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Meet Me in St. Louis For a Zing Zing Zing Heartstrings Great Time

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I must first admit to you all, maybe shockingly, that I have never seen the movie, ‘Meet Me in St. Louis‘, the 1944 film that starred the iconic Judy Garland, that this altered stage version was based upon. But I do know the name, Melissa Errico, who dazzled the audience at the Irish Rep in 2018 when she took to the stage for another classic musical, On a Clear Day You Can See Forever. “Sublime” is all I can say, so when seeing her name attached to this production, and for that reason (almost) alone, I just had to tune in and see what this streaming musical show was and is all about. With a book by Hugh Wheeler and songs by Hugh Martin and Ralph Blane, Meet Me in St. Louis, the streamed musical adapted and directed by Charlotte Moore (Molly Sweeney: A Performance on Screen) for the IRT stage, is as delicious and delightful as one could hope for. The sound of that score is just spectacular, from the first few moments when the band, lead by music director John Bell (IRT’s Finian’s Rainbow) and orchestrator Josh Clayton (LC’s My Fair Lady) chimes in with the overture to the very happy ending had by all. “I just adore, so I can’t ignore” this impressive restructuring that the IRT did to stream this out to us all for the holiday season. It truly is a luscious musical gift it there ever was one.

Melissa Errico in Irish Rep’s Meet Me in St. Louis.

Based on ‘The Kensington Stories‘ by Sally Benson and then that famous MGM motion picture, the tender sweet story of the Smith family, that takes place, unsurprisingly, in St. Louis, Missouri from 1903 to 1904, has found its way most beautifully onto our home tv fully intact, even though I have nothing to compare it to. IRT’s small screen streamed version of Meet Me in St. Louis finds connection in its “clang, clang, clang” delivery, singing forth the music and the gentleness of these people with effortless charm. The company had been planning on presenting this musical on its intimate stage this holiday season, but the pandemic forced it to be redesigned for our streaming pleasure. And they could not have found a more loving crew of fantastic and dedicated singers and actors to work their magic in front of a green screen for us all, so that the technical wizards, including editor, Meridith Sommers; scenic designer Charlie Corcoran (IRT’s The Seafarer); mix, music, and sound designer M. Florian Staab (Public’s Teenage Dick), lighting designer Michael Gottlieb (IRT’s On Beckett / In Screen); and costume consultant, Tracy Christensen (Broadway’s Sunset Blvd); along with production manager Brandon Cheney; Production Coordinator Pamela Brusoski (IRT’s The Emperor Jones); and Producing Director, Ciarán O’Reilly (IRT’s The Weir: A Performance on Screen), could find a magnificent way to combine and layer all the pieces together to give us the semblance of a staged musical. It’s as sweet as the musical itself, and made my heart strings go “zing zing” as happily as one could could sing the tune while riding a trolley.

The film, back in the day, was a major success becoming the second-highest grossing picture of 1944, and no wonder, as the story is just lovely in its sweet technicolor simplicity. Directed by Vincente Minnelli, and starring Judy Garland, who would later marry her director, ‘Meet Me in St. Louis‘ gifted the world with Garland singing such classics as the fun “The Trolley Song“, the romantic “The Boy Next Door“, and the ever-so perfect “Have Yourself a Merry Little Christmas“, all of which became solid hits after the film was released. Luckily for the Irish Rep production, the cast charmingly sings these standards just as beautifully, giving care and style to every classic note. https://c0.pubmine.com/sf/0.0.3/html/safeframe.htmlREPORT THIS ADhttps://c0.pubmine.com/sf/0.0.3/html/safeframe.htmlREPORT THIS AD

To open, the Smith family beckons us enthusiastically to meet them all in St. Louis for the upcoming World’s Fair that is arriving the following summer to their much loved hometown, St. Louis. At the head of the household dining table is Alonzo Smith, solidly portrayed by Rufus Collins (Broadway’s An Ideal Husband), who finds middle class happiness with his gorgeously patient and loving wife Anna, perfectly played by the golden voiced Errico, getting a little help from the sassy spirited Irish housekeeper, Katie, devilishly portrayed by the very funny Kathy Fitzgerald (Broadway’s The Producers). 

Kylie Kuioka in Irish Rep’s Meet Me in St. Louis.

It’s a picture perfect household, with four daughters and one son, Lon, well played by William Bellamy (IRT’s Finian’s Rainbow), embracing the world they live in with apple pie goodness. They all are almost too sweet for words, literally, but somehow the ladies; Kylie Kuioka (York Theatre’s Panama Hattie) as the youngest trouble seeking daughter, Tootie; Austyn Johnson (“The Greatest Showman“) as the other young singing mouse Agnes; Ali Ewoldt (Broadway’s Phantom of the Opera) as the feisty forceful Rose, and Shereen Ahmed (the current star of the National tour of LC’s My Fair Lady) as the apple of our, and John’s eye, Esther (the role that Garland made famous), find the solid sisterhood core of playful frivolity in their kind and testy interactions; not the easiest thing to do, I might add, when the story is just so darn goodie two shoes mixed with a dose of sweet apple pie. 

Shereen Ahmed in Irish Rep’s Meet Me in St. Louis.

Ahmed steals the show, quite naturally, just as Garland once did, bringing a clear, sweet sound to Esther’s pining for “The Boy Next Door“, John Truitt, played most wisely by the gentle Max Von Essen (Broadway’s Anastasia). It seems that he almost doesn’t notice her at first, but the two meet cute and properly as the lamps are dimmed, and the inner flame of innocent love grows stronger. Von Essen’s voice is as velvety as one could hope for, and he delivers a gentleness that sits very well alongside Ahmed’s strong Esther as they ride the trolley together into each other’s arms. Another long-distance gentleman caller, the handsome and rich Warren Sheffield, delightfully portrayed by Ian Holcomb (IRT’s It’s A Wonderful Life) can’t seem to take his eye off another Smith sister. The New York City ladies “can’t hold a candle to you, Rose” he tells her, as he charmingly almost demands her affection, and eventual her hand. It’s silly clear-eyed fun, a bit sappy and sweet on the edges, but the energy and dated emotionality is infectious, and its heart sits exactly at the correct address. 

Max Von Essen in Irish Rep’s Meet Me in St. Louis.

There are a few wrenches thrown in the way of all their happiness as the calendar months zing by, leading them all up to Christmas, the dressup dance, and that famous Christmas song, lovingly sung by Ahmed. The connection seems quite clear, and even if you think this might not be your style, like John is for Esther, the production easily holds a candle to the classic filmic tale of family and romantic love, as clean and neat as the story demands. So gift yourself this Christmas treat, and buy yourself a streaming ticket so you can all Meet Me in St. Louis, when a date was called an engagement, and where the gentleness of this holiday tale will fill you with Christmas joy. So please, during these difficult days, let your heart be light. Next year, hopefully, all our pandemic troubles will be miles away. Someday soon, we all will be together, if the fates allow. Until then, we’ll have to muddle through somehow. So “Have Yourself a Merry Little Christmas” night. 

This new digital production is an abridged version of the 1989 Broadway musical, based on the 1944 film starring Judy Garland, and runs online from December 11 to January 2. It will include two special “Meet Me Anywhere” days with screening times convenient for viewers in all time zones on Saturday, December 19 and Saturday, January 2. (screening times are all listed in EST)

Reservations are available by clicking here
Pay-What-You-Can, with a suggested price of $25. Advance reservations are required. Your event link will be emailed 2 hours before your selected performance begins.

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

And The Winners of The 2023 Drama Desk Awards Are ………

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The 2023 67th Drama Desk Awards, honoring artistic excellence on Broadway, Off-Broadway and Off-Off-Broadway, will take place on June 6 at Sardi’s Restaurant. Today the winners were announced.

Outstanding Play: “Leopoldstadt,” by Tom Stoppard

Outstanding Musical: “Some Like it Hot”

Outstanding Revival of a Play: “The Piano Lesson”

Outstanding Revival of a Musical: “Parade”

Outstanding Lead Performance in a Play: Jessica Chastain, “A Doll’s House” and Sean Hayes, “Good Night, Oscar”

Outstanding Lead Performance in a Musical: Annaleigh Ashford, “Sweeney Todd”
and J. Harrison Ghee, “Some Like it Hot”

Outstanding Featured Performance in a Play: Miriam Silverman, “The Sign in Sidney Brustein’s Window,” Brooklyn Academy of Music and Brandon Uranowitz, “Leopoldstadt”

Outstanding Featured Performance in a Musical: Kevin Del Aguila, “Some Like it Hot” and Alex Newell, “Shucked”

Outstanding Direction of a Play: Max Webster, “Life of Pi”

Outstanding Direction of a Musical: Thomas Kail, “Sweeney Todd”

Outstanding Choreography: Casey Nicholaw, “Some Like it Hot”

Outstanding Music: Brandy Clark and Shane McAnally, “Shucked”

Outstanding Lyrics: Scott Wittman and Marc Shaiman, “Some Like it Hot”

Outstanding Book of a Musical: Matthew López and Amber Ruffin, “Some Like it Hot”

Outstanding Orchestrations: Charlie Rosen and Bryan Carter, “Some Like it Hot”

Outstanding Music in a Play: Suzan-Lori Parks, “Plays for the Plague Year,” The Public Theater

Outstanding Scenic Design of a Play: Tim Hatley, “Life of Pi”

Outstanding Scenic Design of a Musical: Beowulf Boritt, “New York, New York”

Outstanding Costume Design of a Play: Emilio Sosa, “Ain’t No Mo’”

Outstanding Costume Design of a Musical: Gregg Barnes, “Some Like it Hot”

Outstanding Lighting Design of a Play: Natasha Chivers and Willie Williams (video), “Prima Facie”

Outstanding Lighting Design of a Musical: Natasha Katz, “Sweeney Todd”

Outstanding Projection and Video Design: Andrzej Goulding, “Life of Pi”

Outstanding Sound Design of a Play: Ben & Max Ringham, “A Doll’s House”

Outstanding Sound Design of a Musical: Scott Lehrer and Alex Neumann, “Into the Woods”

Outstanding Wig and Hair: Mia M. Neal, “Ain’t No Mo’”

Outstanding Solo Performance: Jodie Comer, “Prima Facie”

Unique Theatrical Experience: “Peter Pan Goes Wrong”

Outstanding Fight Choreography: B.H. Barry, “Camelot”

Outstanding Adaptation: “A Doll’s House,” by Amy Herzog

Outstanding Puppetry: Nick Barnes and Finn Caldwell, “Life of Pi”

Shows with multiple wins

Some Like It Hot: 8

Life of Pi: 4

A Doll’s House: 3

Sweeney Todd: 3

Ain’t No Mo’: 2

Leopoldstadt: 2

Prima Facie: 2

Shucked: 2

Special Awards

Harold Prince Lifetime Achievement Award

Stephen McKinley Henderson has been bringing in-depth, gripping portrayals of memorable characters to the stage for over four decades. With his return to Broadway this season as Pops in “Between Riverside and Crazy,” which the Drama Desk previously nominated in 2015, this year’s Harold Prince Lifetime Achievement Award marks Henderson’s role in this powerful production as a celebration of his brilliant career.

Ensemble Award

The cast of Soho Rep’s “Public Obscenities” – Tashnuva Anan, Abrar Haque, Golam Sarwar Harun, Gargi Mukherjee, NaFis, Jakeem Dante Powell, and Debashis Roy Chowdhury – embodied the transnational world of Shayok Misha Chowdhury’s bilingual play with memorable authenticity, remarkable specificity, and extraordinary warmth.

Sam Norkin Off-Broadway Award

From his standout performance in american (tele)visions, to writing and performing the autobiographical “Dark Disabled Stories,” Ryan J. Haddad’s work this season has expanded on and interrogated what the idea of “accessibility” really means. Whether riding a shopping cart like a throne, or relating his experiences on a “gay, pink bus,” Haddad shared with audiences an unabashed queer fabulosity that was both unforgettable and deeply human.

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Broadway

The Outer Critics Circle Awards and You Are There Part 1

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The 72nd Annual Awards honoring achievements in the 2022-2023 Broadway and Off-Broadway season were presented on Thursday, May 25, 2023, at the Bruno Walter Auditorium, New York Public Library for the Performing Arts. Executive Producer Lauren Yager, did a marvelous job and the event was enjoyed by all.

Here are highlights from the show.

President of the Outer Critics Circle David Gordon and Vice President Richard Ridge welcomed everyone.

Presenter Lea Solonga presented Outstanding Director of a Musical to Michael Arden – Parade

Outstanding Lead Performer in a Broadway Play Sean Hayes – Good Night, Oscar was hysterical and the highlight of the afternoon.

Outstanding Solo Performance Jodie Comer – Prima Facie

T2C had a chance to talk to Lea beforehand

John Gassner Award for New American Play (Preferably by a New Playwright): Fat Ham by James Ijames

Outstanding Book of a Musical: Robert Horn – Shucked

We talked to Robert prior to his speech.

Outstanding Featured Performer in an Off-Broadway Play: K. Todd Freeman – Downstate

Outstanding Featured Performer in an Off-Broadway Musical:Lindsay Mendez – Merrily We Roll Along

Outstanding New Off-Broadway Musical: The Harder They Come and Outstanding Revival of a Play (Broadway or Off-Broadway):Topdog/Underdog Suzan Lori Parks

More tomorrow.

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Off Broadway

New York Classical Theatre All-Female, Gender-Fluid, and Disability-Forward Shakespeare’s Richard III

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New York Classical Theatre (Stephen Burdman, Founding Artistic Director, Matthieu Chapman, Literary Director) is thrilled to announce the all-female, gender-fluid, and disability-forward cast for Shakespeare’s Richard III. The production, directed by Burdman, will play in Central Park from June 13 to June 25; in Brooklyn Commons at Metrotech from June 27 to July 2; and in Carl Schurz Park from July 4 to July 9. All performances are free and open to the public.

The production stars Delaney Feener (Single (SXSW), Oregon Shakespeare Festival)–a performer with a limb difference–as Richard, Kristen Calgaro(NYCT’s The Importance of Being Earnest, The Rivals, HBO’s “Exeunt”) as Queen Elizabeth/Richmond, Connie Castanzo (NYCT’s The Importance of Being Earnest, Romeo & Juliet) as Lady Anne/Prince Edward/Rivers/Tyrell, Briana Gibson Reeves (Off-Broadway’s Made By God, American Shakespeare Center) as King Edward/Catesby/Archbishop, Lucy Lavely (Off-Broadway’s Arthur & Esther, Self-Help In the Anthropocene, Knots) as Buckingham/Clarence, Rami Margron (La Jolla Playhouse’s As You Like It, Hulu’s “Wedding Season,” HBO’s “That Damn Michael Che”) as Hastings/Ratcliffe, and Pamela Sabaugh (Off-Broadway’s Molly Sweeney, The Healing) as Duchess of York/Stanley.

Richard III may be Shakespeare’s most evil character. See an ensemble of seven women and gender-fluid performers tackle his rise to power in a story filled with familial manipulation, egregious murder, and political deceit.

Richard III features production design by Sabrinna Fabi (NYCT’s Cymbeline, King Lear; Broadway’s Moulin Rouge!), voice and speech coaching by Nora Leonhardt (NYCT’s King Lear, “Star Trek: The Next Generation”), fight direction by Sean Michael Chin (NYCT’s Cymbeline, King Lear, Romeo & Juliet, Greek National Opera’s Medea), production stage management by Madison Lane (NYCT’s King Lear), assistant stage management by Miriam Hyfler (NYCT’s Henry V), production supervision by Yetti Steinman (New York Classical Theatre), wardrobe supervision by Zola Gray, and casting by Stephanie Klapper.

All performances run from 7:00 PM to 9:00 PM. New York Classical Theatre requests that all planning to attend make a free reservation for access to the Digital Playbill and for inclement weather updates. Walk-up participants are welcome on a first-come, first-serve basis on the day of the performance based on the size of the park lawn. Free reservations, performance details, and weather updates can be found at nyclassical.org/richardiii.Kristen Calgaro (Queen Elizabeth/Richmond)(she/her)New York Classical Theatre: Cymbeline, It Can’t Happen Here (reading), Three Sisters (reading), The Importance of Being Earnest (Two Ways), The Rivals, Malvolio’s Revenge (workshop), Playing Moliere, Much Ado About Nothing. New York: Mourning Becomes Electra (Target Margin Theater), Brigadoon (Broadway workshop). National Tour: Dr. Doolittle with Tommy Tune. Selected Regional: Dancing at Lughnasa (Barnstormers), Boeing-Boeing (Totem Pole Playhouse), The Understudy (Cape May Stage), And The Curtain Rises (Signature Theatre), Broadway: 3 Generations (The Kennedy Center), The Glass Menagerie (Bay Theatre). Film: Kumare (SXSW Audience Award), Exeunt (HBO’s NYFF). Directing: AMiOS, New York Theater Fesitval, The Tank. BA Religious Studies/Spanish, University of Virginia. Kristencalgaro.com. Connie Costanzo (Lady Anne/Prince Edward/Rivers/Tyrell)(she/her)New York Classical Theatre: King Lear (2021, 2020 Zoom workshop), Three Sisters (reading), The Importance of Being Earnest (Two Ways), Romeo & Juliet, The Rivals, As You Like It. NYC: Gigi (Storm Theatre); Diaspora (Gym at Judson); Time Stands Still (Theatre of the New City); City Girls & Desperadoes (The Secret Theatre). Regional: The Wolves (BCT); Lost Boy Found in Wholefoods (Pittsburgh REP); Miss Bennett: Christmas at Pemberley (Capital REP). Winner of “Best Actress in a Play” in BroadwayWorld 2019 Regional Awards. Connie was born and raised in Scranton, PA and she received her BFA in Acting from Point Park Conservatory of Performing Arts. Connie is also an animation voice over artist and postpartum doula. New York Classical has always been another home for her–she is so proud & honored to represent as an Artistic Associate.Delaney Feener (Richard)(she/her)New York Classical Theatre debut. Regional: Bring Down the House, Midsummer (Oregon Shakespeare Festival); Othello, Twelfth Night (Notre Dame Shakespeare Festival). TV/Film: Single (SXSW), Come as Your Are. BFA from the Theatre School at DePaul University. Current acting company member at The Mercury Store. @delaneyfeener

Briana Gibson Reeves (King Edward/Catesby/Archbishop)(she/her)New York Classical Theatre debut. Off-Broadway: Made By God (Irish Repertory Theatre). National Tours: Amazing Grace (Troika Productions). Selected Regional Theatre: Flyin’ West (Everyman Theatre); Stick Fly(Meadow Brook Theatre); As You Like It, Richard III, Emma, Man of La Mode (American Shakespeare Center); Midsummer, Coriolanus (Shakespeare Center); Don Juan (Taffety Punk); Amen Corner, Fabulation (On Q Productions); Funnyhouse (JCSU Light Factory).

Lucy Lavely (Clarence/Buckingham)(she/her)New York Classical Theatre debut. Off-Broadway: Arthur & Esther, Self-Help In the Anthropocene (New Light Theatre Project); Knots (Players Theatre). Regional: Macbeth (Orlando Shakes); Macbeth (Theater at Monmouth); Grapes of Wrath (Asolo Rep); One Man Two Guvnors (Pioneer Theatre Co.); The White Snake (Baltimore Center Stage); The Last Match (Florida Studio Theatre). BA from University of Notre Dame, MFA from FSU/Asolo Conservatory for Actor Training. Proud Member of SAG/AFTRA/AEA. Thanks to mom and dad, Vern, Stephen, cast, crew and YOU for joining us tonight!Rami Margron (Hastings/Ratcliffe)(they/them)New York Classical Theatre debut. Off-Broadway: Angry Young Man. Selected Regional Theatre: Hurricane Diane (Old Globe Theatre); Pride and Prejudice (Long Wharf); Angels in America (Actors Theatre of Louisville); Three Sisters (Two River Theatre); A Midsummer Night’s Dream, Twelfth Night, Much Ado (Cal Shakes); Macbeth, Pericles (Berkeley Rep); Moll Flanders, The Clean House (Pac Rep); Antigonick, Dog Act, Precious Little (Shotgun Players); The Lily’s Revenge (Magic Theatre); Around the World in 80 Days (Marin Theatre Co.); The Listener (Crowded Fire). TV/Film: Alberto and the Concrete Jungle, Burn Country, Messina High, Love AnyWay, “Wedding Season” (Hulu), “New Amsterdam” (NBC), “The Damn Michael Che” (HBO), “Law & Order” (NBC), “Manifest” (Netflix). Pamela Sabaugh (Duchess of York/Stanley)(she/her)New York Classical Theatre debut. Pamela has worked extensively on stage from Regional to Off-Broadway, including at The Attic Theatre (Detroit), The Court Theatre of Chicago, The Shakespeare Theatre of New Jersey, and Amaryllis Theater. She is a long time company member of the critically acclaimed Theater Breaking Through Barriers (TBTB), and has performed with them in numerous Off-Broadway productions–most recently as Portia in Shakespeare’s The Merchant of Venice at Theater Row on 42nd Street. Pamela has had recurring feature roles on the daytime dramas “One Life To Live” and “Guiding Light.” Pamela is a co-founder of WoodwardAvenue Productions which produced her first play, Woman In The Animal Kingdom, in the 2000 New York International Fringe Festival-for which she received the award for Outstanding Performance. Her solo cabaret, Immaculate Degeneration was first workshopped at the 6th International Blind In Theatre (BIT) Festival in Zagreb, Croatia. She returned to Zagreb in October 2011 to perform an expanded version. And in August 2012 WoodwardAvenue Productions premiered Immaculate Degeneration at the New York International Fringe Festival. Stephen Burdman (Director/Artistic Director). New York Classical Theatre: The Rewards of Being Frank (also at Cincinnati Shakespeare Company), Cymbeline, King Lear (2021, 2020 Zoom workshop, 2009); The Importance of Being Earnest (Two Ways), 2019 Best Show TheatreScene.net), Romeo & Juliet, Macbeth (2017, 2008, 2001), The Rivals, The Winter’s Tale (2016, 2004), Measure for Measure, As You Like It (2014, 2005), The Seagull, Malvolio’s Revenge (workshop), A {15-Min!} Christmas Carol, Twelfth Night (2012, 2002), Playing Moliere, Henry V (New York Times Critic’s Pick), The School for Husbands, Much Ado About Nothing (2010, 2003), Hamlet, Misalliance, Love’s Labour’s Lost, The Comedy of Errors, Mary Stuart, Scapin, The Feigned Courtesans, The Triumph of Love, The Taming of the Shrew, King Ubu, A Midsummer Night’s Dream. Producer: A Midsummer Night’s Dream, The Taming of the Shrew, The Tempest, The Rover, Richard III, Cymbeline, The Recruiting Officer, All’s Well That Ends Well. Selected productions: Cymbeline (NYU), The Tempest, Much Ado About Nothing, As You Like It, Waiting for Godot, Hamlet (Outstanding Production 1994 Season, Los Angeles Times), Three Sisters. MFA from the University of California, Irvine and graduate of the National Theater Institute. Member of the Stage Directors and Choreographers Society since 1994. Recipient of 2022 Sidney Berger award from the Shakespeare Theatre Association for outstanding talent and commitment to the works of William Shakespeare. All my love to Adena (my wife) and son, Zeke, who are the guiding stars of my life.

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Broadway

Roundabout Theatre Company, Mayor’s Office of Media and Entertainment Create The Theatrical Workforce Development Program

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Roundabout Theatre Company (Todd Haimes, President/CEO, in memoriam; Scott Ellis, Acting Artistic Director) and Education at Roundabout (Jennifer DiBella, Director of Education) are proud to announce a Mayoral Citation honoring the Theatrical Workforce Development Program (TWDP), the theatre industry’s first workforce development program to train and place young adults in professional technical theatre careers.

Following a recent “Final Share Out,” showcasing what TWDP’s fifth cohort has learned during training this past year, Mayor Eric Adams praised the program: “I applaud everyone associated with TWDP for their efforts to connect young New Yorkers to long term careers, build a more diverse talent pipeline, and strengthen the technical workforce that powers our theater community. I look forward to the many ways Roundabout and TWDP will continue to make a positive difference as we take bold steps to #GetStuffDone, revitalize our cultural and economic vibrancy, and forge a brighter, fairer, more prosperous future for all.”

“Culture is the heart of New York City, and we know that nothing happens in New York City without art and culture. As the Commissioner of Cultural Affairs, I know that our cultural institutions have the experience and deep community relationships to continue to create a workforce that is more reflective of the City of New York. I really want to celebrate Roundabout, and I want to thank all of the TWDP fellows. You persevered and now you are here today making it all happen backstage,” added NYC Cultural Affairs Commissioner Laurie Cumbo.

“As a founding partner of the Theatrical Workforce Development Program, the Mayor’s Office of Media and Entertainment is proud to join the Roundabout Theatre Company in celebrating the success of the program,” said Commissioner of the Mayor’s Office of Media and Entertainment, Anne del Castillo. “The ‘Made in NY’ Stagecraft Bootcamp is one of our signature training initiatives which works to diversify NYC’s theatre workforce and develop a strong local talent pipeline to support the industry’s present and future.”

As we celebrate the 100% retention rate of Cohort 5, with all 20 fellows advancing from training onto summer internships across the City, we also acknowledge the six TWDP alumni that have successfully joined the International Alliance of Theatrical Stage Employees (IATSE) union and the 60 more maintaining their careers backstage on and off Broadway.

NOW ACCEPTING APPLICATIONS

Founded in 2016, the Theatrical Workforce Development Program aims to break down the barriers that prevent young adults from joining the industry and empower a diverse new generation of theatre professionals. Roundabout’s Theatrical Workforce Development Program is the first collaboration between a theatrical employer and the union that represents backstage workers to train and place young adults in professional careers as Stagehands, Electricians, Sound Engineers, Carpenters, and Wardrobe Workers.

Recruitment is now open for the next group of participants, Cohort 6, who will begin their training in September 2023. Application is contingent on attending either of the remaining information sessions at The Harold and Miriam Steinberg Center (111 West 46th Street) on Friday, May 26 or Thursday, June 8. Additional information is available at roundabouttheatre.org/twdp.

TWDP includes three years of training, job placement, and one-on-one mentorship with top industry professionals to ensure a smooth and successful transition to professional theatre work. Each year, the program will provide a group of up to 20 fellows with hourly wages, relevant skills and industry knowledge, work experience, access to world-class venues, and resources and support services to navigate this environment.

Roundabout employs more than 400 technical theatre professionals annually and its education programs reach more than 30,000 people each year. For more than twenty years, Roundabout has trained teachers, teaching artists, and high school students in technical theatre skills. In addition to lead partners The International Alliance of Theatrical Stage Employees (IATSE), The Door, and National Black Theatre, additional partners include: Atlantic Theatre Company, New Victory Theater, New 42 Studios, The Public Theater, Dixon Place, Abrons Arts Center, Irish Arts Center, Idaho Shakespeare Festival, Lake Tahoe Shakespeare Festival, City Lyric Opera, Signature Theatre, Gala Productions, Peterborough Players, and Emursive Productions.

Recruitment

The Theatrical Workforce Development Program accepts applications from young adults from New York City who have a high school diploma or HSE. This includes alumni from the existing Roundabout partner schools and on-site after school programs.

Training

In the first year, fellows kick off their training at Roundabout Theatre Company with an intensive six-week “Made in NY” Stagecraft Bootcamp, presented by the Mayor’s Office of Media and Entertainment and the NYC Dept. of Small Business Services. For the following six months, fellows are engaging in progressive, hands-on skills and theory training for 29 hours a week in Roundabout’s education spaces and theatre venues, in addition to observing theatre professionals on the job at Roundabout and National Black Theatre, all in preparation for full-time internship placements at a participating theatre or studio in the late spring and summer. Throughout the training program, fellows will receive a living wage, reimbursed travel, one-on-one mentorship with an IATSE professional, access to additional IATSE industry professionals and retention support services.

The second year includes placement in an entry-level job at a not-for-profit theatre, production, or shop in their chosen trade. Fellows will continue to receive one-on-one mentorship with IATSE professionals, Roundabout-led wrap-around career programming, and retention support services from The Door. At the end of this phase, in the third year of the program, fellows will continue to be supported while they pursue contract work from their new professional networks and our cultivated network of theatres and performance, sports, cruise line, and conference venues.

Roundabout’s Theatrical Workforce Development Program (TWDP) is made possible through the generosity of Denise Littlefield Sobel, the Mellon Foundation, The Pinkerton Foundation, the Solon E. Summerfield Foundation, the Altman Foundation, the Kaplen Foundation, Capitol One, and the Herbert M. Citrin Foundation.

Major funding to establish the “Made in NY” Stagecraft Bootcamp is provided by the Mayor’s Office of Media and Entertainment and NYC Department of Small Business Services.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, NYC’s Human Resources Administration and Center for Economic Opportunity’s joint support through the Work Progress Program, the New York State Council on the Arts, and the National Endowment for the Arts.

TWDP is made possible by the Champions for Inclusive Theatre and Roundabout’s Forward Fund. We acknowledge the generous friends who support our many efforts to increase representation and inclusion in all aspects of theatre: Elizabeth Armstrong, Bank of America, Eugene and Joann Bissell and the Lillian Lincoln Foundation, Kevin Brown, Barbara and Peter Bye, Ginger McKnight Chavers, Ford Foundation, Jill and Barry Lafer, Gina Maria Leonetti, Iva Mills, Beryl Snyder, and Denise Littlefield Sobel.

Education at Roundabout, including TWDP, is made possible by the leadership and generosity of Roundabout’s Board Education Committee, helmed by Co-Chairs Gess LeBlanc and Jennie Thomas.

Established in 1996, Education at Roundabout annually serves over 30,000 people throughout New York City’s five boroughs and beyond. Roundabout offers nationally recognized programs that use the power of theatre to inspire, engage, and promote social equity through three core areas: Career Training, Community Partnerships, and Teaching and Learning.  The deep impact and breadth of our work is a result of programs and curricula curated specifically to build lasting relationships with students, teachers, early-career professionals, audiences, and our local communities. roundabouttheatre.org/education

Roundabout Theatre Company has been working to prioritize and actively incorporate anti-racism, equity, diversity, inclusion and accountability throughout the institution. Read more about the company’s social justice progress and timeline at roundabouttheatre.org/socialjustic

Roundabout Theatre Company celebrates the power of theatre by spotlighting classics from the past, cultivating new works of the present, and educating minds for the future. A not-for-profit company, Roundabout fulfills that mission by producing familiar and lesser-known plays and musicals; discovering and supporting talented playwrights; reducing the barriers that can inhibit theatergoing; collaborating with a diverse team of artists; building educational experiences; and archiving over five decades of production history.

Roundabout Theatre Company presents a variety of plays and musicals on its five stages: Broadway’s American Airlines Theatre, Studio 54 and Stephen Sondheim Theatre, and Off-Broadway’s Harold and Miriam Steinberg Center for Theatre, which houses the Laura Pels Theatre and Black Box Theatre.

American Airlines is the official airline of Roundabout Theatre Company. Roundabout productions are supported, in part, with public funds from the New York City Department of Cultural Affairs in partnership with the City Council, the New York State Council on the Arts with the support of Governor Hochul and the New York State Legislature.

Roundabout’s current and upcoming productions include: Primary Trust by Eboni Booth, directed by Knud Adams; The Refuge Plays by Nathan Alan Davis, directed by Patricia McGregor; Covenant by York Walker, directed by Tiffany Nichole Greene; I Need That by Theresa Rebeck, directed by Moritz von Stuelpnagel; Home by Samm-Art Williams, directed by Kenny Leon; and Jonah by Rachel Bonds.

www.roundabouttheatre.org

Follow Roundabout Theatre Company on Twitter, Instagram and on Facebook.

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The 2023 Chita Rivera Awards: The Red Carpet

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The 2023 Chita Rivera Awards were presented at the NYU Skirball Center for the Performing Arts.

The winners were announced and in keeping with the mission of the Chita Rivera Awards, nominators considered outstanding choreography, featured dancers, and ensembles in shows on Broadway and Off Broadway, as well as outstanding choreography in film that opened during the 2022-2023 season.

The mission of the Chita Rivera Awards is to celebrate dance and choreographic excellence, preserve notable dance history, recognize past, present and future talents, while promoting high standards in dance education and investing in the next generation.

To see the winners and the interviews click here.

John Kander, Chita Rivera, Brian Stokes Mitchell

John Kander, Chita Rivera

Derek Hough, Jared Grimes

Derek Hough, Jared Grimes

Joe Lanteri, Riki Kane Larimer

Riki Kane Larimer

Joe Lanteri, Bonnie Comley, Stewart F. Lane

Tony Yazbeck

Tony Yazbeck

Bebe Neuwirth

Bebe Neuwirth

Clyde Alves, Robyn Hurder

Rob Ashford

Kolton Krouse

Kolton Krouse

Kolton Krouse

Peter John Chursin

Cast members of NEW YORK, NEW YORK

The cast of “New York, New York”

Cast of Bob Fosse’s Dancin

Alyssa Sarnoff, Charlotte d’Amboise

Mattie Love

Joe Lanteri, Andy Blankenbuehler

Andy Blankenbuehler

Jerry Mitchell

Cast of “Gimme Love”

Jeffrey L. Page

Cast members of SOME LIKE IT HOT

J. Harrison Ghee

J. Harrison Ghee

Jordan Roth

Lee Roy Reams

Jennifer Weber

Leo Moctezuma

Davide Torchio, Desmond Richardson

Jacob Guzman

Cast members of A BEAUTIFUL NOISE

Chloe Arnold

 

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