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[post_content] => Several wildly popular contemporary musicals, such as “Hamilton,” “Dear Evan Hansen” and “Natasha, Pierre and the Great Comet of 1812” transferred to Broadway from an Off-Broadway theatre. Transfers to larger theatres help certain productions reach wider audiences, culminating in sold-out performances and award nominations. Unfortunately, a handful of musicals never quite reach the next step in the transfer process, but they do achieve Off-Broadway cult status nonetheless.
Here are 15 Off-Broadway musicals that have yet to make a full Broadway transfer:
This year, Phillipa Soo swapped out the title of Elizabeth Schuyler for a chance to step into the shoes of Amelie. The titular character from the Oscar-nominated movie and new stage musical is pretty much the spirit animal for any introvert. Why? Amelie may be quiet, but she has a world of hopes and dreams in her mind. In fact, her timid nature doesn’t stop her from achieving big things and making her mark on the world. Soo kickstarts our list as she reinvents this inspiring story.
Stephen Flaherty and Lynn Ahrens are the masterminds behind the music and lyrics of “Anastasia: The New Broadway Musical.” Ahrens, whose stacked resume ranges from “Seussical” to “Ragtime” to a Patti LuPone concert, uses her magic to bring a beloved childhood phenomenon to the stage. Thanks to Ahrens, we can’t wait to get inspired by this incredible tale of Russian royalty.
The adorable stage adaptation of “Waitress” offers audiences more than just a chance to buy pint-sized pies. The show brings an empowering message of determination and strength, all set to a glorious score by song-seamstress Sara Bareilles. Currently, Bareilles is taking the stage and singing her own songs as the show’s protagonist, Jenna. Theatre nerds everywhere are giving her mad props for cooking up a successful Broadway debut.
This theatrical starlet shines in Broadway’s new swing musical, “Bandstand.” Playing a wartime widow who finds a second chance at life, Osnes joins this upbeat show partnering with Got Your 6, an organization that “believes veterans are leaders, team builders and problem solvers, who have the unique potential to lead a resurgence of community across the nation.” This Tony-nominated actress aids “Bandstand” in bringing audiences a meaningful message.
Tolstoy’s “War and Peace” gets a facelift in an invigorating Broadway show titled “Natasha, Pierre and the Great Comet of 1812.” It stars Josh Groban, rakes in rave reviews and was directed by powerhouse Rachel Chavkin. Chavkin has exercised her directing chops in the theatre world before, spearheading a number of Off-Broadway productions, including “Great Comet,” which she took to Broadway in 2016.
This Hollywood acting icon returned to the Great White Way in a production of Andrew Lloyd Webber’s “Sunset Boulevard” (yup — there’s more to Sir ALW than kitties and opera ghosts). Why is this particular casting choice inspiring? Close, who played the role of Norma back in 1994, doesn’t just recreate this beloved role. In fact, the acclaimed actress brings something fresh and new to this classic Broadway musical. According to Playbill, director Lonny Price says Close approached the role “dead set on exploring what Norma and ‘Sunset’ mean to her now.”
This dynamic duo officially brings our count to eight. As half of the four-person team that wrote Broadway’s a cappella musical “In Transit,” Kristen Anderson-Lopez and Sara Wordsworth are most certainly making waves in the theatre world. You might recognize Anderson-Lopez’s name as the lyricist for “Frozen’s” little ditty “Let It Go.” Now, these ladies have created a unique show about adventuring through New York City and, of course, finding yourself along the way.
It’s important to stay warm before and during a performance. Take as much time as you need to stretch and limber up to avoid injury. Also, don’t forget to stretch those vocal chords. It’s just as important to warm up your voice for a show to avoid damage.
If you’re waiting to go on, run the show or the upcoming scene in your head and practice saying your lines to yourself. The more you commit the show to memory, the less likely you are to freeze onstage and forget what comes next. Do the same with choreography — run the dance in your head and mark it. If you are unfamiliar, marking means to run through the choreography using limited movement. For instance, you might use a finger spin or a head roll to mark a turn.
This point cannot be made enough. It’s easy to forget to drink water, especially when the adrenaline of a live performance kicks in. But it’s crucial to hydrate throughout the show to keep your voice and body in good shape. Make a point of grabbing a drink each time you get off the stage. If you do it first, you are less likely to get distracted and forget.
Immersing yourself in the show will help give you a strong performance. For those few hours, forget any real-life stress, empty your mind and inhabit your character. One way to help set the mood is to create a playlist for your character and listen to it before you go onstage.
Another way to clear your mind and focus solely on your performance is to meditate before you go onstage. Some actors do this in their dressing rooms, while others will find a quiet spot in the theatre before the doors open to the public.
Feeling stressed or anxious during your performance? Try out a coloring book. Coloring can have a calming effect and help you center yourself. Adult coloring books are all the rage right now, so finding one that strikes your fancy shouldn’t be too difficult. Grab some crayons, and you’ll be ready to rock!
Why not try your hand at creating original work? Many writers have been known to create incredible work during snatches of time between their real-life obligations.
Help create buzz for your show by tweeting during the performance. Spreading the word through social media helps generate interest in your production and put more butts in seats every night.
Whether you’re reading a school textbook or the latest bestseller, you can catch up on your reading while you’re sitting and waiting backstage.
Cards and games are an excellent way to bond with your castmates. Just don’t get so caught up in the game that you miss your cue! It happens more than you think.
In the frenzy of preparation and quick changes, costumes and makeup can get strewn everywhere. If you have a few minutes, reorganize your things to avoid losing important items.
Use your free time to improve your skills. Learn to knit, fold origami or learn a new language. Who knows, it could be something you can add to your resume! You never know what the next director could be looking for.
No matter what your interests are, there’s likely a podcast out there for you. To keep up-to-date with theatre news, BroadwayRadio’s podcasts are a great way to get all the information every weekday in 30 minutes or less.
Don’t wait for the show to be over before you line up your next one. Use any free time to find other auditions in your area so you never have to be show-less.
This can lessen the sting of post-show depression. Each night, write down things that happened during the performance, funny moments, what you want to remember or how you’re feeling. Even bullet journaling works if you’re short on time. When the show is over, this will be a meaningful keepsake you can reread when you’re feeling blue.
Grab a stack of Post-Its and write encouraging messages to members of your cast and crew. Stick them in places they’ll see them, such as their spot in the dressing room. Tell them something you like about them or something that was excellent about their performance that day. This will help keep morale high when exhaustion starts to kick in.
Don’t forget to snap a few pics when you’re hanging out backstage. Like journals, photos are a great keepsake that will help you battle the post-show sadness when it’s all over. Just be sure to ask people’s permission before you take a photo of them, just in case they’re camera-shy.
While other moms said things like, “You looked great when you spun around a whole bunch,” the Stage Mom learned the technical terms so she could properly critique your fouette en tournant.
She has signed up for every backstage job at one time or another. Her resume boasts stage lighting, seamstress, stage manager, set designer, etc. She’ll do anything to help her help you get that bigger and better part.
Every run-in with your mom was a chance for her to bend them to her will, whether to land you a bigger part or complain about how short your solo was.
Your weekends were always spent practicing your dance moves or your vocal selections, instead of riding bikes and playing with your friends. You loved it, but your mom loved it even more.
She was cracking open the bubbly when you got your first speaking role; meanwhile, you were still unsure whether you were cool with public speaking.
To better correct your form, of course.
There wasn’t a barbecue or family reunion that passed without your mom demanding you perform in front of the whole family, much to the chagrin of your relatives, who were too polite to tell her you were flat.
When you got the solo in school choir, everyone had to hear about it — including your waiter at TGI Fridays.
She spent your family’s vacation money on your voice lessons, demo tapes and teeth bleaching. Your siblings still resent this, but were relieved they weren’t the center of your mother’s crazed attention.
Seriously, she knew your lines by heart and relished the opportunity to tell you when you missed a word or phase. She also knew exactly how many lines you had, and didn’t hesitate to share that information with her coworkers or friends.
She offered to homeschool you so you’d have more time to hone your craft.
Don’t worry, Mom just locked herself in the bathroom for hours because you didn’t make the cast list.
Instead of, “Don’t forget your coat,” it was, “Don’t forget your lines.” Instead of “You’re not leaving the house wearing all that makeup,” it was, “That’s not enough blush, and where are your false eyelashes?”
When I was a freshman in high school, I was in my first school show. We were doing a production of “Me and My Girl,” which is basically a weird secondhand version of “My Fair Lady.” A senior in our school thought he was above the silly myth of uttering the Scottish play. Of course, the day before our opening night, he said the infamous word in the theatre. We all told him he had to follow the correct procedures to reverse the curse. Of course, he laughed in our faces. As we went back to change out of our costumes that night, the lights abruptly turned off. Everyone screamed, and after a few seconds, they came back on.
I wish I could say it stopped there.
The first act of the show ends with this big ensemble number, so most of us were in fancy dress complete with elbow-length gloves. On our opening night, we were all getting ready to go on, then the fire alarm went off. Everyone had to evacuate the theatre. All of the actors had to go out back, and of course, it was pouring rain. As we all huddled together trying to stay dry, we knew this had to be related to the curse. The alarm was finally fixed, and we all returned to the theatre and completed our number in our damp dresses.
The next day, the fuse box blew. At that point, most of the cast didn’t think it was a coincidence. The responsible senior was forced outside to do the reversal. After that, the final show of the weekend went according to plan without any issues.
— Nicole M.
Junior year of high school, we were putting on “The Odd Couple” (both versions) while simultaneously reading the Scottish play in English. The kid playing Oscar started talking about it during dress rehearsal and promptly twisted his ankle. He had to leave rehearsal to go to urgent care and had a limp for the run of the show.
— Jen R.
When I was in high school, we did two one-act plays for my senior-year show. Between the two casts, there were a lot of people. Our theatre program was still in development, and a lot of people who were in the show were new to theatre. As we all spent time together and bonded, I mentioned the curse of the Scottish play, and everyone looked at me like I had 12 heads. I was so surprised that they had never heard of it, but beyond that, most people didn’t believe me, and they thought it was just a funny bit to tease me with.
They said it all the time, and I would furiously rush to do the countercurse for them to hopefully save our shows. It became a huge joke, and everyone thought it was hysterical, but I was truly terrified that something was going to happen.
During our preview performance during the school day, the curse presented itself. The first one-act was set in a high-school classroom of a school that was just placed on lockdown. There’s a scene where the fire alarm goes off, and there’s chaos in the room and everyone’s running around and screaming. During this moment, one of the shy and timid students escapes out of the classroom. While we were doing this scene, the actress playing the shy student got shuffled around in all of the chaos and ended up flying into the classroom door, headfirst, taking the doorknob with her. Luckily, she wasn’t too seriously injured, but my castmates eased up on the teasing after that!
— Marissa R.
It was our final show, and someone said “Macbeth” right before curtain. The show went fine. Afterward, we packed up the auditorium. To take the trash out, we bring it up the elevator to save ourselves from carrying it up the stairs. Well, when we went up, the elevator got stuck and firemen had to come and get us out.
— Emma O.
My senior year of high school, I worked on costumes for “West Side Story.” Someone in the cast had read the play for English class, and someone said the name in the theatre. Shortly after, our Maria ended up in the hospital, Tony sprained his ankle and one of the ensemble members shattered his heel during a fight scene rehearsal. This was all about four days before opening night. Luckily, everyone was OK, and even the guy with the shattered heel still made it onstage. But, needless to say, my high school is definitely wary of the Scottish play now. I actually think the guy who shattered his heel was the guy who said the name of the play.
— Brianna N.
At our community college, we were in tech week for “Taming of the Shrew.” An older man who had taught English but had never done theatre said it during a prop check. The chair broke and he fell. Then, the chair fell on him and he broke his shoulder. The light board also buzzed and shorted out. We attempted to do some “reverse the curse” ritual, and then we were told to go home.
— Meg S.
In high school, we were getting the set together for two different shows. One of the students did believe in the “M-word” and decided to say it three times center stage and loud enough to hear across the theatre. Shortly after, one student had a bad feeling about the lights onstage and decided to double-check. It was a good thing, too, because the light was about to fall. Then, one of the female leads in one of the plays was cutting some fabric for curtains and cut her finger deep enough that she needed stitches. Next, the guy who was in a group during rehearsals was walking around the stage and fell off the stage, spraining his ankle.
— Natalia B.
The market is competitive, and there aren’t enough hours in the day to master every skill you could potentially have to make yourself the most marketable as a performer. So, maximize your time and optimize your efforts by taking ownership of your strengths and weaknesses. Build your confidence so that it is unbreakable. Improve what you do well so that you do it better than anyone, and come to terms with what you don’t do well. Owning this will greatly relieve the stress of pounding the pavement on a daily basis, as you won’t feel the need to have to be everything for everybody.
There is truly no one else like you in this world. Own this! Trust that bringing your unique you and your individual experiences to the surface in both your acting choices and audition material is enough to make you stand out and be remembered in this business. This way, when a job comes along that matches you and your talents, you will book it.
Don’t just have one goal, don’t put all your eggs in one basket and don’t just plant one seed. There are so many opportunities for performers. You can up your chances of work and success by always making sure to say “Yes” to performing gigs that come your way. You never know where the next one may lead!
You don’t need to sit back and wait for the next job to come your way. Instead, be a proactive performer and make your own opportunities. Whether it be web series, plays, readings, cabarets and/or writing new works and producing them, show your best talents to the world on your terms. People will be watching, and you may even develop a fan-base. Who knows? It could lead you to be hired for other projects as well.
There is no one way to achieve goals in the performing business, and your success shouldn’t be defined or compared to others. Take solace in the fact that the way you make your way in this career path will be uniquely yours. Enjoy the journey!
This fancy-sounding job (sometimes called a “literary manager”) is essential to helping actors, directors and companies as a whole bring a story to life. A dramaturg researches everything from a play’s historical context to the playwright’s own background. Often, they assist costume and set designers in making sure the time period is accurately represented, as well as prepare a packet of information for actors and creatives to dive into when studying a piece’s social or political context. Are you a history buff? A research fiend? Someone who likes compiling comprehensive reports? This job might just be for you!
Some say stage managers are the backbone of any successful theatre production. Along with performing administrative duties such as coordinating transportation for an event or helping the director and production staff, a stage manager is charged with making sure the performance itself goes smoothly. Organization, a knack for taking initiative and a strong knowledge of theatre are required.
If being onstage isn’t your cup of tea, becoming an acting coach or improv teacher probably isn’t for you. However, there are plenty of other courses of study that call for a theatre nerd’s mind. Teaching a class on the history of theatre, theatre development and Shakespeare are examples of non-acting classes that help educate future generations on what it takes to bring a production to life.
With many millennials drawn to these fields already, theatre aficionados can find their niche working with an agency or venue that specializes in the performing arts. Marketers seek to promote a show to the general public through social media campaigns, promotions and more. Press representatives coordinate interviews with the media in hopes of getting show coverage. If you seek both the theatre world and business world, these professions might catch your eye.
Yes, you’ve probably heard of this one, but we think it’s awesome! While playwrights often write in their spare time, this can be rewarding if it’s something you’re invested in pursuing. Working on a passion project like this might not be a full-time job right away, but no play or musical would exist without a dreamer. Playwrights have the power to inspire, empower and create change with words.
Creating the world that a piece of art lives in is no small task. These two creative professions often work on a project-to-project basis — and they’re necessary to the industry. From working with opera houses to contemporary theatres, these artists can take audiences to a new time and place.
This job may sound like a piece of cake, but a lot goes into picking the perfect ensemble of cast members. Teaming up with the director, producer and creative team, the casting director must have an acute understanding of what each character brings to the story. Understanding what type of actor is needed, as well as coordinating auditions, is only the beginning of this unique career.
Have a friend who is just starting out with photography do a free shoot (or bribe them with coffee, if you’re feeling nice). Even if they aren’t the professional shots you’re hoping for, you can use this experience as a dry run for the real thing. See which looks and colors worked and which didn’t. Then, when you’re paying big bucks for a three-look package, you’ll know which three you want. And, as a bonus, if your friend’s shots are good enough, you just got yourself free headshots!
Find a photographer that is just starting out, and trade them. Free headshots... and in return they get a portfolio to show future clients.
Borrow clothes from your friend with that walk-in closet full of possibilities to amp up your photo session for free. Just be sure to clean and iron them before you return them.
Some places, such as Sephora, offer “free” makeovers if you spent $50 in the store. If you know you need to buy foundation and blush anyway, you might as well time it out so you do it on the day of your headshots. You can get your makeup done by a pro for the price of a few makeup essentials you were going to buy anyway.
Just be clear about what you want so it doesn’t come out overdone. Make sure they know it’s for on-camera, because on-camera makeup is different than regular makeup. As always, make sure you still look like you.
Hire a student studying makeup at a cosmetology school. Most of them need to build portfolios and will do it for free (or in exchange for lunch). The best part is they need you to look good for their portfolio, so they’ll be doing their best work. Plus, they will most likely be willing to go to the studio with you to touch you up as you go or change your look to a more dramatic one as you progress.
Don’t do this for your main pics, of course, but use an iPhone for a trial run. Have a fun photoshoot with a friend and your iPhone to practice that million-dollar smile and mysterious dramatic allure. This way, you’ll be ready to make magic once you get into a more expensive session with the clock ticking.
Don’t just go with the most expensive photographer everyone is talking about. There are tons of smaller, lesser-known photographers who do great work — just take the time to do some research. If you’re on the fence, show the lesser-known photographers’ work to your agent or manager to get their opinion. If they think the shots are good enough to land auditions, book an appointment. Not only did you save money, but your shots won’t have the same cookie-cutter look that some of the big shots have.
This may be obvious, but like many other businesses, photographers do offer specials from time to time. It’s not a bad idea to ask if and when they offer discounts.
Take the time to know what you’re looking for in a headshot. Are you aiming for that perfect commercial shot, dramatic daytime TV actor look or Broadway baby? Spend some time looking at other professionals in the realm of what you’re going for and see what they did that worked. Pay attention to the wardrobe and color choices for the style you’re going for and whether they used natural lighting. These are all factors you’ll want to consider before you arrive. The photographer isn’t going to have all the answers or the time to make those decisions for you. Only you and your agent know what exactly you’re trying to sell, so be as prepared as possible so you don’t have to take multiple rounds of headshots.
When the Al Hirschfeld Theatre was built for its original namesake, vaudeville impresario Martin Beck, it was the only theatre in New York that was owned outright without a mortgage.
Though the theatre looks totally normal from the outside, the Ambassador Theatre is actually situated diagonally on its property to maximize the seating potential.
In the 1990s, before it was acquired by the Roundabout Theatre Company, the Selwyn Theatre (now American Airlines) was temporarily the Times Square Visitors Center.
The August Wilson Theater was, in a way, responsible for the careers of Richard Rodgers and Lorenz Hart. The Garrick Gaieties, a benefit revue that thrust the future titans of Broadway into the public spotlight, was originally put on to raise money for the new tapestries for the Guild Theater, now called the August Wilson. But don’t look for the tapestries when you go see “Groundhog Day” — they’ve sadly been lost over time.
The theatre’s namesake, David Belasco, had a 10-room apartment built into the theatre for himself. Styled in an American Gothic theme (he was known as the Bishop of Broadway), the duplex featured an elevator connected to backstage, several offices, an ornate fireplace and even a grotto. The apartment is abandoned now and not in use or available to the public.
The grand arches in the mezzanine are decorated with two beautiful murals entitled “Lovers of Spain,” by Willy Pogany.
The Booth Theatre is named after legendary actor Edwin Booth, who was known as one of the greatest Shakespearean actors of all time. He had his legacy somewhat overshadowed by his infamous brother, presidential assassin John Wilkes Booth.
The Broadhurst Theatre is an exact mirror of its neighbor on 45th Street, the Gerald Schoenfeld Theatre.
While several theatres became movie houses at one point in their past, the Broadway Theatre started out as a movie house and became a legitimate theatre. It was here that ground-breaking cartoon “Steamboat Willie” debuted and introduced the world to Mickey Mouse.
Like many of the Broadway theatres, the Brooks Atkinson was, for some time, a television studio. The theatre was known as CBS Studio 59 and was where popular game shows “I’ve Got a Secret” and “What’s My Line?” were filmed.
The Circle in the Square houses the Circle in the Square Theatre School, the only accredited training conservatory associated with a Broadway theatre.
The proscenium arch of the Cort Theatre was constructed in perforated plaster and was treated with art glass, enabling it to be lit during performances. While the arch still exists, the lighting feature no longer operates.
Named for the legendary Ethel Barrymore, whose production of “The Kingdom of God” opened the theatre in 1928, the Barrymore was the last theatre built before the Great Depression and the last theatre built by the Shubert Brothers, Lee and J.J.
The Forrest Theatre, its original name, was originally planned by the Schuberts as half of a theatre/hotel complex. But, because of the Great Depression, the Shuberts could only afford to build the theatre.
The Schoenfeld, originally the Plymouth, was architect Herbert J. Krapp’s first commission. Krapp was a monumental figure in the shaping of Broadway as we know it today, having designed 15 of the current Broadway theatres and several more that are no longer standing.
The Gershwin Theatre was originally named the Uris Theatre, whose first occupant was a massive flop called “Via Galactica.” However, the show was originally called “Up.” The producers decided to change the name of the musical when they booked the new Broadway theatre, not wanting to have “Up Uris” displayed in big, bold letters in Times Square.
Originally named the Little Theatre, the venue lived up to its name with only 300 seats. In the 1920s, it was redesigned to increase the seating and improve acoustics. The theatre now seats 597 people, making it the smallest Broadway theatre.
The Hudson is both Broadway’s oldest and newest theatre. It first opened on Oct. 19, 1903, beating the New Amsterdam’s opening by one week. The theatre reopened on Feb. 23, 2017, after being dark since 1968.
The Imperial is probably the luckiest theatre on Broadway. Besides more recent long-running hits such as “Billy Elliot” and “Les Misérables,” from 1938 to 1968, only two shows that played the Imperial ran fewer than 300 performances.
The exterior of the Golden was used as the location of the movie version of “A Chorus Line.” It is also shown in the background during the opening scenes of “All About Eve” as the home of Margo Channing’s “Aged in Wood.”
The Longacre Theatre was built by impresario Harry Frazee. He was also the owner of the Boston Red Sox and sold player Babe Ruth to the Yankees, starting what came to be known as the Curse of the Bambino. Because of the curse, many Broadway producers at the time avoided the Longacre, as it was thought to be unlucky.
The Lunt-Fontanne, originally the Globe Theatre, had quite a fantastical design element. The theatre’s ceiling, as well as the roof 20 feet above it, was designed to retract, allowing for an open-air feel like Shakespeare’s Globe Theatre. The giant sliding doors and large gears are apparently still intact on the roof, though they have been sealed with asphalt.
Built by producer David Frohman in 1903, the Lyceum, like the Belasco, was built with an apartment inside. Frohman’s wife was acclaimed actress Margaret Illington, so Frohman gave his apartment a view of the stage. Rumor has it there was also a small opening where Frohman could wave a white handkerchief as a signal to his wife that she was “overacting.” The apartment is now the home of the Shubert Archive.
The Lyric Theatre sits on the spot once occupied by two Broadway theatres, the Apollo and the original Lyric. Elements of both still stand, however, and are incorporated into the design of the Lyric. For example, you enter the theatre through the original Lyric façade, both on 43rd and 42nd streets. Inside the theatre, the dome overhead is also from the original Lyric, and the proscenium arch is the original from the Apollo.
The Majestic was built in 1927 as part of a three-theatre complex. The original intent was to have a large theatre (the Majestic), a medium-size theatre (the Jacobs) and a small theatre (the Golden) so that productions could be moved around to any of the three depending on ticket sales. The three theatres share a backstage alley.
In order to build the Marriott Marquis Theatre, five other theatres had to be demolished: the original Helen Hayes, the Bijou, the Morosco, the Astor and the Gaiety. The decision brought about an uproar from the theatre community, and several actors even chained themselves to the theatre to prevent the demolition. It didn’t work, obviously, but in an attempt to smooth things over, the developers of the new hotel agreed to build a new state-of-the-art theatre, and thus, the Marquis was born.
Currently home to Disney’s “The Lion King,” the Minskoff Theatre is technically located on the third floor of One Astor Place. The theatre is built on the former site of the famous Astor Hotel.
In 1919, legendary producer Sam H. Harris had a proposition for her red-hot writer Irving Berlin. If Berlin came up with a new Broadway revue, Harris would build a new theatre to house it. Not long after, Berlin presented Harris with the idea for the Music Box Revue, and, good on his word, the Music Box Theatre was built.
Most Broadway buffs know that the Times Square Church resides in the Mark Hellinger, a former Broadway theatre. But most don’t know that the Hellinger was not the church’s first home. The Nederlander Theatre was home to the Times Square Church from 1987 to 1989, until the Nederlanders sold it to Hellinger.
The Neil Simon was originally named the Alvin Theatre. Built by producing partners Alex Aarons and Vinton Freedley, the name “Alvin Theatre” came from the “Al” in Alex and the “Vin” in Vinton.
The magnificent New Amsterdam Theatre was in shambles in the 1980s. The interior was flooded, had been looted and was literally crumbling. Disney bought the theatre and spent a reported $34 million to renovate it to its former glory.
The Palace Theatre’s façade is most recognizable by its large billboards that display ads for various Broadway shows. But the giant billboards weren’t always there. The theatre’s actual façade is buried beneath them, and hasn’t been seen since the 1980s, when a hotel was built on top of and around the existing theatre and the big billboards went up.
The Richard Rodgers holds the record for housing the most number of shows that have won either the Best Play or Best Musical Tony Award: nine musicals and two plays, for a total of 11.
The movie “The Muppets Take Manhattan” featured the Friedman, then named the Biltmore, as the theatre where the Muppets debut their Broadway show, “Manhattan Melodies.”
Before the Tony Awards were presented at Radio City Musical Hall or the Beacon Theatre, they used to be presented at different Broadway theatres. The Shubert Theatre hosted the Tony’s the most times, with eight broadcasts.
While most people think of the 1998 Alan Cumming-led revival of “Cabaret” playing Studio 54, it actually started at Henry Miller’s Theatre, the theatre’s original name. But when a crane collapsed next door, the city shut down the street and subsequently, the show. After scrambling to find a new venue, Studio 54 was procured.
The St. James was actually built on the site of the original Sardi’s Restaurant. When theatrical titan A.L. Erlanger wanted the space to build a new theatre, Vincent Sardi simply moved up the street to the location the restaurant is now in.
Before the Roundabout Theatre Company leased and eventually purchased the venue, the once-famous club was set to be torn down in 1996 by the owners, Allied Partners, and be replaced with a virtual reality gaming venue called The Cyberdome.
While the theatre, owned and operated as part of Lincoln Center, is a newer theatre compared to most Broadway houses, the space does have a theatrical past that predates the theatre itself. The area that would eventually become Lincoln Center and the Vivian Beaumont originally contained a lot of basketball courts, the same ones that were used in the filming of the movie version of “West Side Story.”
The Kerr, named after beloved critic and author Walter Kerr, was originally named the Ritz Theatre. But, not all of its “Ritzy” past is gone. If you look at the theatre’s marquee, you’ll notice a stark difference in fonts between “The” and “Theatre” and “Walter Kerr.” To save money after the name change, only the “Ritz” part was removed from “The Ritz Theatre.” The original Ritz marquee was elaborate and expensive, so a more standard “Walter Kerr” was added, with the elaborate “The” and “Theatre” left in place.
The Winter Garden Theatre is the only Broadway theatre whose structure was not originally intended to be a theatre. The structure was originally built in 1886 as the New York Horse Exchange and stables. It wasn’t until 1911 that the Schuberts bought the space and redesigned it as a theatre. It was even said that when the theatre went through massive renovations after “Cats” ended its record run that crew members found traces of hay deep under the floorboards.
“Rent” leading lady Mimi Marquez knows how to make an impression and never shies away from a bold style choice? Embrace your inner wild child and try an animal print with a neon color.
Our Pick: Short High-Low Animal Print Prom Dress from PROMGIRL
Wicked or good, Elphaba or Glinda, we have you covered. Look sleek in Elphaba’s trademark long-sleeved dress, or float to prom in Glinda’s go-to layered ball gown.
Our Picks:
Elphaba: Long-Sleeve Prom Dress with Embroidered Lace Detail
Glinda: Two-Piece Sherri Hill Off-the-Shoulder Ball Gown
Look around, look around, you just happen to be at the greatest prom in the world. You’ll be ready to work the dance floor like Eliza Schuyler or take your shot as Alexander Hamilton in ensembles worthy of any Winter’s Ball.
Our Picks:
Eliza: Laticia Blue
Hamilton: Hamilton Costume
Everyone knows Elle Woods is the president of wearing pink, and not just on Wednesdays. So, channel your inner Delta Nu with a hot-pink dress that is both sassy and sweet. Or, be fashion-forward like Elle and turn heads in a stunning suit, good for prom or your interview for that top Ivy League school.
Our Picks:
Dress: Short Sleeveless Fit-and-Flare Dress by Sherri Hill
Suit: New Look Satin Trim Tux Blazer
Mermaid school is quickly becoming a trendy weekend activity, so why not carry that trend straight to the prom? Fittingly, this dress is called “Ariel.” Adorned with pale pink seashells, you’ll be ready to ditch your tail and use those legs to dance the night away with your own prince.
Our Pick: Ariel Bonbon
No one will be able to take their eyes off of you when you stroll into prom looking like the lost member of the Four Seasons. Oh, what it a night it will be in a suit worthy of the stage. Go for something bold, such as red velvet, or try a fun print.
Our Picks:
Men's Slim-Fit Burgundy Paisley Dinner Jacket
Bar III Men's Slim-Fit Red Velvet Sport Coat
The yellow dress and the red rose have been iconic symbols of the Disney fairy tale retelling. Be the belle of the ball and give your tale as old as time a unique twist in a dress with floral embellishments.
Our Pick:
Belle: Strapless Sherri Hill Floral Print Dress
Looking for schoolgirl sass a la “Heathers?” Try plaid in a shade of scrunchie red that’s a little more dark and brooding.
Our Pick: Jack Wills Holidays Check Bandeau Bow Dress
The costumes of “Chicago” are both sultry and chic. Jazz Age fashions were about pushing limits and redefining sexy, so defy expectations and trade a dress for a sleek jumpsuit. Or, try a sequined number that’s sure to razzle dazzle them.
Our Picks:
Thinking Out Loud Black Backless Jumpsuit
Juniors' Sequined Flyaway Gown
You might already be the nicest kid in town, but with this suit, you could also be the best dressed. Cory Collins is known for his eye-catching attire, so try out his style with a plaid or a trendy pastel.
Our Picks:
Bar III Men's Slim-Fit Blackwatch Plaid Tuxedo Separates
Men's Slim-Fit Linen Dinner Jacket
Turn heads like Bad Sandy in an off-the-shoulder dress inspired by “Grease.” The slit in the front will let you show off those essential bright-red heels. Paired with lipstick of the same shade and some teased locks, you’ll be the one everybody wants. Tell me about it, stud.
Our Pick:
Long Off-the-Shoulder Prom Dress by Tarik Ediz with Slit
Be ready to experience the music of the night with Phantom-inspired fashions. Glide into prom like the angel of music in a flowing white gown worthy of soprano Christine. Or, leave everyone thinking of you in a vest fit for the Phantom.
Our Picks:
Christine: Wonderful Day White Wrap Maxi Dress
Phantom: ASOS Skinny Waistcoat In Burgundy Velvet With Embroidery
This dress might join the list of your favorite things. Take a leaf out of the fashion book of the eldest von Trapp and don a gorgeous pink dress. But be sure not to get caught out in the rain, because this dress is too pretty to ruin.
Our Pick: Lora Dawn
Time to get dolled up for your dance at the gym. Give Anita’s classic purple dress a twist, or take Riff’s bold yellow blazer out for a spin. What is there to fight about when you look this good?
Our Picks:
Anita: Two-Piece Off-the-Shoulder Print Prom Dress
Riff: OULIU Mens Slim Fit 1 Button Premium Jacket Fashion Outwear Coat
You’ll be ready to dance all night in this modern take on Eliza’s lace dress. You’ll be more than loverly.
Our Pick: Your Beauteous Best Lace Dress
Take a journey to the past in a gown fit for a Romanov princess. Or, don a suit similar to Broadway’s newest leading man, Dimitri, and sweep everyone off their feet.
Our Picks:
Anastasia: Nabila Grenat
Dimitri: ASOS Slim Suit in Herringbone Brown
Conga the night away in an outfit worthy of a pop sensation, Gloria Estefan. Just like the show’s costumes, these dresses are a stunning mix of ruffles, embroidery and overlay skirts.
Our Picks:
Black Two Piece Prom Dress with Embroidered Train
Print Strapless Romper with a Long Skirt
No matter which look you choose, give it your own flair and let your personality show. In the words of Annie, remember, “You’re never fully dressed without a smile.” So, don’t forget to flash them that killer, red carpet-worthy smile. It’s the best accessory there is.
Not every theatre will have a dresser to help you hang up your clothes after they are worn, and even if they do, your dresser isn’t your servant. Make sure to always hang up your costumes after you wear them so they don’t wrinkle or end up on the floor where someone can step on them.
Don’t you hate it when you are eating and you spill food on your newest outfit? That usually teaches you not to eat in your finest duds. The same goes for costumes. Do you really want to go onstage with that big ketchup stain from the burger you ordered at half hour because you were hungry? Probably not.
Make sure to always consolidate your dirty laundry at the end of the performance in the provided laundry basket or given area. You certainly don’t want them forgotten about because you didn’t place them in the proper spot and then have nothing to wear for the next performance.
Do both yourself and your costars a favor and make sure to wear deodorant before you put on your costumes. You are sure to sweat onstage. You don’t need your costar coming up to you during the most intimate moment of the show and getting a whiff of body odor you could have easily prevented with a quick roll of antiperspirant. Nor do you want pit stains to distract from your fabulous dance moves.
Usually the costume designer, costume shop or your dresser will organize your costumes so that specific pieces stay together. This way, they are always easy to find during the quick change or when they are needed for the next scene. Be conscientious when you hang up your clothes and don’t just spread them wherever you see an empty or convenient hanger. Hang them back up where they originally came from.
If you are staying busy between scenes doing homework or working on creative projects to help the time pass, make sure you aren’t using tools that could endanger your costume. You could accidentally drop that marker, pen or other writing utensil, and your costume could end up being your casualty. Use a pencil or something that can easily be washed out while in costume.
Those who work in the costume shop and your dressers are not mind readers. If you are onstage and you rip your costume or something such as a snap or button breaks, make sure you tell someone who can fix it. No one will be mad at you if you report something gone wrong. It happens all the time and is expected by those who work in the costume department. They’ll be very grateful you caught it and want to look your best onstage.
As an actor, make sure to respect your dresser and their timing by getting dressed when they need you to at every show. Don’t dillydally or wait until you’ve finished texting or getting the latest gossip from your friends. The person helping you change probably has somewhere else they need to be to ensure the performance goes off without a hitch.
Think you have a say in which costumes you can and can’t wear as an actor? Think again! That is the costume designer’s job. You need to make sure you respect them and wear everything you’ve been given or assigned.
Whether you prepared a cartoony piece and they suddenly want realism, or you picked a modern piece and they’re looking for Shakespeare, you’re now in a situation where you have no choice but to find a new angle on what you’ve prepped. If your scene is comedic and they’re looking for drama, simply adjust your performance to a more grounded one. No matter the vehicle, you can still find your way toward the vibe they’re looking for.
You’ve prepped a two-minute monologue, and they ask for a 30-second piece because they’re running behind. Instead of getting upset and worrying how they’ll ever see your range in 30 seconds, remind yourself that you can blow this thing out of the ballpark in any amount of time. They wouldn’t ask for 30 seconds if they didn’t think they could find what they needed in that amount of time. Besides, what’s wrong with leaving them thirsty for more? Just make sure you make the proper cuts to leave yourself with a nice jumping off hook and wrap up with a clear ending.
Sometimes readers are just readers and they aren’t there to give you anything to work with. Instead of letting it throw you, just do your thing and be thankful that the full attention is on you. Use your imagination and pretend they’re giving you what you need.
Don’t worry about it. It doesn’t have to make sense to play the scene or the character. They’re probably just trying to see how pliable you are. Show them you are a beautiful piece of clay ready and waiting to be molded. Even if it doesn’t make sense, enjoy the lunacy of the direction and have fun with it. Sometimes, an offbeat way of taking a scene will open all kinds of insights into your character that you would have never discovered during a traditional approach.
Don’t sweat this! It’s a good sign! It means you walked in the door and they visualized you as a potential candidate to land a particular role. Who cares that you didn’t prep for it? You’re already in the running on your looks alone. Allow this shift to make you feel confident, not panicked. Take a few moments to go over the new material and ask questions. The casting director knows you just got the materials, so you don’t need to make excuses or worry about looking down at the lines too much. Do the best you can and tell yourself you’ve already got a giant foot in the door because of this exciting curveball.
The casting team works all day, so it’s natural they get hungry. However, they do this every day, and just because they’re tackling a sloppy turkey club sandwich while you’re pouring your heart out doesn’t mean they aren’t paying attention. You might not like it, but look at the bright side — well-fed people are happy people. It may actually be better if they’re chomping on potato chips rather than daydreaming during your monologue because they have hunger pangs. Also, regardless of whether you feel like you’re the center of attention, this is still your time. You’ve performed through chaos before (hello, tech week!). Use this time to work on your material and enjoy just doing it for yourself.
You have to pick up your kid or get to your survival job, and the audition is running super behind. Before you panic and throw a diva hissy fit, simply speak to the monitor running the auditions. Politely explain your situation and ask whether there’s any way you can be seen sooner rather than later. You’d be surprised how willing the monitor and other actors can be to help you out — they’ve definitely all been there before. Just remember to pay it forward next time you’re not in a hurry and see that familiar look of panic on another actor’s face while in the waiting room.
So, everyone around you is dressed for the role more literally than you. Unless you have a wardrobe in your car or satchel, there’s not much you can do about this one. who cares? Sure, you’d like to give off the vibe of the character to help you out, but it ultimately comes down to your acting. Besides, what actor hasn’t had a wardrobe malfunction some time or another?
You’re the only short blonde in a sea of tall brunettes. Basically, you’re the guinea pig. Casting is pretty sure they want a tall brunette, but just in case, they threw in a few randoms to see what the producers think of a different direction. The best thing to do is shrug it off and not let it bother you. Hey, you’re there, you get to audition, and who knows, maybe they’ll decide to go the other way with it after all!
You didn’t plan on improvising, then casting asks you to do a take with lots of adlibs. It’s natural to want to freeze up, but you have to fight the feeling. Put all the negative thoughts out of your mind about how you hate doing improv and how you’re kicking yourself for never taking that class. Instead, take a deep breath, be present and remember that you actually improvise in some way every day — this is no different. Negative thoughts won’t help, so do your best to be in the moment and fake self-confidence even when you’re not feeling it. Then, afterward, sign up for that improv class.
You’re an actor, not an actor/dancer, and now they’re asking you to count and step pivot, step. Just roll with it. It’s likely they just want to see you move. Nobody expects you to be Baryshnikov.
“So, you do a crying baby. Can we hear it?” If it’s listed as one of your special skills, someone somewhere down the line can ask you to do it on the spot. The best way to avoid catastrophe is to take off anything on your resume that you don’t want to do at the drop of a hat at an audition. If you’re too late, suck it up and demonstrate your wailing baby or Al Pacino impersonation with pride.
Don’t forget your headshot and resume! Always have a copy in the trunk of your car or in your binder of sheet music. With that said, it’s still going to happen eventually. After several years in the business, you will at one point leave it on the counter or just plain forget to print it out. The best thing to do is to ‘fess up right away and apologize. Leave the excuses at home on the counter with your MIA headshot. No one needs to hear about how hectic your morning was. Just say you’re sorry, move on and be thankful everything is digital today anyway.
As you can see by now, the best way to deal with most curveballs is to take a deep breath and go with the flow. Much like life, the business is all about resilience, thinking on your feet and being in the moment. We can plan until we’re blue in the face, but ultimately, things will veer off course and when they do, the best way to deal with it is with grace, flexibility and humor.
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.
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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[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.
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.
1. Any Laurence O’Keefe Show That Is Not ‘Legally Blonde’
https://www.youtube.com/watch?v=Gpad8LUEwsg As much as audiences love the daughters of Delta Nu, Laurence O’Keefe’s other musicals have been grossly overlooked in comparison. His first Off-Broadway musical, “Bat Boy,” premiered in 2001 and is now popular with community and high school theatre groups. His other Off-Broadway works include “Sarah, Plain and Tall,” “Cam Jansen” and, more recently, “Heathers: The Musical.”2. ‘Dogfight’
https://www.youtube.com/watch?v=0NB8X4Ah4U8 Before Pasek and Paul’s major breakthroughs with “La La Land” and “Dear Evan Hansen,” they had success in 2012 with “Dogfight,” a musical about Birdlace, a marine who is headed to Vietnam, and Rose, the woman who falls for him.3. ‘The Wild Party’ (Andrew Lippa’s version)
https://www.youtube.com/watch?v=L7BB6hln7rQ Adapted from Joseph Moncure March’s eponymous poem, this version of “The Wild Party,” starring Julia Murney and Idina Menzel, ran Off-Broadway in 2000. A recent Encores! production of the musical starred Sutton Foster as Queenie. Lippa has since had more Broadway exposure with “The Addams Family” and “Big Fish.”4. ‘The Last Five Years’
https://www.youtube.com/watch?v=3bWGjUKyffM Before the critically divisive 2014 film version, one of Jason Robert Brown’s best-known musicals ran Off-Broadway for two months in 2002. The show was revived Off-Broadway in 2013, and it debuted on West End last year.5. ‘Altar Boyz’
https://www.youtube.com/watch?v=CYE7sGGckvg This musical, a satire on boy-band and Christian-pop music brands, ran Off-Broadway from 2005 to 2010. There have since been productions in Korea, Hungary, the Philippines and Finland.6. ‘Road Show’
https://www.youtube.com/watch?v=IsbVdiLssCU One of Stephen Sondheim’s later musicals, this show about the Mizner Brothers’ scams and misadventures played in Chicago and D.C. in 2003 before running Off-Broadway in 2008. It then ran in London’s West End for two months in 2011.7. ‘Little Miss Sunshine’
https://www.youtube.com/watch?v=KGBrq1O689w William Finn’s (“Falsettos,” “The 25th Annual Putnam County Spelling Bee”) adaptation of the 2006 film of the same name premiered at La Jolla Playhouse in 2011 before moving Off-Broadway in 2013. The musical’s sole Drama Desk nomination was for Stephanie J. Block’s performance as Sheryl Hoover.8. ‘Now. Here. This’
https://www.youtube.com/watch?v=ZpCeIeAD-ek Written by the same creative team behind “[title of show],” this 2012 musical ran Off-Broadway for seven weeks. It explores deep topics that the four characters contemplate.9. ‘Tick, Tick…Boom!’
https://www.youtube.com/watch?v=nwJ7cu3r5-Y Jonathan Larson’s autobiographical musical premiered posthumously in 2001 and was revived Off-Broadway in 2016. The musical is about Jon, a struggling singer-songwriter navigating the waters of the performing arts. A 2014 Encores! production starred Lin-Manuel Miranda.10. ‘Lucky Stiff’
https://www.youtube.com/watch?v=lNA7tBzHcMA The first musical collaboration between Lynn Ahrens and Stephen Flaherty ran Off-Broadway in 1988, closing after 15 performances. It spawned a West End production in 1997 and a critically panned film version in 2014.11. ‘Zombie Prom’
https://www.youtube.com/watch?v=-rEw348j9bI This musical about a high schooler who comes back as a zombie after attempting suicide ran Off-Broadway in 1996. Aside from a 2006 short film adaptation starring RuPaul, the show premiered Off-West End in 2009.12. ‘Ruthless!’
https://www.youtube.com/watch?v=Ina66wjU_OA This musical about a fame-hungry third-grader (who turns deadly) ran Off-Broadway in 1992 and spawned a cast recording for its Los Angeles production the next year. The musical was revived Off-Broadway two years ago.13. ‘The Fantasticks’
https://www.youtube.com/watch?v=wpKXC8NnP_E This 1960 musical is the longest-running Off-Broadway production ever, lasting more than 17,000 performances before it closed in 2002. The musical also spawned a 1995 film and a 2010 West End production.14. ‘Bare: A Pop Opera’
https://www.youtube.com/watch?v=dC5g9C3qjBI After premiering in Los Angeles in 2000, this LGBT musical ran Off-Broadway for a month in 2004. It has since been revived Off-Broadway in 2012, and it has had international productions in Belgium, the United Kingdom, Canada and Argentina.15. ‘The Last Sweet Days of Isaac’
https://www.youtube.com/watch?v=5hssd3crDhc This Off-Broadway rock musical about an artist who is desperate to make a perfect work of art before he dies premiered in 1970 and closed the next year. It was revived Off-Broadway in 1997.Honorable Mention: ‘The Hunchback of Notre Dame’
https://www.youtube.com/watch?v=UsWfKVJdNp0 While not officially Off-Broadway, both the 2014 La Jolla and the 2015 Paper Mill Playhouse productions were widely acclaimed. Despite Disney fans’ love for the English-language adaptation of this show, audiences were heartbroken when the show did not transfer to Broadway.Think of any Off-Broadway musicals not on here that you wish had transferred to Broadway? Let us know in the comments below...
[post_title] => 15 Off-Broadway Musicals You Wish Moved To Broadway [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-off-broadway-musicals-you-wish-moved-to-broadway [to_ping] => [pinged] => [post_modified] => 2017-05-11 09:19:58 [post_modified_gmt] => 2017-05-11 13:19:58 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8574 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 24 [filter] => raw ) [1] => WP_Post Object ( [ID] => 8577 [post_author] => 11 [post_date] => 2017-05-10 09:33:04 [post_date_gmt] => 2017-05-10 13:33:04 [post_content] => YASSSSS QUEEENS! It’s time to talk about the fierce ladies of the theatre realm. Broadway (and theatre in general) has always been home to strong, hardworking and empowering females, and the women gracing the stage or kicking butt behind the scenes today are fiercer than ever! Get inspired by these eight women:1. Phillipa Soo
This year, Phillipa Soo swapped out the title of Elizabeth Schuyler for a chance to step into the shoes of Amelie. The titular character from the Oscar-nominated movie and new stage musical is pretty much the spirit animal for any introvert. Why? Amelie may be quiet, but she has a world of hopes and dreams in her mind. In fact, her timid nature doesn’t stop her from achieving big things and making her mark on the world. Soo kickstarts our list as she reinvents this inspiring story.
2. Lynn Ahrens
Stephen Flaherty and Lynn Ahrens are the masterminds behind the music and lyrics of “Anastasia: The New Broadway Musical.” Ahrens, whose stacked resume ranges from “Seussical” to “Ragtime” to a Patti LuPone concert, uses her magic to bring a beloved childhood phenomenon to the stage. Thanks to Ahrens, we can’t wait to get inspired by this incredible tale of Russian royalty.
3. Sara Bareilles
The adorable stage adaptation of “Waitress” offers audiences more than just a chance to buy pint-sized pies. The show brings an empowering message of determination and strength, all set to a glorious score by song-seamstress Sara Bareilles. Currently, Bareilles is taking the stage and singing her own songs as the show’s protagonist, Jenna. Theatre nerds everywhere are giving her mad props for cooking up a successful Broadway debut.
4. Laura Osnes
This theatrical starlet shines in Broadway’s new swing musical, “Bandstand.” Playing a wartime widow who finds a second chance at life, Osnes joins this upbeat show partnering with Got Your 6, an organization that “believes veterans are leaders, team builders and problem solvers, who have the unique potential to lead a resurgence of community across the nation.” This Tony-nominated actress aids “Bandstand” in bringing audiences a meaningful message.
5. Rachel Chavkin
Tolstoy’s “War and Peace” gets a facelift in an invigorating Broadway show titled “Natasha, Pierre and the Great Comet of 1812.” It stars Josh Groban, rakes in rave reviews and was directed by powerhouse Rachel Chavkin. Chavkin has exercised her directing chops in the theatre world before, spearheading a number of Off-Broadway productions, including “Great Comet,” which she took to Broadway in 2016.
6. Glenn Close
This Hollywood acting icon returned to the Great White Way in a production of Andrew Lloyd Webber’s “Sunset Boulevard” (yup — there’s more to Sir ALW than kitties and opera ghosts). Why is this particular casting choice inspiring? Close, who played the role of Norma back in 1994, doesn’t just recreate this beloved role. In fact, the acclaimed actress brings something fresh and new to this classic Broadway musical. According to Playbill, director Lonny Price says Close approached the role “dead set on exploring what Norma and ‘Sunset’ mean to her now.”
7/8. Kristen Anderson-Lopez and Sara Wordsworth
This dynamic duo officially brings our count to eight. As half of the four-person team that wrote Broadway’s a cappella musical “In Transit,” Kristen Anderson-Lopez and Sara Wordsworth are most certainly making waves in the theatre world. You might recognize Anderson-Lopez’s name as the lyricist for “Frozen’s” little ditty “Let It Go.” Now, these ladies have created a unique show about adventuring through New York City and, of course, finding yourself along the way.
Have another leading lady you look up to? Share your story in the comments below...
[post_title] => 8 Inspiring Women On Broadway Today [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 8-inspiring-women-broadway-today [to_ping] => [pinged] => [post_modified] => 2017-05-10 09:33:04 [post_modified_gmt] => 2017-05-10 13:33:04 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8577 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [2] => WP_Post Object ( [ID] => 8595 [post_author] => 440 [post_date] => 2017-05-09 10:27:14 [post_date_gmt] => 2017-05-09 14:27:14 [post_content] => Whether you’re the lead in the show or the character with one line, you will always spend time waiting backstage. Rehearsals and shows are both filled with waiting time, and minutes can feel like hours just standing around. So, if you don’t have homework (or just don’t feel like doing it), what’s there to do?Here are 18 ways to pass the time backstage:
1. Stretch
It’s important to stay warm before and during a performance. Take as much time as you need to stretch and limber up to avoid injury. Also, don’t forget to stretch those vocal chords. It’s just as important to warm up your voice for a show to avoid damage.
2. Review Lines or Choreography
If you’re waiting to go on, run the show or the upcoming scene in your head and practice saying your lines to yourself. The more you commit the show to memory, the less likely you are to freeze onstage and forget what comes next. Do the same with choreography — run the dance in your head and mark it. If you are unfamiliar, marking means to run through the choreography using limited movement. For instance, you might use a finger spin or a head roll to mark a turn.
3. Hydrate
This point cannot be made enough. It’s easy to forget to drink water, especially when the adrenaline of a live performance kicks in. But it’s crucial to hydrate throughout the show to keep your voice and body in good shape. Make a point of grabbing a drink each time you get off the stage. If you do it first, you are less likely to get distracted and forget.
4. Get Into Character
Immersing yourself in the show will help give you a strong performance. For those few hours, forget any real-life stress, empty your mind and inhabit your character. One way to help set the mood is to create a playlist for your character and listen to it before you go onstage.
5. Meditate
Another way to clear your mind and focus solely on your performance is to meditate before you go onstage. Some actors do this in their dressing rooms, while others will find a quiet spot in the theatre before the doors open to the public.
6. Color
Feeling stressed or anxious during your performance? Try out a coloring book. Coloring can have a calming effect and help you center yourself. Adult coloring books are all the rage right now, so finding one that strikes your fancy shouldn’t be too difficult. Grab some crayons, and you’ll be ready to rock!
7. Write Your Own Play or Musical
Why not try your hand at creating original work? Many writers have been known to create incredible work during snatches of time between their real-life obligations.
8. Tweet About the Show
Help create buzz for your show by tweeting during the performance. Spreading the word through social media helps generate interest in your production and put more butts in seats every night.
9. Read a Book
Whether you’re reading a school textbook or the latest bestseller, you can catch up on your reading while you’re sitting and waiting backstage.
10. Play Cards or Games
Cards and games are an excellent way to bond with your castmates. Just don’t get so caught up in the game that you miss your cue! It happens more than you think.
11. Reorganize Your Costumes and Makeup
In the frenzy of preparation and quick changes, costumes and makeup can get strewn everywhere. If you have a few minutes, reorganize your things to avoid losing important items.
12. Take Up a New Hobby
Use your free time to improve your skills. Learn to knit, fold origami or learn a new language. Who knows, it could be something you can add to your resume! You never know what the next director could be looking for.
13. Listen to a Podcast
No matter what your interests are, there’s likely a podcast out there for you. To keep up-to-date with theatre news, BroadwayRadio’s podcasts are a great way to get all the information every weekday in 30 minutes or less.
14. Research Other Auditions
Don’t wait for the show to be over before you line up your next one. Use any free time to find other auditions in your area so you never have to be show-less.
15. Journal About Each Performance
This can lessen the sting of post-show depression. Each night, write down things that happened during the performance, funny moments, what you want to remember or how you’re feeling. Even bullet journaling works if you’re short on time. When the show is over, this will be a meaningful keepsake you can reread when you’re feeling blue.
16. Write Encouraging Post-Its to Your Castmates
Grab a stack of Post-Its and write encouraging messages to members of your cast and crew. Stick them in places they’ll see them, such as their spot in the dressing room. Tell them something you like about them or something that was excellent about their performance that day. This will help keep morale high when exhaustion starts to kick in.
17. Take Photos
Don’t forget to snap a few pics when you’re hanging out backstage. Like journals, photos are a great keepsake that will help you battle the post-show sadness when it’s all over. Just be sure to ask people’s permission before you take a photo of them, just in case they’re camera-shy.
18. Have a Dance Party
https://www.youtube.com/watch?v=G8SFKXcPzas This idea comes care of Daveed Diggs of “Hamilton.” Check out this video, where he explains the cast’s tradition of having a dance party in the wings during the show. Use one of these ideas, or try them all! Just remember to enjoy every moment of your experience, both onstage and offstage.How do you pass the time backstage? Let us know in the comments below...
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While other moms said things like, “You looked great when you spun around a whole bunch,” the Stage Mom learned the technical terms so she could properly critique your fouette en tournant.
2. She Was a Jill of All Trades
She has signed up for every backstage job at one time or another. Her resume boasts stage lighting, seamstress, stage manager, set designer, etc. She’ll do anything to help her help you get that bigger and better part.
3. Theatre Directors Feared Her
Every run-in with your mom was a chance for her to bend them to her will, whether to land you a bigger part or complain about how short your solo was.
4. She Hijacked Your Social Life
Your weekends were always spent practicing your dance moves or your vocal selections, instead of riding bikes and playing with your friends. You loved it, but your mom loved it even more.
5. She Was Way More Into It Than You Were
She was cracking open the bubbly when you got your first speaking role; meanwhile, you were still unsure whether you were cool with public speaking.
6. She Took the Same Classes as You
To better correct your form, of course.
7. Every Celebration Was a Chance to Celebrate You
There wasn’t a barbecue or family reunion that passed without your mom demanding you perform in front of the whole family, much to the chagrin of your relatives, who were too polite to tell her you were flat.
8. She Was Your Own Personal PR Rep
When you got the solo in school choir, everyone had to hear about it — including your waiter at TGI Fridays.
9. Her Money Was Where Your Mouth Was
She spent your family’s vacation money on your voice lessons, demo tapes and teeth bleaching. Your siblings still resent this, but were relieved they weren’t the center of your mother’s crazed attention.
10. She Was Off-Book Before You Were
Seriously, she knew your lines by heart and relished the opportunity to tell you when you missed a word or phase. She also knew exactly how many lines you had, and didn’t hesitate to share that information with her coworkers or friends.
11. She Put Your Career Over Your Education
She offered to homeschool you so you’d have more time to hone your craft.
12. She Had a Certain Flair for the Dramatic
Don’t worry, Mom just locked herself in the bathroom for hours because you didn’t make the cast list.
13. Her Nagging Sounded Different Than the Other Moms’
Instead of, “Don’t forget your coat,” it was, “Don’t forget your lines.” Instead of “You’re not leaving the house wearing all that makeup,” it was, “That’s not enough blush, and where are your false eyelashes?”
Tell us your stage mom horror stories in the comments below...
Cover Photo Credit: Johan Persson
[post_title] => 13 Times You Knew Your Mom Was A Stage Mom [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 13-times-knew-mom-stage-mom [to_ping] => [pinged] => [post_modified] => 2017-05-05 09:03:48 [post_modified_gmt] => 2017-05-05 13:03:48 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8431 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [5] => WP_Post Object ( [ID] => 8508 [post_author] => 639 [post_date] => 2017-05-04 08:15:49 [post_date_gmt] => 2017-05-04 12:15:49 [post_content] => One of the most well-known myths for thespians involves uttering the name “Macbeth” inside the theatre. If you are currently in a production, sitting in a theatre and for some reason reading this article out loud, please relocate. As the legend goes, when this name is spoken inside a theatre, it can curse the production. Lights can fall, people can literally break their legs and the whole of a production may become a disaster within minutes. Once spoken, a curse reversal needs to occur, or things may just keep going terribly wrong. We know what some of you may be thinking: This is just a silly superstition. But just before you utter this in a theatre to prove us wrong, see if these seven stories from our Theatre Nerds about how the Scottish play nearly ruined a production will change your mind:1. The Fire Alarm and the Fuse Box
When I was a freshman in high school, I was in my first school show. We were doing a production of “Me and My Girl,” which is basically a weird secondhand version of “My Fair Lady.” A senior in our school thought he was above the silly myth of uttering the Scottish play. Of course, the day before our opening night, he said the infamous word in the theatre. We all told him he had to follow the correct procedures to reverse the curse. Of course, he laughed in our faces. As we went back to change out of our costumes that night, the lights abruptly turned off. Everyone screamed, and after a few seconds, they came back on.
I wish I could say it stopped there.
The first act of the show ends with this big ensemble number, so most of us were in fancy dress complete with elbow-length gloves. On our opening night, we were all getting ready to go on, then the fire alarm went off. Everyone had to evacuate the theatre. All of the actors had to go out back, and of course, it was pouring rain. As we all huddled together trying to stay dry, we knew this had to be related to the curse. The alarm was finally fixed, and we all returned to the theatre and completed our number in our damp dresses.
The next day, the fuse box blew. At that point, most of the cast didn’t think it was a coincidence. The responsible senior was forced outside to do the reversal. After that, the final show of the weekend went according to plan without any issues.
— Nicole M.
2. Oh, Oscar
Junior year of high school, we were putting on “The Odd Couple” (both versions) while simultaneously reading the Scottish play in English. The kid playing Oscar started talking about it during dress rehearsal and promptly twisted his ankle. He had to leave rehearsal to go to urgent care and had a limp for the run of the show.
— Jen R.
3. Not a Laughing Matter
When I was in high school, we did two one-act plays for my senior-year show. Between the two casts, there were a lot of people. Our theatre program was still in development, and a lot of people who were in the show were new to theatre. As we all spent time together and bonded, I mentioned the curse of the Scottish play, and everyone looked at me like I had 12 heads. I was so surprised that they had never heard of it, but beyond that, most people didn’t believe me, and they thought it was just a funny bit to tease me with.
They said it all the time, and I would furiously rush to do the countercurse for them to hopefully save our shows. It became a huge joke, and everyone thought it was hysterical, but I was truly terrified that something was going to happen.
During our preview performance during the school day, the curse presented itself. The first one-act was set in a high-school classroom of a school that was just placed on lockdown. There’s a scene where the fire alarm goes off, and there’s chaos in the room and everyone’s running around and screaming. During this moment, one of the shy and timid students escapes out of the classroom. While we were doing this scene, the actress playing the shy student got shuffled around in all of the chaos and ended up flying into the classroom door, headfirst, taking the doorknob with her. Luckily, she wasn’t too seriously injured, but my castmates eased up on the teasing after that!
— Marissa R.
4. The Aftermath
It was our final show, and someone said “Macbeth” right before curtain. The show went fine. Afterward, we packed up the auditorium. To take the trash out, we bring it up the elevator to save ourselves from carrying it up the stairs. Well, when we went up, the elevator got stuck and firemen had to come and get us out.
— Emma O.
5. All of the Injuries
My senior year of high school, I worked on costumes for “West Side Story.” Someone in the cast had read the play for English class, and someone said the name in the theatre. Shortly after, our Maria ended up in the hospital, Tony sprained his ankle and one of the ensemble members shattered his heel during a fight scene rehearsal. This was all about four days before opening night. Luckily, everyone was OK, and even the guy with the shattered heel still made it onstage. But, needless to say, my high school is definitely wary of the Scottish play now. I actually think the guy who shattered his heel was the guy who said the name of the play.
— Brianna N.
6. Inexperience
At our community college, we were in tech week for “Taming of the Shrew.” An older man who had taught English but had never done theatre said it during a prop check. The chair broke and he fell. Then, the chair fell on him and he broke his shoulder. The light board also buzzed and shorted out. We attempted to do some “reverse the curse” ritual, and then we were told to go home.
— Meg S.
7. Third Time’s the Charm
In high school, we were getting the set together for two different shows. One of the students did believe in the “M-word” and decided to say it three times center stage and loud enough to hear across the theatre. Shortly after, one student had a bad feeling about the lights onstage and decided to double-check. It was a good thing, too, because the light was about to fall. Then, one of the female leads in one of the plays was cutting some fabric for curtains and cut her finger deep enough that she needed stitches. Next, the guy who was in a group during rehearsals was walking around the stage and fell off the stage, spraining his ankle.
— Natalia B.
Believe in the curse now? Let us know your story in the comments below...
[post_title] => 7 Times Someone Said 'Macbeth' And Things Went Wrong [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 7-times-someone-said-macbeth-things-went-wrong [to_ping] => [pinged] => [post_modified] => 2017-05-04 08:44:37 [post_modified_gmt] => 2017-05-04 12:44:37 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8508 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 25 [filter] => raw ) [6] => WP_Post Object ( [ID] => 8304 [post_author] => 736 [post_date] => 2017-05-03 09:23:35 [post_date_gmt] => 2017-05-03 13:23:35 [post_content] => In school, teachers tend to teach you acting theory and methods, which are great and useful tools when becoming a working actor. However, here are an additional five things they may not have mentioned you should keep in mind while pursuing a professional performing career:1. Know Your Strengths and Weaknesses
The market is competitive, and there aren’t enough hours in the day to master every skill you could potentially have to make yourself the most marketable as a performer. So, maximize your time and optimize your efforts by taking ownership of your strengths and weaknesses. Build your confidence so that it is unbreakable. Improve what you do well so that you do it better than anyone, and come to terms with what you don’t do well. Owning this will greatly relieve the stress of pounding the pavement on a daily basis, as you won’t feel the need to have to be everything for everybody.
2. Own Your Unique You
There is truly no one else like you in this world. Own this! Trust that bringing your unique you and your individual experiences to the surface in both your acting choices and audition material is enough to make you stand out and be remembered in this business. This way, when a job comes along that matches you and your talents, you will book it.
3. Diversify
Don’t just have one goal, don’t put all your eggs in one basket and don’t just plant one seed. There are so many opportunities for performers. You can up your chances of work and success by always making sure to say “Yes” to performing gigs that come your way. You never know where the next one may lead!
4. Create Your Own Work
You don’t need to sit back and wait for the next job to come your way. Instead, be a proactive performer and make your own opportunities. Whether it be web series, plays, readings, cabarets and/or writing new works and producing them, show your best talents to the world on your terms. People will be watching, and you may even develop a fan-base. Who knows? It could lead you to be hired for other projects as well.
5. Enjoy Your Unique Journey
There is no one way to achieve goals in the performing business, and your success shouldn’t be defined or compared to others. Take solace in the fact that the way you make your way in this career path will be uniquely yours. Enjoy the journey!
What have you learned from the theatre business that you wish your theatre teachers had told you? Let us know in the comments...
[post_title] => Want To Be An Actor? Five Things Your Theatre Teachers Never Tell You [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => want-actor-five-things-theatre-teachers-never-tell [to_ping] => [pinged] => [post_modified] => 2017-05-03 09:23:35 [post_modified_gmt] => 2017-05-03 13:23:35 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=8304 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) [7] => WP_Post Object ( [ID] => 8503 [post_author] => 11 [post_date] => 2017-05-02 09:55:11 [post_date_gmt] => 2017-05-02 13:55:11 [post_content] => The ticket scanners silence. The lights dim. The curtain rises. You think to yourself, “There’s nothing like this place.” If you’ve found yourself thinking these words while visiting the theatre, you might be toying with the idea of turning your theatrical nerdiness into something more. While many theatre lovers grow to be actors themselves, a number of dedicated performing arts gurus find their true calling backstage. Jobs in the theatre world can range from freelancing projects to working full-time. Though tough to break into, it’s an industry full of dynamic opportunity and potential.Interested in being involved in the theatre? Explore these seven professions:
1. Dramaturg
This fancy-sounding job (sometimes called a “literary manager”) is essential to helping actors, directors and companies as a whole bring a story to life. A dramaturg researches everything from a play’s historical context to the playwright’s own background. Often, they assist costume and set designers in making sure the time period is accurately represented, as well as prepare a packet of information for actors and creatives to dive into when studying a piece’s social or political context. Are you a history buff? A research fiend? Someone who likes compiling comprehensive reports? This job might just be for you!
2. Stage Manager
Some say stage managers are the backbone of any successful theatre production. Along with performing administrative duties such as coordinating transportation for an event or helping the director and production staff, a stage manager is charged with making sure the performance itself goes smoothly. Organization, a knack for taking initiative and a strong knowledge of theatre are required.
3. Teacher
If being onstage isn’t your cup of tea, becoming an acting coach or improv teacher probably isn’t for you. However, there are plenty of other courses of study that call for a theatre nerd’s mind. Teaching a class on the history of theatre, theatre development and Shakespeare are examples of non-acting classes that help educate future generations on what it takes to bring a production to life.
4. Marketing/Public Relations Professional
With many millennials drawn to these fields already, theatre aficionados can find their niche working with an agency or venue that specializes in the performing arts. Marketers seek to promote a show to the general public through social media campaigns, promotions and more. Press representatives coordinate interviews with the media in hopes of getting show coverage. If you seek both the theatre world and business world, these professions might catch your eye.
5. Playwright
Yes, you’ve probably heard of this one, but we think it’s awesome! While playwrights often write in their spare time, this can be rewarding if it’s something you’re invested in pursuing. Working on a passion project like this might not be a full-time job right away, but no play or musical would exist without a dreamer. Playwrights have the power to inspire, empower and create change with words.
6. Costume/Set Designer
Creating the world that a piece of art lives in is no small task. These two creative professions often work on a project-to-project basis — and they’re necessary to the industry. From working with opera houses to contemporary theatres, these artists can take audiences to a new time and place.
7. Casting Director
This job may sound like a piece of cake, but a lot goes into picking the perfect ensemble of cast members. Teaming up with the director, producer and creative team, the casting director must have an acute understanding of what each character brings to the story. Understanding what type of actor is needed, as well as coordinating auditions, is only the beginning of this unique career.
There are plenty more roles in the world of theatre. Share yours in the comments below...
[post_title] => 7 Theatre Professions That Are Totally Awesome (And Aren’t Acting) [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 7-theatre-professions-totally-awesome-arent-acting [to_ping] => [pinged] => [post_modified] => 2017-05-02 09:56:27 [post_modified_gmt] => 2017-05-02 13:56:27 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8503 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 9 [filter] => raw ) [8] => WP_Post Object ( [ID] => 8474 [post_author] => 12 [post_date] => 2017-04-29 09:53:37 [post_date_gmt] => 2017-04-29 13:53:37 [post_content] => [viralQuiz id=42] [post_title] => Quiz: Match The Character Name To The Play [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => match-character-name-play [to_ping] => [pinged] => [post_modified] => 2020-09-27 10:27:23 [post_modified_gmt] => 2020-09-27 14:27:23 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8474 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [9] => WP_Post Object ( [ID] => 8501 [post_author] => 12 [post_date] => 2017-04-28 09:59:27 [post_date_gmt] => 2017-04-28 13:59:27 [post_content] => “Headshots” is a word dreaded by some actors, since they can be an extremely stressful part of the acting package. And from dealing with hair and makeup or wardrobe options to photographer and reproduction packages, it gets expensive. While you may wish to invest in your career and produce the highest-quality pictures possible, keep in mind that some people spend thousands on headshots that never get them sent out on auditions, while others cut corners and have high success rates with their photos. Unfortunately, it takes a lot of trial and error to find the perfect headshot, which leads to a lot of time and money spent on pictures. Whether you’re working on getting your very first headshots or you’re just trying to find a better look that will get you more auditions, here are nine creative ways to cut corners on cost while you navigate the choppy waters of finding that perfect shot:1. Shutterbug Chum
Have a friend who is just starting out with photography do a free shoot (or bribe them with coffee, if you’re feeling nice). Even if they aren’t the professional shots you’re hoping for, you can use this experience as a dry run for the real thing. See which looks and colors worked and which didn’t. Then, when you’re paying big bucks for a three-look package, you’ll know which three you want. And, as a bonus, if your friend’s shots are good enough, you just got yourself free headshots!
2. Trade'sies
Find a photographer that is just starting out, and trade them. Free headshots... and in return they get a portfolio to show future clients.
3. Borrow and Beg
Borrow clothes from your friend with that walk-in closet full of possibilities to amp up your photo session for free. Just be sure to clean and iron them before you return them.
4. Free Makeover
Some places, such as Sephora, offer “free” makeovers if you spent $50 in the store. If you know you need to buy foundation and blush anyway, you might as well time it out so you do it on the day of your headshots. You can get your makeup done by a pro for the price of a few makeup essentials you were going to buy anyway.
Just be clear about what you want so it doesn’t come out overdone. Make sure they know it’s for on-camera, because on-camera makeup is different than regular makeup. As always, make sure you still look like you.
5. Makeup Student
Hire a student studying makeup at a cosmetology school. Most of them need to build portfolios and will do it for free (or in exchange for lunch). The best part is they need you to look good for their portfolio, so they’ll be doing their best work. Plus, they will most likely be willing to go to the studio with you to touch you up as you go or change your look to a more dramatic one as you progress.
6. iPhone Shoot
Don’t do this for your main pics, of course, but use an iPhone for a trial run. Have a fun photoshoot with a friend and your iPhone to practice that million-dollar smile and mysterious dramatic allure. This way, you’ll be ready to make magic once you get into a more expensive session with the clock ticking.
7. Shop Around
Don’t just go with the most expensive photographer everyone is talking about. There are tons of smaller, lesser-known photographers who do great work — just take the time to do some research. If you’re on the fence, show the lesser-known photographers’ work to your agent or manager to get their opinion. If they think the shots are good enough to land auditions, book an appointment. Not only did you save money, but your shots won’t have the same cookie-cutter look that some of the big shots have.
8. Look for Deals
This may be obvious, but like many other businesses, photographers do offer specials from time to time. It’s not a bad idea to ask if and when they offer discounts.
9. Research
Take the time to know what you’re looking for in a headshot. Are you aiming for that perfect commercial shot, dramatic daytime TV actor look or Broadway baby? Spend some time looking at other professionals in the realm of what you’re going for and see what they did that worked. Pay attention to the wardrobe and color choices for the style you’re going for and whether they used natural lighting. These are all factors you’ll want to consider before you arrive. The photographer isn’t going to have all the answers or the time to make those decisions for you. Only you and your agent know what exactly you’re trying to sell, so be as prepared as possible so you don’t have to take multiple rounds of headshots.
What thrifty tips do you have to save on photos? Share in the comments below...
[post_title] => 9 Hacks For Cheaper Headshots [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 9-hacks-cheaper-headshots [to_ping] => [pinged] => [post_modified] => 2017-04-28 13:27:22 [post_modified_gmt] => 2017-04-28 17:27:22 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8501 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [10] => WP_Post Object ( [ID] => 8434 [post_author] => 717 [post_date] => 2017-04-27 09:46:08 [post_date_gmt] => 2017-04-27 13:46:08 [post_content] => If you’re anything like me, you love the theatres just as much as the shows that play in them. With the reopening of the Hudson Theatre, there are now currently 41 Broadway theatres. The next time you’re lucky enough to visit one of these theatrical temples, you can impress your friends and family with your theatre trivia knowledge with these 41 facts:1. The Al Hirschfeld Theatre
When the Al Hirschfeld Theatre was built for its original namesake, vaudeville impresario Martin Beck, it was the only theatre in New York that was owned outright without a mortgage.
2. The Ambassador Theatre
Though the theatre looks totally normal from the outside, the Ambassador Theatre is actually situated diagonally on its property to maximize the seating potential.
3. The American Airlines Theatre
In the 1990s, before it was acquired by the Roundabout Theatre Company, the Selwyn Theatre (now American Airlines) was temporarily the Times Square Visitors Center.
4. The August Wilson Theater
The August Wilson Theater was, in a way, responsible for the careers of Richard Rodgers and Lorenz Hart. The Garrick Gaieties, a benefit revue that thrust the future titans of Broadway into the public spotlight, was originally put on to raise money for the new tapestries for the Guild Theater, now called the August Wilson. But don’t look for the tapestries when you go see “Groundhog Day” — they’ve sadly been lost over time.
5. The Belasco Theatre
The theatre’s namesake, David Belasco, had a 10-room apartment built into the theatre for himself. Styled in an American Gothic theme (he was known as the Bishop of Broadway), the duplex featured an elevator connected to backstage, several offices, an ornate fireplace and even a grotto. The apartment is abandoned now and not in use or available to the public.
6. The Bernard B. Jacobs Theatre
The grand arches in the mezzanine are decorated with two beautiful murals entitled “Lovers of Spain,” by Willy Pogany.
7. The Booth Theatre
The Booth Theatre is named after legendary actor Edwin Booth, who was known as one of the greatest Shakespearean actors of all time. He had his legacy somewhat overshadowed by his infamous brother, presidential assassin John Wilkes Booth.
8. The Broadhurst Theatre
The Broadhurst Theatre is an exact mirror of its neighbor on 45th Street, the Gerald Schoenfeld Theatre.
9. The Broadway Theatre
While several theatres became movie houses at one point in their past, the Broadway Theatre started out as a movie house and became a legitimate theatre. It was here that ground-breaking cartoon “Steamboat Willie” debuted and introduced the world to Mickey Mouse.
10. The Brooks Atkinson Theatre
Like many of the Broadway theatres, the Brooks Atkinson was, for some time, a television studio. The theatre was known as CBS Studio 59 and was where popular game shows “I’ve Got a Secret” and “What’s My Line?” were filmed.
11. The Circle in the Square Theatre
The Circle in the Square houses the Circle in the Square Theatre School, the only accredited training conservatory associated with a Broadway theatre.
12. The Cort Theatre
The proscenium arch of the Cort Theatre was constructed in perforated plaster and was treated with art glass, enabling it to be lit during performances. While the arch still exists, the lighting feature no longer operates.
13. The Ethel Barrymore Theatre
Named for the legendary Ethel Barrymore, whose production of “The Kingdom of God” opened the theatre in 1928, the Barrymore was the last theatre built before the Great Depression and the last theatre built by the Shubert Brothers, Lee and J.J.
14. The Eugene O’Neill Theatre
The Forrest Theatre, its original name, was originally planned by the Schuberts as half of a theatre/hotel complex. But, because of the Great Depression, the Shuberts could only afford to build the theatre.
15. The Gerald Schoenfeld Theatre
The Schoenfeld, originally the Plymouth, was architect Herbert J. Krapp’s first commission. Krapp was a monumental figure in the shaping of Broadway as we know it today, having designed 15 of the current Broadway theatres and several more that are no longer standing.
16. The Gershwin Theatre
The Gershwin Theatre was originally named the Uris Theatre, whose first occupant was a massive flop called “Via Galactica.” However, the show was originally called “Up.” The producers decided to change the name of the musical when they booked the new Broadway theatre, not wanting to have “Up Uris” displayed in big, bold letters in Times Square.
17. The Helen Hayes Theatre
Originally named the Little Theatre, the venue lived up to its name with only 300 seats. In the 1920s, it was redesigned to increase the seating and improve acoustics. The theatre now seats 597 people, making it the smallest Broadway theatre.
18. The Hudson Theatre
The Hudson is both Broadway’s oldest and newest theatre. It first opened on Oct. 19, 1903, beating the New Amsterdam’s opening by one week. The theatre reopened on Feb. 23, 2017, after being dark since 1968.
19. The Imperial Theatre
The Imperial is probably the luckiest theatre on Broadway. Besides more recent long-running hits such as “Billy Elliot” and “Les Misérables,” from 1938 to 1968, only two shows that played the Imperial ran fewer than 300 performances.
20. The John Golden Theatre
The exterior of the Golden was used as the location of the movie version of “A Chorus Line.” It is also shown in the background during the opening scenes of “All About Eve” as the home of Margo Channing’s “Aged in Wood.”
21. The Longacre Theatre
The Longacre Theatre was built by impresario Harry Frazee. He was also the owner of the Boston Red Sox and sold player Babe Ruth to the Yankees, starting what came to be known as the Curse of the Bambino. Because of the curse, many Broadway producers at the time avoided the Longacre, as it was thought to be unlucky.
22. The Lunt-Fontanne Theatre
The Lunt-Fontanne, originally the Globe Theatre, had quite a fantastical design element. The theatre’s ceiling, as well as the roof 20 feet above it, was designed to retract, allowing for an open-air feel like Shakespeare’s Globe Theatre. The giant sliding doors and large gears are apparently still intact on the roof, though they have been sealed with asphalt.
23. The Lyceum Theatre
Built by producer David Frohman in 1903, the Lyceum, like the Belasco, was built with an apartment inside. Frohman’s wife was acclaimed actress Margaret Illington, so Frohman gave his apartment a view of the stage. Rumor has it there was also a small opening where Frohman could wave a white handkerchief as a signal to his wife that she was “overacting.” The apartment is now the home of the Shubert Archive.
24. The Lyric Theatre
The Lyric Theatre sits on the spot once occupied by two Broadway theatres, the Apollo and the original Lyric. Elements of both still stand, however, and are incorporated into the design of the Lyric. For example, you enter the theatre through the original Lyric façade, both on 43rd and 42nd streets. Inside the theatre, the dome overhead is also from the original Lyric, and the proscenium arch is the original from the Apollo.
25. The Majestic Theatre
The Majestic was built in 1927 as part of a three-theatre complex. The original intent was to have a large theatre (the Majestic), a medium-size theatre (the Jacobs) and a small theatre (the Golden) so that productions could be moved around to any of the three depending on ticket sales. The three theatres share a backstage alley.
26. The Marriott Marquis Theatre
In order to build the Marriott Marquis Theatre, five other theatres had to be demolished: the original Helen Hayes, the Bijou, the Morosco, the Astor and the Gaiety. The decision brought about an uproar from the theatre community, and several actors even chained themselves to the theatre to prevent the demolition. It didn’t work, obviously, but in an attempt to smooth things over, the developers of the new hotel agreed to build a new state-of-the-art theatre, and thus, the Marquis was born.
27. The Minskoff Theatre
Currently home to Disney’s “The Lion King,” the Minskoff Theatre is technically located on the third floor of One Astor Place. The theatre is built on the former site of the famous Astor Hotel.
28. The Music Box Theatre
In 1919, legendary producer Sam H. Harris had a proposition for her red-hot writer Irving Berlin. If Berlin came up with a new Broadway revue, Harris would build a new theatre to house it. Not long after, Berlin presented Harris with the idea for the Music Box Revue, and, good on his word, the Music Box Theatre was built.
29. The Nederlander Theatre
Most Broadway buffs know that the Times Square Church resides in the Mark Hellinger, a former Broadway theatre. But most don’t know that the Hellinger was not the church’s first home. The Nederlander Theatre was home to the Times Square Church from 1987 to 1989, until the Nederlanders sold it to Hellinger.
30. The Neil Simon Theatre
The Neil Simon was originally named the Alvin Theatre. Built by producing partners Alex Aarons and Vinton Freedley, the name “Alvin Theatre” came from the “Al” in Alex and the “Vin” in Vinton.
31. The New Amsterdam Theatre
The magnificent New Amsterdam Theatre was in shambles in the 1980s. The interior was flooded, had been looted and was literally crumbling. Disney bought the theatre and spent a reported $34 million to renovate it to its former glory.
32. The Palace Theatre
The Palace Theatre’s façade is most recognizable by its large billboards that display ads for various Broadway shows. But the giant billboards weren’t always there. The theatre’s actual façade is buried beneath them, and hasn’t been seen since the 1980s, when a hotel was built on top of and around the existing theatre and the big billboards went up.
33. The Richard Rodgers Theatre
The Richard Rodgers holds the record for housing the most number of shows that have won either the Best Play or Best Musical Tony Award: nine musicals and two plays, for a total of 11.
34. The Samuel J. Friedman Theatre
The movie “The Muppets Take Manhattan” featured the Friedman, then named the Biltmore, as the theatre where the Muppets debut their Broadway show, “Manhattan Melodies.”
35. The Sam S. Shubert Theatre
Before the Tony Awards were presented at Radio City Musical Hall or the Beacon Theatre, they used to be presented at different Broadway theatres. The Shubert Theatre hosted the Tony’s the most times, with eight broadcasts.
36. The Stephen Sondheim Theatre
While most people think of the 1998 Alan Cumming-led revival of “Cabaret” playing Studio 54, it actually started at Henry Miller’s Theatre, the theatre’s original name. But when a crane collapsed next door, the city shut down the street and subsequently, the show. After scrambling to find a new venue, Studio 54 was procured.
37. The St. James Theatre
The St. James was actually built on the site of the original Sardi’s Restaurant. When theatrical titan A.L. Erlanger wanted the space to build a new theatre, Vincent Sardi simply moved up the street to the location the restaurant is now in.
38. Studio 54
Before the Roundabout Theatre Company leased and eventually purchased the venue, the once-famous club was set to be torn down in 1996 by the owners, Allied Partners, and be replaced with a virtual reality gaming venue called The Cyberdome.
39. The Vivian Beaumont
While the theatre, owned and operated as part of Lincoln Center, is a newer theatre compared to most Broadway houses, the space does have a theatrical past that predates the theatre itself. The area that would eventually become Lincoln Center and the Vivian Beaumont originally contained a lot of basketball courts, the same ones that were used in the filming of the movie version of “West Side Story.”
40. The Walter Kerr Theatre
The Kerr, named after beloved critic and author Walter Kerr, was originally named the Ritz Theatre. But, not all of its “Ritzy” past is gone. If you look at the theatre’s marquee, you’ll notice a stark difference in fonts between “The” and “Theatre” and “Walter Kerr.” To save money after the name change, only the “Ritz” part was removed from “The Ritz Theatre.” The original Ritz marquee was elaborate and expensive, so a more standard “Walter Kerr” was added, with the elaborate “The” and “Theatre” left in place.
41. The Winter Garden Theatre
The Winter Garden Theatre is the only Broadway theatre whose structure was not originally intended to be a theatre. The structure was originally built in 1886 as the New York Horse Exchange and stables. It wasn’t until 1911 that the Schuberts bought the space and redesigned it as a theatre. It was even said that when the theatre went through massive renovations after “Cats” ended its record run that crew members found traces of hay deep under the floorboards.
Know any other facts about the Broadway theatres? Any interesting stories about your local theatres? Let us know in the comments below...
[post_title] => 41 Random Facts About The 41 Broadway Theaters [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 41-random-facts-41-broadway-theaters [to_ping] => [pinged] => [post_modified] => 2017-04-28 09:36:39 [post_modified_gmt] => 2017-04-28 13:36:39 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8434 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 2 [filter] => raw ) [11] => WP_Post Object ( [ID] => 8476 [post_author] => 11 [post_date] => 2017-04-26 11:00:08 [post_date_gmt] => 2017-04-26 15:00:08 [post_content] => [viralQuiz id=43] [post_title] => Quiz: I Bet We Can Guess Your Pre-Show Routine [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => quiz-bet-can-guess-pre-show-routine [to_ping] => [pinged] => [post_modified] => 2017-04-26 11:00:08 [post_modified_gmt] => 2017-04-26 15:00:08 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8476 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) [12] => WP_Post Object ( [ID] => 8499 [post_author] => 440 [post_date] => 2017-04-25 10:14:10 [post_date_gmt] => 2017-04-25 14:14:10 [post_content] => With Twitter, Snapchat and Instagram feeds overflowing with elaborate promposals, it’s impossible to forget the upcoming occasion. Stores everywhere are bringing out their formalwear as students start shopping for the perfect evening look. Not sure what to don to dance the night away? Let the stage inspire you and try out one of these looks styled after some of Broadway’s best:1. ‘Rent’
“Rent” leading lady Mimi Marquez knows how to make an impression and never shies away from a bold style choice? Embrace your inner wild child and try an animal print with a neon color.
Our Pick: Short High-Low Animal Print Prom Dress from PROMGIRL
2. ‘Wicked’
Wicked or good, Elphaba or Glinda, we have you covered. Look sleek in Elphaba’s trademark long-sleeved dress, or float to prom in Glinda’s go-to layered ball gown.
Our Picks:
Elphaba: Long-Sleeve Prom Dress with Embroidered Lace Detail
Glinda: Two-Piece Sherri Hill Off-the-Shoulder Ball Gown
3. ‘Hamilton’
Look around, look around, you just happen to be at the greatest prom in the world. You’ll be ready to work the dance floor like Eliza Schuyler or take your shot as Alexander Hamilton in ensembles worthy of any Winter’s Ball.
Our Picks:
Eliza: Laticia Blue
Hamilton: Hamilton Costume
4. ‘Legally Blonde’
Everyone knows Elle Woods is the president of wearing pink, and not just on Wednesdays. So, channel your inner Delta Nu with a hot-pink dress that is both sassy and sweet. Or, be fashion-forward like Elle and turn heads in a stunning suit, good for prom or your interview for that top Ivy League school.
Our Picks:
Dress: Short Sleeveless Fit-and-Flare Dress by Sherri Hill
Suit: New Look Satin Trim Tux Blazer
5. ‘The Little Mermaid’
Mermaid school is quickly becoming a trendy weekend activity, so why not carry that trend straight to the prom? Fittingly, this dress is called “Ariel.” Adorned with pale pink seashells, you’ll be ready to ditch your tail and use those legs to dance the night away with your own prince.
Our Pick: Ariel Bonbon
6. ‘Jersey Boys’
No one will be able to take their eyes off of you when you stroll into prom looking like the lost member of the Four Seasons. Oh, what it a night it will be in a suit worthy of the stage. Go for something bold, such as red velvet, or try a fun print.
Our Picks:
Men's Slim-Fit Burgundy Paisley Dinner Jacket
Bar III Men's Slim-Fit Red Velvet Sport Coat
7. ‘Beauty and the Beast’
The yellow dress and the red rose have been iconic symbols of the Disney fairy tale retelling. Be the belle of the ball and give your tale as old as time a unique twist in a dress with floral embellishments.
Our Pick:
Belle: Strapless Sherri Hill Floral Print Dress
8. ‘Heathers’
Looking for schoolgirl sass a la “Heathers?” Try plaid in a shade of scrunchie red that’s a little more dark and brooding.
Our Pick: Jack Wills Holidays Check Bandeau Bow Dress
9. ‘Chicago’
The costumes of “Chicago” are both sultry and chic. Jazz Age fashions were about pushing limits and redefining sexy, so defy expectations and trade a dress for a sleek jumpsuit. Or, try a sequined number that’s sure to razzle dazzle them.
Our Picks:
Thinking Out Loud Black Backless Jumpsuit
Juniors' Sequined Flyaway Gown
10. ‘Hairspray’
You might already be the nicest kid in town, but with this suit, you could also be the best dressed. Cory Collins is known for his eye-catching attire, so try out his style with a plaid or a trendy pastel.
Our Picks:
Bar III Men's Slim-Fit Blackwatch Plaid Tuxedo Separates
Men's Slim-Fit Linen Dinner Jacket
11. ‘Grease’
Turn heads like Bad Sandy in an off-the-shoulder dress inspired by “Grease.” The slit in the front will let you show off those essential bright-red heels. Paired with lipstick of the same shade and some teased locks, you’ll be the one everybody wants. Tell me about it, stud.
Our Pick:
Long Off-the-Shoulder Prom Dress by Tarik Ediz with Slit
12. ‘The Phantom of the Opera’
Be ready to experience the music of the night with Phantom-inspired fashions. Glide into prom like the angel of music in a flowing white gown worthy of soprano Christine. Or, leave everyone thinking of you in a vest fit for the Phantom.
Our Picks:
Christine: Wonderful Day White Wrap Maxi Dress
Phantom: ASOS Skinny Waistcoat In Burgundy Velvet With Embroidery
13. ‘The Sound of Music’
This dress might join the list of your favorite things. Take a leaf out of the fashion book of the eldest von Trapp and don a gorgeous pink dress. But be sure not to get caught out in the rain, because this dress is too pretty to ruin.
Our Pick: Lora Dawn
14. ‘West Side Story’
Time to get dolled up for your dance at the gym. Give Anita’s classic purple dress a twist, or take Riff’s bold yellow blazer out for a spin. What is there to fight about when you look this good?
Our Picks:
Anita: Two-Piece Off-the-Shoulder Print Prom Dress
Riff: OULIU Mens Slim Fit 1 Button Premium Jacket Fashion Outwear Coat
15. ‘My Fair Lady’
You’ll be ready to dance all night in this modern take on Eliza’s lace dress. You’ll be more than loverly.
Our Pick: Your Beauteous Best Lace Dress
16. ‘Anastasia’
Take a journey to the past in a gown fit for a Romanov princess. Or, don a suit similar to Broadway’s newest leading man, Dimitri, and sweep everyone off their feet.
Our Picks:
Anastasia: Nabila Grenat
Dimitri: ASOS Slim Suit in Herringbone Brown
17. ‘On Your Feet’
Conga the night away in an outfit worthy of a pop sensation, Gloria Estefan. Just like the show’s costumes, these dresses are a stunning mix of ruffles, embroidery and overlay skirts.
Our Picks:
Black Two Piece Prom Dress with Embroidered Train
Print Strapless Romper with a Long Skirt
No matter which look you choose, give it your own flair and let your personality show. In the words of Annie, remember, “You’re never fully dressed without a smile.” So, don’t forget to flash them that killer, red carpet-worthy smile. It’s the best accessory there is.
Which of the prom looks was your favorite? Let us know in the comments below...
[post_title] => Prom Looks Inspired By Your Favorite Musicals [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => prom-looks-inspired-favorite-musicals [to_ping] => [pinged] => [post_modified] => 2017-04-25 20:44:58 [post_modified_gmt] => 2017-04-26 00:44:58 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8499 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 3 [filter] => raw ) [13] => WP_Post Object ( [ID] => 8432 [post_author] => 391 [post_date] => 2017-04-24 08:39:10 [post_date_gmt] => 2017-04-24 12:39:10 [post_content] => From adolescent awkwardness to brash, full-blown rants, comedy has something for everyone in musical theatre. Comedy cleverly critiques everyday situations while occasionally lightening the mood of more serious shows. While each voice part, especially tenors, has its fair share of comedic showstoppers, some of them are as overused as an overheard knock-knock joke. If you’re a tenor looking for something new, here are 15 overlooked comedic audition songs:1. ‘My Girlfriend Who Lives in Canada’ from ‘Avenue Q’
https://www.youtube.com/watch?v=tLlLaJlk56k The musical “Avenue Q” is the contemporary epitome of “funny-because-it’s-wrong” humor. In this scene, Nicky, who suspects that Rod is gay, learns about Rod’s alleged girlfriend from Alberta — or was it Vancouver? Range: B2–G4.2. ‘I Am Aldolpho’ from ‘The Drowsy Chaperone’
https://www.youtube.com/watch?v=pQK3OLLJvWM In this tango number, the famed Latin lover Aldolpho attempts to seduce the actress Janet van de Graaf. Range: E2 (optional)–A4.3. ‘I Don’t Understand the Poor’ from ‘A Gentleman’s Guide to Love and Murder’
https://www.youtube.com/watch?v=XAKKEzmw3s8 A more classical-sounding piece, Lord Adalbert D’Ysquith drives Monty, a newly discovered nobleman, out of his house as he pontificates on the lower and working classes. Range: B2–G4.4. ‘You Won’t Succeed on Broadway’ from ‘Spamalot’
https://www.youtube.com/watch?v=ywcDHB5NFMk In this much loved Monty Python musical, Sir Robin explains to King Arthur in a patter song that it is not possible for him to have a hit Broadway show without the involvement of Jews. Range: E3–G4.5. ‘Life, Life’ from ‘Young Frankenstein’
https://www.youtube.com/watch?v=kXXLKA-OGIU At this part in the Mel Brooks musical, Frederick continues his experiments to create a monster from dead body parts. Although not traditionally comedic, there is an opportunity to exaggerate the mad-scientist character in your performance. Range: B2–F#4.6. ‘In the Arms’ from ‘The Addams Family’
https://www.youtube.com/watch?v=qSFb8LtBQuc In this Lippa musical, Mal proclaims his love for Alice once more after spending time with a passionate squid. Range: G2–F4.7. ‘My Unfortunate Erection’ from ‘The 25th Annual Putnam County Spelling Bee’
https://www.youtube.com/watch?v=e9VDNcPG_TM Chip, an unsuccessful Spelling Bee contestant, explains to the audience that he lost after being distracted by Leaf Coneybear’s sister. Range: C3–Ab4.8. ‘Grow For Me’ from ‘Little Shop of Horrors’
https://www.youtube.com/watch?v=JgVnpMkXOas In a witty and slightly morbid number, the character Seymour realizes the plant he is growing requires blood to stay alive. Range: Bb2–Eb4.9. ‘What Do I Need With Love?’ from ‘Thoroughly Modern Millie’
https://www.youtube.com/watch?v=1WmyVxkZhw8 While in jail, Jimmy realizes, after much denial, that he has feelings for Millie. Range: D3–G4.10. ‘I’m Calm’ from ‘A Funny Thing Happened on the Way to the Forum’
https://www.youtube.com/watch?v=c49RbyosDrc Hysterium, the chief slave for the house of Senex, struggles to keep his composure. Range: D3–F#4.11. ‘Quasimodo’ from ‘When Pigs Fly’
https://www.youtube.com/watch?v=ElfWHoE-_6M This musical revue features various LGBT-themed sketches, including a group of men assisting a man in drag feeling desperate to save musical theatre. Range: D3–A4.12. ‘King Herod’s Song’ from ‘Jesus Christ Superstar’
https://www.youtube.com/watch?v=BaOfBQ5uw6M In this depiction of Jesus’ last days, the campy, flamboyant King Herod tries to entice Jesus into performing miracles for him. Range: B2–G4.13. ‘In Short’ from ‘Edges’
https://www.youtube.com/watch?v=NprGGnWK-Zk This Pasek and Paul cycle features a snarky, hilariously vitriolic breakup anthem. This can be performed by men or women. Range: A2–Bb4.14. ‘And I Breathe’ from ‘Next Thing You Know.’
https://www.youtube.com/watch?v=Ax1LolUYbVo This Salzman and Cunningham number is about a man in a relationship who tirelessly struggles to quit smoking. Range: Db3–Db5.15. ‘Generation Apathy’ from ‘Glory Days’
https://www.youtube.com/watch?v=JMdj6srzPQI Skip, an Ivy League student, expounds to his friends his recent musings about their so-called “apathetic” generation. Range: C3–G4.You Might Like: 10 Overlooked Audition Songs For Tenors
Think of any other hilarious overlooked tenor songs that we left out? Let us know in the comments below...
[post_title] => 15 Overlooked Comedic Audition Songs For Tenors [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-overlooked-comedic-audition-songs-tenors [to_ping] => [pinged] => [post_modified] => 2018-10-17 01:58:01 [post_modified_gmt] => 2018-10-17 05:58:01 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8432 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [14] => WP_Post Object ( [ID] => 8292 [post_author] => 736 [post_date] => 2017-04-21 09:07:48 [post_date_gmt] => 2017-04-21 13:07:48 [post_content] => Many elements go into helping you create a believable character, and one is your costume. Here are some tips for actors to ensure you keep your costumes showing your performance work in its best light:1. Hang Them Up
Not every theatre will have a dresser to help you hang up your clothes after they are worn, and even if they do, your dresser isn’t your servant. Make sure to always hang up your costumes after you wear them so they don’t wrinkle or end up on the floor where someone can step on them.
2. Don't Eat While in Costume
Don’t you hate it when you are eating and you spill food on your newest outfit? That usually teaches you not to eat in your finest duds. The same goes for costumes. Do you really want to go onstage with that big ketchup stain from the burger you ordered at half hour because you were hungry? Probably not.
3. Consolidate Your Garments
Make sure to always consolidate your dirty laundry at the end of the performance in the provided laundry basket or given area. You certainly don’t want them forgotten about because you didn’t place them in the proper spot and then have nothing to wear for the next performance.
4. Wear Deodorant
Do both yourself and your costars a favor and make sure to wear deodorant before you put on your costumes. You are sure to sweat onstage. You don’t need your costar coming up to you during the most intimate moment of the show and getting a whiff of body odor you could have easily prevented with a quick roll of antiperspirant. Nor do you want pit stains to distract from your fabulous dance moves.
5. Keep Them Together
Usually the costume designer, costume shop or your dresser will organize your costumes so that specific pieces stay together. This way, they are always easy to find during the quick change or when they are needed for the next scene. Be conscientious when you hang up your clothes and don’t just spread them wherever you see an empty or convenient hanger. Hang them back up where they originally came from.
6. Don't Use Pens or Markers
If you are staying busy between scenes doing homework or working on creative projects to help the time pass, make sure you aren’t using tools that could endanger your costume. You could accidentally drop that marker, pen or other writing utensil, and your costume could end up being your casualty. Use a pencil or something that can easily be washed out while in costume.
7. Tell Someone When Something Is Broken
Those who work in the costume shop and your dressers are not mind readers. If you are onstage and you rip your costume or something such as a snap or button breaks, make sure you tell someone who can fix it. No one will be mad at you if you report something gone wrong. It happens all the time and is expected by those who work in the costume department. They’ll be very grateful you caught it and want to look your best onstage.
8. Respect Your Dresser and Their Timing
As an actor, make sure to respect your dresser and their timing by getting dressed when they need you to at every show. Don’t dillydally or wait until you’ve finished texting or getting the latest gossip from your friends. The person helping you change probably has somewhere else they need to be to ensure the performance goes off without a hitch.
9. Wear Everything You Have Been Given
Think you have a say in which costumes you can and can’t wear as an actor? Think again! That is the costume designer’s job. You need to make sure you respect them and wear everything you’ve been given or assigned.
Have any good tips or tricks for keeping your costume in good condition? Let us know in the comments below...
[post_title] => How To Treat Your Costumes With Respect [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => treat-costumes-respect [to_ping] => [pinged] => [post_modified] => 2017-04-21 09:07:48 [post_modified_gmt] => 2017-04-21 13:07:48 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=8292 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 6 [filter] => raw ) [15] => WP_Post Object ( [ID] => 7859 [post_author] => 12 [post_date] => 2017-04-20 09:25:54 [post_date_gmt] => 2017-04-20 13:25:54 [post_content] => You arrive confident, prepared, focused. You know without a shadow of a doubt you are going to nail this — after all, you were born to play this part. Your name is called, you saunter in, exuding charm and poise. You’re about to blow them all away. Suddenly, there’s a shift. A feeling, an unforeseen face in the room, a phrase thrown out. There’s been a change. Expectations are altered, and you have suddenly found yourself in the hot seat dealing with an audition curveball. But don’t panic! Check out these tactics below to help you navigate these choppy waters:1. You Prepared a Comedy and They Ask For a Drama
Whether you prepared a cartoony piece and they suddenly want realism, or you picked a modern piece and they’re looking for Shakespeare, you’re now in a situation where you have no choice but to find a new angle on what you’ve prepped. If your scene is comedic and they’re looking for drama, simply adjust your performance to a more grounded one. No matter the vehicle, you can still find your way toward the vibe they’re looking for.
2. Your Material Gets Cut in Half
You’ve prepped a two-minute monologue, and they ask for a 30-second piece because they’re running behind. Instead of getting upset and worrying how they’ll ever see your range in 30 seconds, remind yourself that you can blow this thing out of the ballpark in any amount of time. They wouldn’t ask for 30 seconds if they didn’t think they could find what they needed in that amount of time. Besides, what’s wrong with leaving them thirsty for more? Just make sure you make the proper cuts to leave yourself with a nice jumping off hook and wrap up with a clear ending.
3. Your Reader Is as Lifeless as a Can of Paint
Sometimes readers are just readers and they aren’t there to give you anything to work with. Instead of letting it throw you, just do your thing and be thankful that the full attention is on you. Use your imagination and pretend they’re giving you what you need.
4. The Direction Given to You Doesn’t Make Sense
Don’t worry about it. It doesn’t have to make sense to play the scene or the character. They’re probably just trying to see how pliable you are. Show them you are a beautiful piece of clay ready and waiting to be molded. Even if it doesn’t make sense, enjoy the lunacy of the direction and have fun with it. Sometimes, an offbeat way of taking a scene will open all kinds of insights into your character that you would have never discovered during a traditional approach.
5. You’re Assigned to Read for a New Character That You Haven’t Prepped For
Don’t sweat this! It’s a good sign! It means you walked in the door and they visualized you as a potential candidate to land a particular role. Who cares that you didn’t prep for it? You’re already in the running on your looks alone. Allow this shift to make you feel confident, not panicked. Take a few moments to go over the new material and ask questions. The casting director knows you just got the materials, so you don’t need to make excuses or worry about looking down at the lines too much. Do the best you can and tell yourself you’ve already got a giant foot in the door because of this exciting curveball.
6. Casting Is Eating Lunch
The casting team works all day, so it’s natural they get hungry. However, they do this every day, and just because they’re tackling a sloppy turkey club sandwich while you’re pouring your heart out doesn’t mean they aren’t paying attention. You might not like it, but look at the bright side — well-fed people are happy people. It may actually be better if they’re chomping on potato chips rather than daydreaming during your monologue because they have hunger pangs. Also, regardless of whether you feel like you’re the center of attention, this is still your time. You’ve performed through chaos before (hello, tech week!). Use this time to work on your material and enjoy just doing it for yourself.
7. They’re Running Late and You’re in a Hurry
You have to pick up your kid or get to your survival job, and the audition is running super behind. Before you panic and throw a diva hissy fit, simply speak to the monitor running the auditions. Politely explain your situation and ask whether there’s any way you can be seen sooner rather than later. You’d be surprised how willing the monitor and other actors can be to help you out — they’ve definitely all been there before. Just remember to pay it forward next time you’re not in a hurry and see that familiar look of panic on another actor’s face while in the waiting room.
8. You’re Underdressed or Overdressed
So, everyone around you is dressed for the role more literally than you. Unless you have a wardrobe in your car or satchel, there’s not much you can do about this one. who cares? Sure, you’d like to give off the vibe of the character to help you out, but it ultimately comes down to your acting. Besides, what actor hasn’t had a wardrobe malfunction some time or another?
9. You’re the Opposite Type of Everyone Else in the Room
You’re the only short blonde in a sea of tall brunettes. Basically, you’re the guinea pig. Casting is pretty sure they want a tall brunette, but just in case, they threw in a few randoms to see what the producers think of a different direction. The best thing to do is shrug it off and not let it bother you. Hey, you’re there, you get to audition, and who knows, maybe they’ll decide to go the other way with it after all!
10. You Freeze Up When They Ask You to Improvise
You didn’t plan on improvising, then casting asks you to do a take with lots of adlibs. It’s natural to want to freeze up, but you have to fight the feeling. Put all the negative thoughts out of your mind about how you hate doing improv and how you’re kicking yourself for never taking that class. Instead, take a deep breath, be present and remember that you actually improvise in some way every day — this is no different. Negative thoughts won’t help, so do your best to be in the moment and fake self-confidence even when you’re not feeling it. Then, afterward, sign up for that improv class.
11. There’s Suddenly Choreography
You’re an actor, not an actor/dancer, and now they’re asking you to count and step pivot, step. Just roll with it. It’s likely they just want to see you move. Nobody expects you to be Baryshnikov.
12. You’re Asked to Demonstrate Your Special Skills
“So, you do a crying baby. Can we hear it?” If it’s listed as one of your special skills, someone somewhere down the line can ask you to do it on the spot. The best way to avoid catastrophe is to take off anything on your resume that you don’t want to do at the drop of a hat at an audition. If you’re too late, suck it up and demonstrate your wailing baby or Al Pacino impersonation with pride.
13. You Forgot Your Headshot/Resume
Don’t forget your headshot and resume! Always have a copy in the trunk of your car or in your binder of sheet music. With that said, it’s still going to happen eventually. After several years in the business, you will at one point leave it on the counter or just plain forget to print it out. The best thing to do is to ‘fess up right away and apologize. Leave the excuses at home on the counter with your MIA headshot. No one needs to hear about how hectic your morning was. Just say you’re sorry, move on and be thankful everything is digital today anyway.
As you can see by now, the best way to deal with most curveballs is to take a deep breath and go with the flow. Much like life, the business is all about resilience, thinking on your feet and being in the moment. We can plan until we’re blue in the face, but ultimately, things will veer off course and when they do, the best way to deal with it is with grace, flexibility and humor.
What audition curveballs have you been thrown, and how did you deal? Let us know in the comments below...
[post_title] => Audition Curveballs And How To Deal With Them [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => audition-curveballs-deal [to_ping] => [pinged] => [post_modified] => 2017-04-20 09:25:54 [post_modified_gmt] => 2017-04-20 13:25:54 [post_content_filtered] => [post_parent] => 0 [guid] => http://theatrenerds.com/?p=7859 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [16] => 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 ) [17] => 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 ) [18] => 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 ) [19] => 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 ) [20] => 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 ) [22] => 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 ) [23] => 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 ) [24] => 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 ) [25] => 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.
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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 ) [28] => 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 ) [29] => WP_Post Object ( [ID] => 7826 [post_author] => 736 [post_date] => 2017-03-28 10:15:09 [post_date_gmt] => 2017-03-28 14:15:09 [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 ) [30] => 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 ) [31] => 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 ) [32] => 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 ) [33] => 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 ) [34] => 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 ) [35] => 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 ) ) [post_count] => 36 [current_post] => -1 [before_loop] => 1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 8574 [post_author] => 391 [post_date] => 2017-05-11 09:11:07 [post_date_gmt] => 2017-05-11 13:11:07 [post_content] => Several wildly popular contemporary musicals, such as “Hamilton,” “Dear Evan Hansen” and “Natasha, Pierre and the Great Comet of 1812” transferred to Broadway from an Off-Broadway theatre. Transfers to larger theatres help certain productions reach wider audiences, culminating in sold-out performances and award nominations. Unfortunately, a handful of musicals never quite reach the next step in the transfer process, but they do achieve Off-Broadway cult status nonetheless. Here are 15 Off-Broadway musicals that have yet to make a full Broadway transfer:1. Any Laurence O’Keefe Show That Is Not ‘Legally Blonde’
https://www.youtube.com/watch?v=Gpad8LUEwsg As much as audiences love the daughters of Delta Nu, Laurence O’Keefe’s other musicals have been grossly overlooked in comparison. His first Off-Broadway musical, “Bat Boy,” premiered in 2001 and is now popular with community and high school theatre groups. His other Off-Broadway works include “Sarah, Plain and Tall,” “Cam Jansen” and, more recently, “Heathers: The Musical.”2. ‘Dogfight’
https://www.youtube.com/watch?v=0NB8X4Ah4U8 Before Pasek and Paul’s major breakthroughs with “La La Land” and “Dear Evan Hansen,” they had success in 2012 with “Dogfight,” a musical about Birdlace, a marine who is headed to Vietnam, and Rose, the woman who falls for him.3. ‘The Wild Party’ (Andrew Lippa’s version)
https://www.youtube.com/watch?v=L7BB6hln7rQ Adapted from Joseph Moncure March’s eponymous poem, this version of “The Wild Party,” starring Julia Murney and Idina Menzel, ran Off-Broadway in 2000. A recent Encores! production of the musical starred Sutton Foster as Queenie. Lippa has since had more Broadway exposure with “The Addams Family” and “Big Fish.”4. ‘The Last Five Years’
https://www.youtube.com/watch?v=3bWGjUKyffM Before the critically divisive 2014 film version, one of Jason Robert Brown’s best-known musicals ran Off-Broadway for two months in 2002. The show was revived Off-Broadway in 2013, and it debuted on West End last year.5. ‘Altar Boyz’
https://www.youtube.com/watch?v=CYE7sGGckvg This musical, a satire on boy-band and Christian-pop music brands, ran Off-Broadway from 2005 to 2010. There have since been productions in Korea, Hungary, the Philippines and Finland.6. ‘Road Show’
https://www.youtube.com/watch?v=IsbVdiLssCU One of Stephen Sondheim’s later musicals, this show about the Mizner Brothers’ scams and misadventures played in Chicago and D.C. in 2003 before running Off-Broadway in 2008. It then ran in London’s West End for two months in 2011.7. ‘Little Miss Sunshine’
https://www.youtube.com/watch?v=KGBrq1O689w William Finn’s (“Falsettos,” “The 25th Annual Putnam County Spelling Bee”) adaptation of the 2006 film of the same name premiered at La Jolla Playhouse in 2011 before moving Off-Broadway in 2013. The musical’s sole Drama Desk nomination was for Stephanie J. Block’s performance as Sheryl Hoover.8. ‘Now. Here. This’
https://www.youtube.com/watch?v=ZpCeIeAD-ek Written by the same creative team behind “[title of show],” this 2012 musical ran Off-Broadway for seven weeks. It explores deep topics that the four characters contemplate.9. ‘Tick, Tick…Boom!’
https://www.youtube.com/watch?v=nwJ7cu3r5-Y Jonathan Larson’s autobiographical musical premiered posthumously in 2001 and was revived Off-Broadway in 2016. The musical is about Jon, a struggling singer-songwriter navigating the waters of the performing arts. A 2014 Encores! production starred Lin-Manuel Miranda.10. ‘Lucky Stiff’
https://www.youtube.com/watch?v=lNA7tBzHcMA The first musical collaboration between Lynn Ahrens and Stephen Flaherty ran Off-Broadway in 1988, closing after 15 performances. It spawned a West End production in 1997 and a critically panned film version in 2014.11. ‘Zombie Prom’
https://www.youtube.com/watch?v=-rEw348j9bI This musical about a high schooler who comes back as a zombie after attempting suicide ran Off-Broadway in 1996. Aside from a 2006 short film adaptation starring RuPaul, the show premiered Off-West End in 2009.12. ‘Ruthless!’
https://www.youtube.com/watch?v=Ina66wjU_OA This musical about a fame-hungry third-grader (who turns deadly) ran Off-Broadway in 1992 and spawned a cast recording for its Los Angeles production the next year. The musical was revived Off-Broadway two years ago.13. ‘The Fantasticks’
https://www.youtube.com/watch?v=wpKXC8NnP_E This 1960 musical is the longest-running Off-Broadway production ever, lasting more than 17,000 performances before it closed in 2002. The musical also spawned a 1995 film and a 2010 West End production.14. ‘Bare: A Pop Opera’
https://www.youtube.com/watch?v=dC5g9C3qjBI After premiering in Los Angeles in 2000, this LGBT musical ran Off-Broadway for a month in 2004. It has since been revived Off-Broadway in 2012, and it has had international productions in Belgium, the United Kingdom, Canada and Argentina.15. ‘The Last Sweet Days of Isaac’
https://www.youtube.com/watch?v=5hssd3crDhc This Off-Broadway rock musical about an artist who is desperate to make a perfect work of art before he dies premiered in 1970 and closed the next year. It was revived Off-Broadway in 1997.Honorable Mention: ‘The Hunchback of Notre Dame’
https://www.youtube.com/watch?v=UsWfKVJdNp0 While not officially Off-Broadway, both the 2014 La Jolla and the 2015 Paper Mill Playhouse productions were widely acclaimed. Despite Disney fans’ love for the English-language adaptation of this show, audiences were heartbroken when the show did not transfer to Broadway.Think of any Off-Broadway musicals not on here that you wish had transferred to Broadway? Let us know in the comments below...
[post_title] => 15 Off-Broadway Musicals You Wish Moved To Broadway [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => open [post_password] => [post_name] => 15-off-broadway-musicals-you-wish-moved-to-broadway [to_ping] => [pinged] => [post_modified] => 2017-05-11 09:19:58 [post_modified_gmt] => 2017-05-11 13:19:58 [post_content_filtered] => [post_parent] => 0 [guid] => https://theatrenerds.com/?p=8574 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 24 [filter] => raw ) [comment_count] => 0 [current_comment] => -1 [found_posts] => 635 [max_num_pages] => 18 [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] => 8f184228ff32e8b8a8753d5513939a4f [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:353ca928315a8fac89f9137e8c67e80a:0.27239500 17768816100.71017100 1776881610 )Latest stories
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