For a long time, I’ve been an inveterate watcher of TV series not (or not yet) available in the States, partly out of cultural curiosity, partly because it’s a vicarious form of travel. We shall not in a public forum discuss the means by which this is accomplished, but it has afforded me some amazing opportunities leading to actual travel (stories for another time) and more importantly for our puroses here, introduction to some astonishing artists.
Tippy top on that list is a spectacular actor named Richard Roxburgh (pronounced ROCKS-burr-uh), first encountered by me as star of the exhilarating, eccentric comedy-drama Rake (original ongoing Australian version, not to be confused or blamed for the well-intentioned but misguided and short-lived American remake)—my favorite series in the seven years and four irregularly appearing seasons (of 8 eps each) of its existence. So to say I approached his live-on-Broadway appearance in The Present with some enthusiasm puts the caee quite mildly.
It does his excellent co-star Cate Blanchett and the supporting cast, not to mention the enterprise itself, a disservice to declare Mr. Roxburgh as the reason to attend, or alone worth the price of admission or any such encomium—for indeed, the whole of the experience is quite extraordinary—but I’ll defend my fanboy cheer to this extent, at least: he is every bit the dynamic force of nature he seems on the tube, in real life.
And of course it is his character, Platonov, for which the source play derives its adopted title. Adopted, because said play, an overlong first effort by Anton Chekhov, never produced in his lifetime, was also never formally titled by its author. It’s as sensible a title as any, though, because Platonov is indeed one of two characters around whom the play revolves. So why, then is Anton Chekhov’s adaptation, set in a more-or-less contemporary, post-Peristroika Russia, named The Present? Because the theme he’s chosen to emphasize (not an uncommon Chekhov thread), is the conflicts when arise among and within people who try to hold onto the past while navigating the here and now.
Platonov is a Chekhov archetype: once an aspiring writer who never achieved his potential, now a teacher, suppressing the feeling of failure. His contempt for status quo conventionalism is both righteous—which renegade roguishness makes him attractive to more women than he can handle, most of whom he uncontrollably seduces, as he resists the one he wants most of all—and unearned, because he is, after all, a sellout to his own convictions—which makes him as easily a threat to some men and a buddy-magnet to others, because the contradiction of his verbal facility and easy charisma makes him seem both better and worse than they are.
The second character at the center of the growing maelstrom is that one woman Platonov must resist, Anna Petrovna (Ms. Blanchett). The play begins on the occasion of her 40th birthday. She is ten years widowed, bored out of her skull, and desperate for a purpose beyond just languishing in her inheritance. Platonov and many others have gathered to celebrate at the old country house where they knew each other two decades before, each of them a troubled fulfillment of what they were or hoped to be. Also among the guests are much misspent passion, a pistol, a shotgun and a lot of booze. And you know Chekhov’s rule about not bringing anything onstage unless you intend to use it. And for all the heartache and sadness, it is also uproariously funny, which Chekhov always intended his plays to be, and which they rarely are, in English.
Under the direction of John Crowley, the play is magnificently acted by the stars and the rest of the ensemble in this production imported from the Sydney Theatre Company. And it’s scenically and visually always surprising, as each act of the four begins (sets and costumes: Alice Babidge).
Caveats? Well, one. Mr. Upton’s script, though it tracks and develops the relationships beautifully, seems less on target with its depiction of contemporary Russia. At any given moment, I wasn’t quite sure how contemporary we were; 1990s? Last year? This extends to the colloquial English as spoken by Australian actors; there’s a fluidity to it that’s unguarded in a Western World way, that doesn’t seem quite from the Eastern bloc. (What English would? Tom Stoppard managed it in Rock ‘n’ Roll. As did John Hodge in Collaborators. It’s far less about technique and idiom than sensibility, and at the moment I can’t quantify it more than that.) Why doesn’t it matter that much? Because at the same time, Upton’s script, with Crowley’ direction and Babidge’s, has at least convincingly given us an insular little world; one might almost describe it as a society subset never-never land. These folks may have ties to the outside world, but once they step over the threshold of property, they’re in a bubble where the outside world is incidental to what haunts them and binds them to each other. All of which appears to be quite intentional.
The play may be called The Present, but it’s one you’ll recall vividly in the future.
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Broadway
Theatre News: Bob Fosse’s Dancin’, Parade, The Shubert Organization and Millennials Are Killing Musicals,
Tovah Feldshuh, Huma Abedin, Hillary Clinton at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Secretary Hillary Rodham Clinton at Bob Fosse’s DANCIN’. Photo by Bruce Glikas
The curtain was raised last night at The Music Box Theatre (239 West 45th Street) as Bob Fosse’s Dancin’, the American showbusiness legend’s landmark musical tribute to the artform that defined his life, opened on Broadway 45 years after the original smash-hit production premiered. The production’s direction and musical staging is by Tony Award-winner Wayne Cilento, one of the stars of the original Broadway production, and is produced in cooperation with Nicole Fosse.
Wayne Cilento and Bernadette Peters. Photo by Emilio Madrid
Chita Rivera at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
In attendance on opening night were Secretary Hillary Rodham Clinton, Nicole Fosse; original A Chorus Line cast members Baayork Lee, Donna McKechnie, Priscilla Lopez; Chita Rivera; Erich Bergen; Jordan E. Cooper; Tovah Feldshuh; J. Harrison Ghee; Jane Krakowski; Adam Lambert; Ralph Macchio; Abby Lee Miller; Audra McDonald; Casey Nicholaw; Justin Peck; Tiler Peck; Bernadette Peters; Tonya Pinkins; Tony Roberts; David Rockwell; Krysta Rodriguez; Christopher Sieber; Jennifer Simard; Will Swenson and more.
A CHORUS LINE original cast members Priscilla Lopez,Donna McKechnie Baayork Lee photo by Bruce Glikas
Priscilla Lopez at Opening Night of DANCIN. Photo by Emilio Madrid
Dancin’is Fosse’s full-throated, full-bodied celebration of dancers and dancing. Utterly reimagined for the 21st century, this Dancin’brims with a level of warmth, emotion, and color seldom seen in modern interpretations of Fosse’s influential style and features some of his most inventive and rarely performed choreography. With New York’s hottest cast performing wall-to-wall dance, including Fosse classics such as “Mr. Bojangles,” and “Sing Sing Sing.” Dancin’ delivers the quintessential Broadway experience for Fosse fans and first-timers alike. You think you’ve seen dancing, but you’ve never seen Dancin’like this.
Cast of Bob Fosse’s DANCIN’ Opening Night photo by Emilio Madrid
Curtain call of Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
The cast, consisting of some of the best of Broadway’s elite dancers includes Ioana Alfonso (Hometown: Miami via DR/PR), Yeman Brown (Hometown: Tallahassee, FL), Peter John Chursin (Hometown: San Francisco, CA), Dylis Croman (Hometown: Dallas, TX), Jovan Dansberry (Hometown: St. Louis, MO), Karli Dinardo (Hometown: Melbourne, Australia), Tony d’Alelio (Hometown: Roanoke, VA), Aydin Eyikan (Hometown: Fairfield, CT), Pedro Garza (Hometown: Abilene, Texas), Jacob Guzman (Hometown: Brockton, MA), Manuel Herrera (Hometown: Charlotte, NC), Afra Hines (Hometown: Miami, FL), Gabriel Hyman (Hometown: Chesapeake, VA), Kolton Krouse (Hometown: Gilbert, Arizona), Mattie Love(Hometown: Layton, UT), Krystal Mackie (Hometown: Brooklyn, NY), Yani Marin (Hometown: Miami, FL), Nando Morland (Hometown: Colombia / Denver, CO), Khori Michelle Petinaud (Hometown: Centreville, VA), Ida Saki (Hometown: Dallas, TX), Ron Todorowski (Hometown: Pittsburgh, PA), and Neka Zang (Hometown: Scottsdale, AZ).
Adam Lambert at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Abby Lee Miller at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Bob Fosse’s Dancin’ is produced by Joey Parnes, Hunter Arnold, Kayla Greenspan, Rodger Hess & Michael Seago, Jay Alix & Una Jackman, Bob Boyett, The Shubert Organization, James L. Nederlander, Tim Forbes, Carson Gleberman, Park West Productions, McCabe Ventures, Fran Kirmser & Jodi Kaplan, Greg Young, The Fabulous Invalid, Julie Hess & Tommy Hess, and The Old Globe in cooperation with Nicole Fosse.
Wayne Cilento at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Nicole Fosse at Opening Night of Bob Fosse’s DANCIN’. Photo by Emilio Madrid
Bob Fosse’s Dancin’ originally opened on Broadway at the Broadhurst Theatre on March 27, 1978 and later transferred to the Ambassador Theatre. The production ran for 1,774 performances. Dancin’ was nominated for seven Tony Awards, including Best Musical, and brought Fosse his seventh Tony Award for Best Choreography.
Nicole Fosse and Wayne Cilento photo by Emilio Madrid
This production of Bob Fosse’s Dancin’ premiered at San Diego’s Old Globe Theatre from April 19, 2022, to June 5, 2022.
Interscope Records is proud to announce the cast album for the “brilliant” (Variety) 2023 revival of Parade — Alfred Uhry and Jason Robert Brown’s award-winning musical, which opened on March 16 at New York’s Bernard B. Jacobs Theatre to rave reviews. Parade (2023 Broadway Cast Recording) features the vocal talents of Tony, Grammy, and Emmy Award® winner Ben Platt and Micaela Diamond and conducted by composer Jason Robert Brown, and will be released on Thursday, March 23. Pre-order it HERE.
Leo and Lucille Frank (Ben Platt and Micaela Diamond) are a newlywed Jewish couple struggling to make a life in the old red hills of Georgia. When Leo is accused of an unspeakable crime, it propels them into an unimaginable test of faith, humanity, justice, and devotion. Riveting and gloriously hopeful, Parade reminds us that to love, we must truly see one another.
The current revival of Parade, which is directed by two-time Tony Award nominee Michael Arden, has received overwhelming acclaim since its debut. Entertainment Weekly called it “a phenomenal production that feels more poignant and powerful than ever,” while Variety said, “Ben Platt stuns in a powerful Broadway production of an essential American musical.”
Platt (Dear Evan Hansen, The Book of Mormon) and Diamond’s performances (The Cher Show) were singled out for praise. Deadline gushed “Ben Platt has no trouble reminding us just why he’s become one of Broadway’s most beloved performers. His vocals here are stunning in a pitch-perfect performance,” while The Guardian raved that “Micaela Diamond’s singing voice is luminous.” “Micaela Diamond, as Lucille Frank, breaks your heart with no affectation whatsoever, and a voice directly wired to her emotions,” wrote The New York Times in its Critic’s Pick review. Tickets are available now at www.paradebroadway.com.
Parade (2023 Broadway Cast Recording) showcases their voices, as well as other members of the all-star cast, while capturing the essence of a musical that, Entertainment Weekly writes, “is the most gorgeous production on Broadway.” Viewers will get a special preview of the musical on March 23 when Platt and Diamond perform its signature ballad “This Is Not Over Yet” on NBC’s Today accompanied by Jason Robert Brown on piano.
Out of the Box Theatrics (Elizabeth Flemming, Founder and Producing Artistic Director; Ethan Paulini, Associate Artistic Director) is pleased to announce that Grammy and Emmy Award winner Kristolyn Lloyd (Dear Evan Hansen) will star in the Off-Broadway developmental production of Millennials Are Killing Musicals, written by Drama League songwriting contest and NAMT Challenge winner Nico Juber. The production, to be directed by Ciara Renée(Waitress, Frozen), will play a limited engagement from May 7-28, 2023, at Theatre 71 at the Church of the Blessed Sacrament (152 West 71st Street). Opening night is May 15. Tickets are on sale now at Ovation Tix.
Bob Wankel Photo by Natalie Powers
The Entertainment Community Fund, formerly The Actors Fund, the national human services organization supporting the needs of those working in the entertainment and performing arts industry, today announced that The Shubert Organization has made a $5 million gift to the Fund to support expansion of The Samuel J. Friedman Health Center for the Performing Arts in New York City, the Actors Fund Home in Englewood, New Jersey, and affordable housing and a community arts center at The Hollywood Arts Collective in Los Angeles.
The $5 million gift will be used to expand doctors’ offices and services at The Samuel J. Friedman Health Center for the Performing Arts in New York City, with additional support to the Actors Fund Home in Englewood, NJ. Funds will also be used to bolster the construction and programs of The Hollywood Arts Collective, a new affordable housing and community arts center located in the heart of Hollywood where the Central Gardens will be named in honor of The Shubert Organization.
The Shubert Organization has long supported the Fund’s ongoing work to help people in performing arts and entertainment. In 2017, The Shubert Organization unveiled The Shubert Pavilion: an expansion to the Actors Fund Home, an assisted living and skilled nursing care facility located in Englewood, New Jersey. The Shubert Pavilion houses a 25-bed short-stay rehabilitation center available to the general public and intended for people who are recovering from illness or surgery, as well as 14 assisted living beds. The facility also includes a fully equipped gym for physical, occupational and speech therapies.
Robert E. Wankel, Chairman and CEO of The Shubert Organization, also serves as Chair of The Actors Fund Housing Development Corporation Board of Directors, a role in which he supports and guides the development of affordable housing for the performing arts and entertainment community to improve lives, create jobs, foster economic development and revitalize communities. In 2022, Wankel received the Entertainment Community Fund’s Medal of Honor, an award presented at the Fund’s annual gala that recognizes individuals who have had a profound impact on the entertainment community.
“The Entertainment Community Fund is honored by the long-standing commitment of The Shubert Organization and the countless ways it supports our work to provide a safety net for people in the performing arts community,” said Fund Board Chair Brian Stokes Mitchell. “A special thank you to Bob Wankel for his continued leadership not only at The Shubert Organization, but also with the Actors Fund Housing Development Corporation Board of Directors.”
“The Shubert Organization is proud to strengthen the Entertainment Community Fund’s ability to provide affordable housing, medical care, emergency financial assistance and so much more to those in our industry,” said Robert E. Wankel. “We look forward to all that’s to come in our ongoing collaborations, from Englewood to Times Square to Hollywood and beyond.”
Kids’ Night on Broadway, is where young people age 18 and under can see a participating Broadway show for free when accompanied by a full-paying adult*. A Kids’ Night on Broadway ticket also includes restaurant discounts, parking discounts, and more. Select shows will offer in-theatre activities for kids including talkbacks and activity books.
Participating shows include:
& Juliet
A Beautiful Noise
Aladdin
Bad Cinderella
Bob Fosse’s Dancin’
Camelot
Chicago
Hadestown
Hamilton
Harry Potter and the Cursed Child
Kimberly Akimbo
Leopoldstadt
Life of Pi
The Lion King
MJ The Musical
Moulin Rouge! The Musical
Peter Pan Goes Wrong
Shucked
SIX (NOTE: due to show schedules, the Kids’ Night promotion for SIX took place yesterday)
Some Like it Hot
Wicked
If you haven’t gotten your ticket,,,,it is time to do so.
Broadway
Hadestown Celebrates Its 1000th Performance and the First Day of Spring With Lilies White, Anaïs Mitchell and Rachel Chavkin
Hadestown, the Tony® and Grammy Award®-winning Best Musical, celebrated both tomorrow’s first day of Spring and the beloved show recently achieving a milestone 1,000 performances at Broadway’s Walter Kerr Theatre (219 West 48th Street) with a surprise appearance by songwriter Anaïs Mitchell and director Rachel Chavkin.
After a heartfelt thank you from both, Mitchell and Tony Award winner Lillias White led the audience in a special performance of a classic springtime anthem. Then, as the audience departed the theater, the cast took to the Kerr’s fire escape overlooking West 48th Street and threw flowers to fans.
In addition to White, Hadestown also stars original Broadway cast member Jewelle Blackman as Persephone, Grammy Award® winner Reeve Carney as Orpheus, Tony Award nominee Tom Hewitt as Hades, and two-time Tony Award nominee Eva Noblezada as Eurydice. They are joined by Amelia Cormack, Shea Renne, and Soara-Joye Ross as the Fates. The chorus of Workers is played by Emily Afton, Malcolm Armwood, Alex Puette, Trent Saunders, and Grace Yoo. The cast includes swings Sojourner Brown, Brandon Cameron, Max Kumangai, and Yael “YaYa” Reich, Allysa Shorte, and Tanner Ray Wilson.
Hadestown originated as Mitchell’s indie theater project that toured Vermont which she then turned into an acclaimed album. With Chavkin, her artistic collaborator, Hadestown has been transformed into a genre-defying new musical that blends modern American folk music with New Orleans-inspired jazz to reimagine a sweeping ancient tale.
Following two intertwining love stories — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — Hadestown invites audiences on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers, and singers, Hadestown delivers a deeply resonant and defiantly hopeful theatrical experience.
Hadestown marks the first time in over a decade that a woman has been the solo author of a musical: writing the music, lyrics, and book, and is the fourth time in Broadway history a woman has accomplished this creative feat. It also marks the first time in Broadway history that a show’s female composer and female director both won Tony Awards for their work. Earlier this year, the landmark musical became the longest running show in the history of the Walter Kerr Theatre and holds the record for highest grossing musical in that venerated stage’s 100-year history.
The Original Broadway Cast Recording of Hadestown is one of the most streamed cast albums of all time with over 300 million streams to date. It topped Billboard’s Broadway Cast Recording chart and debuted at #8 on the Top Album chart. The CD edition features a 64-page booklet and a two-disc set, while the triple vinyl edition features a 16-page booklet. Both editions include complete song lyrics and photos of the Hadestown cast and creative team in the studio, and other exclusive content. A special limited-edition transparent green vinyl box set was just released on Friday.
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