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A John Patrick Shanley Double Bill: Doubt at RTC on Broadway & Brooklyn Laundry at MTC Off-Broadway

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There is a crisis of faith at the core. Without a doubt, and it’s not about lost laundry in Brooklyn. The Doubt in question, and maybe something similar at that Brooklyn Laundry, unfolds before us to varying degrees and power. That internal crisis, deep and ingrained, is like a feisty weed that takes root and spreads with divisive subtlety through the souls that inhabit it. It plays with our balance and senses, in and around a laundromat in Brooklyn, courtesy of the Manhattan Theatre Club, and the courtyard of this deliciously detailed and thoughtful revival of Doubt on Broadway by Roundabout Theatre Company, the first since it premiered back in 2005.

Doubt: A Parable is a completely captivating and epically simple planting, like a nun’s habit, carrying heavy emotional weight in its blackness and purposeful plainness, and as directed with care and precision by Scott Ellis (Broadway’s Take Me Out), it winds its way inside your head with an invasive force and finds its fertile ground to settle the uncertainty within. A gentle telling sermon and an act of possible care are what ignite the play, delivering forth the determined and insightful words of playwright John Patrick Shanley (The Portuguese Kid; “Moonstruck“) inside a garden of restraint, as we dive into the crisis dilemma at hand.

Amy Ryan (Sister Aloysius) and Zoe Kazan (Sister James) in Roundabout Theatre Company’s new Broadway production of Doubt: A Parable. Photo by Joan Marcus.

Holding hard to the idea of truth as parable, the sermon, delivered engagingly well by the very compelling Liev Schreiber (Broadway/Donmar’s Les Liaisons Dangereuses), unwinds its restless mind force in the intuitive unraveling. It plays strong with my emotionally curious self as I started out my fascinating theatre weekend by delivering me most wisely into the first of two John Patrick Shanley’s plays; one renowned, and the other, something new, searching for its place, and finding it somewhat inside his Brooklyn Laundry.

With every choice and word spoken, from one soul to another, the Doubt and the actions that lead to that place, may cause trembling trouble tomorrow, we are told, and we see the truth in those words. Secrets, suspicions, and abstractionisms are drawn out of the thick air and find their unfounded formulations in a thought that doesn’t sit well. A restless mind and a curious suspicious idea play hard with one another in this epic revival of Shanley’s Doubt: A Parable, a play that garnered the playwright a Pulitzer and a few Tonys. Seeded from inside the years of sexual abuse headlines that have rocked the Catholic Church, this stellar revival digs its roots deep into the dirt of judgment, seen by the alert, piercing, and negative eye of the unbending righteousness.

Embodied by the miraculously good Amy Ryan (Broadway’s Uncle Vanya; RTC’s Love, Love, Love), the seed of suspicion is meticulously placed before the innocent, and watered by a strong uncomfortable desire by Ryan’s Sister to be right and on track. Ryan delivers the habit with stellar steel and determination, stepping up to the alter at the last minute when Tyne Daly had to withdraw from the play due to health issues just days before previews began. Ryan excels as the formidable Sister Aloysius Beauvier, a part made famous by Cherry Jones in the original production and by Meryl Streep in the 2008 film adaptation, and finds her own space to sit tight and strong in unfounded judgment behind that powerfully solid desk, unwilling and unwanting to see an alternative view just in case it derails the train of desired thought.

Amy Ryan (Sister Aloysius), Zoe Kazan (Sister James), and Liev Schreiber (Father Flynn) in Roundabout Theatre Company’s new Broadway production of Doubt: A Parable. Photo by Joan Marcus.

Her portrayal of the Sister, packing the undercurrent of context with a surprisingly cold edge, easily finds the right soil to take root in the mind of Sister James, played to perfection by Zoe Kazan (Broadway’s The Seagull). Delivering the desired impact, Ryan’s Sister floats in and out with a watchful eye and suspicious mind, on a gorgeously well-designed set by David Rockwell (Broadway’s She Loves Me) with delicate lighting by Kenneth Posner (RTC’s The Wanderers), perfect costuming by Linda Cho (Broadway’s Summer, 1976), and a solid specific sound design by Mikaal Sulaiman (Broadway’s Fat Ham). We watch in fascination as this unfounded accusation finds its fertilized bed to grow into a beast that has the potential to devour all, in ways unseen and unknown at the beginning.

The revival is a force to be reckoned with, played strong and tight with the provocative nature of blind intuition, uncertainty, certainty, guilt, and objective denial, unpacking the personal dilemmas of each soul that comes into contact with the accusation. Both sisters start to believe, to a different degree and manner, that Father Flynn (Schneider) may have molested an eighth-grade Black schoolboy. As the principal of that school, Sister Aloysius has decided to act, even if there is no proof beyond the suspicion. Kazan’s Sister James, the young boy’s teacher, wants to find an explanation, to understand and consolidate the possibilities, maybe to relieve her of guilt or to reestablish her sense of order and morality. She wants more than anything, at first, to be seen by her superior as worthy of her role at the school, but also to continue to believe in the goodness of those around her. And especially of the Father she admires, and in a way, is more like her than not.

Amy Ryan (Sister Aloysius) and Quincy Tyler Bernstine (Mrs. Muller) in Roundabout Theatre Company’s new Broadway production of Doubt: A Parable. Photo by Joan Marcus.

The clarity of belief between these two Sisters doesn’t exactly line up with one other. The younger, more inexperienced Sister James leans towards trust and faith. Sister Aloysius lives and breathes in a more joyless rigid upright distaste for anything remotely tender, secular, or ultimately pleasurable, all the stances the Father seems to embrace. Her dissection of the Christmas favorite, “Frosty the Snowman” is brilliant in its deconstruction, and expertly reveals so much about the Sister to our utter amazement. The internal formulations live in that space where Doubt and confusion linger, especially as we bear witness to the phenomenally sharp performance of Quincy Tyler Bernstine (Signature’s Our Lady of 121st Street) as Mrs. Muller, the young boy’s mother. That surprisingly delicate dance, superbly written and delivered into the room between the Sister, her accusations, and a mother’s calculated response is one of the strongest combustible moments in this thoughtful play, unraveling another dimension that few saw coming. Its magnificence lies in its honest approach, one that overturns a Sister’s ideals without her even comprehending her impact.

Doubt: A Parable throws powerful ideas and metaphors up like feathers in the wind, creating compelling darkness where an interested compassionate face should and could have been. Father Flynn literally towers over the courtyard in a way that shifts the ground beneath him. But he is no match against the hardness and pointed assuredness of Sister Aloysius’s piety in her pursuit against the powerful. The dynamics elevate as the crow complains in the background (a metaphor for the Sister? or the Father?), as we watch the principled Sister slide back into the darkness of certainty and then Doubt. It tunes us into the dynamic of not knowing, delivering the 90-minute piece forward to a brilliant conclusion that keeps the great hand of the righteous pointing at the guilty (whomever you believe is the crow who should be holding that guilt) as Doubt most powerfully envelopes them all.

Doubt0159 (l to r): Liev Schreiber (Father Flynn) and Zoe Kazan (Sister James) in Roundabout Theatre Company’s new Broadway production of Doubt: A Parable. Photo by Joan Marcus.
David Zayas and Cecily Strong in MTC’s Brooklyn Laundry at New York City Center – Stage I. Photo by Jeremy Daniel.

Another play by the great John Patrick Shanley, Brooklyn Laundry is getting a similarly top-notch folding at MTC’s New York City Center – Stage I. It’s a tenderly performed unpacking, but unlike Doubt, this play is only a small load, just under the required weight, in a much too large machine, engaging us with their cleverness and honesty, but failing to fully find a theme and formula to make us want or need to sit in this laundromat for the duration of this washing.

Forever spinning in a cycle of vague possibilities, Shanley throws an overabundance of dramatic stains in the matching, like terminal illness, death, and aloneness, without ever really formulating an authentic road to take the piece down. It wallows in unhappiness and despair, grief and depression, with nowhere to really go beyond a structuring that seems to focus its salvation on a problematic man who never really gives us the impression of solidness.

Cecily Strong and Florencia Lozano in MTC’s Brooklyn Laundry at New York City Center – Stage I. Photo by Jeremy Daniel.

Like his equally light beginning of “Moonstruck“, Brooklyn Laundry finds its cleaning formula in the simplest of spaces, a laundromat owned by a charming seemingly sweet man named Owen, played with connectivity by David Zayas (MTC’s Cost of Living). He finds himself working the day shift because of an awol employee, then in walks the tense and combative Fran, played with compassion by the engaging Cecily Strong (Apple TV’s Schmigadoon!). She’s a regular with a store credit and a gloomy disposition, yet Owen, feeling some sort of connection to this woman, engages and asks her out for dinner. Fran doesn’t really know what to do with that. She has a life filled with guilt, sadness, overwhelming familial obligations, and a desk job that probably contributes to all the above. Her life is studio-apartment-recently-dumped-rough, with a dying sister whom she wishes she had gotten to know better when she had the chance.

Yet she agrees to the dinner, somewhat hesitantly, knowing that Owen has his own baggage and ghosts. And with a cosmic push from her dying sister, played to high heavens most wonderfully by Florencia Lozano (Signature’s Rinse Repeat), the two come together, finding organic chemistry in their discomfort, fear, and lack of enough grilled alternates. It’s a fragile coupling, based on a few sweet gestures, and a mouthful made for shedding mushroom armor and insults. There’s no chicken to be had here, so they forge their way forward into each other’s arms, hoping to find relief from whatever is ailing them.

Andrea Syglowski and Cecily Strong in MTC’s Brooklyn Laundry at New York City Center – Stage I. Photo by Jeremy Daniel.

The problem is the stains that are stuck to them are not so hard to wash out, especially when we can’t really see or know much about their composition. Owen and Fran give off a nice fresh scented engagement with one another, but no real heat or intimate chemistry, beyond what they swallow. The flirtation is fun, but without weight or staying power, it leaves us unsure when push comes to shove in the form of Fran’s other sister, Susie, played well by Andrea Syglowski (Primary Stages’ DIG), and all the dirty laundry she leaves at her feet.

Directed with a casual energy by playwright Shanley, Brooklyn Laundry plays out its flirtations on a rotating arena of formulas, designed in detail by Santo Loquasto (Broadway’s Hello, Dolly!) with effective costuming by Suzy Benzinger (Broadway’s Movin’ Out), straightforward lighting by Brian MacDevitt (MTC’s Love! Valour! Compassion!), and original music and sound design by John Gromada (Roundabout’s Birthday Candles). The dialogue floats with effort and ease, sometimes feeling overly fraught and inauthentic, while other moments, engaging and touchingly real. There’s magic in the finding, but sharpness in the mutual discarding, bouncing us back and forth in our connection to these two complicated characters.

Depth of the heart and attachment aren’t exactly offered here at Brooklyn Laundrylike it is in his much stronger Doubt, but they do find some sort of organic quality in the interactions between sisters. Those feel true, even if the dialogue feels forced and overly complicated. The men in these women’s lives treat them poorly and are forever unreliable, just like the writing inside this play. There’s trauma and overwhelming difficulties in the sisters’ lives, but Brooklyn Laundry doesn’t offer its care or its condolences. Just an idea that men are both the problem and, unfortunately, seen as the connecting salvation, at least by Strong’s Fran. “You ghosted me. I didn’t hear from you for 10 days,” Owen complains like any selfish teenage boy might say, even after learning about the death of Fran’s sister and the diagnosis of the other sister. Still, Fran sees her happiness hanging on him, like a poorly pressed shirt at a not-so-great laundromat. Even when it’s clear he doesn’t have the ability to step up when he is required to. Is this really the cure for this predicament? Or a quick bandage that will eventually, long after we leave the theatre, lose its elasticity and fall off, dirty and discarded onto the floor? I’m leaning towards the latter, and I’m also looking for a different establishment to drop off my laundry. There’s no Doubt about that.

David Zayas and Cecily Strong in MTC’s Brooklyn Laundry at New York City Center – Stage I. Photo by Jeremy Daniel.

For more go to frontmezzjunkies.com

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 last...so 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 frontmezzjunkies.com

Broadway

Ken Fallin’s Broadway: The Outsiders

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These boys are taking Broadway by storm Jason Schmidt, Sky Lakota-Lynch, and Brody Grant. In Tulsa, Oklahoma, 1967, the hardened hearts and aching souls of Ponyboy Curtis, Johnny Cade and their chosen family of “outsiders” are in a fight for survival and a quest for purpose in a world that may never accept them. A story of the bonds that brothers share and the hopes we all hold on to, this gripping new musical reinvigorates the timeless tale of “haves and have nots”, of protecting what’s yours and fighting for what could be.

The Outsiders opened on Broadway at the Bernard B. Jacobs Theatre, 242 W 45th Street.

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We Say Good Bye To Costume Designer Extraordinaire Carrie Robbins

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I met Carrie Robbins at an art gallery with Louise St Louis, Baayork Lee and Judy Jacksina. The four of us stayed well into the morning talking, laughing and having a fabulous time. Carrie and I bonded after that as she turned to playwriting. It broke my heart to learn that on the evening of April 12, 2024 Costume Designer extraordinaire Carrie Robbins passed away.

Carrie’s work has been featured in over 30+ Broadway shows, including Class Act, Grease (original), Agnes of God, Yentl, Octette Bridge Club, Sweet Bird of Youth (Lauren Bacall), Frankenstein, Happy End (Mary Streep), Boys of Winter, Cyrano (Frank Langella), & Shadow Box (Mercedes Ruehl).

Her awards and nominations included: 2012 recipient of the Irene Sharaff Lifetime Achievement Award presented by the Theatre Development Fund & the tdf/Costume Collection with the support of the Tobin Theatre Arts Fund. 2 Tony (Noms.), 5 Drama Desks, Maharam, USITT/Prague International, L.A. Dramalogue, Henry Hughes, F.I.T-Surface Design, & Audelco, among others.

Robbins’ costumes for the Irving Berlin musical White Christmas played major cities in the USA, Broadway, and Great Britain. Her regional work included M. Butterfly and On the Verge, for director Tazewell Thompson (Arena Stage) and the Gershwin musical American in Paris by Ken Ludwig for director Gregory Boyd (Alley Theatre, Houston) as well as The Tempest (Anthony Hopkins as Prospero) & Flea in Her Ear (director Tom Moore at Mark Taper Forum), many productions for the Guthrie (MN), Williamstown, and many others from Alaska to Buffalo.


Locally, in NYC, Robbins designed for many productions for The Lincoln Center Repertory Theatre, Chelsea Theatre at BAM, Acting Company at Juilliard and NY Shakespeare Festival.

She also designed for the Opera and they included Death in Venice for Glimmerglass (’08 Prague International Design Exhibit), Samson et Dalila (San Francisco Opera, Houston Grand, more), and many productions for Sarah Caldwell’s Opera Company of Boston. Her work has also been seen at the Hamburg StatsOper.

For film Robbins designed the movie “In The Spirit” (Elaine May, Peter Falk, Marlo Thomas); TV design included: Saturday Nite Live, PBS Arts in America, & several unseen pilots.

Robbins has designed clothes for several seasons of Queen Esther Marrow and The Harlem Gospel Singers’ European Tour. She also did the designs for The Cincinnati Ballet’s new Nutcracker, in December of 2011

Robbins was an MFA grad from the Yale School of Drama and was Master Teacher of Costume Design at the NYU Tisch School of the Arts for many years. She is extremely proud of the extraordinary number of award-winning, successful young costume designers and costume teachers across the country who came out of her classes.

Besides being a costume designer Carrie also was a playwright. In August 2010, her play, The Death & Life of Dr. Cutter, a Vaudeville, based on the true stories told by her husband Dr. R.D.Robbins, had its 4th reading at the Snapple Theatre Center; it was chosen by Abingdon Theatre Co, NYC, to be part of its First Readings Series in Fall, 2009. In 2011-12 the  League of Professional Theatre Women chose The Dragon Quartet as part of its 30th year anniversary celebration. In 2012-13, La MaMa (oldest off-off-Broadway theater in NYC at 51 years) chose The Diamond Eater for its “Concert Reading Series”. In 2013: TACT (The Actors Company Theatre, chose Sawbones for part of its newTACTics New Play Festival. In 2014 both The Diamond Eater and Sawbones  received 6 Nominations from N.Y. Innovative Theatre Awards (the most nominations given out in the 2014 season). In 2015, Le Wedding Dress, was a semi-finalist in NYNewWorks Theatre Festival. In 2016: Obsessions Of An Art Student chosen by NYNewWorks Theatre Festival. In 2016, The Actress, was a finalist in NY Thespis Summer Festival. In 2017, My Swollen Feet, chosen by NY Summerfest Theatre Festival/ Hudson Guild Theatre. In 2018 The Diamond Eater , semi-finalist at the 14th St. Y competition War + Peace/2018/19 season and The Dragon Griswynd, was chosen by Theater for the New City for its “Dream-Up Festival” In 2019 Pie Lessons, was invited by Crystal Field, Exec. Artistic Director of Theater for the New City, to be part of “Scratch Night at TNC”.

The last thing Carrie was working on was For The Lost Children Of Paris. This play was about how the Nazis, with help from the Vichy Government, collected French-Jewish schoolchildren and delivered them to Auschwitz. Excellent German record-keeping revealed 11,400 children were taken. At the liberation, only 200 were found alive. This is the story of one classroom’s collection day and its aftermath.

She did this play using puppets as the children.

Carrie had a voice that she used in a multiple of ways. She was a caring friend, a dedicated teacher, a prolific writer and costume designer, who always cared about others first. Carrie you will be missed.

 





 

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Patti LuPone Returns to Broadway and The Big Screen

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Three-time Tony Award winner Patti LuPone, who gave up her Equity card in 2022, will star opposite Mia Farrow in Jen Silverman’s new play, The Roommate. The production will be directed by Jack O’Brien and will begin previews at the Booth Theatre in August ahead of a September opening.

The Roommate tells the story of Sharon, in her mid-fifties, who is recently divorced and needs a roommate to share her Iowa home. Robyn, also in her mid-fifties, needs a place to hide and a chance to start over. But as Sharon begins to uncover Robyn’s secrets, they encourage her own deep-seated desire to transform her life completely. A dark comedy about what it takes to re-route your life – and what happens when the wheels come off.

The Roommate premiered at the Actor’s Theatre of Louisville in March 2015, and has had several regional productions including at Williamstown Theatre Festival in 2017.

Ms. LuPone will star in the upcoming Marvel series, WandaVision spinoff series Agatha: Coven of Chaos. She’s in a coven of witches, playing Lilia Calderu, who is hot, with a great body and hair. Calderu, first appeared in Marvel comics in 1973 as a 450-year-old Sicilian witch whose power is divination and whose trial is tarot. The other witches are Kathryn Hahn, Aubrey Plaza, and a familiar who is played by Joe Locke. Locke, is currently on Broadway in Sweeney Todd.

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Cabaret Celebrated Broadway Legend Joel Grey’s Birthday

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Last night, Eddie Redmayne currently in previews as the ‘Emcee’ in Cabaret at the Kit Kat Club celebrated Broadway legend Joel Grey’s 92ndbirthday on stage at the August Wilson Theatre. Grey, who originated the role of the ‘Emcee’ on Broadway in 1966 and went on to star in the beloved film of Cabaret, took the stage as the entire cast, band, and creative team sang “Happy Birthday” while a custom cake, shaped like a giant pineapple, emerged from the stage.

 During his speech honoring Grey, Eddie Redmayne said, “Tonight is an extraordinarily special night for us because we are in the presence of an extraordinary human being without whom none of us would be here.” After thunderous applause, Redmayne continued “Your performance in this part changed my life and it was one of the things that made me want to be an actor.”

Joel Grey, Gayle Rankin, and Eddie Redmayne Photo by Jenny Anderson

The cast and Grey were also joined on stage by Cabaret composer John Kander.

Alongside Joel’s daughter Jennifer Grey and Kander, a star-studded crowd came out to fete the theater icon including Anderson Cooper, Candice Bergen, Jackie Hoffman, Jane Krakowski, Lin-Manuel Miranda, David Rockwell, and more. They were joined by numerous alum of Cabaret spanning the decades including Maude Apatow (Sally Bowles in London, 2023), Madeline Brewer (Sally Bowles in London, 2022), Joely Fisher (Sally Bowles on Broadway, 2000), Gina Gershon (Sally Bowles on Broadway, 2001), Mason Alexander Park (Emcee in London, 2023), Adam Pascal (Emcee on Broadway, 2003), Molly Ringwald (Sally Bowles on Broadway, 2002), Jake Shears (Emcee in London, 2023), and Brooke Shields (Sally Bowles on Broadway, 2001).

Cabaret at the Kit Kat Club is now in previews on Broadway at the August Wilson Theatre (245 West 52nd Street). The production, directed by Olivier Award winner Rebecca Frecknall and designed by Tony Award nominee and Evening Standard Award® winner Tom Scutt, will have decadent twin opening night gala celebrations starting Saturday, April 20 and continuing into the following night, with the official press opening on Sunday, April 21. Tickets are on sale now at www.kitkat.club or via Seat Geek HERE.

In addition to Redmayne, Cabaret also stars Gayle Rankin as the toast of Mayfair ‘Sally Bowles, two-time Tony Award winner Bebe Neuwirth as ‘Fraulein Schneider,’ Tony Award nominee Ato Blankson-Wood as ‘Clifford Bradshaw,’ Obie Award winner and Drama Desk Award® nominee Steven Skybell as ‘Herr Schultz,’ Henry Gottfried as ‘Ernst Ludwig,’ and three-time Helen Hayes Award winner Natascia Diaz as ‘Fritzie/Kost.’

The cast of Cabaret includes Gabi Campo as ‘Frenchie,’ Ayla Ciccone-Burton as ‘Helga,’ Colin Cunliffe as ‘Hans,’ Marty Lauter as ‘Victor,’ Loren Lester as‘Herman/Max,’ David Merino as ‘Lulu,’ Julian Ramos as ‘Bobby,’ MiMi Scardulla as ‘Texas,’ and Paige Smallwood as ‘Rosie.’ Swings include Hannah Florence, Pedro Garza, Christian Kidd, Corinne Munsch, Chloé Nadon-Enriquez, and Karl Skyler Urban.

The Prologue Company, the dancers and musicians that welcome audiences to the club, feature dancers Alaïa, IRON BRYAN, Will Ervin Jr., Sun Kim, Deja McNair and swings Ida Saki and Spencer James Weidie. The musicians of the Prologue are Brian Russell Carey (piano & bass), Francesca Dawis (violin), Keiji Ishiguri (dedicated substitute), Maeve Stier (accordion), and Michael Winograd (clarinet).

For this thrilling production of Cabaret, the creative team have transformed the August Wilson Theatre into the Kit Kat Club with an in-the-round auditorium and custom spaces which guests will be invited to explore during the Prologue, the production’s pre-show entertainment. After purchasing tickets, guests will receive a “club entry time” to allow them to take in the world of the club before the show starts.

Patrons can upgrade their experience at the Kit Kat Club with exclusive dining or drinks packages that allow them to soak up the pre-show atmosphere. These various upgrades offer unparalleled service and unique experiences in the heart of the Kit Kat Club. Drinks can be enjoyed before and during the show, while food will be cleared shortly before the performance begins, ensuring uninterrupted and unmissable views of Cabaret. For a complete menu and more information on the upgrade packages, please visit www.kitkat.club/upgrade.

The 2021 Original London Cast Recording of Cabaret featuring Eddie Redmayne and recorded during a live performance is available on Decca Records as a CD and to stream on all major platforms. To order the album or stream it, please visit https://cabaret.lnk.to/ListenNow

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Stephen Sondheim Memorabilia to be Auctioned Off

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Stephen Sondheim

Doyle Auctioneers & Appraisers has announced the auction of the Collection of Stephen Sondheim on Tuesday, June 18 at 10am EDT. This landmark auction will offer over 200 lots of memorabilia, furnishings, antique puzzles and more from Mr. Sondheim’s Manhattan townhouse and his country home in Roxbury, Connecticut.

Poster for the 2006 Broadway revival of Company signed by Stephen Sondheim and George Furth

The lyricist of West Side Story and Gypsy and composer/lyricist of Company, Follies, Sweeney Todd, Sunday in the Park with George and Into the Woods, among many others, Stephen Sondheim was the twentieth century’s most brilliant and influential contributor to American musical theater. Fans of Mr. Sondheim’s musicals and collectors alike will delight at the memorabilia within the auction, from his gold record for West Side Story to his custom-embroidered asylum coat from Sweeney Todd.

In addition to professional accomplishments, Mr. Sondheim was a sophisticated collector. He lived among antiques and curiosities of the Victorian and Edwardian eras and assembled an unparalleled collection of early puzzles, games, rebuses, coin-operated machines and ephemera that reflected his endlessly inquisitive mind.

The public is invited to the exhibition on view from June 14 through 17 at Doyle, located at 175 East 87th Street in New York. Select highlights will tour Doyle’s regional galleries during the month of May. The auction catalogue will be available on May 20. Learn more about the auction at Doyle.com

 

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