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[post_content] => Pack your bags and get that road trip playlist ready! Venturing to America’s most acclaimed regional theaters is something every thespian should put on their bucket list — right after belting a showtune next to Patti LuPone, of course. While plenty of states boast renowned performing arts centers, these six pit stops are known for being cultural landmarks within their respective cities:
This 1993 Tony Award-winning theatre is home to 84 world premieres, 32 West Coast premieres and eight American premieres. Notable works of La Jolla include “How to Succeed in Business Without Really Trying,” The Who’s “Tommy,” “Bonnie and Clyde,” “Jersey Boys” and “Peter and the Starcatcher.” Today, this progressive playhouse continues to bring to life groundbreaking new productions in the sunny city of San Diego. Have your suitcase ready yet?
https://www.lajollaplayhouse.org/
This 1,200-seat theatre has quite the reputation! Nestled in Millburn, New Jersey, the Paper Mill frequently brings in some of Broadway’s best performers due to its close proximity to New York City. Plus, the state theatre of New Jersey has premiered musicals such as “Honeymoon in Vegas,” a little-known show called “Newsies” and, currently, “Bandstand,” starring Laura Osnes and Corey Cott.
https://www.papermill.org/
In a city known for its thriving arts scene, Steppenwolf remains one of Chicago’s best. The intimate venue creates a plethora of new plays and has been a springboard for actors who have gone into the world of theatre, television and film. A Tony Award-winning production of “The Grapes of Wrath” premiered at Steppenwolf, as well as the Tracy Letts stage adaptation of “August: Osage County.”
https://www.steppenwolf.org/
Minnesota’s theatrical epicenter has put on acclaimed productions of Shakespeare and thought-provoking contemporary works. In 1968, the Guthrie’s “The House of Atreus” toured nationally, breaking barriers as the first resident theatre to do so. Today, the facility, which hosts acting classes, professional training and more, has been transformed into a beautiful venue that remains a hotspot for locals and tourists of the Twin Cities.
https://www.guthrietheater.org/
This Ohio playhouse’s history spans over 100 years. Known for kickstarting the careers of stars such as Paul Newman and Margaret Hamilton, this theatre brings lavish, full-scale productions and innovative arts programs to the Midwest.
https://www.clevelandplayhouse.com/
As “the largest company in the country dedicated to American plays and playwrights,” Washington, D.C.’s Arena Stage commissions new plays and boasts a rich history as an ambassador of the regional theatre movement. A series of famous performers and productions have graced this Tony-winning stage, making it a must-see when in the Capital City.
https://www.arenastage.org/
There are so many great regional theaters, we are positive we missed a few!
In spite of it all, we keep coming back, season after season, show after show, because deep down, we love it and wouldn’t have it any other way.
Though it’s now a wide-open space that’s always clean and bustling with tourists and theatre folk, it was very similar to what we think of as an alley when it was first built. In 1913, the Shubert brothers opened two new theatres built back-to-back, the Shubert and the Booth. The spot they chose was right next to the legendary Astor Hotel, which had entrances on both 44th and 45th Street. As per the New York fire code of the day, an alley was needed for vehicles and equipment in case of an emergency. Miraculously, either the Shubert or their architect, Harry B. Hertz, decided to extend the beautiful artistry that adorned the theatres all the way around into the alley, rather than a plain, paved wall, as most other alleyways were at the time.
Half of the alley technically belonged to the Astor Hotel, so a fence was erected to divide them. Two gates were installed at either end, and only theatre employees were permitted entrance. However, this doesn’t mean the alley wasn’t always without commotion. In 1925, The New York Times reported on the “first ever Broadway block party” that took place in Shubert Alley, with Al Jolson himself judging the Charleston dance contest.
In 1930, the Miami Herald, seemingly straight out of a Damon Runyon story, described the alley as “having the color of one of those street scenes from a tropical revue, churning with actors, Broadway reporters, chorus girls and a soupcon of booking agents and costumers. A hurdy-gurdy grinds out tunes, and often a street band adds oom-pahs to the medley. … There is good-natured shoving about, hoots and back-patting. Stars are hailed by first name. Bootleggers are there with their order books. Also racing touts, with hot tips.”
Amazingly, in the 1930s, there was a bus depot called the “Astor Place” stop on a New Jersey bus line on Shubert Alley’s eastern side of the fence.
In 1949, the Shubert leased the eastern side of the alley from the Astor, removed the fence, widened the walkway by 15 feet and opened it to the public. In 1967, the Astor Hotel was demolished, and Shubert Alley was the perfect place for onlookers to watch the demolition. The office building erected in its place, One Astor Plaza, continued to lease its half of Shubert Alley to the Shuberts until it was bought outright at some point. The small, elegant stores that once adorned the street are gone. The only store there now is One Shubert Alley, a small theatrical gift shop in a converted dressing room from the Booth Theatre owned by the same people who run the Theatre Circle Shop down the block on 44th Street.
When Shubert Alley was divided with a fence, the Shuberts decided that instead of leaving the fence blank, they’d put up posters of their newest and upcoming shows. The posters were called “three sheets,” as they were three times larger than the typical one-sheet or Broadway poster known as a window card. In 1949, when the Shuberts fully took over the alley, the fence containing all the posters was removed. Luckily, the posters remained and were moved to theatre-side wall. They remain a staple of Broadway advertising.
Shubert Alley is home to some of the biggest and most loved events of each Broadway season. “Stars in the Alley,” an annual event since 1986, is a free concert presented by the Theatre League. It is usually held the same week as the Tony Awards and presents performances from hit new shows and long-running favorites.
The BC/EFA Annual Flea Market and Grand Auction encompasses not only all of Shubert Alley, but 44th Street and, as of last year, 45th Street, where shows and other theatre organizations sell props, merchandise and other Broadway-themed paraphernalia to raise money for Broadway Cares/Equity Fights AIDS.
Another fan-favorite presented annually in Shubert Alley is Broadway Barks, a charity concert, fundraiser and adoption bonanza created by Bernadette Peters and the late Mary Tyler Moore to promote the adoption of shelter animals.
With all the major changes that have come to Shubert Alley in its more than 100-year history, only one thing has remained a constant: the best parking space in the city. The entrance to the Shubert offices lies in Shubert Alley, and the top brass get to park their cars directly in front of the alley’s entrance. This has been going on since it was built, and Lee and J.J. Shubert would have their limos parked there. This is allowed because Shubert Alley is, and always has been, private property. Indeed, if the Shuberts wanted, they could close it to the public at any time. And, once a year, they do! In order to maintain the private property status, the Shuberts must close the alley to all non-Shubert employees for 24 hours.
With the two landmark theatres’ stage doors, a Broadway gift shop, a restaurant specializing in cheesecake and a quick passageway funneling almost directly into Sardi’s, Shubert Alley was, and still is, the place to meet, greet and star-watch. In 1963, Helen Hayes best summed it up as, “a place where an actor can strut after a successful opening, and the only place in all New York to avoid after a bad one.”
Lyrics: “Some make you happy, some make you sad
Some are quite big, some quite small”
Song Referenced: “Soon It’s Gonna Rain”
Lyrics: “Some are too long, someone just play the song”
In an interview with The Wall Street Journal, Wayne Kirkpatrick revealed that the reference to “The Fantasticks” was accidental. He was playing a chord progression when his brother, Karey, noticed its similarity to one in “Soon It’s Gonna Rain.”
Lyrics: “That sounds miserable
I believe it’s pronounced misérables"
Song Referenced: “Fascinating Rhythm” by George Gershwin
Lyrics: “Feel that fascinating rhythm moving to your feet
Feel your ass gyrating to that titillating beat
You slap your lap, then finger snap
That's when you know it's time to tap”
Song Referenced: “Tonight”
Song Referenced: “Seventy Six Trombones”
At this point in the number, ensemble members general march through center stage, donning costumes and props from the musicals they reference (such as this one).
Lyrics: “It's a musical, whaddaya talk, whaddaya talk
It's a musical, a Seussical? No a musical, with girls on stage”
Lyrics: “It's a musical, whaddaya talk, whaddaya talk
It's a musical, a Seussical? No a musical, with girls on stage”
Song Referenced: “There’s Nothin’ Like a Dame”
Lyrics: “We've got snappy repartee
And the women are risqué
And the chorus boys are kinda gay”
In this section, several members of the ensemble cruise through with sailor hats.
Song Referenced: “All That Jazz”
Song Referenced: “Buenos Aires”
Song Referenced: “Seasons of Love”
Lyrics: Some musicals are very serious
Song Referenced: “Superstar”
Lyrics: “All the glittering musical, a musical”
Song Referenced: “Putting It Together”
This Sondheim tribute is so quick that you might miss it if you’re not paying attention! One measure from “Putting It Together” appears in the song.
Song Referenced: “It’s the Hard-Knock Life”
This iconic one is pretty obvious! Karey and Kirkpatrick revealed to the Wall Street Journal that they had considered cutting the “Annie” reference because of the bulk of homages already in this section of the song.
Lyrics: “It’s a musical for us”
Song Referenced: “Luck Be a Lady”
Song Referenced: “Overture”/”Big Spender”
Song Referenced: “Hello, Dolly!”
Song Referenced: “Memory”
Song Referenced: “The Ballad of Sweeney Todd”
Song Referenced: “I Hope I Get It”
Perhaps the most recognizable, this reference closes the epic number!
Enjoy this read? Then you’ll love Joanna S. Kao’s interactive feature that allows you to reveal each reference while you listen!
[post_title] => A Guide To Every Musical Reference in ‘A Musical’ From ‘Something Rotten’
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[post_content] => Every theatre nerd dreams of eventually writing or working on a Broadway show. However, not every show defies gravity so easily, making it especially harder for newer names to establish themselves. In fact, some shows flop so catastrophically that they are replete with empty chairs and empty tables. To shed some light on some ill-fated productions, here are 15 Broadway (Off-Broadway) shows that closed after remarkably short runs:
This 2007 Broadway musical, inspired by American Idol, was written by Jon Balcourt, who is currently an associate conductor for “Dear Evan Hansen.” Unfortunately, Balcourt’s musical closed after its opening night.
The original 2001 Off-Broadway production of this play ran for four months. The planned Broadway transfer in 2003, a star vehicle for Farrah Fawcett, shuttered after only seven previews.
This 1969 comedy play by Jackie Mason and Mike Mortman set a record at the time for having the most previews on Broadway, opening (and closing) after 97 previews and a single performance.
This 1976 musical, loosely based on Homer’s “Odyssey,” was written as a vehicle for Yul Brynner (“The King and I”) and also starred Joan Diener (“Man of La Mancha”) and Martin Vidnovic (“Brigadoon” revival, “Baby”). The show’s closing notice was posted as soon as the first performance ended.
Not only is this album musically complex, but it’s also a buffet of emotional lyrical content, from the haunting harmonies of “The Chain” to the upbeat breakup track “Go Your Own Way.” Be it an exploration of the band’s complicated history and romantic entanglements or an entirely original storyline with created characters, this album deserves the theatre treatment.
It’s showing that Adele’s work hasn’t been adapted for the stage yet. The powerhouse artist’s second album is emotionally rich and stylistically diverse, with hits such as “Rolling in the Deep” and lesser-known gems such as “I’ll Be Waiting.” There is a story of romance and self-discovery just dying to be told. Plus, the beautiful vocal runs would be a treat for any performer.
While Stevie Wonder is featured in Berry Gordy’s “Motown: The Musical,” the man is a legend and deserves his own complete musical. It was too hard to pick just one album from Wonder’s extensive catalog, so the compromise was to choose an album that offered a sampling from each. “The Definitive Collection” spans three decades of his career and brings with it a variety of musical styles from the ‘60s, ‘70s and ‘80s, including hits like “Signed, Sealed, Delivered, I’m Yours” and “Superstition.”
John Mayer burst onto the scene in 2001 with a well-crafted album containing a level of depth unexpected in a first effort. Known for his storytelling abilities, Mayer’s lyrics set the groundwork for a coming-of-age story ready to be adapted into a heartwarming script. Not sure whether this pop album could be translated into musical theatre? Check out Audra McDonald’s amazing cover of “My Stupid Mouth” to clear up any doubts.
https://www.youtube.com/watch?v=yNNgrGVEeZU
Does this even require an explanation? Queen Bey’s most recent concept album is revolutionizing the industry and provides a solid foundation on which to build a musical around the given theme. The vast array of musical genres Beyoncé’s record incorporates would allow for variety in the score. The world is ready for Beyoncé to take over another stage and dominate.
Joni Mitchell is another phenomenally talented woman, and this album contains gorgeous melodies and an Olympic-sized pool of emotion. Given her affiliation and entanglements with other musical legends, including James Taylor and Graham Nash, there is certainly a story of some kind buried in this album.
First things first, the stage version of this album must contain a character with a red mullet. After losing him this year, a stage show based on David Bowie’s work would be the perfect tribute to a man who cared so deeply for music and the profound effect it could have on an audience. This weirdly wonderful album, which includes favorites such as “Starman,” holds the threads of a story and contains orchestrations that would fill a theatre and transport viewers into the beautiful world inside Bowie’s 1970s mullet-encased head.
The “Glee” tributes to Michael Jackson were some of the best musical moments on the show, proving how amazing a stage musical of the artist’s hits would be. Some of Jackson’s best and most popular works are housed in the “Thriller” album, including “Billie Jean” and the album’s self-titled track.
Ask any musical composer, and they will name the musicians who inspired their work and influenced their style. So, while the call for original work is still out, there is room on Broadway stages to pay homage to the artists who have composed the soundtracks of our lives.
Whether you work backstage in costumes, props, sound or one of the many other departments, your specific movement and job during the show is defined as a track. For instance, you might be on the Stage Right (SR) Deck Track if you move sets on the right side of the stage. You may be on the Female Ensemble Dresser Track if you dress women in the ensemble. The word “track” is added so that those working around you know the movement you make in the show and/or where to locate you if there is a problem.
The wig team at a Broadway show keeps everyone’s hairpieces looking absolutely pristine with upkeep and restyling/resetting happening on most show days. In addition, in order to ensure wigs and other hairpieces don’t start to look messy during the actual performance, the wig team helps the actors get them on and off during quick changes and throughout the show. They also check in with performers after big dance numbers and/or portions of the show where wigs could be affected. This way, those who wear the wigs always look their best.
Most shows that require many costumes and/or changes among a large group of people create a bunker-like area in the wings, behind the stage curtain or in the basement of the theatre. These bunkers are essential to ease costume storage, since many Broadway dressing rooms are too small to hold a lot of costumes, and to help keep the actors close to the stage during quick changes. The wardrobe dressers are then assigned to many of these areas during the performance to help the actors change their clothes.
Just like the choreography happening onstage, backstage movement is as intricately choreographed. Backstage technicians from all departments work together during tech to make sure they all move set pieces, costumes and props in a set pattern. This “dance” ensures everyone has the opportunity to do their jobs in the time allotted so no one gets hurt and the show looks seamless onstage. Then, once the backstage choreography is figured out among the technicians, it is set in stone and carried out the same way every performance.
Broadway theatres may look opulent and large from the audience side, but backstage is not at all glamorous and offers very little room to play with. Since wing and backstage space is usually small, much of the scenery is stored hanging from the ceiling and flown in on sides of the stage in the wings, placed on tracks and then moved onto the stage during the scene change. This work is done by the stagehands, and it certainly is not for the faint of heart. Many set pieces can be large, bulky, awkward and difficult to move.
Because no one knows how long a show will run or when your next gig will be once a show closes, people who work both onstage and backstage multitask with other jobs or ventures to stay afloat and financially secure. Many are also teachers, coaches, exercise/dance instructors, artistic team members or backstage personnel of other productions, or they own businesses, wait tables, do temp work, do administrative jobs and much more.
Backstage workers do “daywork” (as defined by the wardrobe department) and “work calls” (for all other backstage personnel) during the daytime hours. With eight shows a week, everything tends to get a lot of wear and tear. In order to keep a show looking like it did when it first opened, this time is needed to reset and repair costumes, props, set pieces and more.
Fun activities such as Dollar Saturday, door holiday decoration contests, Secret Santa and more are all participated in by those who work backstage and onstage. Activities like this help break up the monotony of doing eight shows a week and doing the same track daily.
All moving parts that you see onstage are usually controlled by the automation department, which, in most cases, is someone in the basement or back of the house running the computer, which controls the machinery. Once this person is given the cue by the stage manager, he or she pushes a button on the computer and things onstage move. It’s not as easy as it seems. One wrong moving part at the wrong time or a computer glitch can have a domino effect. The scenery may not fly in or out or roll onstage at the right time. It can also cause possible problems for the actors who have to maneuver around the scenery as it enters and exits the stage.
Sometimes there is a makeup department on a show. Other times, those that work in the wig department also do the makeup. And, other times, there is no makeup department at all. Pictured here is the “Lion King” cast. Their makeup is very specific, and thus, that show has a team that helps them to apply it. On other Broadway shows, the performers will do their own makeup after getting some basic instruction during tech from the creative team about how they want the performers’ faces to look. This is why it’s imperative for performers to know how to apply their own basic makeup for the stage, because you may still have to do your own, even on Broadway.
The festival is chock full of high-caliber talent. So much so, in fact, that in 2012, Stratford production of “Jesus Christ Superstar” was brought to New York, launching the Broadway careers of festival favorites Paul Nolan and Chilina Kennedy. And there’s certainly more where that came from. Beyond the actors, dancers and professional directors behind them, the production value of each show is sensational, with beautiful sets and costumes worthy of any Broadway stage.
The wide selection of shows provides something for everyone. Every year, the festival stages a show from each genre: musicals, family, Shakespeare, comedy and drama. It also promotes new work by debuting world premieres, including those by Canadian playwrights.
For the price of some Broadway tickets, it’s possible to see multiple shows at the Stratford Festival. To encourage attendance, the festival offers discounted tickets, promo codes and package deals. Because of show timetables, festival attendees can see numerous shows in the space of a weekend.
Throughout the season, the festival offers pre-show talks with members of the cast and artistic teams. In years past, it has also offered workshops, such as learning a dance from the show. Festival members teach these workshops during the day before the show.
Visitors to the festival can also sign up for backstage and behind-the-scenes tours of the theatres and theatrical archives, where they’ll learn about the finer details of running a production.
The Stratford Festival also supports arts education, offering ticket packages and workshop options to schools, and a weekend conference in October for educators looking for guidance on how to better incorporate the arts into their programming.
The city of Stratford is a well-groomed tourist destination. Visitors can embark on a road trip through the Ontario countryside or hop on a bus or train from Toronto. Come for the day or stay for the weekend at one of the local hotels or charming inns.
The downtown streets are lined with adorable shops and restaurants. Treat yourself to some shopping at the local artisan shops or indulge your sweet tooth at the famous Rhéo Thompson Candies, which has been making chocolate and treats for almost 50 years.
The summer weather is a great opportunity to stroll the streets, gardens and parks. Enjoy a picnic or boat ride by the picturesque Avon River, and in the fall (the festival runs until the end of October), take in the gorgeous colors as the trees change.
https://www.youtube.com/watch?v=EOgGEEhSwvg
So, grab a group of friends this summer and get ready to indulge in some fantastic theatrical productions, courtesy of your friends in the Great White North.
Serve up this refreshing beverage at your next Wicked-themed cast party. Find the recipe here
These tasty umbrella cheese treats are practically perfect in every way. Get more “Mary Poppins” ideas here
These nostalgic 1950s treats will get you hand-jiving in no time. Besides, sweet and salty go together like rama lama lama ka dinga da dinga dong. Check out more ideas here
These roses inspired by “The Phantom of the Opera” will make any Christine melt for any Erik. Get the recipe here
Who could forget the famous Bend and Snap from “Legally Blonde?” It’s certainly a moment worth toasting! So, next time you get tickets to the show, say “Cheers!” and sip this tasty treat. For those below 21-ers, orange juice will make for a good substitute for a delicious mocktail! Find the recipe here
You’ll be saying, “Feed me, Seymour!” after you bake these “Little Shop of Horrors” cupcakes for your next cast party. Find out how to make them here
Don’t worry, there aren’t any kitty cats in these — it’s just a traditional English meat pie! This is just the thing to get you in the mood for “Sweeney Todd” rehearsals. Find the recipe here
Whose mouth didn’t water after seeing and hearing about all the delicious pies made in “Waitress?” It’s a creation of the imagination for sure. Get the recipe here
Dave Malloy, Josh Groban, and Rachel Chavkin[/caption]
TN: That moment when Natasha and Pierre do intersect in the show for the first time is very profound and meaningful. It works very well onstage.
DM: Josh Groban and Denée Benton are incredible in that scene, and then Rachel Chavkin’s staging is so beautiful. One of the things I really love about the show is it really rides this huge rollercoaster from incredibly intense, spectacle scenes where there are actors running around literally the entire theatre. But then the end of the show, it really boils down to these two characters. Everything becomes simplified, and they’re just standing on the stage. I think the staging of that scene is beautiful.
TN: When approaching writing the musical, what was the first songs you wrote for the show?
DM: I think the very first song I fully wrote was “Pierre,” for Pierre’s first big entrance. Because at the time, I was playing Pierre, so writing from my own voice was one of the easier things. That was the first song, and then it kind of set the tone for the rest of the show.
TN: Right, that song used to be the opening of the show. Then the “Prologue” was written later on, correct? That song definitely helps introduce the characters to the audience and helps you keep track of who’s who.
DM: Yeah, the prologue was one of the last songs to be written. I was very stubbornly holding out because I thought “Pierre” should be the first song. Then, all of my collaborators and people who were coming to the workshops were like, “I really think we would understand things better if we knew who all the characters were.” So I joke I wrote “Prologue” out of spite, but the song definitely works in the show.
TN: “Dust and Ashes” is one of my favorite songs from the show. I saw you had written this song as the production was heading to Broadway. What made you add this song to the show?
https://www.youtube.com/watch?v=sRnK5mQiQ6c
DM: After I had left the show and was no longer playing Pierre, I got to watch the show from the outside a little more. I felt like not having me in it, not having the composer play Pierre, I just became more aware of the fact that Pierre disappeared for a little too much of Act 1. Then, when we started talking to Josh Groban, it felt like such an incredible opportunity with him joining the show. I felt like, of course if Josh was joining the show, of course I need to write him this showstopping aria for him to use his instrument on. So when Josh came on board, it was such a gift for me as a composer to revisit that character and to kind of fill in some of the holes that were left in the original production. It’s at the point where I now can’t believe we ever did the show without that song.
TN: Given that there was so much to work with in the novel, were there any songs or scenes that did not make the show?
DM: Oh, totally. In the novel, Natasha’s father is in Moscow with them. But in adapting, you’re just trying to streamline things and make the storytelling as clear as possible. It just felt like for that, Marya D. was filling all the needs as an authority figure in Natasha’s life. There’s also an amazing bit in the novel about this French tutor who lives with the Bolkonskys. Her whole thing was amazing, but it got cut as well.
We just wanted to focus on Natasha and Pierre and what served their story best. Some of the characters, like particularly Bolkonsky and Helene, were kind of simplified a bit, just in the fact that what was important about those characters was how they serve the characters of Natasha and Pierre for this adaptation. In the novel, they’re richer and more fully developed characters. It would be amazing to do that, too, but there are only so many hours this show can be.
TN: I just have to talk about the set a little bit. I’ve never walked into a theatre and been immediately consumed into a whole new world. I feel like it was is an intimate experience for the audience. Was it always the plan to make this a very immersive show? I can’t imagine it otherwise.
DM: Absolutely. That was the design from the very beginning when we began at the Ars Nova, and that was an 87-seat theatre. Obviously with that small of a space, it was much simpler to make sure every audience member was having a one-on-one interaction with a cast member at some point and felt like they were in the middle of the action. It just felt like such a core and central part of our production. As we started looking at bigger spaces and started transferring from Off-Broadway to Broadway, the director, set designer and I just insisted that stay. We weren’t going to transform the show into a proscenium and non-show. It just felt against the DNA of the show we created. So, yeah, that was always a challenge.
It felt like, if we wanted to go to Broadway, how do we do that? Our scenic designer, Mimi Lien, looked at so many different theatres over the years. Mimi has set designs drawn on cocktail napkins for like 10 or 11 different Broadway theatres. We just always knew this was something we weren’t going to compromise on. We needed to move our production and keep that immersive setting, or we weren’t going to do it. It was never an option to change the show. I’m sure someday someone will make an amazing proscenium version of the show, and I totally support that. But for our production, it’s just such an integral part of it.
TN: After playing Pierre in all of the Off-Broadway productions, you are taking on the role again in the spring on Broadway. How do you feel about getting back into that role? Do you have a different mindset this time around?
DM: What’s so nice about this is the last time I played Pierre, it was also while we were opening the show Off-Broadway. I was also very much active as a writer, composer and orchestrator. I still had all those hats on while I was playing Pierre as well. It was a little hard spreading my energy amongst all those different departments. Now I get to step in and just focus on the acting and the singing, which will be so fun. I feel like I can really sink deeper into the role. And I get to learn this gigantic new song, and I’m really looking forward to working with Rachel on that. She is such an incredible director. She makes me such an incredible actor.
The other thing I’m looking so forward to is that I’m just so glad to go in now when the original cast is still there. I get to play alongside my old friends who have been with the show since Ars Nova. And I get to play alongside Denée, whom I adore. It will be such an honor to just perform with her. So yeah, I’m really looking forward to it. It’s going to be fantastic.
TN: Last, what do you want the audience to leave with after seeing this show?
DM: As a creator, I feel like that’s a dangerous question to have. If you’re trying to prescribe what the audience should feel, you’re probably going to fail. For me, it’s putting on something that’s as honest and joyful and is as pure to me and my collaborators as possible. I feel like putting that up is the goal. And audiences will take lots of different things away from it. I know some audiences walk away and are just so dazzled by the spectacle of it. Other audiences walk away just profoundly moved by the emotion and the characters and the journey they take. I feel like it can either be a very loud show or a really quiet show depending on the frame of mind when you see it.
What Malloy and the company of “Natasha, Pierre and the Great Comet of 1812” have captured onstage is truly magical. This is definitely a show you don’t want to miss.
Get tickets HERE
And, if you want to see Malloy as Pierre in his Broadway performing debut, check out the dates he’ll be performing HERE.
[post_title] => Interview With Dave Malloy: Creator Of ‘Natasha, Pierre, And The Great Comet of 1812’
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[viralQuiz id=39]
[post_title] => Quiz: What % Schuyler Sister Sass Are You?
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[post_content] => Everyone has their favorite onstage couple. Be it Tony and Maria, Collins and Angel or even Hamilton and Eliza, love stories remain an integral part of the theatrical world. A show can unfold in a fantastical place or a distant historical past, but the love story can transcend all of that and connect with audience members.
My personal favorites were always the stories of the couples that survived the ups and downs and triumphantly scored their happy ending in two and a half hours. If only real-life romances followed Broadway run times. While they didn’t happen in two and a half hours, there are still many love stories to come out of Broadway over the years.
Six-time Tony Award winner Audra McDonald got a second chance at love in 2007 when she met her now-husband, actor Will Swenson. The pair met during a revival of “110 in the Shade,” which saw McDonald nominated for a Tony Award for her role as Lizzie Curry. Swenson was the understudy for Starbuck, Lizzie’s love interest, but clearly, McDonald saw him as a leading man. The couple married in 2012 at their home in New York. There’s nothing like a showmance with a fairytale ending!
This adorable twosome surprisingly did not meet while working together, even though David Burtka had several guest appearances on Neil Patrick Harris’ popular TV show, “How I Met Your Mother” and both have done theatre work in New York.
Their first meeting was on a street corner in New York when Harris ran into a mutual female friend who was out with Burtka at the time. In true “When Harry Met Sally” fashion, Burtka was in a relationship at the time, so when the two met again at a viewing party for the first season of “American Idol,” they decided to hang out as friends.
But, much like Harry and Sally, Burtka’s relationship eventually ended, and it became clear that the attraction between them was undeniable. While Harris was the first to admit love to an unsure Burtka, it was Burtka who first proposed one evening on the way to an event. Granted, Harris proposed the following year, so now they’re even. The two have been together for over a decade, now balancing hectic careers with raising their adorable twins, Gideon and Harper — and doing it all with style.
You might remember Eli Wallach from one of his later film roles as the adorable elderly neighbor who turns out to be a Hollywood legend in “The Holiday.” In reality, Wallach and his wife, Anne Jackson, were one of the legendary couples of American theatre. These two lovebirds took to the stage together many times throughout their long careers. In fact, the stage is where they first met in 1946, when they were both cast in a Tennessee Williams production. They married two years later and had three children.
Juggling parenthood and careers, they remained dedicated to their joint love of the stage, often giving each other respectful feedback after performances and continuing to look for opportunities to work together. The couple continued acting together and apart until Wallach died in 2014 and Jackson died in 2016.
Like many modern love stories, Broadway actors Jeremy Jordan and Ashley Spencer were first introduced through Facebook. After their online connection, the two opt to meet for a first date at a New York restaurant. After some liquid courage, Jordan banished his reserved side, and with the help of late-night karaoke, the romance blossomed. The two are now enjoying married life and busy careers.
“Hamilton” actor Leslie Odom Jr. and wife Nicolette Robinson are both riding the high of successful stage careers after several years together as struggling actors. This New York couple’s story actually began in Los Angeles when Odom Jr. was working as Billy Porter’s assistant director on “Once Upon This Island.” Robinson showed up to audition, and Odom Jr. was instantly taken with her.
Robinson lost the role to another actress, but after a cast member was forced to drop out due to a death in the family, Robinson was cast, and it was up to Odom Jr. to get her caught up on the show. Their fast friendship soon turned to romance, and now the married thespians are expecting their first child. You can see this adorable couple get romantic in the music video for Odom Jr.’s sultry song, “Autumn Leaves.”
https://www.youtube.com/watch?v=kVJAc3nxhqY
The story of Julie Andrews’ 41-year romance with writer/director/producer Blake Edwards is proof that love can be found just about anywhere. The two met in passing on the way to their mutual therapist. After spotting Andrews in her car, he rolled down his window and spoke to her. It was a second marriage for both of them, and they adopted two young girls from Vietnam, growing their blended family that included children from previous marriages. They enjoyed a long and happy life together until Edwards’ death in 2010.
Another couple to survive the showmance, Orfeh and Andy Karl have been going strong since 2000. The couple met during the Broadway adaptation of “Saturday Night Fever” and have been conquering New York stages ever since. When Karl joined the cast of the show in progress, the two were immediately taken with one another. After a quick five-month courtship, they were engaged (Karl hid the ring in a box of Chinese takeout before he got down on one knee). It just goes to show you can’t fight fate. They even went on to play love interests in the smash musical “Legally Blonde.” After 17 years together, they’re as enamored as ever and continue to be each other’s biggest supporters.
Speaking of love at first sight, Tony Award nominee Christopher Jackson was head over heels when he first laid eyes on his now-wife at a reading for what later would become “In the Heights.” A chemistry test for the in-development show took fiction to reality when Jackson finally got up the courage to ask her out. The rest, as they say, is history. The two are now enjoying marriage and parenting their two children while advocating for autism research and awareness.
Whether it’s love at first sight or finding a match the second time around, these relationships are proof for even the most disbelieving that love exists outside of the stories and true romance continues long after the curtain closes.
Katie LaMark[/caption]
Growing up in a music family in Boston, LaMark had never thought about doing anything but theatre, yet it wasn’t forced onto her. She just fell in love with it through exposure, with her first memory being watching a taped version of Mary Martin in “Peter Pan” before seeing it live through a local theatre. The dream of being onstage never left her, as she went on to get her BFA in musical theatre from Syracuse University, which led her to her current role in the national tour of “Rent.”
LaMark is very modest when it comes to her role in “Rent.” One of the ideas that she stressed as we talked was that Maureen really has an easy role, yet she’s getting spoiled with lots of love and accolades. Maureen only has a couple of songs to belt out and then is really not part of the show for the rest of the time. It’s really the ensemble that works the hardest in her mind. When you see the show, she wants you to pay attention to how much they do, especially during one segment where three of the ensemble members have 30 seconds to run across the stage, change into police costumes and be on the balcony.
As “Rent” continues its national tour, LaMark is looking forward to a future in theatre. When asked about her dream role, she gave two answers. She automatically said she’d love to play Dot in “Sunday in the Park With George,” but she doesn’t feel that she is old enough to play that role yet. However, the role she really wants to play hasn’t been written yet. She’s adamant that her perfect role would be to originate a strong female lead who is successful from the very beginning of the show. She said she feels most of the stories about strong women are very much about how they are helped by men to become successful, which doesn’t send a very strong feminist message.
Follow LaMark’s career by checking out her website and following her Instagram!
Post by Ashli Meynert
[post_title] => Katie LaMark Jumps Over The Moon In 'Rent'
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[post_content] => Part of the magic of putting on a big Broadway-style musical are the performers coming offstage and onstage at lightning speed with a change in costume. However, accomplishing a costume quick change is no easy task. Here are some tips so you can pull off one just like the Broadway pros do:
Ernie Charles[/caption]
Ernie Charles is an actor, writer, producer and business owner of Entertaining Taxes, where he is an enrolled agent who specializes in tax preparation specifically for performers. He has represented entertainment professionals in several IRS audits, appeals and collection cases and knows the tax world backward and forward. We sat down with him to ask him about some dos and don’ts for actors at tax time.
TN: What are five things actors are usually surprised to hear that they can write off at tax season?
EC: Usually, they are more surprised by what they can’t write off. But actors often miss some simple business expenses that are allowed. According to IRS code, the expense should be an ordinary and necessary business cost. I’m going to name six, but there are more.
Is there anything more romantic than Paris? Even though the Paris in “Les Misérables” is arguably pretty bleak, they still manage to yank a love story out of all that death and misery. Instead, think the romantic Paris of “The Phantom of the Opera” or “An American in Paris.”
Stroll along the Seine like Jerry and Lise, or visit the Palais Garnier, which inspired Gaston Leroux’s original novel-turned-musical, “The Phantom of the Opera.” Don’t forget to buy yourself a baguette or a French pastry and eat it while relaxing on the lawn near the iconic Eiffel Tower. You won’t regret it.
The picturesque Austrian city is the birthplace of Mozart and the setting for the famed Rodgers & Hammerstein musical , “The Sound of Music.” The city is rife with museums, culture and, of course, music.
No trip to Salzburg would be complete without taking part in one of the movie tours for “The Sound of Music,” visiting filming locations and shamelessly singing every corresponding song.
Get a taste of the Pride Lands while visiting this gorgeous African country. Book a safari to Kruger National Park, one of Africa’s largest game reserves. Just like “The Lion King,” Kruger is home to rare African wildlife, including lions, elephants and rhinos. If you’re feeling extra adventurous, head to Cape Town and climb Table Mountain, or relax on one of its stunning beaches.
In the heart of the famous Tennessee city is Beale Street, now a historical landmark, where many musicians got their start. The street is home to several restaurants and blues clubs, like the one where Huey and Felicia meet for the first time in “Memphis.” Visitors can enjoy the musical sites, such as Stax Records and Elvis Presley’s famous Graceland Mansion, or take in a museum or attraction, such as the city’s Walk of Fame.
The capital of the Republic of Ireland is also the setting for Glen Hansard and Markéta Irglová’s beautiful musical “Once.” Immerse yourself in Guy and Girl’s world, strolling the iconic cobbled streets or ducking into one of the countless local pubs for live music by some of Dublin’s most talented artists. Explore Dublin’s rich history at the local libraries and landmarks, or venture outside of the city and take in the gorgeous Irish countryside.
There is no shortage of inspiration in this gorgeous gathering of art and culture, the setting for Adam Guettel’s “The Light in the Piazza.” This enchanting Italian city in the famous region of Tuscany is a feast for the senses. Visit the Uffizi Gallery, home to some of the world’s greatest Renaissance art, where Clara finds love at first sight with local boy Fabrizio. Be sure to treat yourself to a gelato or five and stroll through the streets, taking in the historical landmarks and gorgeous architecture.
Shrouded in secret and steeped in mystery, this historical Russian city has long been a draw for tourists. The story of the Romanovs that has fascinated the world for years serves as the premise for Broadway’s new musical, “Anastasia.” Marvel at the city’s striking colorful architecture and visit the palaces belonging to the tsars of old. At night, take in one of Russia’s famed ballet productions at the Mariinsky Theatre.
Donna and Sophie’s island home in “Mamma Mia” is nothing short of envy-inducing. Indulge in your fantasies and book a trip to the sun-kissed islands of Greece. Set up camp relaxing on one of the beautiful beaches or cruise through the various islands and enjoy the beautiful scenery, delicious local eats and welcoming communities.
Home of the famous West End theatre district, it seems obvious to recommend catching a show there, but it’s still worth mentioning. Then, channel your inner Mary Poppins by feeding the birds in the square of St. Paul’s Cathedral or follow the lead of the Banks children and escape to one of the city’s many parks, such as the famous Hyde Park. London in no way lacks tourist attractions or local history. The hardest part will be trying to see it all.
Rodgers and Hammerstein sure know how to choose a locale. In their famed musical “The King and I,” British schoolteacher Anna comes to Siam and falls in love with the king and his homeland. Experience Anna’s exotic journey by traveling to the same nation, now known as Thailand. From the colorful city of Bangkok, filled with its beautiful palaces to the beautiful Buddhist temples of Chiang Mai or the white-sand beaches of Phuket, there is something for every traveler.
The city that never sleeps is also the origin of countless epic musicals — not to mention one of the hottest spots in the theatre world. Needless to say, New York is always a good time. In between Broadway shows, stroll the streets of the city where the newsies delivered their papers or explore the Washington Heights neighborhood from “In the Heights.” You can also take a tour of the real-life locations of Alexander Hamilton’s life. The choices are endless. If you are lucky and keep an eye out, you might even catch a glimpse of your own favorite Broadway performer as you navigate the busy streets.
This year, why not let your favorite characters activate your wanderlust and spark your vacation dreams? Who knows, the adventure may inspire a musical of your own.
This show is based on a 70-page section of Leo Tolstoy’s “War and Peace.” Prior to seeing this show, you may have only heard of this novel as being one of the longest books you could ever read. I don’t think too many people thought a book like this could ever make it to the stage, as there are endless characters and multiple storylines to keep track of.
This is perhaps why the show only focuses on a very rich and intimate part of the novel. The musical only portrays a chunk of the original novel (Volume 2, Part 5, to be exact). Within this section, the innocent and engaged Natasha falls for the dashing and secretly married Anatole. There is also Pierre, an old family friend of Natasha and brother-in-law to Anatole, who is trying to find his purpose in life. Though some of the characters from the novel don’t make it into the show, this musical stays fairly true to the book.
Similar to “Les Misérables,” this musical is based on an epic novel and is completely sung-through. For this show, it works incredibly well. Ironically, this show is also at the Imperial Theatre, where the “Les Misérables” revival was just a couple of years ago. Because this plot has so much depth and so many characters, it was hard to imagine how it would transfer to the stage.
As Brittain Ashford (Sonya) said at the stage door when asked whether the cast was nervous about bringing this unconventional show to Broadway, she said director Rachel Chavkin had two words to say about that: “Les Mis.”
If you are at all familiar with the Imperial Theatre, chances are you no longer are. The entire theatre has been completely transformed for this show. You can no longer see the original stage, and there are multiple ascending staircases, runways throughout the audience for actors to dance on, tables and more seating onstage to make the whole theatre feel like a Russian bar. Not to mention, all the walls are draped in red fabric and covered in old paintings to really set the mood and the time period.
Then there is the lighting. Aside from the beautiful chandeliers meant to mimic comets throughout the theatre, there are also little tables in the audience with lamps. You are totally surrounded and feel very included in the show. This is all without mentioning that there is also a rave at one point.
For about 20 members of this cast, this is their Broadway debut. Many members of the cast have been with the show for the past few years through its different Off-Broadway and Off-Off-Broadway renditions. This show features a very interesting ensemble because not only are they singing and dancing, but most of them also play instruments.
Ensemble aside, the two principal leads are also fairly new to Broadway. For Denée Benton, who just graduated from Carnegie Mellon in 2014, this is her Broadway debut. She gives a beautiful performance as Natasha. She also plays against Josh Groban, who is making his Broadway debut as well. He truly shines as Pierre, and his voice is amazing live. He also plays the piano and an accordion throughout the show.
While he was recognized worldwide as Wolverine, Hugh Jackman swapped his claws and brooding emotion for sparkles and sequins to make his Broadway debut. In the lead role of Peter Allen, Jackman won a Tony Award for “The Boy From Oz.” He loved the experience so much that in 2006, he reprised the role for the Australian arena tour, directed by “High School Musical” and “Hocus Pocus” legend Kenny Ortega.
Fun Fact: For some audience members, it was hard to shake Jackman’s “X-Men” vibe. “During ‘The Boy From Oz,’ there was one scene where I was kissing Jarrod [Emick], who played my boyfriend,” Jackman told The New York Times, “and an audience member yelled, ‘Don’t do it, Wolverine!’ I lost it. I literally lost it. The whole audience loved it. I mean, you can’t deny Wolverine.”
Catherine Zeta-Jones won the Best Leading Actress Tony Award for her portrayal of Desiree in this musical. Starring alongside the incomparable Angela Lansbury, the actress poured her heart into the performance, notably nailing Sondheim’s song, “Send in the Clowns.” Now, if only we could get her and Renée Zellweger to star in “Chicago!”
Fun Fact: Zeta-Jones told Playbill that she hopes to play Mama Rose in “Gypsy” on Broadway one day.
Emma Stone earned rave reviews for her turn as Sally Bowles in the revival of “Cabaret.” She took over the part after Michelle Williams and starred in the show with Alan Cumming.
Fun Fact: The star has revealed in various interviews that the role is a huge reason she was cast in “La La Land.” When Damien Chazelle (the film’s writer and director) saw her onstage in 2014, he immediately pictured her as the lead in his musical film. Stone also said that performing on Broadway helped her have the confidence to accept the role in the now-acclaimed “La La Land.”
When it was announced that this cult favorite would be opening on Broadway, fans had high hopes. Of course, Neil Patrick Harris didn’t disappoint, and even won a Tony Award for his transformation into Hedwig.
Fun Fact: Since the cast was so small, Harris had three adjoining dressing rooms backstage: a pink room where he got made up, a relaxation room with a couch and a physical therapy room to warm up in, according to Vulture.
While Matthew Morrison is no stranger to Broadway, he was considered to be the more bankable replacement for Jeremy Jordan when “Finding Neverland” hit New York City. However, the “Glee” star conjured up a magical performance as J.M. Barrie, delighting audiences and earning a Drama Desk Award nomination.
Fun Fact: In an interview with Broadway.com, Morrison said the choreography was so challenging to execute night after night that he started taking ice baths.
Photo Credit: New York Post[/caption]
Jennifer Hudson took her bounds of live experience to Broadway, making her Broadway debut as Shug Avery in a revival of “The Color Purple.” Although the Oscar winning performer said that “being a celebrity” was a big reason why she was hired, her charming performance delighted lucky attendees.
Fun Fact: According to Broadway Black, Hudson initially thought it was “weird” that she was called to play Shug, as she related more to Celie in her heart. However, she soon realized that she had some of Shug’s fire in her.
There is so much weight in The New York Times calling a performance “absolutely wonderful.” Josh Groban made his Broadway debut as Pierre in this musical adaptation of “War and Peace.” He left viewers intoxicated and was even named Broadway.com’s “Star of the Year” in 2016.
Fun Fact: Groban fell into the orchestra pit one night during a heated scene. “I kept stomping and stepping forward, and I didn’t realize where my feet were,” he recalled in an interview with The Guardian. “Usually I’m a little further back. I missed because the strobe lights are so disorienting. I said, ‘You bully! You scoundrel!’ It was like a vaudevillian slapstick routine. I fell smack-dab right onto the drumset. I had fat padding on, so I didn’t feel a thing. But my ego was bruised.”
The “Saturday Night Live” alum assumed King George’s throne this year, doing the impossible and making “Hamilton” even better. Taran Killam kills it as the pompous tyrant in his Broadway debut.
Fun Fact: Killam was extra nervous to step into the king’s heeled shoes, not only because it’s, well, “Hamilton,” but because he’s friends with Lin-Manuel Miranda and the show’s director, Thomas Kail. He told The New York Times, “I don’t want to let my friends down, more than anything.”
You might say that Ben Platt is “pitch perfect” in “Dear Evan Hansen.” The film star originated the show’s title role as far back as its Washington, D.C. tryout in 2015. Now on Broadway, Platt plucks at the heartstrings of audiences night after night in what’s being called a can’t-miss performance.
Fun Fact: Platt’s dad is famed producer Marc Platt (“Wicked,” “La La Land”). He encouraged his son to follow his bliss when he recognized his passion.
Glenn Close began her career on the stage but hit celebrity status in the 1980s for her Oscar-nominated turn in “The World According to Garp” and later, the box office smash “Fatal Attraction.” To ‘90s kids, she eventually became feared for her performance as Cruella de Vil in “101 Dalmatians,” for which she was nominated for a Golden Globe.
Needless to say, by the time Close starred as Norma Desmond in the American premiere of “Sunset Boulevard” in Los Angeles in 1993, she was incredibly well known. A year later, the star opened the show on Broadway with such buzz that the production broke the record for the highest advanced ticket sales at that time. In 1994, Close won a Tony Award, and now, she’s back reprising her role and is better than ever!
Fun Fact: After “Sunset Boulevard” first closed on Broadway, Close was haunted by the role. She felt like Norma was with her daily while she would do “mundane things” such as pack her kid’s lunch and drive her to school. “It was as if Norma was sitting across from me saying, ‘Children? Sandwiches? Where am I?’” she told NBC New York.
Did you love “Smash” and all the inside scoop into the rehearsal process for “Bombshell?” Well, why don’t you do the same? Film short rehearsal clips and have all the cast members post them on their social media feeds. Of course, make sure to put the link to buy tickets at the bottom of the video as well.
Whether on video or in written form, interviews are a great way to get to know your cast and generate interest in your upcoming school musical. Make sure to keep your questions related to the show, because asking the leading lady what her favorite color is isn’t exactly going to help sell a ticket. Post short sound bites to Twitter and Instagram and the longer interviews on Facebook. You can even go live on Facebook or Instagram and show interviews in real-time. Make sure to have the person being interviewed give a shout out about the performance information and how to buy tickets.
Have those students handy with iMovie put together a montage or documentary-style movie about the history of the musical you’re mounting. Members of the cast can even host! You can add Broadway production photos found online to make the video fun and interesting (just remember to give credit to applicable parties at the end of the video to cover copyright). And, don’t forget to make sure to link to where your viewers can buy tickets to your school production.
Take your viewers on a journey through all the nooks and crannies of the stage areas, hidden traps, dressing rooms and light booths. This will help entice those watching to want to see what happens onstage during the performance. A great tip is to make sure to end the tour at the box office, so your followers know that’s the place to buy tickets.
Everyone loves free stuff, or what insiders like to call “swag” in the performing world. So, why not hold contests or giveaways that include fun souvenirs that have to do with the school musical? T-shirts, mugs and cast-signed posters are great examples of giveaway items that are easy to make with the help of an artistic or tech-savvy company member. Make sure your items contain the show information so those who win or those who see the winners wearing or using your swag know when your musical is happening and how to get tickets.
Use social media to plug the show by offering specific discounts to your followers. The audience will keep coming back to your social media feeds to see which new discounts have become available and hopefully make a purchase. Not only is this a great way to generate buzz for your school musical, but you’ll sell tickets before you even open. How awesome is that?
Don’t you love those trivia games on Facebook, Twitter and Instagram? Why not be creative and post some trivia on your school musical? Not only will a game keep your followers engaged, having fun and learning something about your upcoming show, but it may also entice them to join you at the performance or spread the word to other friends not on your feeds. With a simple Google search, you can find many websites and programs that can help you set up the perfect trivia test, or create one of your own using one of your computer-savvy castmates. Last, make sure to include links to performance information with every trivia post.
A lot of the time, the stuff that happens behind the curtain is just as interesting as what happens onstage. You can use social media to show videos and pictures of the stage set being built, the costumes being sewn and the lights being hung. You can even interview those working offstage to get an idea of what their particular jobs are like in making your school musical look and sound amazing. These posts are rewarding because your viewers can start to understand the whole process of how a musical is put together. People will be more inclined to buy a ticket so they can see what the final product will look like.
Use a song from the show and create a music video. It can be within the confines of the show or something completely different. Either way, make it fun and include many of your onstage and backstage company members. A music video will get your viewers talking and singing along and hopefully lead them to buy tickets so they can hear the rest of the score in all its glory during your performance.
Choose performers or backstage participants to do a photo scrapbook of their day from going to class through rehearsal and/or doing a performance in the evening. These photos can be shown all together in a collage or posted over the course of a day or week on your social media pages. Not only does it create some great content to advertise your school musical, but it also shows the audience how wonderful and challenging it is to work as a performing artist.
Though people had mixed reactions to the casting of Emma Watson and Dan Stevens in this film, we can all agree that casting Josh Gad as LeFou was, in a word, perfect. This “Book of Mormon” star is also a Disney vet at this point, becoming a household name through his performance as “Olaf“ in “Frozen.” Check out Gad’s singing chops and pure hilarity in the song “Gaston.”
https://www.youtube.com/watch?v=UAT1RenTAeI
Does Audra McDonald even need to audition for her roles anymore? This dynamic lyric soprano is known for her performances in “Ragtime,” “A Raisin in the Sun” and “Porgy and Bess” but she’ll be knocking off more than socks as the Garderobe in this Disney classic. You may recognize her from the “Grey’s Anatomy” spinoff “Private Practice,” but you haven’t lived until you’ve heard her distinctive voice completely slay anything it touches. Just give the new tune “Aria” a listen and see for yourself.
https://www.youtube.com/watch?v=UoYZOA99aRk
Ewan McGregor is a movie-musical veteran at this point; who could forget his stint as the lovestruck poet Christian in “Moulin Rouge?” In this film, you’ll catch him telling jokes and doing tricks with his fellow candlesticks as Lumière. Get ready to watch him prove that the greatest thing to ever learn is just to love and to be loved in return — surrounded by a castle full of singing kitchenware.
Luke Evans will be a little more familiar to theatre nerds across the pond, as he starred in “Rent,” “Miss Saigon” and “Piaf” in the West End before he charmed America with his role in “Clash of the Titans.” Evans’ good looks and powerful voice will make you forget for half a second that he’s supposed to be the villain in this movie. In this role, he definitely goes to show that “no one sings like Gaston” as well.
Boasting a Broadway career that has spanned from 1973 to the present, Kevin Kline is no stranger to the Great White Way. His impressive credits include stints in “The Robber Bridegroom,” “On the Twentieth Century” and “The Pirates of Penzance.” In “Beauty and the Beast,” he’ll be portraying crazy, old Maurice, Belle’s father. He even gets his own song in the movie, called, “How Does A Moment Last Forever.”
https://www.youtube.com/watch?v=KZkNgfvBdY8
What would “Beauty and the Beast” be without the anxious Cogsworth waddling around the castle trying to keep everyone in line? Fortunately for theatre lovers, this role will be portrayed by the legendary Sir Ian McKellen, who has graced Broadway stages many a time in various drama roles, such as “No Man’s Land” and “Waiting for Godot.”
Taking on a role originated by the amazing Angela Lansbury is no easy feat, but TV and film favorite Emma Thompson is doing just that in her portrayal of Mrs. Potts. This isn’t the first time this has happened, either, as both of them have portrayed Mrs. Lovett in “Sweeney Todd: The Demon Barber of Fleet Street” (at least Mrs. Potts is a tad less sinister). It was no secret that all ears would be on Thompson as she tackled the iconic titular song, but her rendition is definitely giving us all the feels.
https://www.youtube.com/watch?v=GNA-iBt_UWM
There are many apps to choose from that let you work out when and where it’s convenient for you. Some apps are free and will offer in-app purchases to go to higher levels. Other apps charge money but are usually cost-effective and definitely cheaper than the gym. Not sure whether it’s a good app? A quick read of reviews should give you a feel for it. Not sure where to start? Try Sworkit, Yoga Studio or 7 Minute Workout Challenge.
Don’t have money for dance classes? Thanks to YouTube, you can have dance teachers available 24/7 at the touch of a button, free of charge. If ballet is your bag, dance teacher Kathryn Morgan offers a playlist of ballet barre workouts on her channel. Hip-hop lovers can find inspiring routines and dance tutorials by choreographer Matt Steffanina on multiple channels. Whatever your dance preference, YouTube is likely to have it. It’s a great way to improve your dance moves while also clocking some cardio.
This site is a gold mine for fitness ideas. Trainers, health magazines and websites have created workouts, and Pinterest has done us all a solid by organizing a multitude of them in one place. There are even workouts to go along with TV shows so you can catch up on your favorites while getting fit — all from the comfort of your living room. Pin them to your board, or print them out for an instant on-the-go trainer.
You don’t need a fancy, expensive treadmill to exercise when it’s free to do so outdoors. If you happen to live in an area where extreme weather is part of the regular fun of your day, it doesn’t mean running is out of the question. Check online to see whether there is an indoor walking/running track in your area. Some shopping malls even have designated days where you can walk or run inside.
Fit For Broadway is a great asset for actors and dancers alike. The blog, created by Jane Jourdan, explores how health and fitness are an important foundation for the success of every performer. Jourdan’s easy-to-navigate website offers readers Broadway interviews, workouts, recipes and more, all filtered through the performer lens.
What’s great about jumping rope is that it’s fast, fun and an activity you can do anywhere. It’s an excellent form of cardio that even celebs such as Kate Hudson have included in their workouts. Stick to the schoolyard basics or check out YouTube for videos that will show you different moves to incorporate for a more intense session.
This seems like a simple one, but this regular part of your day is more effective than you might think. While this can’t be your only form of exercise, your health will certainly benefit from using the stairs on a regular basis. Plus, it’s always less crowded than an elevator or escalator, so you’ll save time. Win!
While this isn’t a method of exercise, it’s still important to mention. Eating right is a significant part of getting your body in shape. Ensuring you are consuming a balanced diet and maintaining a healthy body weight is all part of the package. And while it’s been said before, it’s worth repeating that you have to hydrate to dominate. Always carry your water bottle and be sure to fill it up throughout the day. Don’t wait until you’re thirsty to have a drink, since dehydration can start long before that. Drinking water regularly and eating a balanced diet will keep you fueled through those long rehearsals and help you perform at your highest levels.
Health is a crucial part of any performer’s life, and it looks different for everyone. Don’t be afraid to start slow and try different methods of exercise until you find what works best for you. So, grab your playlists and, in the words of the infamous Schuyler sisters, get ready to work!
“Maxamoo” is the one and only resource to know what’s hot and what’s not on the New York City theatre scene. Not only does it cover the best of the best (no matter the theatre or marquee size), but it also hosts discussions with playwrights and performers. This is a one-stop shop for all things NYC theatre.
“Kahnversations” is a podcast that features stories from actors, writers and directors who are currently in the midst of breaking into the business “while their battle scars are still fresh,” as the podcast puts it. Instead of hearing those glossed-over “how-they-became-famous” stories from big-time stars, this podcast focuses on people booking their first big guest star role or booking series-regular gigs and just getting their names and faces recognized. This is a great place for knowledge and inspiration.
“Theatre People” touts itself as the only podcast that offers full-length interviews with Broadway’s best. They do weekly podcasts every Monday (until the Tony Awards, anyway) and have also launched a new podcast called “Broadway Backstory.” This audio documentary-style podcast covers everything from a show’s development from initial idea to the full-blown production. Check these podcasts out for some in-depth coverage of Broadway’s finest.
In this semi-weekly podcast, comedian Pete Holmes interviews fellow comedians (plus the occasional musician, scientist, author, etc.) and gets them to share their inner-weirdness. It’s the perfect podcast for the comedic actor, standup comedian or anyone who just loves comedy and a good time.
This is another great podcast that covers ground through the first rehearsal to opening night and beyond. “The Ensemblist” also takes a deeper look into the inner-workings of the all-important ensemble and how these performers help hold the show together. It’s a great place to pick up some knowledge and get yourself motivated.
Simply stated, Broadwaysted is about having a drink with your favorite Broadway stars. Bryan, Kevin & Kimberly speak with different members of the theatre community every week. A great alternative to traditional interview style, this podcast takes a more casual approach which tends to open up a different side of your favorite people.
Producer David Merrick[/caption]
David Merrick, sometimes referred to as the “Abominable Showman,” was a tyrant, a scoundrel and an absolute genius. One of the most prolific producers the theatre has ever known, Merrick was responsible for bringing to Broadway shows such as “Fanny” (1954), “Gypsy (1959), “Carnival!” (1961), “Oliver!” (1963), “Hello, Dolly!” (1964), “Promises, Promises” (1968), “Mack & Mabel” (1974), “42nd Street” (1980) and “State Fair” (1996), among many others.
In 1960, Merrick had 11 shows playing on Broadway, an astounding feat. All in all, 31 of Merrick’s productions were nominated for Best Play/Musical/Revival, with seven of those shows taking home the statue. When the Tony’s had a category for Best Producer of a Play/Musical, Merrick was nominated six times, won twice and won a special Tony Award in 1961 for “recognition of a fabulous production record over the last seven years” and another special Tony Award in 1968.
So, what made Merrick so different from other producers of the time? It certainly wasn’t his sunny disposition. His office above the St. James Theater was painted completely in a particular shade of red so that anyone coming to meet with him felt as though they were entering Hell. Merrick also made sure his desk was extra large and his guest chairs were slightly on the smaller side, so guests felt like they were cowering before the devil himself. One of his personal mottos was, “It’s not enough that I should succeed; others should fail.” As you may have guessed, Merrick believed strongly in getting the best of out of people using unbridled fear. He would threaten, berate and bring in replacements at the drop of a hat, all solely to scare people into working harder and faster.
As his famous nickname states, he was abominable. But, he was also a master showman. Merrick would stop at nothing to promote his shows, using every conventional method available. And when those didn’t work, Merrick employed one of his greatest skills, one that truly set him apart from the crowd: the publicity stunt.
One of the first shows Merrick produced on Broadway was a 1949 comedy called “Clutterbuck.” To generate ticket sales, he had the brilliant idea of going to almost every hotel lobby, swanky bar and social club in Manhattan during peak hours and have a “Mr. Clutterbuck” constantly paged. Soon, everyone wondered who this Clutterbuck fellow was, and it helped the show run many months longer than it would have.
Merrick’s first big musical was “Fanny,” a musical version of the “Fanny”/”Marius”/”César” trilogy by Marcel Pagnol, with a score by Harold Rome and a book by Joshua Logan and S.N. Behrman. Being his first show with his name solely above the title meant a lot to Merrick, and he was determined to have a hit, no matter what. Here are a few of the stunts Merrick pulled (or tried to pull) to promote “Fanny.”
In another ploy to publicize “Fanny,” Merrick made sure to cast famed belly dancer and gossip columnist sweetheart Nejla Ateş in a bit part in the chorus, though she appeared onstage for only about a minute. However, Merrick had a grander scheme in mind. He commissioned a sculptor to sculpt a nude statue of the dancer, which he then had installed in Central Park’s Poet Corner very late in the night. Early the next morning, he placed anonymous phone calls to both the police and press complaining about the vulgar statue. Sure enough, the statue and its removal caused quite a stir. Merrick also had an almost 12-foot photo of Ateş installed on the outside of the theater, causing several traffic jams as men would slow down to ogle the giant dancer. All the publicity helped “Fanny” play at the Majestic Theater for 888 performances.
One of the most legendary and brilliant (or devious, depending on whom you ask) stunts ever pulled by Merrick was the infamous newspaper ad for the musical, “Subways Are for Sleeping” in 1961. The musical, with a score by Jule Styne, Betty Comden and Adolph Green and starring Orson Bean, Sydney Chaplin, Carol Lawrence and Phyllis Newman, had opened at the St. James Theater to disappointing reviews. Ticket sales were slow and getting slower. The New York City Transit Authority had already put the kibosh on Merrick’s plans to flood the subway system with ads, fearing large signs reading “Subways Are for Sleeping” would essentially give permission to any homeless person to set up camp in the subway stations.
Merrick knew he needed to do something big to save the show, and he had just the plan. He scoured the country for seven people with the same names as the seven top New York theatre critics, such as Walter Kerr, Howard Taubman and Richard Watts. He then flew them all out to New York, wined and dined them, gave them prime seats to the show and then presented them with pre-made statements gushing over the show and asked if they agreed, which they happily did. Merrick then took out a large ad in the New York papers that body claimed that “7 Out Of 7 Are Ecstatically Unanimous About Subways Are For Sleeping.” The ad then had quotes from the “seven” gushing about the show, saying things like, “What a Show! What a Hit!” and "Subways Are For Sleeping is the Best Musical of this Century!"
As not to be accused of any wrongdoing, Merrick included a picture of the person attributed to each quote, knowing full well that most people would have no idea what the top seven critics actually looked like. However, the major newspapers did, and refused to run the ad, except for the Herald Tribune, which didn’t catch onto the ruse until a later edition. Merrick confessed later that he had that idea in his back pocket for many years but had to wait until critic Brooks Atkinson retired, as Merrick could never find anyone with that exact name.
By 1987, the musical “42nd Street” had been running for seven years and was losing steam. The show moved to the St. James Theater after being forced out of its second home, the Majestic Theater, to make way for the mega-hit “The Phantom of the Opera.” (Merrick would, of course, capitalize on this by having news cameras film the “42nd Street” cast, in full costume, tap dancing out of the Majestic and across the street into the St. James. Always a showman!)
When Merrick saw the throngs of tourists struggling to get tickets to the monster hit, he devised another scheme to make profit. He changed the starting times for “42nd Street” from 8 p.m. to 8:15 p.m. and from 2 p.m. to 2:15 p.m. on matinee days. He then had ads all over stating, “David Merrick is holding the curtain for YOU.” The idea was that anyone who was turned away from “Phantom” could still have time to walk across the street to catch “42nd Street.”
Merrick worked with famed director/choreographer Gower Champion on seven shows, including “Carnival!” “Hello, Dolly!” and “42nd Street,” which would be Champion’s final show. On Aug. 25, 1980, the day of “42nd Street’s” opening night, Merrick got a call that Champion was in the hospital and was not doing well (he had been diagnosed with a rare blood cancer in 1979). A small group of doctors and family (as well as Merrick) were there when Champion passed away at 1 p.m. Wanting to protect his opening night and milk the situation for all he could get, Merrick sprang into action. He immediately swore the family and doctors to secrecy about the death and called the full company into rehearsals for the entire day to insulate them from any possible rumors. The plan worked, and the opening night of “42nd Street” went off without a hitch.
As the cast took their bows to thunderous applause, Merrick took to the stage, his face sullen. When he spoke, he said, “It’s tragic,” to which the cast and audience laughed, believing this to be a joke after the triumphant performance. Merrick them told of the passing of Champion to the suddenly heartbroken cast, gasping audience and all the TV cameras Merrick made sure were in the back of the house to capture the moment for all of America to see. The show’s star (and Champion’s girlfriend) Wanda Richert buried her head, sobbing into cast member Jerry Orbach’s chest as he called for the curtain to be lowered as the crowd was left dumbstruck.
The horrendous stunt worked, and the immense publicity ensured the show had a long and profitable run. To many, though, it was inexcusable. To add insult to injury, shortly after the the show’s opening and Champion’s death, all the promotional material for the show was changed from "Gower Champion's 42nd Street" to "David Merrick's 42nd Street." Years later, when Richert confronted Merrick about the opening night incident and asked if he knew how crass it was, Merrick said that he did but that he “couldn’t help himself.”
The Other Palace, previously known as St. James Theatre, has not only undergone a stellar facelift but will now be a home for musicals at various stages of development. By day, The Other Palace studio will welcome composers, lyricists, directors and choreographers as they get their creative juices flowing to produce fresh material. By night, the theatre will champion a diverse range of edgy and innovate musicals. This venue is the perfect place for theatre nerds to catch something groundbreaking and different.
Drew McOnie, the production’s director and choreographer, is no stranger to making magic on the stage. His previous credits include major West End productions such as ‘Jesus Christ Superstar’, ‘On The Town’, and ‘In The Heights’ which garnered him the 2016 Olivier Award for Best Choreographer. What does this mean for ‘The Wild Party’? It’s sure to be stunningly spectacular.
We dreamed a dream of seeing Tony Award winning actress, Frances Ruffelle, star as yet another leading lady on the stage. This acclaimed performer, famously known for her roles in the original West End and Broadway productions of ‘Les Miserables’ and ‘Starlight Express’, now gets ready to kill it in a complex portrayal of 1920’s actress, Queenie.
Set against the backdrop of Manhattan decadence and 1920’s excess, ‘The Wild Party’ is the bee’s knees for anyone infatuated with the past. It tells the story of Queenie, a vaudeville showgirl who decides to throw ‘the party to end all parties’. Divine costumes and an alluring musical score is sure to transport audiences to a different time and place. Think the perfect blend of ‘Chicago’ and ‘The Great Gatsby’...
As the night goes on, the gin flows, the jazz swings and the sexual tension smoulders. ‘The Wild Party’ isn’t your average musical. With a unique structure of vaudeville-ian sketches and a dark plot that pushes the boundaries of theatre, this unapologetic piece certainly makes its mark -- and makes you think.
Nominated for seven Tony Awards, three Drama Desk Awards and the winner of a Theatre World Award, LaChiusa’s ‘The Wild Party’ undoubtedly hosts memorable music. Listen for yourself with this gorgeous duet between Queenie and Kate (Frances Ruffelle and Victoria Hamilton-Barritt).
Don’t want to miss out on this party? ‘The Wild Party’ plays The Other Palace stage in London until April 1, 2017.
When trying to think of a great female monologue from Shakespeare, this is the one that most often comes to mind. Lady M. has become one of the most iconic female characters in Shakespeare’s work. She’s far from innocent, and you can’t help but feel for her in this scene. This is perhaps one of the most, if not the most popular female monologue from Shakespeare.
Yet here's a spot.
Out, damned spot! out, I say!--One: two: why,
then, 'tis time to do't.--Hell is murky!--Fie, my
lord, fie! a soldier, and afeard? What need we
fear who knows it, when none can call our power to
account?--Yet who would have thought the old man
to have had so much blood in him.
The thane of Fife had a wife: where is she now?--
What, will these hands ne'er be clean?--No more o'
that, my lord, no more o' that: you mar all with
this starting.
Here's the smell of the blood still: all the
perfumes of Arabia will not sweeten this little
hand. Oh, oh, oh!
Wash your hands, put on your nightgown; look not so
pale.--I tell you yet again, Banquo's buried; he
cannot come out on's grave.
To bed, to bed! there's knocking at the gate:
come, come, come, come, give me your hand. What's
done cannot be undone.--To bed, to bed, to bed!
Getting the more well-known scenes out of the way, this is one of the greatest examples of a female having a breakdown in Shakespeare’s work. What is admirable about this scene is that it is not a very “woe is me” moment. This scene was not triggered by a failed romantic endeavor. Yes, Hamlet has been toying with Ophelia throughout the play up until this point and did tell her “get thee to a nunnery,” but she finally cracks when she loses her closest ally: her father. Though not a technical monologue, all of Ophelia’s lines combined in this scene make for a very dramatic read.
Where is the beauteous majesty of Denmark?
[Sings]
How should I your true love know
From another one?
By his cockle hat and staff,
And his sandal shoon.
Say you? nay, pray you, mark.
[Sings]
He is dead and gone, lady,
He is dead and gone;
At his head a grass-green turf,
At his heels a stone.
Pray you, mark.
[Sings]
White his shroud as the mountain snow,--
[Sings]
Larded with sweet flowers
Which bewept to the grave did go
With true-love showers.
Well, God 'ild you! They say the owl was a baker's
daughter. Lord, we know what we are, but know not
what we may be. God be at your table!
Pray you, let's have no words of this; but when they
ask you what it means, say you this:
[Sings]
To-morrow is Saint Valentine's day,
All in the morning betime,
And I a maid at your window,
To be your Valentine.
Then up he rose, and donn'd his clothes,
And dupp'd the chamber-door;
Let in the maid, that out a maid
Never departed more.
Indeed, la, without an oath, I'll make an end on't:
[Sings]
By Gis and by Saint Charity,
Alack, and fie for shame!
Young men will do't, if they come to't;
By cock, they are to blame.
Quoth she, before you tumbled me,
You promised me to wed.
So would I ha' done, by yonder sun,
An thou hadst not come to my bed.
I hope all will be well. We must be patient: but I
cannot choose but weep, to think they should lay him
i' the cold ground. My brother shall know of it:
and so I thank you for your good counsel. Come, my
coach! Good night, ladies; good night, sweet ladies;
good night, good night.
Though a shorter monologue, Beatrice couldn’t be left off this list. She is one of the feistiest and and admirable female characters that Shakespeare has produced. She has many crazy one-liners, including “It is so, indeed; he is no less than a stuffed man: but for the stuffing—well, we are all mortal.” This monologue occurs after she is tricked into believing Benedict loves her.
What fire is in mine ears? Can this be true?
Stand I condemn'd for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand:
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
For others say thou dost deserve, and I
Believe it better than reportingly.
Though not the most empowering of strong female monologues from Shakespeare, this one is pretty infamous and well-written. Yes, this monologue requires a great deal of analysis to understand how this character got to this point when she started out more outspoken than Beatrice, but it’s still worth a read. Feel free to interpret this ending as you like.
Fie, fie! unknit that threatening unkind brow,
And dart not scornful glances from those eyes
To wound thy lord, thy king, thy governor.
It blots thy beauty as frosts do bite the meads,
Confounds thy fame as whirlwinds shake fair buds,
And in no sense is meet or amiable.
A woman mov'd is like a fountain troubled-
Muddy, ill-seeming, thick, bereft of beauty;
And while it is so, none so dry or thirsty
Will deign to sip or touch one drop of it.
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign; one that cares for thee,
And for thy maintenance commits his body
To painful labour both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe;
And craves no other tribute at thy hands
But love, fair looks, and true obedience-
Too little payment for so great a debt.
Such duty as the subject owes the prince,
Even such a woman oweth to her husband;
And when she is froward, peevish, sullen, sour,
And not obedient to his honest will,
What is she but a foul contending rebel
And graceless traitor to her loving lord?
I am asham'd that women are so simple
To offer war where they should kneel for peace;
Or seek for rule, supremacy, and sway,
When they are bound to serve, love, and obey.
Why are our bodies soft and weak and smooth,
Unapt to toil and trouble in the world,
But that our soft conditions and our hearts
Should well agree with our external parts?
Come, come, you forward and unable worms!
My mind hath been as big as one of yours,
My heart as great, my reason haply more,
To bandy word for word and frown for frown;
But now I see our lances are but straws,
Our strength as weak, our weakness past compare,
That seeming to be most which we indeed least are.
Then vail your stomachs, for it is no boot,
And place your hands below your husband's foot;
In token of which duty, if he please,
My hand is ready, may it do him ease.
This monologue is not only passionate, but it’s a great example of role reversal. It’s not often that a female character gets a lengthy monologue to declare her love for a man in the bard’s work. For example, even a character as strong as Beatrice in “Much Ado About Nothing” is often upstaged by Benedict.
Helena’s monologue here also comes very early on in the play and establishes her character. She is very aware of her status, but she knows what she wants and will do anything to achieve it. Weird body swap to consummate her marriage aside, in full Shakespearean fashion, this monologue sets the stage for a very interesting character.
Then, I confess,
Here on my knee, before high heaven and you
That before you, and next unto high heaven,
I love your son.
My friends were poor, but honest; so's my love:
Be not offended, for it hurts not him
That he is lov'd of me: I follow him not
By any token of presumptuous suit;
Nor would I have him till I do deserve him;
Yet never know how that desert should be.
I know I love in vain, strive against hope;
Yet, in this captious and intenible sieve
I still pour in the waters of my love,
And lack not to lose still. Thus, Indian-like,
Religious in mine error, I adore
The sun, that looks upon his worshipper,
But knows of him no more. My dearest madam,
Let not your hate encounter with my love
For loving where you do: but, if yourself,
Whose aged honour cites a virtuous youth,
Did ever in so true a flame of liking
Wish chastely and love dearly, that your Dian
Was both herself and Love; O! then, give pity
To her, whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But, riddle-like, lives sweetly where she dies.
Yes, it is corny and extremely well-known, but this list would not be complete without Juliet. While Juliet’s monologue after her cousin’s death was a close second, this list just needed a brief monologue about love and the optimism that occurs after meeting a cute boy at a party.
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
This play is often severely overlooked, as is the character of Hermione. The main issue with this play is that it’s hard to classify. Some say it’s a comedy, while others think it’s a romance. Though Hermione is not a main character throughout the whole play, the conflict between her and her husband drives the plot.
In this particular scene, she is defending herself after her husband has accused her of having an affair. She never once appears weak and holds her head high throughout the scene.
Sir, spare your threats:
The bug which you would fright me with I seek.
To me can life be no commodity:
The crown and comfort of my life, your favour,
I do give lost; for I do feel it gone,
But know not how it went. My second joy
And first-fruits of my body, from his presence
I am barr'd, like one infectious. My third comfort
Starr'd most unluckily, is from my breast,
The innocent milk in its most innocent mouth,
Haled out to murder: myself on every post
Proclaimed a strumpet: with immodest hatred
The child-bed privilege denied, which 'longs
To women of all fashion; lastly, hurried
Here to this place, i' the open air, before
I have got strength of limit. Now, my liege,
Tell me what blessings I have here alive,
That I should fear to die? Therefore proceed.
But yet hear this: mistake me not; no life,
I prize it not a straw, but for mine honour,
Which I would free, if I shall be condemn'd
Upon surmises, all proofs sleeping else
But what your jealousies awake, I tell you
'Tis rigor and not law. Your honours all,
I do refer me to the oracle:
Apollo be my judge!
Like Lady Macbeth’s monologue, this one by Rosalind is also fairly well known. Rosalind is a big favorite as far as Shakespearean female leads go. She is strong, well-spoken and has a good deal of respect from those around her throughout the play. For those reasons, it’s not a surprise that she closes the play, though as she points out, “It’s not the fashion to see the lady the epilogue.”
It is not the fashion to see the lady the epilogue;
but it is no more unhandsome than to see the lord
the prologue. If it be true that good wine needs
no bush, 'tis true that a good play needs no
epilogue; yet to good wine they do use good bushes,
and good plays prove the better by the help of good
epilogues. What a case am I in then, that am
neither a good epilogue, nor cannot insinuate with
you in the behalf of a good play! I am not
furnished like a beggar, therefore to beg will not
become me: my way is, to conjure you; and I'll begin
with the women. I charge you, O women! for the love
you bear to women--as I perceive by your simpering,
none of you hates them--that between you and the
women the play may please. If I were a woman I
would kiss as many of you as had beards that pleased
me, complexions that liked me and breaths that I
defied not: and, I am sure, as many as have good
beards or good faces or sweet breaths will, for my
kind offer, when I make curtsy, bid me farewell.
If you’re a fan of jazz, look no further than Leslie Odom Jr.’s self-titled album. Riding high on the success of “Hamilton,” the former Aaron Burr re-recorded his 2014 solo album and released it again this past June. The album is a smorgasbord of jazz styles, from the bossa nova “Brazil (Aquarela Do Brasil)” to the bluesy first single “Autumn Leaves.” Odom Jr.’s smooth, sultry vocals are perfect for a romantic evening or just cruising through your weekend.
https://www.youtube.com/watch?v=kVJAc3nxhqY
Broadway legend Kristin Chenoweth has released multiple solo albums over the years, including a country-pop record, a Christmas recording and a Christian music album. But her most recent endeavor, “The Art of Elegance,” is sure to hit the spot with fans. The 13-track record is a mix of American classics, including Gershwin, Rodgers and Sinatra, all beautifully arranged to showcase Chenoweth’s stunning vocals and remind listeners why she’s Broadway royalty.
https://www.youtube.com/watch?v=5g1A4cUoUWg
This record is as quirky and lovable as Laura Benanti herself. The live album is a mix of fun anecdotes (sobbing at age 9 because her classmates didn’t know who Rosemary Clooney was), pop covers (she does a gorgeous rendition of Joni Mitchell’s “He Comes for Conversation) and Broadway performances (knocking it out of the park with “Unusual Way” from the musical “Nine”). The combination creates an album that is easy to take in from start to finish as listeners immerse themselves in Benanti’s captivating live show.
https://www.youtube.com/watch?v=dnmzCy_i0rU
This album has been around since 2004, so it definitely has that early 2000s vibe. In fact, it feels like the album Roger would have made had the story of “Rent” continued with a sequel showing what they did with their lives. It’s fitting, really, given that Roger was the role to launch Adam Pascal’s musical theatre career. If you’re a fan of bands like Fleetwood Mac or Matchbox Twenty, this album is for you. The tracks on the rock record, such as “Tomorrow and the Sun,” are cruisey in nature, making this the perfect album for your next road trip.
https://www.youtube.com/watch?v=hSc7WnBbagc
There’s no denying Audra McDonald’s incredible multitude of talents. She’s a successful actress on the stage and on television (does anyone else miss “Private Practice?”), a powerhouse vocal talent and a devoted wife and mother. Is there anything this woman can’t do? With all of this, she still has had time to release a few solo albums, including the 2006 record “Build a Bridge.” Her unique cover of John Mayer’s “My Stupid Mouth” is the perfect example of her ability to cross musical lines and dabble in pop music with ease. But she doesn’t completely abandon her musical theatre roots, including a gorgeous rendition of the melodic “Dividing Day” from the musical, “The Light in the Piazza.” It’s a lovely mix for anyone who appreciates beautiful vocals.
https://www.youtube.com/watch?v=yNNgrGVEeZU
The world has been in love with Alan Menken for years, and the successful composer has amassed a collection of awards to prove it. Adam Jacobs, on the other hand, has been winning hearts on Broadway since 2014 in the title role of the stage adaptation of “Aladdin,” one of Menken’s numerous Disney hits. The two have come together again as Jacobs takes on Menken’s other works in his solo venture, “Right Where I Belong” in which he covers hits from the composer’s vast catalogue. Prepare for nostalgia as Jacobs belts out classics such as “Go the Distance” and “Out There.” If you’re a Disney fan, this is definitely one to pick up.
https://www.youtube.com/watch?v=34yGM2n4Lvs
Whether you’re a rock music enthusiast, a lover of the classics or a Disney aficionado, the stars of Broadway provide a buffet of musical selections. So, grab a pair of headphones and let the listening begin!
This 1993 Tony Award-winning theatre is home to 84 world premieres, 32 West Coast premieres and eight American premieres. Notable works of La Jolla include “How to Succeed in Business Without Really Trying,” The Who’s “Tommy,” “Bonnie and Clyde,” “Jersey Boys” and “Peter and the Starcatcher.” Today, this progressive playhouse continues to bring to life groundbreaking new productions in the sunny city of San Diego. Have your suitcase ready yet?
https://www.lajollaplayhouse.org/
This 1,200-seat theatre has quite the reputation! Nestled in Millburn, New Jersey, the Paper Mill frequently brings in some of Broadway’s best performers due to its close proximity to New York City. Plus, the state theatre of New Jersey has premiered musicals such as “Honeymoon in Vegas,” a little-known show called “Newsies” and, currently, “Bandstand,” starring Laura Osnes and Corey Cott.
https://www.papermill.org/
In a city known for its thriving arts scene, Steppenwolf remains one of Chicago’s best. The intimate venue creates a plethora of new plays and has been a springboard for actors who have gone into the world of theatre, television and film. A Tony Award-winning production of “The Grapes of Wrath” premiered at Steppenwolf, as well as the Tracy Letts stage adaptation of “August: Osage County.”
https://www.steppenwolf.org/
Minnesota’s theatrical epicenter has put on acclaimed productions of Shakespeare and thought-provoking contemporary works. In 1968, the Guthrie’s “The House of Atreus” toured nationally, breaking barriers as the first resident theatre to do so. Today, the facility, which hosts acting classes, professional training and more, has been transformed into a beautiful venue that remains a hotspot for locals and tourists of the Twin Cities.
https://www.guthrietheater.org/
This Ohio playhouse’s history spans over 100 years. Known for kickstarting the careers of stars such as Paul Newman and Margaret Hamilton, this theatre brings lavish, full-scale productions and innovative arts programs to the Midwest.
https://www.clevelandplayhouse.com/
As “the largest company in the country dedicated to American plays and playwrights,” Washington, D.C.’s Arena Stage commissions new plays and boasts a rich history as an ambassador of the regional theatre movement. A series of famous performers and productions have graced this Tony-winning stage, making it a must-see when in the Capital City.
https://www.arenastage.org/
There are so many great regional theaters, we are positive we missed a few!
1. La Jolla Playhouse
This 1993 Tony Award-winning theatre is home to 84 world premieres, 32 West Coast premieres and eight American premieres. Notable works of La Jolla include “How to Succeed in Business Without Really Trying,” The Who’s “Tommy,” “Bonnie and Clyde,” “Jersey Boys” and “Peter and the Starcatcher.” Today, this progressive playhouse continues to bring to life groundbreaking new productions in the sunny city of San Diego. Have your suitcase ready yet?
https://www.lajollaplayhouse.org/
2. Paper Mill Playhouse
This 1,200-seat theatre has quite the reputation! Nestled in Millburn, New Jersey, the Paper Mill frequently brings in some of Broadway’s best performers due to its close proximity to New York City. Plus, the state theatre of New Jersey has premiered musicals such as “Honeymoon in Vegas,” a little-known show called “Newsies” and, currently, “Bandstand,” starring Laura Osnes and Corey Cott.
https://www.papermill.org/
3. Steppenwolf Theatre Company
In a city known for its thriving arts scene, Steppenwolf remains one of Chicago’s best. The intimate venue creates a plethora of new plays and has been a springboard for actors who have gone into the world of theatre, television and film. A Tony Award-winning production of “The Grapes of Wrath” premiered at Steppenwolf, as well as the Tracy Letts stage adaptation of “August: Osage County.”
https://www.steppenwolf.org/
4. Guthrie Theater
Minnesota’s theatrical epicenter has put on acclaimed productions of Shakespeare and thought-provoking contemporary works. In 1968, the Guthrie’s “The House of Atreus” toured nationally, breaking barriers as the first resident theatre to do so. Today, the facility, which hosts acting classes, professional training and more, has been transformed into a beautiful venue that remains a hotspot for locals and tourists of the Twin Cities.
https://www.guthrietheater.org/
5. Cleveland Play House
This Ohio playhouse’s history spans over 100 years. Known for kickstarting the careers of stars such as Paul Newman and Margaret Hamilton, this theatre brings lavish, full-scale productions and innovative arts programs to the Midwest.
https://www.clevelandplayhouse.com/
6. Arena Stage
As “the largest company in the country dedicated to American plays and playwrights,” Washington, D.C.’s Arena Stage commissions new plays and boasts a rich history as an ambassador of the regional theatre movement. A series of famous performers and productions have graced this Tony-winning stage, making it a must-see when in the Capital City.
https://www.arenastage.org/
There are so many great regional theaters, we are positive we missed a few!
Have a favorite regional theatre? Tell us about it in the comments below...
[post_title] => 6 Regional Theaters Every Nerd Should Visit [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 6-regional-theaters-every-nerd-visit [to_ping] => [pinged] => [post_modified] => 2017-04-19 09:36:33 [post_modified_gmt] => 2017-04-19 13:36:33 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8425 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 9 [filter] => raw ) [1] => WP_Post Object ( [ID] => 8428 [post_author] => 440 [post_date] => 2017-04-18 09:44:45 [post_date_gmt] => 2017-04-18 13:44:45 [post_content] => Actors, singers, dancers, stagehands all have to start somewhere. Many an aspiring thespian has joined a local community theatre group in hopes of refining their skills and someday rubbing shoulders with Julie Andrews. For others, community theatre is an excellent way to keep doing something they love while still having money and a day job. Those who have done community theatre can attest to the fact that it’s not as glamorous as it seems, and many of the pitfalls are things that make you want to laugh and cry simultaneously.Here are 21 problems only community theatre actors can understand:
1. When you go out in public looking like a hooker because you’re still wearing show makeup.
2. Getting out of rehearsal so late and still having to work or go to school the next morning.
3. There are never enough guys to fill the required male roles.
4. When you are only one-third of the way through the show, and there is only an hour of scheduled rehearsal time left.
5. Makeup is running low and most of your bobby pins are missing, but there is still another show to go.
6. Being cast as the romantic lead opposite someone half or twice your age.
7. Mic tape that doesn’t stick — until you have to take it off.
8. You’ve had the most exhausting work week, and you have to spend your entire weekend building or striking the set.
9. Your friends and family who aren’t in theatre don’t understand when you talk about show problems or tell them you can’t come to things because you have rehearsal.
10. When your friends and family think you are dead or have joined a cult because they never see you anymore.
11. You get covered in glitter while helping with costumes and sets.
12. When all of your costumes come from your closet.
13. There is always one girl who gets the best role in every show, and while she is undeniably talented, she is an insufferable diva.
14. When you are halfway through a number, and you feel your mic slipping.
15. Your dressing room is a broom closet or a church basement.
16. There is only one mirror and 20 girls are trying to use it at the same time.
17. When the show budget is $100.
18. When you are trying to take a prop offstage with you, but people are loitering in the wings.
19. Trying to practice choreography on your lunch hour during your day job.
20. When you are also part of the crew and have more job titles than time.
21. Being in community theatre is your second job that you love, that takes up all of your time, but makes you no money.
In spite of it all, we keep coming back, season after season, show after show, because deep down, we love it and wouldn’t have it any other way.
You might enjoy: A Beginners Guide To Community Theatre
Thought of one that we missed? Let us know in the comments below...
[post_title] => 21 Problems Only Community Theatre Actors Understand [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 21-problems-community-theatre-actors-understand [to_ping] => [pinged] => https://theatrenerds.com/beginners-guide-community-theatre/ [post_modified] => 2019-09-14 00:42:43 [post_modified_gmt] => 2019-09-14 04:42:43 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8428 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 143 [filter] => raw ) [2] => WP_Post Object ( [ID] => 8310 [post_author] => 391 [post_date] => 2017-04-17 09:53:27 [post_date_gmt] => 2017-04-17 13:53:27 [post_content] => It’s that time of year again, Theatre Nerds! Tony Award season is right around the corner, and the nominations will be here before we know it (May 2, to be exact). With such an exciting Broadway season soon wrapping up, the competition is ferocious for this year’s awards. Here are our predictions for the nominations of the 2017 Tony Awards:Best Musical:
- “Dear Evan Hansen”
- “Natasha, Pierre and the Great Comet of 1812”
- “Come From Away”
- “War Paint”
- “Groundhog Day”
Best Play:
- “Indecent”
- “Oslo”
- “A Doll’s House, Pt. 2”
- “The Play That Goes Wrong”
- “Significant Other”
Best Revival of a Musical:
- “Falsettos”
- “Hello, Dolly!”
- “Cats”
- “Miss Saigon”
- “Sunset Boulevard”
Best Revival of a Play:
- “The Front Page”
- “Six Degrees of Separation”
- “The Glass Menagerie”
- “The Cherry Orchard”
- “The Little Foxes”
Best Leading Actor in a Musical:
- Ben Platt in “Dear Evan Hansen”
- Christian Borle in “Falsettos”
- Josh Groban in “Natasha, Pierre and the Great Comet of 1812”
- Andy Karl in “Groundhog Day”
- David Hyde Pierce in “Hello, Dolly!”
Best Leading Actress in a Musical:
- Bette Midler in “Hello, Dolly!”
- Stephanie J. Block in “Falsettos”
- Eva Noblezada in “Miss Saigon”
- Phillipa Soo in “Amelie”
- Patti LuPone in “War Paint”
Best Featured Actor in a Musical:
- Andrew Rannells in “Falsettos”
- Joel Hatch in “Come From Away”
- Michael Park in “Dear Evan Hansen”
- Lucas Steele in “Natasha, Pierre and the Great Comet of 1812”
- Gavin Creel in “Hello, Dolly!”
Best Featured Actress in a Musical:
- Laura Dreyfuss in “Dear Evan Hansen”
- Rachel Bay Jones in “Dear Evan Hansen”
- Jenn Colella in “Come From Away”
- Brittain Ashford in “Natasha, Pierre and the Great Comet of 1812”
- Jennifer Laura Thompson in “Dear Evan Hansen”
Best Leading Actor in a Play:
- Nathan Lane in “The Front Page”
- Kevin Kline in “Present Laughter”
- Joe Mantello in “The Glass Menagerie”
- John Benjamin Hickey in “Six Degrees of Separation”
- Gideon Glick in “Significant Other”
Best Leading Actress in a Play:
- Diane Lane in “The Cherry Orchard”
- Mary-Louise Parker in “Heisenberg”
- Cate Blanchett in “The Present”
- Cynthia Nixon in “The Little Foxes”
- Laura Linney in “The Little Foxes”
Best Book of a Musical:
- Irene Sankoff and David Hein for “Come From Away”
- Steven Levenson for “Dear Evan Hansen”
- Terrence McNally for “Anastasia”
- Dave Malloy for “Natasha, Pierre and the Great Comet of 1812”
- Doug Wright for “War Paint”
Best Score for a Musical:
- Irene Sankoff and David Hein for “Come From Away”
- Benj Pasek and Justin Paul for “Dear Evan Hansen”
- Dave Malloy for “Natasha, Pierre and the Great Comet of 1812”
- Tim Minchin for “Groundhog Day”
- Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth for “In Transit”
Let us know your Tony predictions in the comments below...
[post_title] => Theatre Nerds 2017 Tony Award Predictions [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => theatre-nerds-2017-tony-award-predictions [to_ping] => [pinged] => [post_modified] => 2017-04-17 09:59:56 [post_modified_gmt] => 2017-04-17 13:59:56 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=8310 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 29 [filter] => raw ) [3] => WP_Post Object ( [ID] => 8419 [post_author] => 717 [post_date] => 2017-04-14 09:32:18 [post_date_gmt] => 2017-04-14 13:32:18 [post_content] => Between 41st Street and 54th Street in New York City lie 40 of the 41 Broadway theatres. The Broadway Theatre District is the epicenter of musical theatre, the zenith of an entire art form within a 13-block radius. And, at the heart of the Theatre District is a small, 300-foot-long alley that bridges 44th Street and 45th Street between Broadway and 8th Avenue. Named for the infamous “boys from Syracuse,” the Shubert Brothers, it has been said that “in New York, the desirability of a theatre is inversely proportional to its distance from Shubert Alley.”Let’s take a look at the history and other aspects of this legendary alley and what makes it so special:
The Alley
Though it’s now a wide-open space that’s always clean and bustling with tourists and theatre folk, it was very similar to what we think of as an alley when it was first built. In 1913, the Shubert brothers opened two new theatres built back-to-back, the Shubert and the Booth. The spot they chose was right next to the legendary Astor Hotel, which had entrances on both 44th and 45th Street. As per the New York fire code of the day, an alley was needed for vehicles and equipment in case of an emergency. Miraculously, either the Shubert or their architect, Harry B. Hertz, decided to extend the beautiful artistry that adorned the theatres all the way around into the alley, rather than a plain, paved wall, as most other alleyways were at the time.
Half of the alley technically belonged to the Astor Hotel, so a fence was erected to divide them. Two gates were installed at either end, and only theatre employees were permitted entrance. However, this doesn’t mean the alley wasn’t always without commotion. In 1925, The New York Times reported on the “first ever Broadway block party” that took place in Shubert Alley, with Al Jolson himself judging the Charleston dance contest.
In 1930, the Miami Herald, seemingly straight out of a Damon Runyon story, described the alley as “having the color of one of those street scenes from a tropical revue, churning with actors, Broadway reporters, chorus girls and a soupcon of booking agents and costumers. A hurdy-gurdy grinds out tunes, and often a street band adds oom-pahs to the medley. … There is good-natured shoving about, hoots and back-patting. Stars are hailed by first name. Bootleggers are there with their order books. Also racing touts, with hot tips.”
Amazingly, in the 1930s, there was a bus depot called the “Astor Place” stop on a New Jersey bus line on Shubert Alley’s eastern side of the fence.
In 1949, the Shubert leased the eastern side of the alley from the Astor, removed the fence, widened the walkway by 15 feet and opened it to the public. In 1967, the Astor Hotel was demolished, and Shubert Alley was the perfect place for onlookers to watch the demolition. The office building erected in its place, One Astor Plaza, continued to lease its half of Shubert Alley to the Shuberts until it was bought outright at some point. The small, elegant stores that once adorned the street are gone. The only store there now is One Shubert Alley, a small theatrical gift shop in a converted dressing room from the Booth Theatre owned by the same people who run the Theatre Circle Shop down the block on 44th Street.
The Posters
When Shubert Alley was divided with a fence, the Shuberts decided that instead of leaving the fence blank, they’d put up posters of their newest and upcoming shows. The posters were called “three sheets,” as they were three times larger than the typical one-sheet or Broadway poster known as a window card. In 1949, when the Shuberts fully took over the alley, the fence containing all the posters was removed. Luckily, the posters remained and were moved to theatre-side wall. They remain a staple of Broadway advertising.
The Events
Shubert Alley is home to some of the biggest and most loved events of each Broadway season. “Stars in the Alley,” an annual event since 1986, is a free concert presented by the Theatre League. It is usually held the same week as the Tony Awards and presents performances from hit new shows and long-running favorites.
The BC/EFA Annual Flea Market and Grand Auction encompasses not only all of Shubert Alley, but 44th Street and, as of last year, 45th Street, where shows and other theatre organizations sell props, merchandise and other Broadway-themed paraphernalia to raise money for Broadway Cares/Equity Fights AIDS.
Another fan-favorite presented annually in Shubert Alley is Broadway Barks, a charity concert, fundraiser and adoption bonanza created by Bernadette Peters and the late Mary Tyler Moore to promote the adoption of shelter animals.
Private Property
With all the major changes that have come to Shubert Alley in its more than 100-year history, only one thing has remained a constant: the best parking space in the city. The entrance to the Shubert offices lies in Shubert Alley, and the top brass get to park their cars directly in front of the alley’s entrance. This has been going on since it was built, and Lee and J.J. Shubert would have their limos parked there. This is allowed because Shubert Alley is, and always has been, private property. Indeed, if the Shuberts wanted, they could close it to the public at any time. And, once a year, they do! In order to maintain the private property status, the Shuberts must close the alley to all non-Shubert employees for 24 hours.
With the two landmark theatres’ stage doors, a Broadway gift shop, a restaurant specializing in cheesecake and a quick passageway funneling almost directly into Sardi’s, Shubert Alley was, and still is, the place to meet, greet and star-watch. In 1963, Helen Hayes best summed it up as, “a place where an actor can strut after a successful opening, and the only place in all New York to avoid after a bad one.”
What are some of your favorite theatre hot spots in NYC? Have anyplace similar in your hometown? Let us know in the comments below...
[post_title] => Shubert Alley: A History of Broadway’s Thoroughfare [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => shubert-alley-history-broadways-thoroughfare [to_ping] => [pinged] => [post_modified] => 2017-04-14 21:05:05 [post_modified_gmt] => 2017-04-15 01:05:05 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8419 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [4] => WP_Post Object ( [ID] => 8321 [post_author] => 712 [post_date] => 2017-04-13 09:16:14 [post_date_gmt] => 2017-04-13 13:16:14 [post_content] => As a story, “Something Rotten” runs on pure fun. There is nothing hard on the brain for audiences during this brash and boisterous production, which is now providing a wonderful escape from reality while on tour. In fact, the most a theatre nerd has to think during this enjoyable show is when “A Musical” rings onstage. The punchy song, which lasts for almost eight minutes, holds 20 different homages to Broadway favorites from “Annie” to “Sunday in the Park With George.” Before you read this, give the song a listen, see how many references you can find on your own, then come back! https://www.youtube.com/watch?v=5YD5BfzhdV4&feature=youtu.be The following are all of the ways songwriters Wayne and Karey Kirkpatrick snuck in their nods to famous musical scores to make “A Musical” one of the biggest spectaculars in Broadway history:1. ‘Avenue Q’
Lyrics: “Some make you happy, some make you sad
Some are quite big, some quite small”
2. ‘The Fantasticks’
Song Referenced: “Soon It’s Gonna Rain”
Lyrics: “Some are too long, someone just play the song”
In an interview with The Wall Street Journal, Wayne Kirkpatrick revealed that the reference to “The Fantasticks” was accidental. He was playing a chord progression when his brother, Karey, noticed its similarity to one in “Soon It’s Gonna Rain.”
3. Les Misérables
Lyrics: “That sounds miserable
I believe it’s pronounced misérables"
4. ‘Nice Work If You Can Get It’
Song Referenced: “Fascinating Rhythm” by George Gershwin
Lyrics: “Feel that fascinating rhythm moving to your feet
Feel your ass gyrating to that titillating beat
You slap your lap, then finger snap
That's when you know it's time to tap”
5. ‘West Side Story’
Song Referenced: “Tonight”
6. ‘The Music Man’
Song Referenced: “Seventy Six Trombones”
At this point in the number, ensemble members general march through center stage, donning costumes and props from the musicals they reference (such as this one).
Lyrics: “It's a musical, whaddaya talk, whaddaya talk
It's a musical, a Seussical? No a musical, with girls on stage”
7. ‘Seussical’
Lyrics: “It's a musical, whaddaya talk, whaddaya talk
It's a musical, a Seussical? No a musical, with girls on stage”
8. ‘South Pacific’
Song Referenced: “There’s Nothin’ Like a Dame”
Lyrics: “We've got snappy repartee
And the women are risqué
And the chorus boys are kinda gay”
In this section, several members of the ensemble cruise through with sailor hats.
9. ‘Chicago’
Song Referenced: “All That Jazz”
10. ‘Evita’
Song Referenced: “Buenos Aires”
11. ‘Rent’
Song Referenced: “Seasons of Love”
Lyrics: Some musicals are very serious
12. ‘Jesus Christ Superstar’
Song Referenced: “Superstar”
Lyrics: “All the glittering musical, a musical”
13. ‘Sunday in the Park With George’
Song Referenced: “Putting It Together”
This Sondheim tribute is so quick that you might miss it if you’re not paying attention! One measure from “Putting It Together” appears in the song.
14. ‘Annie’
Song Referenced: “It’s the Hard-Knock Life”
This iconic one is pretty obvious! Karey and Kirkpatrick revealed to the Wall Street Journal that they had considered cutting the “Annie” reference because of the bulk of homages already in this section of the song.
Lyrics: “It’s a musical for us”
15. ‘Guys and Dolls’
Song Referenced: “Luck Be a Lady”
16. ‘Sweet Charity’
Song Referenced: “Overture”/”Big Spender”
17. ‘Hello, Dolly!’
Song Referenced: “Hello, Dolly!”
18. ‘Cats’
Song Referenced: “Memory”
19. ‘Sweeney Todd’
Song Referenced: “The Ballad of Sweeney Todd”
20. ‘A Chorus Line’
Song Referenced: “I Hope I Get It”
Perhaps the most recognizable, this reference closes the epic number!
Enjoy this read? Then you’ll love Joanna S. Kao’s interactive feature that allows you to reveal each reference while you listen!
[post_title] => A Guide To Every Musical Reference in ‘A Musical’ From ‘Something Rotten’
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[post_content] => Every theatre nerd dreams of eventually writing or working on a Broadway show. However, not every show defies gravity so easily, making it especially harder for newer names to establish themselves. In fact, some shows flop so catastrophically that they are replete with empty chairs and empty tables. To shed some light on some ill-fated productions, here are 15 Broadway (Off-Broadway) shows that closed after remarkably short runs:
1. ‘Lucky Guy’
https://www.youtube.com/watch?v=xB_FGFC4nMQ This 2011 Off-Broadway musical about a budding songwriter’s misadventures in Nashville starred Kyle Dean Massey (“Pippin,” “Nashville”) and Leslie Jordan (“Will and Grace,” “American Horror Story”). Although it was slated to run for two months, the production closed after 10 days.2. ‘Idol: The Musical’
This 2007 Broadway musical, inspired by American Idol, was written by Jon Balcourt, who is currently an associate conductor for “Dear Evan Hansen.” Unfortunately, Balcourt’s musical closed after its opening night.
3. ‘Rachael Lily Rosenbloom (And Don’t You Ever Forget It!)’
https://www.youtube.com/watch?v=kLLGfUWcRDg This 1973 Broadway musical written by pop singer-songwriter Paul Jabara starred Ellen Greene (“Little Shop of Horrors”), Anita Morris (“Nine”) and Wayne Cilento (“A Chorus Line,” “The Act”). It is notorious for closing in previews and never officially opening. However, it was recently performed in a concert setting at Feinstein’s/54 Below.4. ‘Bobbi Boland’ (2003 Broadway production)
5. ‘Glory Days’
https://www.youtube.com/watch?v=mvuXRIbaSAw This 2008 musical by Nick Blaemire transferred from the Signature Theatre in Arlington, Virginia, to the Circle in the Square Theatre in New York City. Despite positive reviews from its run in Virginia, the dismal ticket sales in New York closed the production after a single performance.6. ‘A Teaspoon Every Four Hours’
This 1969 comedy play by Jackie Mason and Mike Mortman set a record at the time for having the most previews on Broadway, opening (and closing) after 97 previews and a single performance.
7. ‘Carrie’ (Original 1988 Production)
https://www.youtube.com/watch?v=sr2MNQDdfs0 One of the most notorious flops on Broadway, this musical based on the eponymous Stephen King novel closed after 16 previews and five performances. The show continued to live in infamy until a 2012 Off-Broadway revival, starring Marin Mazzie and Carmen Cusack, saved the work from oblivion.8. ‘La Strada’
https://www.youtube.com/watch?v=RUGK_jG3Apg This 1969 Lionel Bart adaptation of the eponymous Fellini film starred Larry Kent (“West Side Story”) and Bernadette Peters in one of her earliest Broadway musicals. Bart never went to New York to assist with the rehearsals, and the musical was doomed to only one performance.9. ‘High Fidelity’
https://www.youtube.com/watch?v=qY24-dZiALI This musical, based on the Nick Hornby novel of the same name, was the first Broadway show for Amanda Green and Tom Kitt. With a cast including Will Chase (“Nashville”) and Jenn Colella (“If/Then,” “Come From Away”), the musical closed after 13 performances.10. ‘Moose Murders’
https://www.youtube.com/watch?v=ukCMJearZHU Arthur Bicknell’s legendary 1983 Broadway flop closed after a single performance. A self-described “mystery farce,” the play is now used as a comparison to how awful a Broadway play can be. However, it is produced by many community theatres.11. ‘Anyone Can Whistle’
https://www.youtube.com/watch?v=drfSBWmTc8Y This early Sondheim musical was Angela Lansbury’s first Broadway show and closed after nine performances due to hostile reviews. The musical has since achieved cult status and received a 1995 Carnegie Hall production starring Madeline Kahn and Bernadette Peters. The 2010 “Encores!” production starred Sutton Foster and Donna Murphy.12. ‘Into the Light’
https://www.youtube.com/watch?v=5rGdqNBSmYA This 1986 musical starring Dean Jones (“Company”) tells of a physicist who wants to know the truth behind the Shroud of Turin. It closed after 13 previews and six performances.13. ‘Bring Back Birdie’
https://www.youtube.com/watch?v=73DsVhWdsO0 Written by the same team that wrote “Bye Bye Birdie,” this 1981 sequel to the aforementioned show closed after four performances. Chita Rivera, who played Rose, received the musical’s only Tony nomination.14. ‘Frankenstein’
https://www.youtube.com/watch?v=ApxzTChNWr0 This 1981 play by Victor Gialanella, based on the classic horror novel, starred John Carradine, David Dukes (“Amadeus,” “Bent”) and Dianne Wiest (“Bullets Over Broadway”). It closed after 29 previews and a single performance. It has since found a second life (no pun intended!) in community theatre.15. ‘Home Sweet Homer’
This 1976 musical, loosely based on Homer’s “Odyssey,” was written as a vehicle for Yul Brynner (“The King and I”) and also starred Joan Diener (“Man of La Mancha”) and Martin Vidnovic (“Brigadoon” revival, “Baby”). The show’s closing notice was posted as soon as the first performance ended.
Did we leave out one of your favorite flops? Let us know in the comments below...
[post_title] => 15 Broadway Shows With Remarkably Short Runs [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-broadway-shows-remarkably-short-runs [to_ping] => [pinged] => [post_modified] => 2017-04-12 09:49:48 [post_modified_gmt] => 2017-04-12 13:49:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=8306 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 24 [filter] => raw ) [6] => WP_Post Object ( [ID] => 8393 [post_author] => 440 [post_date] => 2017-04-11 09:45:45 [post_date_gmt] => 2017-04-11 13:45:45 [post_content] => When the theatre and music scenes collide, it’s pure magic. The past few years have seen famed musicians such as Cyndi Lauper, Elton John and Sara Bareilles writing original compositions for the musical theatre stage. However, the jukebox musical, as it is formally known, has long existed in the musical theatre scene. For those unfamiliar, a jukebox musical is a film or stage production that uses previously recorded songs rather than original music. The popular “Mamma Mia” and “Jersey Boys” are both examples of past hit jukebox musicals, the most recent being the Gloria and Emilio Estefan show “On Your Feet!” So, which album should get a musical makeover next? Here are our top eight picks for albums that should be adapted for the stage:1. Fleetwood Mac’s ‘Rumors’
Not only is this album musically complex, but it’s also a buffet of emotional lyrical content, from the haunting harmonies of “The Chain” to the upbeat breakup track “Go Your Own Way.” Be it an exploration of the band’s complicated history and romantic entanglements or an entirely original storyline with created characters, this album deserves the theatre treatment.
2. Adele’s ‘21’
It’s showing that Adele’s work hasn’t been adapted for the stage yet. The powerhouse artist’s second album is emotionally rich and stylistically diverse, with hits such as “Rolling in the Deep” and lesser-known gems such as “I’ll Be Waiting.” There is a story of romance and self-discovery just dying to be told. Plus, the beautiful vocal runs would be a treat for any performer.
3. Stevie Wonder’s ‘The Definitive Collection’
While Stevie Wonder is featured in Berry Gordy’s “Motown: The Musical,” the man is a legend and deserves his own complete musical. It was too hard to pick just one album from Wonder’s extensive catalog, so the compromise was to choose an album that offered a sampling from each. “The Definitive Collection” spans three decades of his career and brings with it a variety of musical styles from the ‘60s, ‘70s and ‘80s, including hits like “Signed, Sealed, Delivered, I’m Yours” and “Superstition.”
4. John Mayer’s ‘Room for Squares’
John Mayer burst onto the scene in 2001 with a well-crafted album containing a level of depth unexpected in a first effort. Known for his storytelling abilities, Mayer’s lyrics set the groundwork for a coming-of-age story ready to be adapted into a heartwarming script. Not sure whether this pop album could be translated into musical theatre? Check out Audra McDonald’s amazing cover of “My Stupid Mouth” to clear up any doubts.
https://www.youtube.com/watch?v=yNNgrGVEeZU
5. Beyoncé’s ‘Lemonade’
Does this even require an explanation? Queen Bey’s most recent concept album is revolutionizing the industry and provides a solid foundation on which to build a musical around the given theme. The vast array of musical genres Beyoncé’s record incorporates would allow for variety in the score. The world is ready for Beyoncé to take over another stage and dominate.
6. Joni Mitchell’s ‘Blue’
Joni Mitchell is another phenomenally talented woman, and this album contains gorgeous melodies and an Olympic-sized pool of emotion. Given her affiliation and entanglements with other musical legends, including James Taylor and Graham Nash, there is certainly a story of some kind buried in this album.
7. David Bowie’s ‘The Rise and Fall of Ziggy Stardust and the Spiders from Mars’
First things first, the stage version of this album must contain a character with a red mullet. After losing him this year, a stage show based on David Bowie’s work would be the perfect tribute to a man who cared so deeply for music and the profound effect it could have on an audience. This weirdly wonderful album, which includes favorites such as “Starman,” holds the threads of a story and contains orchestrations that would fill a theatre and transport viewers into the beautiful world inside Bowie’s 1970s mullet-encased head.
8. Michael Jackson’s ‘Thriller’
The “Glee” tributes to Michael Jackson were some of the best musical moments on the show, proving how amazing a stage musical of the artist’s hits would be. Some of Jackson’s best and most popular works are housed in the “Thriller” album, including “Billie Jean” and the album’s self-titled track.
Ask any musical composer, and they will name the musicians who inspired their work and influenced their style. So, while the call for original work is still out, there is room on Broadway stages to pay homage to the artists who have composed the soundtracks of our lives.
Have a favorite album you would like to see made into a musical? Let us know in the comments below...
[post_title] => 8 Albums That Should Be Made Into Jukebox Musicals [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 8-albums-made-jukebox-musicals [to_ping] => [pinged] => [post_modified] => 2017-04-11 09:45:45 [post_modified_gmt] => 2017-04-11 13:45:45 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8393 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 12 [filter] => raw ) [7] => WP_Post Object ( [ID] => 8387 [post_author] => 736 [post_date] => 2017-04-10 10:03:41 [post_date_gmt] => 2017-04-10 14:03:41 [post_content] => While performers may receive the applause, those that work behind the curtain on Broadway are just as integral to the success of a show. Here are a few things you may not have realized about those working out of the spotlight:1. Running a Track
Whether you work backstage in costumes, props, sound or one of the many other departments, your specific movement and job during the show is defined as a track. For instance, you might be on the Stage Right (SR) Deck Track if you move sets on the right side of the stage. You may be on the Female Ensemble Dresser Track if you dress women in the ensemble. The word “track” is added so that those working around you know the movement you make in the show and/or where to locate you if there is a problem.
2. Wigs Styled Daily
The wig team at a Broadway show keeps everyone’s hairpieces looking absolutely pristine with upkeep and restyling/resetting happening on most show days. In addition, in order to ensure wigs and other hairpieces don’t start to look messy during the actual performance, the wig team helps the actors get them on and off during quick changes and throughout the show. They also check in with performers after big dance numbers and/or portions of the show where wigs could be affected. This way, those who wear the wigs always look their best.
3. Bunkers
Most shows that require many costumes and/or changes among a large group of people create a bunker-like area in the wings, behind the stage curtain or in the basement of the theatre. These bunkers are essential to ease costume storage, since many Broadway dressing rooms are too small to hold a lot of costumes, and to help keep the actors close to the stage during quick changes. The wardrobe dressers are then assigned to many of these areas during the performance to help the actors change their clothes.
4. The ‘Coordinated’ Dance Backstage
Just like the choreography happening onstage, backstage movement is as intricately choreographed. Backstage technicians from all departments work together during tech to make sure they all move set pieces, costumes and props in a set pattern. This “dance” ensures everyone has the opportunity to do their jobs in the time allotted so no one gets hurt and the show looks seamless onstage. Then, once the backstage choreography is figured out among the technicians, it is set in stone and carried out the same way every performance.
5. Heavy Lifting Required
Broadway theatres may look opulent and large from the audience side, but backstage is not at all glamorous and offers very little room to play with. Since wing and backstage space is usually small, much of the scenery is stored hanging from the ceiling and flown in on sides of the stage in the wings, placed on tracks and then moved onto the stage during the scene change. This work is done by the stagehands, and it certainly is not for the faint of heart. Many set pieces can be large, bulky, awkward and difficult to move.
6. Other Jobs
Because no one knows how long a show will run or when your next gig will be once a show closes, people who work both onstage and backstage multitask with other jobs or ventures to stay afloat and financially secure. Many are also teachers, coaches, exercise/dance instructors, artistic team members or backstage personnel of other productions, or they own businesses, wait tables, do temp work, do administrative jobs and much more.
7. Daywork and Work Calls
Backstage workers do “daywork” (as defined by the wardrobe department) and “work calls” (for all other backstage personnel) during the daytime hours. With eight shows a week, everything tends to get a lot of wear and tear. In order to keep a show looking like it did when it first opened, this time is needed to reset and repair costumes, props, set pieces and more.
8. They Have Fun
Fun activities such as Dollar Saturday, door holiday decoration contests, Secret Santa and more are all participated in by those who work backstage and onstage. Activities like this help break up the monotony of doing eight shows a week and doing the same track daily.
9. Automation
All moving parts that you see onstage are usually controlled by the automation department, which, in most cases, is someone in the basement or back of the house running the computer, which controls the machinery. Once this person is given the cue by the stage manager, he or she pushes a button on the computer and things onstage move. It’s not as easy as it seems. One wrong moving part at the wrong time or a computer glitch can have a domino effect. The scenery may not fly in or out or roll onstage at the right time. It can also cause possible problems for the actors who have to maneuver around the scenery as it enters and exits the stage.
10. Makeup Department
Sometimes there is a makeup department on a show. Other times, those that work in the wig department also do the makeup. And, other times, there is no makeup department at all. Pictured here is the “Lion King” cast. Their makeup is very specific, and thus, that show has a team that helps them to apply it. On other Broadway shows, the performers will do their own makeup after getting some basic instruction during tech from the creative team about how they want the performers’ faces to look. This is why it’s imperative for performers to know how to apply their own basic makeup for the stage, because you may still have to do your own, even on Broadway.
What are your tricks from backstage? Let us know in the comments below...
[post_title] => 10 Things You Didn't Know About Working Backstage On Broadway [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 10-things-didnt-know-working-backstage-broadway [to_ping] => [pinged] => [post_modified] => 2017-04-10 10:03:41 [post_modified_gmt] => 2017-04-10 14:03:41 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8387 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 3 [filter] => raw ) [8] => WP_Post Object ( [ID] => 8317 [post_author] => 440 [post_date] => 2017-04-09 10:15:15 [post_date_gmt] => 2017-04-09 14:15:15 [post_content] => My love for live theatre didn’t begin when I went to New York at 17 and saw my first Broadway show. It started long before that in Ontario, Canada. My parents, theatre lovers themselves, started a family tradition of attending the Stratford Festival together every year. From a young age, we were exposed to musicals, Shakespeare and works by playwrights both new and old. The experience was invaluable, and what I saw on those stages opened my eyes to the world far beyond the borders of my small hometown near Toronto. To this day, I still attend the festival every year. Having traveled the globe and attended productions in a variety of countries, shows I’ve seen at the Stratford Festival remain some of the best I’ve ever experienced. Here are five reasons why theatre lovers should journey to Canada for the Stratford Festival:1. All-Star Talent
The festival is chock full of high-caliber talent. So much so, in fact, that in 2012, Stratford production of “Jesus Christ Superstar” was brought to New York, launching the Broadway careers of festival favorites Paul Nolan and Chilina Kennedy. And there’s certainly more where that came from. Beyond the actors, dancers and professional directors behind them, the production value of each show is sensational, with beautiful sets and costumes worthy of any Broadway stage.
2. Variety
The wide selection of shows provides something for everyone. Every year, the festival stages a show from each genre: musicals, family, Shakespeare, comedy and drama. It also promotes new work by debuting world premieres, including those by Canadian playwrights.
3. Value
For the price of some Broadway tickets, it’s possible to see multiple shows at the Stratford Festival. To encourage attendance, the festival offers discounted tickets, promo codes and package deals. Because of show timetables, festival attendees can see numerous shows in the space of a weekend.
4. Learn Something New
Throughout the season, the festival offers pre-show talks with members of the cast and artistic teams. In years past, it has also offered workshops, such as learning a dance from the show. Festival members teach these workshops during the day before the show.
Visitors to the festival can also sign up for backstage and behind-the-scenes tours of the theatres and theatrical archives, where they’ll learn about the finer details of running a production.
The Stratford Festival also supports arts education, offering ticket packages and workshop options to schools, and a weekend conference in October for educators looking for guidance on how to better incorporate the arts into their programming.
5. Play Tourist
The city of Stratford is a well-groomed tourist destination. Visitors can embark on a road trip through the Ontario countryside or hop on a bus or train from Toronto. Come for the day or stay for the weekend at one of the local hotels or charming inns.
The downtown streets are lined with adorable shops and restaurants. Treat yourself to some shopping at the local artisan shops or indulge your sweet tooth at the famous Rhéo Thompson Candies, which has been making chocolate and treats for almost 50 years.
The summer weather is a great opportunity to stroll the streets, gardens and parks. Enjoy a picnic or boat ride by the picturesque Avon River, and in the fall (the festival runs until the end of October), take in the gorgeous colors as the trees change.
https://www.youtube.com/watch?v=EOgGEEhSwvg
So, grab a group of friends this summer and get ready to indulge in some fantastic theatrical productions, courtesy of your friends in the Great White North.
Ever been to the Stratford Festival? Let us know your thoughts in the comments below...
[post_title] => Why Canada’s Stratford Festival Is Worth the Road Trip [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => canadas-stratford-festival-worth-road-trip [to_ping] => [pinged] => [post_modified] => 2017-04-09 20:47:14 [post_modified_gmt] => 2017-04-10 00:47:14 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=8317 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [9] => WP_Post Object ( [ID] => 8297 [post_author] => 12 [post_date] => 2017-04-07 11:47:59 [post_date_gmt] => 2017-04-07 15:47:59 [post_content] => What thespian doesn’t love a good theme party? Whether you’re just throwing a party to throw one, hosting a cast party or having dinner with friends before a show you’ve been dying to see, here are some culinary delights that will get your guests humming:1. ‘Wicked’ Delicious Punch
Serve up this refreshing beverage at your next Wicked-themed cast party. Find the recipe here
2. ‘Mary Poppins’ Umbrella Appetizers
These tasty umbrella cheese treats are practically perfect in every way. Get more “Mary Poppins” ideas here
3. ‘Grease’ Cookies and Fry Shooters
These nostalgic 1950s treats will get you hand-jiving in no time. Besides, sweet and salty go together like rama lama lama ka dinga da dinga dong. Check out more ideas here
4. ‘The Phantom of the Opera’ Chocolate-Dipped Strawberry Roses
These roses inspired by “The Phantom of the Opera” will make any Christine melt for any Erik. Get the recipe here
5. Bend and Snap Cocktail From ‘Legally Blonde’
Who could forget the famous Bend and Snap from “Legally Blonde?” It’s certainly a moment worth toasting! So, next time you get tickets to the show, say “Cheers!” and sip this tasty treat. For those below 21-ers, orange juice will make for a good substitute for a delicious mocktail! Find the recipe here
6. ‘Little Shop of Horrors’ Audrey II Cupcakes
You’ll be saying, “Feed me, Seymour!” after you bake these “Little Shop of Horrors” cupcakes for your next cast party. Find out how to make them here
7. ‘Sweeney Todd’ Meat Pies
Don’t worry, there aren’t any kitty cats in these — it’s just a traditional English meat pie! This is just the thing to get you in the mood for “Sweeney Todd” rehearsals. Find the recipe here
8. The Mermaid Pie From ‘Waitress’
Whose mouth didn’t water after seeing and hearing about all the delicious pies made in “Waitress?” It’s a creation of the imagination for sure. Get the recipe here
What musical theatre-themed party treats have you served up in the past? Let us know in the comments below...
[post_title] => 8 Broadway-Inspired Treats To Serve At Your Next Party [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => broadway-inspired-treats-to-serve-at-your-next-party [to_ping] => [pinged] => [post_modified] => 2017-04-07 11:47:59 [post_modified_gmt] => 2017-04-07 15:47:59 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=8297 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 5 [filter] => raw ) [10] => WP_Post Object ( [ID] => 8284 [post_author] => 639 [post_date] => 2017-04-04 10:15:18 [post_date_gmt] => 2017-04-04 14:15:18 [post_content] => There are very few shows on Broadway at the moment where you can take one step into the theatre and feel completely immersed in the story. But that is exactly what happens at the Imperial Theatre, which has now been completely transformed into a Russian cabaret, complete with old portraits hanging from floor to ceiling, vibrant red drapes and chandeliers that resemble comets. As you grab your seat, you find yourself in front of a runway with an end table to your right or sitting on the stage itself. Everyone is buzzing with excitement in anticipation of the show beginning. They know something special is about to happen, but they don’t know exactly what. What they are about to experience is “Natasha, Pierre and the Great Comet of 1812.” Directed by Rachel Chavkin, this musical takes Tolstoy’s “War and Peace” and presents it as it has never been seen before. Starring Josh Groban as Pierre and Denée Benton as Natasha, this musical is a whirlwind of everything a great musical should have. The show is beautifully romantic, innovative and exciting, all with a score to match. It’s no surprise that this is one of the most talked-about new musicals on Broadway. The man behind this entrancing show is Dave Malloy. He wrote the music, lyrics, book and orchestrations. He even played Pierre in the Off-Broadway production at Ars Nova. Malloy was gracious enough to take some time to speak to us about the show. Theatre Nerds: I went to your panels at BroadwayCon, so I just wanted to rehash a little bit. How did you first get into songwriting? Dave Malloy: I was super active in music ever since I was a kid. My parents forced me to take piano when I was seven, or something like that. They forced me to take it for a year, and then after that, I just loved it. I was also lucky to have a high school with an amazing music program, so I guess the first writing I did was in high school. And I was in the choir, the jazz choir, the jazz band and the barbershop quartet. I think some of the first things I ever wrote were for choir and barbershop quartet, so I did that stuff in high school. TN: Did you always want to go into music as a profession? DM: I knew that I always wanted to do music. I went to college and studied music composition there. But honestly, theatre really crept up on me. After college, I was working in a record store and playing in a bunch of bands, and this guy at the record store said he needed a keyboard player for a theatre show he was doing. I said, “Oh sure, that sounds fun.” I really had not had theatre on my mind at all. And just from that one show, the director asked me to do her next show. Then an actor asked me to do his next show. And suddenly I found myself doing all this theatre, and I found that I loved it. For me, it was the perfect venue to get some of my musical ideas out into the world. A lot of my musical ideas were theatrical, and I’ve always been obsessed with storytelling, and it was the perfect mixture of the two. It’s amazing it took me so long to figure that out. As far as writing musical theatre, that also kind of crept up on me. I was doing a lot of experimental, sort of downtown, black-box theatre. This was when I was first really starting. First, I was doing a lot of experimental soundscapes and underscoring a weird electronic music under shows. And just little by little, I would start to write a song here or there. One show I wrote one song, the next show I wrote two songs, then I wrote four songs. Little by little, I was writing full musicals. I was like, alright, I guess I do musical theatre now. So yeah, it just crept up on me, and I’m so glad that it did. TN: I read that you had read “War and Peace” while on a cruise ship traveling around the world. What resonated with you the most in this novel that made you feel like this should probably be a musical? DM: For me, the thing that most resonates in the novel is the character of Pierre. So many people I know have said this about Pierre: He is such a social misfit. He feels so uncomfortable around people and even in his own body. He is just a profoundly awkward person. And yet at the same time, he’s a profoundly beautiful person. He just sees so much love and meaning in the world, but has a hard time understanding how to access it for himself. And I find that a really meaningful and beautiful struggle, something I relate to personally. Sometimes I have a hard time talking to grownups. Ever since I was a kid, I have never moved past that feeling. I feel like it’s a very Pierre sort of feeling. When he goes to these parties, he just has no idea how he acts towards other people. He’s constantly searching, too. He’s constantly reading philosophy and religion, and he tries out all these different things to try to find some kind of meaning to his life. It’s a journey that takes him the whole novel. Even by the end of it, he isn’t really there. At the end of the novel, he and Natasha end up together, and even then, he’s only somewhat happy. He’s married, has a kid and is somewhat happy. There’s still a little bit of something gnawing at him. Ad he’ll die with that still going on, and that really moves me a lot. TN: Given that it’s such a long novel, why did you choose to focus on this 70-page section that serves as the plot for the musical? DM: This particular section is kind of the turning point for both Pierre and Natasha, who are the novel’s two central characters. I love how Tolstoy put these two moments of their lives in parallel with each other. The fact that they don’t intersect until the very end, and that the intersection is a profoundly moving moment for both of them, that structure just appealed to me. It felt like a musical. I feel like a lot of musicals seem to have that structure, of two stories running along in parallel that intersect at various times. And I loved the fact that one of the stories in this section wasn’t very “great romantic.” It’s almost like a trashy romance novel in some ways, like those very tumultuous love affair stories. But then this other story is a very philosophical story. I love the idea of putting those two things on top of each other. And I find that moment at the end when they do meet, like in the book, I just find it such a beautiful and moving moment. And then Pierre seeing the comet, of course. That is one of my favorite paragraphs in all of literature. [caption id="attachment_8286" align="alignnone" width="620"] Dave Malloy, Josh Groban, and Rachel Chavkin[/caption]
TN: That moment when Natasha and Pierre do intersect in the show for the first time is very profound and meaningful. It works very well onstage.
DM: Josh Groban and Denée Benton are incredible in that scene, and then Rachel Chavkin’s staging is so beautiful. One of the things I really love about the show is it really rides this huge rollercoaster from incredibly intense, spectacle scenes where there are actors running around literally the entire theatre. But then the end of the show, it really boils down to these two characters. Everything becomes simplified, and they’re just standing on the stage. I think the staging of that scene is beautiful.
TN: When approaching writing the musical, what was the first songs you wrote for the show?
DM: I think the very first song I fully wrote was “Pierre,” for Pierre’s first big entrance. Because at the time, I was playing Pierre, so writing from my own voice was one of the easier things. That was the first song, and then it kind of set the tone for the rest of the show.
TN: Right, that song used to be the opening of the show. Then the “Prologue” was written later on, correct? That song definitely helps introduce the characters to the audience and helps you keep track of who’s who.
DM: Yeah, the prologue was one of the last songs to be written. I was very stubbornly holding out because I thought “Pierre” should be the first song. Then, all of my collaborators and people who were coming to the workshops were like, “I really think we would understand things better if we knew who all the characters were.” So I joke I wrote “Prologue” out of spite, but the song definitely works in the show.
TN: “Dust and Ashes” is one of my favorite songs from the show. I saw you had written this song as the production was heading to Broadway. What made you add this song to the show?
https://www.youtube.com/watch?v=sRnK5mQiQ6c
DM: After I had left the show and was no longer playing Pierre, I got to watch the show from the outside a little more. I felt like not having me in it, not having the composer play Pierre, I just became more aware of the fact that Pierre disappeared for a little too much of Act 1. Then, when we started talking to Josh Groban, it felt like such an incredible opportunity with him joining the show. I felt like, of course if Josh was joining the show, of course I need to write him this showstopping aria for him to use his instrument on. So when Josh came on board, it was such a gift for me as a composer to revisit that character and to kind of fill in some of the holes that were left in the original production. It’s at the point where I now can’t believe we ever did the show without that song.
TN: Given that there was so much to work with in the novel, were there any songs or scenes that did not make the show?
DM: Oh, totally. In the novel, Natasha’s father is in Moscow with them. But in adapting, you’re just trying to streamline things and make the storytelling as clear as possible. It just felt like for that, Marya D. was filling all the needs as an authority figure in Natasha’s life. There’s also an amazing bit in the novel about this French tutor who lives with the Bolkonskys. Her whole thing was amazing, but it got cut as well.
We just wanted to focus on Natasha and Pierre and what served their story best. Some of the characters, like particularly Bolkonsky and Helene, were kind of simplified a bit, just in the fact that what was important about those characters was how they serve the characters of Natasha and Pierre for this adaptation. In the novel, they’re richer and more fully developed characters. It would be amazing to do that, too, but there are only so many hours this show can be.
TN: I just have to talk about the set a little bit. I’ve never walked into a theatre and been immediately consumed into a whole new world. I feel like it was is an intimate experience for the audience. Was it always the plan to make this a very immersive show? I can’t imagine it otherwise.
DM: Absolutely. That was the design from the very beginning when we began at the Ars Nova, and that was an 87-seat theatre. Obviously with that small of a space, it was much simpler to make sure every audience member was having a one-on-one interaction with a cast member at some point and felt like they were in the middle of the action. It just felt like such a core and central part of our production. As we started looking at bigger spaces and started transferring from Off-Broadway to Broadway, the director, set designer and I just insisted that stay. We weren’t going to transform the show into a proscenium and non-show. It just felt against the DNA of the show we created. So, yeah, that was always a challenge.
It felt like, if we wanted to go to Broadway, how do we do that? Our scenic designer, Mimi Lien, looked at so many different theatres over the years. Mimi has set designs drawn on cocktail napkins for like 10 or 11 different Broadway theatres. We just always knew this was something we weren’t going to compromise on. We needed to move our production and keep that immersive setting, or we weren’t going to do it. It was never an option to change the show. I’m sure someday someone will make an amazing proscenium version of the show, and I totally support that. But for our production, it’s just such an integral part of it.
TN: After playing Pierre in all of the Off-Broadway productions, you are taking on the role again in the spring on Broadway. How do you feel about getting back into that role? Do you have a different mindset this time around?
DM: What’s so nice about this is the last time I played Pierre, it was also while we were opening the show Off-Broadway. I was also very much active as a writer, composer and orchestrator. I still had all those hats on while I was playing Pierre as well. It was a little hard spreading my energy amongst all those different departments. Now I get to step in and just focus on the acting and the singing, which will be so fun. I feel like I can really sink deeper into the role. And I get to learn this gigantic new song, and I’m really looking forward to working with Rachel on that. She is such an incredible director. She makes me such an incredible actor.
The other thing I’m looking so forward to is that I’m just so glad to go in now when the original cast is still there. I get to play alongside my old friends who have been with the show since Ars Nova. And I get to play alongside Denée, whom I adore. It will be such an honor to just perform with her. So yeah, I’m really looking forward to it. It’s going to be fantastic.
TN: Last, what do you want the audience to leave with after seeing this show?
DM: As a creator, I feel like that’s a dangerous question to have. If you’re trying to prescribe what the audience should feel, you’re probably going to fail. For me, it’s putting on something that’s as honest and joyful and is as pure to me and my collaborators as possible. I feel like putting that up is the goal. And audiences will take lots of different things away from it. I know some audiences walk away and are just so dazzled by the spectacle of it. Other audiences walk away just profoundly moved by the emotion and the characters and the journey they take. I feel like it can either be a very loud show or a really quiet show depending on the frame of mind when you see it.
What Malloy and the company of “Natasha, Pierre and the Great Comet of 1812” have captured onstage is truly magical. This is definitely a show you don’t want to miss.
Get tickets HERE
And, if you want to see Malloy as Pierre in his Broadway performing debut, check out the dates he’ll be performing HERE.
[post_title] => Interview With Dave Malloy: Creator Of ‘Natasha, Pierre, And The Great Comet of 1812’
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[post_title] => Quiz: What % Schuyler Sister Sass Are You?
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[post_content] => Everyone has their favorite onstage couple. Be it Tony and Maria, Collins and Angel or even Hamilton and Eliza, love stories remain an integral part of the theatrical world. A show can unfold in a fantastical place or a distant historical past, but the love story can transcend all of that and connect with audience members.
My personal favorites were always the stories of the couples that survived the ups and downs and triumphantly scored their happy ending in two and a half hours. If only real-life romances followed Broadway run times. While they didn’t happen in two and a half hours, there are still many love stories to come out of Broadway over the years.
Here are eight real-life couples in the theatre business who found love:
1. Audra McDonald and Will Swenson
Six-time Tony Award winner Audra McDonald got a second chance at love in 2007 when she met her now-husband, actor Will Swenson. The pair met during a revival of “110 in the Shade,” which saw McDonald nominated for a Tony Award for her role as Lizzie Curry. Swenson was the understudy for Starbuck, Lizzie’s love interest, but clearly, McDonald saw him as a leading man. The couple married in 2012 at their home in New York. There’s nothing like a showmance with a fairytale ending!
2. Neil Patrick Harris and David Burtka
This adorable twosome surprisingly did not meet while working together, even though David Burtka had several guest appearances on Neil Patrick Harris’ popular TV show, “How I Met Your Mother” and both have done theatre work in New York.
Their first meeting was on a street corner in New York when Harris ran into a mutual female friend who was out with Burtka at the time. In true “When Harry Met Sally” fashion, Burtka was in a relationship at the time, so when the two met again at a viewing party for the first season of “American Idol,” they decided to hang out as friends.
But, much like Harry and Sally, Burtka’s relationship eventually ended, and it became clear that the attraction between them was undeniable. While Harris was the first to admit love to an unsure Burtka, it was Burtka who first proposed one evening on the way to an event. Granted, Harris proposed the following year, so now they’re even. The two have been together for over a decade, now balancing hectic careers with raising their adorable twins, Gideon and Harper — and doing it all with style.
3. Eli Wallach and Anne Jackson
You might remember Eli Wallach from one of his later film roles as the adorable elderly neighbor who turns out to be a Hollywood legend in “The Holiday.” In reality, Wallach and his wife, Anne Jackson, were one of the legendary couples of American theatre. These two lovebirds took to the stage together many times throughout their long careers. In fact, the stage is where they first met in 1946, when they were both cast in a Tennessee Williams production. They married two years later and had three children.
Juggling parenthood and careers, they remained dedicated to their joint love of the stage, often giving each other respectful feedback after performances and continuing to look for opportunities to work together. The couple continued acting together and apart until Wallach died in 2014 and Jackson died in 2016.
4. Jeremy Jordan and Ashley Spencer
Like many modern love stories, Broadway actors Jeremy Jordan and Ashley Spencer were first introduced through Facebook. After their online connection, the two opt to meet for a first date at a New York restaurant. After some liquid courage, Jordan banished his reserved side, and with the help of late-night karaoke, the romance blossomed. The two are now enjoying married life and busy careers.
5. Leslie Odom Jr. and Nicolette Robinson
“Hamilton” actor Leslie Odom Jr. and wife Nicolette Robinson are both riding the high of successful stage careers after several years together as struggling actors. This New York couple’s story actually began in Los Angeles when Odom Jr. was working as Billy Porter’s assistant director on “Once Upon This Island.” Robinson showed up to audition, and Odom Jr. was instantly taken with her.
Robinson lost the role to another actress, but after a cast member was forced to drop out due to a death in the family, Robinson was cast, and it was up to Odom Jr. to get her caught up on the show. Their fast friendship soon turned to romance, and now the married thespians are expecting their first child. You can see this adorable couple get romantic in the music video for Odom Jr.’s sultry song, “Autumn Leaves.”
https://www.youtube.com/watch?v=kVJAc3nxhqY
6. Julie Andrews and Blake Edwards
The story of Julie Andrews’ 41-year romance with writer/director/producer Blake Edwards is proof that love can be found just about anywhere. The two met in passing on the way to their mutual therapist. After spotting Andrews in her car, he rolled down his window and spoke to her. It was a second marriage for both of them, and they adopted two young girls from Vietnam, growing their blended family that included children from previous marriages. They enjoyed a long and happy life together until Edwards’ death in 2010.
7. Orfeh and Andy Karl
Another couple to survive the showmance, Orfeh and Andy Karl have been going strong since 2000. The couple met during the Broadway adaptation of “Saturday Night Fever” and have been conquering New York stages ever since. When Karl joined the cast of the show in progress, the two were immediately taken with one another. After a quick five-month courtship, they were engaged (Karl hid the ring in a box of Chinese takeout before he got down on one knee). It just goes to show you can’t fight fate. They even went on to play love interests in the smash musical “Legally Blonde.” After 17 years together, they’re as enamored as ever and continue to be each other’s biggest supporters.
8. Christopher Jackson and Veronica Vazquez Jackson
Speaking of love at first sight, Tony Award nominee Christopher Jackson was head over heels when he first laid eyes on his now-wife at a reading for what later would become “In the Heights.” A chemistry test for the in-development show took fiction to reality when Jackson finally got up the courage to ask her out. The rest, as they say, is history. The two are now enjoying marriage and parenting their two children while advocating for autism research and awareness.
Whether it’s love at first sight or finding a match the second time around, these relationships are proof for even the most disbelieving that love exists outside of the stories and true romance continues long after the curtain closes.
Have a favorite Broadway love story? Let us know in the comments below...
[post_title] => How They Met: Real Broadway Love Stories [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => real-broadway-love-stories [to_ping] => [pinged] => [post_modified] => 2018-02-13 22:30:54 [post_modified_gmt] => 2018-02-14 03:30:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7916 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [13] => WP_Post Object ( [ID] => 7890 [post_author] => 391 [post_date] => 2017-03-30 09:17:16 [post_date_gmt] => 2017-03-30 13:17:16 [post_content] => Take them or leave them. Contemporary musicals such as “Rent,” “Wicked” and “Little Women” prove that female duets thrive on Broadway. Whether it’s sassy or sentimental, a female duet is bound to be a crowd-pleaser. Eventually, though, listeners are through with hearing the same duet each nine-to-five for each performance. If you’re done with singing the same selections for good, here are 15 duets that should refresh your ears:1. “Any Day” from “The Three Musketeers”
https://www.youtube.com/watch?v=wd4M68o-Uqg George Stiles’ adaptation of the classic Alexandre Dumas novel features this beautiful duet between two characters waiting to be rescued by the ones they love. Voice 1 Range: Ab3–Eb5. Voice 2 Range: Ab3–E5.2. “Casting Call for a Best Friend” by Rob Rokicki
https://www.youtube.com/watch?v=PHGpAHc0M38 This hilarious cabaret duet is satire about the cutthroat nature of musical theatre. Voice 1 Range: Bb3–Eb5. Voice 2 Range: Bb3–Eb5.3. “Maybe (Next to Normal)” from “Next to Normal”
https://www.youtube.com/watch?v=FZ69uwuQsDI Coming at a pivotal point in the musical, this mother/daughter duet is a tearjerker for anyone listening. Voice 1 Range: Ab3–Bb4. Voice 2: Ab3–Bb4.4. “Freedom” from “The Unauthorized Autobiography of Samantha Brown”
https://www.youtube.com/watch?v=EYPKh3bH968 This Kerrigan-Lowdermilk duet is about two high school friends who embrace fate and take chances without knowing what happens next. Voice 1 Range: G3–G5. Voice 2 Range: G3–D5.5. “Ready to Be Loved” from “Edges”
https://www.youtube.com/watch?v=Ks_m-dZVuzY This Pasek and Paul selection is already a popular solo, but it works fantastically as a duet, too! Voice 1 Range: A3–E5. Voice 2 Range: A3–G5 (optional C6).6. “God’s Own Country” from “The Beautiful Game”
https://www.youtube.com/watch?v=vbu0METQPQY Taken from one of Andrew Lloyd Webber’s lesser-known musicals, this patriotic duet is a tribute to the characters’ homeland of Ireland. Voice 1 Range: Gb3–D5. Voice 2 Range: Bb3–Eb5.7. “Flight” by Craig Carnelia
https://www.youtube.com/watch?v=bBLVGD1vtd8 Known for his work on the musical “Working,” Craig Carnelia’s duet has been most notably recorded by Sutton Foster and Megan McGinnis. Voice 1 Range: D4–F#5. Voice 2: F#3–D5.8. “Whatever I Want It to Be” by Jonathan Gealt
https://www.youtube.com/watch?v=A485tFqhxyw An ode to the creative process, this borderline-patter duet is great for singers in search of a more pop-sounding duet. Voice 1 Range: Gb3–E5. Voice 2 Range: Gb3–Eb5.9. “Don’t You Be Shaking Your Faith in Me” by Goldrich and Heisler
https://www.youtube.com/watch?v=4PCaai0M-tc Known for the songs “Taylor, the Latte Boy” and “Alto’s Lament,” Goldrich and Heisler bring in the soul for this piece. Voice 1 Range: Bb3–F5. Voice 2 Range: F3–D5.10. “You Love Who You Love” from “Bonnie and Clyde”
https://www.youtube.com/watch?v=wmd4xguAYnY One of Wildhorn’s more country-sounding duets in his oeuvre, the characters Bonnie and Blanche profess their love for their men. Voice 1 Range: Gb3–Db5. Voice 2 Range: Bb3–Eb5.11. “How the Other Half Lives” from “Thoroughly Modern Millie”
https://www.youtube.com/watch?v=_4V9uE0Baf0 This jazzy duet is sung by Millie and the wealthy Miss Dorothy, who is curious about how the poor lives. Voice 1 Range: B3–D#5. Voice 2 Range: B3–C5.12. “Lucky” from “Floyd Collins”
https://www.youtube.com/watch?v=hxU2FG_clew Another country duet, this song features characters from Floyd’s family as they try to rescue him from the cave he’s trapped in. Voice 1 Range: F#3–D#5. Voice 2 Range: F#3–C#5.13. “Perfect Strangers” from “The Mystery of Edwin Drood”
https://www.youtube.com/watch?v=vX0O7pr-1c4 A relic from the pop-opera era of Broadway, Edwin and Rosa call off their engagement, since they’re unsure of their feelings for one another. Voice 1 Range: C#4–F5. Voice 2 Range: C#4–D#5.14. “Secondary Characters” from “[title of show]”
https://www.youtube.com/watch?v=t6MLYS7kKmk Heidi and Susan diva-out during this interlude as minor characters. Voice 1 Range: G3–B5. Voice 2 Range: G3–D5.15. “The Song About Ordering Furniture” by Drew Gasparini
https://www.youtube.com/watch?v=8q42YXkfFdE This comedic cabaret duet features two women who decide to move in together and their subsequent mishaps. Warning: obscene language. Vocal Range 1: A3–A4. Vocal Range 2: A3–C#5.Did we leave out a female duet you love? Let us know in the comments below...
[post_title] => 15 Overlooked Contemporary Female Duets [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-overlooked-contemporary-female-duets [to_ping] => [pinged] => [post_modified] => 2017-03-30 09:17:16 [post_modified_gmt] => 2017-03-30 13:17:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7890 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 7 [filter] => raw ) [14] => WP_Post Object ( [ID] => 7920 [post_author] => 1 [post_date] => 2017-03-29 09:49:13 [post_date_gmt] => 2017-03-29 13:49:13 [post_content] => Theatre Nerds contributor Ashli Meynert caught up with the amazing Katie LaMark, who plays resident bad girl Maureen Johnson in the 20th Anniversary Tour of “Rent.” Check out what she had to share about the role and her future in theatre: TN: What’s currently playing on your playlists, both Broadway and other genres? KL: Idina Menzel, of course! I have a wide range of music from rap to 1975, but I always love my pop girls as well, such as Ariana Grande, Katy Perry and Little Mix. TN: What is on your binge-watch list? KL: “Bob’s Burgers,” “30 Rock,” and “Parks & Rec.” I think my favorite show is always “Transparent.” I have learned so much from watching that show, including the correct terms and their meanings in the transgender world. TN: Who would be your dream choreographer to work with? KL: Yanis Marshall, the heels choreographer, for sure. The Broadway classic “Rent” is back onstage with its 20th Anniversary Tour, and I caught up with Katie LaMark between shows in Seattle. As part of the show, LaMark has been mooning Benny during “La Vie Boheme” and intimidating the crowd to moo along with her during “Over the Moon.” However, offstage, she is a down-to-earth 25-year-old who just loves playing onstage, illustrating in her free time and being her own person. [caption id="attachment_7922" align="alignleft" width="284"] Katie LaMark[/caption]
Growing up in a music family in Boston, LaMark had never thought about doing anything but theatre, yet it wasn’t forced onto her. She just fell in love with it through exposure, with her first memory being watching a taped version of Mary Martin in “Peter Pan” before seeing it live through a local theatre. The dream of being onstage never left her, as she went on to get her BFA in musical theatre from Syracuse University, which led her to her current role in the national tour of “Rent.”
LaMark is very modest when it comes to her role in “Rent.” One of the ideas that she stressed as we talked was that Maureen really has an easy role, yet she’s getting spoiled with lots of love and accolades. Maureen only has a couple of songs to belt out and then is really not part of the show for the rest of the time. It’s really the ensemble that works the hardest in her mind. When you see the show, she wants you to pay attention to how much they do, especially during one segment where three of the ensemble members have 30 seconds to run across the stage, change into police costumes and be on the balcony.
As “Rent” continues its national tour, LaMark is looking forward to a future in theatre. When asked about her dream role, she gave two answers. She automatically said she’d love to play Dot in “Sunday in the Park With George,” but she doesn’t feel that she is old enough to play that role yet. However, the role she really wants to play hasn’t been written yet. She’s adamant that her perfect role would be to originate a strong female lead who is successful from the very beginning of the show. She said she feels most of the stories about strong women are very much about how they are helped by men to become successful, which doesn’t send a very strong feminist message.
Follow LaMark’s career by checking out her website and following her Instagram!
Post by Ashli Meynert
[post_title] => Katie LaMark Jumps Over The Moon In 'Rent'
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[post_content] => Part of the magic of putting on a big Broadway-style musical are the performers coming offstage and onstage at lightning speed with a change in costume. However, accomplishing a costume quick change is no easy task. Here are some tips so you can pull off one just like the Broadway pros do:
1. Quick-Rig All Costume Pieces
https://www.youtube.com/watch?v=OQznWp4tD-A In this video, Dan Klarer shows us how a great quick-rig is done! “Quick-rig” is wardrobe speak for using velcro and snaps for any clothing that can’t come off with a quick tug. Change out all buttons, zippers and any closures in your costumes for these handy inventions to accomplish a quick change in record time. You can also check out this handy guide from Psycho Seamstress that walks you through the steps of exchanging buttons for snaps.How to Costume Rig a Button Down Garment for Quick Change
2. Elasticize All Shoes That Don’t Slip On and Off
https://www.youtube.com/watch?v=jkS6P4qZW1Y Shoes can be some of the most difficult things to deal with during a quick change. When time is of the essence, you certainly don’t want to deal with knotted laces you can’t untie or straps that are hard to unbuckle in the dark. Elastic is a great cost-effective solution to solve these shoe issues. Replace any and all shoelaces with elastic, have them pre-tied in advance of the change and then you’re good to go. The same goes for shoes with straps that have buckles. Replace those straps with elastic and get rid of the buckles altogether. If you’re worried about shoes coming off during dance numbers, use two pieces of elastic to create a crisscross shape on each individual shoe. Not only will each shoe remain snug for all the choreography, but they will come off with a gentle tug from the actor during the change.3. Overdress and Underdress Costumes
https://www.youtube.com/watch?v=2ov0SLQeD3U This footage from the previous Broadway production of “Cinderella,” with glorious costumes by William Ivey Long, is a perfect example of both underdressing and overdressing costumes to create stage magic. While this may not work for every show you mount, it can make for a very quick change. It’s as easy as layering your clothing. This is really helpful for actors who may have to do a change without a helper. Even better, like the “CInderella” transformation seen here, this idea works when a change has to be done onstage and can’t be hidden from the audience. Did you see how the “magic” worked in this change? If you blinked, you may have missed it! When Cinderella runs around in excitement about her dress changing, she quickly visits the side of the stage, where a dresser helps her to overdress the large skirt she needs for the final piece of her white ball gown.4. Get Help from Others
https://www.youtube.com/watch?v=G4OcqWxsKL0 This Tony Awards video of the Broadway company of “The King and I” certainly demonstrates the power of teamwork and timing in a quick change. You can take a lot from this video to help with your own quick-change adventures. First, don’t be afraid to ask for help! It can sometimes take two or three people, depending on how many pieces of clothing the costume requires. Second, make sure each helper has a specific duty or piece of costume for which he or she is responsible during the change. Last, make sure you work together to figure out the best way to take everything on and off the actor in the most efficient way possible, just like these fabulous Broadway dressers do.5. Create a Quick-Change Booth
https://www.youtube.com/watch?v=k-QTYTaqmY8 This fun video from Center Theatre Group and the touring company of “A Gentleman’s Guide to Love and Murder” create a space specifically dedicated to John Rapson’s quick change on the side of the stage. Being that many of his changes were so fast, it helps to save time so that he doesn’t have to go up to the dressing room every time a new costume is required. To create your own quick-change booth, wall off an area with curtains, a few costume racks or behind a large set piece (just make sure it’s not one of the ones needed in any of the scenes coming up while you’re doing the change). Use clip lights to light the area, and place a rug or drop cloth (wardrobe speak for a piece of fabric) on the floor to protect actors’ costumes and feet from a dirty area and/or unwanted objects. Make sure the booth contains any items needed by hair, makeup and costumes for any changes that will be happening in it throughout the show.6. Practice
https://www.youtube.com/watch?v=BfXSucpxFhg As Mary Poppins would probably say, something “practically perfect” takes practice. And it’s very obvious in this video from the American Theatre Wing and the Broadway company of “Mary Poppins” that they have practiced this change to the point of perfection. Follow their lead and make sure you also practice your quick changes. While practicing, make sure you rehearse the change in the space you’ll be using during the show and use similar lighting. You need to know before the performance whether you can actually see the clothing before you try the change. In addition, use a stopwatch and see how long it takes to accomplish this change so you can make sure the quick change will happen in the time allotted during the actual performance.7. Use a Bite Lite
https://www.youtube.com/watch?v=gMT9oQn9yZU Not only are these dressers on the crew of “Beautiful” on Broadway doing brilliant quick changes, but they also have one thing in common: They all use a bite lite to accomplish their changes. A bite lite is wardrobe speak for a very small flashlight you put in your mouth and hold with your teeth. Once bitten, it will light up, and your hands will be free for a quick change. It’s an essential tool for any backstage artist, especially where quick changes are concerned. Even in the best light backstage, it can be hard to see zippers and small closures that blend in with fabrics. Using a bite lite ensures there will be no issues in locating them. So, make sure to always have one on hand. If you don’t have a pocket to store it in, tie it on a piece of ribbon or string around your neck. If you are uncomfortable using a bite lite, pick up a headlamp from your nearest hardware store. Not only are they inexpensive, but they can be easily placed around your head. All you do is just switch it on for when the change happens and turn it off when you’re done.8. Write Out How Your Quick Change Is Done
https://www.youtube.com/watch?v=8NIz4h7evYg Lady Gaga and her dresser crew have this quick change down pat! However, what if something happened to one of the dressers in this video? What would they do? How do they keep making sure it’s carried out perfectly every time, no matter who the dresser is? Well, of course, practice, but more importantly, they also make sure every step is written out so that no matter who is working the change, he or she will know exactly what to do. This is imperative in case you have to switch out anyone helping with the show throughout the run. Remember that with every person doing a separate item on the change, things become complicated and people can forget everyone’s duties. Writing them down can be a saving grace should a last-minute replacement be needed. It also ensures your quick change will continue to run like clockwork and put the person subbing in at ease.9. Communicate With Your Actor
https://www.youtube.com/watch?v=iffBqRF57Jc Communication is key in a quick change — not just with the dressing team, but with the actor being dressed. It’s imperative to talk in advance about your game plan for the change and what the actor should know and do while the change occurs. Consequently, being open about how the quick change will go helps put the actor at ease during what can potentially be a very stressful time.10. Don’t Let Others Interfere
https://www.youtube.com/watch?v=dGXT4aep2y4 This group at El Dorado Musical Theatre has the group quick change idea down to a science. Not only does each team do its specific job of changing a specific character, but none of the actors or team members interfere with the one they are not preset to be involved with. Making sure unwanted hands or distractions stay out of quick changes is imperative. One false move or lost second can make the change go very wrong if the actor doesn’t make it onstage on time in the correct costume. Though quick changes can take some time and some practice to nail down, the end result never ceases to stun and impress the audience.Ever tried a quick change? What are the best tips you can offer? Let us know in the comments below...
[post_title] => 10 Tips For A Perfect Quick Change [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 10-tips-perfect-quick-change [to_ping] => [pinged] => [post_modified] => 2017-03-28 13:30:12 [post_modified_gmt] => 2017-03-28 17:30:12 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7826 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 25 [filter] => raw ) [16] => WP_Post Object ( [ID] => 8156 [post_author] => 12 [post_date] => 2017-03-27 10:18:49 [post_date_gmt] => 2017-03-27 14:18:49 [post_content] => [caption id="" align="alignleft" width="214"] Ernie Charles[/caption]
Ernie Charles is an actor, writer, producer and business owner of Entertaining Taxes, where he is an enrolled agent who specializes in tax preparation specifically for performers. He has represented entertainment professionals in several IRS audits, appeals and collection cases and knows the tax world backward and forward. We sat down with him to ask him about some dos and don’ts for actors at tax time.
TN: What are five things actors are usually surprised to hear that they can write off at tax season?
EC: Usually, they are more surprised by what they can’t write off. But actors often miss some simple business expenses that are allowed. According to IRS code, the expense should be an ordinary and necessary business cost. I’m going to name six, but there are more.
- Business miles, which is driving your car to classes, auditions, picking up headshots, visiting your agent’s office, business meetings, etc. Anytime you’re driving somewhere to improve or help your craft and you’re not being paid for it, you should track these miles. Also, it’s important to get your beginning and ending odometer for the year so that you have your total miles.
- A percentage of your cell phone for business, plus the cost of your phone and its accessories. It’s usually best to total everything together and use a percentage of that total for business (something between 20 percent to 60 percent). It depends on how aggressively you are pursuing the business.
- Business meals, or as I call them, business meetings. In the business of acting, we are always looking for work, and you usually don’t know where the next job may come from, so it’s important to develop relationships. I always take my receipt from a meeting with someone for dinner or a drink, and I write on it the business associate’s name and the project we discussed (even if you’re just meeting for coffee to discuss a show or film project). You can’t do every meal, but it’s normal to have one or two per week.
- Research by watching TV, film and theatre. It’s important to keep notes on your research for proof. Many times, I will write down the name of the casting director, the director and the writer on the receipt or playbill. I will write down a character I relate to or something about the story, which I might be able to use in a future audition or project.
- Professional development, such as classes, workshops and seminars.
- Advertising and publicity, such as photoshoots, headshots and resumes, casting services and website fees.
- Clothing is the No. 1 thing most actors try to deduct, but it’s not allowed. Clothes that may be worn on the street are not an allowable business deduction.
- Haircuts, hair coloring and makeup are most often not allowed. No deduction is allowed for general makeup and hairstyles to “maintain an image.” If you don’t believe, me go to IRS.gov and type in, “Business Expenses - Entertainment Tax Tips” and read what it says about appearance and images.
- Commuting miles to and from work. Actors confuse business miles and commuting miles sometimes. Commuting miles to and from set are not deductable if you are getting paid.
- Gym membership fees are not deductable. Just because you want to look good does not make it a business deduction.
- Cosmetic surgery is neither a business expense nor a medical expense.
Do you have any tricks to help you organize for tax season? Share in the comments below...
Disclaimer: TN are not tax professionals (duh). Please consult your own tax professional to make sure you comply with all that legality stuff.
[post_title] => Tips And Tricks For Actors During Tax Season: Interview With 'Entertaining Taxes' Owner Ernie Charles [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => tips-tricks-actors-tax-season-interview-entertaining-taxes-owner-ernie-charles [to_ping] => [pinged] => [post_modified] => 2017-03-27 21:00:53 [post_modified_gmt] => 2017-03-28 01:00:53 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=8156 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [17] => WP_Post Object ( [ID] => 7869 [post_author] => 440 [post_date] => 2017-03-26 10:00:34 [post_date_gmt] => 2017-03-26 14:00:34 [post_content] => Now that the post-Christmas recovery period is completely over and everyone has waded a little further into 2017, it’s time to start planning this year’s vacation. There is no better motivator to get you through those long hours of class, rehearsal and work than the thought of an upcoming retreat from regular life. Whether it’s stateside, abroad or even a staycation, why not let your favorite musicals inspire your choice for your 2017 getaway?Here are 11 vacation spots straight from the stage:
1. Paris
Is there anything more romantic than Paris? Even though the Paris in “Les Misérables” is arguably pretty bleak, they still manage to yank a love story out of all that death and misery. Instead, think the romantic Paris of “The Phantom of the Opera” or “An American in Paris.”
Stroll along the Seine like Jerry and Lise, or visit the Palais Garnier, which inspired Gaston Leroux’s original novel-turned-musical, “The Phantom of the Opera.” Don’t forget to buy yourself a baguette or a French pastry and eat it while relaxing on the lawn near the iconic Eiffel Tower. You won’t regret it.
2. Salzburg
The picturesque Austrian city is the birthplace of Mozart and the setting for the famed Rodgers & Hammerstein musical , “The Sound of Music.” The city is rife with museums, culture and, of course, music.
No trip to Salzburg would be complete without taking part in one of the movie tours for “The Sound of Music,” visiting filming locations and shamelessly singing every corresponding song.
3. South Africa
Get a taste of the Pride Lands while visiting this gorgeous African country. Book a safari to Kruger National Park, one of Africa’s largest game reserves. Just like “The Lion King,” Kruger is home to rare African wildlife, including lions, elephants and rhinos. If you’re feeling extra adventurous, head to Cape Town and climb Table Mountain, or relax on one of its stunning beaches.
4. Memphis
In the heart of the famous Tennessee city is Beale Street, now a historical landmark, where many musicians got their start. The street is home to several restaurants and blues clubs, like the one where Huey and Felicia meet for the first time in “Memphis.” Visitors can enjoy the musical sites, such as Stax Records and Elvis Presley’s famous Graceland Mansion, or take in a museum or attraction, such as the city’s Walk of Fame.
5. Dublin
The capital of the Republic of Ireland is also the setting for Glen Hansard and Markéta Irglová’s beautiful musical “Once.” Immerse yourself in Guy and Girl’s world, strolling the iconic cobbled streets or ducking into one of the countless local pubs for live music by some of Dublin’s most talented artists. Explore Dublin’s rich history at the local libraries and landmarks, or venture outside of the city and take in the gorgeous Irish countryside.
6. Florence
There is no shortage of inspiration in this gorgeous gathering of art and culture, the setting for Adam Guettel’s “The Light in the Piazza.” This enchanting Italian city in the famous region of Tuscany is a feast for the senses. Visit the Uffizi Gallery, home to some of the world’s greatest Renaissance art, where Clara finds love at first sight with local boy Fabrizio. Be sure to treat yourself to a gelato or five and stroll through the streets, taking in the historical landmarks and gorgeous architecture.
7. St. Petersburg
Shrouded in secret and steeped in mystery, this historical Russian city has long been a draw for tourists. The story of the Romanovs that has fascinated the world for years serves as the premise for Broadway’s new musical, “Anastasia.” Marvel at the city’s striking colorful architecture and visit the palaces belonging to the tsars of old. At night, take in one of Russia’s famed ballet productions at the Mariinsky Theatre.
8. Greek Islands
Donna and Sophie’s island home in “Mamma Mia” is nothing short of envy-inducing. Indulge in your fantasies and book a trip to the sun-kissed islands of Greece. Set up camp relaxing on one of the beautiful beaches or cruise through the various islands and enjoy the beautiful scenery, delicious local eats and welcoming communities.
9. London
Home of the famous West End theatre district, it seems obvious to recommend catching a show there, but it’s still worth mentioning. Then, channel your inner Mary Poppins by feeding the birds in the square of St. Paul’s Cathedral or follow the lead of the Banks children and escape to one of the city’s many parks, such as the famous Hyde Park. London in no way lacks tourist attractions or local history. The hardest part will be trying to see it all.
10. Thailand
Rodgers and Hammerstein sure know how to choose a locale. In their famed musical “The King and I,” British schoolteacher Anna comes to Siam and falls in love with the king and his homeland. Experience Anna’s exotic journey by traveling to the same nation, now known as Thailand. From the colorful city of Bangkok, filled with its beautiful palaces to the beautiful Buddhist temples of Chiang Mai or the white-sand beaches of Phuket, there is something for every traveler.
11. New York City
The city that never sleeps is also the origin of countless epic musicals — not to mention one of the hottest spots in the theatre world. Needless to say, New York is always a good time. In between Broadway shows, stroll the streets of the city where the newsies delivered their papers or explore the Washington Heights neighborhood from “In the Heights.” You can also take a tour of the real-life locations of Alexander Hamilton’s life. The choices are endless. If you are lucky and keep an eye out, you might even catch a glimpse of your own favorite Broadway performer as you navigate the busy streets.
This year, why not let your favorite characters activate your wanderlust and spark your vacation dreams? Who knows, the adventure may inspire a musical of your own.
Caught the travel bug? Let us know which musical theatre-themed location is inspiring your holiday, leave a comment below...
[post_title] => 11 Vacation Destinations Inspired By Your Favorite Musicals [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 11-vacation-destinations-inspired-favorite-musicals [to_ping] => [pinged] => [post_modified] => 2018-06-01 12:09:08 [post_modified_gmt] => 2018-06-01 16:09:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7869 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [18] => WP_Post Object ( [ID] => 7741 [post_author] => 11 [post_date] => 2017-03-25 10:20:34 [post_date_gmt] => 2017-03-25 14:20:34 [post_content] => [viralQuiz id=38] [post_title] => Quiz: Which 'Into The Woods' Character Are You? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => which-into-the-woods-character-are-you [to_ping] => [pinged] => [post_modified] => 2017-03-25 18:43:08 [post_modified_gmt] => 2017-03-25 22:43:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7741 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 3 [filter] => raw ) [19] => WP_Post Object ( [ID] => 7429 [post_author] => 391 [post_date] => 2017-03-24 09:56:20 [post_date_gmt] => 2017-03-24 13:56:20 [post_content] => Heralded as this season’s “Hamilton,” the new Pasek and Paul musical “Dear Evan Hansen” is already selling out the Music Box Theatre after opening this past December. The remarkable show about a high school senior who becomes involved in the turmoil following a classmate’s suicide has captivated the hearts of almost everyone who has seen it. Its bold storyline and relatable characters are part of why the show resonates with so many people. Since we hope this show keeps running “for forever,” here are some reasons why “Dear Evan Hansen” could very well sweep this year’s Tony Awards:1. The Names Associated With the Show
https://www.youtube.com/watch?v=iMEMbANRHnM Pasek and Paul already have a strong following in the musical theatre community through shows such as “A Christmas Story” and “Dogfight.” One of their prouder moments was earlier this year when they each won a Golden Globe for their work on “La La Land.” Furthermore, the show’s phenomenal cast, starring Ben Platt (“Pitch Perfect”) and Jennifer Laura Thompson (“Urinetown), effortlessly make the music and lyrics come to life.2. The Original Broadway Cast Recording’s Immediate Success
https://www.youtube.com/watch?v=xkdPRcY0k4o Cast recordings for other shows, such as “The Book of Mormon” and “Hamilton” rapidly achieved success after they were first released. In addition to ticket sales, the early success for a cast recording often influences the show’s popularity among the Tony committee. At this rate, the acclaim for “Dear Evan Hansen” can only go up from here.3. The Story Is Relatable and Relevant
https://youtu.be/x_CNqKA2t9M Characters such as Evan Hansen exemplify the awkwardness and anxiety felt in many high school students feeling desperately out of place. The song “Waving Through a Window” perfectly captures the essence of an outcast waiting to be recognized by his peers. Just as “Hamilton” was relevant because of its color-blind casting of historical figures, “Dear Evan Hansen” is relevant for its stance on preventing and coping with teen suicide.4. The Music’s Contemporary Sound
https://www.youtube.com/watch?v=s1Evnzkez7o For the past decade, musicals such as “Next to Normal” and “Kinky Boots” have thrived on having elements of rock and disco music in their respective scores. Some songs in “Dear Evan Hansen” would not be out of place on soft-rock radio formats and sound as if they could have been written by someone like Ed Sheeran. The music’s fresh, borderline-pop influence is sure to be a plus among audiences and Tony voters.5. The Musical’s Inspiring, Feel-Good Message
https://www.youtube.com/watch?v=rmq-cRSVfao The dynamic character development keeps the show fascinating to audiences and creators alike. Similarly, the idea of positively affecting someone’s life even after tragedy is part of what makes it such as remarkable musical. The show makes the point that no matter how alone or lost you may feel at any point in your life, you will be found.Are you also rooting for “Dear Evan Hansen” at this year’s Tony Awards? Let us know in the comments below...
[post_title] => Why 'Dear Evan Hansen' Could Dominate This Year’s Tony Awards [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => dear-evan-hansen-dominate-years-tony-awards [to_ping] => [pinged] => [post_modified] => 2017-03-24 09:56:20 [post_modified_gmt] => 2017-03-24 13:56:20 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7429 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [20] => WP_Post Object ( [ID] => 7864 [post_author] => 639 [post_date] => 2017-03-23 09:09:38 [post_date_gmt] => 2017-03-23 13:09:38 [post_content] => One of the most hyped-up new musicals on Broadway at the moment, “Natasha, Pierre, and the Great Comet of 1812” does not disappoint. This show has seen many workshops and Off-Broadway renditions, but it finally made it to the Imperial Theatre in 2016. With all the buzz, you may be wondering what to expect from this show. It’s very difficult to describe the experience you’ll have once you walk into the theatre, but we’ll do our best to tell you.Here are seven things to expect from "Natasha, Pierre, and the Great Comet of 1812."
1. A Lesson in Literature
This show is based on a 70-page section of Leo Tolstoy’s “War and Peace.” Prior to seeing this show, you may have only heard of this novel as being one of the longest books you could ever read. I don’t think too many people thought a book like this could ever make it to the stage, as there are endless characters and multiple storylines to keep track of.
This is perhaps why the show only focuses on a very rich and intimate part of the novel. The musical only portrays a chunk of the original novel (Volume 2, Part 5, to be exact). Within this section, the innocent and engaged Natasha falls for the dashing and secretly married Anatole. There is also Pierre, an old family friend of Natasha and brother-in-law to Anatole, who is trying to find his purpose in life. Though some of the characters from the novel don’t make it into the show, this musical stays fairly true to the book.
2. Do You Like “Les Mis?”
Similar to “Les Misérables,” this musical is based on an epic novel and is completely sung-through. For this show, it works incredibly well. Ironically, this show is also at the Imperial Theatre, where the “Les Misérables” revival was just a couple of years ago. Because this plot has so much depth and so many characters, it was hard to imagine how it would transfer to the stage.
As Brittain Ashford (Sonya) said at the stage door when asked whether the cast was nervous about bringing this unconventional show to Broadway, she said director Rachel Chavkin had two words to say about that: “Les Mis.”
3. The Freaking Set
If you are at all familiar with the Imperial Theatre, chances are you no longer are. The entire theatre has been completely transformed for this show. You can no longer see the original stage, and there are multiple ascending staircases, runways throughout the audience for actors to dance on, tables and more seating onstage to make the whole theatre feel like a Russian bar. Not to mention, all the walls are draped in red fabric and covered in old paintings to really set the mood and the time period.
Then there is the lighting. Aside from the beautiful chandeliers meant to mimic comets throughout the theatre, there are also little tables in the audience with lamps. You are totally surrounded and feel very included in the show. This is all without mentioning that there is also a rave at one point.
4. All the Fresh Faces
For about 20 members of this cast, this is their Broadway debut. Many members of the cast have been with the show for the past few years through its different Off-Broadway and Off-Off-Broadway renditions. This show features a very interesting ensemble because not only are they singing and dancing, but most of them also play instruments.
Ensemble aside, the two principal leads are also fairly new to Broadway. For Denée Benton, who just graduated from Carnegie Mellon in 2014, this is her Broadway debut. She gives a beautiful performance as Natasha. She also plays against Josh Groban, who is making his Broadway debut as well. He truly shines as Pierre, and his voice is amazing live. He also plays the piano and an accordion throughout the show.
5. The Music
https://www.youtube.com/watch?v=RssWEF3vAmQ The music from this show ranges from classic ballads to techno pop rave music. As previously mentioned, this whole show is sung through. I don't think there could have been another option for this plot, and the technique works beautifully. Though some of these songs are not very conventional (like the show itself), you will leave the theatre with songs and melodies playing in your head for weeks to come. Give the Act 2 opening “Letters” a listen and see for yourself.6. Their Twitter
https://twitter.com/NMellion/status/835863880802914304 Just a little side note about this show’s Twitter account: They will like and respond to your posts. Not only do they respond, but they reply in character with the show. See above as an example, complete with an emoji of a comet.7. It’s a Party!
https://www.youtube.com/watch?v=4lGARXirty8 When you walk out of this theatre, you will feel exhilarated but unable to fully explain this experience to another person. When you first sit down, the cast starts to interact with you and throws pastries to the audience. There is romance, a ball and even a duel. By the end of the show, you won’t want it to end. There really is no show like this out right now. [post_title] => What To Expect From 'Natasha, Pierre, and the Great Comet of 1812' [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => what-expect-natasha-pierre-great-comet-1812 [to_ping] => [pinged] => [post_modified] => 2017-03-24 09:58:32 [post_modified_gmt] => 2017-03-24 13:58:32 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7864 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [21] => WP_Post Object ( [ID] => 7590 [post_author] => 11 [post_date] => 2017-03-22 10:34:16 [post_date_gmt] => 2017-03-22 14:34:16 [post_content] => [viralQuiz id=37] [post_title] => Who's Your Soulmate: Phantom Or Raoul? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => whos-your-soulmate-phantom-or-raoul [to_ping] => [pinged] => [post_modified] => 2019-03-15 20:12:15 [post_modified_gmt] => 2019-03-16 00:12:15 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7590 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [22] => WP_Post Object ( [ID] => 7894 [post_author] => 712 [post_date] => 2017-03-21 09:22:34 [post_date_gmt] => 2017-03-21 13:22:34 [post_content] => While there is no denying the fact that big names bring big box office numbers on Broadway (or in some cases are the grease that keep the wheels spinning — hey, “Chicago!”), there have been many celebrities to leave a distinct mark with their talent alone. It has even been said that many actors sign on to blockbuster films just so they can afford to “go back to the theatre.”Here are 10 Hollywood stars not widely known for their stage work who have recently lit up the Great White Way performing in a musical:
1. Hugh Jackman, “The Boy From Oz” (2003)
While he was recognized worldwide as Wolverine, Hugh Jackman swapped his claws and brooding emotion for sparkles and sequins to make his Broadway debut. In the lead role of Peter Allen, Jackman won a Tony Award for “The Boy From Oz.” He loved the experience so much that in 2006, he reprised the role for the Australian arena tour, directed by “High School Musical” and “Hocus Pocus” legend Kenny Ortega.
Fun Fact: For some audience members, it was hard to shake Jackman’s “X-Men” vibe. “During ‘The Boy From Oz,’ there was one scene where I was kissing Jarrod [Emick], who played my boyfriend,” Jackman told The New York Times, “and an audience member yelled, ‘Don’t do it, Wolverine!’ I lost it. I literally lost it. The whole audience loved it. I mean, you can’t deny Wolverine.”
2. Catherine Zeta Jones, “A Little Night Music” (2009)
Catherine Zeta-Jones won the Best Leading Actress Tony Award for her portrayal of Desiree in this musical. Starring alongside the incomparable Angela Lansbury, the actress poured her heart into the performance, notably nailing Sondheim’s song, “Send in the Clowns.” Now, if only we could get her and Renée Zellweger to star in “Chicago!”
Fun Fact: Zeta-Jones told Playbill that she hopes to play Mama Rose in “Gypsy” on Broadway one day.
3. Emma Stone, “Cabaret” (2014)
Emma Stone earned rave reviews for her turn as Sally Bowles in the revival of “Cabaret.” She took over the part after Michelle Williams and starred in the show with Alan Cumming.
Fun Fact: The star has revealed in various interviews that the role is a huge reason she was cast in “La La Land.” When Damien Chazelle (the film’s writer and director) saw her onstage in 2014, he immediately pictured her as the lead in his musical film. Stone also said that performing on Broadway helped her have the confidence to accept the role in the now-acclaimed “La La Land.”
4. Neil Patrick Harris, “Hedwig and the Angry Inch” (2014)
When it was announced that this cult favorite would be opening on Broadway, fans had high hopes. Of course, Neil Patrick Harris didn’t disappoint, and even won a Tony Award for his transformation into Hedwig.
Fun Fact: Since the cast was so small, Harris had three adjoining dressing rooms backstage: a pink room where he got made up, a relaxation room with a couch and a physical therapy room to warm up in, according to Vulture.
5. Matthew Morrison, “Finding Neverland” (2015)
While Matthew Morrison is no stranger to Broadway, he was considered to be the more bankable replacement for Jeremy Jordan when “Finding Neverland” hit New York City. However, the “Glee” star conjured up a magical performance as J.M. Barrie, delighting audiences and earning a Drama Desk Award nomination.
Fun Fact: In an interview with Broadway.com, Morrison said the choreography was so challenging to execute night after night that he started taking ice baths.
6. Jennifer Hudson, “The Color Purple” (2015)
[caption id="" align="alignnone" width="1230"] Photo Credit: New York Post[/caption]
Jennifer Hudson took her bounds of live experience to Broadway, making her Broadway debut as Shug Avery in a revival of “The Color Purple.” Although the Oscar winning performer said that “being a celebrity” was a big reason why she was hired, her charming performance delighted lucky attendees.
Fun Fact: According to Broadway Black, Hudson initially thought it was “weird” that she was called to play Shug, as she related more to Celie in her heart. However, she soon realized that she had some of Shug’s fire in her.
7. Josh Groban, “Natasha, Pierre and the Great Comet of 1812” (2016)
There is so much weight in The New York Times calling a performance “absolutely wonderful.” Josh Groban made his Broadway debut as Pierre in this musical adaptation of “War and Peace.” He left viewers intoxicated and was even named Broadway.com’s “Star of the Year” in 2016.
Fun Fact: Groban fell into the orchestra pit one night during a heated scene. “I kept stomping and stepping forward, and I didn’t realize where my feet were,” he recalled in an interview with The Guardian. “Usually I’m a little further back. I missed because the strobe lights are so disorienting. I said, ‘You bully! You scoundrel!’ It was like a vaudevillian slapstick routine. I fell smack-dab right onto the drumset. I had fat padding on, so I didn’t feel a thing. But my ego was bruised.”
8. Taran Killam, “Hamilton” (2017)
The “Saturday Night Live” alum assumed King George’s throne this year, doing the impossible and making “Hamilton” even better. Taran Killam kills it as the pompous tyrant in his Broadway debut.
Fun Fact: Killam was extra nervous to step into the king’s heeled shoes, not only because it’s, well, “Hamilton,” but because he’s friends with Lin-Manuel Miranda and the show’s director, Thomas Kail. He told The New York Times, “I don’t want to let my friends down, more than anything.”
9. Ben Platt, “Dear Evan Hansen” (2016)
You might say that Ben Platt is “pitch perfect” in “Dear Evan Hansen.” The film star originated the show’s title role as far back as its Washington, D.C. tryout in 2015. Now on Broadway, Platt plucks at the heartstrings of audiences night after night in what’s being called a can’t-miss performance.
Fun Fact: Platt’s dad is famed producer Marc Platt (“Wicked,” “La La Land”). He encouraged his son to follow his bliss when he recognized his passion.
10. Glenn Close, “Sunset Boulevard (1994/2017)
Glenn Close began her career on the stage but hit celebrity status in the 1980s for her Oscar-nominated turn in “The World According to Garp” and later, the box office smash “Fatal Attraction.” To ‘90s kids, she eventually became feared for her performance as Cruella de Vil in “101 Dalmatians,” for which she was nominated for a Golden Globe.
Needless to say, by the time Close starred as Norma Desmond in the American premiere of “Sunset Boulevard” in Los Angeles in 1993, she was incredibly well known. A year later, the star opened the show on Broadway with such buzz that the production broke the record for the highest advanced ticket sales at that time. In 1994, Close won a Tony Award, and now, she’s back reprising her role and is better than ever!
Fun Fact: After “Sunset Boulevard” first closed on Broadway, Close was haunted by the role. She felt like Norma was with her daily while she would do “mundane things” such as pack her kid’s lunch and drive her to school. “It was as if Norma was sitting across from me saying, ‘Children? Sandwiches? Where am I?’” she told NBC New York.
We couldn’t include every great celebrity musical performance, so be sure to let us know your favorites in the comments section below...
[post_title] => 10 Best Celebrity Performances In Recent Broadway Musicals [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 10-best-celebrity-performances-recent-broadway-musicals [to_ping] => [pinged] => [post_modified] => 2017-03-22 13:01:17 [post_modified_gmt] => 2017-03-22 17:01:17 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7894 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [23] => WP_Post Object ( [ID] => 7856 [post_author] => 736 [post_date] => 2017-03-20 11:14:59 [post_date_gmt] => 2017-03-20 15:14:59 [post_content] => If you think social media is just a platform to post news and chat with friends, think again! It’s one of the fastest, easiest and most fun ways to advertise your school musical. Not to mention, it’s free! Check out these 10 tips to create buzz, develop a fanbase and get people in the seats at your upcoming production.1. Showcase Your Rehearsals
Did you love “Smash” and all the inside scoop into the rehearsal process for “Bombshell?” Well, why don’t you do the same? Film short rehearsal clips and have all the cast members post them on their social media feeds. Of course, make sure to put the link to buy tickets at the bottom of the video as well.
2. Interview Your Cast
Whether on video or in written form, interviews are a great way to get to know your cast and generate interest in your upcoming school musical. Make sure to keep your questions related to the show, because asking the leading lady what her favorite color is isn’t exactly going to help sell a ticket. Post short sound bites to Twitter and Instagram and the longer interviews on Facebook. You can even go live on Facebook or Instagram and show interviews in real-time. Make sure to have the person being interviewed give a shout out about the performance information and how to buy tickets.
3. Market the History of the Show
Have those students handy with iMovie put together a montage or documentary-style movie about the history of the musical you’re mounting. Members of the cast can even host! You can add Broadway production photos found online to make the video fun and interesting (just remember to give credit to applicable parties at the end of the video to cover copyright). And, don’t forget to make sure to link to where your viewers can buy tickets to your school production.
4. Give a Backstage Tour
Take your viewers on a journey through all the nooks and crannies of the stage areas, hidden traps, dressing rooms and light booths. This will help entice those watching to want to see what happens onstage during the performance. A great tip is to make sure to end the tour at the box office, so your followers know that’s the place to buy tickets.
5. Contest or Giveaway
Everyone loves free stuff, or what insiders like to call “swag” in the performing world. So, why not hold contests or giveaways that include fun souvenirs that have to do with the school musical? T-shirts, mugs and cast-signed posters are great examples of giveaway items that are easy to make with the help of an artistic or tech-savvy company member. Make sure your items contain the show information so those who win or those who see the winners wearing or using your swag know when your musical is happening and how to get tickets.
6. Offer Social Media Ticket Discounts
Use social media to plug the show by offering specific discounts to your followers. The audience will keep coming back to your social media feeds to see which new discounts have become available and hopefully make a purchase. Not only is this a great way to generate buzz for your school musical, but you’ll sell tickets before you even open. How awesome is that?
7. Trivia Games
Don’t you love those trivia games on Facebook, Twitter and Instagram? Why not be creative and post some trivia on your school musical? Not only will a game keep your followers engaged, having fun and learning something about your upcoming show, but it may also entice them to join you at the performance or spread the word to other friends not on your feeds. With a simple Google search, you can find many websites and programs that can help you set up the perfect trivia test, or create one of your own using one of your computer-savvy castmates. Last, make sure to include links to performance information with every trivia post.
8. Showcase What Is Behind-the-Scenes
A lot of the time, the stuff that happens behind the curtain is just as interesting as what happens onstage. You can use social media to show videos and pictures of the stage set being built, the costumes being sewn and the lights being hung. You can even interview those working offstage to get an idea of what their particular jobs are like in making your school musical look and sound amazing. These posts are rewarding because your viewers can start to understand the whole process of how a musical is put together. People will be more inclined to buy a ticket so they can see what the final product will look like.
9. Make A Music Video
Use a song from the show and create a music video. It can be within the confines of the show or something completely different. Either way, make it fun and include many of your onstage and backstage company members. A music video will get your viewers talking and singing along and hopefully lead them to buy tickets so they can hear the rest of the score in all its glory during your performance.
10. Follow a Company Member for a Day
Choose performers or backstage participants to do a photo scrapbook of their day from going to class through rehearsal and/or doing a performance in the evening. These photos can be shown all together in a collage or posted over the course of a day or week on your social media pages. Not only does it create some great content to advertise your school musical, but it also shows the audience how wonderful and challenging it is to work as a performing artist.
How do you advertise your school musical on social media? Let us know in the comments below...
[post_title] => 10 Ways To Advertise Your School Musical On Social Media [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => ways-advertise-school-musical-social-media [to_ping] => [pinged] => [post_modified] => 2018-03-28 10:22:38 [post_modified_gmt] => 2018-03-28 14:22:38 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7856 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [24] => WP_Post Object ( [ID] => 7832 [post_author] => 395 [post_date] => 2017-03-18 10:03:38 [post_date_gmt] => 2017-03-18 14:03:38 [post_content] => It’s seemed like years since the announcement of the new live-action “Beauty and the Beast” movie, but with its release now upon us, it seems that fans still can’t get enough of this tale as old as time. There has been a ton of anticipation about how the star-studded cast will handle the vocals required of such a movie, especially since it can sometimes seem like movie musicals feature anyone but famed musical theatre veterans (sorry, Russell Crowe). However, “Beauty and the Beast” totally nails it with its supporting cast. Here are some familiar faces from Broadway and the West End that you can expect to see when you (finally) check out the live-action version of this beloved movie:1. Josh Gad
Though people had mixed reactions to the casting of Emma Watson and Dan Stevens in this film, we can all agree that casting Josh Gad as LeFou was, in a word, perfect. This “Book of Mormon” star is also a Disney vet at this point, becoming a household name through his performance as “Olaf“ in “Frozen.” Check out Gad’s singing chops and pure hilarity in the song “Gaston.”
https://www.youtube.com/watch?v=UAT1RenTAeI
2. Audra McDonald
Does Audra McDonald even need to audition for her roles anymore? This dynamic lyric soprano is known for her performances in “Ragtime,” “A Raisin in the Sun” and “Porgy and Bess” but she’ll be knocking off more than socks as the Garderobe in this Disney classic. You may recognize her from the “Grey’s Anatomy” spinoff “Private Practice,” but you haven’t lived until you’ve heard her distinctive voice completely slay anything it touches. Just give the new tune “Aria” a listen and see for yourself.
https://www.youtube.com/watch?v=UoYZOA99aRk
3. Ewan McGregor
Ewan McGregor is a movie-musical veteran at this point; who could forget his stint as the lovestruck poet Christian in “Moulin Rouge?” In this film, you’ll catch him telling jokes and doing tricks with his fellow candlesticks as Lumière. Get ready to watch him prove that the greatest thing to ever learn is just to love and to be loved in return — surrounded by a castle full of singing kitchenware.
4. Luke Evans
Luke Evans will be a little more familiar to theatre nerds across the pond, as he starred in “Rent,” “Miss Saigon” and “Piaf” in the West End before he charmed America with his role in “Clash of the Titans.” Evans’ good looks and powerful voice will make you forget for half a second that he’s supposed to be the villain in this movie. In this role, he definitely goes to show that “no one sings like Gaston” as well.
5. Kevin Kline
Boasting a Broadway career that has spanned from 1973 to the present, Kevin Kline is no stranger to the Great White Way. His impressive credits include stints in “The Robber Bridegroom,” “On the Twentieth Century” and “The Pirates of Penzance.” In “Beauty and the Beast,” he’ll be portraying crazy, old Maurice, Belle’s father. He even gets his own song in the movie, called, “How Does A Moment Last Forever.”
https://www.youtube.com/watch?v=KZkNgfvBdY8
6. Sir Ian McKellen
What would “Beauty and the Beast” be without the anxious Cogsworth waddling around the castle trying to keep everyone in line? Fortunately for theatre lovers, this role will be portrayed by the legendary Sir Ian McKellen, who has graced Broadway stages many a time in various drama roles, such as “No Man’s Land” and “Waiting for Godot.”
7. Emma Thompson
Taking on a role originated by the amazing Angela Lansbury is no easy feat, but TV and film favorite Emma Thompson is doing just that in her portrayal of Mrs. Potts. This isn’t the first time this has happened, either, as both of them have portrayed Mrs. Lovett in “Sweeney Todd: The Demon Barber of Fleet Street” (at least Mrs. Potts is a tad less sinister). It was no secret that all ears would be on Thompson as she tackled the iconic titular song, but her rendition is definitely giving us all the feels.
https://www.youtube.com/watch?v=GNA-iBt_UWM
Who are you most excited to see in “Beauty and the Beast?” Let us know in the comments below...
[post_title] => 7 Broadway Stars You’ll See In The Live Action 'Beauty And The Beast' [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => seven-broadway-stars-youll-see-live-action-beauty-beast [to_ping] => [pinged] => https://theatrenerds.com/why-emma-watson-will-be-the-perfect-belle/ [post_modified] => 2017-03-18 12:23:22 [post_modified_gmt] => 2017-03-18 16:23:22 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7832 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [25] => WP_Post Object ( [ID] => 7434 [post_author] => 391 [post_date] => 2017-03-17 09:50:00 [post_date_gmt] => 2017-03-17 13:50:00 [post_content] => “I’ve just heard you play, and …” “La La Land,” an original musical film, was undeniably the sleeper hit musical hit of 2016. The film was nominated for a record-tying 14 Academy Awards, of which it won six, and won a record-breaking seven Golden Globes. The songs, written by Justin Hurwitz and Pasek & Paul, are a contemporary spin on the jazz sound heard in Golden Age stage musicals and films.Here are the 15 songs in “La La Land” ranked from least to greatest:
15. “City of Stars (Humming)”
https://www.youtube.com/watch?v=MXgGo3310-k Although a beautiful take on the recurring song throughout the movie, the coffee shop spin on this track sounds slightly out of place with the rest of the movie’s jazzy score. Fans of Emma Stone’s singing will not be disappointed, however.14. “Engagement Party”
https://www.youtube.com/watch?v=wA3vwZqxKdY A more relaxed moment in the score, this piano solo is a charming, albeit forgettable, ballad that helps balance the constantly upbeat nature of the movie.13. “Planetarium”
https://www.youtube.com/watch?v=7oy_MIA36HM Possibly the most symphonic number in the score, the dream sequence here is delightful, if not somewhat clichéd and derivative.12. “The End”
https://www.youtube.com/watch?v=RfBl58ADym4 The ending echoes the theme for Mia and Sebastian. While triumphing in its crescendo, “The End” could be slightly longer and include some jazz harmonies.11. “Audition (The Fools Who Dream)”
https://www.youtube.com/watch?v=SXsqYs1l_IY Stone’s big solo ballad tells of her aunt’s carefree adventures in Paris. While her vocal chops might not quite be Broadway-level, she gives a convincing performance and paints a lasting picture in the listener’s mind.10. “City of Stars” (Ryan Gosling Solo)
https://www.youtube.com/watch?v=HR69twKqb3s Gosling’s solo version of this song is the first time it’s heard in the movie, sung right after his character hangs out with Mia for the first time. Gosling’s whispery tone appropriately reflects the nature of his character’s future hopes.9. “City of Stars” (Duet)
https://www.youtube.com/watch?v=GTWqwSNQCcg Here we have the lovers in a more intimate, vulnerable musical setting, becoming more romantic one blue note at a time.8. “Summer Montage”
https://www.youtube.com/watch?v=7UYybh7hLpI This instrumental reimagining of “Another Day of Sun” is a showcase of Hurwitz’s imaginative genius as a composer.7. “Herman’s Habit”
https://www.youtube.com/watch?v=9L5IGZhPjsY This Miles Davis sound-alike is sure to amuse any hardcore jazz fan who is looking for something more classic and true to form in the soundtrack.6. “Mia and Sebastian’s Theme”
https://www.youtube.com/watch?v=pjdr9Y_g3CA This haunting piano theme has traces of pre-jazz Impressionistic composers such as Debussy and Ravel. Its poignant melodies and harmonies parallel the tumultuous bond between the two lovers.5. “A Lovely Night”
https://www.youtube.com/watch?v=RwkoZYDg07U Reminiscent of dancing sequences by Fred Astaire and Ginger Rogers, this first duet between Mia and Sebastian is a tribute to the jazzy musicals that long preceded “La La Land.”4. “Start a Fire”
https://www.youtube.com/watch?v=DGVDp79rXjY Undoubtedly the most contemporary-sounding number in the whole movie, John Legend and company deliver a knockout performance in this soulful jam.3. “Another Day of Sun”
https://www.youtube.com/watch?v=KYtYraMeK2Q One of the more memorable opening sequences in recent musical films, this song is destined to be a show-choir favorite by the end of this year.2. “Someone in the Crowd”
https://www.youtube.com/watch?v=MlJPzlZGWow This song is about the thrill of a chance encounter, and Mia and her friends add life to its flamboyant and lighthearted representation of Los Angeles nightlife.1. “Epilogue”
https://www.youtube.com/watch?v=_4rWHiDzxgc Arguably the best part of the movie, the instrumental epilogue is a fantastic dream sequence of what might have been if Mia and Sebastian had waited for each other. The union of the movie’s musical themes here is extraordinary.What are your favorite parts in “La La Land?” Let us know in the comments below...
[post_title] => 15 'La La Land' Songs Ranked From Least To Greatest [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => la-la-land-songs-ranked-least-greatest [to_ping] => [pinged] => [post_modified] => 2017-03-18 10:50:04 [post_modified_gmt] => 2017-03-18 14:50:04 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7434 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [26] => WP_Post Object ( [ID] => 7698 [post_author] => 440 [post_date] => 2017-03-15 09:42:08 [post_date_gmt] => 2017-03-15 13:42:08 [post_content] => Whether for a high school play, dance recital or because the makeup artist broke her hand an hour before the show, every performer should know how to apply their own stage makeup. It can seem like a daunting task to someone who has never done it before. Endless questions will arise about which products you’ll need, how much to use and how to apply it. Or, perhaps you’ve mastered the basics and are looking for character- or era-specific makeup. Video tutorials are an easy way to learn from others with more experience so you can practice creating a look before the big show.Here are six helpful YouTube makeup tutorials for performers:
1. Demi Rawling, “Performance Makeup Tutorial”
https://youtu.be/Bv8UzAwreIs Demi Rawling introduces herself in her videos as a full-time ballet dancer at the West Australian School of Dance. Her tutorial is basic and features simple stage makeup anyone can use. She provides her viewers with great tips, lists all of her products/shades and explains each step while showing how to apply the products.2. Kathryn Morgan, “Basic Stage Makeup Tutorial”
https://youtu.be/BtbBNEpHHAI A former soloist with the New York City Ballet, Kathryn Morgan is now a performer, teacher and speaker with a successful YouTube channel, blog and podcast. Her video teaches viewers how to do basic stage makeup using neutral colors and gives good tips for multiple roles. Her step-by-step instructions includes suggested products, helpful tips and explanations of how the makeup will look from the audience. Morgan’s channel has an entire playlist devoted to stage makeup tutorials for a variety of characters. Most of them are ballet characters, but these looks are easily transferrable and good for a variety of characters. She also has a tutorial for audition makeup on her everyday makeup playlist.3. CoyMakeup, “How to Do an Old-Age Makeup”
https://www.youtube.com/watch?v=Wq9UdaR5Cic In the event your characters calls for old-age makeup, it might be helpful to know how to apply your own. Once you provide your basic base, this is a great tutorial for aging yourself. Makeup artist Sarah Coy does this with three powders and nothing else. It’s pretty impressive. She offers suggestions for finding inspiration and explains the way the skin changes, so there’s an understanding as to why the makeup is being applied in a certain way. Coy has several other makeup tutorials, including ones for geisha, goth, drag and leopard.4. Lisa Eldridge, “Old Hollywood-Inspired Party Look With Vintage Golds”
https://www.youtube.com/watch?v=JCrFh3VryTY Lisa Eldridge is a profesional makeup artist with a long list of celebrity clients and experience, so she certainly knows her stuff. She has an entire playlist of basics in case you are new to makeup application or are looking to improve a specific skill, such as applying false lashes or winged liner. Her channel is especially helpful once you’ve mastered the basics and are looking to achieve historical makeup looks for different shows. She has an entire playlist of vintage, historical and iconic makeup looks as well.5. JAM Cosmetics, “Stage Makeup”
https://www.youtube.com/watch?v=eE_o7766rKE This tutorial gives an overview of the whole process from start to finish. While it doesn’t break the entire process down in as much detail as some of the other videos, it includes specifics when it comes to eye makeup, one of the more difficult portions of makeup application. They use their own products in the tutorial, but other products in similar colors and shades would work just fine.6. Zabrena, “Historically Accurate: 1920s Makeup Tutorial”
https://youtu.be/P_iMr-yOUbo?list=PLuHwdLRLQumAocexBAqVJXtGrZ2pc3cU0 Again, this channel is great once you’ve mastered the basics and are looking to achieve a specific look to match a character. Beauty and fashion vlogger Zabrena offers a slew of researched historical makeup tutorials, where she shares facts as she applies makeup. She shows viewers techniques from historical periods that can be tailored for the stage by combining them with stage makeup basics. Don’t be afraid to start over if the application isn’t working right the first time. It might take a few tries. Remember, the right makeup can help both the actor and the audience immerse themselves fully in the character~ Looking for more? Check out these 11 tips for applying your own stage makeupHave any helpful stage makeup tips? Know of a video that we missed? Let us know in the comments below...
[post_title] => 6 Helpful YouTube Tutorials For Stage Makeup [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 6-helpful-youtube-tutorials-stage-makeup [to_ping] => [pinged] => https://theatrenerds.com/11-tips-for-applying-your-own-stage-makeup/ [post_modified] => 2017-03-15 09:59:08 [post_modified_gmt] => 2017-03-15 13:59:08 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7698 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [27] => WP_Post Object ( [ID] => 7159 [post_author] => 11 [post_date] => 2017-03-14 10:13:17 [post_date_gmt] => 2017-03-14 14:13:17 [post_content] => [viralQuiz id=35] [post_title] => Quiz: Do You Know Which Play Came First? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-which-play-came-first [to_ping] => [pinged] => [post_modified] => 2017-03-14 10:17:55 [post_modified_gmt] => 2017-03-14 14:17:55 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7159 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [28] => WP_Post Object ( [ID] => 7658 [post_author] => 440 [post_date] => 2017-03-13 11:09:57 [post_date_gmt] => 2017-03-13 15:09:57 [post_content] => Good dancers make being in a show look easy. They glide across the stage and move through complicated combinations with ease, all while emoting and belting out vocals with as much power as Sutton Foster. The irony of it all is that it takes work to make something look easy. It requires stamina to make it through a three-hour performance, especially if it involves dancing. So, whether it’s community theatre or a professional Broadway production, it’s crucial that performers stay in shape in order to perform at peak levels. Sure, there are the typical ways of working out and getting fit, such as the gym or taking dance classes. But let’s face it, gym memberships and class fees can get expensive and are not always a viable option when balancing work, school, your home life, rehearsals and some semblance of a social life. Not everyone has a free hour or two per day to work out, but that doesn’t mean it can’t happen. Here are eight cost-effective ways to get in dancer shape in your free time:1. Fitness Apps
There are many apps to choose from that let you work out when and where it’s convenient for you. Some apps are free and will offer in-app purchases to go to higher levels. Other apps charge money but are usually cost-effective and definitely cheaper than the gym. Not sure whether it’s a good app? A quick read of reviews should give you a feel for it. Not sure where to start? Try Sworkit, Yoga Studio or 7 Minute Workout Challenge.
2. YouTube Dance Tutorials
Don’t have money for dance classes? Thanks to YouTube, you can have dance teachers available 24/7 at the touch of a button, free of charge. If ballet is your bag, dance teacher Kathryn Morgan offers a playlist of ballet barre workouts on her channel. Hip-hop lovers can find inspiring routines and dance tutorials by choreographer Matt Steffanina on multiple channels. Whatever your dance preference, YouTube is likely to have it. It’s a great way to improve your dance moves while also clocking some cardio.
3. Pinterest
This site is a gold mine for fitness ideas. Trainers, health magazines and websites have created workouts, and Pinterest has done us all a solid by organizing a multitude of them in one place. There are even workouts to go along with TV shows so you can catch up on your favorites while getting fit — all from the comfort of your living room. Pin them to your board, or print them out for an instant on-the-go trainer.
4. Running
You don’t need a fancy, expensive treadmill to exercise when it’s free to do so outdoors. If you happen to live in an area where extreme weather is part of the regular fun of your day, it doesn’t mean running is out of the question. Check online to see whether there is an indoor walking/running track in your area. Some shopping malls even have designated days where you can walk or run inside.
5. Fit For Broadway
Fit For Broadway is a great asset for actors and dancers alike. The blog, created by Jane Jourdan, explores how health and fitness are an important foundation for the success of every performer. Jourdan’s easy-to-navigate website offers readers Broadway interviews, workouts, recipes and more, all filtered through the performer lens.
6. Jump Rope
What’s great about jumping rope is that it’s fast, fun and an activity you can do anywhere. It’s an excellent form of cardio that even celebs such as Kate Hudson have included in their workouts. Stick to the schoolyard basics or check out YouTube for videos that will show you different moves to incorporate for a more intense session.
7. Take the Stairs
This seems like a simple one, but this regular part of your day is more effective than you might think. While this can’t be your only form of exercise, your health will certainly benefit from using the stairs on a regular basis. Plus, it’s always less crowded than an elevator or escalator, so you’ll save time. Win!
8. Eat Right and Drink Lots of Water
While this isn’t a method of exercise, it’s still important to mention. Eating right is a significant part of getting your body in shape. Ensuring you are consuming a balanced diet and maintaining a healthy body weight is all part of the package. And while it’s been said before, it’s worth repeating that you have to hydrate to dominate. Always carry your water bottle and be sure to fill it up throughout the day. Don’t wait until you’re thirsty to have a drink, since dehydration can start long before that. Drinking water regularly and eating a balanced diet will keep you fueled through those long rehearsals and help you perform at your highest levels.
Health is a crucial part of any performer’s life, and it looks different for everyone. Don’t be afraid to start slow and try different methods of exercise until you find what works best for you. So, grab your playlists and, in the words of the infamous Schuyler sisters, get ready to work!
How do you stay fit as a performer? Let us know in the comments below...
[post_title] => 8 Hacks To Get In Dance-Shape For A Show [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => hacks-get-dance-shape-show [to_ping] => [pinged] => https://theatrenerds.com/15-best-broadway-showtunes-workouts/ [post_modified] => 2017-03-13 11:12:31 [post_modified_gmt] => 2017-03-13 15:12:31 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7658 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [29] => WP_Post Object ( [ID] => 6847 [post_author] => 391 [post_date] => 2017-03-11 10:10:56 [post_date_gmt] => 2017-03-11 15:10:56 [post_content] => [viralQuiz id=32] [post_title] => Quiz: Which 'Heathers' Character Are You? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-which-heathers-character-are-you [to_ping] => [pinged] => [post_modified] => 2017-03-11 10:48:50 [post_modified_gmt] => 2017-03-11 15:48:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=6847 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 135 [filter] => raw ) [30] => WP_Post Object ( [ID] => 7622 [post_author] => 12 [post_date] => 2017-03-10 10:19:47 [post_date_gmt] => 2017-03-10 15:19:47 [post_content] => Podcasts are everywhere these days, covering a litany of topics. So, we decided to check out some of the most popular broadcasts out there for actors. Here is a list that covers the gamut between Broadway, comedy, on-camera acting, ensemble work and more.1. “Maxamoo,” by Lindsay Barenz
“Maxamoo” is the one and only resource to know what’s hot and what’s not on the New York City theatre scene. Not only does it cover the best of the best (no matter the theatre or marquee size), but it also hosts discussions with playwrights and performers. This is a one-stop shop for all things NYC theatre.
2. “Kahnversations,” by Lesly Kahn and Company
“Kahnversations” is a podcast that features stories from actors, writers and directors who are currently in the midst of breaking into the business “while their battle scars are still fresh,” as the podcast puts it. Instead of hearing those glossed-over “how-they-became-famous” stories from big-time stars, this podcast focuses on people booking their first big guest star role or booking series-regular gigs and just getting their names and faces recognized. This is a great place for knowledge and inspiration.
3. “Theatre People,” by Patrick Hinds
“Theatre People” touts itself as the only podcast that offers full-length interviews with Broadway’s best. They do weekly podcasts every Monday (until the Tony Awards, anyway) and have also launched a new podcast called “Broadway Backstory.” This audio documentary-style podcast covers everything from a show’s development from initial idea to the full-blown production. Check these podcasts out for some in-depth coverage of Broadway’s finest.
4. “You Made It Weird With Pete Holmes” by Nerdist Industries
In this semi-weekly podcast, comedian Pete Holmes interviews fellow comedians (plus the occasional musician, scientist, author, etc.) and gets them to share their inner-weirdness. It’s the perfect podcast for the comedic actor, standup comedian or anyone who just loves comedy and a good time.
5. “The Ensemblist,” by Mo Brady and Nikka Graff Lanzarone
This is another great podcast that covers ground through the first rehearsal to opening night and beyond. “The Ensemblist” also takes a deeper look into the inner-workings of the all-important ensemble and how these performers help hold the show together. It’s a great place to pick up some knowledge and get yourself motivated.
6. Broadwaysted
Simply stated, Broadwaysted is about having a drink with your favorite Broadway stars. Bryan, Kevin & Kimberly speak with different members of the theatre community every week. A great alternative to traditional interview style, this podcast takes a more casual approach which tends to open up a different side of your favorite people.
Hopefully you’re feeling inspired by these podcasts. Let us know what other actor-friendly podcasts you listen to in the comments!
[post_title] => 6 Podcasts Every Thespian Should Listen To [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => podcasts-every-thespian-listen [to_ping] => [pinged] => [post_modified] => 2017-03-10 10:34:30 [post_modified_gmt] => 2017-03-10 15:34:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7622 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [31] => WP_Post Object ( [ID] => 7277 [post_author] => 717 [post_date] => 2017-03-09 09:30:25 [post_date_gmt] => 2017-03-09 14:30:25 [post_content] => [caption id="" align="alignleft" width="268"] Producer David Merrick[/caption]
David Merrick, sometimes referred to as the “Abominable Showman,” was a tyrant, a scoundrel and an absolute genius. One of the most prolific producers the theatre has ever known, Merrick was responsible for bringing to Broadway shows such as “Fanny” (1954), “Gypsy (1959), “Carnival!” (1961), “Oliver!” (1963), “Hello, Dolly!” (1964), “Promises, Promises” (1968), “Mack & Mabel” (1974), “42nd Street” (1980) and “State Fair” (1996), among many others.
In 1960, Merrick had 11 shows playing on Broadway, an astounding feat. All in all, 31 of Merrick’s productions were nominated for Best Play/Musical/Revival, with seven of those shows taking home the statue. When the Tony’s had a category for Best Producer of a Play/Musical, Merrick was nominated six times, won twice and won a special Tony Award in 1961 for “recognition of a fabulous production record over the last seven years” and another special Tony Award in 1968.
So, what made Merrick so different from other producers of the time? It certainly wasn’t his sunny disposition. His office above the St. James Theater was painted completely in a particular shade of red so that anyone coming to meet with him felt as though they were entering Hell. Merrick also made sure his desk was extra large and his guest chairs were slightly on the smaller side, so guests felt like they were cowering before the devil himself. One of his personal mottos was, “It’s not enough that I should succeed; others should fail.” As you may have guessed, Merrick believed strongly in getting the best of out of people using unbridled fear. He would threaten, berate and bring in replacements at the drop of a hat, all solely to scare people into working harder and faster.
As his famous nickname states, he was abominable. But, he was also a master showman. Merrick would stop at nothing to promote his shows, using every conventional method available. And when those didn’t work, Merrick employed one of his greatest skills, one that truly set him apart from the crowd: the publicity stunt.
Here is a look at six of Merrick’s most famous (and infamous) stunts:
1. "Paging Mr. Clutterbuck"
One of the first shows Merrick produced on Broadway was a 1949 comedy called “Clutterbuck.” To generate ticket sales, he had the brilliant idea of going to almost every hotel lobby, swanky bar and social club in Manhattan during peak hours and have a “Mr. Clutterbuck” constantly paged. Soon, everyone wondered who this Clutterbuck fellow was, and it helped the show run many months longer than it would have.
2. "Have You Seen Fanny?"
Merrick’s first big musical was “Fanny,” a musical version of the “Fanny”/”Marius”/”César” trilogy by Marcel Pagnol, with a score by Harold Rome and a book by Joshua Logan and S.N. Behrman. Being his first show with his name solely above the title meant a lot to Merrick, and he was determined to have a hit, no matter what. Here are a few of the stunts Merrick pulled (or tried to pull) to promote “Fanny.”
- Merrick petitioned to have the next major hurricane to hit the East Coast named “Fanny.” He was informed that the names were all determined ahead of time at the annual meeting of the U.S. Weather Bureaus and that they could not grant the request. He was, however, invited to the following year’s meeting, which he obviously publicized heavily.
- For several years, there was an ad for Bond Clothing Stores in Times Square that contained an actual 27-feet-high, 120-feet-log, 50,000-gallon waterfall. It was a stunning display and sat directly across from Astor Hotel. Merrick had the idea of renting a room at the hotel and using a projector to project a giant ad for “Fanny” across the water cascading down the waterfall. Shortly after he’d begun his nightly stunt, Merrick made the mistake of inquiring about the hotel room’s wiring, which caused the management to become suspicious. Once the operation was discovered, Merrick and his men were ejected from the hotel.
- Merrick had stickers placed in all the men’s rooms across the city with the slightly dirty-sounding phrase, “Have You Seen Fanny?”
- At the wedding of Grace Kelly to the Prince of Monaco (one of the biggest celebrity events of the 20th century), Merrick had an ad for “Fanny” written across the sky using skywriting.
3. "The Nude"
In another ploy to publicize “Fanny,” Merrick made sure to cast famed belly dancer and gossip columnist sweetheart Nejla Ateş in a bit part in the chorus, though she appeared onstage for only about a minute. However, Merrick had a grander scheme in mind. He commissioned a sculptor to sculpt a nude statue of the dancer, which he then had installed in Central Park’s Poet Corner very late in the night. Early the next morning, he placed anonymous phone calls to both the police and press complaining about the vulgar statue. Sure enough, the statue and its removal caused quite a stir. Merrick also had an almost 12-foot photo of Ateş installed on the outside of the theater, causing several traffic jams as men would slow down to ogle the giant dancer. All the publicity helped “Fanny” play at the Majestic Theater for 888 performances.
4. "7 Out of 7"
One of the most legendary and brilliant (or devious, depending on whom you ask) stunts ever pulled by Merrick was the infamous newspaper ad for the musical, “Subways Are for Sleeping” in 1961. The musical, with a score by Jule Styne, Betty Comden and Adolph Green and starring Orson Bean, Sydney Chaplin, Carol Lawrence and Phyllis Newman, had opened at the St. James Theater to disappointing reviews. Ticket sales were slow and getting slower. The New York City Transit Authority had already put the kibosh on Merrick’s plans to flood the subway system with ads, fearing large signs reading “Subways Are for Sleeping” would essentially give permission to any homeless person to set up camp in the subway stations.
Merrick knew he needed to do something big to save the show, and he had just the plan. He scoured the country for seven people with the same names as the seven top New York theatre critics, such as Walter Kerr, Howard Taubman and Richard Watts. He then flew them all out to New York, wined and dined them, gave them prime seats to the show and then presented them with pre-made statements gushing over the show and asked if they agreed, which they happily did. Merrick then took out a large ad in the New York papers that body claimed that “7 Out Of 7 Are Ecstatically Unanimous About Subways Are For Sleeping.” The ad then had quotes from the “seven” gushing about the show, saying things like, “What a Show! What a Hit!” and "Subways Are For Sleeping is the Best Musical of this Century!"
As not to be accused of any wrongdoing, Merrick included a picture of the person attributed to each quote, knowing full well that most people would have no idea what the top seven critics actually looked like. However, the major newspapers did, and refused to run the ad, except for the Herald Tribune, which didn’t catch onto the ruse until a later edition. Merrick confessed later that he had that idea in his back pocket for many years but had to wait until critic Brooks Atkinson retired, as Merrick could never find anyone with that exact name.
5. "Holding the Curtain"
By 1987, the musical “42nd Street” had been running for seven years and was losing steam. The show moved to the St. James Theater after being forced out of its second home, the Majestic Theater, to make way for the mega-hit “The Phantom of the Opera.” (Merrick would, of course, capitalize on this by having news cameras film the “42nd Street” cast, in full costume, tap dancing out of the Majestic and across the street into the St. James. Always a showman!)
When Merrick saw the throngs of tourists struggling to get tickets to the monster hit, he devised another scheme to make profit. He changed the starting times for “42nd Street” from 8 p.m. to 8:15 p.m. and from 2 p.m. to 2:15 p.m. on matinee days. He then had ads all over stating, “David Merrick is holding the curtain for YOU.” The idea was that anyone who was turned away from “Phantom” could still have time to walk across the street to catch “42nd Street.”
6. "It Is Tragic..."
Merrick worked with famed director/choreographer Gower Champion on seven shows, including “Carnival!” “Hello, Dolly!” and “42nd Street,” which would be Champion’s final show. On Aug. 25, 1980, the day of “42nd Street’s” opening night, Merrick got a call that Champion was in the hospital and was not doing well (he had been diagnosed with a rare blood cancer in 1979). A small group of doctors and family (as well as Merrick) were there when Champion passed away at 1 p.m. Wanting to protect his opening night and milk the situation for all he could get, Merrick sprang into action. He immediately swore the family and doctors to secrecy about the death and called the full company into rehearsals for the entire day to insulate them from any possible rumors. The plan worked, and the opening night of “42nd Street” went off without a hitch.
As the cast took their bows to thunderous applause, Merrick took to the stage, his face sullen. When he spoke, he said, “It’s tragic,” to which the cast and audience laughed, believing this to be a joke after the triumphant performance. Merrick them told of the passing of Champion to the suddenly heartbroken cast, gasping audience and all the TV cameras Merrick made sure were in the back of the house to capture the moment for all of America to see. The show’s star (and Champion’s girlfriend) Wanda Richert buried her head, sobbing into cast member Jerry Orbach’s chest as he called for the curtain to be lowered as the crowd was left dumbstruck.
The horrendous stunt worked, and the immense publicity ensured the show had a long and profitable run. To many, though, it was inexcusable. To add insult to injury, shortly after the the show’s opening and Champion’s death, all the promotional material for the show was changed from "Gower Champion's 42nd Street" to "David Merrick's 42nd Street." Years later, when Richert confronted Merrick about the opening night incident and asked if he knew how crass it was, Merrick said that he did but that he “couldn’t help himself.”
What do you think of David Merrick’s tactics? Have you ever been part of a publicity stunt? Let us know in the comments below...
[post_title] => David Merrick And The Art Of The Publicity Stunt [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => david-merrick-art-publicity-stunt [to_ping] => [pinged] => [post_modified] => 2017-03-09 12:56:07 [post_modified_gmt] => 2017-03-09 17:56:07 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7277 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [32] => WP_Post Object ( [ID] => 7500 [post_author] => 391 [post_date] => 2017-03-08 10:08:27 [post_date_gmt] => 2017-03-08 15:08:27 [post_content] => Since the success of “Hair” in the late 1960s, the rock musical has arguably become the most popular genre in contemporary musical theatre. Rock musicals such as “Rent” and “Spring Awakening” both ran on Broadway for years and developed core fanbases that continue to thrive. Mezzo belters such as Alice Ripley and Idina Menzel are closely tied to the genre and inspire countless singers today. If you’re a pop/rock mezzo who is looking for a song that’s not next to normally done very often, here are 15 tunes that will help you score that role:1. “Nobody’s Side” from “Chess”
https://www.youtube.com/watch?v=72Eu-oYjb3c In this scene from the 1986 musical, Florence sings of her new freedom away from Freddie after they argue about the politics of the chess tournament. Range: E3–E5.2. “Didn’t I See This Movie?” from “Next to Normal”
https://www.youtube.com/watch?v=zOsg2w-l59U One of the more notable recent rock musicals, “Next to Normal” is about a woman who lives with bipolar disorder and how it affects her family. In this scene, Diana refuses treatment from her doctor. Range: G#3–D#5.3. “Always Starting Over” from “If/Then”
https://www.youtube.com/watch?v=PoeBOzvNN1k In this scene from a show with two distinct storylines, Liz comes to terms with living without her dead husband, Josh. Range: G3–Eb5.4. “Fusion” from “The Woman Upstairs”
https://www.youtube.com/watch?v=92bY8BVdutY In one of the lesser-known efforts by Kerrigan and Lowdermilk, Helen, who has just moved to New York City, feels lonely in spite of all the noise around her. Range: G3–F5.5. “I Didn’t Plan It” from “Waitress”
https://www.youtube.com/watch?v=ESfm6BAKjJI In this scene from Sara Bareilles’ musical, Becky defends her affair with Cal against Jenna, who she thinks shouldn’t judge because of her miserable home situation. Range: Eb3–Eb5.6. “My Body” from “The Life”
https://www.youtube.com/watch?v=OXjkJeo2yf4 In this scene from one of Cy Coleman’s later shows, a group of prostitutes defend themselves against a group of pimps. Range: C#4–F#5.7. “This Time” from “Now. Here. This”
https://www.youtube.com/watch?v=YGSGBIw2sVg Written by the creators of “[title of show],” this song’s character makes her own rules for choosing a unique path in life. Range: F#3–D5.8. “Even Though” from “I Love You Because”
https://www.youtube.com/watch?v=gXeBbGpPupQ In this modern adaptation of “Pride and Prejudice,” Marcy reminds Austin that in spite of his many flaws, she still loves him. Range: A3–F5.9. “Pulled” from “The Addams Family”
https://www.youtube.com/watch?v=zD0BOl_UQtQ In this part of the Andrew Lippa musical, Wednesday realizes that her new relationship with Lucas is putting her life in a new direction. Range: C4–E5.10. “Safer” from “First Date”
https://www.youtube.com/watch?v=egs24y0MLHk While contemplating her family life and her personal problems, Casey realizes it’s best to depend on herself rather than anyone else. Range: Ab3–E5.11. “Dead Girl Walking” from “Heathers”
https://www.youtube.com/watch?v=3EyDyxGZn_Y This number finds Veronica Sawyer, a newly popular girl at her high school, seducing and losing her virginity to her partner in crime, J.D. Range: A3–G#5.12.“Change the World” from “Lysistrata Jones”
https://www.youtube.com/watch?v=xiEGxzBQgb0 Based on the Ancient Greek comedy “Lysistrata,” this song features Lizzie and her friends taking a vow of abstinence until their college’s basketball team wins a game. Range: G#3–F5.13. “If You Knew” from “Lizzie the Musical”
https://www.youtube.com/watch?v=TnarPFeWMQk This musical about the infamously acquitted killer has had community and university performances around the world. This song features Alice, Lizzie’s sister, reassuring the lost, misunderstood title character of her loyalty to her. Range: B3–D5.14. “Don’t Say Another Word” from “Next Thing You Know”
https://www.youtube.com/watch?v=MPjAtqkfVwY This musical by Salzman and Cunningham ran Off-Broadway in 2011. Waverly, a struggling actress, hits a rough patch in communication with her lover, Darren, and is hesitant to get serious with him. Range: C4–Eb5.15. “Gotta Get Out” from “Ordinary Days”
https://www.youtube.com/watch?v=gf2OD10pkoU Unsure of her reasons for branching out of her comfort zone, Claire wants to get away from the city to start a new chapter with her boyfriend. Range: G3–E5.You Might Like: 51 Fantastic Audition Songs For Mezzo-Sopranos
Think of a great Pop/Rock audition song that we left out? Leave a comments below...
[post_title] => 15 Overlooked Pop/Rock Audition Songs For Mezzo Belters [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-overlooked-pop-rock-audition-songs-mezzo-belters [to_ping] => [pinged] => [post_modified] => 2018-10-03 21:35:34 [post_modified_gmt] => 2018-10-04 01:35:34 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7500 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 8 [filter] => raw ) [33] => WP_Post Object ( [ID] => 7437 [post_author] => 11 [post_date] => 2017-03-07 09:27:10 [post_date_gmt] => 2017-03-07 14:27:10 [post_content] => In 2000, musical theatre mastermind Michael John LaChiusa breathed life into a Broadway play based off a 1920’s poem. Now, his stage adaptation of ‘The Wild Party’ takes to London with a bold, new production that’s just what modern-day theatre needs right now. Though it shares the same name with Andrew Lippa’s popular Off-Broadway piece, respectively, LaChiusa’s production is wildly unique on its own.Here are seven facts that every theatre nerd needs to know (warning: you may find yourself booking a flight to England straight away!):
1. ‘The Wild Party’ has opened at London’s coolest new theatre
The Other Palace, previously known as St. James Theatre, has not only undergone a stellar facelift but will now be a home for musicals at various stages of development. By day, The Other Palace studio will welcome composers, lyricists, directors and choreographers as they get their creative juices flowing to produce fresh material. By night, the theatre will champion a diverse range of edgy and innovate musicals. This venue is the perfect place for theatre nerds to catch something groundbreaking and different.
2. The show boasts an incredible director...
Drew McOnie, the production’s director and choreographer, is no stranger to making magic on the stage. His previous credits include major West End productions such as ‘Jesus Christ Superstar’, ‘On The Town’, and ‘In The Heights’ which garnered him the 2016 Olivier Award for Best Choreographer. What does this mean for ‘The Wild Party’? It’s sure to be stunningly spectacular.
3. ...And a dazzling leading lady
We dreamed a dream of seeing Tony Award winning actress, Frances Ruffelle, star as yet another leading lady on the stage. This acclaimed performer, famously known for her roles in the original West End and Broadway productions of ‘Les Miserables’ and ‘Starlight Express’, now gets ready to kill it in a complex portrayal of 1920’s actress, Queenie.
4. Audiences will travel back in time
Set against the backdrop of Manhattan decadence and 1920’s excess, ‘The Wild Party’ is the bee’s knees for anyone infatuated with the past. It tells the story of Queenie, a vaudeville showgirl who decides to throw ‘the party to end all parties’. Divine costumes and an alluring musical score is sure to transport audiences to a different time and place. Think the perfect blend of ‘Chicago’ and ‘The Great Gatsby’...
5. It pushes the limits
As the night goes on, the gin flows, the jazz swings and the sexual tension smoulders. ‘The Wild Party’ isn’t your average musical. With a unique structure of vaudeville-ian sketches and a dark plot that pushes the boundaries of theatre, this unapologetic piece certainly makes its mark -- and makes you think.
6. It’s official: You’ve found your next jam
Nominated for seven Tony Awards, three Drama Desk Awards and the winner of a Theatre World Award, LaChiusa’s ‘The Wild Party’ undoubtedly hosts memorable music. Listen for yourself with this gorgeous duet between Queenie and Kate (Frances Ruffelle and Victoria Hamilton-Barritt).
7. It’s on for a limited time!
Don’t want to miss out on this party? ‘The Wild Party’ plays The Other Palace stage in London until April 1, 2017.
To learn more, click here!
[post_title] => 7 Things You Need To Know About ‘The Wild Party’ [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => things-need-know-the-wild-party [to_ping] => [pinged] => [post_modified] => 2017-03-07 10:13:46 [post_modified_gmt] => 2017-03-07 15:13:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7437 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [34] => WP_Post Object ( [ID] => 7425 [post_author] => 639 [post_date] => 2017-03-06 09:32:10 [post_date_gmt] => 2017-03-06 14:32:10 [post_content] => Though he’s one of the world’s greatest playwrights, we don’t always look to Shakespeare for empowering female characters. In fact, despite our love for his work, we often struggle to defend many of them. For example, Kate in “Taming of the Shrew” starts off super strong at the beginning of the play, but by the end, she becomes submissive. There has been so much debate over the evolution of this one character because she broke from the mold so well up until the end of the play. When looking to Shakespeare for strong characters to play or idolize, the first few that always come to mind are Hamlet or Richard II, since these are very meaty characters who have countless iconic lines. Many women would prefer to play Hamlet over Ophelia or play Prospero over Cressida. However, that’s not to say the women of Shakespeare are completely at a loss. There are many strong monologues by female characters throughout his work.Whether it be for an audition or just for fun, here are eight great Shakespearean monologues for women:
1. Lady Macbeth Damned Spot, “Macbeth,” Act 5, Scene 1
When trying to think of a great female monologue from Shakespeare, this is the one that most often comes to mind. Lady M. has become one of the most iconic female characters in Shakespeare’s work. She’s far from innocent, and you can’t help but feel for her in this scene. This is perhaps one of the most, if not the most popular female monologue from Shakespeare.
Yet here's a spot.
Out, damned spot! out, I say!--One: two: why,
then, 'tis time to do't.--Hell is murky!--Fie, my
lord, fie! a soldier, and afeard? What need we
fear who knows it, when none can call our power to
account?--Yet who would have thought the old man
to have had so much blood in him.
The thane of Fife had a wife: where is she now?--
What, will these hands ne'er be clean?--No more o'
that, my lord, no more o' that: you mar all with
this starting.
Here's the smell of the blood still: all the
perfumes of Arabia will not sweeten this little
hand. Oh, oh, oh!
Wash your hands, put on your nightgown; look not so
pale.--I tell you yet again, Banquo's buried; he
cannot come out on's grave.
To bed, to bed! there's knocking at the gate:
come, come, come, come, give me your hand. What's
done cannot be undone.--To bed, to bed, to bed!
2. Ophelia’s Breakdown, “Hamlet,” Act 4, Scene 5
Getting the more well-known scenes out of the way, this is one of the greatest examples of a female having a breakdown in Shakespeare’s work. What is admirable about this scene is that it is not a very “woe is me” moment. This scene was not triggered by a failed romantic endeavor. Yes, Hamlet has been toying with Ophelia throughout the play up until this point and did tell her “get thee to a nunnery,” but she finally cracks when she loses her closest ally: her father. Though not a technical monologue, all of Ophelia’s lines combined in this scene make for a very dramatic read.
Where is the beauteous majesty of Denmark?
[Sings]
How should I your true love know
From another one?
By his cockle hat and staff,
And his sandal shoon.
Say you? nay, pray you, mark.
[Sings]
He is dead and gone, lady,
He is dead and gone;
At his head a grass-green turf,
At his heels a stone.
Pray you, mark.
[Sings]
White his shroud as the mountain snow,--
[Sings]
Larded with sweet flowers
Which bewept to the grave did go
With true-love showers.
Well, God 'ild you! They say the owl was a baker's
daughter. Lord, we know what we are, but know not
what we may be. God be at your table!
Pray you, let's have no words of this; but when they
ask you what it means, say you this:
[Sings]
To-morrow is Saint Valentine's day,
All in the morning betime,
And I a maid at your window,
To be your Valentine.
Then up he rose, and donn'd his clothes,
And dupp'd the chamber-door;
Let in the maid, that out a maid
Never departed more.
Indeed, la, without an oath, I'll make an end on't:
[Sings]
By Gis and by Saint Charity,
Alack, and fie for shame!
Young men will do't, if they come to't;
By cock, they are to blame.
Quoth she, before you tumbled me,
You promised me to wed.
So would I ha' done, by yonder sun,
An thou hadst not come to my bed.
I hope all will be well. We must be patient: but I
cannot choose but weep, to think they should lay him
i' the cold ground. My brother shall know of it:
and so I thank you for your good counsel. Come, my
coach! Good night, ladies; good night, sweet ladies;
good night, good night.
3. Beatrice Is Tricked, “Much Ado About Nothing,” Act 3, Scene 1
Though a shorter monologue, Beatrice couldn’t be left off this list. She is one of the feistiest and and admirable female characters that Shakespeare has produced. She has many crazy one-liners, including “It is so, indeed; he is no less than a stuffed man: but for the stuffing—well, we are all mortal.” This monologue occurs after she is tricked into believing Benedict loves her.
What fire is in mine ears? Can this be true?
Stand I condemn'd for pride and scorn so much?
Contempt, farewell! and maiden pride, adieu!
No glory lives behind the back of such.
And, Benedick, love on; I will requite thee,
Taming my wild heart to thy loving hand:
If thou dost love, my kindness shall incite thee
To bind our loves up in a holy band;
For others say thou dost deserve, and I
Believe it better than reportingly.
4. Katherine, “Taming of the Shrew,” Act 5, Scene 2
Though not the most empowering of strong female monologues from Shakespeare, this one is pretty infamous and well-written. Yes, this monologue requires a great deal of analysis to understand how this character got to this point when she started out more outspoken than Beatrice, but it’s still worth a read. Feel free to interpret this ending as you like.
Fie, fie! unknit that threatening unkind brow,
And dart not scornful glances from those eyes
To wound thy lord, thy king, thy governor.
It blots thy beauty as frosts do bite the meads,
Confounds thy fame as whirlwinds shake fair buds,
And in no sense is meet or amiable.
A woman mov'd is like a fountain troubled-
Muddy, ill-seeming, thick, bereft of beauty;
And while it is so, none so dry or thirsty
Will deign to sip or touch one drop of it.
Thy husband is thy lord, thy life, thy keeper,
Thy head, thy sovereign; one that cares for thee,
And for thy maintenance commits his body
To painful labour both by sea and land,
To watch the night in storms, the day in cold,
Whilst thou liest warm at home, secure and safe;
And craves no other tribute at thy hands
But love, fair looks, and true obedience-
Too little payment for so great a debt.
Such duty as the subject owes the prince,
Even such a woman oweth to her husband;
And when she is froward, peevish, sullen, sour,
And not obedient to his honest will,
What is she but a foul contending rebel
And graceless traitor to her loving lord?
I am asham'd that women are so simple
To offer war where they should kneel for peace;
Or seek for rule, supremacy, and sway,
When they are bound to serve, love, and obey.
Why are our bodies soft and weak and smooth,
Unapt to toil and trouble in the world,
But that our soft conditions and our hearts
Should well agree with our external parts?
Come, come, you forward and unable worms!
My mind hath been as big as one of yours,
My heart as great, my reason haply more,
To bandy word for word and frown for frown;
But now I see our lances are but straws,
Our strength as weak, our weakness past compare,
That seeming to be most which we indeed least are.
Then vail your stomachs, for it is no boot,
And place your hands below your husband's foot;
In token of which duty, if he please,
My hand is ready, may it do him ease.
5. Helena’s Declaration, “All’s Well that Ends Well,” Act 1, Scene 3
This monologue is not only passionate, but it’s a great example of role reversal. It’s not often that a female character gets a lengthy monologue to declare her love for a man in the bard’s work. For example, even a character as strong as Beatrice in “Much Ado About Nothing” is often upstaged by Benedict.
Helena’s monologue here also comes very early on in the play and establishes her character. She is very aware of her status, but she knows what she wants and will do anything to achieve it. Weird body swap to consummate her marriage aside, in full Shakespearean fashion, this monologue sets the stage for a very interesting character.
Then, I confess,
Here on my knee, before high heaven and you
That before you, and next unto high heaven,
I love your son.
My friends were poor, but honest; so's my love:
Be not offended, for it hurts not him
That he is lov'd of me: I follow him not
By any token of presumptuous suit;
Nor would I have him till I do deserve him;
Yet never know how that desert should be.
I know I love in vain, strive against hope;
Yet, in this captious and intenible sieve
I still pour in the waters of my love,
And lack not to lose still. Thus, Indian-like,
Religious in mine error, I adore
The sun, that looks upon his worshipper,
But knows of him no more. My dearest madam,
Let not your hate encounter with my love
For loving where you do: but, if yourself,
Whose aged honour cites a virtuous youth,
Did ever in so true a flame of liking
Wish chastely and love dearly, that your Dian
Was both herself and Love; O! then, give pity
To her, whose state is such that cannot choose
But lend and give where she is sure to lose;
That seeks not to find that her search implies,
But, riddle-like, lives sweetly where she dies.
6. A Rose by Any Other Name, “Romeo and Juliet,” Act 2, Scene 2
Yes, it is corny and extremely well-known, but this list would not be complete without Juliet. While Juliet’s monologue after her cousin’s death was a close second, this list just needed a brief monologue about love and the optimism that occurs after meeting a cute boy at a party.
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
7. Spare Your Threats, “The Winter’s Tale,” Act 3, Scene 2
This play is often severely overlooked, as is the character of Hermione. The main issue with this play is that it’s hard to classify. Some say it’s a comedy, while others think it’s a romance. Though Hermione is not a main character throughout the whole play, the conflict between her and her husband drives the plot.
In this particular scene, she is defending herself after her husband has accused her of having an affair. She never once appears weak and holds her head high throughout the scene.
Sir, spare your threats:
The bug which you would fright me with I seek.
To me can life be no commodity:
The crown and comfort of my life, your favour,
I do give lost; for I do feel it gone,
But know not how it went. My second joy
And first-fruits of my body, from his presence
I am barr'd, like one infectious. My third comfort
Starr'd most unluckily, is from my breast,
The innocent milk in its most innocent mouth,
Haled out to murder: myself on every post
Proclaimed a strumpet: with immodest hatred
The child-bed privilege denied, which 'longs
To women of all fashion; lastly, hurried
Here to this place, i' the open air, before
I have got strength of limit. Now, my liege,
Tell me what blessings I have here alive,
That I should fear to die? Therefore proceed.
But yet hear this: mistake me not; no life,
I prize it not a straw, but for mine honour,
Which I would free, if I shall be condemn'd
Upon surmises, all proofs sleeping else
But what your jealousies awake, I tell you
'Tis rigor and not law. Your honours all,
I do refer me to the oracle:
Apollo be my judge!
8. The Epilogue, “As You Like It,” Act 5, Scene 4
Like Lady Macbeth’s monologue, this one by Rosalind is also fairly well known. Rosalind is a big favorite as far as Shakespearean female leads go. She is strong, well-spoken and has a good deal of respect from those around her throughout the play. For those reasons, it’s not a surprise that she closes the play, though as she points out, “It’s not the fashion to see the lady the epilogue.”
It is not the fashion to see the lady the epilogue;
but it is no more unhandsome than to see the lord
the prologue. If it be true that good wine needs
no bush, 'tis true that a good play needs no
epilogue; yet to good wine they do use good bushes,
and good plays prove the better by the help of good
epilogues. What a case am I in then, that am
neither a good epilogue, nor cannot insinuate with
you in the behalf of a good play! I am not
furnished like a beggar, therefore to beg will not
become me: my way is, to conjure you; and I'll begin
with the women. I charge you, O women! for the love
you bear to women--as I perceive by your simpering,
none of you hates them--that between you and the
women the play may please. If I were a woman I
would kiss as many of you as had beards that pleased
me, complexions that liked me and breaths that I
defied not: and, I am sure, as many as have good
beards or good faces or sweet breaths will, for my
kind offer, when I make curtsy, bid me farewell.
You Might Like: 17 Comedic Monologues For Women
What is your favorite female monologue from a Shakespeare play? Let us know in the comments below...
[post_title] => 8 Strong Female Monologues From Shakespeare [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => strong-female-monologues-shakespeare [to_ping] => [pinged] => [post_modified] => 2018-10-02 15:31:11 [post_modified_gmt] => 2018-10-02 19:31:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7425 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 8 [filter] => raw ) [35] => WP_Post Object ( [ID] => 7412 [post_author] => 440 [post_date] => 2017-03-05 11:35:49 [post_date_gmt] => 2017-03-05 16:35:49 [post_content] => It’s no secret that Broadway is rife with incredible talent that’s on display six days a week. Luckily, the showcasing of vocal chops doesn’t end with the cast album. Several big names from the Great White Way have released solo albums in a range of genres for fans to enjoy. With spring soon to be on its way, there’s no better time to freshen up those playlists with a few albums from the stars of the stage.Here are six solo albums by Broadway stars that may not have crossed your path:
1. Leslie Odom, Jr.’s “Leslie Odom Jr.”
If you’re a fan of jazz, look no further than Leslie Odom Jr.’s self-titled album. Riding high on the success of “Hamilton,” the former Aaron Burr re-recorded his 2014 solo album and released it again this past June. The album is a smorgasbord of jazz styles, from the bossa nova “Brazil (Aquarela Do Brasil)” to the bluesy first single “Autumn Leaves.” Odom Jr.’s smooth, sultry vocals are perfect for a romantic evening or just cruising through your weekend.
https://www.youtube.com/watch?v=kVJAc3nxhqY
2. Kristin Chenoweth’s “The Art of Elegance”
Broadway legend Kristin Chenoweth has released multiple solo albums over the years, including a country-pop record, a Christmas recording and a Christian music album. But her most recent endeavor, “The Art of Elegance,” is sure to hit the spot with fans. The 13-track record is a mix of American classics, including Gershwin, Rodgers and Sinatra, all beautifully arranged to showcase Chenoweth’s stunning vocals and remind listeners why she’s Broadway royalty.
https://www.youtube.com/watch?v=5g1A4cUoUWg
3. Laura Benanti’s “In Constant Search of the Right Kind of Attention”
This record is as quirky and lovable as Laura Benanti herself. The live album is a mix of fun anecdotes (sobbing at age 9 because her classmates didn’t know who Rosemary Clooney was), pop covers (she does a gorgeous rendition of Joni Mitchell’s “He Comes for Conversation) and Broadway performances (knocking it out of the park with “Unusual Way” from the musical “Nine”). The combination creates an album that is easy to take in from start to finish as listeners immerse themselves in Benanti’s captivating live show.
https://www.youtube.com/watch?v=dnmzCy_i0rU
4. Adam Pascal’s “Civilian”
This album has been around since 2004, so it definitely has that early 2000s vibe. In fact, it feels like the album Roger would have made had the story of “Rent” continued with a sequel showing what they did with their lives. It’s fitting, really, given that Roger was the role to launch Adam Pascal’s musical theatre career. If you’re a fan of bands like Fleetwood Mac or Matchbox Twenty, this album is for you. The tracks on the rock record, such as “Tomorrow and the Sun,” are cruisey in nature, making this the perfect album for your next road trip.
https://www.youtube.com/watch?v=hSc7WnBbagc
5. Audra McDonald’s “Build a Bridge”
There’s no denying Audra McDonald’s incredible multitude of talents. She’s a successful actress on the stage and on television (does anyone else miss “Private Practice?”), a powerhouse vocal talent and a devoted wife and mother. Is there anything this woman can’t do? With all of this, she still has had time to release a few solo albums, including the 2006 record “Build a Bridge.” Her unique cover of John Mayer’s “My Stupid Mouth” is the perfect example of her ability to cross musical lines and dabble in pop music with ease. But she doesn’t completely abandon her musical theatre roots, including a gorgeous rendition of the melodic “Dividing Day” from the musical, “The Light in the Piazza.” It’s a lovely mix for anyone who appreciates beautiful vocals.
https://www.youtube.com/watch?v=yNNgrGVEeZU
6. Adam Jacobs’ “Right Where I Belong”
The world has been in love with Alan Menken for years, and the successful composer has amassed a collection of awards to prove it. Adam Jacobs, on the other hand, has been winning hearts on Broadway since 2014 in the title role of the stage adaptation of “Aladdin,” one of Menken’s numerous Disney hits. The two have come together again as Jacobs takes on Menken’s other works in his solo venture, “Right Where I Belong” in which he covers hits from the composer’s vast catalogue. Prepare for nostalgia as Jacobs belts out classics such as “Go the Distance” and “Out There.” If you’re a Disney fan, this is definitely one to pick up.
https://www.youtube.com/watch?v=34yGM2n4Lvs
Whether you’re a rock music enthusiast, a lover of the classics or a Disney aficionado, the stars of Broadway provide a buffet of musical selections. So, grab a pair of headphones and let the listening begin!
Have a favorite solo album that we missed? Let us know in the comments below...
[post_title] => 6 Broadway Stars With Solo Albums You Need To Hear ASAP [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 6-broadway-stars-solo-albums-need-hear-asap [to_ping] => [pinged] => [post_modified] => 2017-03-05 11:35:49 [post_modified_gmt] => 2017-03-05 16:35:49 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7412 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) ) [post_count] => 36 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 8425 [post_author] => 11 [post_date] => 2017-04-19 09:36:33 [post_date_gmt] => 2017-04-19 13:36:33 [post_content] => Pack your bags and get that road trip playlist ready! Venturing to America’s most acclaimed regional theaters is something every thespian should put on their bucket list — right after belting a showtune next to Patti LuPone, of course. While plenty of states boast renowned performing arts centers, these six pit stops are known for being cultural landmarks within their respective cities:1. La Jolla Playhouse
This 1993 Tony Award-winning theatre is home to 84 world premieres, 32 West Coast premieres and eight American premieres. Notable works of La Jolla include “How to Succeed in Business Without Really Trying,” The Who’s “Tommy,” “Bonnie and Clyde,” “Jersey Boys” and “Peter and the Starcatcher.” Today, this progressive playhouse continues to bring to life groundbreaking new productions in the sunny city of San Diego. Have your suitcase ready yet?
https://www.lajollaplayhouse.org/
2. Paper Mill Playhouse
This 1,200-seat theatre has quite the reputation! Nestled in Millburn, New Jersey, the Paper Mill frequently brings in some of Broadway’s best performers due to its close proximity to New York City. Plus, the state theatre of New Jersey has premiered musicals such as “Honeymoon in Vegas,” a little-known show called “Newsies” and, currently, “Bandstand,” starring Laura Osnes and Corey Cott.
https://www.papermill.org/
3. Steppenwolf Theatre Company
In a city known for its thriving arts scene, Steppenwolf remains one of Chicago’s best. The intimate venue creates a plethora of new plays and has been a springboard for actors who have gone into the world of theatre, television and film. A Tony Award-winning production of “The Grapes of Wrath” premiered at Steppenwolf, as well as the Tracy Letts stage adaptation of “August: Osage County.”
https://www.steppenwolf.org/
4. Guthrie Theater
Minnesota’s theatrical epicenter has put on acclaimed productions of Shakespeare and thought-provoking contemporary works. In 1968, the Guthrie’s “The House of Atreus” toured nationally, breaking barriers as the first resident theatre to do so. Today, the facility, which hosts acting classes, professional training and more, has been transformed into a beautiful venue that remains a hotspot for locals and tourists of the Twin Cities.
https://www.guthrietheater.org/
5. Cleveland Play House
This Ohio playhouse’s history spans over 100 years. Known for kickstarting the careers of stars such as Paul Newman and Margaret Hamilton, this theatre brings lavish, full-scale productions and innovative arts programs to the Midwest.
https://www.clevelandplayhouse.com/
6. Arena Stage
As “the largest company in the country dedicated to American plays and playwrights,” Washington, D.C.’s Arena Stage commissions new plays and boasts a rich history as an ambassador of the regional theatre movement. A series of famous performers and productions have graced this Tony-winning stage, making it a must-see when in the Capital City.
https://www.arenastage.org/
There are so many great regional theaters, we are positive we missed a few!
Have a favorite regional theatre? Tell us about it in the comments below...
[post_title] => 6 Regional Theaters Every Nerd Should Visit [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 6-regional-theaters-every-nerd-visit [to_ping] => [pinged] => [post_modified] => 2017-04-19 09:36:33 [post_modified_gmt] => 2017-04-19 13:36:33 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8425 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 9 [filter] => raw ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 733 [max_num_pages] => 21 [max_num_comment_pages] => 0 [is_single] => [is_preview] => [is_page] => [is_archive] => 1 [is_date] => [is_year] => [is_month] => [is_day] => [is_time] => [is_author] => [is_category] => [is_tag] => [is_tax] => 1 [is_search] => [is_feed] => [is_comment_feed] => [is_trackback] => [is_home] => [is_privacy_policy] => [is_404] => [is_embed] => [is_paged] => 1 [is_admin] => [is_attachment] => [is_singular] => [is_robots] => [is_favicon] => [is_posts_page] => [is_post_type_archive] => [query_vars_hash:WP_Query:private] => 0d64317a0265c2b3ce404b661b4cbf19 [query_vars_changed:WP_Query:private] => 1 [thumbnails_cached] => [allow_query_attachment_by_filename:protected] => [stopwords:WP_Query:private] => [compat_fields:WP_Query:private] => Array ( [0] => query_vars_hash [1] => query_vars_changed ) [compat_methods:WP_Query:private] => Array ( [0] => init_query_flags [1] => parse_tax_query ) [query_cache_key:WP_Query:private] => wp_query:1411c4b05c338b4a57ffde54d761801a:0.80793100 17771727360.36935600 1777172737 )Latest stories
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