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Andrew Lloyd Webber

Andrew Lloyd Webber Photo Genevieve Rafter Keddy

As one of the most successful composers of the modern era, Andrew Lloyd Webber’s repertoire includes some of the world’s most celebrated musicals; Sunset Boulevard, Cats, Aspects of Love, Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Evita, Starlight Express, School of Rock, The Phantom of The Opera and Love Never Dies – to name but a few. 

 Andrew Lloyd Webber Unmasked: The Platinum Collection

Andrew Lloyd Webber Unmasked: The Platinum Collection

Last year, Lloyd Webber became the only person to equal the record set in 1953 by Rodgers & Hammerstein with four shows running concurrently on Broadway (Sunset Boulevard, Cats, The Phantom of the Opera and School of Rock). Two of his shows are currently running in both Broadway and the West End: School of Rock and The Phantom of the Opera, and his musicals have grossed more than $13.6 billion and have been watched by 302 million people across 44 countries. He has sold more than 40 million albums worldwide.

In celebration of his 70th birthday this March, Andrew Lloyd Webber Unmasked: The Platinum Collection will be available March 16th through UMe / Polydor.

The collection is personally curated and overseen by Lloyd Webber to include classics from his earliest work, starting with Joseph and the Amazing Technicolor Dreamcoat , through his most recent, School of Rock.

Of the new album, Lloyd Webber says:  “I owe everyone involved in putting this compilation together a huge thank you. A vast amount of thought has evidently gone into selecting tracks from my almost fifty year old career. This compilation brings back a heap of memories – it has made this ancient composer very happy. I particularly love the new tracks and of course I love the orchestral suites. There’s nothing a composer likes more than hearing their melodies played by a cracking orchestra.”

Newly recorded songs from superstar artists Lana Del Rey (“You Must Love Me”, Evita), Nicole Scherzinger (“Memory”, Cats) and Gregory Porter (“Light at the End of the Tunnel”, Starlight Express) and add to the collection of his cherished works from the past five decades.

Of Lloyd Webber, Lana Del Rey says, “Andrew Lloyd Webber has been one of my primary inspirations in music, so to do a cover of one of his songs is a dream.”

Gregory Porter also expresses his admiration, “Andrew is an icon of not only musical theatre, but he’s an icon of music, our culture, and of our human experience.”

The Cats classic “Memory” by Nicole Scherzinger is available now as an instant grat track. Of being on the album, Scherzinger says, “Andrew’s music absolutely influenced me as an artist… It’s hard for me to fathom that I’m a part of one of Andrew’s career defining albums. That is in itself career defining for me. It’s a dream, and a lifelong accomplishment.”

The set also contains recordings by world-class performers such as Barbra Streisand, Madonna, Michael Crawford, Sarah Brightman, Michael Ball, and released for the first time, Beyoncé singing “Learn To Be Lonely” from the 2005 Academy Awards with Lloyd Webber accompanying on piano.

Unmasked: The Platinum Collection is available as 2 CD and 4 CD editions. The 4-disc version contains an exclusive 40-page book with a personally penned introduction from Lloyd Webber and in-depth notes on each track, written by respected theatre critic and Lloyd Webber biographer Michael Coveney, together with tributes from Barbra Streisand and Glenn Close among others.

The fourth disc encompasses a mix of overtures and showstoppers from Lloyd Webber’s key works, as well as newly created orchestral suites. The five new orchestral suites have been specially prepared from existing recordings, emphasising the grand orchestral aspects of his work. All CDs were mastered at Abbey Road Studios. 

Lloyd Webber’s productions have sold more than 330 million tickets worldwide. The Phantom of the Opera is the longest-running show on Broadway and second longest-running show in West End history. Cats and The Phantom of the Opera are two of Broadway’s four highest grossing shows. The Phantom of the Opera original cast album is the No. 1 Broadway album of all time in the U.S. and the #175 biggest seller among ALL albums of the SoundScan era in the U.S.  In addition to his worldwide sales and audiences, Lloyd Webber has been recognised by critics and peers with numerous accolades and awards including seven Oliviers, seven Tonys, three Grammys, one Golden Globe and an Oscar.

Also in celebration of his 70th birthday, Lloyd Webber’s new autobiography  Unmasked, will be released by HarperCollins on March 6th in the U.S. and on March 8th in the U.K.  Written entirely in his own words, Lloyd Webber recounts his fascinating life and remarkable career. A natural storyteller, with his signature humour and self-deprecating tone, Lloyd Webber shares the details of his early personal and professional years, including his early artistic influences. He takes stock of his achievements, the twists of fate and circumstance, which brought him both success and disappointment, and the passions that inspire and sustain him.

Andrew Lloyd Webber Unmasked: The Platinum Collection:

CD ONE
01 SUPERSTAR • MURRAY HEAD & THE TRINIDAD SINGERS
02 THE PHANTOM OF THE OPERA • SARAH BRIGHTMAN & MICHAEL CRAWFORD
03 OH WHAT A CIRCUS • ANTONIO BANDERAS & MADONNA 

04 LOVE CHANGES EVERYTHING • MICHAEL BALL
05 STICK IT TO THE MAN • ALEX BRIGHTMAN & THE BROADWAY CAST OF SCHOOL OF ROCK
06 MEMORY* • NICOLE SCHERZINGER

07 NO MATTER WHAT • BOYZONE 

08 WITH ONE LOOK • BARBRA STREISAND
09 BUENOS AIRES • GLEE CAST 

10 DON’T CRY FOR ME ARGENTINA • JULIE COVINGTON
11 TAKE THAT LOOK OFF YOUR FACE • MARTI WEBB 

12 I’M HOPELESS WHEN IT COMES TO YOU • JOANNA RIDING
13 LIGHT AT THE END OF THE TUNNEL* • GREGORY PORTER 

14 THE MUSIC OF THE NIGHT • MICHAEL CRAWFORD
15 GETHSEMANE ( I ONLY WANT TO SAY) • IAN GILLAN 

16 ANY DREAM WILL DO • DONNY OSMOND
17 AMIGOS PARA SIEMPRE • SARAH BRIGHTMAN & JOSÉ CARRERAS 

18 I DON’T KNOW HOW TO LOVE HIM • YVONNE ELLIMAN 

CD TWO
01 AS IF WE NEVER SAID GOODBYE • GLENN CLOSE 

02 THEME AND VARIATIONS 1-4 • ANDREW LLOYD WEBBER
03 UNEXPECTED SONG • SARAH BRIGHTMAN 

04 YOU MUST LOVE ME* • LANA DEL REY
05 EVERYTHING’S ALRIGHT • YVONNE ELLIMAN, IAN GILLAN & MURRAY HEAD
06 THE VAULTS OF HEAVEN • TOM JONES & THE SOUNDS OF BLACKNESS
07 ANOTHER SUITCASE IN ANOTHER HALL • MADONNA 

08 YOU’RE IN THE BAND • BROADWAY CAST OF SCHOOL OF ROCK

09 IT’S EASY FOR YOU • ELVIS PRESLEY

10 COLD • THE EVERLY BROTHERS
11 COME BACK WITH THE SAME LOOK • DENISE VAN OUTEN

12 I AM THE STARLIGHT* • MICA PARIS & GEORGE URE
13 MR. MISTOFFELEES • PAUL NICHOLAS 

14 TELL ME ON A SUNDAY • MICHAEL CRAWFORD
15 THINK OF ME • EMMY ROSSUM & PATRICK WILSON 

16 RAINBOW HIGH • ELAINE PAIGE
17 ALL I ASK OF YOU • CLIFF RICHARD & SARAH BRIGHTMAN
18 WISHING YOU WERE SOMEHOW HERE AGAIN (LIVE AT THE ROYAL ALBERT HALL) • SIERRA BOGGESS
BONUS TRACK LEARN TO BE LONELY* (LIVE AT THE OSCARS) • BEYONCÉ & ANDREW LLOYD WEBBER
 

CD THREE
01 JACOB & SONS/COAT OF MANY COLOURS • JANET METZ, DONNY OSMOND, MICHAEL FLETCHER & THE CANADIAN CAST 

02 CLOSE EVERY DOOR • DONNY OSMOND 

03 HEAVEN ON THEIR MINDS* (LIVE – ARENA TOUR) • TIM MINCHIN
04 KING HEROD’S SONG • ALICE COOPER 

05 SKIMBLESHANKS • KEN WELLS & THE ORIGINAL LONDON CAST OF CATS 

06 MACAVITY: THE MYSTERY CAT • WENDY EDMEAD & DONNA KING
07 YOU’VE NEVER HAD IT SO GOOD • STEPHEN WARD ORIGINAL LONDON CAST
08 I’D BE SURPRISINGLY GOOD FOR YOU • ELENA ROGER & PHILIP QUAST 

09 EVERMORE WITHOUT YOU • MARTIN CREWES 

10 I BELIEVE MY HEART • DUNCAN JAMES & KEEDIE
11 IF ONLY YOU WOULD LISTEN • THE BROADWAY CAST OF SCHOOL OF ROCK
12 SING • MILITARY WIVES

13 HOSANNA • JESUS CHRIST SUPERSTAR LONDON CAST
14 HOSANNA • PLÁCIDO DOMINGO, SARAH BRIGHTMAN & THE CHOIR OF WINCHESTER CATHEDRAL
15 PIE JESU • SARAH BRIGHTMAN & PAUL MILES-KINGSTON
16 BY JEEVES • STEVEN PACEY, SIMON DAY & NICHOLAS HAVERSON 

17 WHERE DID THE ROCK GO?* • FLORENCE ANDREWS 

CD FOUR
01 PHANTOM PHANTASY† • ORIGINAL LONDON ORCHESTRA 

02 MASQUERADE • ORIGINAL MOTION PICTURE CAST
03 ’TIL I HEAR YOU SING • RAMIN KARIMLOO 

04 LOVE NEVER DIES ORCHESTRAL SUITE† • ORIGINAL LONDON ORCHESTRA 

05LOVE NEVER DIES•SIERRA BOGGESS

06THE BEAUTY UNDERNEATH*•BEN LEWIS & CASEY LYONS
07 VARIATIONS ON VARIATIONS† • ANDREW LLOYD WEBBER
08 JESUS CHRIST SUPERSTAR OVERTURE • ORIGINAL JESUS CHRIST SUPERSTAR ORCHESTRA
09 OVERTURE AND THE BEAUTIFUL GAME† • ORIGINAL CAST AND ORCHESTRA FROM THE BEAUTIFUL GAME
10 IF THIS IS WHAT WE’RE FIGHTING FOR • JOSIE WALKER  

11 CATS OVERTURE • THE ORIGINAL LONDON ORCHESTRA 

12 THE JELLICLE BALL • CATS MOTION PICTURE ORCHESTRA 

13 SUNSET SUITE† • ORIGINAL BROADWAY ORCHESTRA 

14 SUNSET BOULEVARD • KEVIN ANDERSON 

15 ASPECTS OF ASPECTS • ORCHESTER DER VEREINIGTEN BUEHNEN WIEN 

16 SEEING IS BELIEVING • MICHAEL BALL & SARAH BRIGHTMAN 

17 ANYTHING BUT LONELY • SARAH BRIGHTMAN 

Suzanna, co-owns and publishes the newspaper Times Square Chronicles or T2C. At one point a working actress, she has performed in numerous productions in film, TV, cabaret, opera and theatre. She has performed at The New Orleans Jazz festival, The United Nations and Carnegie Hall. She has a screenplay and a TV show in the works, which she developed with her mentor and friend the late Arthur Herzog. She is a proud member of the Drama Desk and the Outer Critics Circle and was a nominator. Email: suzanna@t2conline.com

Art

Bonnie Comley Nothing To Wear

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Bonnie Comley stepped into the art world last night. She and ChaShaMa presented a piece called “Nothing To Wear”, at 340 East 64th Street, which is an interactive installation, a thought provoking look at fast fashion and body image. This provocative look at our relationship with our clothing choices as it pertains to our self image, fast fashion and textile waste, challenges the fashion industry to create an alternative to current business models and the global appetite for consumption. “Nothing to Wear”, asks viewers to question dress codes like the current policing of women in political office, facilitates self-reflection on biases regarding our own clothing and the community around us as uniform, self-expression, or just protection from the elements of weather.

Also involved were Sarah DeMarino – Co-Producer/Director, Leah Lane – Soundscape Monologue Writer and Jasper Isaac Johns the Exhibit Designer.

Sarah DeMarino and Dallas Bernstein

At the opening and on certain dates Hannah Durant Joe Guccione and Dallas Bernstein perform monologues that coincide with the project. These mini playlets were insightful and thought provoking.

Hannah Durant Joe Guccione and Dallas Bernstein

In attendance were:

Anita Durst and fashion designer Shani Grosz

Cooper Lawrence, Dr. Robi Ludwig, Errol Rappaport, Bonnie Comley, Quinn Lemley, Suzanna Bowling, Shani Grosz and Merrie Davis

Anita Durst and Bonnie Comley

Danielle Price, Bonnie Comley and Andrina Wekontash Smith

Sylvia Hemingway and Bonnie Comley

Bevin Ross and Bonnie Comley

Alyssa Ritch Frel and Bonnie Comley

Shady Kerko and McLean Mills

Frankie Lane, Bonnie Comley and Lenny Lane

Riki Kane Larmire

Bonnie is a three-time Tony Award-winning producer. She has, also, won an Olivier Award and two Drama Desk Awards for her stage productions. She was recently re-elected as the Board President of The Drama League. She is a full member of The Broadway League and the Audience Engagement and Education Committee. Comley has produced over 40 films, winning five Telly Awards and one W3 Award. She is also the founder and CEO of BroadwayHD, the world’s premier online streaming platform delivering over 300 premium live productions to theatre fans globally. The theatre community has honored Comley for her philanthropic work; she is the recipient of The Actors Fund Medal of Honor, The Drama League Special Contribution to the Theater Award, The Paul Newman Award from Arts Horizons and The Theater Museum Distinguished Service Award.

Stewart F Lane and Bonnie Comley

ChaShaMa helps create a more diverse, equitable, and inclusive world by partnering with property owners to transform unused real estate. Currently, they present 150 events a year, have workspace for 120 artists, and have developed 80 workshops in under served communities. They have awarded 11 million dollars worth of real estate to artists and have subsidizes another 300 with work spaces. They provide over 215 free art classes and have supported over 75 businesses with free space

To see Nothing to Wear click here

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Broadway

Days of Wine and Roses” the Musical Ages Like Cut Flowers, Rather Than Wine in its Transfer Uptown to Broadway

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This is my second shot of The Days of Wine and Roses, after seeing it at the smaller Atlantic Theatre off-Broadway stage, and unlike the wine mentioned in the title, time played with it like the roses. The musical, about a doomed couple destroyed by alcoholism, did not thrive, like fine wine, but wilted like cut flowers in a bigger vase. The larger stage of Studio 54, as hoped, did not make this drink taste any better for me, but it did make me notice some of the sharper tones that I must have overlooked before, leaving a slightly bad taste that still lingers in the back of my throat after swallowing.

With a book by Craig Lucas (I Was Most Alive with You) and distancingly complex music, lyrics, and orchestrations by Adam Guettel (The Light in the Piazza), Days of Wine and Roses does continue to deliver musical “magic time” in an effort to give us some abundance. It flows forward, trying to make us drunk with its intricate chocolate flavors of a Brandy Alexander, but left me cold outside in the murky waters that it tries to overlook. “What’s your tragic story?” he asks, as the two soon-to-be lovers drift forward, far too abruptly, into the choppy suburban sea of coupledom, isolation, and cocktail hours, shaken and stirred with complicated textured notes of sadness and need.

The music is soaring, in an operatic repetitive way, melodramatically hitting high, without giving much depth, much like what lives at the core of the 1958 teleplay and 1963 movie “Days of Wine and Roses” on which this new musical is based. Although the film, starring the magnificent Lee Remick and Jack Lemmon, never gives these two characters a moment to sing, even as the two fall madly in love, the premise is ripe for some introspection and investigation. These are their days of wine and roses, we are told, but here, in this sometimes compelling, but surprisingly distancing musical, the songs fling themselves out like a distress call for help from an isolated island, heaving with the intense feelings of being stranded, desperate, and seemingly on their own, but flailing in the choppy waters trying to connect. Even during the more enjoyable drunk song numbers, which are more fun and entertaining than some of the other more ‘meaningful’ songs.

Brian d’Arcy James and Kelli O’Hara in Broadway’s Days of Wine and Roses. Photo by Joan Marcus.

The musical’s ideas have depth and courage, and are delivered pitch perfectly by the two magnificent leads who carry most of the vocal weight and baggage. Brian D’Arcy James (Broadway’s ShrekInto the Woods) vocally ushers forth a Joe Clay that swings wide and true, sounding, quite possibly almost as brilliant as Kelli O’Hara (Broadway’s Kiss Me, Kate) in her role as the beautifully kind Kirsten Arnesen, the young secretary (that’s what they called them back then) who had not found the flavor of alcohol appealing until that fateful night. We watch with nervous anticipation as the drink is lifted to her lips, knowing what is in store. We hope that she doesn’t drink the Kool-Aid that Joe keeps pushing. And then they are off to the races, finding melancholy melodies in both the drunken pleasures and pain of addiction.

It’s a quick dive into the dark and dirty waters of this quicksand river. It jumps forward with wild drunken abandonment, never really feeling authentic this time around, but somehow forced and perplexing. Each song, particularly the more dramatic ones, seems to stop the story in its tracks, like a drunk trying to regain its balance as it walks down the street. The moments feel somehow true and isolated from us all at the same time, keeping us at a distance and never really engaging with us enough to want to join in with the emotional story. When the Kirsten character asks Joe if they can go somewhere other than that first scene party, it struck me as odd, as the book up to that moment has painted Joe in pretty negative annoying tones. Why she was the one who suggested that an intimate outing would be something she wanted at that exact moment didn’t really make sense. But if he had been the one asking, I could have believed, that after a little thought, she might have agreed to it, but this way around? It didn’t sit authentically true for me.

The music hangs big and bold between them, delivering the depth of their destructive ways, while keeping them isolated from the outside world (including us) that keeps shining a light on the problems that are approaching. The voices of the two leads are really the best part of this construction, with the other characters, under the direction of Michael Greif (2ST’s A Parallelogram), doing their best to step into that light, especially David Jennings (Broadway’s Tina) as Joe’s AA sponsor, Jim Hungerford, who wisely underplays this pivotal role rather than presenting a sermon. There is also the troubled father of Kirsten, played intently by Byron Jennings (Broadway’s Harry Potter…), who flounders a bit in the foreground, worried and angry about the road his daughter is taking, yet seeing clear that he has little power to challenge her path.

Brian d’Arcy James and Kelli O’Hara in Broadway’s Days of Wine and Roses. Photo by Joan Marcus.

Guettel pours out song after jagged song, exposing the twisted engagements that are taking over their lives. It’s troubling and upsetting to watch, and sometimes very difficult to follow along with the lyrics, even when so beautifully sung. The songs teeter on melodrama and mayhem, and the two leads strive forward, wobbly, leading us through the tangled path they are taking. The ideas and formulations don’t exactly mesh and blend in with each other, separating songs from the action, and the heart from the formula, all on an awkwardly complicated set designed by Lizzie Clachan (National Theatre’s The Witches). The piece somewhat stays far too close to the expanse of the film version, struggling to keep up, and crowding the stage more and more as it gets closer to the final blackout. I went in hoping that with the larger Broadway stage, a sharpening of its visual could have settled the piece, simplifying the locations and finding other ways to tell this tale without bringing a room full of plants, coffeeshop counters, and a motel room into the already crowded picture.

With determined costumes by Dede Ayite (Broadway’s Topdog/Underdog), simple lighting by Ben Stanton (Broadway’s Good Night, Oscar), and a solid sound design by Kai Harada (Broadway’s Kimberly Akimbo), the piece never shuffles with ease. This isn’t a hummable show, more akin to an opera led by two, at least in the beginning, before their daughter, Lila, dutifully portrayed by Tabitha Lawing (Atlanta Opera/Alliance’s The Shining), begins to join them in their vocal union, expanding what is at stake, from a pair to something more. Lila and her mother’s correspondence is one of the few moments that actually registered on the emotional spectrum inside, while the rest blurred together like a movie viewing after one too many martinis.

Under the watchful eye of choreographers Sergio Trujillo (Broadway’s Next to Normal) and Karla Puno Garcia (Netflix’s tick, tick…BOOM!), and backed most gorgeously by the score courtesy of music director Kimberly Grigsby (Broadway’s Camelot), The Days of Wine and Roses rolls forward drunkenly playing a tender but blurry game of hide and seek, teasing us with highend music and magnificent performances, but leaving us, somewhat unsettled and distant from this fragmented and choppy musical melodrama.

Kelli O’Hara and Brian d’Arcy James in Broadway’s Days of Wine and Roses. Photo by Joan Marcus.

For more go to frontmezzjunkies.com

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Broadway

Ken Fallin’s Broadway: Sweeney Todd’s New Cast

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Aaron Tveit and Sutton Foster joined the Broadway revival of Sweeney Todd February 9th, at the Lunt-Fontanne Theatre. They replaced Josh Groban and Annaleigh Ashford, who both earned 2023 Tony nominations for their leading performances in the production.

The Tony Award winning Tveit stepped into the role of Sweeney Todd, which is his first Broadway role since he originated the lead, Christian, in Moulin Rouge! The Musical. He is also known for his performances in Wicked, Catch Me If You Can, Hairspray, and Rent. Tveit has also portrayed several musical theatre roles on screen, such as Enjolras in the film adaptation of Les Misérables (2012), as well as Danny Zuko in Fox’s Grease: Live (2016). In television, he was Gareth Ritter on BrainDead, Tripp van der Bilt on Gossip Girl, Mike Warren on Graceland, and Danny Bailey/Topher in Schmigadoon!.

Foster’s last Broadway role was Marian Paroo in the 2021 revival of The Music Man, which earned her a Tony nomination the following year. She has earned six additional nominations and she is a two-time Tony winner for Thoroughly Modern Millie and Anything Goes. Her other credits include Violet and Little Women. In 2016, she starred opposite Aaron Tveit and Betty Buckley in the Stephen Schwartz revue Defying Gravity in Australia. She appeared in the Off-Broadway revival of Sweet Charity and was in the miniseries Gilmore Girls: A Year in the Life opposite her ex-husband, Christian Borle. She made guest appearances on The Good Wife and Mad Dogs, she is known for her role as Liza Miller in Younger. A month earlier she wow’d audiences as Winfred in the Encore production of Once Upon A Mattress.

Now the two are winning raves in this macabre masterpiece of musical theatre,

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Broadway

Museum of Broadway Celebrates Black History Month

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Museum of Broadway, 145 W. 45th Street, upcoming February Events

Saturday, February 24th | 12:00 PM

The Museum of Broadway Presents: A History of Minstrelsy with Ben West 

Join musical theatre artist and historian Ben West, author of the upcoming book The American Musical, for a journey into the history of minstrelsy, including its legacy of blackface on Broadway, its trailblazing Black artists, and its impact on the development of the American musical. Note: This talk will involve mature content.

– Event link here

Monday, February 26th | 11:00 AM

The Museum of Broadway Presents: A Conversation with Black Broadway Creatives

Join in celebrating and honoring the lives, careers, and experiences of Black Broadway creatives in the American theater.  Panelists include Ken Hanson, Dante Harrell, Destiny Lilly, Zane Mark, Thelma Pollard and Virginia Woodruff, in-conversation with Erich McMillian-McCall of Project 1 Voice.

– Event link here

Wednesday, February 28th | 12:00 PM

The Museum of Broadway Presents: Mary & Ethel…And Mikey Who? 

Talkback and Book Signing with award-winning author Stephen Cole joined by famed cabaret star Klea Blackhurst and special guest Anita Gillette

– Event link here 

Thursday, February 29th |10:30 AM

The Museum of Broadway Presents: Spotlight on Black Broadway Producers

Join acclaimed award-winning producers Rashad Chambers, Sade Lythcott & Brian Anthony Moreland in-conversation with Merrily We Roll Along’s Krystal Joy Brown

– Event link here

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Broadway

The Glorious Corner

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G.H. Harding

MORE MURDER — (Via Deadline) Sophie Ellis-Bextor is gearing up to tour around North America for the first time and adding more cities for fans to see her perform “Murder on the Dance Floor” live.

The British singer’s song is featured in the final scene of Emerald Fennell’s Saltburn, where Barry Keoghan’s Oliver dances naked around the manor. After the scene went viral, the song, co-written by Ellis-Bextor and Gregg Alexander, also went viral on social media. “Murder on the Dance Floor” was originally released in 2001, but it never charted on the Billboard Hot 100 until now, peaking at 51 recently.

Ellis-Bextor recently made an appearance on The Tonight Show starring Jimmy Fallon where she performed the viral hit and the star is now embarking on a North America tour.

The artist announced her first-ever live show in NYC, set to take place on June 6 at Webster Hall, and the date quickly sold out. Ellis-Bextor has now announced more dates across the U.S. and Canada that will take her to San Francisco, San Diego, Boston, Washington D.C. and Philadelphia.

“Oh my… the New York show sold out in a day! Thank you thank you thank you,” Ellis-Bextor said in her newsletter announcing the additional tour dates. “So – how about some more shows in some more cities?! My band and I are coming for you! Super excited. Come and dance with me….”

May 30: August Hall (San Francisco, CA)May 31: The Observatory North Park (San Diego, CA)June 3: 9:30 Club (Washington D.C.)June 4: Royale Boston (Boston, MA)June 5: Union Transfer (Philadelphia, PA)June 6: Webster Hall (New York City, NY)June 8: Danforth Music Hall (Toronto, Ontario, Canada)

I love this record, because its an actual song. Sure, they repeat the title about three-dozen times, but its a great track.

Neil Diamond and Micky Dolenz

NOISE CLOSES — (Via Deadline) Broadway’s A Beautiful Noise, The Neil Diamond Musical will play its final performance on Sunday, June 30, before launching a national tour this fall, producers announced today.

The musical, which began previews on November 2, 2022, at the Broadhurst Theatre and opened that year on December 4, will have played 35 preview performances and 657 regular performances when it closes.

As I’ve said, early reviews of the show, kind of stopped me from going to this. An artist who is even referenced in the play said to me ‘why would I go to a play that got bad reviews.’ Understood.

But, I did see it and absolutely loved it. Of course, I’m somewhat on the business side and loved all the insider-nuances. And, I saw it with the original performers in it.

There will be a national tour and I predict it will be a huge hit as Diamond’s music is multi-generational. As I’ve said, I preferred Diamond’s “Solitary Man”-period more than “America” and “I Am, I Said.” Although, “Turn On Your Heart Light” (written with Carole Bayer Sager and Burt Bacharach) was a great record.

An icon for certain.

SHORT TAKES — Warner’s second Aquaman movie; Aquaman and the Lost Kingdom will stream on MAX on February 27. The first Aquaman movie, out in 2018, remains the highest-grossing DC film of all time. The sequel, after a plethora of media, mostly about Amber Heard, disappeared in a matter of weeks … Broadway-journeyman and Rockers On Broadway-creator Donnie Kehr recupping. Get well soon brother! … Keith Girard’s New York Independent featured an interview with 17-old wunderkind Kjersti Long. Check it out: https://www.thenyindependent.com/music/1704991/kjersti-long-17-explores-her-jersey-roots-by-way-of-utah-with-power-pop-style-video/

Pet Shop Boys

Just listened to the Pet Shop Boys “West End Girls.” What a tremendous record that hold up amazingly well all these years later. It came out in 1984 and produced by Bobby Orlando … Amazon shuttering Freevee? First off, as an offshoot of Amazon, this has got to be one of the worst monikers ever! I mean, FreeVee ... always sounded like frisbee!  Adios … Thursday’s Law & Order was the ode to Sam Waterston’s Jack McCoy-character (Last Dance).

Sam Waterston

After 404 episodes, we had to say goodbye. It wasn’t the greatest episode, but when McCoy took over the case and presented it to the jury, Waterston shone brightly. When McCoy said to Hugh Dancy (Nolan Ryan), it was a hell of a ride, it resonated terrifically. Thanks Jack! …

True Detective

I loved the finale on HBO of True Detective with Jodie Foster and Kali Reis. I didn’t understand it all, but the look and direction (by Issa Lopez) and Jodie Foster was just superb. I had forgotten just how good an actress Foster was. Sure, she was good in Nyad, but it was a supporting role. Here, she was just stellar. I’d like to see more of her …

Micky Jones

It was a grim week medically speaking as talk-show hostess Wendy Williams was diagnosed with aphasia and dementia and Mick Jones of Foreigner, with Parkinson’s. Sending prayers to both … And finally, news surfaced Thursday that an “inebriated” Andy Cohen harassed Brandi Glanville. I don’t know Andy at all, but his bad-boy antics of the last several years were clearly leading to something like this. Glanville’s lawyers even invoked NBC’s Matt Lauer in their brief. Expect a huge media brouhaha over this one. Sad for sure … Happy Bday Lou Christie; Niki Avers and Chloe Gaier.

NAMES IN THE NEWS — Steve Walter; Obi Steinman; Felix Cavaliere; Tom & Lisa Cuddy; Kent Kotal; Ace Frehley; Alex Saltzman; Lush Ice; Tony King; Barry Zelman; Justin Ridener; Kent & Laura Denmark; Mark Bego; Mark Scheerer; Barbara Shelley; and SADIE!

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