I am still a huge believer that theater can change If not the whole world cause, that's really not possible but, the individual who will then carry the idea into the world and hopefully 'infect' the others with a positive change. Harold Clurman was teaching a lot about that. As well as Stanislavski and Chekhov.

Any roles you’re dying to play?: I always go back to Chekhov when I think about a question like that. But, also, there are so many amazing modern playwrights and, that are part of Rising Phoenix Repertory, (the theater company I'm a member of) or, that are working with this company and, that I'd love to work with and, hopefully we'll get to do something together soon. Some of them are Lucy Thurber, Crystal Skillman, Zack Calhoon, Kristen Palmer and many, many more...

What’s your favorite showtune?: "My Favorite Things" from the Sound of Music

If you could work with anyone you’ve yet to work with, who would it be?: So many people!! And, I feel very lucky to say that with many of them I've already worked with and so, I'd love to go back and work with them again. But, beside the obvious choices (such as Ryan Gosling and people like that :) the first one that really comes to my mind that I haven't yet had a chance to really share the stage/ screen with is Addie Johnson Talbott.

Who would play you in a movie about yourself and what would it be called?: My friend Marko Jovanov at the young age and Julianne Moore when I get older :)

What show have you recommended to your friends?: Besides Much Ado About Nothing :) really anything that comes from Rising Phoenix Repertory and also, Ratlestick Theater company. Those guys always inspire the hell out of me!

What’s up next?: I am playing a lead role in 'Cirkus Columbia' the film directed by a Bosnian Oscar winner Danis Tanovic ('No man's Land', 2002). And, after many international recognitions and awards that this film won (Antalya Golden Orange Film Festival- Best Foreign Language Film; Official selection Toronto Film Festival; Bosnian contender for Oscar nomination 2011; Best Film by Audience- Sarajevo Film Festival; Best Film by Audience Thessaloniki Film Festival; San Sebastian Film Festival etc) and, after it has been shown here in NY, this film opens in Los Angeles on March 9 for a limited run. I'll be shooting two other film projects this Spring/ Summer, the first one being a short film and the second one a feature, both here in NY and I'm very excited about that.

For more about Jelena, visit http://www.jelenastupljanin.com/

Smash Report: The Good, the Bad, and the Really Bad

2012-03-06T00:05:00.000-05:00

What happened to the magical world of music in the mind as the show opener? I miss those. I do. Instead we get Eileen freaking out that her lawyer ditched her. Nobody likes her. And frankly, the audience doesn’t really care. Give us the show! Oh, thanks. Ask you and you shall receive! McSleazy and Karen do some dancing before rehearsal starts. But we’ve seen that tango before. The big news from the opening of the show is the book writer has been revealed: Julia! That sounds like a train wreck. Speaking of, Ivy walks in on McSleazy and Karen doing the nasty-making dance. Rut ro! But wait! Guess who’s on a second date! Tom and John at Brassiere AND Michael and Julia at Westway Diner. Westway? Really? Well, it is the Mecca for theatrical inspiration. Or the place where people go to have affairs with pie. Back on the date that actually matters, Tom is playing the timid card when John flat out asks if they’re going to have a nightcap of sex. Well, saved by the phone ring (which is the same ringtone for every phone for each character.) Moments before, Julia ignored a phone call from an odd number. Well Tom got that same call, only he answers it. Lo and behold, it’s little Leo who was arrested. Rut ro! First question: How did Leo know Tom’s cell number by heart? Second question: Is Julia the worst mother? Talk amongst yourselves.
Tom and John save Leo who was arrested for loitering for drugs. John pulls his lawyer card, which is totally a turn on, and seemingly gets Leo free. Dev and RJ (played by a BU alum!) are discussing how Dev is not the top for some job no one really cares about. Karen goes to pick up Dev from work and gets intimidated by the new sexy competition. I would be very happy is Dev and RJ do it so Deve leaves the show. Am I alone? Possibly. Tom brings Leo home and makes up a fun little song to Leo’s “she’s gonna kill me” mantra. When Julia comes home, she “epically grounds him” because that’s all she can do in the moment. Well, then some Jack drinking. Bad momma! Ellis drops off a book to Eileen and offers to help Eileen with her computer. Eileen flat out asks snoopy Ellis about Julia’s work. Well we know the history between Ellis and Julia, so we know that he’s gonna sell her out. At rehearsal, Tom calls John for a second date and gets introduced to Sam who talks sports. What are these sports you speak of? Ivy then begins to sing “Let’s Be Bad” to McSleazy’s dismay. He calls out Karen to sing the vibrato Ivy is missing. Ivy is P.O.ed! Did you see the scowl? It gets worse for you Ivy. Derek tells Ivy to work WITH Karen. Rivalry is getting tenser by the rehearsal!

Julia talks to Frank (who’s been M.I.A. taking a some teacher test) while Tom taunts her about Michael Swift. She’s babysitting her son while he’s grounded. Getting better mamma, getting better! Meanwhile at the Ivy/Karen work session, Ivy partakes in some verbal sparring to intimidate Karen, the lowly chorus girl. Ivy gives Karen some advice. “Don’t get ahead of yourself.” She tells Karen she basically will never top her. Oh snap! Them fightin’ words! Julia discovers that Leo’s arrest puts a major halt on the adoption process. Michael tries to offer a tender shoulder, but Julia shuts him out. Ivy performs “Let’s Be Bad” again with the ensemble behind her, but to the creative team, something was missing. In a long, and a bit unnecessary moment of Ivy pants, Ivy finally realizes that something is not going right.
Leo Houston is doodling on some red Facebook knockoff when Julia tries to talk Leo about his actions and the repercussions. More pot=no Chinese baby. Back at rehearsal, sans Julia, Ivy has a minor meltdown. Or is it a performance? Could the cold-hearted bitch have feelings? Well, perhaps we’ll find out! Let’s see “Let’s Be Bad” on stage! All the girls are clad in flapper costumes while some actors recite dialogue from the SCRIPT. It’s a first! Marilyn has a script! In this scene, Marilyn admits she’s not loving the film life, takes some pills, and thus dances! The logical sequence of events. For the first time, we see a journey within one of the Marilyn songs, and actually it’s quite good. It works. We get some cool lighting effects and good acting from Ivy. When the song is over in fantasyland, Ivy and the team applaud. The only one absent from the cheer is Derek, who storms out with his phone. Karen attempts to give Ivy a complement only to get her head bitten off. For the firs time this season, we see Ivy terrified for her artistic safety.
At another local stomp, Mr. Biggs, Ivy, Sam, and Michael (the new motley trio) we learn that Sam is not straight. That leaves him to be gay. Yes, the sports lover is gay. That is what we call (gay) diversity my friends. They do exist in society. Dev then appears again. Can’t he go away? Karen tries to dish her feelings about rehearsal but Dev wants nothing to do it. Again. Why? Because he’s under pressure. Whine whine whine. He just wants his arm candy to look hot on a boat. Karen sends Dev off to political war alone. Will she stand him up again? Perhaps since she’s staring at herself in the mirror singing about “A Man’s World.” We broke out into song that has nothing to do with a performance (unless you count Karen singing to herself in the mirror as an audience). Thanks for the diversity creators. This was Karen’s “I know what I bring to the party” moment. Michael arrives at Julia’s house and gets invited to dinner by Leo. Leo and Michael have some sort of connection. Just how involved in the Houston household was Michael? We won’t find out because Ivy drunkenly stumbles to McSleazy’s apartment and goes on a drunken verbal vomit. Ivy does realize she is an employee of Derek’s right? But then she bursts out “theater is about feelings.” Which is so true, but that was not the time to say it girlfriend! At the Intrepid, Karen DOES arrive and learns that Dev is sitting at the hot girl’s table and NOT with Karen. In what world does he think that’s ok?! At dinner, Michael and Leo joke around about pot. It’s very brotherly. Michael admits that Julia smoked pot after rough rehearsals. Leo wants to know what else Julia does after a rough rehearsal. Julia banishes him to his room because loose lips will most definitely spill. At the party, Karen tells her new friends at her table that she’s playing Marilyn in Marilyn only to get hit on by a super conceited guy who tries to seduce Karen to his hotel room. When Karen learns he’s goal is to be press security, apparently the job Dev wants, the wheels start turning. Whatever will you do Karen?

In the luxury car supplied by RJ, Karen tells Dev about his competition and then starts to get all hot and heavy in the backseat. And they’re not the only ones. Tom and John! They did it! They discuss what each other’s “wows” were about. They joke about the bad sex they just had. I think it’s love in the making. Don’t let John go producers! I beg of you! Back at McSleazy’s, Ivy walks down the stairs in the bed comforter to see Derek working. What that has to do with anything? Well, I’m not sure. Maybe it’s the comfort of her knowing that may care about her…or his job. But Michael and Julia on the front stoop. That’s something. Michael starts serenading Julia with a song. Michael’s sweet, sweet voice must be the thing that gets Julia to fall for him. Will tonight’s episode end with a montage? Hell no! It ends with Julia and Michael kissing with Leo watching! Oh shit! Daddy’s gonna find out!
So what did you think? Where you glad to see that Leo’s acting chops get a little better? Are you buying the Michael-Julia rehash? Is it true that Ellis appeared in only a grand total of one scene (despite not knowing if he told Eileen all about Julia)? And who’s in love with Tom and John? I think “Smash” is back on track!

Broadway's Newest Toga Party?

2012-03-05T17:11:00.002-05:00

The Fraternity of Broadway will be getting some new members sometime soon. Those boys? Well that little movie with the Toga Party from 1978. "National Lampoon's Animal House" will soon be getting the Broadway treatment. Casey Nicholaw will direct the musical with a libretto by Michael Mitnick and a score by Pop Rock band Barenaked Ladies. So who should embody the coveted role played by John Belushi? Til then, Toga! Toga!

8 Premieres in LA

2012-03-03T13:57:00.000-05:00

Dustin Lance Black's 8, which had a New York reading a few months back, will test its legs in Los Angeles tonight. Rob Reiner will direct a cast including George Clooney, Brad Pitt, Kevin Bacon, Chris Colfer, John C. Reilly, Matt Bomer, Campbell Brown, Jamie Lee Curtis, Jesse Tyler Ferguson, Vanessa Garcia, Christine Lahti, Jane Lynch, Matthew Morrison, Rory O'Malley, Jansen Panettiere, James Pickens, Jr., Martin Sheen, Yeardley Smith, George Takei and Bridger Zadina. If you're not lucky enough to see it in person, you can watch the live stream by RSVPing here: http://act.afer.org/site/PageNavigator/Contact%20Forms/8LALivestreamRSVP.html With the cast assembled, it looks more like a red carpet event than a night of theater, but hey, it's an important story to be told!

Broadway Beauty Pageant All Set to Dazzle

2012-03-02T16:48:00.000-05:00

The annual Broadway Beauty Pageant has all their pieces in place! Jackie Hoffman, Tonya Pinkins, and Michael Musto are set to judge this year's pageant. Battling for the crown this year are Mamma Mia's Andrew Chappelle, Porgy and Bess's Wilkie Furguson III, Godspell's Corey Mach, Mary Poppins's Jesse Swimm, and Priscilla Queen of the Desert's Anthony Wayne. Tovah Feldshuh will host the night's festivities which will also feature performances by Brent Barrett and part Pageant winners Franke James Grande, Michael Cusumano, and Anthony Hollock. The Broadway Beauty Pageant, set for Monday, March 19th, will benefit the Ali Forney Center. The Broadway Beauty Pageant is written and conceived by the very talented Jeffery Self and directed by Ryan J. Davis, with musical direction by Christopher Denny. Tickets for The Broadway Beauty Pageant are available at www.SymphonySpace.org. Who are YOU rooting for???

Lysistrata Jones Giving It Up in Concert

2012-02-29T14:13:00.000-05:00

For the fans who thought Lysistrata Jones shuttered too soon, have no fear, the team is here! On April 9th, the original company of the Lewis Flinn-Douglas Carter Beane musical will perform a one-night only concert of the score. Additionally, the company is hard at work at recording a cast album. Will you be there to cheer the team along? You know I'll be!

Disney's Jungle Book Comes to Life

2012-02-28T14:41:00.002-05:00

Disney and Mary Zimmerman are a wild combination. Almost as wild as Julie Taymor and Spider-Man. Regardless of how wild, Zimmerman is entering the jungle to bring the Disney Classic and Rudyard Kipling The Jungle Book to the stage. Using the Sherman Brother's music, Zimmerman will adapt the story for the Goodman Theater in Chicago next summer. Don't look for the bare necessities in this production because it's bound to be crazy!

Matilda to Pond Hop to America

2012-02-28T11:27:00.003-05:00

The hit London musical Matilda inspired by Roald Dahl's children's book, will make it's American premiere in New York early 2013. Matthew Warchus will direct the musical with a book by Dennis Kelly and music and lyrics by Tim Minchin. Will Matilda be another London transfer to be a hit on Broadway?

Smash Report: The Claws Are Out!

2012-02-28T00:09:00.001-05:00

And for the second week in a row, we don’t start in fantasy musical mode, but instead on day one of the workshop. But before we begin, shout out to Ann Harada playing the stage manager! Yay! When Karen enters, the rest of the ensemble gives her the cold shoulder. Jealous or just catty bitches? And then Michael arrives. Of course leave it to Julia to think that Michael’s “don’t be nervous” is about them and not about the workshop. But they can’t start the workshop until Eileen arrives. Where is she? Why she’s at her office because lawyer Eisa Davis tells her her money ain’t there! Eileen is mad! But we need a happy moment. So cut to Ivy’s entrance where she gets a grand applause lead by McSleazy. He then informs them of the goals of the workshop: some staging, some singing at the music stand. But they have to fix the book. My question is who wrote the book?! If they need a script doctor, I’m up for the task! After they rehearse “20th Century Fox Mambo”, Sam, our new ensemble friend who has a past working relationship with Ivy, tells Karen she has a great voice. Of course she humbly doesn’t believe it, but wait, here’s Ivy to smash her hopes and dreams. Is Ivy’s friend fraternizing with the enemy or trying to get comfy with her in hopes he can get her in the sack. We’ll soon find out!

Eileen and Julia have a drink in Eileen’s office to recap day one of rehearsal. They discuss the Marilyn as a dramaturgical exercise for the audience. Like we really care. We want the show! We get back to the workshop where Ivy and the ensemble rehearse a new song called “I Never Met a Wolf Who Didn’t Love to Howl.” It’s upbeat and fun and Karen is dancing along, but apparently Ivy’s just not having it. She stops the number and claims she can’t hear her sing above the chorus (or ensemble as Wesley Taylor’s Bobby snidely responds) thus allowing her to call out Karen. This then leads to our friendly stage manager to have her token “it’s lunch” line. Let’s flesh out our stage manager more please! We’re real people too! Anyway, Derek tells Ivy he’s throwing a party for Lyle West, the boy he discovered. Tom and Ivy chat about Lyle, this is after she moans about Karen being a part of the ensemble without her knowledge. Ivy tells Tom that Derek discovered Lyle. Tom tells Julia (“Telephone Hour” much?) and Julia has the line of the day “what, does he think he planted a flag in the kid?” Ok. I know it’s not meant sexually, but McSleazy has a history, so perhaps…Or not. He was eight. After lunch we head back to our token new song of the show, “I Never Met a Wolf Who Didn’t Love to Howl.” Can’t we just cut the title of the song down to “Howl”? Ivy whines that she can’t focus so Karen gets shoved to the back. Try again Ivy! No luck. So Derek sends Karen and Bobby out of the number. Suddenly Ivy is back in action. What a conniving bitch! Someone brought their claws out.
Karen talks to Dev about what happened at rehearsal. Dev has absolutely no interest in the conversation. “Keep your head up.” “Just breath.” Dev, you are a bad supportive boyfriend! Karen, move on to Sam! Julia tries to get Tom to go to Derek’s party while walking in Union Square. Tom claims he has a date that his mother set up which of course Julia belittles. Eileen goes to the art gallery to try to sell her Degas sketch to get some money, but art dealer man says she can’t sell it because it’s not under her name but Jerry’s. Sad Eileen leads to rehearsing a new song. Tom stops it only so Michael and Julia can have another awkward scene, which makes Julia run out of the room. Julia just can’t control herself. When we start up the song again, Ivy again gets Karen kicked out of the number. Karen just doesn’t understand why. Karen is about to have a melt down until she is rescued by one of Ivy’s drones. Jessica, as Mother Theresa, takes Karen dance clothes shopping and teaches her the ways of high school, I mean theater. My Fair Lady much? Eileen whines about her financial woes to Julia who invites her to Derek’s party for Lyle. Eileen doesn’t want to go. That is until Julia informs Lyle just sold his tv series into syndication for 80 million. Light bulbs go off. How will Eileen get Lyle to invest with her? I smell an answer after the break!
Before we head back to the show, we had a skillful commercial plug. A commercial for How to Succeed in Business Without Really Trying. Does this mean that star of H2$ and guest star of “Smash” is coming up after the break? You producers. You got us!
Well, not yet. We start with Sam and Ivy at her apartment where Sam calls Ivy a diva for her devious ways. I mean, it is true. When he sees her in her getup, it is confirmed he is straight because he goes gaga for boobies. At Karen’s apartment, Karen enters with her three new besties, none of whom introduce themselves to Dev. Well that is until Bobby enters. He informs him that they’re there for an intervention. I wonder if it’ll be like the A&E series. But wait, we don’t have time for that because Nick Jonas has appeared! He sings Michael Buble’s “Just Haven’t Met You Yet.” And before we continue, a special shout out to my dear friend Megan Rucidlo who you can see in the scene at the piano (and later on seated NEXT TO the littlest Jonas Brother)! Ok, back to Nick Jonas. I mean Lyle. He then introduces himself to Ivy and proceeds to invite her to the bedroom. She thinks he’s joking, but alas he’s not. He’s just a womanizer as well. Then we get a glimpse of Tom’s date with Mr. Cutie. I see sparks! Recurring role por favor. Eileen and Julia arrive at the party, a cocktail waitress attempts to introduce herself to Eileen to only be shut down, proving that all actors are cater waiters. And then shocker to Julia, Ellis and his “friend” Cyn arrive. Julia is P.O.ed! And leave it to Ms. Rashad to look fierce. Eileen then tries to win over Lyle for some money. Looks like it’s going to work cuz the drinks are coming. Or does this mean Jerry is coming because when Eileen and a drink are together it usually ends up in Jerry’s face. And we haven’t seen him all episode. Back at the intervention, now with Chinese food, we get our token moment of pop song with the three musketeers dancing to Adele’s only good song, “Rumour Has It.” We will then see Karen learn the routine to the song. But not before Eileen gets monetarily seduced by Lyle. He won’t invest in Marilyn until he sees a performance. Really? Really? Contrived but fine, I’ll allow it. Just make sure next time you tell Julia to call Michael, make sure we see how awkward the conversation was. Once the “Reinforcements” arrive at the party, including Tom and dreamy date John, Lyle is ready to be wowed.

Lyle announces to his party goers that a gift from Derek was a song sung by the cast of the not even close to being ready show, Marilyn. Ivy sings “Howl”, which we learn is the USO number, with the help of Julia, Michael, Dennis, and Ellis?!? What business does that boy have being in this number? He is just the assistant! Well the party people don’t really care because they’re eating it up. Bopping around in mildly choreographed fashion. Ivy does a fantastic job at seducing every man in the room, including Tom’s date. Hands off, girlfriend! She has no shame does she? But it doesn’t matter, everyone loves it including waitress and Lyle who grabs a guitar, even the foxy lady McSlezy eyes. Uh oh. Ivy’s jealous. What to do, what to do. Oh, invite yourself back to Lyle’s bedroom. Ladies and gentlemen, regardless of how old Lyle is, the actor, Nick Jonas is nineteen. Are you as weirded out as I am?
Eileen has a moment with her Degas sketch as Lyle and Ivy are ready to do it. Well if that’s not a boner crusher! Michael shares a moment with Julia. Oh wait. No, she ran away. Ok, will someone have a romantic moment?! Yes! Tom and John! Tom serenades John on the keys. But we don’t get a kiss. Lame! Fine. Segway to the bar where the intervention leads to shots and singing? Really? That’s the best we can do? Again. Is it really that difficult to integrate music into this script? Before we can take the performance in question, Ivy calls out Derek for putting his hand on foxy lady’s ass and for casting Karen. Derek basically threatens Ivy back to the chorus if she doesn’t oblige to the bedroom. Of course she does. No. We don’t get to see them again because we have to watch “the Intervention Dance.” Karen is a quick learner! In the span of like an hour, she learned the entire routine of hand clapping and quick feet. Wait. She didn’t learn the bridge because she has to sing it! And now we get our montage. Ivy and Derek and fantasyland Karen. Rumor has it Karen is the one Derek’s leaving Ivy for. (See what I did?!)
Tonight’s episode was getting closer to being back to hit the pilot was. Partially helping the episode was the very limited screen time of Ellis and Dev. Though not so subtly, the rivalry between Ivy and Karen is back in action. That’s what we loved about the pilot. We wanted to root for one of the girls and based on the promos for next week’s episode, we’re going to see more of the battle of Marilyn. So? What happens next? Will Ivy be pissed that her besties betrayed her for Karen? Will Julia be able to stay in the same room as Michael? Will John stay in Tom’s life because frankly, Tom needs some lovin’ too!

Carrie Will Haunt Longer

2012-02-27T11:38:00.000-05:00

The re-imagined musical of the legendary Carrie is already getting an extension. The musical which officially opens on March 1st was set to close on March 25th but now will extend four more weeks and end on April 22nd. I saw an early preview and it's a must see! I can't wait to see it again!

uPick: What Best Picture Would Make the Best Musical?

2012-02-26T11:31:00.000-05:00

In honor of Oscar Sunday, it's time for another uPick! There's 9 movies up for the Academy Award for Best Picture, but which one do you think would make the best musical? In case you've been living under a rock, the nominees are:

The Artist

The Descendents

Extremely Loud & Incredibly Close

The Help

Hugo

Midnight in Paris

Moneyball

The Tree of Life

War Horse

So take your pick. Would it be "The Artist" and just be a dance piece or "Moneyball" because (in the words of "Smash") you can do a baseball number! Leave your comments below and bonus points if you cast it!

New(ish) Reno in Anything Goes

2012-02-24T11:29:00.000-05:00

Times are changing. Sutton Foster is officially getting a television series. Since her show "Bunheads" has been picked up, Foster will be departing the ocean liner at the Stephen Sondheim Theater on March 11. Who will replace her? Stephanie J. Block, again. Block, who temporarily took over for Foster in November, officially begins on March 15.

Bullets Over Broadway ON Broadway

2012-02-23T15:46:00.001-05:00

In the spirit of the Oscars this weekend, an Academy Award winning film is being prepped for the musical treatment. Woody Allen's 1994 hit "Bullets Over Broadway" is in the process of making the jump to Broadway in 2013. The musical will use pre-existing songs from the time period as the score. The movie about a playwright who gets his Broadway play produced by a wealthy mobster starred John Cusack, Diane Weist, Chaz Palmenteri, and Jennifer Tilly. Who should we cast for Brodaway?

Kinky Boots Tests Chicago Before Broadway Kick

2012-02-22T12:48:00.002-05:00

The Cyndi Lauper-Harvey Fierstein written musical Kinky Boots will get an out of town tryout in Chicago this fall before high kicking on the Great White Way. The musical inspired by the 2005 movie of the same name will be directed by Jerry Mitchell. Kinky Boots recently had a workshop lead by the incomparable Billy Porter and Stark Sands. Who's ready for another drag show on Broadway?!

Cell Phones Illegal in Theaters

2012-02-21T19:55:00.000-05:00

Yes. You read that correctly. According to Reuters, as of Sunday, February 19, New York City now restricts cellular phones in "any indoor theater, library, museum, gallery, motion picture theater, concert hall or building in which theatrical, musical, dance, motion picture, lecture or other similar performances are exhibited." If you are caught, you will be fined a hefty $50. While the IDEA is brilliant to help minimize cell phones ringing during live performances, but this just seems outrageous. What do you think? Let the debate begin!

The Lyons Prowl at the Cort

2012-02-21T18:20:00.001-05:00

Nicky Silver's hit The Lyons will rise again on Broadway this season, just before the Tony eligibility cutoff of April 26. The Lyon will snatch the soon to be vacant Cort Theater. The production hasn't officially announced full casting, but most of the original cast is said to return, including Linda Lavin. This will mark the official Broadway debut for Nicky Silver's original work. He was previously represented when he updated the book for The Boys from Syracuse in 2002.

Smash Report: Bad, Bad Boys

2012-02-21T08:06:00.000-05:00

Ivy and Derek screwing in a bed. A wonderful way to celebrate getting the big role of Marilyn, isn’t it? Oh, and that’s how our third episode starts too. After doing the nasty, Ivy asks Derek to do some character study, like a real actor and director would, but Derek clearly has no interest in that now does he? Ivy begins to have second thoughts on whether her talent or her sexcapades got her the role. Leave it to her friends to break it down for her. Derek calls Karen for a late night bite at a bar to lay it down for her on why she didn’t get the part and only the ensemble. Is this just another opportunity for Derek to get in her pants? Well we won’t know that answer because gallant knight Dev saves the day. Then Derek and Dev have a London talk that I couldn’t really understand because their accents are a tad incomprehensible (is it just me?). Dev was clearly just jealous, or this was just an attempt to get back at his girlfriend for standing him up. It’s very evident that in the past two episodes, there is bound to be some trouble in paradise for the politician-wannabe and the star in the making. They both have varied ideas on where the future is heading, which means drama is on the way (and maybe a departure of Dev??? Wishful thinking I bet.).
But drama offstage means there has to be drama onstage. And now the time has come to find the leading man to play Joltin’ Joe (DiMaggio). Michael Swift, a Broadway star, is available to play Joe. But his audition? Well, a Bruno Mars jukebox musical of course! (wait…) Segway to Michael, aka Will Chase, singing a rockin’ version of “Grenade” on a set of scaffolding that looks like a lame attempt to be Rent. Not going to lie, it was weird. In the words of Simon Cowell. Michael is an offer only actor, meaning, he won’t come in to audition. But if THAT was his way of selling himself, I’d pass.
Eileen and Derek are at another restaurant talking about casting, when Jerry the ex appears trying to tempt Derek back to My Fair Lady. And of course, a drink lands in Jerry’s face. As Eileen said, “I don’t know why that keeps happening.” At the next writing session, Julia and Tom are writing a new song for the show, when Ellis pops in and sucks up with apparently the only line he knows “I liked it.” Julia kicks him out just before he actually does his job, assisting his employer. Julia starts to sway Tom from not including the one and only Michael Swift in their piece. Perhaps even cutting the men from the musical. Why a hater Julia? Could it be because Julia and Michael had a fling? Duh!
Eileen then has a producing meeting with some fellas who are previously Jerry benefactors. And it looks like it’s going sour because they don’t think she can do it and probably because they don’t think a woman can raise all the money. Pigs. Looks like they may be wrong. Ellis starts to discuss his job with his pals, played by Hale Appleman and the always sensational Condola Rashad! They try to convince him to get Tom to pay him for the brilliant idea of Marilyn the Musical. Will he heed their advice? Probably.
Karen goes home to Podunk, Iowa to visit the folks for a baby shower. Mommy and Daddy talk to baby about not getting the part, which of course terrifies them. Then Daddy attempts to understand what this “workshop is and why it only pays $200. Gasp! Back in NYC, Ivy is upset that Derek hasn’t called her in three days. The motley duo try to convince Ivy to call Derek, but who would believe it, there’s Derek seeing the show! And of course they do it in the dressing room.
Ellis at home with girlfriend Cyn, again played by my favorite Condola Rashad, as he’s reading Julia’s notebook. Thief! This kid is going to theater jail. Apparently that’s what he believed the “get them to pay you” advice meant. This leads to some funky foreplay between the lovers, but I’m thinking Ellis is just taking his girl done a path of lies (Code he’s not a ladylover). Down at Eileen’s office where Julia is dropping off the outline for Marilyn the Musical, she runs into Michael. Cue the tension. This is clearly uncomfortable for both of them as they can’t seem to control themselves when discussing their families. That’s right, they both have FAMILIES that they’re about to break up. Well duh, that’s how it works in the theater, right? Well, clearly Julia can’t handle it so she gets on the elevator, rides away, but not before she can say “See you in rehearsal.” Now she’ll probably go home and think about Michael.

Eileen is alone at a restaurant when the waiter arrives with a pair of earrings and a Manhattan. Who are they from? Jerry the ex! Why is he doing this? Well to butter her up and get her to drop Marilyn the Musical. They have an awkward interaction about getting producer that leads to a drink splash. At yet another restaurant, Tom and Dennis have lunch. Tom thinks it’s because of Heaven on Earth, but really because Dennis wants to a date. Dennis drops the bombshell about Ivy dating Derek. Tom is infuriated. He goes to Julia who defends Ivy’s actions because she’s clearly preparing herself for her own fling. Ellis happens to be in the apartment and has a passive-aggressive throw down with Julia. Oh snap. Ellis stands up for himself when Julia tries to kick him out, and even lies about “finding” Julia’s notebook. Ooooh! Ellis is tricky, sneaky one!
Eileen has a meal with Manny, the great theater producer, to try to pitch Marilyn, but he doesn’t seem to buy it. Probably because he’s about to croak. But in Iowa, things are a bit more lively. Karen is having drinks with her hometown pals, including Rebecca Naomi Jones, which turns into karaoke. How convenient. Of course “Broadway”, as she’s nicknamed, sings. She sings Gretchen Wilson’s “Redneck Woman” with ease, because that’s what you do when you’re a hick from Iowa apparently.
Ivy and Derek have just completed the nasty (third time in the episode) and she wants to know why they don’t do it at his place. She thinks it’s because he doesn’t want her, in his home, but really it’s because of gas problem. Right. Nice BS director. Does Ivy buy it? Absolutely. Julia and Tom work on their new song “Mr. and Mrs. Smith” which leads to Julia dropping the bombshell of her affair with Michael Swift. Tom is shocked. How could his writing partner keep it from him for five years? How dare she! How did it happen? Well Michael was so good in the show, which is a total turn on. Just a typical show crush as she puts it. They conveniently bumped into each other on the Brooklyn Bridge you go to be an adulteress. And thus started their affair. But wait, you think that was the highlight of the scene? Who’s hiding behind the wall listening to Julia’s confession? None other than Ellis! Looks like someone’s practicing for another career as a spy! Whatever will Ellis do with this information? Share it on the internet I bet!
Before Karen leaves Iowa, Daddy and Mommy have a heart to heart with their little girl. Karen tells them she’s good. She’s got it all under control. Good or not, Daddy gives Karen a check. And would you believe the whole conversation is being underscored by “Let Me Be Your Star?” It seems to be a trend on this show.
Ivy and Michael record “Mr. and Mrs. Smith” in Tom’s studio. It’s an old-fashioned musical song. How do we know? Well because you can hear the blahness and the magical onstage scene that appears between Joe and Marilyn. And of course during the song, Julia has her own montage with Frank and Leo as she stares at Michael. Is he the one that got away? Sure looks like it. And let’s not forget that Ellis, again, is in the room during the recording. Didn’t they learn?
So the first non-Karen centric episode focused on love and affairs. Ivy and Derek and Julia and Michael. Will they last? And what is going on with little spy Ellis? What’s he going to do with all his juicy information? And did “Mr. and Mrs. Smith” bore you to tears? That would be the first song I would cut! And who’s ready for Nick Jonas being a playa next week?!

uPick: President the Musical

2012-02-20T13:36:00.001-05:00

We're starting something new here on theaterinthenow.com. We want to hear from you! So let your creativity start flowing with the first uPick, President's Day Edition!

Today, we want to know if you could see a musical about any President, who would it be and what would it be called? (Bonus points if you cast it!)

Spotlight On...Corey Mach

2012-02-18T13:16:00.000-05:00

Name: Corey Mach

Hometown: Cleveland, OH

Education: Bachelor's in Music from Baldwin-Wallace College

Select Credits: Godspell (Standby for Jesus & Judas, Circle in the Square Theatre); Wicked (Ensemble, u/s Fiyero, First National Tour); RENT (Gordon, u/s Mark & Roger, National Tour); I Love You Because (Austin, 14th Street Theatre); Harold and Maude (Harold, Cain Park)

Why theater?: Theatre is what I first fell in love with. You know, those cliche stories where the 4 year old goes to see a play and falls in love with it, starts taking classes, and then does it the rest of their life. That would be my story. It's where I fit in. There was no question what I wanted to major in in college. I don't even think my parents asked me- they just assumed that after I did 100 shows before college that I wanted to keep doing it. I fell in love with the relationship between the audience and the actor. I want to make them feel.

What is it like being a part of Godspell?: It's the perfect Broadway Debut. The cast is incredibly close. Usually on a night off you're with your other friends or family but this cast never minds being together when we're not at work. In rehearsals, we realized that the show requires such teamwork, togetherness, and the need to work off each other, so it began right away. There's really no drama behind the scenes because we all fit so well together, which is such a blessing. It's a thrill coming to work every day and working with these people. On stage, it's also a great time. I love that the show is very loose, and when the standbys go on, we can make it our own.

What’s life like as an understudy?: Life is pretty great. I've understudied before in RENT and Wicked but I was also in the ensemble, so I was performing every night. With Godspell, I'm a standby, so only when someone is out do I go on. At first, it really was not my cup of tea because no one was really calling out, but once winter came and people started to get sick, I began to go on pretty frequently. So to go on every so often and then to just hang out the rest of the time really became the perfect first job in NYC. The 3 other standbys and I have a lot of fun backstage and we keep entertained. AKA Downton Abbey.

What kind of theater speaks to you? What or who inspires you as an artist?: I love close-up, intimate theatre. A house of 100 seats, where the audience can see the actor's pupils really gets me going. It's a thrill that you just can't get in a 3,000 seat house. During college, I worked in few regional theatres where the average seating capacity in the theatres was about 150, and I did smaller, more intimate musicals like Harold and Maude and I Love You Because. This kind of theatre is my strong point. I get inspiration from getting out and seeing as much theatre as I can. I try to see one show every week. Actors who inspire me? Frances Conroy, Nina Arianda, Brian D'arcy James, Norm Lewis.

Any roles you’re dying to play?: Moritz in Spring Awakening, Whizzer in Falsettos, Toxie in The Toxic Avenger. I'd love to do Roger in RENT again.

What’s your favorite showtune?: I probably couldn't even pick my favorite musical let alone my favorite showtune. But somewhere in the top 5 would probably be "Unlikely Lovers" from Falsettos. It's a heartbreaking but completely sincere portrait of 4 best friends in a hospital room while one of them is dying of AIDS.

If you could work with anyone you’ve yet to work with, who would it be?: Michael Mayer. I love his work and the material he chooses to direct. I've never auditioned for him but I hear he is wonderful to work with.

Who would play you in a movie about yourself and what would it be called?: Bradley Cooper. "Mean Boys".

What show have you recommended to your friends?: Newsies at Paper Mill was pretty awesome. So much fun. As for shows running right now-- Porgy and Bess and War Horse. Also, Hurt Village Off-Broadway.

What’s up next?: Tons of concerts and benefits. Also doing the 2012 Broadway Beauty Pageant in March. Check out upcoming projects here: http://www.coreymach.com/Corey_Mach/news.html. And come see GODSPELL!

Family Drama in Yosemite Stays Around A Little Longer

2012-02-17T16:50:00.000-05:00

Rattlestick's hit production Yosemite will stick around a little bit longer. Daniel Talbott's play about a family struggling with a big secret will extend until March 3. Yosemite features a top notch cast including Seth Numrich, Libby Woodbridge, Noah Galvin, and Kathryn Erbe. If you haven't seen it yet, better get a move on it!

Spotlight On...Eric Michael Krop

2012-02-17T12:23:00.000-05:00

Name: Eric Michael Krop

Hometown: San Jose, CA

Education: AMDA

Select Credits: Hair (Claude, Alpine Theater Project); Miss Saigon (Chris, CMTSJ); Jesus Christ Superstar (Jesus, CMTSJ); Godspell (Principal Understudy, Circle in the Square)

Why theater?: I do theater because it is a wonderful way to express myself. I am a singer/songwriter first, and I am very lucky that I now have a job where I can support that desire and goal, and it is also an outlet for my inner artist. I started doing musical theater a little later in life, but once we found each other, I knew it was a good fit. I found that I have a place here, which is kind of an unfamiliar feeling. It's a good feeling though!

What is it like being a part of Godspell?: Godspell is a dream. I could not have asked for a better first time Broadway experience. I remember back in 2008 when I had a few friends who were going through audition process for the first time the revival was supposed to happen. They were telling stories about all the crazy parables they had to make up, and the vast amount of callbacks. All I thought to myself was how fun that sounded, and how much I wanted to be a part of something like that. Long story short, it was postponed and I was lucky enough to be able to be a part of it this time around. I feel like everyone in the cast is key. We are all teaching each other and learning important life things from each other, as well as getting to spread the Godspell message to the masses. It's incredible.

What’s life like as an understudy?: Life as an understudy in a word? Interesting. I am an offstage understudy, so when I am not watching the show, I am backstage with my fellow swings. We all have Hulu and Netflix accounts, catch up on tv, and we are also all working on side projects. I am in the works of preparing for recording a pop album, so I spend some shows writing and getting input from the other swings.

How is it different being an understudy as opposed to originating a role?: As an understudy and being a part of a new production, you don't really get to develop a character until the show has come together. That doesn't really happen until closer to opening night, so for the rehearsal process and previews, we spend most of our time watching and studying the principal actors. I know in most shows, the understudy is playing a character, but in Godspell we get to play ourselves. Our director told us at the beginning of the process that we get to play ourselves: but through the telescope of the people that we are on for.

What kind of theater speaks to you? What or who inspires you as artists?: I like plays a lot. I just saw Hurt Village at Signature and was blown away. I like the shows that make you question your mortality when you are leaving the theater. I kind of feel like what's the point of putting on a show if you don't have something to say and you don't want to move people? I also love to laugh. I love a smart book and funny people on stage. Actors and singers who perform with reckless abandon inspire the hell out of me.

Any roles you’re dying to play?: I want to play Jesus in a movie remake of Superstar in like 2-5 years.

What’s your favorite showtune?: That's a tough one! It's a toss up. Either "Who Will Love Me as I Am" from Sideshow, or anything from Dreamgirls.

If you could work with anyone you’ve yet to work with, who would it be?: Megan Hilty. We did a concert together once in Pasadena, and it was such a short time but she was so fun to work with and I want more time with that brilliant lady! Especially if it means being on smash. :-)

Who would play you in a movie about yourself and what would it be called?: Honestly, I'd have to pull a Fantasia and play myself. Haha! It would be called "unexpected" or "obstacle"

What show have you recommended to your friends?: Mormon! But that is an easy way out. As I said before Hurt Village. Our former swing Joaquina Kalukango is starring in it Off Broadway. So moving!

What’s up next?: I am currently writing and in talks to get into the studio to record my first album. It will have nothing to do with musical theater and I am very excited about that. I've been writing since I was 10 and it has been a long term goal of mine to be a recording artist and even write pop songs for other artists. Lots of work to do! I'm so grateful that I have the time and resources right now to do it.

Visit Eric on Facebook at http://Facebook.com/ericmkrop and on Twitter @ericmkrop. And check out Eric's new single on iTunes! http://itunes.apple.com/us/album/say-buh-bye-single/id502524768

Chanler-Berat and Keenan-Bolger Return to "Starcatcher"

2012-02-16T17:04:00.000-05:00

The New York Theater Workshop hit Peter and the Starcatcher is getting some old faces back for its Broadway bow. Adam Chanler-Berat and Celia Keenan-Bolger will return in the roles of Boy and Molly in Starcatcher. They join previously announced "Smash" star Christian Borle in the play. Additionally, original cast members Teddy Bergman, Arnie Burton, Kevin Del Aquila, Carson Elrod, Greg Hildreth and David Rossmer will reprise their roles. Start getting excited for this hit to return!

Spotlight On...Jeff Ronan

2012-02-16T11:30:00.000-05:00

Name: Jeff Ronan

Hometown: Holmdel, NJ

Education: BFA from Kean University and a semester abroad studying with the Moscow Art Theatre School in Russia.

Select Credits: Seven Homeless Mammoths Wander New England (Early Man 1 understudy, Two River Theatre Company); Humbug (Bill/Ben/Caroler #2, Premiere Stages); The Last Supper (Pete, Rising Sun Theatre Company); The Last Days of Judas Iscariot (Satan, Sanguine Theatre Company); Mrs. Gould Welcomes Charlie Chaplin (Charlie Chaplin, St. George Productions)

Why theater?: I was a shy, introverted kid growing up, and theater gave me a way to connect to other people and help draw me out of my shell. Most new people I meet nowadays have trouble believing I used to be shy, so I guess it worked.

Tell us about These Seven Sicknesses: Watching five hours of Greek tragedy sounds like the worst night ever. But when those five hours include music, food, and the chance to see all seven of Sophocles' surviving plays performed by an epic cast of 38, it really is an unforgettable event. Everyone I know who has come to see it says they can't believe how fast the time flies while getting involved with the stories of these characters. Speaking of, what I personally love about the show is that it's a chance to see these classic Greek characters grow and change through the multiple stories in ways that have been hitherto unseen when staged as stand-alone plays as they traditionally are. Seeing Antigone face the end of her life is a lot different when you've literally just seen her entire life unfold from when she was a child.

What is it like being a part of These Seven Sicknesses?: Being a part of a (good) play is like becoming part of a new family. With this show, it's like being a part of an entire new community. We are all constantly working together onstage and behind the scenes for everything that goes into keeping a show like this running. I was going to say we're like cogs and bolts all working to power a machine, but we're probably closer to cells and organs bringing this living, breathing thing to life.

What kind of theater speaks to you? What or who inspires you as an artist?: For me, theater needs to speak to my heart or my head, preferably both. I saw a brilliant production of Chekhov's Ivanov in Moscow that was staged backwards. The theatrical conceit of it could have turned the show into an analytical look at cause and effect, but instead of robbing the show of emotion, it managed to break your heart all the more by showing the characters as they try so hard to connect when you've already seen the aftermath and know they never will.

Any roles you’re dying to play?: I used to have a big list of roles I've wanted to play, but the most fun I've had has been with roles I've created in plays and films and in roles I'd never heard of before being cast in a project. That said, I still want to play all four of the male roles in Martin Mcdonagh's The Pillowman at some point.

What’s your favorite showtune?: Technically not a show (yet) but anything really from "Dr. Horrible's Singalong Blog".

If you could work with anyone you’ve yet to work with, who would it be?: For a writer, Martin McDonagh. For a director, Danny Boyle. For an actor, Gary Oldman. If I was in a play or film written by Martin McDonagh, directed by Danny Boyle, AND starring Gary Oldman, my brain would explode.

Who would play you in a movie about yourself and what would it be called?: Uggie the dog from The Artist. It would just be 90 minutes of Uggie being awesome and it would be called "Isn't This Better Than a Movie About Jeff Ronan?" I know I'd pay to see that movie.

What show have you recommended to your friends?: Besides These Seven Sicknesses of course, the last show that I was able to see and recommend was EST's Hand to God which featured one of the best live performances I've seen from Stephen Boyer as a troubled youth and as the demonic hand puppet that has strapped itself to his wrist. I just had the pleasure of meeting Stephen the other day and congratulating him in person. Though the show is no longer playing, I hope it's brought back in some capacity soon.

What’s up next?: I'll next be seen in an original play in the Network One-Act Festival at the Barrow Group Theater from March 7th-March 15th and in a staged reading of a new musical called Over the Boardwalk, an ensemble piece set in the Jersey Shore during the 60's.

For more information on Jeff, visit http://www.jeffronan.com/

Spotlight On...Alex Draper

2012-02-15T18:15:00.000-05:00

Name: Alex Draper

Hometown(s): Middlebury, VT; Charlottesville, VA

Education: BA, Middlebury; MFA, Yale

Select Credits: A Map of Virtue (13P); Lovesong of the Electric Bear, Scenes From an Execution, among many others (PTP/NYC); Terrorism (New Group/Play Company); Get What You Need (Atlantic Theater); Rose’s Dilemia (Manhattan Theatre Club); "The Good Wife", "Law and Order", "Law and Order: Criminal Intent", "Law and Order: SVU"

Why theater?: Because I love it, because it connects me to some larger tribe, and because I feel that now more than ever people are yearning to get together and see live human beings telling and acting out stories.

Tell us about A Map of Virtue: A Map of Virtue is a beautiful little surprise of a play that seduces you down a path you feel you may recognize, then sends you careening off into places you never imagined going.

What is it like being a part of A Map of Virtue?: It is thrilling. The play is tricky, but Ken and Erin had a very specific sense of what the play needed, and we worked hard to find the right acting "vocabulary" with which to communicate that. Now that we have audiences, all those choices feel very right, and it is a pleasure to perform.

What kind of theater speaks to you? What or who inspires you as an artist?: As you know from the work we did together with PTP/NYC, (http://www.potomactheatreproject.org/) I love theatre that has a social and/or political drive behind it, and expects a considerable investment from both audience and performer. I am also currently kind of obsessed with formality and minimalism, both in language and performance, so Map of Virtue, despite it's deceptive hint at realism, landed right in that wheelhouse.

Any roles you’re dying to play?: So many, but two that pop up might be Vanya and Yosemite Sam (you know, beard parts).

What’s your favorite showtune?: I don't have one, but my three sisters were obsessed with Annie and listened to the album non-stop, so any one of those songs could pour out of me at any time.

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

Who would play you in a movie about yourself and what would it be called?: Danny DeVito and George Clooney would co-star, as me, in "Hey You, what the f#@k you doing sitting on the hood of my car!"

What show have you recommended to your friends?: Project Y's Love Sick, Keen's Painting Churches, and Rude Mec's Method Gun

What’s the best advice you can give someone trying to make it in theater?: Start or join a company whose work you love.

What’s up next?: I've just been asked to participate in a residency at Robert Wilson's Watermill Center to develop a work based on Texhing Hsieh's Cage Piece, and beyond that' we'll see…

Smash Report: And Marilyn Is...

2012-02-14T00:01:00.000-05:00

And we start with a song. This time, a soulful “Call Me” by Blondie sung by our girl Karen at a club. And of course she has a fan club in attendance. Writers, producers, director, and Ellis the Intern naturally. Oh wait. It was all just a dream. Again. Karen’s stressed because she hasn’t heard about Marilyn. Drat. Why hasn’t she head? Well, because there’s still a debate between Karen and Ivy. Team Ivy, lead by Tom, is being outnumbered by Team Karen, lead by, the others. That is until Derek flip flops clearly since Karen rejected him.
Ivy chats with her besties, including the amazing Savannah Wise, about her miserable callback woes and her competition with Karen. Ten years in the chorus and then “Karen” comes around. “Karen” is now a derogatory word for these vets. Waiting is the hardest part, you know in callback world, and also when adopting a baby. We learn that the Chinese baby Julia and hubby want will take about two years to come. With all the babies in China, you’d think it wouldn’t be so tedious! Then we cut to Karen’s dance callback. Derek informs the troupe that they will be dancing to a demo sung by composer Tom (yay! We get to hear Christian Borle sing!). A little chorus boy does a couple of moves, Karen is suddenly overwhelmed, and then…our title screen (with a soundtrack of an orchestra warming up.) Alright, so that’s the set up of the episode. No new information. Will the rest of the episode be dragged out?
Of course not! We learn that Ivy’s boytoy Dennis is spying on little Miss Karen. But before we get to see more of him, we then jump to the Marilyn brainstorming process. Julia throws in a little quip about why she’s depressed on the couch because it took a shorter time to write West Side Story than to adopt a baby. Julia and Tom via a corkboard decide to order their songs when Julia figures out that perhaps the musical should be nonlinear, beginning the musical with “Let Me Be Your Star” instead before the act break. Thus, we enter fantasy world with Karen center stage with the girls, including Ivy, behind her singing a stripped down version of the song. We go back to reality when the adorkable Ellis asks, “but who plays Marilyn?” Julia responds the answer we all knew was coming, “We don’t know yet.” Duh! And thus Julia still hates on Ellis. Back at callback headquarters, Karen still can’t dance like a star. Derek gets frustrated, walks out to see little Miss Ivy standing outside with a copy of a Marilyn book. And since he’s a slut, he flirts, she obliges, and the Karen dance work ends. Ivy walks into the room and her spy shakes his head making sure that he thinks Karen sucks. Are we setting up Ivy to be a villain? The quintessential theater bitch? Sure looks like it! But how could we hate someone who tries the Marilyn pout in the mirror?

The Houston household has a discussion about whether or not a baby is a good idea. Wasn’t it just last episode that Frank was pro-baby? Well, he doesn’t want to be an old dad. And of course eavesdropping (current only) child Leo gets upset that he wants a brother or sister despite no real decision has been made. Kids these days. Jumping to conclusions.
Eileen reappears in the episode at the same restaurant, Bond 45 apparently, as her exhusband. She embarrasses him in front of his current bimbo blonde. Eileen, at lunch with Derek discuss the Marilyn ladies until, the Insider Moment of the show, Jordan Roth’s cameo steals the moment. Wait, what? JoRo? This allows for Eileen to get pissed at her ex for interrupting her, thusly throwing a drink in his face. So old school! Eileen and Derek discuss the workshop process until Eileen drops the bombshell: don’t overwork it! One workshop, one out of town try out, then BAM! Broadway! If only it worked that way. If only.
Frank Houston is the next to drop the bombshell: Honey, I’m going back to work. I miss the kids. So Frank’s a “good” science teacher who doesn’t want his own kid, but he’ll take the ones he can adopt for a year. Well someone can’t make up his mind. Trouble is brewing for the Houston’s! The question is who will get bratty Leo during their divorce.
Oh, yes, right. Dev did have some scenes. He’s just so bland, I decided to leave him out. He has a big fancy dinner or something. His lady is late because she has her acting callback work with Derek. She begins being out-acted by Dave the reader until McSleazy (oooo Derek’s new nickname?!) gives her an adjustment. And then we have the cliché moment where we see Dev alone at the fancy restaurant and then gets mad at girlfriend for following her dream. Wait…last episode you told her to do what it takes! Dev and Frank are bad lovers. Bad, bad lovers who can’t make up their mind.
Ivy now gets her alone time with McSleazy. Will he take advantage of the situation? You betcha! She uses the subtext to entice McSleazy who literally lets down Ivy’s hair and gets all up in her grill. What happens next? Duh! Ivy and McSleazy do it! Right before the day of the callback no less. Karen’s audition is first. They do a little number about Norma Jean (aka Marilyn before the name change) doing her screen-test, “The 20th Century Foxtrot” as it’s called. It’s a flashy number with props and set pieces galore. And then we enter fantasy moment. The studio is engulfed with lights and costumes, sans Karen. That is until she disappears into the ensemble circle of magic and has an incredibly quick costume and wig change. Oh the magic of theater, or television. But was it enough for Karen?
The deliberation room. McSleazy continues to call Karen “green.” Tom claims Ivy’s audition was great, but we don’t get to see it. Boo! But the decision seems to have been made? How do we know? Because Ellis talks about it and Karen talks about it and Ivy talks about it. When will we find out? The very next moment! Tom goes to see Ivy in person to tell Ivy that she…got it! Wait. I thought we were supposed to have like an entire season of battle! But what happens to Green Karen?
McSleazy and Eileen have a moment where he tells her that he told Mr. Ex to shove it on My Fair Lady, with an underscoring of “Let Me Be Your Star” of course. Then our second Insider Moment, has Tom Kitt at a club announcing that his friend Ivy Lynn winning the role of Marilyn. But before we can see her sing, we need to see Julia at Adapotive Parents Anonymous, where bi-poloar Frank joins late. Ivy sings a song (with Tom Kitt on piano) that is no where near as triumphant or wonderful as “Let Me Be Your Star” as we the reactions of all the “what just happened” moments of the episode.
We didn’t really learn anything too “new” except for Ivy winning the role of Marilyn, but honestly, are we shocked? So how does Karen play into the workshop process? Is she a chorus girl? An understudy? And will we see more of Dennis the boytoy spy? Something tells me Tom and Dennis will be acquainted at some point, if they haven’t already. And when will Dev get the axe!? And who's glad "Marilyn the Musical" was not mentioned once! With no promo for the next episode, what happens next?

Spotlight On...Jake Boyd

2012-02-11T12:00:00.000-05:00

Name: Jake Boyd

Hometown: Tuscaloosa, Alabama

Education: BA in musical theatre from the University of Alabama

Select Credits: Xanadu (Sonny, Cape Rep Theatre); Oklahoma! (Will, National Tour); Bare (Zack, 2011 reading); “Are We There Yet?” (TBS, recurring)

Why theater?: I have always had an attraction to theater, even before I got to be a part of it. I remember going to see shows on school fieldtrips or watching the "Mickey Mouse Club" at home and I would pray, “God, I want to be doing that so bad. This is the only thing I want to do.” I am not exactly sure why I have been drawn to this art form so much instead of others-- no one else in my family is a performer. Over time theater has taken on different meanings for me. When I was a kid I didn’t have a lot of friends and was extremely shy and overweight and dealing with my parents divorce. In are myself at first. Overtime, that reason changed. In high school it was all about my own pride; I just needed to prove everyone wrong. I wanted to show that I was worth something and if I succeeded in this business then everyone who thought I couldn’t do it would now see that they were wrong. At this point in my life theater has taken on a more proactive agenda. Instead of worrying whether or not the audience loves my performance (which of course I still do to an extent), I want to focus on making innovative art that not only speaks with a bold voice, but also lives honestly. Schumann said, “To send light into the darkness of men’s hearts—such is the duty of the artist.” That quote sums up nicely what theater means to me. I am sure theater will take on several meanings for me as I continue to grow as an artist. But whatever reason, I will always trust my heart that tells me, “Do this… you need to keep doing this.”

Tell us about Carrie: This production of Carrie is NOT the original ’88 Broadway production. The creative team has taken a very realistic approach to telling this story and any hint of camp has been removed. Simply put, Carrie is the story of a girl who is tortured at school by her peers and at home she is at the mercy of her religious, overbearing mother. This new production offers audiences situations that they can actually relate too (even though parts of the story are heightened theatrically). With bullying and religious fanaticism all over the media, I believe that there is a moral interest here for everyone.

What is it like being a part of Carrie?: This is unlike any project of which I have been a part. I have never had the opportunity to work on a completely new show where changes are happening every day. This show is ALIVE. It’s breathing and living and working. That is the most exciting (and difficult) part of the process. And the talent is just unbelievable. Everyday I come to rehearsal and I am blown away by the commitment the actors on stage have to telling this story. It’s quite stunning.

What’s life like as an understudy?: Hard. I am covering 5 different tracks and I have never even been an understudy in my life. Every day I am learning new things and new ways to be on top of my game. The most nerve-wracking part of being a swing at this point in the preview process is that I have not had any put-in rehearsals yet. All of the knowledge I have of the show is what I have watched, studied, and practiced on my own. And because I can still be put into the show any day if one of the other actors calls out, my job becomes even more important. I am not going to be able to let my focus ease until the end of the run. On the flip side, this responsibility has been one of the most valuable learning experiences I have had in my entire career. As hard as it is sometimes, it’s making me a stronger performer.

How is it different being an understudy as opposed to originating a role?: When you’re an understudy you just have to shut up and listen. I don’t get the say in what the character feels or thinks because I am not originating it. That’s hard when you’re an artist. If you are an actor, you are a creator. It’s in us to want to create something from ourselves. Most actors don’t get in the business to rehash the same things they have seen.

What kind of theater speaks to you? What or who inspires you as artists?: Simply put, the kind of the theatre that speaks to me is one who actually has something to say. I love realism. I love farce. I just want to see actors living up there no matter what world they are occupying. The kind of art that inspires is anything that makes a bold statement and doesn’t apologize for it. I love when I see a show or an actor taking an unexpected turn. It shows that they are thinking. And I’m a sucker to see anything Cheyenne Jackson or Angela Lansbury is in.

What’s your favorite showtune?: “Heart and Music” from A New Brain

If you could work with anyone you’ve yet to work with, who would it be?: I want to work with one of the classic divas of Broadway: Bernadette Peters, Kristen Chenoweth, Elaine Stritch, etc).

Who would play you in a movie about yourself and what would it be called?: I guess if someone had to play me in a movie it would be Kermit.

What show have you recommended to your friends?: I haven’t seen a lot of shows recently but when I saw last seasons Brief Encounter that Roundabout produced I talked about it for weeks.

What’s up next?: Only time will tell. I am committed to Carrie for at least a few more months. After that… who knows?? : )

Lea Michele as Wendla on the Big Screen?

2012-02-10T15:18:00.001-05:00

Say it ain't so! Sure, it's always wonderful when original cast members are considered for the movie incarnation of the stage play. But when it's Spring Awakening and Lea Michele? Well, no! Michele is reported to be in talks to reprise her (non Tony nominated) role as Wendla in the screen adaptation of the Tony winning musical. If Michele returns, they best bring back Tony nominee Jonathan Groff!

Spotlight On...Evan F. Caccioppoli

2012-02-10T13:01:00.002-05:00

Name: Evan F. Caccioppoli

Hometown: Brooklyn, New York

Education: BFA in Theatre Performance from the University of Illinois at Chicago, The Poor School in London, England, and currently a masters degree candidate in Educational Theatre at NYU.

Favorite Credits: Director: Unbroken by Alexandra Wood (Kid Brooklyn Productions, American Premiere); In The Key of You by Diana Stahl; Dog Sees God: Confessions of a Teenage Blockhead; The Last Five Years; and original devised works Shattered Silence and 8:46:40 (The September 11th Project). Assistant Director to Daniel Talbott on Eightythree Down (Hard Sparks/Under St. Marks) and Much Ado About Nothing (Boomerang Theatre Company/The Secret Theatre), and to Pedro Pascal on Yosemite (Rattlestick Playwrights Theater). Artistic Director and Founder of Kid Brooklyn Productions, an independent theatre production company.

Why theater?: It’s the only thing I’ve ever wanted to do. I saw my first Broadway show at age four and I never looked back, I knew in that theatre and in that moment I had found where I belonged. There is so much wonder and discovery in what we get to do as theatre artists. I love telling stories on stage and I love that as theatre artists we get to explore what it is to be human. Having the opportunity to dig into both the dark and light sides of humanity. We are so lucky in that we get to step into so many different worlds and live, feel, and breathe as so many different people. I love that we get to break the rules and do/show what is never supposed to be seen. We also get to make what is impossible possible; anything can be done on stage!

What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that is dangerous, theatre that scares me. The work that hits me in my core and that I want to run away from, that is the work I want to do. As I said I look for the plays that explore the human condition, why we think and feel the way we do and why we as humans make certain choices. So much inspires as a theatre artist. Life in general is a huge inspiration in my work as director/devisor, the experiences I have go into my work. There are so many amazing theatre artists that I admire for the work they create. Daniel Talbott has been a huge inspiration to me, he’s love and passion for the theatre is amazing. Daniel puts so much into the work he creates as a Director and Playwright and shares that with everyone he works with. Daniel is a genius of the theatre, that is the only way to describe him. He is also one of the best teachers I have had, he gives so much to nurturing new theatre artist. He has become a mentor to me and I learn so much from working with him. I also draw inspiration from the amazing playwrights who’s work I read, whether they are new playwrights or well known. Over the past few months I have had the opportunity to read the work of brilliant playwrights like Crystal Skillman, Diana Stahl, Mariah MacCarthy, Ken Urban, J. Stephen Brantley, among others. They are these amazing voices in the American theatre whose work is fearless and honest. Then there are playwrights whose work I’ve read over the years that I cannot wait to work on Tennessee Williams, Lanford Wilson, Shakespeare, Anton Chekhov, Stephen Sondheim, Samuel Beckett, Sarah Kane, Bertolt Brecht, Douglas Carter Beane, Donald Margulies, Beth Henley, Marsha Norman, Federico Garcia Lorca, Maxim Gorky, Neil Labute, Tracy Letts, Sam Shepard, Harold Pinter, Nicky Silver, Paula Vogel, Adam Rapp, Anna Deavere Smith, Arthur Miler, Henrik Ibsen, Rebecca Gilman, Eugene O’Neil, Tony Kushner, Jose Rivera, Kenneth Lonergan, Lucy Thurber, Stephen Adly Guirgus, Eric Bogosian, Michael Weller, David Rabe, Dario Fo, Leslye Headland, Clifford Odets, Richard Greenberg, Alexandra Wood, Roberto Aguirre-Sacasa, Theresa Rebeck, David Lindsay-Abaire, William Inge, and so many others. One of the biggest inspirations to me has been The Steppenwolf Ensemble, The Public Theatre, Rattlestick Playwrights Theatre, Rising Phoenix Rep, The Amoralists, and other theatre companies who produce new and classic work and give theatre artists opportunities to explore and create. I’m also inspired by the amazing theatre artists I have had the chance to work with the past few months, artists like the casts and creative teams of Yosemite (Seth, Katie, Noah, Libby, Pedro, Mickey, and Sam who I spent the most time with), Eightythree Down (including my good buddy Brian Miskell), and Much Ado About Nothing (who I’m loving getting to know) who bring so much to everything they do. All the great theatre artists whose work I’ve studied and been awed by over the years and anyone who creates theatre. I’m really inspired by the music of Laura Nyro her music is on every playlist I create for a play I’m going to direct. My friends and family are so much inspiration to me. (That was a lot longer than I thought it was going to be.)

What is different, or similar, about the process of working on new works (like Yosemite) compared to classic texts (Much Ado About Nothing)?: They’re both so exciting and challenging. With a new work it constantly changing, you start with a working script and each day you will discover new things that take the story into different directions. You may begin rehearsal thinking the play is about one thing and discover the play is about something totally different. It’s so exciting to come into rehearsal in the morning and have the playwright bring in new pages. To have the actors and director work with the playwright to create the world of the play, I believe rehearsal is about discovery and with a new play it’s the playwright, director, actors, and everyone involved discovering the world of the play together. With a classic text it’s about discovering a new way to tell the story. That is the great thing about working on classic plays is there are a million different ways to interpret the story. The framework of the story is there we know what’s going to happen and we know that we have to serve the story but within that there is so much room to play and try new things. A character may have a slightly different intention or be interpreted by actor in a different way. What I love so much about Shakespeare is that there are so many places his plays can be taken. With new and classic work we just have to tell the story and find the honest within the characters and their intentions and wants.

If you could work with anyone you’ve yet to work with, who would it be?: There are so many people I want to work with; I’m going to try to keep this short. Directors I would love to work under are Anna D. Shapiro, Anne Bograt, George C. Wolfe, Sean Graney, Tina Landau, Deborah Warner, Philip Seymour Hoffman, Joe Mantello, Sam Mendes, Mike Nichols…the list goes on. If I could go back in time I would love to work with Bob Fosse and Elia Kazan. There are so many playwrights and actors I really hope I get to work. I would really love to work with The Steppenwolf Ensemble and The Public Theatre. I hope to continue to work with Rattlestick and Rising Phoenix Rep and all the amazing artists I am working with now. I hope to have the chance to direct plays by these amazing playwrights and have to chance to direct these brilliant actors in plays on my own.

What show have you recommended to your friends?: Yosemite and then come see Much Ado About Nothing in March!!! Now that I’ve given that shameless plug, sadly I haven’t had the chance to see much lately. I really enjoyed Other Desert Cities when it was Off-Broadway last year. I looking forward to seeing Porgy and Bess on Broadway and Off-Broadway How I Learned to Drive and Carrie (That’s something you have to see even if you hate musicals, come on.). Everyone should check out Rising Phoenix Rep’s Cino Nights, they are a lot of fun and the playwrights, directors, and actors working on them are the best!

What’s your biggest guilty pleasure?: Theatre, Food, Designer Jeans, and Laughter.

If you weren’t working in theater, you would be _____?: Dead! No really, probably a Teacher or Social Worker.

What’s up next?: Much Ado About Nothing opens in March and we are right now in the middle of rehearsal. I’m so excited to be bringing the World Premiere of Crystal Skillman’s beautiful and brilliant play WILD to Chicago this June/July. It’s the second play for my company Kid Brooklyn Productions and the first play I’ve ever commissioned. I can’t wait to be in rehearsal and start to discover it even more. I have a couple of other pieces that I’m developing with other kick ass playwrights that I can’t wait to dive into further. I would really love to direct a classical play or an American classic since I’ve never done that on my own before. Getting ready to start MFA/Directing applications next fall.

Smash Report: Opening Night!

2012-02-07T10:21:00.000-05:00

The world of theater has always had a wee bit of difficulty surviving in the mainstream media. Hollywood actors have crossed over to the theater world and vice versa to help engage a newfound group of theatergoers, but maintaining a new audience has been the challenge. So right off the bat, a television series about the creation of a new Broadway musical seems like a major risk. But executive producer Steven Spielberg and Co. are willing to take it, and boy was the pay off worth it! Shall we? Curtain rises.
The pilot of the new NBC series “Smash” starts off with a bang, well, a ring. Karen Cartwright, a budding actress, sings a glowing rendition of “Somewhere Over the Rainbow” in a fantasy world only to be interrupted by the cell phone ring coming from the casting director. An inside joke to us theater folks? Perhaps. But a great way to start off a show? Absolutely. Katharine McPhee, of American Idol 5 fame (she was the runner up to Taylor Hicks…who? Don’t remember? Exactly. She did sing “Over the Rainbow” a capella on AI5, a risk that should have solidified her victory) plays the innocent faced Karen who just wants a chance to see her name in lights. Karen seems to be the centric arc that “Smash” will most likely want to us follow. Sure there’s an ensemble of characters we haven’t even seen yet, but from the get go, we’re watching Karen’s journey to apparent stardom.
From start to finish, the pilot is jammed packed with theatrical inside jokes and clichés. From references to the “Napoleonic Nazi” Michael Riedel to the parents who just don’t understand to what it’s like to audition. The theater geeks will love it for sure, but I think they’re accessible enough for the non-theater watchers to understand.

As we meet our other characters, we get just enough exposition to make it a bearable pilot, because boy can pilots turn into expositionrama! Tom Levitt (Christian Borle) and Julia Houston (Debra Messing) are a prized writing team who are supposed to take a break from their work. That is until Tom’s new boytoy assistant Ellis (Jamie Cepero) suggests a Marilyn Monroe musical. Marilyn the Musical? (Let’s hope that’s not the title of the actual musical…or if it is, let’s start a drinking game!) The thought of creating a “baseball number” is the selling point for Julia. Then we meet Julia’s loving and devoted husband Frank (Brian d’Arcy James), who is gearing up to adopt a baby with her. That is until Julia drops the bombshell that she’s writing Marilyn the Musical. Looks like there will be some trouble in marital paradise. We are told that we want to like our Marilyn creators. Both Borle and Messing are lovable and have a magnificent report with one another. But there’s bound to be some conflict between the two of them at some point in the series. Most likely on who to choose to play Marilyn, Karen or Ivy (Megan Hilty).
When we go back to Karen’s story, we meet her stuffy-lite boyfriend Dev (Raja Jaffrey) who is NOT in the theater business. I repeat, he is NOT a theater guy. If only that worked in real life. Jaffrey may be the weakest link in the ensemble. I predict he’ll be the first causality of the “kill off.” When Karen’s parents come to town to check up on her, we instantly see the fear of the unknown world in their eyes. Despite putting Karen through theater training, the Cartwright’s seem to be having second thoughts on the success of their daughter’s career. But don’t worry, Dev saves the day by correcting daddy Cartwright that Karen is an actress not a waitress. The real life couple, Becky Ann and Dylan Baker, play Karen’s parents with ease. I’m sure they’ll be back for more.
After Julia and Frank meet the social worker, who’s a fan of Julia’s, assigned to them for the adoption, Julia and Tom record a demo of Ivy singing the first song they wrote for Marilyn the Musical. In this age of technology, leave it to the unknowledgeable assistant Ellis to record the recording session, which ends up on the internet. Tom and Julia freak out at Ellis and fire him on the spot. That is until the feedback of the song is all positive. Cue the Michael Riedel name drop! Since apparently almost everyone in the theater biz has seen the video, producer Eileen Rand wants first dibs on the show. Despite her being on the potential losing end of her divorce, Eileen wants Marilyn the Musical. Eileen meets with Houston and Levitt (we need to come up with a clever nickname. Any ideas?) and asks them to audition a director to bring on to the project. Eileen mentions Derek Wills, which makes Tom quite irritated. Though we don’t know the history between Derek and Tom quite yet, we do know whatever happened didn’t end so lovely. Derek isn’t thrilled with the idea of auditioning himself, since he thinks way too highly of himself already, but he obliges and puts on a show.
And what a show it was! We get to see the baseball number! Ivy plays Marilyn in a workshop style audition of the baseball number that goes back and forth from rehearsal to stage. We’ll expect a lot of that threshold breaking throughout the series. It’ll help when the show’s producers actually try to bring this musical to life on Broadway. The number is a hit and Derek is brought on, to Tom’s dismay. So now’s the time for auditions. Karen walks in, the only girl not dressed like Marilyn, and silently wows the pants off of the team singing Christina Aguilera’s “Beautiful.” We don’t see Ivy’s audition but we know both girls get a callback.
Karen celebrates with Dev with “Some Like It Hot” as the background, only to be interrupted by a text message from the vile creature known as Derek. Derek is the sleazy director we all wish doesn’t really exist in real life. Derek tries to seduce Karen only to be shut down after singing “Happy Birthday Mr. President” in one of Derek’s shirts. Casting couch cliché? Absolutely. Do we forgive it because the very next scene is the closing number of the episode? Totally. We get the brilliance that is “Let Me Be Your Star,” a stunning duet between Karen and Ivy as they do their callback. It’s sure to be a song that won’t leave your head.
The episode ends on a slightly engaging cliffhanger. Who gets to play Marilyn, Ivy or Karen? Based on the previews, it looks like we’re in for a battle for Marilyn for quite some time. How it plays out will be the interesting part. The pilot gives us just enough puzzle pieces that will keep us coming back for more. What exactly happened between Tom and Derek? How will Eileen’s divorce come back to haunt the production? What will happen with the adoption? And just how many gays will there be per episode?
For a pilot, “Smash” is a smash. It has the potential to be a brilliant show. That is as long as it doesn’t fall under the “Glee” trap and oblige to poor writing to make way for the music. Sure we know that there are moments that will be contrived, like writing and recording a song nearly overnight or the director audition, but we forgive it for an intriguing plot. If anything, as a theater person working in the business, it’s wonderful to see familiar faces getting their time to shine. From Christian Borle getting a lead role to recurring role by Brian d’Arcy James to small parts by Maddie Corman, Eisa Davis, and Savannah Wise. This is an opportunity to bring theater to the mainstream. And if the series sticks to this formula, it’ll be a hit. So what did we think of the show? And most importantly: Team Karen or Team Ivy?

Who's the Boss on a Honeymoon

2012-02-06T14:11:00.001-05:00

Tony Danza will be coming to the Great White Way in the musical adaption of Honeymoon in Vegas. The musical is aiming for a bow on Broadway in Spring 2013 after a try out in Toronto. Honeymoon in Vegas has a score by Jason Robert Brown and a book by original screenwriter and director (something that rarely happens) Andrew Bergman. Danza will play the role originally created by James Caan.

Spotlight On...Libby Woodbridge

2012-02-04T12:01:00.000-05:00

Name: Libby Woodbridge 

Hometown: Born in NYC. Grew up in Amherst, Massachusetts.

Education: BFA from Boston University

Select Credits: Yosemite (Ruby, Rattlestick Playwrights Theater); Jerusalem (u/s and rave participant, Broadway); Gabriel (Estelle, Atlantic Theater Company); Bossa Nova (Grace, Yale Repertory Theatre); Moonlight (Bridget, Studio Theatre, DC); Rock ’n’ Roll (Young Esme/Alice, Wilma Theater)  

Why theater?: Seeing theatre makes me feel alive; performance is thrilling to experience. As a performer, I feel an electric, heightened sense of existence when I’m onstage. Audiences fuel and charge a performance. I'm often shy offstage, so performing is a great way for me connect with and partake in a larger sort of collective energy. Additionally, every performance with an audience is unique and will never happen again. There’s something about the ephemeral nature of theatre that’s exquisite, scary, gorgeous, and a little bit painful.

Tell us about Yosemite: Yosemite is a new play by Daniel Talbott at the Rattlestick Playwrights Theatre. Pedro Pascal directed it. The play deals with a critical moment of survival for a family that is desperately trying to find a way out of dire circumstances. It’s set in the freezing woods of the Sierra Nevada Mountains in California. Seth Numrich and Noah Galvin play my brothers and Kathryn Erbe is our mother.

What is it like being a part of Yosemite?: The play is brutal to perform, but I love the piece. I hope it provides a moving and meaningful experience for everyone who comes. I believe it’s a play that has a lot of power in its ability to haunt, and I hope that audience members find themselves coming back to thinking about the piece in the hours, days, and months after leaving the theater. I consider myself so lucky to work with everyone involved in creating Yosemite. The Rattlestick is a wonderful place and I look up to my castmates so much. Daniel is such an inspiration to work with, and he galvanizes those around him to be braver and more generous theatre artists.

What kind of theater speaks to you? What or who inspires you as artists?: Generally, I like artists and work that connects me in a conscious and emotional way with what it means to be alive in the world.

Any roles you’re dying to play?: There are many roles already written that I’m excited to mature into. Although right now I’m really interested in doing new work, so I’d love to play a role I haven’t yet imagined for myself. Additionally, at some point in my life I would love to work on some Chekhov plays.

If you could work with anyone you’ve yet to work with, who would it be?: There are a lot of people I want to work with and a lot of people I want to work with again. I also know for certain that there are people I don’t know about yet who will change and impact my life when I work with them. I like this thought.

Who would play you in a movie about yourself and what would it be called?: Oh dear, if coerced by someone in a wildly implausible theoretical situation to make that movie, I’m not sure what the exact title or my physical representation would be. My only vision for the project would be that it be created in a similar way to a Pixar animated short.

What show have you recommended to your friends?: I just went to my first Cino Nights performance put on by Rising Phoenix Repertory and recommend that.

What’s up next?: I worked on a movie recently, “King Kelly” by SeeThink Films, that I’m immensely proud to be a part of. Louisa Krause plays the title role, and I play her sidekick. The movie is shot as if filmed from the perspective of two girls’ iPhones. The film is not out yet, but I’m looking forward to people seeing it.

"Got Talent?", Show It Off!

2012-02-03T11:11:00.000-05:00

Full Circle Talent Group, lead by Martha Byrne (from my hometown Mahwah, NJ!) and Mario Costabile, is looking for some talent! All the information you need is below! It's a great opportunity, so get on it!

Courtesy of Full Circle Talent/Suzanne Curry

Full Circle Talent Group Holds "Got Talent?" Talent Search:

2 Winners Receive Full Scholarships to Acclaimed Acting Program and More

Paramus, NJ - Got talent? If you are a budding actor, singer or songwriter then Martha Byrne and Mario Costabile's "Full Circle Talent Group" is looking for you! Full Circle Talent Group LLC., is holding auditions for their acclaimed acting and performing academy, Showbiz bootcamp, and giving away two scholarships, worth $1200 each. Auditions for Full Circle Talent's "Got Talent?" Talent Search will be held on Saturday, February 4th, Saturday, February 25th and March 3rd, all from noon to 3pm. at the studio at 26 Park Place in Paramus, NJ. Registration is requested for these live auditions by calling 201-483-8262 or emailing showbizbootcamp@me.com. Video auditions are welcome and can be sent to showbizbootcamp@me.com. One scholarship will be given to an actor/actress for the ShowBiz Bootcamp Acting Academy and one full scholarship will be given for the Showbiz Bootcamp Singer/Songwriter Academy. Also, at the completion of either program performers will have the opportunity to be invited to meet with casting directors, agents and music producers for potential contracts. Qualified students will also have the opportunity to be signed to a management contract with Full Circle Talent Group, LLC.

Full Circle Talent Group, LLC is owned by Two-Time Emmy Award winning actress, writer and producer Martha Byrne, a Mahwah resident and Vine Record Label owner Mario Costabile. Ms. Byrne is most well-known for her decades run on "As The World Turns", but has also acted in several movies, released three CD's, wrote for Bold and the Beautiful and was actor/producer and writer for her web-based series, www.Gothamtheseries.com which was recently nominated for an Emmy. Mario Costabile is an experienced producer/director and owner of The Vine Records and Publishing Company (Universal Music) and Visual Energy Entertainment. He has produced many videos for top companies and artists, including the "Boom Boom Dance" which was one of the most requested videos on MTV in 2010.

Full Circle Talent Group is seeking young male and female performers aged aged 10-25, interested in a career in show business as well as gaining education in the fields of singing, songwriting, acting and other aspects of the business. All prospects are asked to bring a photo (need not be professional). All will be asked to perform for 3 minutes. Actors are expected to perform a monologue. Singers will be asked to perform and songwriters can perform or bring a recording of their work. A piano will be available. Winners will be selected based on talent and potential.

Those who audition will be auditioning to win the scholarship and a place in the acclaimed program, which there is a fee for. Showbiz Bootcamp is a serious program taught by industry professionals. It is a unique program which consists of clinics and workshops on acting, singing, songwriting, music/video production, resume development and other courses geared to getting started in the entertainment business.

Full Circle Talent Group is proud to have a staff of widely-recognized professionals. In addition to Ms. Byrne and Mr. Costabile the staff includes: Michael Park, who recently won for the second year in a row the Emmy for Outstanding Lead Actor for As The World Turns and currently stars on Broadway in "How To Succeed in Business Without Really Trying"; John McCracken, A&R at EMI, music producer; Lisa Brown, Emmy-nominee, TV/music/video director and co-writer for Gotham The Series; Alison Rinzel, talent manager and independent casting agent with years of experience from CBS-TV; Peter Bliss, Platinum-selling songwriter/producer/performer and staff member of the Songwriters Hall of Fame; Buddy Nielsen, Lead Singer of Senses Fail (Vagrant Records); Freddy Shehadi, songwriter, music producer for NBC, writer/producer for Def Jam recording artist, Burnham; Jennifer Marks, award-winning singer/songwriter and national touring artist; and Deborah Zuke Smith, vocal coach/Brett Manning Certified.

Full Circle Talent Group is located at 26 Park Place in Paramus NJ. 07652. The phone number is 201-483-8262. Please visit their website, www.showbizbootcamp.com for more information.

August Movie A Go

2012-02-02T19:17:00.000-05:00

Fans of the ever popular smash hit August: Osage County rejoice. Your film has been given the green light. Though no further casting has been announced, it is confirmed that Meryl Streep and Julia Roberts will play the battling mother-daughter duo. Streep will play pill-popping Violet while Roberts plays eldest daughter Barbara. Oscar bait anyone? I still would have picked Jane Fonda or Diane Keaton to play Violet, but I have no doubt that Oscar loving Strep will do the role wonders. How do we feel? Excited? Will this be a Doubt or a (God of) Carnage?

Back to the Future...on Broadway?

2012-02-02T14:42:00.002-05:00

Could the hit sci-fi trilogy time travel to Broadway? That's the word coming from Robert Zemeckis camp. If it happened, it would be a massive budget spectacle. I mean, c'mon. A time traveling DeLorean on stage!? We've seen other things happen, so nothing is too insane nowadays. So as discussions ramble on, let's cast it! Thoughts?

Barks Swiftly Takes Role

2012-01-31T20:35:00.001-05:00

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?

2012-01-31T11:46:00.002-05:00

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

2012-01-30T16:36:00.001-05:00

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

2012-01-28T12:04:00.001-05:00

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

2012-01-26T12:06:00.002-05:00

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

2012-01-25T17:52:00.000-05:00

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'

2012-01-25T14:40:00.000-05:00

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!

2012-01-25T12:57:00.000-05:00

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

2012-01-24T12:10:00.000-05:00

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

2012-01-23T13:21:00.000-05:00

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

2012-01-18T12:22:00.000-05:00

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!)

2012-01-16T18:29:00.000-05:00

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

2012-01-15T15:21:00.000-05:00

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

2012-01-13T12:22:00.001-05:00

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

2012-01-12T15:11:00.000-05:00

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

2012-01-12T11:21:00.003-05:00

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!

2012-01-11T11:30:00.002-05:00

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

2012-01-09T15:38:00.001-05:00

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

2012-01-07T12:00:00.000-05:00

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!

2012-01-06T11:27:00.002-05:00

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

2012-01-05T13:04:00.000-05:00

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

2012-01-04T20:25:00.002-05:00

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

2012-01-04T10:37:00.000-05:00

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

2012-01-04T00:15:00.002-05:00

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

2012-01-03T18:24:00.004-05:00

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

2012-01-03T12:51:00.000-05:00

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

2012-01-02T11:32:00.002-05:00

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/

We're on Twitter!

2011-12-27T14:44:00.002-05:00

Big things have happened: we're on twitter! If you haven't done so already, follow us on twitter at @TheaterInTheNow. In addition to news, interviews, and reviews on theaterinthenow.com, we'll be sharing other fun theater-filled tid bits on twitter!

11 in '11: The Best of the Year

2011-12-23T15:57:00.002-05:00

I'm no Brantley or Isherwood. I'm not even a David Cote. But I have been privileged to see some wonderful productions in 2011. With that being said, the usual suspects of the best of the year that may have been found on some of the other year-end wrap ups probably won't be on mine as I haven't been able to see them because I haven't been invited! (ie: The Book of Mormon, which I'm still dying to see...wink, wink...). So alas, my top 11 in alphabetical order.

Completeness (Playwrights Horizons)
Itamar Moses has a gift for establishing relationships in his plays, and this one was no different. The science-laden dramady about finding the thing that completes you was perfectly directed by Pam MacKinnon with a superb cast bringing Moses's words to life. Still one of my favorite productions I've ever seen.

Exit Carolyn (Sans A Productions/The Drilling Company)
Finding a gem in the Indie Theater world can be hard. But look no further than the wonderful Exit Carolyn by Jennie Bergman Eng. The well-rounded play had a top notch cast, with a brilliant performance by Laura Ramadei, directed by Adam Knight.

Jerusalem (Broadway)
It's safe to say that Mark Rylance's Rooster is that solidifies his brilliant career. The tour-de-force role led this outstanding production to all the hype it deserved. Jerusalem is an experience. Jez Butterworth has written a masterpiece that will be remembered forever, all thanks to Mr. Rylance.

Kin (Playwrights Horizons)
Bathsheba Doran wrote a play about varying relationships that were told through intertwining scenes that brought all the characters together. Sounds simple, but it was her brilliant writing and a sublime ensemble that made Kin a super success. The complexity and depth of her characters each with some great dialogue made audiences relate to at least one character. Oh, and then there was that hilarious and heart-wrenching performance by Laura Heisler.

Lysistrata Jones (Transport Group/Broadway)
Give it up for this bawdy musical about sex! The adaptation of the Greek comedy Lysistrata was a hit Off Broadway before transferring to the Great White Way. With Douglas Carter Beane's witty and funny book and Lewis Flinn's humworthy score, there's no way you can't but walk out of the theater grinning and wanting more. Lysistrata Jones is the slamdunk sleeper of the season.

Peter and the Starcatcher (New York Theater Workshop)
Taking a piece of theater and actually making it a work of theater is quite rare. But Peter and the Starcatcher was theater at its best. With a hard-working ensemble, led by the always brilliant and comical Christian Borle and rising star Adam Chanler-Berat, there was never a dull or dry moment. Written by Rick Elice, adapted from the Peter Pan prequel, the simple yet complex staging by Roger Rees and Alex Timbers displays why theater is wonderful when you let the audience play pretend.

Self Taut (Dixon Place’s HOT Festival)
Written and created by Chris Tyler, this gem of a solo piece followed Tyler as he retold his high school tales of self-awareness, friendship, love, and the apprehension of intimacy. Tyler is a brilliant performer. Look out for what he does next because it's bound to be great. I think I'll declare 2012 the year of Chris Tyler

Stick Fly (Broadway)
After hit productions in Boston and Washington, DC, Stick Fly is a sleeper hit of the year. This play about class, race, and family is witty and sharp with an ensemble to die for. Condola Rashad gives a stellar performance that will should be remembered come next June.

The Brain That Wouldn’t Die in 3-D (NYMF 2011)
The musical horror comedy genre has a new hit on their hands. The Brain That Wouldn't Die in 3-D is a laugh out loud musical inspired by the B horror classic of the same name (minus the 3-D). The six person cast takes on a plethora of stock characters that get funnier and funnier as the show goes on. Kathy Voytko gives a stand out performance playing a head for the majority of the show. Look out for this show in the future.

The More Loving One (NYFringe 2011)
Usually the New York International Fringe Festival is filled with gimmick pieces so when you get a true work of art, it shines. The four hander about two couples, one straight, one gay, all searching for the meaning of love and how to mend their own relationships is brilliantly written by Corey Conley. A genuine piece of theater led by a great cast.

The Normal Heart (Broadway)
What hasn't been said about this Larry Kramer revival? This poignant piece had everybody talking and thinking and crying and wanting to find an answer. Joe Mantello gives a wonderful performance as Ned Weeks (quite possibly better than Rylance's brilliant Tony winning performance) but it was Ellen Barkin's showstopping monologue that solidified the production. When was the last time a monologue received an uproarious round of applause?

Bonnie and Clyde Forever (on CD)

2011-12-22T15:01:00.002-05:00

Even though it's been shot down in every way possible, the tragic Bonnie and Clyde will be given the opportunity to record a soundtrack so everyone mourning their loss can listen and continue to wonder what went wrong. If only other flop musicals had that chance, say, oh I don't know, Cry Baby?

Shameless Plug: DreamStem Productions Giveaway!

2011-12-21T16:39:00.001-05:00

Want to see a reading of a new play by yours truly? Want to walk in and receive a gift bag of amazing goodies? Simply go to DreamStem Production's fan page on Facebook, like it, and post "I <3 DreamStem's reading series"

The Best of 2011: Fan Vote

2011-12-21T11:45:00.000-05:00

Let the year end wrap-up commence! Kicking things off is the list of top shows as suggested by the readers and our long list of amazing Spotlight interviewees! What do you think? Good list? Anything missing?

Cymbeline (Fiasco Theater)
Follies (Broadway)
Good People (Broadway)
Hand to God (Ensemble Studio Theater)
Jerusalem (Broadway)
Milk Like Sugar (Playwrights Horizons)
Other Desert Cities (Lincoln Center/Broadway)
Sleep No More (Punchdrunk)
Sons of the Prophet (Roundabout)
Stick Fly (Broadway)

The Book of Mormon (Broadway)
The Lapsburgh Layover (Ars Nova)
The Normal Heart (Broadway)
The Talls (2econd Stage)
Three Sisters (Classic Stage Company)
Unnatural Acts (Classic Stage Company)
Venus in Fur (Manhattan Theatre Company/Broadway)
War Horse (Lincon Center/Broadway)

Ricci to Enter Forest of Love

2011-12-20T13:41:00.002-05:00

Classic Stage Company has announced that Christina Ricci will play Hermia in the new staging of Shakespeare's A Midsummer Night's Dream. She will be joining the previously announced Bebe Neuwirth who will be playing Titania. Well, now I have more reason to see this!

Nick Jonas Gets Posterized

2011-12-20T12:51:00.000-05:00

Did they run out of letters or is Nick Jonas just too cool for a full title? Well, here it is. The poster for Nick Jonas's run in How to Succeed in Business Without Really Trying, also known as How to Succeed... As Dan Rad's run is about to end, are we excited to see Darren Criss or Nick Jonas? I'm personally excited to see Michael Urie!

Live from New York, It's Dan Rad!

2011-12-19T11:53:00.001-05:00

Lorne Michaels will have a wizard to help him ring in the new year. NBC and Saturday Night Live has announced that the Entertainment Weekly Entertainer of the Year, Daniel Radcliffe will be making his SNL hosting debut on January 14th with musical guest Lana Del Rey, who I have no idea who she is. Will Radcliffe show off his singing and dancing chops? Will it be Harry Potter jokes over and over again? Well, let's just hope the writing in 2012 will be better than the writing in 2011, 2010, 2009, well you get the idea.

Spotlight On...Patti Murin

2011-12-17T12:17:00.001-05:00

Name: Patti Murin

Hometown: Hopewell Junction, NY

Education: BFA in Musical Theatre from Syracuse University (kind of ironic, considering the plot of our show)

Select Credits: Xanadu (Euterpe, Kira/Clio Understudy, Broadway); The Little Mermaid (Ariel, the MUNY); Jane Austen's Emma (Emma Woodhouse-a musical adaptation written by Paul Gordon, Old Globe Theater)

Why theater?: I love being in front of a live audience and doing a different show every night depending on what mood they are in, and where they laugh, and how they react and applaud. It's almost like a very indefinite science, because you have to be so focused and spot on to be able to determine what they want in that split second and give it to them. I also love singing, and there isn't really a better place to do it than on Broadway!

Tell us about Lysistrata Jones: Lysistrata as the character is a cheerleader, both literally and figuratively. She has so much energy and really feels great having somewhere to direct that energy. She hasn't had the easiest last few years, so when she transfers schools to Athens University, she sees it as her opportunity and her mission to make the world a little bit better and make everyone feel proud of themselves by inspiring the boys basketball team to win a game, which they haven't in 33 years! But that of course backfires on her when the boys resist her plan, and she has to rally the girls together to take drastic measures to get the boys to win a game. She holds on for as long as she can, and ultimately can't turn her back on her friends and having hope.

What is it like being a part of Lysistrata Jones?: It's one of the hardest, most wonderful, exhausting, fantastic experiences I have ever had. I sleep so well at night, it's ridiculous. We have such a bond at the theatre that started downtown at the Gym at Judson (where we did the Off-Broadway run), and then our bond expanded to include the wonderful people we work with on Broadway. We have a wonderful family, and an awesomely imperfect one. We are all learning from each other every day and making mistakes and being inspired, so there is a lot of love at that theatre.

What kind of theater speaks to you? What or who inspires you as artists?: I love most theatre actually! There is very little theatre that I don't like. I love musicals, plays, revivals, new ideas, theatrical experiences, everything! The only kind of theatre that doesn't speak to me is the kind when you can't see the love and sweat and tears that was poured into it. If it seems mechanical, it's probably not for me. But one of the best things about theatre is that you can see the passion onstage as everyone works, so that speaks volumes to me.

Any roles you’re dying to play?: I am dying to do a revival of Crazy For You playing opposite my husband, Curtis Holbrook! That is my absolute dream. I would also love to play Ellen in Miss Saigon and the Narrator in Joseph..., which are holdovers from when I was first learning about musicals.

What’s your favorite showtune?: Probably "On the Street Where You Live" from My Fair Lady. It's just so simple and romantic!

If you could work with anyone you’ve yet to work with, who would it be?: Anyone and everyone that I can learn from. Bernadette Peters instantly comes to mind. But really, any actor who can teach me something, which is every actor.

Who would play you in a movie about yourself and what would it be called?: I would play myself!! Of course :) It would be called "Eternal Cheerleader"

What show have you recommended to your friends?: I have recommended Once to my friends at NYTW, and also Lysistrata Jones, of course!

What’s up next?: Hopefully a long and healthy run of LJ with some workshops and readings thrown in to keep working on the new theatre. I am involved with a new musicaled called Citizen Ruth, based on the movie starring Laura Dern, and it is just brilliant. It is written by Mark Leydorf and Michael Brennan, and directed by Dan Knechtges, who directed LJ. I also am hoping for a wonderful future life of Emma, the musical I did at the Old Globe in San Diego this past winter, written by Paul Gordon and directed by Jeff Calhoun.

For tickets to see Patti and the amazing cast of Lysistrata Jones, visit http://www.lysistratajones.com/

Spotlight On...Paul McGill

2011-12-17T11:23:00.000-05:00

Name: Paul Edwin McGill III

Hometown: Pittsburgh, PA

Education: Profesional Performing Arts High School in NYC

Select Credits: La Cage aux Folles (2004) (Swing, Marriott Marquis); A Chorus Line (Mark, Schoenfeld); Memphis (White Teen Tumbling Track, Shubert); Spider-Man: Turn Off the Dark (Spider-Man/Ensemble, Foxwoods)

Why theater?: It's live. As an artist, you get to feel a story in succession. You get to feel the resolution of the story as opposed to film where you shoot in order of location. Also, in theater, the audience is part of the experience. They are directly affecting your energy and vice versa.

Tell us about Spider-Man: Turn Off the Dark: Spider-Man is based on the Marvel Comic. It's an action packed, high flying adventure. It's a spectacular for the whole family.

What is it like being a part of Spider-Man: Turn Off the Dark?: To be in Spider-Man is a dream come true. It's keeping my roots as a Broadway performer, but taking it to a cirque level that I'm looking to take my career. The amount of thought, time, and dedication that has gone into this piece is astounding. It's truly magical.

What’s life like as a swing?: A swing's job is that of a dance captain in that you have to know pretty much everyone's spot in the entire show off the top of your head. It's a job for the cool, calm, and collected because you NEVER know what will happen. There have been times in a different show where I've had to do 3 different people's parts all spliced together. There's never a dull moment.

How is it different being a replacement as opposed to originating a role? Do you prefer one over the other?: I prefer to originate a role. As an artist, you get to really delve
into a character and work with the people around you on building relationships and back-story. Rehearsing with an original cast is my absolute favorite part of the theater. It's where the REAL magic happens. Being a replacement is really about catching up. Thank God for Jason Snow, who put me into Spidey. It's about catching up to details and getting to know the show inside and out in just about a week. Stressful? yes.

What kind of theater speaks to you? What or who inspires you as artists?: As a visual person, I respond mostly to Spectacular theater. My favorite piece of all times, thus far, is the Cirque du Soleil and Beatles collaboration: LOVE. Not all theater has to be linear to me. I enjoy FEELING when I go to the theater.

Any roles you’re dying to play?: I wouldn't mind trying those Peter Parker glasses on...

What’s your favorite showtune?: "Before the Parade Passes By" is a good one. The message is beautiful and Jerry Herman is brilliant.

If you could work with anyone you’ve yet to work with, who would it be?: That list is FAR too long. There are so many people in this industry (and out of this industry) that fuel me.

Who would play you in a movie about yourself and what would it be called?: I think I'd be played by Cillian Murphy. There's still a working title...

What show have you recommended to your friends?: I really really love and believe in Memphis. If you havent seen it, GO.

What’s up next?: I'm beginning to dabble into choreography and creative direction. That's where my life is headed.

For more information on Spider-Man: Turn Off the Dark, please visit http://spidermanonbroadway.marvel.com/

Spotlight On...Zakiya Young

2011-12-15T12:18:00.000-05:00

Name: Zakiya Young

Hometown: Downingtown, PA

Education: B.A. Communication, University of Pittsburgh

Select Credits: The Little Mermaid (Mersister, Lunt-Fontanne); It's a Bird...It's a Plane...It's Superman (Lois Lane, Dallas Theater Center); Little Miss Sunshine (Miss California, La Jolla Playhouse); Greenwood (Stacey, NYMF); Winner Take All (Scarlett, Fringe NYC); Carousel (Carrie, Depot Theater)

Why theater?: Good question :-) I was actually on my way to becoming a doctor. That had been my dream ever since I was a kid. In high school - I was a cheerleader, in several choirs, a peer mediator, in the band and student council. My high school - which had a phenomenal musical theater department - did West Side Story and I played Anita. That was when I fell in love with theater. I absolutely loved being onstage, but I wasn't ready to fully commit. I went pre-med at Pitt, hoping to get the experience there that would make me a good candidate for their fantastic medical program. The 8 AM Calculus classes and 4 hour Chem labs made the thought of spending the next 10 years or so training to be an M.D. much less appealing. I lasted about 2 semesters before realizing I didn't have a passion for it. I changed my major to Communication, continued taking private voice lessons, minored in Theater and spent my summers singing at Paramount's King's Island. I was hooked - and I couldn't see myself doing anything else.

Tell us about Stick Fly: Stick Fly is a story about what happens when people stop being polite, and start being real. Just kidding. Kind of. Without giving too much of the plot away, a family travels to their house on Martha's Vineyard for vacation, the two brothers bring their significant others to meet the family for the first time and all kinds of secrets are revealed during this trip. As a result, the family is forever changed. What is so groundbreaking about this play is that it is about a highly educated, wealthy black family. I really connected with the story because I've never seen something that reflected my life experience on the Broadway stage until now. Yes, well-read black families that debate politics, social issues, the economy, etc around the dinner table do exist. With the exception of the all black cast of Cat on a Hot Tin Roof, we rarely see plays that portray the black elite, or even the black middle class on Broadway. And the fact that it's written by a black female playwright? Even better. And it's so honest. So honest - and funny. It's a story that everyone can relate to - and you don't have to be black to enjoy the show. You'll definitely leave the theater thinking about and discussing the show. I've been incredibly happy to see diverse audiences at our performances. In fact, I don't think I've ever seen such mixed audiences - both in age and ethnicity - at a Broadway show. I love it!

What is it like to be understudying two different roles?: It's very challenging - and I'm honored to have been given this incredible responsibility. I don't think I've ever worked so hard in my life. The two roles are so incredibly different. Since I've never understudied before, I had to come up with a method for keeping everything organized - especially because doing a full run through during understudy rehearsal will be impossible. The app Rehearsal 2 on my iPhone has been an absolute lifesaver! I've been able to record the other actors' lines scene by scene for both of the roles I understudy. So if I'm focusing on Taylor, I can rehearse her lines and hear the other lines in the scene as well and go through her whole show. The next day I can focus on Cheryl and have the same experience. Every actor should have it. And no, I'm not a spokesperson for it :-) I'm also learning about being disciplined. I thought I was already disciplined but quickly learned that I had a lot more work to do! When you're in a play with 6 characters onstage, it's up to you to use your time wisely during the show - it's not just about hanging out. Whether it's sitting in the audience, running lines alone, running lines with the other understudies, reviewing your blocking or listening to the rhythm or the show, or even working out backstage, there's always work that can be done to help ensure that you're ready to go on at a moment's notice.

How is it different being an understudy as opposed to originating a role?: It's very interesting - especially since I've originated the last few roles in the shows I've done and this is my first experience as an understudy/standby. It's humbling but also a great honor at the same time. Tracie Thoms and Condola Rashad are not only incredible actresses, but they're also warm, open and friendly. I could not ask for better women to work with and each night I'm impressed by what they bring to the stage. The fact that our creative team trusts me to cover both of these phenomenal and challenging roles is kind of amazing to me - and I'm thrilled to do it. I honestly never thought I would understudy because I always wanted to be the one in the spotlight. But when I read the script and saw who was already working on it, I put my pride to the side and focused on the amazing learning experience I'd have if I booked the job. Being an understudy is helping me remember that it's not always about me.
As I began working on the roles, I learned that the goal isn't to copy what Tracie and Condola do, but to bring myself to the character. So as I'm finding Taylor and Cheryl, I have to make sure that I'm telling the story with honesty - but within the existing emotional framework of the show. Both the creative team and stage management have been amazing with making themselves available to answer any questions and concerns we have about the show. During previews we had an understudy rehearsal in the dressing room I share with the other female understudy Gretchen, who understudies Rosie Benton, and Lydia, our playwright, came and sat in on it. It was awesome to be able to pick her brain about the play.
Also, this is the first play I've done as a professional actor. All of my other credits have been musicals or commercials so it's a completely different and exciting experience. Do I miss musical theater? Absolutely. But it's so great to explore the world of straight plays and really tune into myself as an actor - and not an actor/singer/who moves. I'm happy to have the opportunity to learn and grow as an actor while I wait for my opportunity to perform - also knowing full well that I might never have the chance to go on but that's ok. Will I be disappointed? Sure. But it's part of the job. The disappointment will quickly fade in light of how much I'm growing- both professionally and personally, the friends I'm making, the experiences I'm having and all that I'm learning.

What kind of theater speaks to you? What or who inspires you as artists?: I absolutely love sitting in a theater and being transformed. Emotionally honest theater speaks to me. I also love thought-provoking, brave and bold theater - art that thinks outside the box. Theater that tells a story - that isn't just all flash and spectacle. Don't get me wrong, I love a good flashy show as much as the next person, but it's even better when there is a great story at the heart of it being told by people committed to telling that story with emotional transparency.
I'm inspired by people who have overcome incredible odds - those who have turned their pain into something beautiful.
And I'm inspired by my relationship with Jesus...because I can honestly say I wouldn't be able to create without Him being in my life :-)

Any roles you’re dying to play?: In musicals - Sarah in Ragtime, Deena in Dreamgirls and Aida. I may be the only black actress left in NYC that has never played any of these roles and it seems like a rite of passage that I have yet to complete. ;-)
And in plays: anything by August Wilson, Pearl Cleage, and Kate in Good People.
On television - I'd love to play one of Mr. Schuester's love interests on "Glee". He'd be down with the brown. I'm sure of it. Also someone fabulous and stylish on "Revenge" and "Gossip Girl". Oh - also anything on "Psych". And I'm not just saying that because I'm now working with Dule - I've been a big fan of the show for a while now.
And at some point, I'd love to play our fabulous first lady, Michelle Obama on film or tv.

What’s your favorite showtune?: "Wheels of a Dream". I get goosebumps everytime I listen to the original cast recording.

If you could work with anyone you’ve yet to work with, who would it be?: It's funny - I truly believe in putting things out there. You never know what can happen :-) True story - about two or three weeks before I auditioned for and booked Stick Fly, I was introduced to Dule Hill at the "Blacks on Broadway" photo in Times Square. I was so excited to meet him because I admire his work. I took a photo with him, tweeted about it and said to my friend Daniel who was with me - I just really want to work with him one day. I had no way of knowing that day would come so soon! From my lips to God's ears! So - in no particular order: Viola Davis, Audra McDonald, Ruby Dee, Angela Bassett, Phylicia Rashad, Cicely Tyson, Regina King, Brian Stokes Mitchell, Denzel Washington, James Earl Jones, Will Smith, James MacAvoy, Johnny Depp, Hugh Jackman, Don Cheadle and Lawrence Fishburne.

Who would play you in a movie about yourself and what would it be called?: Hmmm...I'm thinking Gabrielle Union or Aisha Tyler would play me and it would be called either "No I don't speak Ebonics, I'm from the Suburbs" or "The Brickhouse"

What show have you recommended to your friends?: Stick Fly

What’s up next?: Right now, I'm just concentrating on getting both roles performance ready. This cast is so incredibly talented. If I do get the chance to go on, I want to maintain the level of excellence the performing cast has set. I'm grateful for the opportunities that have come my way - and whatever is next for me - only God knows. I'm in good hands :-)

For more on Zakiya, visit http://www.zakiyayoung.com/

Review: All About the Spider Men

2011-12-15T00:15:00.000-05:00

Ok. Let’s get the exposition out of the way now. A long time ago, a musical venture known as Spider-Man: Turn Off the Dark emerged on the Great White Way lead by legends Julie Taymor and Bono and the Edge. When it began, many speculated what this extravaganza would be. Audiences would come in hopes the show would be stopped to experience something that rarely happens on Broadway. Injuries were sustained. Rewrites were eminent. Personnel changes were inevitable. And thus, Spider-Man: Turn Off the Dark is the show audiences see today.
I remember being in a Chipotle last October, sitting next to a certain star discuss the tech experience with his band. The quotes I overhead were priceless. Priceless, but true. I remember wanting to take every opportunity to mock it, despite not even seeing the show because it was the easy thing to do. It is easy for the theater person to rip the show apart. It’s easy to dissect every tiny moment that doesn’t quite work. Yes, the music sounds like it’s specifically written for a certain Irish rock star’s voice. Sure, the book has some flaws, especially with the two blatant U2 shout outs. But that’s not why we go to see the show. We go for Spider-Man. The show is visually stunning. At every moment, something or someone is moving. You will never get tired of seeing what comes next. What turns into what. Who pops out where. Spider-Man is a spectacle for the eye. If you’re an avid fan of the comic books or even the movie, you will be disappointed at the liberties taken. The story has been altered. Characters were added. Motives have been changed. But let’s be honest, we would have been pissed if they decided to use the “safe” approach and put up a show that we already know.
You can knock the technical aspects of the libretto and the music, but regardless, night after night there is a phenomenal, dedicated group of performers giving the show life. Reeve Carney is an atypical Broadway star, but he is certainly committed. Patrick Page is a pro. When the script finally allowed him to be the comic he truly is, he shined and stopped the show (no pun intended). But the most thrilling part of the show is the work done by the ensemble. Being a part of an ensemble is no easy undertaking. This ensemble is the heart of the show. They play so many whacky roles in so many elaborate costumes and there is not a phoned in moment to be seen. Daniel Ezralow and Chase Brock have created some wonderful choreography. They showcase the ensemble quite well. And it doesn’t hurt that the performance I saw included one of my favorite dancers to grace Broadway, Paul McGill. One of the highlights of the show was the song “Boy Falls From the Sky” not because Carney necessarily knocked the song out of the park, but the brilliant choreography which featured the brilliant mirror image effect of all the men in their Spider-Man costume. It was stunning moment.
This show has been kicked around. It’s the ugly stepkid of Broadway. But it deserves some recognition. It an experience that every theater person should have. Regardless if you dislike the show, you’ll have a conversation about your thoughts, and really isn’t that what art is supposed to do?

Review: Shooting Major Blanks

2011-12-14T18:40:00.002-05:00

There should be a rule about how many Broadway flops you’re allowed before you receive a lifetime ban. Frank Wildhorn, I’m looking at you. And here we were thinking it would be hard to be worse than Wonderland! At least that disaster had music that worked! Bonnie and Clyde, the musical that followed depression era lovers and bandits, Bonnie and Clyde, arrives on Broadway and does nothing but fire blanks.
This Bonnie and Clyde is not based on the movie, according to the author notes. This story follows the love of two young kids looking for happiness in the age of debt. And of course the only way to happiness is to steal…duh! Jeremy Jordan, previously of Newsies fame (wish you could hop in a time machine now don’t ya!) and Laura Osnes, who is unfortnatley cast because she has more talent than what she was allowed to showcase, play Clyde and Bonnie. Jordan looks gangster-lite. Al Capone would laugh at the sight of him. Osnes plays the radiant red head full of hope. Only hope comes in the way of her macho man. Sure, the duo had chemistry, but they lacked motivation. Yes, they sung their brains out. But the music they were provided had no business being in a 1930s era musical set in Texas. A jazzy feel works if you’re up in Chicago with Capone, not Dallas. And a score featuring an electric guitar?! Unacceptable!
It’s hard to fault the actors for the train wreck that is Bonnie and Clyde. Jordan and Osnes do the best they can. Melissa Van Der Schyff is wonderful. Claybourne Elder has the potential to be a huge star. The fault should be pointed toward Wildhorn and director Jeff Calhoun. On a side note, Calhoun should be ashamed that he has a choreography credit. It was more like musical staging. Wildhorn had mild success with Jekyll and Hyde and The Scarlet Pimpernel. He bombed with Wonderland. And again, he has no luck. Four musical adaptations. Perhaps it’s time to move on and create a 100% original musical. I will give him credit that there were some catchy tunes, but it was drab and bit forgettable score. Calhoun has seen glory helming the soon-to-be mega hit Newsies. But having scenes where key moments of dialogue are spoken with the actor’s back to the audience is unforgivable. The atrocious set could be partially to blame. Perhaps Tobin Ost took on too much when he designed the costumes and the set. Levels are always important in designing a set. It gives a director a playground. But this set had levels and ramps and things coming in and out way too often. There was very little payoff. It made the stage pictures suffer severely.
The source material allowed for something that could have been so great. A story about love from the least likely of pairs. We didn’t need the exposition including young Bonnie and Clyde. We didn’t need the pathetic love “triangle” where Louis Hobson’s Ted was made to look like a complete moron. We didn’t need the unnecessary MODERN projections. Bonnie and Clyde is a spectacle of tragic proportions.

What's the Best of 2011?

2011-12-14T00:06:00.000-05:00

It's been an exciting year in theater all over NYC! Did you have a show that moved you tears? A show that brought you excitement that you couldn't stop smiling for days? Maybe even a show that inspired you to do something! I'm looking for your input! What was the best theater in NYC? Broadway, Off Broadway, Off Off Broadway, Festivals, Showcases. You name it! Leave your thoughts in the comment section or message me to vote!

Spotlight On...Alex Wyse

2011-12-13T17:14:00.000-05:00

Name: Alex Wyse

Hometown: Cleveland, Ohio

Education: Boston University

Select Credits: Lysistrata Jones (Cinesias, Walter Kerr Theater/Transport Group); Academy (Benji, Maltz Jupiter Theater/Daegu International Musical Festival); Lost in Yonkers (Jay, Paper Mill Playhouse/Cleveland Play House/Maltz Jupiter Theater); Mrs. Sharp (Charlie, Playwrights Horizons); Speech and Debate (Solomon, Lyric Stage Company of Boston); Bored to Death (Steven, HBO).

Why theater?: My family took me to lots of theatre growing up, and I knew from an early age that I wanted to make it my life. I saw every national tour that came through Cleveland. I put on shows with marionette puppet theater. I used all the sheets in our house to hang curtains and put on my own plays. I was totally entranced by the magic, the storytelling, the wonder it instilled in me. And I loved quick-changes.

Tell us about Lysistrata Jones: Lysistrata Jones is a new musical by Douglas Carter Beane and Lewis Flinn, directed and choreographed by Dan Knechtges. Here are the press notes, so I don't have to type anything else: "The Athens University basketball team hasn't won a game in 30 years. But when spunky transfer student Lysistrata Jones (Patti Murin) dares the squad's fed-up girlfriends to stop 'giving it up' to their boyfriends until they win a game, their legendary losing streak could be coming to an end. In this boisterous new musical comedy, Lyssie J. and her girl-power posse give Aristophanes' classic comedy a sexy, modern twist and take student activism to a whole new level."

What is it like being a part of Lysistrata Jones?: It's the time of my life. Every night it's like we're throwing a party on the stage of the Walter Kerr. So the challenge is to bring yourself to the party... and STRETCH. Woof! it's such a physical show, and gives you one hell of workout. Also, I love my cast. Especially my boys on the basketball team: Josh Segarra, Alexander Aguilar, Teddy Toye, Ato Blankson-Wood. We feel like a real team out there. We've got each other's backs, we work together, and that's the real thrill of the show. Being on this kickass team, busting ass together every night. Plus, it is such an honor to be making my Broadway debut. I dreamed about this as a kid... didn't dream about the basketballs... but we give and take... The point is - to make my Broadway debut in such a joyful show is monumental to me. I will never stop being grateful for this opportunity.

What kind of theater speaks to you? What or who inspires you as artists?: All theater speaks to me. The question is whether or not I listen. And I have some attention problems. For instance, when I was a baby, my mom would call my name, and I wouldn't respond. She took me to the doctor to check my hearing. The doctor had to break it to her that I could hear perfectly fine. I just wasn't interested in what my mother had to say. Now, my mother is a wonderful woman. But let's just say that I don't like dating other Jews because one Jewish mother is enough. Next question, please.

Any roles you’re dying to play?: The roles I want to play are roles that have not yet been written. Or Fanny Brice in Funny Girl. Check out my version of "My Man" on YouTube.

What’s your favorite showtune?: I like songs by Harold Arlen because they are timeless and can be vocally interpreted in so many different ways. And yes, I know that I am coming off in this interview like I'm doing a cabaret at the Cafe Carlyle. ...But seriously if you know the booking agent, let's talk.

If you could work with anyone you’ve yet to work with, who would it be?: Frances Conroy. Based on her work in "Six Feet Under", I think she's one of the best actors working today. I know we're not supposed to be result-oriented, but bitch can drop a tear.

Who would play you in a movie about yourself and what would it be called?: I would play myself, and it would be called, "Life is Not a Fairytale: The Fantasia Barrino Story."

What show have you recommended to your friends?: Sons of the Prophet. It's the best play I've seen in months. Honest, hysterical, heartbreaking, and it really spoke to me - the themes of growing up and finding yourself reluctantly becoming an adult... I got that.

What’s up next?: Who knows! I'm gonna keep going Lysistrata Jones until... I guess until we don't do it anymore. Hopefully that won't be for a long while. And then? I'd love to do a play next. After all this dancing, my legs need a break.

For more information on Alex, visit http://www.alexwyse.com/.

Rock of Ages Trailer Debuts!

2011-12-13T16:58:00.000-05:00

Well it's here! The movie of the summer? Potentially. It looks like a blast with some fun performances, but I'm still bitter with deletion of three of the best characters!

Review: Enter Perfection

2011-12-12T22:48:00.000-05:00

It’s simple as this: grieving sucks. It’s hard and takes many forms. In the sharp and hauntingly beautiful Exit Carolyn, we watch as three characters’ lives are affected by the death of a loved one. And they each take their sorrow to heart. Julie and Lorna are roommates who are still feeling the aftermath of the death of their best friend and roommate, Carolyn. Lorna has decided to put grieving on the backburner and move on while Julie, a month later, still sits on the couch eating her pains and watching “Judge Judy” all day long. As the play progresses, we learn that Carolyn was the unannounced glue that kept the trio together. Lorna pushes Julie to move on with her life but Julie wants nothing but to preserve the past as long as she can, including not touching a single item in Carolyn’s bedroom. Julie, who seemed to always have a thing for Carolyn’s brother, Matthew, calls Matthew on an inebriated whim to come over. We see Matthew’s way of grief falls right in between Julie and Lorna. Julie and Matthew enter Carolyn’s room and put on her clothes as they believe it’s the only way they can still feel her. Meanwhile Lorna has invited Avery, a potential new roommate, over to view the apartment to take the third spot. Avery, a quirky and not all quite there girl, stays forcing a major wedge between two girls who have very different ideals of moving forward.

Jennie Berman Eng’s script is near perfect. She has captured four distinct characters in a situation that is dramatic, but added just the right amount of comedy. The dialogue is smart, punctual, and utterly believable. Sure some fat can be trimmed in the second act, but overall, she has a solid script that tugs at the heart. Adam Knight has done a sublime job guiding an outstanding ensemble. The objectives are clear. Jake Loewenthal is charming as Matthew. Anna O’Donoghue is good playing the tough as nails Lorna, but lacks the full amount of empathy needed to make the final scene spot on. Lauren Blumenfeld does a wonderful as the quirky comic relief, Avery. But the stand out of the ensemble is the beautifully underrated and stunning Laura Ramadei as Julie. Ramadei is the perfect blend of funny and sincere. Ramadei has a bright career ahead of her, so it’s unfair to say that this was a performance of a lifetime, so instead, this is a career-defining performance.
The organic design of the show fits perfectly. Steven Manuel does a great job costuming the characters to fit their personalities. He even ties in Ashlee Springer’s maroon pillows and curtain into some of the costumes. Austin Bransgrove’s lights set the mood quite nicely. My favorite moment design-wise in the production came in the first act when Lorna was in the living room listening to the Rolling Stones and Matthew and Julie entered Carolyn’s room. Toby Jaguar Algya did something marvelous with the sound, reminding us that there was still music being played but drowning out the definition. The effect was genius.
Exit Carolyn is one of the best plays I’ve seen in a very long time. It is a must see. You will be moved from start to finish.

Review: Hedda the Sitcom

2011-12-11T18:51:00.001-05:00

It’s pretty safe to say that most people have a moment in their life where they feel trapped, longing for an escape. Whether it be trapped in work or in love or just the general strain of life. Hannah is no different in Friends Don’t Let Friends. Less Than Rent, an ambitious and wonderfully triumphant group of talented young theater artists, present a reimaging of the Henrik Ibsen classic Hedda Gabler in a modern day world where Hannah, a character on the fictional sitcom “Reel Deal”, takes on a similar saga like Hedda. Only in Hannah’s world, her realities are severely blurred.
Adaptations can be hard. You need a niche to make it original. Playwright James Presson has skillfully taken the classic story and placed it in the sitcom world of “Reel Deal.” Each character personifies Ibsen’s characters. Becca Ballenger’s, in a tour de force role, Hannah is Hedda. Cory Asinofsky’s George is Tesman. Jason Zeren’s Isaac is Lovberg. Will Turner’s Brad is Brack. And the list goes on. As the line of sitcom and real life are blurred, so is the basic plot. The known plot drifts back and forth within the sitcom and when Hannah breaks from the show. The world inside the sitcom plays off of the classic form that we know and love from sitcoms. Stock characters forced into funny situations, occasionally accompanied with physical comedy. George is a mix of Seinfeld and Ross Geller. Beth is the ditzy secondary character who’s not all quite there like Phoebe. Hannah is the generic leading lady driven daffy by the obtrusive laugh track. And then there is Brad who is the goofball best friend. But Will Turner shines when he breaks from his sitcom persona, as does the play. By far the best moments of the play are when the bright lights snap off from the sitcom and the stark reality appears. Hannah is a broken person who desires guidance. She gets those moments when non show Brad has a heart to heart with Hannah and when Hannah goes to an unlikely source for advice. Though he only gets one solid scene of dialogue, Tommy Hettrick as stagehand Henry uses every moment he’s given. His genuine and sincere character is the most grounded and realistic character in the play. The ensemble as a whole had a tremendous undertaking of flipping from world to world. They seemed to handle the task well. Each character had their moment. Some of the most intriguing and amusing moments came from the Jason Zeren, who played the divaliciously zany and outlandish Isaac.
Rachel Buethe did a fine job directing the piece. She placed comedy when comedy was needed. She directed the off camera moments with ease and tenderness. The inclusion of a four and a half person ensemble (as one of the actors had lines) as stagehands was a clever decision. Though they occasionally stayed on set a tad too long at moments, they really helped set the tone of blurring the lines. Scenic designer Caite Hevner created a color splash of a sitcom set with the brilliant upper level reveal of the show’s stars’ dressing room. Lighting designer Ryan Seelig helped define the line of show and real life with the stark difference in color. The coolness and drab of reality was more comforting than the warm sitcom light. Gifford Williams knew exactly how to create a sitcom atmosphere. Just as it drove Hannah batty, the laugh track just kept going and going and driving me mad, even when the lines weren’t funny. As did the consistent theme song supplied by the band the Fratellis. But perhaps that was the point.
I'll say it again. Adaptation is hard. I know from experience. But James Presson does a fine job. I appreciated when Ibsen’s plot was present and the liberties he took to create his own Hedda. I waited to find out if Friends would end similarly to Hedda, and boy was I pleasantly happy how it ended!

Stick Fly Road to Opening: Opening Night!

2011-12-10T12:22:00.001-05:00

Well it happened! And it was an amazing night! The audience was on their feet the second the blackout happened. The party was out of control. Not only was it at the Copacabana, but it was all three floors of the Copacabana! There were celebrities galore, and even a certain movie "musical" actor who crashed the party! The journey on Broadway has only begun. There is a bright future ahead. Here's to a prosperous life on Broadway Stick Fly!

Aaron Tveit Joins Revolution

2011-12-09T14:19:00.001-05:00

The list just keeps getting bigger and bigger! Next up is Broadway heartthrob Aaron Tveit as Enjolras, the leader of the student revolution. Now the biggest question of this movie is, who gets the credit above the title? At this point it's getting a tad too big to give them all the star power they're bound to want. We shall find out soon!

Borat is the Master of the House

2011-12-08T12:50:00.001-05:00

Just when you thought you couldn't jam pack another name into the Les Miserables movie, they do! Joining Hugh Jackman, Eddie Redmayne, Anne Hathaway, and Russel Crowe is Borat himself, Sacha Baron Cohen as Thenardier, the Master of the House. Now the question is will they be able to find a lady that can keep up with him as his misses! At this point, I vote Queen Latifah. Also, there are no reports on who's won the role of Eponine, but Lea Michele said she will be embarrassed if she doesn't get it. Well, start being embarrassed because I pray it ain't you!

The (Potentially Broadway Bound) Toxic Avenger Assembles

2011-12-07T12:39:00.001-05:00

With the buzz that the production will move to Broadway after it's run at the Alley in Houston, the Off Broadway smash hit The Toxic Avenger has a cast. Leading the cast as Toxie is Constantine Maroulis with Mara Davi as Sarah, Nancy Opel reprising her role as Mayor Belgoody, Mitchell Jarvis as White Dude, and Antoine L. Smith as Black Dude. I don't know about you but I'm most excited about Mara Davi (even though she's yet to be cast as Reno Sweeney...)

Spotlight On...Laura Ramadei

2011-12-01T12:42:00.001-05:00

Name: Laura Ramadei

Hometown: Silver Spring, Maryland and Evergreen, Colorado

Education: Denver School of the Arts; NYU, Tisch, Stella Adler

Select Credits: Keep Your Baggage With You At All Times (Julie, Theater for the New City); Cloud Nine (Maud/Lin, The Nola Project); Too Little Too Late (various, HERE Arts Center); Sunken Living Room (Tammy, Theater 80); Squealer (Caroline, Lesser America).

Why theater?: Because we can't help it. Because this is where we find ourselves. Because though other mediums of performance are also thrilling, there's nothing like sitting in a room and experiencing a story live. Resonating with another human's spirit several feet away. And because some of us are addicted to working for no money, I guess.

Tell us about Exit Carolyn: I've been chomping at the bit to do this show since we workshopped it with Slant Theater Project last year. The first time I read the script - literally three lines in - I already knew I was a fan of this writer - Jennie Berman Eng. Her characters are crisply individual, uniquely intelligent, fun and brilliantly messy too. Exit Carolyn is about the death of a young woman, her closest friends and what happens to the people she left behind and their relationships. And Jennie deals with this incredibly heavy subject matter as hilariously as I think is possible. Which is what makes it such a human play. Even in our darkest moments we are a funny and ridiculous species just trying to figure out what to do next.

What is it like being a part of Exit Carolyn?: Hard to summarize. It's a complicated piece. And I think each of us on stage has to really confront and delicately navigate some gut wrenching material in rehearsal every day. We're always carving through these intricate moments together, and often picking through some almost ridiculously detailed nuances. I assumed it would be a breeze because I play a couch-bound danish-consuming stoner, but every day I leave rehearsal totally drained. It's a tight process and everybody is really kicking ass and taking names.

What kind of theater speaks to you? What or who inspires you as artists?: Whatever is truthful. Bonus points for funny. My tastes tend to vary across style and convention but I love anything that moves me and that does so without pulling any dirty tricks. If an artist can really let me into the weirdest and darkest part of their artistic soul I'm into it.

Any roles you’re dying to play?: They haven't been written yet.

If you could work with anyone you’ve yet to work with, who would it be?: Charlie Kaufman. Mitch Herwitz. Anna Shapiro. The list is too long. I'm tempted to say something about making out with Ryan Gosling but I respect his talent too much to objectify him. Whoever's around and ready to play, I'm down to work with.

Who would play you in a movie about yourself and what would it be called?: It would be called "It Really Ties the Room Together: A Misguided Career in Interior Design", and I would be played by David Cross in a really thrilling gender bending biopic.

What show have you recommended to your friends?: Hand to God at EST is fantastic. That show has gotten so much well-deserved attention I'm probably being redundant, but it truly is great. And the people working on it are the loveliest. Also Suicide Incorporated at Roundabout Underground. Brilliantly well acted.

What’s up next?: I just wrapped shooting on a divinely little web series with Alex Anfanger, written by playwright Adam Szymkowicz called Compulsive Love. It'll start releasing in the new year. And in the spring I'm working on the final show in the inaugural season of my theater company, Lesser America...yet to be announced ;)

For more information on Laura, visit http://lauraramadei.com/

Cage Match to Play Eponine

2011-11-30T09:56:00.001-05:00

It's been reported that the coveted role of Eponine in the already star-studded Les Miserables movie is down to four: 2 Blondes, a Red Head, and a Jew. (Sounds like a band to me!) Vying for the chance to sing "On My Own," are country songstress Taylor Swift, movie star Scarlett Johansson, Across the Universe vet Evan Rachel Wood, and former Young Eponine herself, Lea Michele. Who will get it? Place bets people!

War Horse Gets New Army

2011-11-28T17:17:00.001-05:00

The original cast of War Horse will play their final performance on January 8th to make way for 15 new cast members. Andrew Durand of Spring Awakening and The Burnt Part Boys fame will play the role of Albert Narracott, replacing the acclaimed Seth Numrich. I'll be there to support this hit!

Spotlight On...Jake Loewenthal

2011-11-26T21:57:00.001-05:00

Name: Jake Loewenthal

Hometown: West Hartford, CT

Education: Fordham University

Select Credits: BUNKED! A New Musical (Lucille Lortel – NY Fringe ’10), Open the Dark Door, Jack Perry is Alive (and Dating), I Got Fired (NYMF), Life of Galileo (Fordham Alumni Co.), Viral Video (Manhattan Rep), Williamstown Late Night Cabaret.

Why theater?: Theater brings people together in pursuit of a common goal. The people you find in this business are full of passion (maybe that’s why we’re all so crazy) in a time where passion seems to be weirdly passé (am I right ladies?). So I guess what’s kept me coming back to theater all these years are the people – it is my favorite form of connection, whether it be with my buds or an amazing audience, theater is ultimately about connecting.

Tell us about Exit Carolyn?: Exit Carolyn is a really special play. I think playwright Jennie Berman Eng has done an amazing job writing a unique story about the complexities of grieving that is simultaneously heartbreaking and hilarious. The action takes place in the Alphabet City apartment of Lorna and Julie – two friends who are mourning the loss of their third roommate and childhood best friend Carolyn. The girls aren’t doing so well, but it’s when two new characters enter the picture that things really explode – Matthew (Carolyn’s little brother) and Avery – a mysterious new roommate. You’ll laugh. You’ll cry. It’s fun! I think it’s a great play (and I hate most things so when I say it’s awesome I really mean it).

What is it like to be a part of Exit Carolyn?: It’s been a really amazing experience. I was at Williamstown the same summer as Adam Knight [director] and always really admired his work so it’s very exciting to be working with him now. These three actresses (Anna O’Donoghue, Lauren Blumenfeld, and Laura Ramadei) are virtuosos. I am learning so much from watching them work and I admire them greatly. It’s been a lot of fun, but also a great challenge.

What kind of theater speaks to you?: The magical kind. The honest kind. The kind that hits me over the head with a two by four. Word is trying to tell me I’m writing in fragments, but I guess fragments speak to me.

Any roles you’re dying to play?: Anything Sondheim. Really. I’ll do anything.

What’s your favorite show tune?: "A Weekend in the Country" from A Little Night Music. I still don’t understand why they let Crazy Eyes Zeta Jones perform at the Tonys when they had that great ensemble number in the bag. Whatevs.

If you could work with anyone you’ve yet to work with, who would it be?: Sondheim and Beyonce. Together. And after that disaster I’d love to work with Amy Ryan.

Who would play you in a movie about yourself and what would it be called?: I’d like to see Meryl Streep try – she really needs to prove her versatility. Maybe Emile Hirsch? He’s pretty awesome and M.I.A. Remember "Homeless To Harvard"? I could be "From Fordham to Flailing"… "Or Weak Ankles and Limp Wrists: The Jake Loewenthal Story (in 3D)".

What show have you recommended to your friends?: Venus in Fur is pretty amazing. Nina Arianda gets all the glory (deservedly), but Hugh Dancy is also killing it every night on that stage. I also loved Sons of the Prophet. Stephen Karam (someone else I would love to work with) has a really unique voice and Santino Fontana is just the bee’s knees.

What’s up next?: Good Lord… Thanksgiving Dinner – where I will evade this question all night.

For more information on Exit Carolyn, visit http://exitcarolyn.org/

Stick Fly Road to Opening: Previews Begin

2011-11-25T14:49:00.001-05:00

After a fantastic invited dress, our audiences came in just as vocal and excited! Each audience responded to different moments, but silent they were not. It's always great to have a standing ovation after each performance. Kudos to a job well done. Samuel L. Jackson even stopped by and loved the show! He even tweeted us! Opening Night approaches!

Criss Gets Posterized

2011-11-23T20:48:00.001-05:00

Daniel Radcliffe's reign at How to Succeed...is coming to a close. Want proof? Darren Criss's show poster has been released. It's only time that the Nick Jonas poster appears on the world wide web. So, what do you think? Does the Glee super hot throb have a shot of attracting similarly large audiences? I'd see him over the other two!

Stick Fly Road to Opening: Invited Dress

2011-11-18T12:52:00.001-05:00

What a performance! It's always important to get an audience engaged from the start. And boy was this house on the edge of their seat from start to finish! Our invited dress was phenomenal! You couldn't have asked for a more responsive audience. There was laughter and oohs and aahs. After the show, all my friends had nothing but amazing words to say. I can't wait for more people to see this show. It's brilliant!

Stick Fly Road to Opening: Signing for the Fans

2011-11-16T21:42:00.001-05:00

Day three of tech began with a warm welcome to the fans with an autograph signing this afternoon. Fans were able to meet the cast and our composer Alicia Keys. Despite the rain, we had a nice turn out. We're just a day away from our invited dress for an audience of friends and family. Can't wait!

Spotlight On...Becca Ballenger

2011-11-15T19:46:00.001-05:00

Name: Becca Ballenger

Hometown: Boise, ID

Education: Interlochen Arts Academy, B.A. in Theatre from Fordham University

Select Credits: Little Town Blues (Olivia, Wild Project), Richard 3 (Anne, Fringe NYC 2010) with Less Than Rent; American Girls (Katie, reading, Barrow St.); A Map of Virtues (Sarah, Clubbed Thumb/Fordham); T.A.B. (Holly Hobbie, Manhattan Rep); and Sarita (Sarita), The Wild Inside (Isabel), The Way of the World (Foible), and Iphigenia and other Daughters (Iphigenia), among others, at Fordham. Also, TV’s Stalked: Someone’s Watching for Discovery ID.

Why theater?: I love stories. I have since I was a kid. I also find that I understand the world best from inside—by exploring stories through my body, voice, and imagination. I am also ceaselessly curious. Theatre is the purest expression of these things—stories, imagination, curiosity—and the passionate sharing of them with others. There’s nothing else quite so immediate and personal.

Tell us about Friends Don’t Let Friends: Friends Don’t Let Friends is a loose adaptation of Ibsen’s Hedda Gabler, and takes place on the set of a successful TV sitcom. I play Laura Burns, who plays the character of Hannah on the sitcom, “The Reel Deal”. Over the course of the play, the lines between Laura’s reality and her life as Hannah begin to blur, leaving her lost and struggling to find some kind of foundation.

What is it like to be a part of Friends Don’t Let Friends?: It’s amazing. I can’t quite explain enough how rewarding it is to make theatre with people you know and trust and believe in. It’s also a very vulnerable role—I have to deal very viscerally with failure, anger, and emotional confusion. FDLF is complex in that Laura’s devolution occurs both outside and within the sitcom framework, so it’s easy to get caught up in the braininess of it. There’s certainly a major element of detail and craft to the role, but I’m also trying to trust my instincts and allow truthful feelings to inform the journey of Laura’s breakdown.

What kind of theater speaks to you? What or who inspires you as artists?: I love theatre that is pure theatre—theatre that is engaged by the ephemeral connection between artists and audiences. Oscar Wilde said, “To look at a thing is different than seeing it.” I love theatre that sees the world with fresh eyes, explores questions rather than answers, and incites me and interests me and surprises me. My inspirations vary with each point in my life, but at the moment, Maria Irene Fornes is really speaking to me. She never had great fame or commercial success, yet she was incredibly prolific, deeply artistic, and completely unique. I try to create art in line with this quote of Irene’s: “When I'm not doing something that comes deeply from me, I get bored. When I get bored I get distracted and when I get distracted, I become depressed. It's a natural resistance, and it insures your integrity.”

Any roles you’re dying to play?: My usual answer (and not a bad one at all!) is one of Tennessee Williams’ heroines. I’d say at this moment in my life, I’m in the mood for an Alma, either of Summer and Smoke or Eccentricities of a Nightingale. I just missed the boat on Harper in Angels in America and was a few years late for Eurydice by Sarah Ruhl. And when they do the gender-bended productions, I’ll be in War Horse, The Book of Mormon, and play Edgar in King Lear.

If you could work with anyone you’ve yet to work with, who would it be?: A few weeks ago I saw the movie Take Shelter with Michael Shannon and Jessica Chastain, and couldn’t stop thinking about how I wanted to jump in and act with them. Others I’m desperate to tread the boards with include: Reed Birney, Nina Arianda, Amy Morton, Elizabeth Marvel, Mark Rylance, Julie White, Laura Benanti, Ian McKellan… stop me, I’m drooling.

Who would play you in a movie about yourself and what would it be called?: They just opened a butcher shop on my block called “Harlem Shambles,” which I often feel would be an appropriate title for my biopic. Other suggestions include “Acting in Boots” (that’s from my Dad), “Peculiar But Heartfelt: The Becca Ballenger Story,” (thanks Patrick). I want Marin Ireland to play me—I think she’d nail it.

What show have you recommended to your friends?: I saw Venus in Fur last week, and it blew my mind. My expectations were shattered. Brilliant, bold, brash performances from all sides, gutsy direction, and a script that never lets you get too comfy. That’s great theatre, to me.

You have your own theater company! Tell us Less Than Rent?: Can you believe it? I’m just a little nerd from Idaho! But I do have a company, and it’s amazing. Less Than Rent came together quite organically; just a group of like-minded friends who loved each others’ work, shared a vision of great theatre, and wanted to make it all the time. Over the last two years, we’ve grown incredibly—a 7-member board of directors and contracted company members, full 501(c)3 non-profit status with New York State, features in Backstage and HyReviews, among others, and lots of other exciting things I never could have guessed would be a part of my post-collegiate life.

What’s up next?: Well, the work of running a theatre company is never-ending, so I’ll be back in action administratively with Less Than Rent. We’re planning our 2012 Season now, which is very exciting, and involves receiving and reading hundreds of play submissions each month. I’m the Director of Development, so I’ll also be writing lots of grant proposals and working on outreach to schools, groups, and other artists. Beyond that, I’m constantly auditioning, and have my fingers crossed for a couple of projects at the moment. Ah, the artist’s life, huh?

For more information on Less Than Rent, visit www.lessthanrent.org, on Facebook, and on Twitter at @lessthanrent. Friends Don’t Let Friends runs at Walkerspace Dec. 2-18. Tickets are available at http://www.brownpapertickets.com/event/207236.

Newsies to Seize the Day on Broadway

2011-11-15T18:35:00.001-05:00

Looks like the paper boys have a job! Newsies will be making the leap to Broadway this Spring. The big question will be if leading man Jeremy Jordan will lead the paper revolution or will he remain with Bonnie and Clyde. Nevertheless, the long awaited Newsies will finally reach the Great White Way.

Stick Fly Road to Opening: Tech Day 1

2011-11-14T23:01:00.001-05:00

We're here! The LeVay's have moved into their Martha's Vineyard summer home, also known as the Cort Theater. Day one of tech has been a thrill! It hasn't quite hit me yet...I'm on Broadway! I don't think it'll be fully realized until I walk through that stage door to an audience of adoring fans...who are there to see the cast! We made it almost all the way through Act I. The crew here at the Cort is stellar. Real pros. And the design team is top notch. Everything looks and sounds so beautiful. I was able to do all the labels and signage all around back, so my little touch is all over the Cort even when I leave. My inner graphic designer had a field day!

Review: Lyssie J is a Slam Dunk

2011-11-13T21:01:00.000-05:00

Sex has always been the center of humanity. From Ancient Greece to modern day, it’s all about sex. And it’s no different in the modern rock musical adaptation of Aristophane’s Lysistrata. Loosely following the classic story, Lysistrata Jones tells the story of head cheerleader Lysistata Jones as she leads her squad on a sex strike until their boyfriends, members of the basketball team, win a game. The campy, tongue-in check musical, with a stellar book Douglas Carter Beane and infectious music by Lewis Flinn, the musical throws in modern references mixed in with throwbacks to the classic text.
The beauty and fun of this musical is it knows exactly what it wants to be. Like another Ancient Greece inspired musical the team collaborated on (Xanadu anyone?), Beane, Flinn, and director Dan Knechtges take comedy and actually make it funny. With help of course by one of the most solid ensembles on stage. Lead by the magnificent Patti Murin, the entire Lysistrata Jones cast rocks. Rarely is there a weak link on stage. Even the supporting characters are fleshed out and have their moments to steal the show. Superstars Alex Wyse and LaQuet Sharnell have a wonderful act two duet that probably got some of the loudest applause of the night. And then of course there’s Liz Mikel who has no shame on stage, and boy did it pay off! Sure there are contrived plot moments, but it’s forgiven because of the style of show Lysistrata is. One of the shining moments comes in the choreography. Knechtges does a fabulous job mixing dance with basketball. Sure High School Musical has the throwback dancing basketball scene that has informed the new generation of tween, but I assure you this is no HSM. All the actors look like they’ve been in basketball training for years. If the NBA strikes, put these kids on the court!
I saw the first Broadway preview. Changes are inevitable. But I assure you this is a hit. I look forward to seeing it again. I was giddy from top to bottom. Lysistrata Jones is the slam dunk sleeper of the season.

Review: Gay Marriage Rules!

2011-11-12T10:22:00.001-05:00

Walking into the Minetta Lane Theater, the mood is immediately set. Wedding inspired music blares with the set decked out with rows of clear plastic chairs and a beautiful fabric draped in between two intertwined giant wedding rings. An instant smile is formed. And it doesn’t end until way after you leave the theater. Standing on Ceremony: The Gay Marriage Plays is a series of nine plays about, well, gay marriage. Written by eight renowned playwrights featuring a cast of six stars, Standing on Ceremony is a wonderful evening of storytelling.
The highlights of the evening come from plays written by Jordan Harrison, Wendy MacLeod, Doug Wright, and two by Paul Rudnick. Many of the pieces took the comic route, including both by Rudnick featuring the always hilarious Harriet Harris, but it was Kaufman’s dramatic piece that won over the audience. Each play offered new and similar angles of gay marriage. What I appreciated most was that not one was a “propaganda” piece. While they included some informative facts, it was the stories that took center stage. The cast including Harris, Craig Bierko, Mark Consuelos, Polly Draper, Beth Leavel, and Richard Thomas do a wonderful job taking the nine plays and bringing them to life in a staged reading form. While none of the actors on stage where gay, they showed how great of actors they truly are.
If you’re looking for a way to smile for a solid ninety minutes, check out Standing on Ceremony. It’s a must see.

Review: Who's the Predator and Who's the Prey

2011-11-11T11:50:00.001-05:00

It’s all in the timing, right? Well talk about near perfect timing. Sitting in the shadows of the child sexual abuse scandal currently stirring at Penn State, Wild Animals You Should Know strikes a similar cord. Though it is a far stretch to compare any of the characters in the play to the actual players in the allegations, the same questions are raised. Why? Wild Animals follows golden boy, and sexually hungry, Matthew and his best friend, the openly gay Jacob as they embark on the camping trip with their Boy Scout Troop. But days before their journey, Matthew accidently spies and discovers his troop leader, Rodney in his home engaging in homosexual acts. Matthew then makes it his mission to destroy Rodney by exposing him.
At the heart of the piece is Matthew, played with great wonder and skill by Jay Armstrong Johnson. Matthew, though potentially confused himself, is confident with everything about himself. He plays a far too convincing cocktease for Jacob. He is willing to experiment despite the consequences that may occur. Johnson finds the balance of ego and insecurity with ease. Despite his acts, you become engaged with his character. On the opposite end of the spectrum is Gideon Glick’s Jacob. Even though he may have discovered himself, he is still tepid. Jacob loves Matthew no matter how much Matthew pushes him away. Both Johnson and Glick play up the stock stereotypes given to their characters, but not once does it come off schlocky, just sincere. John Behlmann’s Rodney is trying just to live his life without opposition. Rodney is not “closeted,” he’s just private. When Matthew threatens to out Rodney, Behlmann finds the honesty of the character that he displayed in his character at the start of the piece. His tragic downfall is gut wrenching. With only the allegations at the audience’s disposal, you immediately have sympathy. Daniel Stewart Sherman as Larry provides the amusing comic relief, but serves a nice foil for Patrick Breen’s nerdy and lost Walter. Breen provides a solid performance as Matthew’s father and newfound troop volunteer. He seems to have great chemistry with all his scene partners, with the unfortunate exception of Marsha played by Alice Ripley. The major plot point for Breen’s Walter is he is thrust in going on the trip with his son in order to reconnect with him. Sadly Walter and Matthew have only one scene alone together. Their relationship is very much hearsay which is a bit of a problem for what should be a poignant and powerful scene toward the end of the play. Nevertheless, both Breen and Johnson give standout performances.
Thomas Higgins’s script is full of wit and charm and excitement. He has taken an oft too contemporary topic and given it new meaning. What I appreciate most about the story is he allows the audience to make up their minds as to what happened by offering both sides of the story. Higgins writes great comedy and genuine drama which balance each other seamlessly. I have a feeling Thomas Higgins will be a playwright that will be seen in New York for quite some time. Trip Cullman does a brilliant job giving his Wild Animals life. He ensured that reality is present during the quirkier moments and made sure that the scene transitions were watchable. Cullman and lighting designer David Weiner do some clever storytelling at the top of some of the transitions. By simply highlighting an actor or silhouetting them, the audience understands the emphasis of why the scene ended when it did. The most striking is when the stage goes dark sans a bit of light on the faces of Matthew and Rodney scenes before their showdown. Andromache Chalfant’s set was simple and effective, allowing for various locations to be suggested with just a touch of scenic element.
Wild Animals You Should Know is a witty yet thought provoking piece. In the light of today’s Penn State scandal, the question in this play still remains “why”. Why is it so dirty and terrifying that a seemingly harmless gay man surrounds himself with young boys? We jump to conclusions but regardless of truth, the end result will always remain the same. Who really is the victim?

Spidey Down

2011-11-10T16:25:00.001-05:00

This week, Spider-Man: Turn Off the Dark suffered two blows. First was the lawsuit that former fearless leader Julie Taymor slapped on the production. The other was an injury Spidey alternate Matthew James Thomas experienced during Wednesday's matinee. Reports from the show say that Thomas is fine and will be back in the show on Saturday. Let's hope so!

Someone Rained On Their Parade!

2011-11-03T23:37:00.002-04:00

Lauren Ambrose and Bobby Canavale will not, I repeat, will not be reviving Funny Girl...well at least for right now. The producers have pulled the plug on plans for the LA and NYC run of the 12 million dollar revival because of the "current economic climate." Or perhaps the cast is just, well, wrong. Sad? Sure. Will it happen? No doubt.