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An Interview with Marc Sinoway on Snowy Owl’s The Waiting Game at 59E59

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Marc Sinoway, Julian Joseph,THE WAITING GAME

After a sold-out and award winning run at the 2017 Edinburgh Fringe Festival, where it was called “one of the Top 5 LGBTQ shows to see” by Huffington Post, Charles Gershman’s The Waiting Game arrives in choreographic splendor at 59E59 Theaters courtesy of Snowy Owl.

Sam’s in a coma. Paolo’s doing his best. When Geoff reveals a secret, reality and fantasy blur. This NYC premiere from critically acclaimed Snowy Owl follows a sold-out, award winning run in the Edinburgh Fringe (Best Overseas Play, Derek Awards) and explores relationships in the digital age.

Directed by Nathan Wright, The Waiting Room begins performances on Wednesday, February 6 for a limited engagement through Sunday, February 23. The cast features Joshua Bouchard (Lincoln Center/New York City Opera’s Séance on a Wet Afternoon); Julian Joseph (CBS’s “Bluebloods“); Ibsen Santos (Group.BR’s Inside The Wild Heart); and Marc Sinoway (LOGO’s “Hunting Season“).

Frontmezzjunkies was lucky enough to have a conversation with the lead actor, Marc Sinoway who tackles the complex and dynamic Paolo, and finds out what makes the actor and these other young men tick as they ping pong back and forth, in and out, with one another, as they grapple with drugs, sex, and a traumatic event.

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Julian Joseph, Marc Sinoway, Ibsen Santos, Joshua Bouchard in THE WAITING GAME. Photo by Carol Rosegg.

Ross: It’s been a long time since I sat across the room and watch you inhabit a character like you did on “Hunting Season“, so it is was great to see you on stage at 59E59 Theaters in Snowy Owl‘s The Waiting Game by Charles Gershman. The play was originally staged here for a few performances during their East to Edinburgh Festival in July 2017, before transferring to a well-received run in Scotland at the Edinburgh Fringe. How did you come to be a part of this compelling production?

Marc:  Thank you! I have been a part of this process since very early on. I initially met Charlie socially through my partner Nathan Wright (who actually directed The Waiting Game). I believe Charlie was familiar with my work on “Hunting Season” and in March of 2015 he just asked me to read a couple of scenes of The Waiting Game at an intimate event uptown called “Play with Your Dinner” (hosted/curated by Beth Lincks a.k.a. Arlene Hutton). I think at that time, The Waiting Game only consisted of the 2 scenes I read at this dinner. I liked it instantly.

In August of 2015 we did an informal reading of the full play. I actually read Geoff (played now by Joshua Bouchard) at that reading.

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Marc Sinoway, Joshua Bouchard. Photo by Carol Rosegg.

In June of 2016, Charlie’s play was entered in Planet Connections Theatre Festivity, and I played Paolo in the staged reading and I was nominated for “Outstanding Actor in a Staged Reading.” I did not win, but the recognition was really nice at that time, because I had actually thought I was done with acting…

In 2017 Charlie submitted his play to the Edinburgh Fringe and offered me the role of Paolo. The rest is history as they say…

Ross: What was your initial reaction to the play? And what drew you to the part?

Marc: Now this is an easy one thanks to Gmail’s search function. My initial not-so-articulate reaction to a very early 2015 draft of The Waiting Game (as written in an email to Charlie) was, “It’s great. Super interesting. Suspenseful. Sad. Intense. Look forward to reading more.”

I was drawn to the play for a number of reasons. I find loss and the way people deal with it particularly compelling. I also really like plays that are darker and deal with gay issues. I understand the psychology of Paolo. He’s devastated by the loss of his partner… trying to go through the motions of life and move on, busying himself with a new, younger man, but also doing anything he can to stay connected to his comatose husband… experimenting with the drugs Sam used to use, trying to connect with Sam’s boyfriend by sharing stories about the man we both knew, and even trying to connect physically. It’s all about wanting to feel close to Sam. I also super identify with Tyler… the younger guy in a fucked up relationship, inexperienced, looks up to Paolo, deals with Paolo’s baggage because he’s in love and so wants it to work. Ha. Definitely been there.

As I got more familiar with the play and developed, I found myself drawn to the mystery of it, and the way the information unfolds. The play really requires one to pay attention. I also love work that leaves possibility for magic and the unexplainable. Is Paolo making contact with Sam, even though Sam is in a coma? I mean why not? Maybe there are ways of connecting beyond our limited human understanding.

Ross: All those characters are so real, even when they are acting on their illogical impulses in ways that make us cringe, especially Tyler (Julian Joseph). What would you like to say to the young men like Tyler, especially in regards to a man like Paolo?

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Julian Joseph, Marc Sinoway. Photo by Carol Rosegg.

Marc: First of all I am so glad you noticed that the characters are acting on illogical impulses. In preparing a role an actor often feels the need to logically understand why his character does or says x. However in real life we often do not have answers to these question. We just respond the best we can in each moment. We really tried to bring the uncertainty of real life to our work in The Waiting Game. As humans we often do and say things that aren’t in line with what we really want.

Speaking as someone who has been a Tyler (a 20’s man with an older boyfriend), I don’t think it would matter what anyone says to Tyler. Tyler will keep going back and carrying on his pattern with his Paolo until HE is done with it. Nothing anyone says will make much of a difference until that point.

I think the only real advice I would give a Tyler this: “If you suspect a partner is using a lot of drugs, things will often not add-up, there are probably lies interwoven into the fabric of the relationship, so let that be a red flag.”

Ross: Is there anything you would want to teach or tell Paulo in the way he is interacting with the others? He seems selfish and indifferent to Tyler at points, and his impulsive behavior hurts the young man. And what are your thoughts about what this play is trying to tell us about love in and around gay partnership/marriage?

Marc: These are difficult questions to answer. I am playing Paulo so I identify with him, his plight if you will, ha, and I find myself becoming defensive of him. I think Paolo can come off as callous, but when it comes down to it he is broken, devastated over the loss of his partner. He is in a daze, lost… trying to just make it through.

I don’t think Paolo is ever indifferent to Tyler, I just don’t think he is capable of showing Tyler how much he needs Tyler ( of course, until the end of the play). Also, because I am defensive of Paolo, I will defend…   In any relationship, the hurt goes both ways. Tyler also hurts Paolo. Paolo tries to ask Tyler about the possibility of Sam’s soul being with us. Tyler pretty much laughs in Paolo’s face… there are a few moments like that where Paolo tries to connect with Tyler and is rebuffed.

Ross: You’re so right. Paolo is probably the most lost soul in the play. Grieving lose in a complex structure that is hard to comprehend.

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Ibsen Santos, Marc Sinoway.. Photo by Carol Rosegg.

Marc: It is clear to me that Paolo doesn’t really have anyone, he lacks a real support system. So if given the opportunity I’d tell Paolo to seek professional help and and I’d advise him against experimenting with meth. I think therapy would help Paolo through crisis, but I’m not totally sure he’d go.

Ross: As a psychotherapist who deals with recovering addicts a good deal of my time, it was difficult to watch those moments of pure escapism. But very understandable in an emotionally lost kind of way.

Marc: Hmmm. What does The Waiting Game tell us about love in and around gay partnerships marriage? Well the show definitely shows us that relationships can be really fucked up. But I don’t think this is specific to gay relationships. I think all of the themes of the play are relevant to any type of relationship. Yes, there is infidelity, lying, drug-use, violations of trust in spades (see what i did there?), but also there is so much love. Under all of the shit, there is love. More than anything these men are motivated by love.

Ross: Sam (Ibsen Santos) seems to be floating all around that well crafted stage.  How is the pong to Paulo’s ping to be taken?

Marc: Well I think Sam’s floating around very much mirrors the way in which Sam floats around in Paulo’s mind and heart. Sam may be in a coma, but his presence is always there for Paolo. Even when Paulo tries to move on, Sam looms.

This is kind of a spoiler, but… I think Sam’s “pong” can be interpreted in many ways. Either Geoff is posing as Sam to get me to sign over conservatorship, or it’s Tyler in order to get me to move on so we can give our relationship a real chance, or it’s the two of them somehow working together, or it’s Sam. I know I as Paolo certainly want to believe that it is Sam.

Ross: What do you think about that possibility?

Marc: Is it possible for us to stay connected and reach one another even if someone is in a coma, or gone? I mean what do I know? I’ve certainly felt connected in ways that defy logic.

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Marc Sinoway, Ibsen Santos, Joshua Bouchard. Photo by Carol Rosegg.

Ross: Well said. In terms of styling and direction, the use of space and props is very compelling and almost like choreography. How does it feel to be on that stage with your fellow actors doing that dance of engagement?

Marc: Thank you for that compliment. I love when our show is compared to dance. In Scotland a review called our transitions “balletic.” I mean it feels great to be a part of an ensemble where we are in sync with one another as performers, where we rely on group mind to create key moments of the show.

You know, I don’t want to tell anyone what to take away. What did you take away? 

Ross: My review is posting in a day or two  What are we to take away from their entanglements? and from the winning card played?

Marc: As far as the winning card played… it happens to be Sam who plays the winning card, which technically means that he and Geoff won the game of euchre. However, the winning card or winner, is much less important to me than the fact that we are playing the card game at all. Together. In the end we are all winners. That final scene in The Waiting Game, of the four of us enjoying ourselves around a deck of cards, is Sam, Geoff, Tyler, Paolo making contact on a higher level, disentangled from all the earthly bullshit that causes us humans so much pain. But that is just what I think. 

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Joshua Bouchard, Julian Joseph, Ibsen Santos, Marc Sinoway in THE WAITING GAME. Photo by Carol Rosegg.

Produced by Snowy Owl, The Waiting Game begins performances on Wednesday,

February 6 for a limited engagement through Sunday, February 23.

The performance schedule is Tuesday – Saturday at 7:30 PM; and Sunday at 2:30 PM. Performances are at 59E59 Theaters (59 East 59th Street, between Park and Madison). Single tickets are $25 ($20 for 59E59 Members). Tickets are available by calling the 59E59 Box Office on 646-892-7999 or by visiting http://www.59e59.org.

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

Shakespeare’s Romeo and Juliet Times Three

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It’s going to be some Shakespeare-heavy months ahead, especially around those famously doomed lovers named Romeo and Juliet, as I fly into the Stratford Festival (formally called the Stratford Shakespeare Festival) here in Ontario, Canada for their first big opening week of six shows. The week will start with Shakespeare’s Twelfth Night followed by the musical comedy about Shakespeare, Something Rotten, and then Shakespeare’s Cymbeline on night three. The fourth night will be the opening of Ibsen’s Hedda Gabler; the fifth, La Cage Aux Folles, followed by, lastly (at least for this coming week) the final opening of this particular opening week, show number six, Shakespeare’s ultimate romantic tragedy, Romeo and Juliet. (Much more follows over the summer of Canada’s fantastic Stratford Festival.)

As directed by Sam White, the founding Artistic & Executive Director at Shakespeare in Detroit, Shakespeare’s great romance Romeo and Juliet slides in at the Festival Theatre on Saturday, June 1st, 2024, starring Jonathan Mason (Stratford’s A Midsummer Night’s Dream) and Vanessa Sears  (CS/Obsidian/Necessary Angel’s Is God Is) as those starcrossed titular characters and lovers. As with the whole season, I’m hoping this production, and all the others, will live up to the festival’s high standards, and be just the beginning of a spectacular year of Shakespeare. And of these two young lovers.

Kit Connor and Rachel Zegler. Photo by Sam Levy.

After that jam-packed week in Stratford, Canada, it doesn’t end for this theatre junkie and his faithful companion. Jetting off soon after to London, England, we have another week of theatre planned. As scheduled, the two of us will see an onslaught of plays, including Chekhov’s The Cherry Orchard at Donmar, two National Theatreproductions; Hills of California and the Olivier-winning Standing at the Sky’s Edge, as well as Ian McKellen in Player Kings (Shakespeare’s Henry IV Part 1 & 2), the Royal Court Theatre’s Bluets, and (of course) the much-talked-about production of Romeo & Juliet, directed and produced by Jamie Lloyd. It just opened this week at the Duke of York’s Theatre, running from Saturday, May 11 through Saturday, August 3, starring Tom Holland as Romeo and Francesca Amewudah-Rivers as Juliet.

#RomeoJulietLDN production photography by Marc Brenner

From the photos popping up on Facebook, Lloyd’s pulsating new vision of Shakespeare’s immortal tale of wordsmiths, rhymers, lovers, and fighters is sure to be something to see. It will definitely be talked about all over the world, yet it was truly disheartening to read about all the hateful postings around the casting choice of Lloyd’s Juliet. It says, sadly, so much about our world right now, but it seems to have quieted down some (although the sting and stink must still be lingering in the air for us all), and although the reviews of this West End production came out today, I will try to stay away from them until long after. Whether the production will follow the successful path of other Lloyd hits, including the pared-down stagings of A Doll’s House that starred the incredible Jessica Chastain or the phenomenal Betrayal with Tom Hiddleston, Charlie Cox, and Zawe Ashton, remains to be seen, but I am curious if it will also find its way across the pond to Broadway.

If it does, it will have some pretty fierce competition, as another Romeo & Juliet, this one starring Heartstopper‘s Kit Connor and West Side Story‘s Rachel Zegler will begin Broadway performances on Thursday, September 26, at Circle in the Square Theatre, with an official opening night set for Thursday, October 24. The run, directed by Sam Gold, is a strictly limited, 16-week engagement, and I can not wait to get in to see it as well. All three really. And I won’t have to ask the forever question, “O Romeo, Romeo, wherefore art thou Romeo?” I’ll just have to ask which Romeo are we looking for? And which Juliet.

See video here. 

Often called the greatest love story of all time, Romeo + Juliet has captivated audiences and artists for centuries and provided the inspiration for hundreds of films, ballets, operas, novels, including the iconic Broadway musical West Side Story.

Stratford Festival’s production of Shakespeare’s Romeo and Juliet officially opens on June 1 and runs until October 26 at the Festival Theatre. Tickets are available at stratfordfestival.ca

The West End’s Romeo & Juliet officially opened on May 23rd at the Duke of York’s Theatre, London, and runs until Saturday, August 3. Tickets are available (although probably sold out) at https://www.thedukeofyorks.com/romeo-and-juliet

The Broadway production of Romeo + Juliet at Circle in the Square Theatre, with an official opening night set for Thursday, October 24, and running for a limited engagement of 16 weeks. Tickets will be available at https://romeoandjulietnyc.com/

For tickets and more information, click here.

 

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Off Broadway

The Lonely Few Rocks Big and True at MCC

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Diving into the emotionally turbulent world of rock and roll, courtesy of MCC Theater, The Lonely Few demands to be heard. It sings out loud and true with an immersive clarity, taking over the MCC space with its power and emotive energy. It’s destined to make us engage and fall in love with its guitar riffs and maddingly good vocals, as well as its two rock and roll lover leads. It carries a freshness and rawness within its more traditional power ballads and less traditional spins, and with music and lyrics by Zoe Sarnak (A Crossing; Galileo) and a book by Rachel Bonds (Roundabout’s Jonah), the achingly touching story strides and strums forward with fierce determination and a strong musical backbone, mainly because of the compelling force that lives, breaths, and sings out from the magnificent Lauren Patten (Broadway’s Jagged Little Pill) as its center stage star, Lila.

Helen J Shen and Damon Daunno in MCC’s The Lonely Few. Photos by Joan Marcus.

As the compelling lead of a mildly successful local rock band called The Lonely Few, Patten is astonishing, and the impact of the band’s musical rendering is intense and very satisfying. It’s powerfully driven and performed, with the exceptional cast giving it their all during their standing gig at Paul’s Juke Joint in their small Kentucky town. It’s a sharply defined space, courtesy of scenic designer Sibyl Wickersheimer (TFANA‘s The Tragedy of Julius Caesar) with solid costuming by Samantha C. Jones (The Gift Theatre’s Hamlet), captivating lighting by Adam Honoré (CSC’s Carmen Jones), and a solid sound design by Jonathan Deans & Mike Tracey (ATC’s Buena Vista Social Club), immersing many inside the world of the Juke Joint, and even when the space almost gets in the way of the unraveling, it lives and breaths an air of authenticity and connectivity. Backed by her loving bandmates, played engagingly by Damon Daunno (Broadway’s Oklahoma!) and Helen J Shen (Playwrights Horizons’ Teeth), making it hard to imagine they aren’t more successful, the band seems to carry the room and all of us inside with an open heart and a thrilling voice, like a well-tuned and lovingly regarded local band would, and we can’t help but join in adoringly.

Taylor Iman Jones and Thomas Silcott in MCC’s The Lonely Few. Photos by Joan Marcus.

The narrative is pretty straightforward, wrapped in musical performances built on a conventional landscape with a slight twist around a push and pull. This is a tenderly told woman-meets-woman love story, played out on stage, off stage, and somewhere out on the road, that plays its first chords when a far more famous rockstar and songwriter by the name of Amy, played strong and true by Taylor Iman Jones (Broadway’s Head Over Heels) stops by Paul’s Juke Joint. She’s there mainly to say hello to an old friend, musician, and bar owner, played lovingly by Thomas Silcott (Signature’s Boesman and Lena), and it is a tender unpacking that exists in their history, unveiled in song and storytelling. But the real sparks fly when Amy hears Lila take over the stage, the club, and the microphone with such power and emotional energy. It’s hard not to be swept up by Patten’s vocal performance and captivating presence, and Amy is smitten. As are we.

Granting us with a sharply tuned glimpse inside the lives of rock musicians living somewhat large on the road, playing the stage and their world straight from their hearts, this exquisite cast finds momentum and connection within a book that digs deep, even as it holds on to a few wrinkles in its outstretched hands that need to be ironed out. The love story is pure and connecting, even if it needs fleshing out, but we are totally forgiving and determined to believe in them as we feel the power of attraction almost as soon as they do. It’s as hypnotic as the songs and vocals we are being gifted with, courtesy of music supervisor Bryan Perri (Broadway’s Jagged Little Pill) and music director Myrna Conn (Broadway’s Pretty Woman), taking us on an emotional journey and tour of the backroads of America while navigating the music industry that these tender souls want to experience life within.

Lauren Patten and Peter Mark Kendall in MCC’s The Lonely Few. Photos by Joan Marcus.

Adding to the emotional heart is the disturbing sad arc that has Lila leaving her older and troubled brother, played well and true by Peter Mark Kendall (ATC’s Blue Ridge), to follow her dream and heart on the road with Amy. There is an ache that feels so complicated and authentic in their unpacking, thanks to the fine work done by director Trip Cullman (Broadway’s Lobby HeroSix Degrees of Separation) and director/choreographer Ellenore Scott (Off-Broadway’s Titanique), and even in the quick harshness of how it plays into the story, we stay tuned in to the engagement and complications that are thrown their way.

There is conventionality in the story, and an unconventionally in its unraveling, with emotional heartstrings pulling hard by each of the character’s dreams and fears. There is clarity and compassion in this rock musical that is getting its NYC premiere off-Broadway at MCC Theatre with some compelling back stories and attachment figures that make The Lonely Few even more powerful and electric than the performances and their songs. There is quiet engagement, even in the musical’s loudest moments, taking us in and holding us tight throughout.

Taylor Iman Jones and Lauren Patten in MCC’s The Lonely Few. Photos by Joan Marcus.

For tickets and more information, click here.
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Broadway

Summer Listening: Here We Are, Water for Elephants, Days of Wine and Roses, Harmony, How to Dance in Ohio, The Great Gatsby, Lempicka, The Outsiders, Stereophonic and Suffs  

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Today Concord Theatricals Recordings released the original cast recording of Here We Are, on CD and digital platforms worldwide. The album will be available on 2-LP, 180g baby blue vinyl on Friday, September 6. Here We Are (Original Cast Recording) has music and lyrics by Stephen Sondheim, orchestrations by Jonathan Tunick, and music supervision and additional arrangements by Alexander Gemignani, conducting a 14-piece orchestra. The album was recorded and mixed by Ian Kagey and mastered by Oscar Zambrano. The album packaging was designed by Derek Bishop. Complete production credits can be found in the album booklet available for free download HERE.

Stream, download or purchase the album HERE.

The album features the cast of Joe Mantello’s celebrated world premiere production: Francois Battiste, Tracie Bennett, Bobby Cannaval

Ghostlight Records has announced that Water for Elephants: Original Broadway Cast Recording, which preserves the show’s soaring score by the acclaimed PigPen Theatre Co., is available in streaming and digital formats today, Friday, May 17. A CD is being planned for this summer. The show has been nominated for seven 2024 Tony Awards, including “Best Musical.” Produced by Peter Schneider, Jennifer Costello, Grove Entertainment, Frank Marshall, Isaac Robert Hurwitz, and Seth A. Goldstein, Water for Elephants is currently running at the Imperial Theatre (249 West 45th Street). Water for Elephants is based on the critically acclaimed and New York Times-bestselling novel by Sara Gruen. The new musical has a book by four-time Tony Award nominee Rick Elice (Jersey Boys, Peter and the Starcatcher) and is directed by two-time Tony Award nominee Jessica Stone (Kimberly Akimbo). The album is produced by Mary-Mitchell Campbell and Ian Kagey. Stream or download the album at ghostlightrecords.lnk.to/WaterForElephants

Water for Elephants is currently running at the Imperial Theatre (249 West 45th Street). The cast stars Grant Gustin (“The Flash,” “Glee”) in his Broadway debut, Isabelle McCalla (The Prom, Shucked), four-time Tony Award nominee Gregg Edelman (City of Angels), Drama Desk and Outer Critic Circle Award nominee Paul Alexander Nolan (Slave Play), Stan Brown (“Homicide: Life in the Streets”), Joe De Paul (Cirque du Soleil’s Dralion), Sara Gettelfinger (Dirty Rotten Scoundrels), and Wade McCollum (Wicked), and features Brandon Block, Antoine Boissereau, Rachael Boyd, Paul Castree, Ken Wulf Clark, Taylor Colleton, Gabriel Olivera de Paula Costa, Isabella Luisa Diaz, Samantha Gershman, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Harley McLeish, Michael Mendez, Samuel Renaud, Marissa Rosen, Alexandra Gaelle Royer, Asa Somers, Charles South, Sean Stack, Matthew Varvar, and Michelle West.

Days of Wine and Roses written by Adam Guettel, features powerful songs like “Forgiveness” and “There Go I”, performed by Kelli O’Hara and Brian d’Arcy James. Stream the Tony Award-nominated score here.

Harmony has a score by Barry Manilow and Bruce Sussman. The cast recording was released last August. You can still stream the cast recording here.

How to Dance in Ohio released an original Broadway cast recording on January 19, 2024. To stream the album, which features “Building Momentum,” click here.

The Great Gatsby has a new score by Jason Howland and Nathan Tysen, they will release a cast album digitally on June 21, 2024. Ahead of the album’s release, hear a sneak preview of tunes “For Her” and “My Green Light”performed by Jeremy Jordan and Eva Noblezada.

Lempicka has songs that were fabulously sung by Eden Espinosa, Amber Iman, Andrew Samonsky, George Abud, Natalie Joy Johnson and Beth Leavel. The new score from Matt Gould and Carson Kreitzer will be available to stream on May 29, 2024.

The Outsiders new score by Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine will be available to stream on May 22, 2024. The songs were written by Academy Award nominee and Grammy Award winner Will Butler. You can get a sneak preview of the song “Masquerade” here.


Well Suffs is the show that will win the Tony for Best Musical and Score. The book, composer, lyricist, and star is Broadway darling Shaina Taub. The cast recording, produced by Atlantic Records, will be available to stream on June 14, 2024.

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Events

Live From The Hotel Edison Times Square Chronicles Presents Jana Robbins and Tim Tuttle

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“Live From The Hotel Edison Times Square Chronicles Presents”, is  filmed live every Wednesday from 5 – 6 now in the conference room at the Hotel Edison.

In this episode T2C’s publisher and owner Suzanna Bowling talks with Jana Robbins and Tim Tuttle. Jana Robbins is starring in A Final Toast, which opens at The Chain Theatre, 312 West 36th Street #3rd Floor, this Friday. Her performance this Thursday, which is an invited dress is dedicated to the memory of her beloved mother Edythe Elaine Eisenberg May 16, 1922 – Oct. 24, 2022.

Tim Tuttle, wrote the book, music and lyrics for 44 Lights: The Musical that opened last night at the AMT Theatre, 354 W 45th StreetTuttle worked as a trader on Wall Street, until September 11th, 2001. He turned to music to heal. 44 Lights is a chance for Tim to tell his story, to remember the many who didn’t come home, and find a way to keep their memories alive forever.

We are so proud because the show and our guests are now featured on the TV screens in the lobby and the hotel rooms.
I am so grateful to my guests Jana Robbins and Tim Tuttle.

Thank-you Magda Katz for videoing and creating the content to go live, Rommel Gopez and The Hotel Edison for their kindness and hospitality.

We are so proud and thrilled that Variety Entertainment News just named us one of Summer’s Best Picks in the category of Best Television, Radio, PodcastsThe company we are in, has made us so humbled, grateful and motivated to continue.

You can catch us on the following platforms:

Pandora:

https://www.pandora.com/podcast/live-from-the-edison-hotel-times-square-chronicles-presents/PC:1001084740

Stitcher:

https://www.stitcher.com/show/1084740

Spotify:

Amazon:

https://music.amazon.com/podcasts/e3ac5922-ada8-4868-b531-12d06e0576d3

Apple Podcasts:

https://podcasts.apple.com/us/podcast/live-from-the-edison-hotel-times-square-chronicles-presents/id1731059092

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Off Broadway

TBTB’s I Ought to Be in Pictures Zings Out One Liners Solidly

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When you think of snappy one-liners or biting comebacks, there is one playwright that comes to mind. That is the one and only Neil Simon who has a writing credit of almost 50 plays. Probably his most well-known is The Odd Couple. It was revived recently on Broadway with an all-star cast. Now one of Simon’s plays that has not been seen on or off Broadway since the early eighties is back. I Ought to Be in Pictures, produced by Theater Breaking Through Barriers, is playing at Theater Row on 42nd Street starring Makenzie Morgan Gomez (Off-Broadway Debut) as Libby, Pamela Sabaugh (Off-Broadway’s Richard III) as Steffy and Chris Thorn (Off-Broadway’s Pride and Prejudice) as Herb.

Makenzie Morgan Gomez and Chris Thorn Photo credit: Carol Rosegg

The play begins as aspiring actress Libby shows up at screenwriter Herb’s door and announces that she is his daughter whom he abandoned 16 years ago and she wants him to help her get into “pictures.” Hair/make-up artist Steffy is Herb’s one-night-a-week girlfriend for the past two years.

Makenzie Morgan Gomez, Pamela Sabaugh, and Chris Thorn Photo credit: Carol Rosegg

Thorn seems to embody Herb, the talented and once successful writer, mired in the lonely world of self-doubt who can’t trust his craft, his ideas, or his ability to keep pushing in the competitive “younger” world of the entertainment business. His anger has turned to resignation as his confidence has faded. Thorn can join in the quick and cutting war of words in the Simon script and still carry that heavy weight of failure that’s dragging him down. As Libby, Gomez is like a haboob that has swirled into Herb’s life. Her rapid-fire delivery gives the daughter the edge keeping anyone from reeling her in or rearranging her plan.

Gomez plays Libby a bit young for someone who has crossed the country traveling with a bus ticket and the rest with her thumb (think the 1970s) to get into the “pictures”, an industry she knows nothing about. But Gomez is up to the task.  Her monologues are spot on even though she can get a bit high-pitched in the excitement and her scenes with Herb ring true. Pamela Sabaugh’s Steffy is right on point. You can see her affection for both Libby and Herb and you can feel her desire to see her relationship with Herb grow. Having Libby meet Herb’s “girlfriend on Tuesdays” at the door gives Steffy some added weight in the plot and Sabaugh takes it in and runs with it.

Directed by Nicholas Vitelli (TBTB’s God of Carnage)I Ought to Be in Pictureshas a real feel for its characters and their environment, moving them around the drab living space of the dad’s small West Hollywood apartment in the late 1970s. Scenic and lighting designer Bert Scott (TBTB’s Brecht on Brecht) gives the tired apartment touches that show how Herb sees himself, tumbling on the way down; old appliances, and smudges around cabinet pulls and light switches emphasize the decline.

Theater Breaking Through Barriers (TBTB) production of  I Ought to Be in Pictures is a funny and touching comedy, hitting all the right notes with a cast that fits together seamlessly. What we have here is vintage Neil Simon giving us his classic verbal sparing that has the audience continually holding their breath waiting for the next one to zing in. TBTB is “dedicated to advancing and celebrating the work of professional artists with disabilities.” The performance included an audio description of the set and characters before the performance began and script text during the play.

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