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2ST Broadway Uncovers a Brilliantly Stealth Appropriate



All the definitions of the word, “appropriate” hang above the stage as we walk in, giving alternative hints as to the title’s value and worth. It teases out some formulations, without giving anything away, which I will try not to do as well. But what I will say is that this captivatingly revealing production of Branden Jacobs-Jenkins’ brilliant play, Appropriate is about as sensational as Broadway can get. It’s ravishingly well performed by each and every one who enters, regardless of whichever door or window they climb through. It’s both hilariously morbid and disturbing while being gravely fascinating and meaningful in its unwinding. The energy is as electric and tense as those opening few aural moments that seize control of our nervous system and take us to exactly where they want us to be. It could have been held a bit longer, as was done by the Coal Mine Theatre‘s production I most gratefully saw a few months back, but the overall itch and squirm that was delivered before the curtain even rose did the job well and deliberate.

Natalie Gold, Alyssa Emily Marvin, Michael Esper, Sarah Paulson, and Corey Stoll in 2ST’s Appropriate. Photo by Joan Marcus.

Using gothic horror as its framework, Appropriate delivers a spectacularly distinct unraveling; as intense and threatening as the darkness that initially takes over the space. The dynamic and chaotic play is destined to ensnare anyone who enters, with or without a flashlight. It feels like a ghost story wrapped in the haunted memories of its vast connection to Southern history and enslavement, and it plays solidly with that framework, lodging it inside our collective heads and forcing us to squirm in the overpowering static darkness waiting for what feels like forever before we can start making out the pickled bones of the beginning. In a way the play is actually about ghosts, but not one where the undead will rise up out of the floorboards or appear at the window looking in – even though it always feels like the haunted past is there, floating around or peering in, and having its way with us by mystically keeping us perched on the edge of our seats.

Michael Esper, Corey Stoll, and Sarah Paulson in 2ST’s Appropriate. Photo by Joan Marcus.

But the haunting demons come from within, scattered about the space, seen and unseen, known and ignored, just waiting to be unpacked and discovered. They aren’t actually floating down the stairs or up from the basement, but they are as determined as ever to enter the room, one way or another. The images are determined to unsettle any who open up that particular chapter of Southern history and really see what is there in black and white. If you really want to take it in. It’s all there; displayed and framed; jarred and jarring, cataloged and presenting a disturbing time and formulation, even if we are determined to swim in the murky waters of denial, trying to submerge the evidence.

Written with a wise sense of purpose and complexity, most intensely, by Jacobs-Jenkins (An Octoroon; Everybody), Appropriate soars on that fully formulated theatrical Second Stage on Broadway, designed with an intense, glaring grand purpose by dots (BAM/Broadway’s The Sign in Sidney Brustein’s Window) with a determined and subtle lighting design by Jane Cox (Broadway’s Machinal). The space is dizzyingly well formed, digging in with an expert eye for what is at the core of this compelling piece of theatre, while shifting its brittle focus around as easily as a wandering flashlight. The play won the 2014 Obie Award for Best New American Play, and in its reformation, as directed with a side-eyed glance of authenticity by Lila Neugebauer (Broadway’s The Waverly Gallery), the piece finds its way, steadfast and true into the delicious and angry dysfunction that exists slyly in the very bones and hidden remnants of this Lafayette family clan returning. They have all come, much to the surprise and mistrust of most, to their father’s decaying Arkansas plantation that should have been “more Gone With the Wind, and less hoarder”, but it isn’t, to deal with the familial legacy and their long-held combustive alliances. It’s a clever petri dish of dramatic tension, growing forth years of unsaid grievances and resentment, but, on the more observable surface, these siblings have come to untangle their recently deceased father’s complicated inheritance and somehow find closure, whether they want it or not.

Sarah Paulson and Elle Fanning in 2ST’s Appropriate. Photo by Joan Marcus.

That inheritance Is not all there in property and banknotes laid out in their father’s will, but it is seared with more force in a bound relic that shines a sharp beam of light on their family’s possible problematic past and unwanted legacy. Casually found and revealed in distraction, it burns a bright hot light on their parental heritage, pushing to the surface decades of interpersonal resentment and distrust that have been ready and waiting for years to be unleashed on one another, like an unopened journal. Historical sin is what lies waiting on the shelf, biting in and drawing forth decades of unsaid venom into the family’s tight dysfunction. Bitterness and a punitive punishment have simmered, slowly burning itself steadfastly into their souls and hearts. Especially the oldest daughter, Toni, intensely and magnificently played by the utterly perfect Sarah Paulson (Broadway’s Crimes of the Heart; “Ratched). This desperate mother of one carries so much complicated embittered rage that one can’t help but lean in as much as possible as you simultaneously desire to back away out of fear and the instinctual need to protect. Paulson’s performance is a captivatingly stellar and tense unleashing, one that will register and be carried out of the theatre like a bruise on an arm, still stinging from all that hurt and pain that was thrown hard with such vengeance at almost every person in that room right up until the moment she says “Good-bye“.

It’s a searingly difficult comedic drama to digest, crawling in through the window from one of America’s most gifted young playwrights, to deliver the dynamic goods. The three adult children, rotting away from the insides, have come together, unwillingly and with a ton of baggage and resentment. They arrive, un-unified, in a protective stance, wanting, in a way, to sort themselves out as they go through the hoarded mementos that their father had gathered around him before his death. But it’s more a collision course over debt and contention, with each carrying secrets and weapons from the other and themselves, ultimately determined to be the one who gets out less bruised than when they walked or climbed in. And if this non-typical haunted house has any say in the matter – and boy, does this house have a lot to say and unveil – this explosive reunion is a brawl just waiting to happen. Not the big familial hug that at least some of them were hoping for.

Beyond the recently divorced and rancorous Toni, and her troubled son, Rhys, fantastically embodied by Graham Campbell, making his professional debut, her two younger brothers arrive, separately, and drag out more complications and skeletons than any old house could ever give, even one with both a familial graveyard and an unmarked slave graveyard out back. The older brother to Toni is Bo, the one who, at first, seems to have his business and life in some sort of order, even though he can’t seem to get off his cell phone and find a way to be present. Even with his wife. But Toni doesn’t let that get in the way of flinging vile, foul-mouthed anger at Bo, played with detailed determination by the always impressive Corey Stoll (Classic Stage Company’s Macbeth), as his wife, the multi-layered Rachael, played strong and true by Natalie Gold (RTC’s Distracted) orders and yells at their two children; the young fireball, Ainsley, played frantically by Lincoln Cohen (Showtime’s “Matt Rogers…“) [alternate nights, the part is also played by Evertt Sobers], and the older “almost an adult” daughter, Cassidy, slyly and awkwardly (in all the best ways possible) portrayed by Alyssa Emily Marvin (Broadway’s Grey House), in a frazzled frenzy of troubled form and function.

Natalie Gold and Corey Stoll in 2ST’s Appropriate. Photo by Joan Marcus.

The three younger family members (Campbell, Marvin, and Cohen) are bafflingly good in their roles, bringing both authentic form and familiarity to their characters that surprise and connect. But it’s Toni’s younger brother, Franz, fascinatingly portrayed by Michael Esper (NYTW’s Lazarus) whose unexplained arrival, with his newly formed flower-child fiancé, River, played to complete perfection by Elle Fanning (Hulu’s “The Great“), really brings the trauma and the history of this family, drenched in addiction and pedophilia, to the surface. Both compellingly excellent in their parts, they feed and draw each other forward into the forgiveness light. Yet, unearthed and dirty, Toni’s unhinged anger rises up quickly, ready to be flung with such hate and fury that it takes work to stay in the room with her and them. No one trusts anyone in that house, as the secrets and the shame keep rising up from the floorboards ready to sharply splinter and spear the skin with a bloody vengeance. Apologies find no weight in the bitter waters of Toni’s existence as the jarred evidential mementos are ignored and secreted away, destined to return like a hard punch to the face.

Secrets are thrown about, quickly and with the deepest of intentions, mostly hitting the targets, even when the target is hiding in the darkness. But oddly the longing for love and care, and the undercurrent need for familial attachment sneaks in, even when misdirected. Somewhere, underneath all that anger, bitterness, jealousy, and betrayal, some form of needed connection hangs in the balance, finding relief in an absence or from asked-for hugs. They all just seem scared by all that history and the mistrust that comes with it; terrified and haunted by the idea that it will consume them all. No one really wants to know about the truth, or the possibilities of mental health issues in their father. They’d rather attack and dismantle.

Michael Esper and Graham Campbell in 2ST’s Appropriate. Photo by Joan Marcus.

Costumed with skill by Dede Ayite (Broadway’s Topdog/Underdog), with a solid static-intense sound design by Bray Poor and Will Pickens (BAM/Broadway’s The Sign in Sidney Brustein’s Window), Appropriate never lets up, haunting the walls and the rooms with hate and racial disturbances, gobbling up the lives of sweet girls and sugar, as we watch it all crumble to the ground. There are numerous moments of complicated and uncomfortable humor floating down the stairs at the most uncomfortable moment possible, either over the head of a young kid at play, or giving an Uncle the wrong vantage point and an incorrect assumption to unpack. All of which are handled well, and with humourous complex intent.

Trapped in the intense disturbing sound of screaming cicadas and all those shitty historical memories that have been buried deep for more than just seven years, these misfit disaster people swing hard (and a bit clumsily orchestrated by Unkledave’s Fight-House), trying to bring the same amount of damage to the other as they feel inside. Paulson’s Toni delivers the painfully angry goods with a rage that is wildly intoxicating and magnificently mesmerizing. Her inner destructive power, unleashed from her pain and longing, is frighteningly clear, and never more apparent and Appropriate than inside that final disappearing act delivered on the stairs. It’s a performance that will live on for a long long time (right to the Tony Awards), stinging and hurting like the wounds that were inflicted upon her so many years ago from abandonment and love’s disappointment. Paulson is breathtakingly brilliant in the complex role, as powerful as the whole decrepit destruction that soon follows. Something I’m still thinking about to this very day.

At the edge of all these mismatched crazy memories, laced with blindness, anger, and denial, are the moments that make Appropriate so fascinatingly magnificent. I’m still trying to unpack the chaotic, complex, and disturbing ending that destructively decays the formula before our very eyes and the wordless wonder from those observing eyes as he takes it all in. Appropriate is that moment. And what a moment it is, engaging every fiber of our being, and fueling an overwhelming excitement and fascination in what is unpacked. Willful blindness is a crazy unhinged power, and also a defense, used to not see the ugly truth that is displayed before us. It’s not an Appropriate response, but in this play, it couldn’t be more stealth-like, especially for the times we are all trying to survive within.

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Michael Esper, Elle Fanning, Natalie Gold, Alyssa Emily Marvin, Corey Stoll, and Sarah Paulson in 2ST’s Appropriate. Photo by Joan Marcus. For more information and tickets:

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to


Suffs We Still Have A Long Way To Go



“There never was a young woman who did not think that if she had had the management of the work from the beginning, the cause would have been carried out long ago,” Susan B. Anthony.

Shaina Taub

The new musical by Shaina Taub Suffs, has completely rewritten itself from when it played at The Public Theatre. What was an overstuffed story about the women’s movement, has become a polished version of how far and how little we have come. This is an uplifting tale and you will leave the theatre satisfied.

When Suffs begin,s we meet Carrie Chapman Catt (a terrific and staunch Jenn Colella) asking men to “Let Mother Vote.” Enter the young newcomer Alice Paul (Taub). Alice wants to do a protest march on Washington, to further the cause along, Catt wants women to be refined in their approach. Needless to say the two do not see eye to eye.

Hannah Cruz and Cast

Alice recruits Lucy (Ally Bonino) her friend from college, Inez Milholland (A star turn by Hannah Cruz, who commands the stage), “the it girl of her time,” who then recruits Ruza Wenclawska (another standout performance by Kim Blank), a militant labor organizer and Doris Stevens (Nadia Dandashi), who chronicles the movement.

Anastacia McCapaguy, Laila Erica, Nikki M.James

Enter Ida B. Wells (a fabulous Nikki M. James) and other Black suffragists such as Mary Church Terrell (Anastacia McCapaguy), the first president of the NAACP, to a march on Washington, however the Southern women and backers do not want them there and they are told to march in the back. Wells refuses singing the powerful ballad “Wait My Turn”. It is their story that pacts a punch.

Tsilala Brock, Grace McLean

The President at the time is Woodrow Wilson (the phenomenal Grace McLean), who “loves the ladies, with all his heart, until they start to speak,” He plays games with Alice and her cohorts, as well as with Ms. Catt. However Ms. Catt concedes to help the President, where Ms. Paul does not.

The new Suffs start their own organization The National Women’s Party (NOW) with the help of a rich socialite (a terrific Emily Skinner). They take their grievances public, get arrested, stage hunger strikes and finally win the vote.

The cast is entirely made of women, non-binary performers and musicians who are extremely talented. Ms. Taub does extremely well as Alice. I loved and hated Grace McLean’s outstanding portrayals. Nikki M. James almost steals the show, but it is Jenn Colella who really makes us understand the power play between women.

Leigh Silverman’s staging, keeps the show moving at 2 hours and 45 minutes. Riccardo Hernadez’s set keeps The White House always in play, and Paul Tazewell’s lighting warms it up. Mayte Natalio’s choreography is subtle, yet effective.

There are 33 songs by Ms Taub which are very musical theatre with hints of pop. Ms. Taub’s lyrics are smart, almost Hamilton esq. Especially clever are the lyrics to “If We Were Married.” Musically however, some of the songs bring to mind Beyonce’s “I’m A Survivor” and in “Ladies” “The Ballad of Guiteau” from Assassins. The stand outs are “Finish the Fight,” “This Girl,” “Wait My Turn,”  “Find a Way” and the anthem “Keep Marchin”. Musical director Andrea Grody and her orchestra should be commended. The underscoring is fabulous.

Ms Taub also penned the book, which sometimes misses the mark.

In the end the cycle between the established suffragettes and the newer, younger models will always be at odds.

Ironically what was cut was it was Mrs Woodrow Wilson who refused to sign for women to vote. After her husband had a stroke she states; “Now the presidential vote belongs to me. Support for Suffrage? Absolutely NO!” It was a women who turned the vote down.

Suffs: The Music Box Theatre, 239 W 45th Street.

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Live From The Hotel Edison Times Square Chronicles Presents at Addiss and Dan Lauria



I am so pleased to announce our guests for next Wednesday’s show on April 24th are Producer Pat Addiss and Dan Lauria.

Pat Flicker Addiss has been a producer on the following shows: Little Women​, Chita Rivera: A Dancer’s Life, Bridge & Tunnel, Spring Awakening, Passing Strange, 39 Steps, Vanya, Sonia, Masha & Spike, Promises, Promises, Gigi, Love Letters, Eclipsed, War Horse, A Christmas Story ​and Harmony on Broadway. Off-Broadway she produced Jane Anger and Buyer and Cellar starring Michael Urieher show, Dinner With The Boys with Dan Lauria and Desperate Measures, is currently playing around the country. A native New Yorker. She was a child model and actress. Went to Finch College where she majored and graduated in honors in Costume Design and Merchandising. She started her own Company Pat Addiss Enterprises which designed and manufactured all items and widgets with Corporate names and logos. For her work she was honored by the LPTW Oral History that was filmed for the archives of Lincoln Center Performing Arts Library. She was also given the Woman of Purpose Award by the “Three Tomatoes.”. With colleague, Magda Katz, she has initiated a formula to connect women through YaYa lunches, dinners and now the addition of upscale tea. She loves to speak to women over 50 “How to Reinvent Yourself.”

Dan Lauria is best known for playing the dad Jack Arnold on the TV series The Wonder Years. He also played NASA Administrator James Webb in the 1998 TV miniseries From the Earth to the Moon and Commanding Officer, USA in 1996’s Independence Day. More recently he has appeared as Police Commissioner Eustace Dolan in The Spirit. He appeared as Coach Hamstrung in The Three Stooges N.Y.U.K. on AMC in 2000. Lauria appeared on stage in New York in the summer of 2006 in an off-Broadway production of A Stone Carver by William Mastrosimone with Jim Iorio and Elizabeth Rossa. Lauria also had a small role in a season two episode of Army Wives, as well as a season one episode of The Mentalist. In 2009, Lauria has appeared as General Lee Whitworth, M.D. in Criminal Minds season 4. He has also appeared in an episode of Boy Meets World. In late 2009, Lauria returned to the off-Broadway stage, appearing as Jimmy Hoffa in Brian Lee Franklin’s Good Bobby, a fictionalized account of Robert F. Kennedy’s rise.

Dan is also a very familiar face to the off-off, off and regional theatre scene having performed, written or directed over 50 professional stage productions.  He has appeared as a guest star in over seventy television episodic programs and more than twenty ‘Movie Of The Week’ productions plus a score of motion picture credits.  

In 2010-11 Dan was seen on Broadway in the long running production of Lombardi as the legendary coach Vince Lombardi with the beautiful and talented Judith Light, directed by Thomas Kail of Hamilton fame and returned again in the 2013-14 productions of the Tony nominated A Christmas Story: The Musical, directed by John Rando. 

Dan and dear friend, the lovely and talented Ms. Wendie Malick have performed the play The Guys by Anne Nelson (about our first responders) for numerous theatre and fire departments, around the country. Wendie and Dan also perform Love Letters as a fundraiser for regional theatres, for the development of new plays.  

Dan has now wrote and starred in the off Broadway production of Dinner With The Boys produced by the one and only Pat Addis and the NJ Rep. This was followed by a off Broadway production of The Stone Witch  and the upcoming Regional production of Lee Blessings new play; Tea With The Boss with Gwenn and Wendie Malick.  

He is about to star inJust Another Day written by Lauria. The show will run May 3-June 30 at Theater555 and also stars Patty McCormack (The Bad Seed). Between them, Lauria and McCormack have over 100 years of live theatrical experience, as well as over 150 television shows and films.

“Live From The Hotel Edison Times Square Chronicles Presents ”, is a new show filmed in the lobby of the iconic Hotel Edison, before a live audience. To see our first episode click here second episode click here,  third episode click here, fourth episode click here, fifth episode here, six episode here, seventh episode here, eight episode here and ninth episode here.

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Move Over Daisy Jones & The Six Stereophonic Has Taken Up The Gauntlet



Daisy Jones & the Six is a hit series on Amazon Prime that follows a rock band in the 1970s from their rise in the LA music scene to becoming one of the most famous bands in the world. This was based on Taylor Jenkins Reid’s book of the same name and was partly inspired by Fleetwood Mac. Stereophonic is like binge watching episodes of this TV series, live on stage for three hours. 

Opening tonight, David Adjmi’s high drama play is set in a recording studio in Sausalito, California in 1976, until the last act when they record in LA. The set by David Zinn, has us inside the control room where we can see inside the sound booth. In the beginning, it is hard to hear the words as everyone is talking over each other. Sex, drugs especially coke, alcohol, cigarettes, joints, infidelity and music are what’s at stake and we are eavesdropping in.

Andrew R. Butler and Eli Gelb Photo by Julieta Cervantes

We first meet Grover (Eli Gelb), an untested producer who has lied to everyone about his credentials and his nerdy assistant Charlie (Andrew R. Butler), who are trying to keep the band who are very much like Fleetwood Mac on track. On lead guitar and vocals, Peter (Tom Pecinka) a control freak, perfectionist, lead songwriter and vocalist who is emotionally abusive. He is in a nine year relationship with Diana (Sarah Pidgeon), also the lead singer who is insecure, neurotic, an up and coming songwriter, who very much like Riley Keough in Daisy Jones & the Six. From England are keyboardist and singer Holly (Juliana Canfield) who is stable, warm and going through a terrible marriage to bassist Reg (Will Brill), who is an addict in every sense of the word. And finally Simon (Chris Stack), a drummer who parties to the hilt, as his marriage falls apart due to the recording of the album going way over the time frame given.

Photo by Julieta Cervantes

The question becomes; can this group of talented performers complete this album without killing each other or themselves? In the course of the 3+ hours, we start to really care about the outcome.

Sarah Pidgeon Photo by Julieta Cervantes

In the meantime, we hear fragments and whole songs that are really well done. Tender, yearning ballads of hope and despair written by Will Butler highlight this slice of life. The songs become the feelings that are unexpressed.

Chris Stack and Will Brill Photo by Julieta Cervantes

The cast is incredible, with each one giving us a complete profile. Gelb and Butler give us comedic dazed and confused nerds, whose chemistry is infectious. Gelb’s character is so out of his depth, as he is forced to be the one to keep this gang together despite Pecinka egocentric narcissistic personality. Pidgeon and Pecinka are perfect as lovers tearing each other apart. Stack gives us loss that is heartbreaking. Canfield gives us layers in a role that could be lost but it is Brill who steals the show with his brilliant portrayal as a rock star who lives his life to access.

Juliana Canfield Photo by Julieta Cervantes

Juliana Canfield Photo by Julieta Cervantes

Enver Chakartash’s costumes, Tommy Kurzman’s wigs and hairstyling, Jiyoun Chang’s  lighting, and Ryan Rumery’s multidirectional sound are groovy and out a sight.

Tom Pecinka and Sarah Pidgeon Photo by Julieta Cervantes

Director Daniel Aukin keeps this chaos intact, as the music exacts its reward.

Tom Pecinka, Juliana Canfield and Sarah Pidgeon by Julieta Cervantes

The music is so good that Sony Masterworks Broadway will release an original cast recording produced by Playwrights Horizons where the show originally played and features the original songs by Academy Award® nominee and Grammy Award® winner Will Butler, formerly of Arcade Fire wrote. The digital album arrives May 10, 2024, with the physical CD release set for June 14. The Album is available for preorder now.

Stereophonic: Broadway’s Golden Theatre, 252 W. 45th Street.

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Chip Zien Is Honored at Sardi’s and The Original Cast of Falsettos Unite



The iconic Chip Zien was honored with his portrait at Sardi’s. Sierra Boggess roasted him to the hilt

Zien has spent almost 50 years on Broadway.

Zien was the Baker in the original 1987 production of Stephen Sondheim and James Lapine’s Into the Woods filmed by the PBS.

The Baker’s Wife Joanna Gleason

In the 90’s he replaced Michael Jeter is Grand Hotel.

Stephen Bogardus, Chip Zien, Alison Fraser, Mary Testa

In 1992 he was Mendel in the groundbreaking William Finn and James Lapine musical Falsettos. He appeared in all of the “Marvin Trilogy” musicals by Finn: In Trousers (1979), March of the Falsettos (1981), Falsettoland (1990) and Falsettos (1992).

Carolee Carmella

Alison Fraser

Gregg Edelman, Barbara Walsh, Stephen Bogardus, Chip Zien,  Carolee Carmello, Mary Testa, Alison Fraser

Gregg Edelman, Barbara Walsh, Stephen Bogardus, Chip Zien, Carolee Carmella, Mary Testa, Alison Fraser

In 1998 Zien was featured in another Finn musical A New Brain. He received a 1999 Drama Desk Award nomination for Outstanding Featured Actor in a Musical for this role.

Anne Nathan and Mary Testa

He appeared in the Off-Broadway play Isn’t It Romantic by Wendy Wasserstein and was nominated for the 1984 Drama Desk Award, Featured Actor in a Play.

Gregg Edelman, Carolee Carmella, Christine Pedi

In 2005, Zien played the part of Goran in Chitty Chitty Bang Bang on Broadway.

In 2007, Zien was a replacement in the Broadway revival of Les Misérables in the role of Monsieur Thénardier.

Richard Kind

From April 1 to June 19, 2011, Zien appeared in the Roundabout Theatre Company’s production of The People in the Picture, which played at Studio 54 on Broadway.

Sierra Boggess

Zien appeared in the Broadway musical It Shoulda Been You at the Brooks Atkinson Theatre.

Chip signing his portrait

In 1973, Zien made his television debut on an episode of Love, American Style. More guest roles followed. In 1981, he appeared on Ryan’s Hope and began a two-year run in Love, Sidney, then Reggie. He provided the voice of the title character in Marvel Comics’ Howard the Duck. Zien later starred on the short-lived CBS drama Shell Game in 1987.

Carolee Carmello, Joanna Gleason, CHip Zien

In the 1990s, Zien was part of the ensemble cast of the CBS sitcom Almost Perfect and had regular roles in the daytime soaps Guiding Light and All My Children, until 2001.

Stefano Da Frè, Chip Zien, Sierra Boggess

From 1999 to 2000, Zien had a recurring guest role on the CBS primetime drama Now and Again and  appeared repeatedly as Attorney Cromwell on Law & Order.

During the 2002–03 season, Zien was the announcer on daytime’s The Caroline Rhea Show, and in 2006, he appeared in the critically acclaimed film United 93 was in the vampire comedy film Rosencrantz and Guildenstern Are Undead.

Joy Hermalyn

He was also in Caroline or Change on Broadway.

Bruce Sussman

Sierra Boggess, Chip Zien, Danny Kornfeld

Blake Roman, Steven Telsey,Sean Bell, Chip Zien, Danny Kornfeld, Eric Peters, Zal Owen

His last show was Harmony, the musical by Barry Manilow and Bruce Sussman. His role as the adult Rabbi, the last surviving Harmonist was hailed by the critic’s and audiences alike. He was nominated for a Drama Desk Award for his portrayal.

It was so fitting that this prolific performer hang on these hallowed walls. Congregations this was well deserved.

Up Next for Chip Zien is Titanic at City Centers Encore series.


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Barry Manilow and Bruce Sussman for Hamony at The Museum of Broadway



On Thursday, April 18th, The Museum of Broadway located at 145 W. 45th Street, just east of Times Square, presented a brief A Cappella performance by The Comedian Harmonists played by Steven Telsey, Blake Roman, Danny Kornfeld, Eric Peters, Sean Bell and Zal Owen, welcoming remarks were made by Julie Boardman, Co-Founder Museum of Broadway, Chip Zien the lead in Harmony was in attendance, as were Barry Manilow & Bruce Sussman.

The reason for this event was the unveiling of the Museum of Broadway’s Harmony-inspired window dedicated to The Comedian Harmonists.

In Berlin, 1927, The Comedian Harmonists were six remarkably talented young men form a singing group who become international sensations: They sold millions of records, starred in major motion pictures, and played the biggest theaters around the world. By 1935, they were never heard from again. What happened? That’s the extraordinary true story of Harmony that played on Broadway. Now The Museum of Broadway is keeping their memory alive.

Bruce Sussman and Barry Manilow

Barry Manilow

The Comedian Harmonists and Bruce Sussman and Barry Manilow

Julie Boardman, Co-Founder Museum of Broadway

Steven Telsey, Blake Roman, Danny Kornfeld, Eric Peters, Sean Bell and Zal Owen, and Chip Zien




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