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Meet The Creators of Benny and Joon Kirsten Guenther, Nolan Gasser, Mindi Dickstein

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Back in 2016 I fell in love with the adorable and winning Benny & Joon, book by Kirsten Guenther (Little Miss Fix-it), music by Nolan Gasser (Pandora) and lyrics by Mindi Dickstein (Little Women on Broadway).

Bryce Pinkham, Hannah Elless Photo by Genevieve Rafter Keddy

Kirsten Guenther is the recipient of a Richard Rodgers Award, Rockefeller Grant, Dramatist Guild Fellowship, Johnny Mercer Writers Fellowship, and a Lincoln Center Honorarium. She has participated in writers’ residencies at the ASCAP/Disney workshop, the Lark Playwrights Development Center, the Dramatist Guild Fellowship program, Goodspeed Musicals, The National Alliance for Musical Theatre, The Orchard Project and Theatreworks Silicon Valley, among others. Current theatre commissions include a musical adaptation of Roman Holiday, MGM’s Benny & Joon(The Old Globe Theatre, Paper Mill Playhouse 2019), Heart & Souls (Universal Theatricals), The Years Between (T-Fellowship, sponsored by Harold Prince), Bob Fosse’s Rhythm of Life (Fosse Estate), and the new musical, Measure of Success (Amanda Lipitz Productions). She wrote the book and lyrics for Little Miss Fix-it (as seen on NBC); and book for Mrs. Sharp (Richard Rodgers Award: workshop at Playwrights Horizons, starring Jane Krakowski, directed by Michael Greif). Her other musicals include: Out of My Head (licensed by Steelespring Stage Rights); and The Cable Car Nymphomaniac (The Gateway Theatre).

Claybourne Elder, Hannah Elless, Bryce Pinkham Photo by Genevieve Rafter Keddy

Nolan Gasser is a critically acclaimed composer, pianist, and musicologist – most notably, the architect of Pandora Radio’s Music Genome Project and the company’s chief musicologist from its founding in 1999. His original compositions are performed frequently, and in such prestigious venues as Carnegie Hall, the Kennedy Center, Alice Tully Hall, La Salle Pleyel (Paris), and the Rose Bowl (Pasadena), among many others. Key current projects include an opera, The Secret Garden, commissioned by San Francisco Opera (premiered March 1, 2013), a musical, Benny and Joon, in partnership with H2H Productions and MGM On Stage, a film score for the Lance Kinsey film, All-Stars (which is currently tearing it up in the film festival circuit), and a forthcoming book, Why You Like It: The Science and Culture of Musical Taste (Macmillan Press, 2016). Nolan is also the subject of a documentary for the ESPN-FiveThirtyEight series, The Collectors, entitled “Breaking Music Down to Its Genes”, which was released in May 2015.

Hannah Elless, Claybourne Elder Photo by Genevieve Rafter Keddy

Mindi Dickstein is an American lyricist and librettist. Dickstein wrote the lyrics for the 2005 musical production Little Women, the book for Toy Story: The Musical and Benny & Joon.Dickstein has taught at New York University’s Tisch School of the Arts in the graduate musical theatre programme. In 2001, Dickstein received the Jonathan Larson Grant.[

Bryce Pinkham, Hannah Elless Photo by Genevieve Rafter Keddy

Benny & Joon is based on the MGM movie Benny (Claybourne Elder) has taken care of his psychologically troubled sister Joon (Hannah Elless) since their parents died over a decade ago. Benny now in his early 30s, and Joon in her early 20s, but, ten years on, not much has changed. A mechanic with his own garage, Benny feels he is a master at managing the life they’ve ended up with. But when they take in a strange young man named Sam (Bryce Pinkham), who is like a modern Buster Keaton, everything changes. 

The complete cast Photo by Genevieve Rafter Keddy

Jack Cummings III directs. The cast also includes Conor Ryan (Sam at certain performances), Belinda Allyn, Colin Hanlon, Tatiana Wechsler, Paulo Montalban, Jacob Keith Watson and Natalie Toro. 

Claybourne Elder, Hannah Elless, Bryce Pinkham Photo by Genevieve Rafter Keddy

Benny and Joon starts previews April 4th and opens April 14th at the Paper Mill Playhouse, 22 Brookside Drive, Milburn NJ

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

Out of Town

The Wrong Bashir Fits Right at Crow’s Theatre Toronto

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All this play needs is a few doors to go in and out of, or slam, for The Wrong Bashir, the new play at the Crow’s Theatre, to become a full-fledged farce. It’s hilariously and wickedly fast-paced and original, flying forth on speedy laugh-out-loud wings, and as directed by Paolo Santalucia (Soulpepper’s The Seagull) and written with wit and intelligence by Zahida Rahemtulla (The Frontliners), The Wrong Bashir gets it perfectly and lovingly right.

Sugith Varughese, Nimet Kanji, and Sharjil Rasool in Crow’s The Wrong Bashir. Photo by Dahlia Katz.

With a cast of sure-footed professionals leading the charge, The Wrong Bashir whips its way through a farcical family drama of high comedic proportions that quickly starts rolling forward in urgency when Bashir Ladha, the wildly unfocused son played well and true by Sharjil Rasool (FX’s” What We Do in the Shadows“), is chosen by their immigrant community to a distinguished religious position that does not fit him like a glove. That is clear. His parents; Sultan Ladha and Najma Ladha, deliciously played in all the right tones by Sugith Varughese (Soulpepper’s Animal Farm) and Nimet Kanji (Northern Light’s Contractions), are completely over the moon in excitement, early accepting the role before they even inform their wandering bohemian Bashir. Bashir’s sister, Nafisa, played wonderfully by the engaging Bren Eastcott (Tarragon’s Orestes) is privy to the celebratory news, knowing both that this is of the greatest importance to her parents and (soon-to-be informed) extended family, and also a role so unimportant and ill-fitting to her lost philosophizing brother. It is etched within her role that we can see and understand all sides to this wrong choice, and she becomes the simple subtle connective tissue that holds the framework together, all the while sitting on the sidelines helping out on both sides of the aisle.

Sugith Varughese, Nimet Kanji, Sharjil Rasool, Zaittun Esmail, Bren Eastcott, Vijay Mehta, and Parm Soor in Crow’s The Wrong Bashir. Photo by Dahlia Katz.

Selected by a pair of pseudo-elders; Al-Nashir Manji, portrayed solidly by Vijay Mehta (Repercussion’s Macbeth), and Mansour, hilariously over-played by Parm Soor (Walt Disney’s “Prom Pact“), the two mosque committee members quickly arrive at the door to share the news, followed soon after by the sari-wearing grandmother and cognitively-challenged grandfather; played by Zaittun Esmail and Salim Rahemtulla (Western Gold’s 90 Days); and their meddling sly family friend, Gulzar, ingeniously portrayed by Pamela Sinha (Soulpepper’s Happy Place). It’s a madcap recipe for family tension and complications as it becomes increasingly obvious that there has been a mistake. But the jubilant energy in the main room is something that the two mosque committee members, bumbling and ridiculously loveable, can’t bring themselves to destroy.

Running interference between generations and ideals, the play manically runs full speed ahead, almost getting away from us before a few surprising twists pull us back into the spotlight of what is actually important. The ultra-realistic set, beautifully created by set and lighting designer Ken Mackenzie (Shaw’s Sherlock Holmes…), with strong costuming by Ming Wong (Soulpepper’s The Guide to Being Fabulous) and a clear sound design by Jacob Lin 林鴻恩 (Tarragon’s Withrow Park), lends itself well to the manic energy being thrown out into the audience bringing full-on laughs with increasing regularity, even though a few more walls and doors could have been utilized to really give the idea of farcical conversations happening out of earshot to the others. But this is a small slight situation in a play that gets it over the top right. Rahemtulla’s writing gives you family, compassion, love, and so many laughs that you’ll walk out smiling at the insanity of it all, while also feeling the love that family brings to one another. Even when pushed too hard one way or another.

Salim Rahemtulla and Sharjil Rasool in Crow’s The Wrong Bashir. Photo by Dahlia Katz.

There’s cleverness in the care that lives in this community, with family values and ties to one another floating down the stream from generation to generation, and even when rocks get in the way of this flow, the love and honor bubble in and around. There is so many moments of people running about, escaping to the kitchen, over-spiced, smoky beverages served, side glances, eye-rolling, and faulty attempts to leave, that we struggle to stay up, yet the play never boils over into complete, disrupted, disconnecting chaos. It is clear early on that Bashir is not their man; to us, to them, and to himself, but there is another level of immigrant understanding, particularly between father and son, that also floats lovingly through the piece. It prompts questions around purpose and personal dreams, fulfilled or not, and in those more humane moments, we can only see what is most right about The Wrong Bashir, and more importantly, whether Bashir may fit the role better than even he can imagine.

Sharjil Rasool and Bren Eastcott in Crow’s The Wrong Bashir. Photo by Dahlia Katz.

For more information and tickets, click here.

For more go to frontmezzjunkies.com

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Comedy On in Noises Off

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Opening their 2024 Season at the Bucks County Playhouse is Noises Off, a farce by the English playwright, Michael Frayn. Definition of “farce” – a comedic dramatic work using buffoonery and horseplay and typically including ludicrously improbable situations. Yes, yes and yes. Synonym: slapstick comedy.
To be in this production, directed by Hunter Foster, you must either be an olympic gymnast or have the stamina of a race horse for there is much hopping up and down stairs, pratfalling, back flipping, slow splits and general rolling about.

Ah, but I digress. Let us get to the plot. The what? Well, actually there really isn’t much of a plot. You see, the play is a play within a play. It is a troupe of second rate actors in a second rate tour of a second rate play, a sex farce entitled, “Nothing On”. It begins at midnight the night before the cast’s first performance and they are ill prepared. Many things go awry. Missing props, missing cues, missing lines, etc. etc. etc. And to top it all off, there are relationship problems amidst the members which become exacerbated as the tour progresses. Act One is the rehearsal. Act Two is a performance viewed from behind the scenes and Act Three is the disastrous results at the end of the tour.

The play premiered in London in 1982 directed by Michael Blakemore. The 1983 Broadway production again directed by Blakemore earned four Tony nominations and a Drama Desk Award for Outstanding Director of a Play and Outstanding Ensemble. Since then it has had seven revivals between Broadway and the West End and has become a staple of both professional and community theaters alike. Standout performances are in order for the entire ensemble.

Amanda Kristin Nichols

Amanda Kristin Nichols (as Brooke Ashton) is hysterical in her skimpy underwear preening and posing in the most ridiculous positions, thinking she’s looking sexy.

Jen Cody

Jen Cody is appropriately dotty as the sympathetic Dotty Otley, whether she’s doing a split or hanging upside down.

John Bolton

John Bolton is simply super as Frederick Fellowes, the sensitive actor who always needs to know “why” he must complete an action on stage no matter how nonsensical it is.

John Patrick Hayden

John Patrick Hayden is marvelous as the director we sympathize with for having to deal with these screwball actors even though he turns out to be a cad. Though Roe Hartrampf is hard pressed to express himself with words as Garry Lejeune, he goes ballistic when he mistakenly thinks that Dotty is seeing Frederick.

Marilu Henner

Marilu Henner is the proverbial peacemaker always trying to smooth things over even when they are inextricably fouled up. Barrett Riggins as Tim Allgood, the Assistant Stage Manager, has greatness thrust upon him through no fault of his own.

Folami Williams

Folami Williams as Poppy Norton-Taylor, the Stage Manager is adorable as she reveals her secret at the end of the play.

Richard Kline

And Richard Kline as Selsdon Mowbray, the man with a drinking habit is quite lovable. They say the director’s hand should be invisible in a play, but I’m afraid that Mr. Hunter’s hands are all over this one for this production is choreographed to a “T”. Credit must be given to this director because usually there aren’t many laughs in Act One as it’s all just a set up for Act Two and Three. However, there are a lot of laughs in the first act. And needless to say, it’s a non-stop laugh fest for the next two acts. So if you need a good laugh – and who doesn’t with fire, floods, tornadoes and earthquakes all around us – this show is a very good panacea.

For tickets visit buckscountyplayhouse.org or call 215-862-2121.

Noises Off by Michael Frayn Directed by Hunter Foster
Running now through June 10, 2024 70 South Main Street

New Hope, PA 18938

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Tarragon’s Come Home: The Legend of Daddy Hall Rewinds With Layered Results

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The “sweet, sweet boy” lies in a spotlight, shrowded in Spanish moss and mystic lighting. He’s drowning in the mystic feeling of death with ghostly faces of ancestorial connection shimmering forward to engage and recount. This memory play, written with purpose and desire by Audrey Dwyer (Calpurnia), spans time and place, layering in the histories of both Black and Indigenous teachings that float out the realities of the cultural framing. Spanning generations and one man’s ever-so-long lifelin is as epic in its scope as can be, distinct and smart in its construct, and sometimes lacking in focus, leading us to lean in and tune out with some regularity.


Daren A. Herbert & Emerjade Simms with Nicole Joy-Fraser & Brandon Oakes in Tarragon’s Come Home: The Legend of Daddy Hall. Photo by Cylla von Tiedemann.

The beginning, as staged by Tarragon artistic director Mike Payette (Tarragon’s Cockroach), floats into our system like the smell of ghostly swamp air, hidden behind layers of mist and secrecy. Giving abstract vantage points to breathe in the complexities of this man’s trauma, the play spirits out souls from his epic life for us all to engage with, as well as a future generation stumbling forward while trying to unpack a past, all so he, Billie, played by Troy Adams (TIFT’s The Other Place), a descendant, can understand the present condition and navigate life forward from a wiser perspective. The framing is unique and contextual, letting Hall’s mixed heritage of Mowak and Black Jamaican ancestry find equal footing on that somewhat overstuffed stage, designed by Jawon Kang (Tarragon’s A Poem for Rabia), while giving layers of space to try to understand personal trauma and confusion.

Helen Belay & Daren A. Herbert with Troy Adams, Emerjade Simms, Brandon Oakes & Nicole Joy-Fraser in Tarragon’s Come Home: The Legend of Daddy Hall. Photo by Cylla von Tiedemann.

Hall, played forcibly by Daren A. Herbert (Soulpepper’s Jesus Hopped the ‘A’ Train), finds clarity in his rewinding, looking back over his timeline with curiosity. He fought as a Black loyalist in the War of 1812. He survived capture by American forces and was systematically enslaved in Virginia and Kentucky. He escaped, with his wife, using a threaded map of rice and beans braided into his hair that helped lead him back home to safety in Canada. Throughout his journey, he held true to his yearnings for home, family, and love, marrying, we are told, up to six wives and was father, or should I say “Daddy Hall” to somewhere around 21 children. It’s a lot to cover in this one-act wonder of a play, and even when it falters in its complicated unpacking, muddling the journey with an overly fussy rearrangement of wood pieces and somewhat jarring blocking and movement, the journey has marked moments of wonder that are highlighted and expanded by the gentle fantastical music delivered out from the depths by Unsettled Scores (Spy Dénommé-Welch & Catherine Magowan), the production’s sound designers and composers.

The notes float in, elevating the dialogue with background poetic illusions of ancestorial and cultural undercurrents that consistently save the framing from sinking down underneath the crackling ice. They trigger tragedy and loss, even when the interconnectivity feels jagged and forced. Lit from a place of historic warmth and engagement, designed by Michelle Ramsay (Factory’s The Waltz) with simple yet clever costuming by Christine Ting-Huan 挺歡 Urquhart (Tarragon’s Cockroach), Come Home: The Legend of Daddy Hall works hard to relive all those key moments in this man’s complex life, particularly around the ideas of home, safety, and attachment. The cast, that includes Indigenous actors Nicole Joy-Fraser (Tarragon’s My Sister’s Rage) and Brandon Oakes (CBC’s Diggstown), and Black actors Helen Belay (Soulpepper’s Queen Goneril & King Lear) and Emerjade Simms (Cahoots Theatre’s Sweeter), engages with intent in the non-linear mystical unpacking, allowing us to consider and engage with Hall’s ancestral lineage and all the trauma that has been layered on this man throughout his journey.

Emerjade Simms & Daren A. Herbert in Tarragon’s Come Home: The Legend of Daddy Hall. Photo by Cylla von Tiedemann.

The play spirits forth the dynamic from this misty ancestral plane, sometimes finding complete visual and poetic illusions, like in the crackling watery descent of his wife, Mary, played lovingly by Belay. At the same time, other moments feel disconnected from the emotional journey and its overarching themes. The modern stance in Tarragon‘s Come Home: The Legend of Daddy Hall never really finds its connective tissue throughout and feels put upon and not completely organic to the main Hall stance. There’s wonder in their search for bigger pictured themes and answers to complex historical and connective questions, sometimes feeling grounded in emotional truth, and sometimes masked behind layers of Spanish moss. The energy shifts, floating in and out of the murky cold waters of memory and ancestral history, and when it hits its mark, there is clarity, but other times, we swim in cold waters looking for the light and air of understanding.

Daren A. Herbert & Helen Belay with Nicole Joy-Fraser & Brandon Oakes in Tarragon’s Come Home: The Legend of Daddy Hall.  Photo by Cylla von Tiedemann.

For more go to frontmezzjunkies.com

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Music

The Canadian Festival of New Musicals Unveils Three New Works

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This Saturday, thanks to the theatre gods of Toronto, I was gifted with the chance to experience the next wave of new Canadian musicals. Getting underway earlier this week, the inaugural season of The Canadian Festival of New Musicals, running from May 23rd – 26th at the Berkeley St Theatre, unveiled a few new musicals. Presented by The Musical Stage Company in association with Canadian Stage, the three new shows were given the grand opportunity to present snippets of their work-in-progress; new musicals that are being experimented with, played with, and developed for our theatrical enjoyment. And what a joy it was to be in the room with all these enthusiastic souls.

New Voices. New Stories. New Musicals.” is the Festival’s motto, as I made my way downtown to join the celebration of creativity, innovation, and collaboration, giving the audience a glimpse of three of the Musical Stage Company’s musicals in development.

Featuring excerpts from IN REAL LIFE, AFTER THE RAIN, and COWBOY TEMPEST CABARET, the Canadian Festival of New Musicals was an electrifying showcase that gave audiences a first look and listen at the new stories being created by some of our country’s most promising lyricists, composers, and writers, and delivered by some amazing performers, such as Brandon Antonio (Broadway’s & Juliet), Raquel Duffy (Coal Mine’s Apppropriate), Eva Foote (Stratford’s Hamlet-911), Brendan Wall (MSC’s Natasha, Pierre…), and the phenomenal Elm Reyes (Factory’s Trojan Girls…). The festival also provided opportunities for music theatre creators to meet new collaborators, learn more from experts in the field, and engage in the conversation around the development of new musical theatre in Canada.

These musicals are all being developed for full-length productions, with AFTER THE RAIN already programmed into the upcoming Tarragon season, a production that I am super excited to have the chance to experience again.

THE CANADIAN FESTIVAL OF NEW MUSICALS

Details and schedule:

AFTER THE RAIN (Double bill with COWBOY TEMPEST CABARET)

May 23RD 8:00pm and May 25th 3:30pm

Co-Commissioned and Co-Developed by The Musical Stage Company and Tarragon Theatre

Book by Rose Napoli

Music & Lyrics by Suzy Wilde

Featuring Eva Foote, Raquel Duffy, Brendan Wall, and Shaemus Swets

Her parents are famous. Her boyfriend is stupid. And Suzie is a mess.

When she accepts a mature piano student obsessed with mastering only one song, Erik Satie’s “Gymnopedie No. 1”, struggling songwriter Suzie’s life takes an unforeseen turn. Full of family turmoil, life’s complexities, and centered around a devastating discovery, AFTER THE RAIN is a musical based on a true story about the healing power of music.

COWBOY TEMPEST CABARET (Double bill w AFTER THE RAIN)

May 23rd 8:00pm and May 25th 3:30pm

Commissioned and Developed by The Musical Stage Company

Book by Niall McNeil, Lucy McNulty & Anton Lipovetsky,

Music by Anton Lipovetsky

Lyrics by Niall McNeil

Featuring Brandon Antonio, Raquel Duffy, Eva Foote, Dylan Harman, Yousef Kadoura, Elm Reyes, Shaemus Swets, and Brendan Wall

Guns and magic. Love and hurt. When gunslinger Prospero conjures a storm in the desert, he begins a chain of events that forces every cowboy and spirit into a fight for freedom. Created by an artist with Down Syndrome and his longtime collaborators, Cowboy Tempest Cabaret is a totally lawless adaptation of Shakespeare’s Tempest musicalized in the styles of rock, folk and country & western music.

IN REAL LIFE

May 24th and 25th at 8:00pm, May 26th at 2:00pm

Commissioned by The Musical Stage Company and Co-Developed by The Musical Stage Company and fu-GEN Theatre Company

Book & Lyrics by Nick Green

Music & Lyrics by Kevin Wong

Featuring Alicia Ault, Janelle Cooper, Colleen Furlan, Hailey Gillis, Matthew Joseph, William Lincoln, Jacob McInnis, and Daniel Williston

Set in a dystopian future, technological prodigy Max is an ideal student with a bright future, until, with a single swipe, he sets out on a journey to forbidden corners of the Internet, underground societies, and forgotten parts of himself. A story filled with twists and turns, In Real Life examines the complexities of power, technology, and freedom in the digital era.

For more information, click here.

For more go to frontmezzjunkies.com

Continue Reading

Music

The Canadian Festival of New Musicals Unveils Three New Works

Published

on

This Saturday, thanks to the theatre gods of Toronto, I was gifted with the chance to experience the next wave of new Canadian musicals. Getting underway earlier this week, the inaugural season of The Canadian Festival of New Musicals, running from May 23rd – 26th at the Berkeley St Theatre, unveiled a few new musicals. Presented by The Musical Stage Company in association with Canadian Stage, the three new shows were given the grand opportunity to present snippets of their work-in-progress; new musicals that are being experimented with, played with, and developed for our theatrical enjoyment. And what a joy it was to be in the room with all these enthusiastic souls.

New Voices. New Stories. New Musicals.” is the Festival’s motto, as I made my way downtown to join the celebration of creativity, innovation, and collaboration, giving the audience a glimpse of three of the Musical Stage Company’s musicals in development.

Featuring excerpts from IN REAL LIFE, AFTER THE RAIN, and COWBOY TEMPEST CABARET, the Canadian Festival of New Musicals was an electrifying showcase that gave audiences a first look and listen at the new stories being created by some of our country’s most promising lyricists, composers, and writers, and delivered by some amazing performers, such as Brandon Antonio (Broadway’s & Juliet), Raquel Duffy (Coal Mine’s Apppropriate), Eva Foote (Stratford’s Hamlet-911), Brendan Wall (MSC’s Natasha, Pierre…), and the phenomenal Elm Reyes (Factory’s Trojan Girls…). The festival also provided opportunities for music theatre creators to meet new collaborators, learn more from experts in the field, and engage in the conversation around the development of new musical theatre in Canada.

These musicals are all being developed for full-length productions, with AFTER THE RAIN already programmed into the upcoming Tarragon season, a production that I am super excited to have the chance to experience again.

THE CANADIAN FESTIVAL OF NEW MUSICALS

Details and schedule:

AFTER THE RAIN (Double bill with COWBOY TEMPEST CABARET)

May 23RD 8:00pm and May 25th 3:30pm

Co-Commissioned and Co-Developed by The Musical Stage Company and Tarragon Theatre

Book by Rose Napoli

Music & Lyrics by Suzy Wilde

Featuring Eva Foote, Raquel Duffy, Brendan Wall, and Shaemus Swets

Her parents are famous. Her boyfriend is stupid. And Suzie is a mess.

When she accepts a mature piano student obsessed with mastering only one song, Erik Satie’s “Gymnopedie No. 1”, struggling songwriter Suzie’s life takes an unforeseen turn. Full of family turmoil, life’s complexities, and centered around a devastating discovery, AFTER THE RAIN is a musical based on a true story about the healing power of music.

COWBOY TEMPEST CABARET (Double bill w AFTER THE RAIN)

May 23rd 8:00pm and May 25th 3:30pm

Commissioned and Developed by The Musical Stage Company

Book by Niall McNeil, Lucy McNulty & Anton Lipovetsky,

Music by Anton Lipovetsky

Lyrics by Niall McNeil

Featuring Brandon Antonio, Raquel Duffy, Eva Foote, Dylan Harman, Yousef Kadoura, Elm Reyes, Shaemus Swets, and Brendan Wall

Guns and magic. Love and hurt. When gunslinger Prospero conjures a storm in the desert, he begins a chain of events that forces every cowboy and spirit into a fight for freedom. Created by an artist with Down Syndrome and his longtime collaborators, Cowboy Tempest Cabaret is a totally lawless adaptation of Shakespeare’s Tempest musicalized in the styles of rock, folk and country & western music.

IN REAL LIFE

May 24th and 25th at 8:00pm, May 26th at 2:00pm

Commissioned by The Musical Stage Company and Co-Developed by The Musical Stage Company and fu-GEN Theatre Company

Book & Lyrics by Nick Green

Music & Lyrics by Kevin Wong

Featuring Alicia Ault, Janelle Cooper, Colleen Furlan, Hailey Gillis, Matthew Joseph, William Lincoln, Jacob McInnis, and Daniel Williston

Set in a dystopian future, technological prodigy Max is an ideal student with a bright future, until, with a single swipe, he sets out on a journey to forbidden corners of the Internet, underground societies, and forgotten parts of himself. A story filled with twists and turns, In Real Life examines the complexities of power, technology, and freedom in the digital era.

For more information, click here.

For more go to frontmezzjunkies.com

Continue Reading

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