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Friday, Oct 22, 2021 @6:00pm PDT
Join us... if you dare! A Night to DismemberJoin these monsters, maniacs, and miscreants in a haunting whodunit of murderous mayhem.
These gorgeous ghouls and dashing demons gathered last night at the Castle Von Morgue to celebrate the engagement of their host – Neville Aster-Night – to Lizzie Bordeaux, but now it seems this bewitching beauty is a widow before she's a bride.
Someone put Neville 6 feet under, and it's up to you to find out who it was.
Join us, if you dare, and get ready for so much fun it's frightening!
[post_title] => A Night to Dismember 10-22-21
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[post_title] => Pajama Party Panic!
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JOIN US
JOIN US
Zoom in to a killer event that is to die for…
Old-fashioned fun, with a new twist, abounds with this memorable event of cold-blooded murderous mayhem. Our Virtual Mysteries provide a one-of-a-kind online experience where you will interact with live suspects, hoping to successfully solve the crime.
The suspense begins as you enter the virtual scene where the murder has occurred. Soon after, our Host takes to the mic and prepares everyone with formal introductions of the guests and suspects.
As the event progresses, the diabolical plot thickens. Shameful secrets and motives emerge; ominous red herrings confound, and no one will be above suspicion.
Bring your friends. Bring your munchies and morsels. And most importantly, bring your alibis.
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JOIN US
Whether it be a history lesson or a life lesson, your child is bound to learn something from the things they see in the shows. After listening to a musical soundtrack let alone, I am able to recite to you the entire life or Alexander Hamilton. Awesome, huh?
Shows such as ‘Spring Awakening’ or ‘Fun Home’ can help teens relate to things that they are still trying to figure out; sexuality, who they are, what they want to do in the future, and more. Watching a show without being able to relate to it at all is still fun, but watching the show and thinking ‘I‘ve been there too’ is a powerful experience, no matter how old you are. .
Risky? Yup. I know. Will your kid be the odd one out in the family? Maybe. Is it worth it? If your kid is happy, shouldn’t everything be worth it? So many people don’t realize that the theatrical world is a large one, and there are way more jobs than you think there are.
All of that schoolwork or hallway drama can stress teens out. There is nothing better than letting yourself go to perform a show or to watch one. The beautiful cushioned seats let alone should put one’s mind at ease.
As cheesy as it sounds, it’s important. Exposure to the performing arts teaches young people empathy, and a willingness to embrace things in life that are new and different, rather than fearing them. You could go from plays and musicals to things which require more maturity, such as operas or the ballet.
A larger sense of imagination? Check. Creativity? Check. Literacy? Check. Participating in theater can also give your child more co-operational skills, discipline, and even improved self confidence as well as public speaking. All of these skills are useful with any occupation, no matter if it’s the arts or STEM!
Wouldn’t you rather have your child obsessed with Broadway instead of candy crush? I’m sure you’re nodding your head while you’re reading this. Just make sure your kid isn’t one of those people who sits on their phone during a show.
Got a five-year-old and a sixteen-year-old? No problem! Believe me, I’ve seen an eight year old boy enjoying himself completely during The Phantom of The Opera.
Once, I went from playing a dying, male game show contestant to a ditsy, female council woman. And it was AWESOME!
Thespians are some of the most humble, talented and amazing people you could ever meet. The more humble, talented and amazing people your kid will meet, the more humble, talented and amazing your child will become.
Post by TN student contributor Nomy Lavrukov
The stand up comedian Jared Logan has a joke that goes something like this: “I was on academic scholarship and then I used that money to become a theatre major. That’s like if you win the lottery and then just spend it on Beanie Babies.” Upon hearing this joke, I immediately laughed. And then I wondered: Am I laughing because of the truth behind this joke? Has he spoken to my experience as someone with a BA in Dramatic Arts? Or was I laughing because I’d heard so many people make similar comments to me about my chosen career path? Countless people have questioned my judgment when I told them I’d decided to major in theatre, and many openly wondered why I hadn’t chosen a more practical field of study, such as business, and then taken acting classes on the side. But here’s the thing: I knew I wanted to be an actor. Wouldn’t it have been a bigger waste of my and my parents’ money if I’d chosen a more “practical” major, only to devote all of my time post-grad to pursuing acting and writing? Plus, I also knew that if I ever changed my mind, my degree in theatre would qualify me for the pursuit of a Law Degree, and Business Degree, as well as prepare me for countless other careers. Here’s why:
It’s all about how you view your degree, and what you see as its purpose: Many degrees, especially in the arts and humanities, don’t correlate exactly with a specific career path. Instead, they’re meant to teach you many different skills and perspectives and how to use them over the course of your professional (and personal) life. What this means is that these degrees are preparing you for a multitude of different possible futures, and those of us who earn them are able to get creative with our job prospects. This is especially true of a theatre degree. Majoring in theatre forces you to examine and practice every aspect of bringing a production to life— Many of my classmates and I tried acting, directing, dramaturgy, playwriting, stage management, design, producing, and publicity over the course of our undergraduate careers, and each discipline taught us different skills while showing us that they all bear significant connections to one another. So, we learned to apply the skills we learned to several other situations.
I’ve often been asked in non-theatre-related job interviews how I might use my specific undergraduate training on the job. The truth is, I’ve been able to spin what I’ve learned in a ton of different ways to suit a particular situation. I probably learned how to do that in pursuit of my degree—Improvising at a moment’s notice is often required during live performance. Teamwork is another skill employers look for, and one that any actor can say they’ve learned: Who among us hasn’t been thrown into a cast of unfamiliar people and had to devise a whole play together based on one vague piece of text? Okay, that might be a bit of an extreme example, but working in a group is undeniably vital to the production of theatre. Many corporate jobs also require presenting in front of an audience, a given for any actor, and being able to delegate tasks, something second nature to any experienced director. We also know the value of time and deadlines, from being told by teachers that “early is on time, and on time is late.” We theatre majors know how to stay calm under pressure, or at least channel those nerves into our performance, from that opening-night adrenaline. We know how to decipher difficult language from studying Shakespeare and Congreve. Because of our creativity, we’re able to take what we’ve learned in school and use it to work, not only in entertainment, but in almost any field.
So, did I spend my lottery winnings on Beanie Babies? I don’t think so: I realized that my degree taught me how to think critically about any situation I might be in. I use my training every day, sometimes in ways I didn’t even consider while still in school. And when I’m asked questions about, say, my problem-solving skills or how I work in a team, I’ve learned enough about myself in my drama classes to effectively answer my interviewer. Although theatre majors may have chosen an unconventional area of study and career path, we are prepared to take on the world and find fulfillment in doing so.
[post_title] => Show This to Your Parents: The “Real World” Benefits of a Theatre Degree
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[post_content] => Edutain [ed-yoo-teyn] verb to educate and entertain simultaneously
How does teaching your art inform your performance? I asked five theater professionals and here’s what they say…
Forrest McClendon, The Scottsboro Boys

When I got cast in The Scottsboro Boys I remember a fellow performer said, “You’re gonna have to give up that teaching sh@% now!” I looked at him with equal parts incredulity and intrigue. “Why?” I asked. I’m still waiting for an answer. I’ve always done both. They feed each other, especially at this point in my career. I do a lot of international master classes and that largely means opening a script I happen to be working on along with my journal. It’s an opportunity for me to talk about living as an artist. In 2017, I performed in a new play directed by Taye Diggs in NYC and then commuted to the O’Neill in Connecticut to lead a workshop for writers, actors, and directors. I’m a storyteller, and making new work and training future theater-makers informs one another. I feel at home where there is a university and an Equity theater. For me, the O'Neill is Hogwarts.
Lauryn Ciardullo, Aladdin

I teach by using the experience I’ve had performing in shows but more importantly taking bits and pieces from my amazing teachers. I like to give constructive criticism by using myself as an example and sharing habits I had trouble breaking as a singer/dancer. For a singer who needs help with a vowel, I’ll start by saying “this is an exaggeration of what you’re doing” and then I will demonstrate. “Try to tweak it ever so slightly and do it this way instead.” We’re always learning no matter what age or how much experience we have. I think of myself as a fellow performer to my students. I hope to guide them as the eyes and ears of someone who may be auditioning them.
Samantha Joy Pearlman, Chasing Rainbows

I’m sure you’ve heard “Those who can’t do, teach.” I knew from a young age that could not be farther from the truth. My first voice teacher, the late great Victoria Mallory, was a working actress, teacher, mother, and beautiful spirit. She modeled what a great coach looked like for aspiring performers. Currently I’m a working actor/musician/director, in addition to a private voice teacher and acting coach. Working professionally in the entertainment business is integral to my teaching work and vice versa. I can more effectively help my clients walk into auditions or rehearsal rooms as I am there, too. I train my clients not only to master their instrument, but also to better navigate the professional landscape for the NYC theater scene. Coaching singers and actors is a deeply creative process, as well as a daily practice of empathy, listening, and collaboration. It helps keep my vocal and acting chops open and active as I dialogue with students. Teaching and performing are about curiosity and learning – I can’t imagine having one career without the other.
Natalie Weiss, Breaking Down The Riffs

I love to multitask and have 80 things going on. My hustler mindset is on 24/7 and I find it hard to take vacations. My friend is getting married in Utah? Great! How can I turn this into a business opportunity. When I first graduated, I said yes to everything, and though it’s hard for me to say "no," I’ve learned there’s also power in it. I want to give my fellow artists 100% of me, and in order to do that, I strive to find a balance between work and play for vocal, mental, and physical health. I often suffer from imposter syndrome since I don’t have a vocal pedagogy degree and I find myself making it up as I go. But it is those major breakthrough moments with a student that reaffirms I’m right where I need to be. Last year, I had 20 of my regular students join me on stage for a number in my solo show at The Green Room 42. My ultimate dream is to own a pop music school and for the first time, I saw it come to fruition. To combine performance and education for a sold-out crowd was definitely a life highlight and something I hope to achieve again and again.
Michael McElroy, Broadway Inspirational Voices

As a working actor for almost 30 years, I bring my knowledge and craft into every classroom. As a professor of vocal performance or acting the song, I create my syllabi based on exercises that allow the young actor in training to access and utilize lived experiences, develop their imagination, and build their acting skills. I develop exercises and techniques taken from my own acting work and process. Being a teacher that still performs, I must utilize in practice what I demonstrate to my students in the classroom. By teaching and remaining active in the field I continue to evolve as an actor and my students are able to see me utilizing skills that I want to instill in each of them. Those skills are an entryway into the work but also, in a more holistic way, help each student to recognize the ways in which they must approach their craft.
[post_title] => Let Me 'Edu-tain' You [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => let-me-edu-tain-you [to_ping] => [pinged] => [post_modified] => 2019-11-11 11:50:14 [post_modified_gmt] => 2019-11-11 16:50:14 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=377940 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [11] => WP_Post Object ( [ID] => 377500 [post_author] => 712 [post_date] => 2019-10-18 09:58:14 [post_date_gmt] => 2019-10-18 13:58:14 [post_content] => As the Karen Smith of Mean Girls once crooned: If we could change the world we’d make it Halloween every single day. The over-the-top holiday is a Theatre Nerd’s dream, with its candy filled pillow cases only made sweeter when you combine it with the musical realm. After all, nothing concocts a ghostlier vibe than spooky music. Though playing I Put A Spell On You on repeat hardly gets stale, here is a coven of other tunes that will get your Broadway-lovin’ blood pumping this Halloween season: The Ultimate Musical Albums to Listen to for Halloween: A Gentleman's Guide to Love and Murder
If you want to start with a lighter fare, this morbidly hilarious show brings the mystery and the laughs right to your ears!
American Psycho the Musical
What says Halloween more than homicidal narcissism? Let Spring Awakening’s Duncan Sheik and Riverdale’s Roberto Aguirre-Sacasa bring you some bloody good fun with their 80s’esque album.
Beetlejuice the Musical
From The Whole Being Dead Thing to Day-O, the ghost-with-the-most (not going to write his name too many times) takes your ears on a frighteningly-hilarious funhouse tour.
Be More Chill
Joe Iconis and Joe Tracz’s viral soundtrack will bring even the undead back to life with its frenzied beats. Plus, there’s a song called Halloween – enough said!
Cabaret
This melodramatic classic needs no introduction. Melding sultry and scary, it’ll have you feelin’ October vibes from the very first vamp.
Carrie the Musical
Come on, come on, come on! Hold on to your prom crowns because we’ve got ourselves a bonified Stephen King cult horror story right here. The awkward perils of high school + Alice Ripley’s haunting vocals + pig’s blood = a can’t go wrong Halloween musical choice.
Dance of the Vampires (A.K.A. Tanz der Vampire)
We’re getting a little more obscure with this one, but, hang on, don’t scroll away from me! While this campy show only had 56 performances on Broadway - with Mandy Gonzalez and, the Phantom himself, Michael Crawford to boot - the soundtrack lives on, featuring a rendition of Total Eclipse of the Heart. I bet now you’re dying to listen!
Dracula the Musical
Kelli O’Hara. Need we say more? Alright, so the luscious leading lady doesn’t exactly scream Halloween, but she’s a musical dream and didn’t you see Dracula in this headline? As far as things that go bump in the night he tops the list.
Evil Dead the Musical
This rock musical based on the horror film series has developed a cult following over the years for good reason. It’s a crazy good time!
Ghost the Musical
Romance, fantasy, thrills and Caissie Levy make this passionate score listening #ghouls.
Heathers the Musical
This could be bootiful! Heather, heather, heather and the gang do not disappoint in this BIG FUN album. Laurence O'Keefe and Kevin Murphy carved out a delicious score (that doesn’t sound like air supply), headlined by the track Candy Story – which is a Halloween party bop! Once you’ve ripped through the Off-Broadway version, head to the Original West End Cast Recording for more treats.
Jekyll and Hyde
Robert Louis Stevenson’s curiously classic tale is set to gorgeous music in this musical horror-drama. Blast This is the Moment right before you step out on Halloween night.
Little Shop of Horrors
When you think horror-scifi-comedy-musical (although not sure how often people think that) you think Little Shop. This fan favorite delivers and is extra creepy this time of year.
Lizzie: the Musical
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Get ready to slay with this axe-cellent soundtrack - see what I did there? Based on the infamous real-life story of Lizzie Borden, this show most recently played off-Broadway with Eden Espinosa and Ciara Renée, who lend their stunning voices to the recording.
Sweeney Todd: The Demon Barber of Fleet Street
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Presenting the twisted leading man of your hallowed dreams. Traveling down fleet street this time of year is always a must, but be sure to where a smock!
The Addams Family
Let us pull you in a new direction to the sweeter side of All Hallow’s Eve. Full disclosure: this show is as Halloweenie as Broadway gets.
The Hunchback of Notre Dame
While it isn’t directly a holiday show, Alan Menken and Stephen Schwartz’s masterpiece boasts a sweeping orchestration and lingering choral elements that fit the melancholy of the season.
The Mystery of Edwin Drood
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Whip this bad boy out at your musical theatre nerds Halloween bash for frighteningly interactive fun. Listen to the soaring soundtrack in order and vote on who the killer is before listening to a confession track!
The Nightmare Before Christmas
This IS Halloween. No, really it is. Pump this kid-friendly album at your family gatherings this autumn and feel free to keep it running through Christmas.
The Phantom of the Opera
This list wouldn’t be complete without the world’s longest running and most popular musical. The iconic masked angel of music creeps it real as he belts out Andrew Lloyd Webber’s majestic music of the night.
The Rocky Horror Picture Show
You didn’t think we’d leave this off, did you? Rocky Horror is the pinnacle of Halloween musicals with showings sprouting up around the world every October. It essentially “came back from the dead,” too, growing an incredibly dedicated following after an initially poor movie opening.
War of the Worlds the Musical Version
Fun fact: this progressive rock album was named the UK’s 32nd best-selling studio album of all time in 2018. Boom it through your speakers and blast off into an epic dance party.
Wicked
Come through again, Stephen Schwartz! Fly high above your fellow trick-or-treaters as you listen to the most whimsical Broadway cast album in all of Oz.
Young Frankenstein
Let me be frank, there’s no better time to do the Transylvania mania than Halloween. This hilarious and monstrous romp will make you feel electrifyingly alive.
Zombie Prom
Putting this on the docket is a no brainer (are you sick of my corny quips yet? Don’t worry we’re almost all wrapped up – like a mummy, get it?). Anyway, this Off-Broadway musical is a zany addition if you’re into the likes of Heathers and Little Shop.
Only 25 were included here, but there are no doubt more! Let us know in the comments which are your favorite. Happy Halloween!
[post_title] => 25 Spooktacular Musicals To Listen To For All The Halloween Feels
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[post_content] => Ben Platt
Ben Platt has been working in professional theatre since he was 9 years old. He burst onto the scene in the Pitch Perfect movies, and starred as Elder Cunningham in The Book of Mormon, but it wasn’t until 2016 and Dear Evan Hansen that his superhuman talent was seen. Playing Evan Hansen won him a Tony, Grammy, Emmy, and made him the youngest person to ever win the Drama League Award. This year, Ben began to show people a different side of himself with his album, Sing to Me Instead. He’s gone on a sold out tour, and his Radio City show is going to be a Netflix special. Speaking of Netflix, he can also be seen starring in The Politician, season one streaming now! Ben stars as Payton Hobart, a character and show written for him by creator Ryan Murphy. The Politician season two begins production this month, and Ben has said he is continually writing music. He is also playing Charley Kringas in Richard Linklater’s adaptation of Merrily We Roll Along, which began production this year, and will film over the next 20 years, in real time as the characters in the show would age. He’ll be on the Merrily journey with another Broadway star...
Beanie Feldstein
Beanie Feldstein is a theatre kid through and through. She grew up with Ben Platt, and they starred in musicals together in high school. Beanie also attended the theatre camp Stagedoor Manor. She appeared in the movie Neighbors 2, and has had a few television appearances, but her career has skyrocketed over the past few years. Beanie made her Broadway debut as Minnie Fay in Hello, Dolly!, starring alongside the likes of Bette Midler and Kate Baldwin. After taking Broadway by storm, her breakout role as Julie in the Oscar winning film Lady Bird made her a name in Hollywood. The past year, she starred alongside Kaitlyn Dever in Booksmart--solidifying that she is a comedic genius in every way shape and form. She stars in another coming of age film, How to Build a Better Girl, which premiered at the Toronto International Film Festival. Beanie also has a recurring role on the FX series What We Do in the Dark, and she recently wrapped the film adaptation of Stephen Karam’s Tony winning play, The Humans. She will be in the new season of American Crime Story, playing Monica Lewinsky. And of course, she’ll be returning to her musical roots in the film adaptation of Merrily We Roll Along, where she’s playing Mary Flynn (the role her character played in Lady Bird!)
Laura Dreyfuss
Laura Dreyfuss is most known for originating the role of Zoe Murphy in Dear Evan Hansen, and has become a Broadway fan favorite. She was with DEH in its out of town and off-Broadway runs, and was with the Broadway company for over a year and a half. Prior to that, she was a swing in the national tour and Broadway revival of Hair, and was a standby/replacement for Girl in Once. Laura first stepped into the world of Hollywood royalty Ryan Murphy in 2015, playing Madison McCarthy on the final season of Glee. She also has a recurring role on season two of The Marvelous Mrs. Maisel. She’s reunited with Ryan Murphy and Dear Evan Hansen co-star Ben Platt in the Netflix series The Politician. Her fast talking, dry witted McAfee Westbrook is a scene stealer. We can expect more of her greatness in season two! Speaking of greatness, her first single “Be Great” was released in 2018, featuring Jeremy Pope. Under the stage name Loladre, she’s since released a cover of the Foo Fighters “My Hero,” and another original song “Better Drugs.” Fans are eagerly awaiting her debut EP, with more information on its release expected in the coming weeks.
Jeremy Pope
Jeremy Pope had a whirlwind of a year this past Broadway season. He made his Broadway debut in Choir Boy, and did so while rehearsing for Ain’t Too Proud. Immediately after his run in Choir Boy, he starred in Ain’t Too Proud, and earned Tony nominations for his work in both shows. He is only the 6th person to get two nominations in one season, and the first person of color and LGBTQ+ person to accomplish this. He’s become an instant Broadway star, but is gearing up to focus on film/tv next. He appeared in the film The Ranger, which premiered at South by Southwest in 2018, but after Ryan Murphy saw him on Broadway, much bigger things will be in store. He will star in the upcoming Netflix series Hollywood, alongside Darren Criss (and Patti LuPone.) He’s also a musician working on his debut album, and is featured on Loladre’s single “Be Great”. Jeremy is most clearly a man of many talents, all of which are going to make him a huge name in every medium he pursues.
Billy Porter
Billy Porter is a bona fide Broadway star. With a Broadway career spanning nearly 30 years, he has appeared in shows such as Miss Saigon, Grease,Little Shop of Horrors, and Shuffle Along. He is a Tony, Drama Desk, and Grammy Award winner for playing Lola in Kinky Boots. He has also released multiple solo albums with covers and reimaginings of Broadway classics. Outside of theatre, Billy had a recurring role in American Horror Story: Apocalypse, and has been making history starring as Pray Tell in Pose. Pose recently won him an Emmy, and he was the first gay man of color to win the award. It was recently announced that he will be playing the Fairy Godmother in the 2021 remake of Cinderella; but his game changing ways do not stop with his roles. Billy uses fashion to make bold statements - he is sparking conversations about gender roles, prejudices within the industry, and paving the way to a more accepting future. He wore a velvet gown to the Oscars, and has been turning heads on the red carpets of every big event this year, from the Met Gala to the Tonys.
Darren Criss
Darren Criss broke onto the scene as Blaine Anderson on Glee, instantly becoming a fan favorite. Before Glee, he created the theatre company Team Starkid with his University of Michigan classmates. With them, he wrote and starred in A Very Potter Musical. The support of Starkid fans led to two Potter musical sequels, and a slew of other parody musicals from the company. During the height of Glee fame, Darren starred in the 2012 revival of How to Succeed in Business Without Really Trying. In 2015, he returned to Broadway as the title role in Hedwig and the Angry Inch. Since then, he’s brought theatre to a larger audience with the annual Elsie Fest, a concert filled with performances from stars of stage and screen. He’s also released music of his own, both solo and with his band Computer Games. In 2018, Darren won an Emmy and a Golden Globe for playing Andrew Cunanan in The Assasination of Gianni Versace: American Crime Story. Recently, it was announced that he’ll be joining Ryan Murphy again, starring in and producing the new series, Hollywood. He will also be acting, directing, and producing for a new show, Royalties, set to debut on Quibi, and he stars in the film Midway, which will be released in November.
Cynthia Erivo
Cynthia Erivo broke onto the scene in the West End, touring in Sister Act, and the off-West End production of The Color Purple. Playing Miss Celie is what shot her to fame on Broadway, when she started in the 2016 revival-- winning the Tony Award (and an Emmy and a Grammy) and the hearts of everyone who’s heard her sing. Cynthia continues to share her musical gift with the world. She is featured on songs with Shoshana Bean, John Legend, Todrick Hall, and Billy Porter. Now, she’s venturing to the screen. In 2018, she began to shine on film, appearing in Bad Times at the El Royale (which she also appears on the soundtrack for) and Widows. Cynthia is playing Harriet Tubman in the upcoming film Harriet, which will be released on November 1st. Speaking of bio-pics, it was recently announced that she will be playing Aretha Franklin in season 3 of the National Geographic series Genius. She’ll also be starring in HBO’s adaptation of Stephen King’s The Outsider.
Andrew Rannells
Broadway fans know 2 time Tony nominee Andrew Rannels for his roles in many Broadway hits. After joining the Broadway cast of Hairspray, and touring in Jersey Boys, Andrew made a name for himself as Elder Price in the original cast of The Book of Mormon. He also replaced Neil Patrick Harris as Hedwig in 2014’s Hedwig and the Angry Inch, and stepped in as King George III for a short stint in a little show called Hamilton. In 2016, Andrew played Whizzer in the fan favorite revival of Falsettos, and most recently he graced the Broadway stage as Larry in The Boys in the Band. Between all of that, he was making a splash in the world of television as Elijah on Lena Dunham’s HBO show Girls. He also entered the world of Ryan Murphy with the way too short lived show The New Normal, and he’s had guest roles on shows like Glee, Will & Grace, and How I Met Your Mother. Now, Andrew voices the character Matthew in the hit Netflix show Big Mouth, and stars as Blair Pffaf in the Showtime series Black Monday. Up next, he’ll be reprising his role in The Boys in the Band, this time on film for Netflix, which is expected to be released in 2020.
Anthony Ramos
Anthony Ramos took Broadway by storm when he originated the roles of John Laurens and Phillip Hamilton in Hamilton. Now, he’s taking tv and film by storm too. He stars as Mars Blackmon in Spike Lee’s Netflix series She’s Gotta Have It, with two seasons now available to stream. He also appeared in the 2018 adaptation of A Star is Born, as Ally’s best friend Ramon.He had a recurring role in the reboot of Will & Grace, and will be lending his voice to the upcoming Trolls World Tour movie. And of course, Anthony will be playing Usnavi in the highly anticipated film adaptation of In the Heights. Additionally, he is establishing himself as a singer/songwriter. He started to release original songs in 2017 and his first EP, The Freedom was released in 2018. He has been releasing more singles throughout this year, and June 2019 it was announced the he is signed with Republic Records. His debut album The Good & The Bad will be released on October 25th. His music has gained attention from Billboard, and Elle named him one of “nine rising stars you’re about to see everywhere.”
Lin Manuel Miranda
Obviously everyone who knows musical theatre knows of Lin-Manuel Miranda. In the Heights won four Tony Awards, including Best Musical, and paved the way for more diversity on stage. Lin also starred in the Encores productions of Merrily We Roll Along and Tick Tick Boom. But ever since the phenomenon that is Hamilton, he has become a household name for everyone. Winning 11 Tony Awards, getting Lin a hosting spot on SNL, a mixtape featuring popular music’s biggest stars… it’s safe to say this was a game changer for Lin and pop culture consumers alike. Since then, he’s written the score to Moana and a song for Star Wars: The Force Awakens, lent his voice to the reboot of DuckTales, starred in Mary Poppins Returns, and produced the limited series Fosse/Verdon. And that’s not including things like guest spots on tv and tweets that became a book. Coming up, he’ll be writing music for the live action remake of The Little Mermaid, executive producing and composing the Kingkiller Chronicle and writing 11 new songs for Vivo. He’s also directing and producing Netflix’s adaptation of Tick Tick Boom, creating a documentary on Rita Moreno with Norman Lear, and playing Lee Scoresby in His Dark Materials. And of course, producing the In the Heights movie and appearing as the Piragua Guy. Lin was recently included in the Hollywood Reporter 100: The Most Powerful People in Entertainment 2019.
[post_title] => 10 Broadway Actors Taking Hollywood by Storm
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[post_content] => The success of a Broadway production might seem like it depends on its leading actor or a celebrity name, but the show literally could not go on without the extreme flexibility and talent of the understudy working in the ensemble night after night or the swing/standby backstage and on call, waiting for the stage manager to exclaim “ You’re on!” These four actors describe the good, the mishaps, and the hilarious behind the scenes antics of New York stage musicals.
Josh Breckenridge, Come From Away
I was focusing on a Kevin J./Ali/Others in understudy rehearsal when our production stage manager told me that I was going on that night as Bob/Others. I knew Bob like the back of my hand but I was thankful for the review time in between understudy rehearsal and the actual debut. Due to my excitement I ran into and knocked over two chairs during my dialogue. The next night (I went on again) I made sure to avoid another collision. Another time was even more exciting. We were filming the show and it was only my third time on! Plus, Hillary, Bill, and Chelsea Clinton were all in the house. Nerve-racking for sure but compliments from Hilary after the show made it an unforgettable night.Hannah Shankman, Wicked
The first time as Elphaba was such a whirlwind. I am not usually a nervous person but the role is so iconic I felt the pressure. I saw Idina Menzel play the role when the show was in previews and had been dying to play Elphaba ever since. This show is a marathon so I just had to keep on going. When the curtain came down at the end I burst into tears. I was overwhelmed with emotion and so relieved that it hadn’t been an absolute disaster. I learned Elphaba with a dance captain and our production stage manager. Our production stage manager, Marybeth, is incredible with communicating intention, motivation, and helped us create characters that were fully realized. I had one put-in with understudies/swings in my costumes/makeup and the next time I was on. Getting ready was so easy because everyone does everything for you. The ‘green team’ is incredible. The Elphaba dresser, Kathy Mulle, is a super hero and was my saving grace. She provided water, throat drops, lozenges, and is basically the offstage Elphaba. Craig, our head of makeup was in charge of painting me green, which took him about 25 minutes. MK, our hair supervisor did my pin curls and wig while I warmed up and got in the zone. I usually did a seven-minute warm-up an hour before the show. Then after I was done getting ready and painted I did a few more warm-ups before I went on stage. I was in the ensemble every night but only got two hours notice when I went on for Elphaba. That was a massive gearshift from whatever I was doing that day. I went on infrequently but cherished every time I got to play Elphaba. Her message is timeless.John Rapson, Sweeney Todd
I’ve replaced in a couple of situations but going into Sweeney Todd was far and away the smoothest process I had. Five of us went into the show at the same time, and given the fact that there were only eight actors in the company the creative team looked at the show again and gave us a four week rehearsal process, which is rare and very generous. We saw the show from every angle, working with our magnificent swings and understudies as well as the returning cast. By the time the five of us went on as replacements and ‘opened,’ I felt fully integrated into the company.Stephanie Gibson, Happy (Syfy)
Two seasons ago, I played the role of Cherry Sunday in Charlie and the Chocolate Factory. I was in the ensemble every night and covered Mrs. Bucket. Cherry was the crazy news reporter who announced the golden ticket winners. A true ding-dong sitcom role and I had a blast. It was lovely going on for Mrs. Bucket for the first time because she is the polar opposite of Cherry Sunday, which kept things interesting and exciting. My scenes as Mrs. Bucket were with the precious little boys playing Charlie and his grandparents so it was a delight to sing, interact, and be a part of their story. In 2015, I replaced in Cinderella, taking over for Marla Mindelle in the role of the stepsister, Gabrielle. I went into my track at the same time as Carly Rae Jepsen. Ann Harada became my sister, Fran Drescher became my mom, Todd Buonopane played my boyfriend, and Joe Carroll played the Prince. It was such a thrill to rehearse with these actors and find our own special chemistry. It was a truly gorgeous production and I was so grateful to have that experience.[post_title] => Waiting In The Wings: The Life of An Understudy, Swing, Standby or Replacement [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => waiting-in-the-wings-the-life-of-an-understudy-swing-standby-or-replacement [to_ping] => [pinged] => [post_modified] => 2019-09-23 16:39:04 [post_modified_gmt] => 2019-09-23 20:39:04 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=377290 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [14] => WP_Post Object ( [ID] => 374740 [post_author] => 11 [post_date] => 2019-09-13 13:13:53 [post_date_gmt] => 2019-09-13 17:13:53 [post_content] => Gather round, television gurus... Emmy season is upon us! Our favorite glitzy, glamorous night of TV will take place on Sunday, September 22, 2019 at 7PM CT on Fox as the 71st Primetime Emmy Awards determine this year's best series and actors. See how your opinions match up with the rest of the Theatre Nerds community and take our Emmy-inspired poll: [post_title] => Poll: Which Emmy-Nominated TV Show Would You Put Onstage? [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => poll-which-emmy-nominated-tv-show-would-you-put-onstage [to_ping] => [pinged] => [post_modified] => 2019-09-13 13:13:53 [post_modified_gmt] => 2019-09-13 17:13:53 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_poll&p=374740 [menu_order] => 0 [post_type] => snax_poll [post_mime_type] => [comment_count] => 0 [filter] => raw ) [15] => WP_Post Object ( [ID] => 374037 [post_author] => 11 [post_date] => 2019-09-03 13:20:59 [post_date_gmt] => 2019-09-03 17:20:59 [post_content] => [post_title] => 'Six' Personality Quiz: Which Wife Of Henry VIII Are You? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => six-personality-quiz-which-wife-of-henry-viii-are-you [to_ping] => [pinged] => [post_modified] => 2019-09-03 13:20:59 [post_modified_gmt] => 2019-09-03 17:20:59 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?post_type=snax_quiz&p=374037 [menu_order] => 0 [post_type] => snax_quiz [post_mime_type] => [comment_count] => 0 [filter] => raw ) [16] => WP_Post Object ( [ID] => 370973 [post_author] => 11 [post_date] => 2019-09-03 13:16:35 [post_date_gmt] => 2019-09-03 17:16:35 [post_content] => If you’re still suffering from those pesky post-holiday blues, it might be time to start planning a future vacation. Whether you’re itching to visit a sandy beach, a lush mountain range, or a bustling metropolis, adding a dash of theatre into your getaway can make a trip even more memorable.

Nestled two hours away from London, Stratford-upon-Avon has long been a mecca for those who study and appreciate The Bard. The birthplace of William Shakespeare most certainly pays tribute to the famous playwright, and also offers a quaint and cozy getaway spot.
Known for its incredible theatre scene, London’s West End district offers live entertainment of every genre. From hole-in-the-wall theatres producing original, avant garde work to grand-scale musicals, this charming city has it all.
Travel back in time and visit the ancient ruins that remain a breathtaking hotspot in Greece. Athens, known as the birthplace of western theatre, offers plenty of historical artifacts in the origins of performing arts.
Tokyo is an amazing city for food, shopping, sightseeing and - you guessed it - performing arts. The New National Theatre, a major performing arts center in the city, offers ballet, opera, contemporary dance and other drama. Audiences can also get a taste of the kabuki tradition at the regal Kabukiza Theatre.
[post_title] => 11 Dream Vacations For The Theatre Nerd
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Admit it. This happens when girls go on a road trip.
[post_title] => Regular Girls vs Theatre Girls on a Road Trip
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[post_content] => You get to choose which Hamilton characters you love best with this ranked list. Which characters will "Blow us all away"?
[post_title] => Which Hamilton Characters Are Best?
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[post_content] => Okay, ladies, now let's get in formation and start our day right with a few show tunes. This week, we've rounded up 12 powerhouse songs featured in musicals that are sure to get you feeling encouraged, inspired and TOTALLY ready to celebrate your fellow sisters. Without further ado...
Hello! We have a last-minute acting opportunity that might be of interest to some of you. I am a casting agent with Theatre Nerds specializing in improv shows, particularly murder mystery dinners. We are contracted through Neon Entertainment, one of the leading entertainment booking agencies in the industry. I have received a request from one of their booking agents to cast a mystery this Tuesday, August 20. The event is scheduled for 6pm-9pm in Long Island, NY. We are seeking one female and three males, of various ages, for this paid job. The roles require minor preparation, and the event promises to be a lot of fun. Compensation is highly competitive (AEA members encouraged!), with additional consideration for travel expenses. Dinner is also provided. Also, we have quite a few future murder mysteries scheduled that any actor who is cast will be added to our company roster of actors, and thus be considered for future paid work.
Improv skills are, obviously, a huge plus for this type of performance, but the most important thing is personality. Being open, engaging others in conversation, being quick on your feet, and the ability to be BIG are key.
If this is something of interest to you, I can be reached anytime at JamieMWeisberg@gmail.com or 717-364-0650. Please feel free to share this with anyone you think would be a good fit, as well.
Thank you.
Jamie Weisberg Damaso
Casting Agent, Theatre Nerds
[post_title] => Immediate PAID Casting Call from Theatre Nerds
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[post_content] => After the 71st Annual Emmy Awards nominations were announced last week, the outcome became yet another reminder that we are inching further and further away from the whimsical, light-hearted place television used to hold in our hearts, and demanding much more high-quality programming than ever before. Not only are the networks losing significant visibility, the expectation for television content is arguably on par with, if not superseding, the expectation for high budget film.
Television being the most consumed form of entertainment is not a new notion, we’ve had easier access to television than film for a long time. However, the hunger for thought provoking storylines and stunning visuals is continuing to rise for series especially. We now expect television to utilize very theatrical elements to considered them worthy of our time, there may be more theatre nerds out there than we thought. We may have finally reached the perfect blend of high-brow entertainment and popular entertainment, something to be excited about and pat ourselves on the back for in the midst of a particularly difficult political era. But as Moliere and Shakespeare would also tell you, political turmoil is a creative gold mine, a great consolation prize for an ulcer-inducing moment in time.

The subject matter and creative team alone of 'Fosse/Verdon' is enough to maintain the television as theatre argument, but takes it a step further than what has ever had the opportunity to grace the stage in an actual Fosse/Verdon piece. As a creative geniuses, Bob Fosse and Gwen Verdon’s work will remain iconic to American theatre and continue to lend itself to the creation of more work in theatre, film, and likely much more television judging by the direction it’s heading. But their life together was what art tries so hard to reproduce and discuss. Full of gray area, imperfections, passion and everything that can’t be reduced to words, the story behind who Bob and Gwen were as people gives sense to why their work was so powerful — a theatrical achievement in itself.
The most direct example of theatre to television of the bunch, 'Fleabag' began as Phoebe Waller-Bridge's one-woman show that started in London and transferred Off-Broadway. Not having the opportunity to see Waller-Bridge’s stage 'Fleabag', I can only speak to how the series uses theatrical devices of which there is no shortage of. Waller-Bridge’s character, Fleabag, acts as both our protagonist and narrator. She frequently breaks the fourth wall and speaks directly to viewers but in a particularly interesting way that audiences are not used to. Rather than listening to a narrator who simply pushes the story forward, we are Fleabag’s friend to whom she asides her innermost secrets. The viewer is special to her, the only one she allows in on her crippling vulnerabilities, making her impossible to pass judgement on. Even after learning of her most horrific deeds, things that most of us would forever cut her off for without a moment of hesitation, we are written in to love her through them. I don’t know how much more Shakespearean it can get than that.
Theatre has evolved from all over the world but we especially have Brits to thank for being a driving force that keeps it alive and well today… perhaps why they are coming for America’s TV crown. British television gains more popularity every year, and this year’s Emmy noms prove it with love for 'House of Cards' (originally a British series) and 'A Very English Scandal'. The Emmys are hit with the Waller-Bridge brilliance again for the exceptional 'Killing Eve' — a BBC America series with a book-based narrative, adapted into a cinematic piece with a theatrical edge. Rich with action, graphic death, mystery, and exciting destinations, 'Killing Eve' has the feel of Bond film without the superfluous car crashing and forced love interests. The car crashes and love interests in 'Killing Eve' have very important purposes that make it more Greek tragedy than action film. No surprise why Waller-Bridge has already signed on as a writer for the latest Bond film, reason enough to give Bond another chance.
Speaking of Greek tragedy, 'The Act' checks that box for this year’s Emmy theatrical requirements. Since 'The Act' is based off of real events, I can’t give all the credit to this series for originality but I do tip my hat to the creators for knowing an outstanding storyline when they see one. A young girl persuades a pseudo suitor to kill her mother after said mother gives girl Munchausen Syndrome by Proxy? Sounds like Euripides to me. The complex psychology, brutal killing and aftermath of an exceptionally disgusting series of events could be a contender for the Great Dionysia festival, who do theatre nerds need to speak to about getting that reinstated?
'Game of Thrones' is a beast of it’s own by integrating the most epic of television production with the most complex storytelling. I’m reluctant to call it theatrical as it’s one of the biggest feats in television history all on it’s own, but it did comprise some of the most theatrical elements from the get-go that arguably got the theatre-as-television ball rolling. It is also equal parts American to European in production making it harder to decide in which medium it’s rooted. It is on an American network, has an American showrunner, and based on a book by an American author. But it is undoubtably a Tolkienesque (British) fantasy and largely shot in Europe with an almost entirely British cast. Whether 'Game of Thrones' is more of a television or theatrical spectacle I’ll let each theatre nerd and TV geek decide for themselves.
[post_title] => 5 Emmy Nominated TV Shows For The Theatre Nerd
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[post_title] => Will You Rule 'The Lion King' Musical Lyric Challenge?
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[post_title] => Pop! Six! Squish! Can You Ace This 'Chicago' Lyric Quiz?
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[post_content] => Whether you’re victim to the Von Trapp children’s practical jokes, plotting to flee an orphanage run by the inhumane Miss Hannigan, or simply planning to abandon all negative vibes by broomstick, there are plenty of characters in musicals who undergo a downright bad day. What happens next? Cue that catchy optimistic number that’s bound to get stuck in your head.
What do you get when you mix theatre and a bunch of cats? Well, probably the musical 'Cats', but also the mysterious and adorable underworld of theatre-themed kitty memes. Thank you, Internet. Cuddle up with your favorite fluffy feline and take a look at these purrr-fect memes right MEOW!

That mood when you’ve rehearsed the scene a thousand times.

The Scottish Play has all of us in scaredy-cat mode.

We’d see this production. Front row.

Are you team Phantom of the Opurrra? Or team Rawr-oul?

Because this list would not be complete without an actual ‘Cats’ musical cat meme!

This list would also not be complete without a “Grumpy Cat” meme. Grumpy Cat dreamed a dream and it was probably a nightmare...

Grumpy Cat has no time for glamour cats…

He also has no time for happy endings...

He’s basically just Javert in cat form...

We’d love any of these fluffy furballs to be our right-hand man!

Or should we say “Are you Aaron Burr, Purr?!”

This one is a purr-sonal favorite: the life of a theatre nerd in a nutshell!
“The color of the world is changing day by day.” - Enjolras (Red And Black)
“To love another person is to see the face of God.” - Fantine & Jean Valjean (Epilogue)
“Even the darkest night will end and the sun will rise.” - Chorus (Epilogue)
“At the end of the day you’re another day older, and that’s all you can say for the life of the poor.” - Chorus (At The End Of The Day)
“I dreamed a dream in time gone by, when hope was high and life worth living. I dreamed that love would never die. I dreamed that God would be forgiving.” - Fantine (I Dreamed A Dream)
“Red - the blood of angry men. Black - the dark of ages past. Red - a world about to dawn. Black - the night that ends at last!” - Enjolras (Red And Black)
“The day begins and now let’s see what this new world will do for me.” - Jean Valjean (Overture)
“I know a place where no one's lost. I know a place where no one cries. Crying at all is not allowed. Not in my castle on a cloud.” - Cosette (Castle On A Cloud)
“Bring him peace, bring him joy. He is young, he is only a boy. You can take, you can give. Let him be, let him live. If I die, let me die. Let him live. Bring him home.” - Jean Valjean (Bring Him Home)
10.
“I love him but when the night is over he is gone, the river's just a river.” - Eponine (On My Own)
11.
“'Ow do you do? My name's Gavroche. These are my people, here's my patch. Not much to look at, nothing posh. Nothing that you'd call up to scratch.” - Gavroche (Look Down)
12.
“Nothing gets you nothing. Everything has got a little price!” - Thenardier (Master Of The House)
13.
“Oh, my friends! My friends, don’t ask me what your sacrifice was for! Empty chairs at empty tables, where my friends shall sing no more.” - Marius (Empty Chairs At Empty Tables)
14.
“Do you hear the people sing, singing the song of angry men? It is the music of a people who will not be slaves again. When the beating of your heart echoes the beating the beating of the drums, there is a life about to start when tomorrow comes!” - Enjolras & Company (Do You Hear The People Sing?)
“Take my love, for love is everlasting.” - Fantine (Epilogue)
“Who am I? 24601!” - Jean Valjean (Who Am I)
“There's a new world for the winning. There's a new world to be won.” - Company (One Day More)
“Yet why did I allow that man to touch my soul and teach me love? He treated me like any other, he gave me his trust, he called me brother.” - Jean Valjean (Valjean's Soliloquy)
“Stars - In your multitudes, scarce to be counted, filling the darkness with order and light…” - Javert (Stars)
“Beyond the barricade is there a world you long to see? Then join in the fight that will give you the right to be free!” - Company (Do You Hear The People Sing?)
21.
“And I am Javert! Do not forget my name…” - Javert (Work Song/Look Down)
“Let the wine of friendship never run dry.” - Enjolras & Men (Drink With Me)
23.
“Shall I join my brothers there? When our ranks begin to form. Do I stay and do I dare? Will you take your place with me? The time is now, the day is here... One day more.” - Enjolras & Marius (One Day More)
24.
“A little fall of rain can hardly hurt me now. You're here, that's all I need to know. And you will keep me safe, and you will keep me close, and rain will make the flowers grow.” - Eponine (A Little Fall Of Rain)
“A heart full of love. No fear, no regret.” - Cosette (A Heart Full Of Love)
“On my own pretending he's beside me. All alone, I walk with him till morning.” - Eponine (On My Own)
“Jean Valjean is nothing now, another story must begin!” - Jean Valjean (Valjean’s Soliloquy)
Of the four musicals nominated in 1982, only two actually deserved to win. Those were “Nine” and “Dreamgirls”. The also-rans that season were the cloyingly twee “Joseph and the Amazing Technicolor Dreamcoat” and the obscure honkytonk longshot “Pump Boys and Dinettes.” For the majority of that season, however, “Dreamgirls” had dominated the landscape. The show was a big hit for its producers, The Shubert Organization. Jennifer Holliday’s bombastic turn as Effie White was not to be missed. The show’s director and choreographer Michael Bennett (“A Chorus Line”) had delivered a seamlessly slick production with an unrelenting drive. The show was dynamite.
Then, on the very last day of Tony eligibility, a new competitor arrived. The Nederlander Organization (longstanding rivals of the Shuberts) had opened “Nine”, an intimate musical based on the Frederico Fellini film “8 ½.” The show had practically materialized from thin air. But, man, was it was captivating... and styled with artful restraint by director Tommy Tune. To be frank, “Nine” was downright sexy. Those assets earned the show 12 Tony nominations. “Dreamgirls” earned 13.
On Tony night, the race was neck-and-neck going into the final lap. For Best Director, Tommy Tune (of “Nine”) beat Michael Bennett (of “Dreamgirls”). In an equitable turn, Bennett was consoled by beating Tune for Best Choreography. The presenter for the Best Musical category that year was Lena Horne. “I hope I can read this without my glasses,” she chuckled while tearing at the envelope. “The winner is… NINE!” The audience was SHOCKED. The next morning in The New York Times, columnist Carol Lawson said, “The producers of ‘'Nine’ were jubilant as their show beat out ‘Dreamgirls,’ the lavish musical unofficially based on the rise of the Supremes. For most of the season, which was a particularly weak one for musicals, ‘Dreamgirls’ had no strong competition for the year's awards. But all that changed when ‘Nine’ opened a month ago…” In the end, “Dreamgirls” won 6 Tony Awards -- including one for Jennifer Holliday -- while “Nine” won five. But one of those five was Best Musical, and that’s really the one that matters.
PS: If you want to know more about this fascinating story, I highly recommend Michael Reidel’s book “Razzle Dazzle.” I couldn’t put it down!
Look, a lot of people like to crap all over “Two Gentlemen of Verona.” But I’m here to tell you: they’re wrong. Well, for the most part. No one can deny that the show has a catchy score; it’s tuneful and lively, full of sass and brass. The show’s composer Galt MacDermott (“HAIR”) said his inspiration for its sound was walking down Broadway on a nice day and hearing every kind of music pour out of open windows. The result was an eclecticism that warms like auditory sunshine.
Now, originally that production started out at Shakespeare in the Park. Then after receiving positive notices, it picked up its duds and legitimized itself on a Broadway stage. A STELLAR review from the Times established it as the one to see in 1972. Clive Barnes declared, “Love is in bloom and back in style. It has a surge of youth to it, at times an almost carnal intimation of sexuality, and a boisterous sense of love. It is precisely this that the new musical catches and makes its own.”
Meanwhile, it’s major competition wasn’t proving to be so accessible. Word around town pegged “Follies” as more of an accomplishment than an entertainment -- sort of like a worthy experiment that mostly paid off, even if it was a chore to read the scientist’s findings. Critic Walter Kerr didn’t seem to know what to make of it. The first paragraph of his review called it “exhausting,” and “tedious.” But then by paragraph five he said it was a “huge entertainment.” Still, despite his indecision, the Tony nominations favored “Follies” with 12 and “Two Gentlemen” with only 9.
On the big night, “Follies” had nearly a clean sweep. It took home awards for direction, choreography, lighting, scenery, costumes, score, and for actress Alexis Smith. The only award “Two Gentlemen” won was for Best Book of a Musical (John Guare & Mel Shapiro). That’s why it was such a shock when “Two Gentlemen” took Best Musical. And what a night it must have been for its producer (and founder of the Public Theater), Joe Papp. Not only had Papp produced “Two Gentlemen” -- that year’s Best Musical -- but he had also produced that year’s Best Play -- “Sticks and Bones” by David Rabe.
However, history seems to have revised this decision. Since losing the Tony, “Follies” has received two major revivals on Broadway. Meanwhile, any and all attempts at “Two Gentlemen” have fizzled in the rain.
So, what were the factors that led to this upset? Well, for starters, the prior year “Company” had dominated the awards. “Follies” was another effort by the same collaborators as “Company”, Stephen Sondheim and Hal Prince. This year’s experiment yielded similar results and the voters wanted to support variety. Also, the other big Galt MacDermott show “HAIR” had been ahead of its time and, therefore, didn’t win in its respective year. So, it is possible that this award for “Two Gentlemen” was an act of self-validation by the voters. It was as if to say, “See, we’re with hip! We’re with it… now!”
Personally, though, I think voters were blinded by “Two Gentlemen’s” pure sunshine of a score. Anyway, it sure beats a lot better than “Follies” callused and withered heart.
It’s not easy being green. In fact, according to Ben Brantley of The New York Times, it’s a lot easier being pink. At least it is when you’re Kristin Chenoweth (read: popular). Mind you, Brantley always has been a worshipper of KC. But his review for “Wicked” officially lit the candle at her altar. He even went so far as to declare her the show’s one saving grace. “Be grateful,” he said, “very grateful, that Ms. Chenoweth, who spent a brief exile in the land of sitcoms, has returned to the stage. She provides the essential helium in a bloated production that might otherwise spend close to three hours flapping its oversized wings without taking off… Yet it's hard to avoid the impression that whenever Ms. Chenoweth leaves the stage, ‘Wicked’ loses its wit.”
Needless to say, he didn’t find Idina Menzel to be nearly as appealing. He barely got around to mentioning her before circling back to Kristen. As he put it, “The talented Ms. Menzel will no doubt dazzle audience members whose musical tastes run to soft-rock stations. But for aficionados of the American musical, it's Ms. Chenoweth who's the real thing, melding decades of performing traditions into something shiny and new. 'Wicked' does not, alas, speak hopefully for the future of the Broadway musical. Ms. Chenoweth, on the other hand, definitely does.”
To add insult to injury, it was ruled by the Tony nominating committee (who were likely solicited by the show’s producers) that both Idina and Kristen would be eligible to compete in the same category -- Leading Actress in a Musical. When they were both nominated in that category, it was impossible to think their onstage rivalry didn’t bleed into the wings.
During the campaign, Menzel did have a slight advantage; Chenoweth had already won a Tony for “You’re a Good Man, Charlie Brown” and, let’s face it, Elphaba does way more heavy lifting in “Wicked”. Anyway, most voters thought that the two “Wicked” actresses would split the vote and, therefore, neither would win. That made the front-runner Tonya Pinkins. She was nominated for her breathtaking performance in “Caroline, or Change.” Pinkins had won previously in 1992 for “Jelly’s Last Jam” and a lot of people were saying she deserved it again. She was MESMERIZING as Caroline, the put-upon maid to a Jewish family in a haunting little show about race relations in the 1960s. Mark Swed of the Los Angeles Times wrote of Pinkins, “If you needed no other reason to see [‘Caroline, or Change’], Tonya Pinkins' understated, nuanced performance would supply it. Hers will, I hope, one day be remembered as a Broadway classic for its ability to balance smoldering anger with radiance.”
Alas, come Tony night, it was Menzel took home the trophy -- in which case Pinkins and Chenoweth were the ones turning green.
If there was an award to be given for “Biggest Tony Award Upset in History,” this would easily win. By the time the Tonys finally rolled around in 2004, the statues had practically been engraved for “Wicked.” And, why not? The show was unstoppable. It was a critic-proof juggernaut. Its word-of-mouth was golden, as were its ticket sales (then and in the 15+ years since). When an informal poll was given among Tony voters by The New York Times, the consensus was that “Wicked” would definitely win. But then some naughty puppets got in the way.
The producing office for “Avenue Q” waged an all-out war against its competition. They ran an ingenious campaign encouraging people to, “Vote Your Heart.” They took out full-page newspaper ads and held a pizza party for out-of-town voters. They even distributed CD’s with a new song titled “Rod’s Dilemma.” The song features the entire cast of the show all helping Rod determine how to cast his vote for the new Rotary Club president (“Why not vote for the person who deserves it?”). Promotional buttons for “Q” were distributed at the theater. They even decorated the box office like a campaign headquarters. In total, the effort cost producers around $300,000. And, believe it or not, it worked.
Over the course of the evening, “Avenue Q” won 3 Tony Awards: Best Book/Lyrics, Best Original Score, and Best Musical. These 3 awards are the trifecta; they’re the most important for a new musical to win. “Wicked”, on the other hand, won for Idina Menzel, Best Scenic Design, and Best Costumes. Consequently, “Wicked” director Joe Mantello also won that night, but for his work on “Assassins.”
Still, if I had the retrospective choice between investing in “Avenue Q” and investing in “Wicked,” my green would be on green -- Tonys be dammed. During its run at the Golden Theater before transferring Off-Broadway, “Avenue Q” took in a respectable cumulative gross of $121,918,918. Meanwhile, “Wicked” has earned $1,276,318,914 counting. Fly high, you wicked witches!
Friday, Oct 22, 2021 @6:00pm PDT
Join us... if you dare! A Night to DismemberJoin these monsters, maniacs, and miscreants in a haunting whodunit of murderous mayhem.
These gorgeous ghouls and dashing demons gathered last night at the Castle Von Morgue to celebrate the engagement of their host – Neville Aster-Night – to Lizzie Bordeaux, but now it seems this bewitching beauty is a widow before she's a bride.
Someone put Neville 6 feet under, and it's up to you to find out who it was.
Join us, if you dare, and get ready for so much fun it's frightening!
[post_title] => A Night to Dismember 10-22-21
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