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[post_title] => 'Six' Personality Quiz: Which Wife Of Henry VIII Are You?
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[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.
Pack your suitcase! Here are 11 dream vacations that will entice the theatre nerd at heart:
1. Salzburg, Austria
The hills of Salzburg are definitely alive with the sound of music - which is exactly why they were used for the set of the beloved film about Maria and the von Trapp family. If you’re a movie buff with a soft spot for this classic story, twirl and frolic through the rolling hills of Salzburg.
2. Stratford-upon-Avon, England
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.
3. West End of London, England
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.
4. Athens, Greece
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.
5. Tokyo, Japan
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.
6. Edinburgh, Scotland
[post_title] => 11 Dream Vacations For The Theatre Nerd
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[post_content] => https://www.facebook.com/theatrenerds/videos/2056870281254918/ 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...
1. “Six” - Six
[embed]https://www.youtube.com/watch?v=IMO0_DLhgps&list=PLCOOUY9uAnn82EnBxCXpN6uF9pYVTvBqQ&index=10&t=0s[/embed] Treat yourself like the QUEEN you are! The finale of “Six”, the acclaimed pop-concert musical coming to Broadway in 2020, allows the infamous six wives of Henry VIII to “rewrite” their history, giving themselves the happy endings they deserve.
2. "The Schuyler Sisters" - Hamilton
[embed]https://www.youtube.com/watch?v=mOrpD4wrFkg[/embed] Grab two of your best girls and jam with this fierce trio of ladies. These sisters are sure to *revolutionize* your day for the better. WORK!
3. “I’m Here” - The Color Purple
[embed]https://www.youtube.com/watch?v=h-aAn2u5Pr4[/embed] In this beloved musical, a young woman endures tragedy but prevails in finding her true self and offering some of the most empowering lyrics to date: “I believe I have inside of me everything that I need to live a bountiful life, and all the love alive in me, I'll stand as tall as the tallest tree.”
4. “Defying Gravity” - Wicked
[embed]https://www.youtube.com/watch?v=glsmLGpqMzA[/embed] Whether you’re an Elphaba or a Glinda, it’s time to trust your instincts, close your eyes, and make that leap towards whatever goal you’ve been wanting to achieve. This inspiring song will help… You are unlimited!
5. “(You Make Me Feel Like) A Natural Woman” - Beautiful: The Carole King Musical
[embed]https://www.youtube.com/watch?v=c3SbHGMaj74[/embed] We hear you, Carole, we hear you.
6. “Dancing Queen” - Mamma Mia!
[embed]https://www.youtube.com/watch?v=g1EdpsxAKcM[/embed] Is there a better way to start your day? Or end your day? Or to have a mid-day dance party? Whether you’re jamming solo style in your bedroom or getting ready for a night out on the town with girlfriends, this little ditty is just the one for you.
7. “The Lioness Hunt” - The Lion King
[embed]https://www.youtube.com/watch?v=zVw3jDhWF8E[/embed] Claws out, ladies. This understated choral number from the ‘The Lion King’ Broadway musical is a beautiful tribute to the fierce lionesses of Pride Rock. And it’s awesome.
8. “Cell Block Tango” - Chicago
[embed]https://www.youtube.com/watch?v=0c2bKZMxEQg[/embed] Pop! Six! Squish! This one is for that dude who wronged you… ;)
9. “A Soft Place To Land” - Waitress
[embed]https://www.youtube.com/watch?v=q9pFS1zRxmI[/embed] Sometimes sugar, butter, flour and the soundtrack of ‘Waitress’ is all you need. This modern musical is chock full of powerhouse-lady musical numbers but this particular gem is a favorite of ours. It’s the perfect add to your playlist, especially when you’re seeking relaxation vibes.
10. “I'm Gonna Wash That Man Right Out of My Hair” - South Pacific
[embed]https://www.youtube.com/watch?v=Zzu8ZxBHMWk[/embed] This is our total breakup aesthetic, just saying…
11. “And I Am Telling You I’m Not Going” - Dreamgirls
[embed]https://www.youtube.com/watch?v=tvFh6sBUIeA[/embed] Maybe you’re not going on that date you’re dreading. Maybe you’re not going to work today. Maybe you’re not going to leave your bed this entire weekend. Wherever you’re not going, YOU GOT THIS! (But for real, this is an amazing song. Take a listen.)
12. “Don’t Rain On My Parade” - Funny Girl
[embed]https://www.youtube.com/watch?v=-Yfh_CpA9Sk[/embed] What better way to end the Ultimate Girl-Power Broadway Musical Playlist than with Babs? Perhaps one of the greatest hits from the iconic musical ‘Funny Girl’, this song is a belt-worthy tune all about shutting out the haters and living your very best life. As Barbra would say, “Life's candy and the sun's a ball of butter. Don’t bring around a cloud to rain on my parade!”
Have a show tune you would add to this playlist? Share it with us in the comments below!
[post_title] => The Ultimate Girl-Power Broadway Musical Playlist
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[post_content] => Whipping up a new musical from scratch is an ever-evolving recipe, that is, until it’s not. A group of artists unite to bake a story into its ultimate Broadway form, and while music assists in telling tales in ways most devices cannot, every song doesn’t always make it into the oven. As a show rises into its ideal state, material cuts are practically inescapable. It’s especially heartbreaking when the deleted songs tend to be wonderful, but just don’t serve the story well enough.
In honor of all the fallen tunes out there, we’ve rounded up 10 songs from contemporary musicals that you should add to your library ASAP!
1. “I Don’t Remember Anything At All” – 25th ANNUAL PUTNAM COUNTY SPELLING BEE
[embed]https://www.youtube.com/watch?v=ZheiUsQf5WQ[/embed] It’s our favorite cut moment of the bee! William Finn gifted us so much character-driven music in this colorful show that it’s hard to imagine more. Long before Broadway, Ms. Rona Lisa Peretti had a ballad smack dab in the middle of the show, belting out her glory days at the bee. Not to mention, you should jump at any chance to listen to Lisa Howard’s otherworldly vocals.
2. “The Clouds Will Drift Away” – SPRING AWAKENING
[embed]https://www.youtube.com/watch?v=IPrSp36Hr5s[/embed] This song existed in the original demo recording of Spring Awakening, which was performed by Duncan Sheik. It was later replaced with the haunting "Those You've Known". Here’s the full demos and cut songs playlist.
3.“Beacon of Positivity” – LEGALLY BLONDE
[embed]https://www.youtube.com/watch?v=yGYQsHrVsXs[/embed] This is the original seed that eventually grew up into “Positive.” While we love the way things wound up, there’s something catchy and inspiring about this rough repetitive tune. It’s especially worth listening to for the booming ending!
4. “Costco” – NEXT TO NORMAL
[embed]https://www.youtube.com/watch?v=X8Ckxnu0cuA[/embed] It’s hard to picture any other music existing in this breathtaking Pulitzer Prize winning dram-sical, especially a song about Costco. And yet, a frenzied ode to the wholesale store was in the tracklist shopping cart straight up until its Broadway checkout. Thank the Youtube Gods that you can still see Alice Ripley slaying the number Off-Broadway.
5. “Family Home Evening” – THE BOOK OF MORMON
[embed]https://www.youtube.com/watch?v=txG99YiQcNk[/embed] This tickling demo, sung by none other than Trey Parker, gives us a cute look into the Mormons “home” life. Crank it up if you’re a BOM fan in search of more laughs!
6.“The Truth About the Moon” – NEWSIES
[embed]https://www.youtube.com/watch?v=mlzBcBkTEM4[/embed] What a title, eh? Compared to many of Alan Menken’s magnificently fashioned songs, we understand why this one didn’t make the cut. It doesn’t totally seem necessary as it heavily relies on the show’s main anthem “Santa Fe.” However, it’s still a beautiful song and worth the listen!
7. “Word You Never Heard” – SOMETHNG ROTTEN!
[embed]https://www.youtube.com/watch?v=ll39ftQs4Gc[/embed] So many “rotten” tomatoes were tossed out of this musical comedy that there could be a whole alternative show – oh wait, there is! Something Really Rotten was presented at the glorious sub Broadway hub 54 Below, showcasing all of the songs that did not make the cut from this quirky Shakespearean world. “Word You Never Heard” was hilariously performed by Christian Borle, who won a Tony for his performance as Will Shakes. Another recommendation is the beautiful “Lovely Love,” which almost made it into the Broadway run.
8.“Congratulations” – HAMILTON
[embed]https://www.youtube.com/watch?v=Tkzm3nqrlQ8&feature=youtu.be[/embed] This Lin-Manuel Miranda piece is especially exciting for the Angelica stans out there. “Congratulations” puts our pink-dressed Schuyler sister in a fiery spotlight as she strongly scolds Alexander Hamilton for writing The Reynolds Pamphlet. As many faniltons will tell you, a small slice of this still exists in the blockbuster hit’s song “The Reynolds Pamphlet” today.
9. "In The Bedroom Down The Hall" - DEAR EVAN HANSEN
[embed]https://www.youtube.com/watch?v=cvf1ETgCMN4&feature=youtu.be[/embed] WARNING: Get ready to feel all the feels. Just in case the original DEH soundtrack doesn’t well your eyes with enough tears, the team has released several cut songs from their award-winning show. Oscar and Tony Award-winners Benj Pasek and Justin Paul’s provide particular insight into our map seeking mammas with “In The Bedroom Down The Hall.” This cements yet another reason for seeking out deleted material – you get to know the characters better! Check out this playlist for more cut songs. Sincerely, Theatre Nerds.
10. “Down at the Diner” – WAITRESS THE MUSICAL
[embed]https://www.youtube.com/watch?v=iDhQKOriMPg[/embed] To end this listicle on the same sugary note we started, here’s a sweet cut confection from the musical, 'Waitress'. “Down at the Diner” was originally the show’s opening number, welcoming audiences into Joe’s Pie Diner with that signature Sara country twang we all love.
BONUS: “Someone Gets Hurt” (Original) – MEAN GIRLS
[embed]https://www.youtube.com/watch?v=So7lysKjQ20[/embed] While the current “Someone Gets Hurt” is a fetch dream, we think this original iteration is also, like, really pretty and wanted to include it here. It lives more in the film version of the story, but is chock full of LOL instances that have Tina Fey’s humor permenant-markered all over them.
[post_title] => 10 Songs Cut From Contemporary Broadway Musicals That We Can’t Stop Listening To
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[post_title] => Every Musical 2019-2020 season
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[post_content] => A few years back, we learned that musicals and history make a good match (thanks to a little musical called ‘Hamilton’). Now, theatre is being graced with a new musical-history beast in the form of ‘Six’, the British Olivier-award nominee that will be making its way to Broadway next year opening March 12 at the Brooks Atkinson Theater. The pop concert musical centers around the six wives of King Henry VIII, most known for their gruesome short-lived marriages. This time around, audiences experience history in a new way: through the lens of each respective queen who retells her story in true pop-diva fashion. The result? A captivating, empowering musical experience that will have you rocking out the entire time.
Don't lose ur head! Get down with these important tidbits about 'Six'...
1. You’ve probably heard of King Henry’s ex-wives.
The ladies of King Henry’s court have long been adapted to both literature and Hollywood. Fictional versions such as ‘The Other Boleyn Girl’, ‘The Tudors’ and ‘Wolf Hall’ have introduced modern generations to names like Anne Boleyn and Jane Seymour -- two of the women we see featured in ‘Six’. The show also sheds light on the lesser-known queens, Catherine of Aragon, Anna of Cleves, Katherine Howard, and Henry’s final and surviving wife, Catherine Parr.
2. It’s a true concert experience.
Don’t expect to be sitting in your seat by the end of this show...in fact, rising and rocking out is encouraged during the final musical performance. The cast is small (including only the six featured cast members, plus a live all-female band) and the stage itself is of pop concert caliber. Each woman brings a different style of music to the table, subtly influenced by famous pop artists. Catherine of Aragon and Anna of Cleves both seem to channel their inner Beyoncé (albeit different musical styles from the artist), Jane Seymour belts a heartfelt ballad, and Katherine Howard brings Ariana Grande vibes.
3. It’s got a modern touch.
In this musical, Anne Boleyn uses lingo like “LOL” and Anna of Cleves sings about her profile picture (a.k.a her painted portrait). Need we say more?
4. It has a royally successful future ahead.
‘Six’ first made its debut at the Edinburgh Fringe in 2017 and went on to open Off-West End at the Arts Theatre. Subsequently, its success made way for a UK tour, followed by a recent production in the US at the Chicago Shakespeare Theatre (where it's set to play again in 2020). Along with the Chicago production, the show is set to head to Sydney for its Australian premiere and, of course, to Broadway in the coming year.
5. There is serious girl power.
In the words of the Ex-Wives, they are “Divorced. Beheaded. Died. Divorced. Beheaded. Survived.” In this unconventional retelling of the women known only for being married to a violent king, audiences are introduced to six powerful women, each with more to their story than presented in history books. This tale of empowering Tudor ladies is enough to make anyone say “YAS QUEEN.”Broadway preview performances of ‘Six’ will begin Feb. 13, 2020 and open officially at the Brooks Atkinson Theater on March 12, 2020. [post_title] => YAS QUEEN! ‘Six’ Is Coming To Broadway And Here’s Everything You Need To Know
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[post_content] => 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_date] => 2019-08-13 08:05:42
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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.
Here are five Emmy-nominated television shows that are finding success from theatrical choices:
1. 'The Marvelous Mrs. Maisel'
Creator of the now beloved 'The Marvelous Mrs. Maisel', Amy Sherman-Palladino, and her husband and co-showrunner of the show, Dan Palladino, are loud and proud theatre nerds. Theatre is an obvious passion of theirs without the need to read a single interview though, their work on 'Maisel' and their first hit, 'Gilmore Girls', scream theatre from the dialogue to costumes to heart-racing one shot takes. There aren’t many scenes in 'Maisel' that couldn’t translate to the stage flawlessly, but perhaps it would just be too easy for Sherman-Palladino? Each season of 'Maisel' has enough dialogue to be one day-long play so long as the actors keep up the super-speedy speech required, if talking at a normal pace it’d probably be a two-day event. The volume of material alone is shocking, but for each scene to keep its entertainment value, a gorgeous and accurate aesthetic, honest characters, and meaningful relationship dynamics, 'Maisel' is modern epic.
2. 'Fosse/Verdon'
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.
3. 'Fleabag'
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.
4. 'Killing Eve'
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.
5. 'The Act'
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?
BONUS: 'Game of Thrones'
'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.
Next time you’re feeling blue, belt one of these show tunes to brighten your mood:
1. “Don’t Rain On My Parade” (‘Funny Girl’)
[embed]https://www.youtube.com/watch?v=-Yfh_CpA9Sk[/embed] Don't tell me not to liveJust sit and putterLife's candy and the sun'sA ball of butterDon't bring around a cloudTo rain on my parade
2. “I'm Gonna Wash That Man Right Out Of My Hair” (‘South Pacific’)
[embed]https://www.youtube.com/watch?v=Zzu8ZxBHMWk[/embed] Wash him out, dry him out!Push him out, fly him out!Cancel him and let him go (yeah, sister!)
3. “One Day More” (‘Les Misérables’)
[embed]https://www.youtube.com/watch?v=ydpmzU_i2hg[/embed] Tomorrow we'll discoverWhat our God in Heaven has in storeOne more dawnOne more dayOne day more
4. “Dancing Through Life” (‘Wicked’)
[embed]https://www.youtube.com/watch?v=o3zH5wIlMTk[/embed] Dancing through life Mindless and careless Make sure you're where less Trouble in life Woes are fleeting Blows are glancing When you're dancing Through life
5. “I Have Confidence” (‘The Sound Of Music’)
[embed]https://www.youtube.com/watch?v=JJYz8pyXOG4[/embed] I must dream of the things I am seeking, I am seeking the courage I lack The courage to serve them with reliance Face my mistakes without defiance Show them I'm worthy And while I show them I'll show me!
6. “Wait For It” (‘Hamilton’)
[embed]https://www.youtube.com/watch?v=ulsLI029rH0[/embed] I am the one thing in life I can control I am inimitable I am an original I'm not falling behind or running late I'm not standing still I am lying in wait
7. “You Will Be Found” (‘Dear Evan Hansen’)
[embed]https://www.youtube.com/watch?v=mSfH2AuhXfw[/embed] So let the sun come streaming in 'Cause you’ll reach up and you’ll rise again Lift your head and look around You will be found
8. “Everything’s Coming Up Roses” (‘Gypsy’)
[embed]https://www.youtube.com/watch?v=LXl10a9gJwA[/embed] Well, someone tell me, when is it my turn? Don't I get a dream for myself? Starting now it's gonna be my turn Gangway, world, get off of my runway! Starting now I bat a thousand! This time, boys, I'm taking the bows and Everything's coming up Rose!
9. “Tomorrow” (‘Annie’)
[embed]https://www.youtube.com/watch?v=Yop62wQH498[/embed] The sun'll come out Tomorrow Bet your bottom dollar That tomorrow There'll be sun!
10. “I Got The Sun In The Morning” (‘Annie Get Your Gun’)
[embed]https://www.youtube.com/watch?v=xwDy-XmfwzQ[/embed] Got no mansion, got no yacht, Still I'm happy with what I've got; I've got the sun in the morning and the moon at night.
11. “Put On A Happy Face” (‘Bye Bye Birdie’)
[embed]https://www.youtube.com/watch?v=I_CE7GqqrvY[/embed] Gray skies are gonna clear up, Put on a happy face; Brush off the clouds and cheer up, Put on a happy face.
12. “Seize The Day” (‘Newsies’)
[embed]https://www.youtube.com/watch?v=sMi8pjRg6YY[/embed] Now is the time to seize the day They're gonna see there's hell to pay Nothing can break us No one can make us quit before we're done One for all and all for one!
13. “Non-Stop” (‘Hamilton’)
[embed]https://www.youtube.com/watch?v=DPgE7PNzXag[/embed] Why do you write like you’re running out of time? Write day and night like you’re running out of time? Ev’ry day you fight, like you’re running out of time Keep on fighting
In the meantime
Non-stop
14. “I Believe” (‘The Book Of Mormon’)
[embed]https://www.youtube.com/watch?v=GVJgmp2Tc2s[/embed] And now I can feel the excitement, this is the moment I was born to do And I feel so incredible to be sharing my faith with you
15. “Defying Gravity” (‘Wicked’)
[embed]https://www.youtube.com/watch?v=glsmLGpqMzA[/embed] So if you care to find meLook to the western skyAs someone told me lately"Ev'ryone deserves the chance to fly"
16. “Dancing Queen” (‘Mamma Mia!’)
[embed]https://www.youtube.com/watch?v=MDgFU-MQCHY[/embed] You can dance You can jive Having the time of your life!
17. “You Can’t Stop The Beat” (‘Hairspray’)
[embed]https://www.youtube.com/watch?v=K54VMAmjNSk[/embed] 'Cause you cant stop the motion of the ocean Or the sun in the sky You can wonder if you wanna, but I never ask why And if you try to hold me down I'm gonna spit in your eye and say That you can't stop the beat!
Do you have another show tune that never fails to cheer you up? Share it in the comments below!
[post_title] => 17 Show Tunes To Belt When You're Having A Bad Day
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[post_content] => Tonight 'Game Of Thrones', will be ending after eight years of bloody battles, dangerous dragons and white walkers galore. Fans of the series who share a love for performing arts most certainly appreciate the theatricality of George R.R. Martin's fantasy realm. While the complex world of Westeros would bring challenges to the stage, we can dream!
You're the casting director now! In honor of the season finale, cast your vote on which singing stars should enter the Seven Kingdoms for a "dream" Broadway musical adaptation:
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!
This one is a purr-sonal favorite: the life of a theatre nerd in a nutshell!
Have a favorite theatre-inspired cat meme? Share it with us in the comments below!
[post_title] => Brighten Your Day With 12 Theatre-Inspired Cat Memes
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[post_content] => It's that time of year again! When a bunch of theatre people vote on who were the best theatre people of this theatre season. This time around, 10 musicals and 15 plays have been nominated across the 26 catergories they could've been nominated. The wins won't be revealed to us until June, so take it upon yourselves to choose the winners, according to you! Also fun fact: To Kill a Mockingbird was snubbed for Best Play.
[post_title] => Poll: Cast Your Vote For The 73rd Annual Tony Awards!
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[post_content] => Before ‘Hamilton’ or ‘Dear Evan Hansen’ swept the world by storm, another powerful musical transcended Broadway and found its place in mainstream culture. For decades, audiences across the globe have been filling theatres to witness the incomparable stage experience that is ‘Les Misérables’. This timeless musical, based on the acclaimed novel by Victor Hugo, is loved by many for its emotional tale of hope, forgiveness and humanity.
Here are 27 memorable lyrics from ‘Les Mis’:
1.
“The color of the world is changing day by day.”
- Enjolras (Red And Black)
2.
“To love another person is to see the face of God.”
- Fantine & Jean Valjean (Epilogue)
3.
“Even the darkest night will end and the sun will rise.”
- Chorus (Epilogue)
4.
“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)
5.
“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)
6.
“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)
7.
“The day begins and now let’s see what this new world will do for me.”
- Jean Valjean (Overture)
8.
“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)
9.
“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?)
15.
“Take my love, for love is everlasting.”
- Fantine (Epilogue)
16.
“Who am I? 24601!”
- Jean Valjean (Who Am I)
17.
“There's a new world for the winning. There's a new world to be won.”
- Company (One Day More)
18.
“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)
19.
“Stars - In your multitudes, scarce to be counted, filling the darkness with order and light…”
- Javert (Stars)
20.
“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)
22.
“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)
25.
“A heart full of love. No fear, no regret.”
- Cosette (A Heart Full Of Love)
26.
“On my own pretending he's beside me. All alone, I walk with him till morning.”
- Eponine (On My Own)
27.
“Jean Valjean is nothing now, another story must begin!”
- Jean Valjean (Valjean’s Soliloquy)
Want to share another quotable lyric from ‘Les Misérables’? Comment below...
[post_title] => 27 Memorable Lyrics From 'Les Misérables'
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[post_title] => Quiz: Match These Songs To Their Current Show On Broadway
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[post_content] => Ready to feel all the feels? Want to sob uncontrollably for the next 10 minutes? Keep scrolling for the most feels-inducing theatre moments - both happy and sad!
10. ‘Electricity’ - ‘Billy Elliot’
This song is Billy's answer to the question, "What does it feel like, when you are dancing?" He replies that dancing makes him feel like flying, like he’s lost himself and found himself in one motion, and like there are sparks inside him just beginning to burst him open. If you've ever had a deep passion for anything you love to do, especially performing arts-based, this song is sure to make you smile and feel all fuzzy inside. https://youtu.be/n1Q08xO7Zsg
9. ‘Far From the Home I Love’ - ‘Fiddler on the Roof’
In this song, Tevya’s daughter, Hodel, sings him her struggle of loving Perchik and leaving her home. She loves her family, and once was perfectly happy to remain by them, but now that she is in love, she would go anywhere with Perchik, even Siberia. It’s a simple song, but one that especially hits hard if you’ve recently moved away from your own family. https://youtu.be/E3Pr-6Jfpvc
8. ‘She Used To Be Mine’ - ‘Waitress’
In this stirring song, Jenna Hunterson laments losing her true self over the years. Her abusive husband Earl has just taken all the money she had hidden for her yet-to-be-born child, presumably to spend it on alcohol. She eventually concludes that her baby is reawakening a fire inside her, convincing her to fight for a better life for them both. It's a beautiful and sad tribute to our hero's past self and one that never fails to make me misty-eyed. https://youtu.be/DDDqIxGk9pg
7. ‘You Will Be Found’ - Dear Evan Hansen
At the launch of The Connor Project, Evan Hansen gives a moving speech. Although this speech was based on Evan's made-up friendship with Connor, it still has a huge impact on people even outside of the show. With lines like, "Let that lonely feeling wash away; Maybe there's a reason to believe you'll be okay," and, "you'll reach up and you'll rise again," it's an emotional, uplifting piece about friends being there to help you through dark times. https://youtu.be/mSfH2AuhXfw
6. ‘Who Lives, Who Dies, Who Tell Your Story’ - ‘Hamilton’
After Alexander Hamilton's death, those who knew him gather in a finale to reminisce on their enemy, brother, and husband. They remind us of his genius, and that he didn't live long enough to tell his story. In the end, it's Eliza, his wife, who preserves his legacy. A notable emotional moment is when Eliza is talking about the children in her orphanage: "In their eyes I see you, Alexander." Tears. Every. Time. https://youtu.be/NrMkdZtqiVI
5. ‘For Good’ - ‘Wicked’
The farewell scene between Elphaba and Glinda has always been a tear-jerker. The two witches sing about how each has changed the other for the better, and exchange apologies for their past disagreements. They then part ways, never to see each other again. Who knew one day I’d be crying over the “Wicked Witch of the West”? https://youtu.be/Y8YMfgu92hQ
4. All of ‘Les Miserables’
“Les Miserables” is the perfect name for this sad novel-turned-musical. There is hardly a 15-minute span without death or other melancholy moment through the entire show. For example: "I Dreamed a Dream," "Fantine’s Death/Come to Me," "On My Own," "A Little Fall of Rain," "Empty Chairs at Empty Tables," ...you get it. If you're deep in your feels and craving a sung-through tragedy to cry/sing to, this is your show! https://youtu.be/Wtd4M5nEfsA
3. ‘Finale’ - ‘The Phantom of the Opera’
In the finale of the longest-running Broadway musical, the Phantom realizes that he cannot force Christine to love him, so he sets her and Raoul free. Christine returns to give back a ring that the Phantom had placed on her finger. Overcome with emotion, the Phantom confesses his love for her as she rejoins Raoul. As he wails that the music of the night is over, he disappears, leaving only his mask. I may have listened to the cast album more times than I could count, but I break down every time at the finale! https://youtu.be/RHsKeYhwUwg
2. ‘A Part of Us’ - ‘Once On This Island’
Mama Euralie, Tonton Julian, and Little Girl mourn Ti Moune, the little orphan girl from the tree. In the story told to the Little Girl, the gods rewarded Ti Moune for her love and perseverance by giving her a peaceful end and preserving her for all time as a boundary-breaking tree. Although I knew what to expect from this story, my heart broke and was healed in less than three minutes. https://youtu.be/wX8r--jpICU
1. ‘I’ll Cover You (Reprise)’ - ‘Rent’
The musical "Rent" is laden with emotion, but this song especially gets me into tears. During Angel's funeral, Collins brings back the song "I'll Cover You" with heart-wrenching anguish, promising Angel that he will love him even in death, for "all my life." BRB, sobbing. https://youtu.be/W_5mhPxVfck
Did we make you cry? Did we miss a musical moment that gave you feels? Let us know which one in the comments below...
[post_title] => Top 10 Musical Theatre Moments That Give Us Feels
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[post_title] => Quiz: Which Broadway Musical Princess Are You?
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[post_content] => Did you ever have a day that didn’t turn out the way you’d expected? You’re all dressed up for your big night. For months now you’ve been the talk of the town. The critics love you; the audiences love you, the nominators love you. You already won the Drama Desk a few weeks back, and tonight your show is nominated for more Tony Awards than anything else in the season. Everyone your parents have ever talked to are watching. You deserve this. Truly, you do. And you look mah-velous! Finally, they get to your category. When the presenter says your name on the list of nominees, your date squeezes your hand -- one last vote of confidence, “You got this, babe! I believe in you.” The envelope is torn. And… … they call someone else’s name. I can tell you from personal experience: not winning is a miserable sensation. And it’s especially painful when everybody said you would. But, hey, that’s showbiz. Here are a couple of instances throughout Tony Awards history when people got robbed. They deserved better. Here are their stories...
1. Best Musical: “Dreamgirls” vs. “Nine”, 1982
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!
2. Best Musical: “Two Gentlemen of Verona” vs. “Follies”, 1972
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.
3. Best Performance by a Leading Actress in a Musical: Idina Menzel vs. Tonya Pinkins, 2004
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.
4. Best Musical: “Wicked” vs. “Avenue Q”, 2004
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!
NOTE: Didn’t see your favorite listed here? Please stay tuned! This is a continuing series and more Tony Awards Upsets are on the way.
[post_title] => And The Winner ISN'T: The Biggest Tony Awards Upsets In History (PART ONE)
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[post_content] => Cue those seventy-six trombones because ‘The Music Man’ has found its star-studded Broadway revival. Set to open officially on October 22, 2020, the production will star Hugh Jackman as the iconic Professor Harold Hill opposite Sutton Foster as Marion Paroo. Is there a better duo to take on the song, dance and witty banter of a con-man and rule-following librarian? We think not.
As we await the anticipated Broadway revival, we’re reminiscing over these six reasons to love ‘The Music Man’:
Bringing Broadway to the big screen is hard and many movie musicals undergo brutal scrutiny. After debuting onstage in 1957, ‘The Music Man’ film was released in 1962 and received critical acclaim (we’re talking an Academy Award for Best Musical Score plus five nominations). The movie, starring Robert Preston and Shirley Jones, has since then become a classic.
The 2003 television movie starring Matthew Broderick as Harold Hill and Kristin Chenoweth as Marion gave Broadway-loving theatre nerds life that year. Rather than taking too many liberties as many remakes often do, it stayed true to the heart of the original film. The TV remake also features Victor Garber and Molly Shannon as the town mayor and his eccentric wife.
3. It’s a feel-good story with something for everyone.
Perhaps ‘The Music Man’ has made such waves in both musical theatre and Hollywood because of its simple, sweet and entertaining story. When Harold Hill, a traveling salesman with questionable credibility, arrives in River City, Iowa, chaos ensues. While it’s Hill’s mission to form a marching band that will allow him to sell instruments he does not possess (and flee before anyone catches on to his scam), his time in River City teaches him a thing or two. ‘The Music Man’ is a heartwarming story with something for everyone - life lessons, romance, comedy, and plenty of classic show tunes.
4. It’s got insanely catchy music.
[embed]https://www.youtube.com/watch?v=LI_Oe-jtgdI[/embed] You try listening to "Seventy-Six Trombones" without marching to the beat. Don’t even get us started on “Marian The Librarian”. All we’ve got to say is “Ya Got Trouble.”
5. It’s got some of Broadway’s most beautiful ballads.
[embed]https://www.youtube.com/watch?v=JLDsLeVxOaU[/embed] Decades later, tunes such as “Goodnight, My Someone" and “Till There Was You” still remain memorable and impactful in the world of musical theatre. Their soulful lyrics and soaring melodies have stood the test of time due to their relatable messages on love.
6. There’s a new Broadway revival in the works and we’re ALL about it.
If the “Pick a Little, Talk a Little" ladies of River City could read up on current theatre news, they’d be chatting all about the latest Broadway revival announcement. Playbill reports that a new production of ‘The Music Man’, directed by Jerry Zaks (‘Little Shop Of Horrors’, ‘A Bronx Tale’, ‘Hello, Dolly!’) and starring Hugh Jackman and Sutton Foster in leading roles, will feature choreography by Tony Award-winner Warren Carlyle (‘Finian's Rainbow’, ‘Hello, Dolly!’). The revival is set to open for previews September 9, 2020 and officially open on Broadway October 22, 2020.
Why do you love ‘The Music Man’? Share with us in the comments below!
[post_title] => 6 Reasons To Love 'The Music Man'
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[post_content] => Which musical powerhouse will reign most popular? Vote now.
[post_title] => Poll: Rank Your Favorite Broadway Heroines
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[post_date] => 2019-03-29 11:32:13
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[post_content] => What would Albus Percival Wulfric Brian Dumbledore think of muggle theatre? We think he’d love it! It’s no secret that Hogwarts’ most beloved headmaster was fond of music (J. K. Rowling references this in the series many times) and we can totally picture this great wizard listening to some Andrew Lloyd Webber in his downtime.
Here are 10 magical Dumbledore gifs relatable to every theatre nerd...
1. When you find other people who get your theatre references...
[post_title] => A Day In The Life Of A Theatre Nerd As Told By Albus Dumbledore
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[post_content] => Sometimes, when you see an announcement for a Broadway show, you'll see the phrase: "Directed by [insert director here]" Sometimes, they will show a selection of shows by this person, but not always. This list is for directors who are working hard today, still making art, so you can see what they have done. If I have missed your favourite director. I'm sorry.
[post_title] => Understand 19 Of Broadway's Top Directors Right Now!
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[post_title] => Quiz: Which 'Mary Poppins Returns' Song Should Be Your Motto?
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[post_content] => Our incurable addiction to ‘Hamilton’ is still alive and well (*cue “Stay Alive” track*) and one chronic symptom is browsing tens of thousands of ‘Hamilton’ memes on the reg. If you’re reading this article… you may also have this problem.
Fortunately for you, we’re not throwing away our shot to present these life-giving ‘Hamilton’ memes for your viewing pleasure:
When the Patrick to your Spongebob ALWAYS gets your ‘Hamilton’ references.
Have a favorite ‘Hamilton’ meme? Share it with us in the comments below!
[post_title] => 21 'Hamilton' Memes That Continue To Give Us Life
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[post_content] => Throughout the years, women have written intriguing, provocative works for the stage. Composers such as Jeanine Tesori and Lisa Lambert have won Tony Awards for their musicals, whereas singer-songwriters such as Sara Bareilles and Cyndi Lauper have achieved crossover success with their musicals. With the plethora of authors in more niche circles, here's a list of 30 more female playwrights we want you to know.
1. Annie Baker:
https://www.youtube.com/watch?v=90-M_pOkhEg Baker is best known for her 2013 Pulitzer-winning Off-Broadway play "The Flick." Aside from having written many other Off-Broadway plays, she was a MacArthur Fellow for 2017.
2. Lisa D'Amour:
https://www.youtube.com/watch?v=qrY7mBfgLP0 D'Amour's Off-Broadway plays include "The Cataract" and "Nita and Zita," the latter of which won an Obie Award. Her play "Detroit" was a finalist for the 2011 Pulitzer Prize, and her Broadway play "Airline Highway" received four Tony nominations and three Drama Desk nominations.
3. Sarah DeLappe:
https://www.youtube.com/watch?v=BQWG5E3tyAw Her 2016 Off-Broadway play "The Wolves," which is about a high school girls' soccer team, was a finalist for the 2017 Pulitzer Prize. She has an MFA from Brooklyn College.
4. Margaret Edson:
https://www.youtube.com/watch?v=_QolMf9engU Her play "Wit," which ran Off-Broadway from 1998-2000, earned her the Pulitzer Prize, an Emmy for Outstanding Made for Television Film, and a Tony nomination for Best Revival of a Play. The Broadway production starred Cynthia Nixon, who also received a Tony nomination.
5. Liz Flahive:
https://www.youtube.com/watch?v=BT4NbfyGjwM A graduate from NYU Tisch, Flahive's play "From Up Here" received nominations from Drama Desk and Outer Critics Circle. She has co-produced the shows "Nurse Jackie" and "GLOW."
6. Amy Freed
https://www.youtube.com/watch?v=G_Wd8SGgb4I Her Off-Broadway play "Freedomland" was a finalist for the 1998 Pulitzer Prize. Another Off-Broadway play of hers, the Shakespeare-themed "The Beard of Avon," played Off-Broadway in 2003. More recently, the San Francisco Public Library named her a Library Laureate.
7. Madeleine George:
https://www.youtube.com/watch?v=5ObYh_pZtuk Her 2013 Off-Broadway play "The (curious case of the) Watson Intelligence" was a Pulitzer Prize finalist. Along with Young Jean Lee, Anne Washburn, and Sarah Ruhl, George also co-founded the Obie-winning collective 13P. She is married to Lisa Kron, who co-wrote the musical "Fun Home."
8. Rebecca Gilman
https://www.youtube.com/watch?v=refS_yB9h8k Her best-known works are the Off-Broadway plays "Spinning Into Butter" and "Boy Gets Girl." The former play examines political correctness and racial identity, whereas the latter play examines power dynamics in gender relations. Another play, "A True Story of the Johnstown Flood," was inspired by Hurricane Katrina.
9. Gina Gionfriddo:
https://www.youtube.com/watch?v=ofYct6vDx00 Two of her Off-Broadway plays, "Becky Shaw" and "Rapture, Blister, Burn," were 2009 and 2013 finalists for the Pulitzer Prize. She has also written for "Law and Order" and "Cold Case."
10. DW Gregory
Her plays are tragicomedic examinations of American life throughout history. One of her most famous works, "Radium Girls," is about a group of female factory workers who fall ill with radium poisoning. It is a popular choice among high schools and community theaters.
11. Danai Gurira:
https://www.youtube.com/watch?v=oge6B-2ORQI You might know her as Michonne from "The Walking Dead" and as Okoye in the Marvel Cinematic Universe. Gurira's play "Eclipsed" received six Tony nominations (winning one), and her play "Familiar" won her the Sam Norkin Award from Drama Desk.
12. Leslye Headland:
https://www.youtube.com/watch?v=Sot-NvEoX40 Headland is known for her "Seven Deadly Plays" cycle, in which each play covers one of the seven deadly sins in Christianity. She has directed multiple films, and her Netflix series "Russian Doll," which she created with Natasha Lyonne and Amy Poehler, premieres later this year.
13. Amy Herzog:
https://www.youtube.com/watch?v=gB7-2crhrRA Her Off-Broadway play "4000 Miles" won a 2012 Obie Award and was a 2013 Pulitzer Prize finalist. Her other Off-Broadway plays, including "The Great God Plan," Mary Jane," and "Belleville," each received Drama Desk nominations.
14. Quiara Alegría Hudes:
https://www.youtube.com/watch?v=aWlo4-yace0 Best known for writing the book for "In the Heights," Hudes' Off-Broadway play "Water by the Spoonful" won her the 2012 Pulitzer Prize for Drama. Her most recent musical "Miss You Like Hell," which she wrote with Erin McKeown, played Off-Broadway last year.
15. Lucy Kirkwood:
https://www.youtube.com/watch?v=2JF_H-LDfFA This British playwright has found success on West End and on Broadway. Her most famous play, "The Children," premiered in London in 2016, opened on Broadway a year later, and earned two Tony nominations.
16. Young Jean Lee
https://www.youtube.com/watch?v=V3SX7oh1IiQ Lee has written and directed ten shows for her own non-profit theater company, of which she is the Artistic Director. Her most famous play, "Straight White Men," made her the first Asian-American woman to have a play produced on Broadway.
17. Jennifer Maisel:
Her 2012 Off-Broadway play "The Last Seder" is about a Long Island family coming together during a difficult time. She is a lecturer at USC's School for Dramatic Arts, and has been a Playwright in Residence for The Jewish Women's Theatre Project.
18. Martyna Majok:
https://www.youtube.com/watch?v=pgBUNbqXS_s
This Polish-American playwright won the 2018 Pulitzer Prize for Drama for her Off-Broadway play "Cost of Living." More recently, her play "Queens," which is about a group of immigrant women growing in the New York borough of the same name, premiered Off-Broadway last year.
19. Lynn Nottage:
https://www.youtube.com/watch?v=YcReO9WfWeQ Nottage is the only woman to have won the Pulitzer Prize for Drama twice. Her most recent major play "Sweat" is about a group of factory worker friends who are pitted against each other when layoffs occur. The play received three Tony nominations in 2017.
20. Antoinette Nwandu:
https://www.youtube.com/watch?v=XW_FHrzzq_c Nwandu is a member of the Ars Nova Play Group, and her play "Pass Over," which ran Off-Broadway last year, became a film for Amazon that Spike Lee directed.
21. Suzan-Lori Parks:
https://www.youtube.com/watch?v=BC6ZqMKWEOY In 2002, her play "Topdog/Underdog" made her the first African-American woman to win the Pulitzer Prize for Drama. She then was a Pulitzer Prize finalist in 2015 for her Off-Broadway play "Father Comes Home from the War (Parts 1, 2, and 3)." Her upcoming Off-Broadway play "White Noise" will premiere at the Public Theater in March of this year.
22. Theresa Rebeck:
https://www.youtube.com/watch?v=oENy0bGjIr8 Her Off-Broadway play "Omnium Gatherum," which she wrote with Alexandra Gersten-Vassilaros, was a 2004 Pulitzer Prize finalist. Rebeck has had other Broadway plays, including "Seminar" and "Dead Accounts." Her most recent Broadway play"Bernhardt/Hamlet" is about Sarah Bernhardt's groundbreaking performance as the iconic Shakespearean protagonist.
23. Yasmina Reza:
https://www.youtube.com/watch?v=o9CMmo-PFM8 This French playwright has had two Broadway plays, "Art" and "God of Carnage," which both received Tony nominations. Last year, she published a novel "Elisabeth," which is about a woman whose curiosity and ambition turn her quaint life into a police thriller.
24. Sarah Ruhl:
https://www.youtube.com/watch?v=brr2sxSIooA Two of her plays, "The Clean House" and "In the Next Room (or The Vibrator Play)," were Pulitzer Prize finalists. The latter play received three Tony nominations. More recently, her Off-Broadway play "For Peter Pan on Her 70th Birthday" received its New York premiere in 2017.
25. Laura Shamas:
https://www.youtube.com/watch?v=BVfuKQSFUwU Having earned a Ph. D. from Pacifica Graduate Institute, Shamas has written over 40 plays. She has also published "Pop Mythology," which is an essay collection about mythology and modern life. Shamas is part-Chickasaw, and her works are featured in the Native American Women Playwrights Archive at Miami University in Ohio.
26. Lisa B. Thompson:
https://www.youtube.com/watch?v=bk9bi5bXS3A Thompson is a professor of African and African Diaspora Studies at UT-Austin, whose play "Single Black Female" ran Off-Broadway in 2006. She has had multiple plays receive productions throughout Texas.
27. Lucy Thurber:
https://www.youtube.com/watch?v=VuysFYrBHqQ Thurber is a playwright and opera librettist who has taught at NYU and Sarah Lawrence College. Her plays "Bottom of the World," "Scarcity," and "Tranfers" all received Off-Broadway runs during this decade.
28. Joyce Van Dyke:
https://www.youtube.com/watch?v=GYd3X7HhCAM Van Dyke is a lecturer at Harvard Extension School. Her play "The Women Who Mapped the Stars," which tells of the discoveries made by five female Harvard astronomers, premiered last year in Cambridge. Her Off-Broadway play "Daybreak," originally called "Deported," is about the Armenian Genocide.
29. Paula Vogel:
https://www.youtube.com/watch?v=gYFtGX60doE Vogel is a playwright who was a Creative Writing Professor at Brown University for 24 years. She has written multiple Off-Broadway plays, including "How I Learned to Drive," which received the 1998 Pulitzer Prize for Drama. Her Broadway play "Indecent" won two Tony Awards in 2017.
30. Anne Washburn:
https://www.youtube.com/watch?v=dR01Ez6kFZw She is best known for her 2013 Off-Broadway dark comedy, "Mr. Burns, a Post-Electric Play." Despite a polarized reception, the play one Drama League nomination. Washburn's theatrical adaptation of "The Twilight Zone" is opening on West End in March.
Did we leave off your favorite female playwright? Let us know in the comments below...
[post_title] => 30 Female Playwrights You Should Know
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[post_content] => As dutiful Theatre Nerds, not even the most cynical among us should root for a Broadway show to fail. I mean, what’s the point? First of all, there’s already enough negativity in this world... And, second of all, the closing of a show puts good people out of work -- not to mention all the money that it washes down the drain. Yes, sure -- buying a ticket entitles you to an opinion (how loud you decide to scream that opinion is totally up to you). But, frankly, when a show doesn’t work it’s just plain sad. Ye olde critic for the New York Times Brooks Atkinson shared a similarly sentimental sentiment. As he put it in his review for the doomed 1958 musical “Portofino,” -- “There is something pathetic about a musical show that is hopeless. For the hopeless ones require as much work as those that succeed. There are just as many carnival-colored costumes; there is just as much cheerful scenery. The light cues are just as intricate, and the orchestrations as ebullient. Just as many attractive young people dance their feet off and smile as pleasantly. Everybody has rehearsed just as loyally, as if he were bound to succeed. What makes a hopeless musical show pathetic is the fact that the medium is glamorous and gay.” From there, he went on to tear the show to shreds. Even though we can all agree it’s a bummer to watch a show tank, there is admittedly something gleeful about reading bad reviews. Blame it on the schadenfreude, I guess (wow, I spelled “schadenfreude” all by myself! Thanks, “Avenue Q.”). Most of the time, the more scathing the review, the juicier it reads -- as long as it wasn’t written about you… THIS TIME! Here’s a small sampling of some deliciously cringeworthy snark from theatrical reviews of seasons past. Enjoy -- but try not to gloat... these shows have had it hard enough already.
1. LEGS DIAMOND (1988), 64 Performances
Frank Rich, The New York Times: Far from being a source of ridiculous slap-happiness, ''Legs Diamond'' is a sobering interlude of minimum-security imprisonment that may inspire you to pull out a pen and attend to long-neglected tasks, like finishing last Sunday's crossword puzzle or balancing a checkbook. The script is so confusing I lost its thread before the end of the first number. The unhelpful dialogue, which rarely falls trippingly from the company's highly amplified tongues, sounds as if it had been translated from foreign-language comic books. A typical punchline? ''My girls don't come cheap, and neither do sequins.'' (Actually, these sequins look as if they do.) If there's any mystery to ''Legs Diamond,'' it is the one attending [the show’s star Peter] Allen, not the gangster he purports to play. Here is a performer with a single expression - a pop-eyed, I-dare-you-not-to-love-me grin - and a harsh singing voice as taut as his face. He delivers jokes as if he were a ''Hollywood Squares'' second banana struggling with his cue cards, and his dancing amounts to a few Rockette-style high kicks and a lot of wiggling at the joints. As for Mr. Allen's songs, they are so derivative they make Andrew Lloyd Webber's scores sound idiosyncratic.
2. LENNON (2005), 49 Performances
Ben Brantley, The New York Times: In the immortal words of Yoko Ono, "Aieeeee!" A fierce primal scream -- of the kind Ms. Ono is famous for as a performance and recording artist -- is surely the healthiest response to the agony of "Lennon," the jerry-built musical shrine that opened last night at the Broadhurst Theater.
3. BRING BACK BIRDIE (1981), 4 Performances
Frank Rich, The New York Times: If the first ''Birdie'' was invigorating, the new one is depressing right up until that curtain call. Although its creators have done plenty of fine work since their first success, you'd never guess it from this mess. ''Bring Back Birdie'' is not only far inferior to its predecessor, but it is also woefully tired - as if everyone involved had abandoned hope. Instead of doing ''Bring Back Birdie,'' these people should have brought back ''Bye Bye Birdie.'' Or maybe they should have left their and our fond memories in peace. Though ''Bring Back Birdie'' aspires to bring back everyone's happy youth, it has sent its creators and audience alike crashing into a gloomy middle age.
4. THE CIVIL WAR (1998), 61 Performances
Ben Brantley, The New York Times: In the wake of any war come questions, dazed, wondering questions. What, finally, did we gain from fighting? What did we learn? Why did this conflict have to happen in the first place? Perhaps, then, it is appropriate that the new musical called ''The Civil War,'' whose subject is nothing less than what its grand, stark title promises, should provoke a similar litany of questions. Why are we here at the St. James Theater? What is the point in remaining for more than two hours? Why would anyone stage a show that improbably drains the drama from what is still the most fraught and painful chapter in American history? The show arranges its archetypal elements into confoundingly static patterns, laying out all its cards in its opening minutes and then failing to combine them in ways that would build to revelation or strong emotional response. Though the musical covers the full span of the war, with the names, dates and casualty counts of major battles projected in supertitles, you eventually come to feel that you have been watching the same rotating diorama.
5. TABOO (2003), 100 Performances
Peter Marks, The Washington Post: Experiencing the stultifying "Taboo," you feel as if you could be standing on a shaky pier on the edge of theaterland, waving the SS Broadway Musical goodbye. This sort of sensation comes on those dispiriting nights when big, new, expensive shows bearing all the telltale signs of actual entertainment -- starry names, busy choreography, lighting -- reveal how far the musical has strayed from traditional craftsmanship. During these peculiar events, you find yourself questioning the entire institution of Broadway, wondering whether anyone will ever again levitate an audience with imaginative songs painstakingly woven into a story of bona fide human consequence. The feeling will pass, of course, because the regenerative impulse in your psyche guides you to the memory of a recent success like "Avenue Q," a witty, melodious sendup of urban mores and post-graduation angst. But still, Broadway continues to shelter hokum like "Taboo," a production with such an acute case of meaning-deprivation that you almost forget what's happening as it's happening. The wasted actors -- as in misused -- include the estimable Raul Esparza, playing a cross-dressing London club promoter who narrates this musical-in-flashback. Esparza is so fired-up here you want the stagehands to keep him away from matches; he's a combustible presence, but if the performance were any more intense, it could embarrass even Mandy Patinkin.
6. THE STORY OF MY LIFE (2009), 5 Performances
Adam Feldman, Time Out New York: “The Story of My Life” is a two-man musical with a dual personality. Half of Brian Hill and Neil Bartram’s well-meaning piece examines the tension between memory and fiction, as seen through the lives of two men with a knack for verbose self-reflection; the other half is a collage of cultural platitudes about butterflies, angels and snowflakes. The show can’t decide if it wants to be Stephen Sondheim or a gift shop in Topeka. “The Story of My Life” needs fewer stories and more life. It is hard to imagine that this snowflake of a show will survive in the Broadway drift: It has wings, but it doesn’t have a prayer. --- Ben Brantley, The New York Times: In addition to jettisoning the usual excesses of tourist-trapping extravaganzas, they have tossed away such niceties as originality, credibility, tension and excitement. I don't think it's spoiling anything to tell you that [Malcolm] Gets's character is dead when the show begins. So, for all practical purposes, is "The Story of My Life." And as directed by [Richard] Maltby, [actor Will] Chase (of "Lennon" and "High Fidelity") and Mr. Gets (a Tony nominee for "Amour") sing and act with winning (and, under the circumstances, merciful) restraint. It is to their infinite credit that even when they're extolling the precious glories of snow angels and a butterfly's wings, you don't feel like punching them in the face.
7. CRY BABY (2008), 68 Performances
Ben Brantley, The New York Times: There's no delicate way of putting this. Cry-Baby is ... tasteless. ... When I said "tasteless," I meant without flavor: sweet, sour, salty, putrid or otherwise. This show in search of an identity has all the saliva-stirring properties of week-old pre-chewed gum. --- Clive Barnes, New York Post: The music comes in two rocky flavors -- cheery and droopy. It's the kind of music that makes you wonder whether you've heard it before, just before you stop caring. --- Mary Carol McCauley, The Baltimore Sun: Opportunity knocked last night at the door of the Marquis Theatre, where Cry-Baby is making its Broadway debut. But nobody answered.
8. LEAP OF FAITH (2012), 19 Performances
David Cote, Time Out New York: Want to make a ton of money? Peddle God to fools. Want to lose a ton of money? Invest in a Broadway turkey. You can’t have it both ways. It’s perfectly fine—even desirable—if your religion is crude and nonsensical, but a show as bland and confused as “Leap of Faith” is not going to make rich men of its producers (among whom are actual church leaders). The fake cash distributed by actors to audience members—so we may place it in the offertory baskets at Jonas Nightingale’s revivalist hoedowns—is all the green this wanly tacky production is likely to see.
9. LESTAT (2006), 39 Performances
Ben Brantley, The New York Times: A promising new contender has arrived in a crowded pharmaceutical field. Joining the ranks of Ambien, Lunesta, Sonata and other prescription lullaby drugs is “Lestat,” the musical sleeping pill that opened last night at the Palace Theater. Dare to look upon “Lestat” and keep your eyelids from growing heavier and heavier.
10. HURRY, HARRY (1972), 2 Performances
Clive Barnes, The New York Times: Muggings, massage parlors and disasters such as “Hurry, Harry” have all conspired to give Broadway a bad name. It is so feeble that even its opening is I suppose worthy of congratulation -- lesser men would have given up in the face of the inevitable. But the producer, Peter Grad, and the three people who wrote the book, the man who wrote the music, and the man who wrote the lyrics fought on in spite of everything. It is sad when this kind of thing happens-- sad for the backers, sad for the people who worked for it, sad for the critics forced to pan it. The critic in such circumstances is a particular innocent. Halfway through he is tempted in a paranoid fashion to wonder: “What did I ever do to you guys that you have to give me such a rotten night?’ Oh, well!”
11. GOOD VIBRATIONS (2005), 94 Performances
Ben Brantley, The New York Times: Even those who believe everything on this planet is here for a purpose may at first have trouble justifying the existence of "Good Vibrations," the singing headache that opened last night at the Eugene O'Neill Theater. But audience members strong enough to sit through this rickety jukebox of a show, which manages to purge all catchiness from the surpassingly catchy hits of the Beach Boys, will discover that the production does have a reason to be, and a noble one: "Good Vibrations" sacrifices itself, night after night and with considerable anguish, to make all other musicals on Broadway look good.
12. MARILYN: AN AMERICAN FABLE (1983), 17 Performances
Frank Rich, The New York Times: If you read all the fine print in the Playbill for ''Marilyn: An American Fable,'' you'll discover that the new musical at the Minskoff has 16 producers and 10 songwriters. If you mistakenly look up from the Playbill to watch the show itself, you may wonder whether those 26 persons were ever in the same rehearsal room - or even the same city - at the same time. On top of its many other failings, ''Marilyn'' is incoherent to the point of being loony. I defy anyone to explain - just for starters - why 10 chorus boys dressed in pink plumbers' costumes sing a song about bubble baths at the climax of Act II.
[post_title] => 12 Times The Critics Were Absolutely Savage (But Not Necessarily Wrong)
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[post_content] => Venturing into the happiest place on earth means ordering one too many Mickey pretzels, riding Space Mountain a dozen times, and coming face to face with The Mouse himself - but it can also mean a wide range of live entertainment. While Walt Disney World in Florida and Disneyland in California both offer plenty of fun just by being in their respective parks (themed attractions, parades, characters and fireworks galore!), the resorts are home to a number of exclusive live theatre shows.
If you’re looking to add a dash of theatre to your magical vacation, check out these eight stage shows:
Set amidst the glitz and glamour of Disney’s Hollywood-themed park, “Beauty And The Beast - Live On Stage” is a 25-minute musical that brings the magic of the original film to the whole family. It’s the perfect quick theatre fix if you’re needing a break from long lines or simply need to recover after riding the park’s neighboring Tower Of Terror attraction. You won’t regret checking out this tale as old as time! Location: Hollywood StudiosTimes & Information: HERE
If “Hakuna Matata” is your vacation mantra, stop by the Animal Kingdom, Disney’s theme park celebrating the beauty of nature and wildlife. “Festival Of The Lion King” combines puppetry and a Broadway-style performance to pay tribute to one of Disney’s most classic films.Location: Animal KingdomTimes & Information: HERE
3. Finding Nemo - The Musical
Children of all ages will adore “Finding Nemo - The Musical,” a colorful, visually-breathtaking stage musical tucked into Disney’s Animal Kingdom. It’s one of the resort’s longer live shows with a running time of approximately 40 minutes, and it’s the perfect entertainment if you’re looking to sit and enjoy some fun theatre.Location: Animal KingdomTimes & Information: HERE
4. For The First Time In Forever: A Frozen Sing-Along Celebration
So you know the entire ‘Frozen’ soundtrack and just can’t let it go… If this is the case for you, Disney World’s adorable sing-along celebration is just your cup of hot cocoa. “For The First Time In Forever” is a fun live show (interspersed with visuals from the movie) that includes projected lyrics for your sing-along pleasure. In this audience, you’ll 100% find fans who do want to build a snowman.Location: Hollywood StudiosTimes & Information: HERE
Fans of the famous adventurer will be in awe of Disney World’s popular “Indiana Jones™ Epic Stunt Spectacular!” showcase. Filled with explosions, chaos, bad guys and audience participation, this production centers around recreating the epic stunts and tricks from “Raiders of the Lost Ark.” Location: Hollywood StudiosTimes & Information: HERE
6. Voyage Of The Little Mermaid
This brief 17-minute stage experience combines live performers and puppetry to uncover Ariel's tale. Belting the movie’s most popular tunes, “Voyage Of The Little Mermaid” is a nostalgic walk down memory lane for anyone who spent their childhood wishing to be under the sea. Location: Hollywood Studios Times & Information: HERE
7. Epcot International Festival of the Arts: Disney on Broadway Concert Series
While the Broadway Concert Series at Epcot is available only a limited time during the park’s “International Festival Of The Arts”, it’s a must for Disney-loving theatre nerds. This year’s concert series included live performances by Broadway stars (and Disney alum) such as Adam Jacobs, Ashley Brown and more. Location: Epcot Dates, Times & Information: HERE
Immerse yourself in the kingdom of Arendelle with Disneyland’s stage spectacular, “Frozen - Live At The Hyperion.” This one-hour musical retelling of the film takes place in the California Adventure Park at the regal Hyperion theatre.Location: California Adventure Times & Information: HERE
Have another magical show that you want to recommend? Share in the comments below!
[post_title] => 8 Live Performances You Can See At Disney World & Disneyland
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[post_content] => Listening to cast albums and watching Instagram Live stories are great and wonderful, but what happens when you just need to see Broadway stars in a binge-able way? Here are a few of our favorite stage stars and where you can see them!
“The Little Mermaid” on Broadway’s original Sebastian has his star turn as a wannabe Broadway actor on Netflix’s recently finished “The Unbreakable Kimmy Schmidt.” Titus Andromedon came from the deep south, where boys who wanted to do musical theatre were considered… different. He finally makes it to New York, where he meets Kimmy and Lillian, who encourage him to follow his dreams. This Netflix original series released part two of its final season in January 2019, and is still available to stream.
2. Darren Criss
via GIPHY Our favorite StarKid has been very busy since his starring role as Blaine in “Glee.” He portrayed killer Andrew Cunanan in “American Crime Story: The Assassination of Gianni Versace” in the beginning of 2018. For his unnerving performance, Criss earned a Primetime Emmy, two Screen Actors Guild awards, a Golden Globe, a Gold Derby award, and a whole slew of nominations. You can watch this FX miniseries on Netflix.
3. Meryl Streep
via GIPHY Film’s greatest living actress and the Tony award-winning powerhouse that is Meryl Streep is coming to “Big Little Lies” season two this June. She will star as Mary Louise Wright, Perry Wright’s mother, who comes to Monterey looking for answers. “Big Little Lies” is based on the novel of the same name by author Liane Moriarty. The first season of the hit show is available on HBO, which leaves plenty of time for us to binge watch before the second season hits our screens!
4. Kristin Chenoweth
via GIPHY On NBC’s “Trial and Error,” Chenoweth lets her bubbly persona shine as she plays the first lady of East Peck, Lavinia Peck-Foster, who is on trial for the murder of her husband. “Trial and Error” is a spoof of a true crime series; season one focused on another “trial,” the defendant being played by John Lithgow. This series isn’t currently available to stream (Netflix, we’re looking at you!), but if you’re dedicated, each episode is available for purchase on YouTube, Vudu, iTunes, and Google Play.
5. Viola Davis
via GIPHY The phenomenal Viola Davis from the ABC hit “How to Get Away with Murder” holds the distinction of being the first black person to have earned the “Triple Crown of Acting,” being the trifecta of a Tony, an Academy, and an Emmy award. Davis has garnered high praise for her work as Annalise Keating, a law professor who becomes dangerously ensnared in a murder plot with five of her students. “How to Get Away with Murder” is available on both Netflix and Hulu.
6. Josh Groban
via GIPHY The Tony-winning “tenor in training” landed himself a Netflix original series with Tony Danza, titled “The Good Cop.” Groban is a pathologically “good cop,” whose father was also in the NYPD - but the opposite of good. This is a funny, easy-to-watch comedic crime series, especially if you’re a fan of the classic “good cop, bad cop” trope. Season one is available to stream on Netflix.
7. Nathan Lane
via GIPHY The three-time Tony award-winning superstar plays a recurring role as Pepper Saltzman on ABC’s “Modern Family.” This mockumentary follows a mixed family’s daily life in suburban Los Angeles. Pepper is a flamboyant friend of the married couple Cameron and Mitchell. “Modern Family” is ABC’s longest running comedy series, having been aired since its premiere in 2009. You can stream this sitcom on Hulu or for free on ABC’s website. Whatever you choose to binge, you can support your favorite stage stars along the way! Did we miss your favorite? Leave a comment below...
[post_title] => Here's Where You Can Find Your Favorite Stage Stars On Television
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[post_content] => New year, new you, new TV shows to marathon! Similar to theatre, television breathes life into stories that are important, progressive, tragic, funny, outrageous and joyful. Whether it be through a streamable platform or via a good-old-fashioned network, current TV offers plenty of picks that could translate well to the stage. From the quick-witted antics of Midge in ‘The Marvelous Mrs. Maisel’ to the devious plots of Count Olaf in ‘A Series of Unfortunate Events,’ we’ve rounded up nine shows airing this year that we think deserve a theatrical adaptation:
1. ‘The Marvelous Mrs. Maisel’
Amazon Prime’s award-winning original has swept audiences by storm with its quirky slew of characters, its lovable leading lady, its smart dialogue and its empowering story. Enter Midge Maisel, a spunky housewife living on the Upper West Side of New York City during the 1950s. With a husband, two children, and a wardrobe fit for a queen, Midge’s charmed life seems picture perfect...until her husband unexpectedly leaves, and she stumbles into a whirlwind stand-up comedy career. With a cast of colorful characters and plenty of hilarious mishaps (plus actual comedy routines), ‘Maisel’ is a shoo-in for a fabulous theatrical makeover.
2. ‘You’
The Broadway stage is no stranger to dark comedies and Netflix’s latest creepy series, ‘You’, has the potential to find its place in the theatre world. This psychological thriller quite literally follows Beck, an aspiring writer in New York City, through the eyes of her stalker, Joe Goldberg. While narrator Joe first comes across as your typical all-American guy in his twenties, an unsettling truth starts to unravel. ‘You’ is suspenseful, dramatic and could certainly make for musical material.
3. ‘The Good Place’
Imagine arriving at the pearly white gates of heaven only to find there’s been a mix-up, and you’re not supposed to be there... That’s fate for Eleanor Shellstrop (Kristen Bell) in NBC’s ‘The Good Place’. This light-hearted comedy series is full of silly twists and turns and delivers some meaningful messages too. Give us a choir of singing angels, a dancing Janet, an ensemble number about all of The Good Place’s frozen yogurt joints, and Broadway is sure to be forkin’ blessed.
4. ‘A Series Of Unfortunate Events’
A tap-dancing Count Olaf and some belting Baudelaires - we’re all about the concept of ‘A Series Of Unfortunate Events: The Musical’. This popular children’s book series- turned-Netflix-show has more than enough drama to keep audiences engaged as they watch Violet, Klaus, and Sunny narrowly escape the clutches of one ominous count. (Petition for Neil Patrick Harris to reprise Count Olaf in the Broadway musical?)
5. ‘The Chilling Adventures Of Sabrina’
The life of Sabrina Spellman no longer requires a laugh track in Netflix’s new iteration exploring the highs and lows of being a teenage witch in the normal human world. Based on a comic series of the same name, ‘The Chilling Adventures of Sabrina’ is a revamped, mystical TV show centered around its beloved half-witch, half-mortal heroine. A pinch of music, a dust of magic and a healthy dose of high school drama seems like the perfect brew for a stage adaptation that will give us chills.
6. ‘Pose’
Last year, ‘Glee’ creatorsRyan Murphy and Bryan Falchuk reunited to bring the first season of ‘Pose’ to FX. This distinctive series acts as a commentary on life in New York City for a diverse ensemble of characters during the 1980s. The show includes plenty of music and dives deep into something as simple as someone's everyday life, which is why we think ‘Pose’ would make impactful theatre.
7. ‘The Handmaid's Tale’
While we’re not so sure this Hulu masterpiece lends itself to song and dance, a live retelling of ‘The Handmaid’s Tale’ saga would most certainly be a powerful production onstage. For centuries, theatre has embraced progressive storytelling - and this dystopian society in which women are forced into various roles such as child-bearers (otherwise known as “handmaids”) carries some pretty heavy albeit essential themes. The show does take audiences through different facets of the Gilead republic but focuses primarily on the hardships of one enslaved woman called June. Watching June’s journey unfold onstage is bound to make for a night of thought-provoking theatre.
8. ‘Unbreakable Kimmy Schmidt’
If you’re a fan of Netflix’s wild series, ‘Unbreakable Kimmy Schmidt’, which culminated in January of 2019, you’ve probably watched those Titus Andromedon musical numbers on repeat. Throughout the comedy’s four seasons, Kimmy Schmidt’s best friend Titus (a theatre nerd if there ever was one) continuously makes musical theatre references and even breaks out into song. As for the show’s premise? In the very first episode, Kimmy is rescued from an underground bunker where she was held hostage by a crazy cult leader for the past 15 years, and must then cope with adjusting to modern-day city life.
9. ‘Game Of Thrones’
Winter may be coming for the very last time in 2019, but our fingers are crossed for George R. R. Martin’s massive phenomenon to receive the theatre treatment somewhere down the road. While putting together a production of this scale would undoubtedly prove a challenge (there are dragons after all), experiencing the Seven Kingdoms onstage would be worth it. Though the journeys that take place in this fantasy realm are complex, HBO’s series shares tales of love, loss, family, and the battle between good versus evil. Kisha laz atthirarido… that’s “we can dream” in Dothraki.
Have another show you want to see adapted to theatre? Share in the comments below!
[post_title] => 9 TV Shows In 2019 That Are Made For The Stage
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[post_content] => How well do you know the Book of Mormon?
[post_title] => Book Of Mormon Trivia
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[post_content] => Musicals have been a part of my life for as long as I can remember. Although my mother despises them, I was fortunate enough to have an aunt and cousins who appreciated them and were willing to indulge me. I can't remember how old I was the first time that I saw the Rocky Horror Picture Show--other than to say that I was far too young to be watching it--but that movie changed my life; it stirred within me an intense passion for musicals that has never been quenched. In high school, I made friends with some of the drama kids. It was so cathartic to be around people who understood my passion and to be in a place where there was no judgment. During intermission, we'd jam to showtunes in the dressing rooms. I always ask musical theater fans what their favorite musical is, and I hear all of the standards: Phantom of the Opera, Wicked, Les Miserbles, Hamilton, and Rent, but never have I come across a fellow fan of Miss Saigon. In fact, any musical fan friend I've mentioned it to has said that while they've heard good things about the show, they have not experienced it themselves. The musical is an updated adaption of the opera Madame Butterfly by Giacomo Puccini and features a score by the genius duo behind Les Miserables, Claude-Michel Schönberg and Alain Boubil. It is Broadway's thirteenth longest running show, opening in 1991 after succeeding in the West End in London for 2 years. Filipina singer Lea Salonga made her musical debut as the lead heroine, Kim, at the age of 17. Set during the fall of Saigon during the final days of Vietnam War, the musical tells the tragic story of a young orphan who gets entangled in a world of prostitution and corruption to survive. On her first night as a bargirl at the seedy bar Dreamland, Kim's virginity is bought by a US marine, John, for his friend Chris. Chris is initially reluctant to partake in his gift, but relents, and desperate for any connection, the two fall in love. Chris vows to save Kim from her life of degradation, only for the two to be tragically separated when the US troops were suddenly recalled home. It's a tragic love story that pulls at the heartstrings and despite its risque subject matter, it never comes across as profane, just a sad way of life for these characters. https://www.youtube.com/watch?v=B6PoGJ-YKa0 The score is beautifully done with wonderful songs such as: "Sun and Moon" and "The Last Night of the World" two of Kim and Chris's love songs, as well as "I Still Believe," and the heartbreaking showstopper "I'd Give My Life For You." In 2014, the show was revived in London and fellow Filipina, Eva Noblezada was cast as Kim. Following a successful 2 year run, it transferred to Broadway for a year before closing once more. A film adaption has been rumored to be in the works for years, however, nothing has as of yet, surfaced, though the 25th anniversary performance was filmed and released on DVD in the UK. Having a wide range of shows to choose from, I can honestly say that Miss Saigon is one of my absolute favorite shows. Not only does it showcase the most under-represented culture and ethnicity, but the story is so engrossing that you're sucked right in and your heart breaks along with Kim's. Her journey from scared child to fearless mother willing to die for her young son is captivating and the shocking ending leaves you in tears. This is a story of survival, love, determination, and above all else, strength that is universal to everyone. Why this amazing show isn't more popular among the theater crowd, I will never know. Seriously, if you have not seen this show, or at least listened to the soundtrack, you are missing out. There are very few times before that a show has impacted me as much as Miss Saigon did when I finished the 2014 live recording album for the first time. I am hopeful that the success of both productions of the revival will spur the film adaption on an that the revival cast will get to reprise their roles on screen; Eva Noblezada was born to play this role and after having heard her countless times on the album and seen her in the 25th anniversary live DVD, there is no one else who can do the role justice, besides Lea Salonga, of course. The OBC and 2014 live recordings can be found on Youtube, as well as the 2001 Manila tour production -- featuring Lea Salonga. I was able to find the 25th anniversary movie on a site and download it onto my computer since it was never released in the US on either DVD or digital. Please go and check this show out. Even if it isn't your cup of tea, even if it isn't your new favorite show, it's worth a shot.
[post_title] => Miss Saigon Is An Underrated Gem
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[post_content] => Whether ‘tis nobler in the mind to soak in all the applause onstage or to be the unsung hero of the backstage the decision to act or to tech is a hard one. Here are a couple of questions to ask yourself to make the decision:
1. Where can you best serve the story?
via GIPHY At our core, all thespians have the desire to bring stories to life. As an actor, I have jumped in to help with set movement, costume, props because I was there to help tell the story. Similarly, my former roommate and best stage manager ever has had to play up to four characters (hello college Shakespeare) because our company was too small for a full cast. Theatre is the most collaborative art form; we all should strive to set our preferences aside to make sure that we tell the best story possible.
2. What will help you grow as an artist?
via GIPHY If you have played Simon Stimson in Our Town three times might I suggest that for the fourth you ASM (and no, I don’t mean the onstage one). Though every show is a new production and allows you to approach acting in a different way, sometimes the best way is to get offstage! You can see theatre in a more holistic manner if you are not always so focused in on your character. Similarly, by acting when you typically are designing or directing, you allow yourself to focus in on one character’s choices. This helps me as a costumer--by acting, I exercise my character-choices muscle and help myself see the individuals that make up the company.
3. What brings you joy?
via GIPHY Ultimately, if you do not have fun running around in utter darkness for ten seconds trying to change scenes or if getting up in front of two hundred people to bare your soul, then don’t do it. While you should never rule something completely out before trying it, we call it a play for a reason: you and the audience are meant to enjoy it. There are much easier things one can do and be miserable than theatre. And this can change as you grow as an artist. You might start acting and end up going into design instead (like I did). Experiencing multiple views of the theatre allows you to be a more well-rounded artist. There doesn’t have to be a true “either-or” if you go about it with an open mind. If you are looking for a black and white answer to this question, this is the closest thing I can offer: via GIPHY [post_title] => To Act Or To Tech?
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The best lesson that my theatre teachers in high school could have ever taught me was to keep going even when you think you can’t. Every time that cast list went up and my name wasn’t where I wanted it to be, I was devastated. But I kept showing up. I kept taking on responsibilities and did my best to help out wherever possible.
We all have them. Those teachers who stick with you, even years after you have them in class. Every time you pull out the yearbook, you’re instantly flooded with memories once you come across their picture on the faculty page. These teachers didn’t just teach you what was in the syllabus. They taught you life lessons too. Lessons that stick with you for years after graduation. The very fact that you can recall these teachers shows the enormous impact that they had on you. If you were a theatre kid like I was (and still am), I’m willing to bet that this influential person was none other than your theatre teacher. They were most likely your favorite teacher (or if you had a bad experience, your least favorite). You most likely spent hours upon hours of rehearsals, tech nights, and performances with them. And most likely, they knew way too much about your personal life. If this is sounding a lot like your high school theatre experience, you’re not alone. My high school was huge. Over 2,000 students filled the hallways every day. When you already have a small circle of people you can call friends, those 2,000 classmates can feel like 2,000 strangers. By sophomore year, I was entirely out of options as for where to sit and eat lunch in the cafeteria. I remember one day very vividly. I had become so frustrated with finding a seat in the cafeteria. I had been bouncing around from table to table, trying to find a group of kids that I felt comfortable enough sitting with. Finally, I asked the cafeteria worker for a styrofoam tray and booked it to the orchestra room. I figured it would be better to eat alone in the orchestra room out of sight from the 800 kids sitting in the cafeteria than to put myself on public display as the kid who was sitting alone at lunch. That was when my orchestra teacher and high school musical director poked her head out of her office and asked me what I was doing. Me, thinking I was in trouble, tried to come up with an excuse as to why I was sitting alone in the orchestra room with my lunch. Instead of responding with anger (not that I expected her to), she invited me into her office where we launched ourselves into a discussion about the latest shows hitting Broadway that season. I finished my lunch and headed off to my next class, feeling much better about my day. That one day turned into a series of days eating lunch in my director’s office. Pretty soon, I was eating lunch there every day. I started helping out with things around her office, becoming the second pair of eyes when it came to looking over program revisions for the upcoming spring musical. I took over the responsibility of managing the costume closet that held the various costumes of musicals past. I learned so much about the business behind theatre because my theatre teacher allowed me the opportunity to do so. By the time senior year had rolled around, I took the title of “Student Business Manager.” But by then, it was truly just a formality. Over time, a few of my musical friends had started dropping in. We felt safe in the orchestra room with our musical director. She made us feel included and like we belonged. I know it’s a cliche of sorts to say that your students become your kids, but honestly my teacher was like a second mother to me. Her office was practically a second home for me and a few others. Some of us had pitched in together to buy a Keurig for the back room, further fueling my coffee addiction. At one point there was a panini maker, but once my teacher smelled bacon, she shut that down real quick. Seeing how passionate my teacher was about theatre made me passionate about theatre. She inspired me to pursue this as a career, but most importantly, always keep a love for theatre burning within me. Were there moments where I was frustrated? Sure. Every time a cast list was posted. I never got the part I wanted in the school musical. I was always the sidekick or a featured part. It took me until senior year to finally get even a supporting role. But did I let that stop my passion or the relationship that I had established with my director? No. The best lesson that my theatre teachers in high school could have ever taught me was to keep going even when you think you can’t. Every time that cast list went up and my name wasn’t where I wanted it to be, I was devastated. But I kept showing up. I kept taking on responsibilities and did my best to help out wherever possible. These were life lessons that my theatre teachers were teaching me. What matters more than how you accept victory is how you deal with defeat. I didn’t realize it at the time, but now almost a year following my high school graduation, I do. The remarkable thing is that even though I am graduated and off at college, they are still teaching me. Now and then I’ll find myself shooting off a text or e-mail to an old teacher asking for advice. And they’ll give it to me. Or vice-versa, they’ll check in and see how college is going. That is the sign of a teacher who cares. My high school orchestra teacher wasn’t the only important theatre teacher in my life. I’ve had many, many others. Each of them worthy of an entire article just for themselves. Maybe I’ll share those stories someday. But the fact of the matter is, I have been blessed to have so many significant role models in my life that have shared their love of theatre with me, therefore fostering an appreciation of the art form within myself. Whether you had a positive or negative experience with your high school theatre teacher (and whether you’ll admit it or not), they were fundamental in your development as an artist. Middle school and high school theatre are where we’re first exposed to this great art form. The educators that facilitate these programs in our schools have a tremendous task. They don’t just teach theatre. Theatre is not just acting out words on stage. Theatre is history. Theatre is music. Theatre is a science. Theatre is a math. Theatre is foreign language. Theatre is all of it wrapped in one. Our theatre teachers are tasked with teaching life. That is their importance.
Did you have an influential theatre teacher in your life? Tell us about them in the comments below!
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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[post_content] => https://www.facebook.com/theatrenerds/videos/2056870281254918/ 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.
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! 
Her plays are tragicomedic examinations of American life throughout history. One of her most famous works, "Radium Girls," is about a group of female factory workers who fall ill with radium poisoning. It is a popular choice among high schools and community theaters.
Her 2012 Off-Broadway play "The Last Seder" is about a Long Island family coming together during a difficult time. She is a lecturer at USC's School for Dramatic Arts, and has been a Playwright in Residence for The Jewish Women's Theatre Project.
Frank Rich, The New York Times: Far from being a source of ridiculous slap-happiness, ''Legs Diamond'' is a sobering interlude of minimum-security imprisonment that may inspire you to pull out a pen and attend to long-neglected tasks, like finishing last Sunday's crossword puzzle or balancing a checkbook. The script is so confusing I lost its thread before the end of the first number. The unhelpful dialogue, which rarely falls trippingly from the company's highly amplified tongues, sounds as if it had been translated from foreign-language comic books. A typical punchline? ''My girls don't come cheap, and neither do sequins.'' (Actually, these sequins look as if they do.) If there's any mystery to ''Legs Diamond,'' it is the one attending [the show’s star Peter] Allen, not the gangster he purports to play. Here is a performer with a single expression - a pop-eyed, I-dare-you-not-to-love-me grin - and a harsh singing voice as taut as his face. He delivers jokes as if he were a ''Hollywood Squares'' second banana struggling with his cue cards, and his dancing amounts to a few Rockette-style high kicks and a lot of wiggling at the joints. As for Mr. Allen's songs, they are so derivative they make Andrew Lloyd Webber's scores sound idiosyncratic.
Ben Brantley, The New York Times: In the immortal words of Yoko Ono, "Aieeeee!" A fierce primal scream -- of the kind Ms. Ono is famous for as a performance and recording artist -- is surely the healthiest response to the agony of "Lennon," the jerry-built musical shrine that opened last night at the Broadhurst Theater.
Frank Rich, The New York Times: If the first ''Birdie'' was invigorating, the new one is depressing right up until that curtain call. Although its creators have done plenty of fine work since their first success, you'd never guess it from this mess. ''Bring Back Birdie'' is not only far inferior to its predecessor, but it is also woefully tired - as if everyone involved had abandoned hope. Instead of doing ''Bring Back Birdie,'' these people should have brought back ''Bye Bye Birdie.'' Or maybe they should have left their and our fond memories in peace. Though ''Bring Back Birdie'' aspires to bring back everyone's happy youth, it has sent its creators and audience alike crashing into a gloomy middle age.
Ben Brantley, The New York Times: In the wake of any war come questions, dazed, wondering questions. What, finally, did we gain from fighting? What did we learn? Why did this conflict have to happen in the first place? Perhaps, then, it is appropriate that the new musical called ''The Civil War,'' whose subject is nothing less than what its grand, stark title promises, should provoke a similar litany of questions. Why are we here at the St. James Theater? What is the point in remaining for more than two hours? Why would anyone stage a show that improbably drains the drama from what is still the most fraught and painful chapter in American history? The show arranges its archetypal elements into confoundingly static patterns, laying out all its cards in its opening minutes and then failing to combine them in ways that would build to revelation or strong emotional response. Though the musical covers the full span of the war, with the names, dates and casualty counts of major battles projected in supertitles, you eventually come to feel that you have been watching the same rotating diorama.
Peter Marks, The Washington Post: Experiencing the stultifying "Taboo," you feel as if you could be standing on a shaky pier on the edge of theaterland, waving the SS Broadway Musical goodbye. This sort of sensation comes on those dispiriting nights when big, new, expensive shows bearing all the telltale signs of actual entertainment -- starry names, busy choreography, lighting -- reveal how far the musical has strayed from traditional craftsmanship. During these peculiar events, you find yourself questioning the entire institution of Broadway, wondering whether anyone will ever again levitate an audience with imaginative songs painstakingly woven into a story of bona fide human consequence. The feeling will pass, of course, because the regenerative impulse in your psyche guides you to the memory of a recent success like "Avenue Q," a witty, melodious sendup of urban mores and post-graduation angst. But still, Broadway continues to shelter hokum like "Taboo," a production with such an acute case of meaning-deprivation that you almost forget what's happening as it's happening. The wasted actors -- as in misused -- include the estimable Raul Esparza, playing a cross-dressing London club promoter who narrates this musical-in-flashback. Esparza is so fired-up here you want the stagehands to keep him away from matches; he's a combustible presence, but if the performance were any more intense, it could embarrass even Mandy Patinkin.
Adam Feldman, Time Out New York: “The Story of My Life” is a two-man musical with a dual personality. Half of Brian Hill and Neil Bartram’s well-meaning piece examines the tension between memory and fiction, as seen through the lives of two men with a knack for verbose self-reflection; the other half is a collage of cultural platitudes about butterflies, angels and snowflakes. The show can’t decide if it wants to be Stephen Sondheim or a gift shop in Topeka. “The Story of My Life” needs fewer stories and more life. It is hard to imagine that this snowflake of a show will survive in the Broadway drift: It has wings, but it doesn’t have a prayer. --- Ben Brantley, The New York Times: In addition to jettisoning the usual excesses of tourist-trapping extravaganzas, they have tossed away such niceties as originality, credibility, tension and excitement. I don't think it's spoiling anything to tell you that [Malcolm] Gets's character is dead when the show begins. So, for all practical purposes, is "The Story of My Life." And as directed by [Richard] Maltby, [actor Will] Chase (of "Lennon" and "High Fidelity") and Mr. Gets (a Tony nominee for "Amour") sing and act with winning (and, under the circumstances, merciful) restraint. It is to their infinite credit that even when they're extolling the precious glories of snow angels and a butterfly's wings, you don't feel like punching them in the face.
Ben Brantley, The New York Times: There's no delicate way of putting this. Cry-Baby is ... tasteless. ... When I said "tasteless," I meant without flavor: sweet, sour, salty, putrid or otherwise. This show in search of an identity has all the saliva-stirring properties of week-old pre-chewed gum. --- Clive Barnes, New York Post: The music comes in two rocky flavors -- cheery and droopy. It's the kind of music that makes you wonder whether you've heard it before, just before you stop caring. --- Mary Carol McCauley, The Baltimore Sun: Opportunity knocked last night at the door of the Marquis Theatre, where Cry-Baby is making its Broadway debut. But nobody answered.
David Cote, Time Out New York: Want to make a ton of money? Peddle God to fools. Want to lose a ton of money? Invest in a Broadway turkey. You can’t have it both ways. It’s perfectly fine—even desirable—if your religion is crude and nonsensical, but a show as bland and confused as “Leap of Faith” is not going to make rich men of its producers (among whom are actual church leaders). The fake cash distributed by actors to audience members—so we may place it in the offertory baskets at Jonas Nightingale’s revivalist hoedowns—is all the green this wanly tacky production is likely to see.
Ben Brantley, The New York Times: A promising new contender has arrived in a crowded pharmaceutical field. Joining the ranks of Ambien, Lunesta, Sonata and other prescription lullaby drugs is “Lestat,” the musical sleeping pill that opened last night at the Palace Theater. Dare to look upon “Lestat” and keep your eyelids from growing heavier and heavier.
Clive Barnes, The New York Times: Muggings, massage parlors and disasters such as “Hurry, Harry” have all conspired to give Broadway a bad name. It is so feeble that even its opening is I suppose worthy of congratulation -- lesser men would have given up in the face of the inevitable. But the producer, Peter Grad, and the three people who wrote the book, the man who wrote the music, and the man who wrote the lyrics fought on in spite of everything. It is sad when this kind of thing happens-- sad for the backers, sad for the people who worked for it, sad for the critics forced to pan it. The critic in such circumstances is a particular innocent. Halfway through he is tempted in a paranoid fashion to wonder: “What did I ever do to you guys that you have to give me such a rotten night?’ Oh, well!”
Ben Brantley, The New York Times: Even those who believe everything on this planet is here for a purpose may at first have trouble justifying the existence of "Good Vibrations," the singing headache that opened last night at the Eugene O'Neill Theater. But audience members strong enough to sit through this rickety jukebox of a show, which manages to purge all catchiness from the surpassingly catchy hits of the Beach Boys, will discover that the production does have a reason to be, and a noble one: "Good Vibrations" sacrifices itself, night after night and with considerable anguish, to make all other musicals on Broadway look good.
Frank Rich, The New York Times: If you read all the fine print in the Playbill for ''Marilyn: An American Fable,'' you'll discover that the new musical at the Minskoff has 16 producers and 10 songwriters. If you mistakenly look up from the Playbill to watch the show itself, you may wonder whether those 26 persons were ever in the same rehearsal room - or even the same city - at the same time. On top of its many other failings, ''Marilyn'' is incoherent to the point of being loony. I defy anyone to explain - just for starters - why 10 chorus boys dressed in pink plumbers' costumes sing a song about bubble baths at the climax of Act II.
[post_title] => 12 Times The Critics Were Absolutely Savage (But Not Necessarily Wrong)
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[post_content] => Venturing into the happiest place on earth means ordering one too many Mickey pretzels, riding Space Mountain a dozen times, and coming face to face with The Mouse himself - but it can also mean a wide range of live entertainment. While Walt Disney World in Florida and Disneyland in California both offer plenty of fun just by being in their respective parks (themed attractions, parades, characters and fireworks galore!), the resorts are home to a number of exclusive live theatre shows.
Children of all ages will adore “Finding Nemo - The Musical,” a colorful, visually-breathtaking stage musical tucked into Disney’s Animal Kingdom. It’s one of the resort’s longer live shows with a running time of approximately 40 minutes, and it’s the perfect entertainment if you’re looking to sit and enjoy some fun theatre. Location: Animal Kingdom Times & Information: HERE
Amazon Prime’s award-winning original has swept audiences by storm with its quirky slew of characters, its lovable leading lady, its smart dialogue and its empowering story. Enter Midge Maisel, a spunky housewife living on the Upper West Side of New York City during the 1950s. With a husband, two children, and a wardrobe fit for a queen, Midge’s charmed life seems picture perfect...until her husband unexpectedly leaves, and she stumbles into a whirlwind stand-up comedy career. With a cast of colorful characters and plenty of hilarious mishaps (plus actual comedy routines), ‘Maisel’ is a shoo-in for a fabulous theatrical makeover.
The Broadway stage is no stranger to dark comedies and Netflix’s latest creepy series, ‘You’, has the potential to find its place in the theatre world. This psychological thriller quite literally follows Beck, an aspiring writer in New York City, through the eyes of her stalker, Joe Goldberg. While narrator Joe first comes across as your typical all-American guy in his twenties, an unsettling truth starts to unravel. ‘You’ is suspenseful, dramatic and could certainly make for musical material. 
Imagine arriving at the pearly white gates of heaven only to find there’s been a mix-up, and you’re not supposed to be there... That’s fate for Eleanor Shellstrop (Kristen Bell) in NBC’s ‘The Good Place’. This light-hearted comedy series is full of silly twists and turns and delivers some meaningful messages too. Give us a choir of singing angels, a dancing Janet, an ensemble number about all of The Good Place’s frozen yogurt joints, and Broadway is sure to be forkin’ blessed.
A tap-dancing Count Olaf and some belting Baudelaires - we’re all about the concept of ‘A Series Of Unfortunate Events: The Musical’. This popular children’s book series- turned-Netflix-show has more than enough drama to keep audiences engaged as they watch Violet, Klaus, and Sunny narrowly escape the clutches of one ominous count. (Petition for Neil Patrick Harris to reprise Count Olaf in the Broadway musical?) 
The life of Sabrina Spellman no longer requires a laugh track in Netflix’s new iteration exploring the highs and lows of being a teenage witch in the normal human world. Based on a comic series of the same name, ‘The Chilling Adventures of Sabrina’ is a revamped, mystical TV show centered around its beloved half-witch, half-mortal heroine. A pinch of music, a dust of magic and a healthy dose of high school drama seems like the perfect brew for a stage adaptation that will give us chills.
Last year, ‘Glee’ creators Ryan Murphy and Bryan Falchuk reunited to bring the first season of ‘Pose’ to FX. This distinctive series acts as a commentary on life in New York City for a diverse ensemble of characters during the 1980s. The show includes plenty of music and dives deep into something as simple as someone's everyday life, which is why we think ‘Pose’ would make impactful theatre. 
While we’re not so sure this Hulu masterpiece lends itself to song and dance, a live retelling of ‘The Handmaid’s Tale’ saga would most certainly be a powerful production onstage. For centuries, theatre has embraced progressive storytelling - and this dystopian society in which women are forced into various roles such as child-bearers (otherwise known as “handmaids”) carries some pretty heavy albeit essential themes. The show does take audiences through different facets of the Gilead republic but focuses primarily on the hardships of one enslaved woman called June. Watching June’s journey unfold onstage is bound to make for a night of thought-provoking theatre. 
If you’re a fan of Netflix’s wild series, ‘Unbreakable Kimmy Schmidt’, which culminated in January of 2019, you’ve probably watched those Titus Andromedon musical numbers on repeat. Throughout the comedy’s four seasons, Kimmy Schmidt’s best friend Titus (a theatre nerd if there ever was one) continuously makes musical theatre references and even breaks out into song. As for the show’s premise? In the very first episode, Kimmy is rescued from an underground bunker where she was held hostage by a crazy cult leader for the past 15 years, and must then cope with adjusting to modern-day city life. /cdn.vox-cdn.com/uploads/chorus_image/image/55970699/Helen_Sloan___HBO__Photo_3_.0.jpg)
Winter may be coming for the very last time in 2019, but our fingers are crossed for George R. R. Martin’s massive phenomenon to receive the theatre treatment somewhere down the road. While putting together a production of this scale would undoubtedly prove a challenge (there are dragons after all), experiencing the Seven Kingdoms onstage would be worth it. Though the journeys that take place in this fantasy realm are complex, HBO’s series shares tales of love, loss, family, and the battle between good versus evil. Kisha laz atthirarido… that’s “we can dream” in Dothraki. 
Musicals have been a part of my life for as long as I can remember. Although my mother despises them, I was fortunate enough to have an aunt and cousins who appreciated them and were willing to indulge me. I can't remember how old I was the first time that I saw the Rocky Horror Picture Show--other than to say that I was far too young to be watching it--but that movie changed my life; it stirred within me an intense passion for musicals that has never been quenched. In high school, I made friends with some of the drama kids. It was so cathartic to be around people who understood my passion and to be in a place where there was no judgment. During intermission, we'd jam to showtunes in the dressing rooms. I always ask musical theater fans what their favorite musical is, and I hear all of the standards: Phantom of the Opera, Wicked, Les Miserbles, Hamilton, and Rent, but never have I come across a fellow fan of Miss Saigon. In fact, any musical fan friend I've mentioned it to has said that while they've heard good things about the show, they have not experienced it themselves. The musical is an updated adaption of the opera Madame Butterfly by Giacomo Puccini and features a score by the genius duo behind Les Miserables, Claude-Michel Schönberg and Alain Boubil. It is Broadway's thirteenth longest running show, opening in 1991 after succeeding in the West End in London for 2 years. Filipina singer Lea Salonga made her musical debut as the lead heroine, Kim, at the age of 17. 
Set during the fall of Saigon during the final days of Vietnam War, the musical tells the tragic story of a young orphan who gets entangled in a world of prostitution and corruption to survive. On her first night as a bargirl at the seedy bar Dreamland, Kim's virginity is bought by a US marine, John, for his friend Chris. Chris is initially reluctant to partake in his gift, but relents, and desperate for any connection, the two fall in love. Chris vows to save Kim from her life of degradation, only for the two to be tragically separated when the US troops were suddenly recalled home. It's a tragic love story that pulls at the heartstrings and despite its risque subject matter, it never comes across as profane, just a sad way of life for these characters. https://www.youtube.com/watch?v=B6PoGJ-YKa0 The score is beautifully done with wonderful songs such as: "Sun and Moon" and "The Last Night of the World" two of Kim and Chris's love songs, as well as "I Still Believe," and the heartbreaking showstopper "I'd Give My Life For You." 
In 2014, the show was revived in London and fellow Filipina, Eva Noblezada was cast as Kim. Following a successful 2 year run, it transferred to Broadway for a year before closing once more. A film adaption has been rumored to be in the works for years, however, nothing has as of yet, surfaced, though the 25th anniversary performance was filmed and released on DVD in the UK. Having a wide range of shows to choose from, I can honestly say that Miss Saigon is one of my absolute favorite shows. Not only does it showcase the most under-represented culture and ethnicity, but the story is so engrossing that you're sucked right in and your heart breaks along with Kim's. Her journey from scared child to fearless mother willing to die for her young son is captivating and the shocking ending leaves you in tears. This is a story of survival, love, determination, and above all else, strength that is universal to everyone. Why this amazing show isn't more popular among the theater crowd, I will never know. Seriously, if you have not seen this show, or at least listened to the soundtrack, you are missing out. There are very few times before that a show has impacted me as much as Miss Saigon did when I finished the 2014 live recording album for the first time. I am hopeful that the success of both productions of the revival will spur the film adaption on an that the revival cast will get to reprise their roles on screen; Eva Noblezada was born to play this role and after having heard her countless times on the album and seen her in the 25th anniversary live DVD, there is no one else who can do the role justice, besides Lea Salonga, of course. The OBC and 2014 live recordings can be found on Youtube, as well as the 2001 Manila tour production -- featuring Lea Salonga. I was able to find the 25th anniversary movie on a site and download it onto my computer since it was never released in the US on either DVD or digital. Please go and check this show out. Even if it isn't your cup of tea, even if it isn't your new favorite show, it's worth a shot.
[post_title] => Miss Saigon Is An Underrated Gem
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[post_content] => Whether ‘tis nobler in the mind to soak in all the applause onstage or to be the unsung hero of the backstage the decision to act or to tech is a hard one. Here are a couple of questions to ask yourself to make the decision:
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