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Opening Night of Panama Hattie

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Celebrating Broadway’s legendary Cole Porter! The York Theatre Company launches their 50th Anniversary Season with its acclaimed Musicals in Mufti series celebrating the legendary Broadway composer Cole Porter.

Jim Morgan

Closing out the 2019 Fall Mufti series is the 1940’s hit musical Panama Hattie, with music and lyrics by Cole Porter and book by Herbert Fields and B.G. DeSylva.

Joe Veale, Garen McRoberts, Jay Aubrey Jones, Casey Shuler
Stephen Borgardus, Joe Veale, Garen McRoberts, Jay Aubrey Jones, Casey Shuler
Klea Blackhurst, Kylie Kuioka and Stephen Borgardus
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
Lael Van Keuren, David Green, Anita Welch, Simon Jones, Zuri Washington, Klea Blackhurst, Kylie Kuioka, Stephen Borgardus, Joe Veale, Garen McRoberts, Jay Aubrey Jones and Casey Shuler
Ron Abel and Lucie Arnaz
Mark William
Jamie deRoy
Shelly Markham and Jamie deRoy
Riki Kane Larimer and Bill Castellino
Marilyn Maye and Richard Maltby, Jr.
Marilyn Maye, Riki Kane Larimer and Richard Maltby, Jr.
Casey Shuler
Joe Veale
Stephen Borgardus
Joe Veale and Garen McRoberts
Garen McRoberts
David Green
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
Kylie Kuioka
Simon Jones
Simon Jones and Casey Shuler
Lael Van Keuren
Gordon Stanley
Anita Welch
Jay Aubrey Jones
Zuri Washington
Zuri Washington and Lillias White
Zuri Washington, Lillias White and Anita Welch
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
Klea Blackhurst and Lucie Arnaz
Klea Blackhurst
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
Klea Blackhurst , Judy Kaye, Lucie Arnaz and David Green
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
Deniz Cordell (Music Director), Michael Montel (Director) and Trent Kidd(Choreographer)
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
Norman Meranus, Klea Blackhurst , Deniz Cordell, Michael Montel, Trent Kidd and James Morgan
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
Klea Blackhurst and Marilyn Maye
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
David Green, Lael Van Keuren, Simon Jones, Stephen Borgardus, Anita Welch, Klea Blackhurst, Kylie Kuioka, Joe Veale Gordon Stanley, Zuri Washington, Casey Shuler, Jay Aubrey Jones and Garen McRoberts
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
James Morgan, Trent Kidd and Deniz Cordell join with tonight’s cast- David Green, Lael Van Keuren, Simon Jones, Stephen Borgardus, Anita Welch, Klea Blackhurst, Kylie Kuioka, Joe Veale Gordon Stanley, Zuri Washington, Casey Shuler, Jay Aubrey Jones and Garen McRoberts
Klea Blackhurst, Michael Montel , Kylie Kuioka 
Photo Coverage: PANAMA HATTIE Opens at The York Theatre
Klea Blackhurst
Kylie Kuioka, Marilyn Maye

Broadway

Shakespeare’s Romeo and Juliet Times Three

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

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

Kit Connor and Rachel Zegler. Photo by Sam Levy.

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

#RomeoJulietLDN production photography by Marc Brenner

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

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

See video here. 

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

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

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

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

For tickets and more information, click here.

 

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Entertainment

Live From The Hotel Edison Times Square Chronicles Presents tick, tick…Boom!

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

In this episode T2C’s publisher and owner Suzanna Bowling talks with Director Eric Rosen, Andy Mientus and Krystina Alabado about tick, tick…Boom! at The Cape Playhouse opening this summer June 5 – 15.

We are so proud because the show and our guests are now featured on the TV screens in the lobby and the hotel rooms.

I am so grateful to my guests Director Eric Rosen, Andy Mientus and Krystina Alabado.

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

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

You can catch us on the following platforms:

Pandora:

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

Stitcher:

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

Spotify:

Amazon:

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

Apple Podcasts:

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

 

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Out of Town

Crow’s/Obsidian Theatre Company’s “seven methods of killing kylie jenner” Kills It, Elevating the Dissertation with a Precise Brilliance

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Dragging their baggage in with a determined force, these two, dressed in fake fur and leather, enter the space at Crow’s Theatre with manic laughter and a forceful narrative. Sharply and expertly written by British playwright, Jasmine Lee-Jones (Curious), the play dives in with a tightness and fortitude that elevates and enlightens the darkness of its exploration. With a hypnotic frustrated energy, the play masterfully rolls out the seven methods of killing kylie jenner without missing a beat, unpacking the intricate exploration of cultural appropriation and queerness with a sharp precision. Delivered in a modern vernacular that excites, it circles around its formula with a careful carefree existentialism, becoming deeply entwined in the pervasive influence of social media and celebrity culture that can do mental damage to those around them, especially in the arena of the ownership of black bodies online and IRL, as well as the connecting energy and complication of female friendships.

Déjah Dixon-Green in Crow’s/Obsidian Theatre’s seven methods for killing kylie jenner. Photo by Dahlia Katz.

It’s completely hyper-engrossing and thrilling, giving power back provocatively to our heroine, Cleo, dynamically portrayed by Déjah Dixon-Green (Stratford’s Much Ado About Nothing), a young black woman who, after a confessional breakup with her cheating boyfriend, expresses her fevered frustration and anger via Twitter using the profile name @INCOGNEGRO. She dives in with gusto, flying into the fray with an aggressive rage that rarely fizzles. The play unwraps the seven methods in a layered unhurried manner, giving space and time to the framework, while also delivering engagement energy to her forever friend, Kara, fascinatingly well-played by Jasmine Case (Tarragon’s Black Girl in Search Of..), a queer person who has lots to say, both positive and negative, about Cleo’s unpacking online.

Dixon-Green is solid and on point throughout, with Case finding engagement at every turn somewhat brilliantly, and together, they excel in every way possible, finding attunement and synchronized energy throughout. Veering somewhere between real life and the virtual space, the play, as directed with exacting intent by Jay Northcott (Tarragon’s A Poem for Rabia), spirals in a rich media space, focusing its lasers on the framework that the born-wealthy media personality, Kylie Jenner, can call herself “self-made“, basking in the positive warm glow of what that label means to a woman like her, and how it can be felt by a woman like Cleo. The unwrapping is expertly intricate and verbally captivating, forcing us to dive in with these two and pay close-close attention to this vivid exploration of Blackness, queerness, and the way the online world can spiral one way and then another in an instantaneous flash of engagement and brutality.

You think you’re funny, don’t you?” as her tweets spiral into the abstract world of death threats and verbal violence enlightening the space, designed with inventive flair by set designer, Nick Blais (Factory’s Trojan Girls…), with well-formulated video graphics, designed by Laura Warren (Outside the March’s No Save Points), helping guide us through the dynamic experimental argument that expands the needed structure addressed. Jones’ dialogue radiates quick, sharp, clever constructs, expanded in thought, and reduced to a parade of letters in caps most brilliantly. The sexual undercurrents are both hilarious and brazen, giving us ample reason to connect as she fastidiously piles up all the injustices against Black women that are woven into the wording of this expert play, and we find ourselves forever invested in her outcome and ultimate safety.

Jasmine Case and Déjah Dixon-Green in Crow’s/Obsidian Theatre’s seven methods for killing kylie jenner. Photo by Dahlia Katz

Steeped in the language of internet culture, assisted strongly by the sound design of Maddie Bautista (Stratford’s Les Belles-Soeurs), straightforward lighting by Christopher-Elizabeth (CS/Bluebird’s Maanomaa, My Brother), and precise costuming by Des’ree Gray (Coal Mine’s Appropriate), the delivery and online reaction to Cleo’s escalation pushes the agenda outward and upward. Embodying numerous online characters, the two flawless performers combine as an exacting unified force, showcasing Cleo’s viral methods for murder and the resulting pushback from the unseen faceless community that has a lot to say about her tweets. The recitation and debate are raw and deliberate, finding truths and the complicated echoings of racism and rape threats that are honestly horrifying and troubling. It’s a terrifying landscape, displaying the vile and horridness of the internet culture that we all play a part in, either as an active participant or abject denier.

Cleo’s tweets and dissertation gain momentum and the back-and-forth conversation becomes more drenched in blocked anger and hurt, with the two reclaiming their time when needed, as they navigate the difficult cloud space filled with personal dredged-up resentment and smoky spaces of connectivity. Demanding to be heard, yet also needing to find the empathy to apologize when required, these two friends work hard inside the vividness of this captivating play so they don’t get swallowed up whole by the racist violence of the world, even as Cleo vocalizes the seven methods of killing kylie jenner one after the other. Its high-minded viewpoint is crystal clear, and delivered with an expertise that is both thrilling and epic, finding inventive casualness in its meticulous unified delivery.

Gripping tight to our emotional attention with a brilliant determination by writer Jones, the play, while feeling a bit trapped by the body bag hidden in the back, seven methods of killing kylie jenner, produced by Obsidian Theatre in association with Crow’s Theatre, Toronto, finds its sharpness and quick wit in the end, reinventing the meta imaginative exit with the weight of history and cleverness. “What are you going to do now?“, they ask. Well…., I’m going to tell you all that this play is something to engage with, learn from, and completely celebrate, but more importantly, I’m going to tell you to get your tickets and dive into this inventive striking new play without delay or hesitation.

Déjah Dixon-Green in Crow’s/Obsidian Theatre’s seven methods for killing kylie jenner. Photo by Dahlia Katz.

Crow’s/Obsidian Theatre Company’s seven methods of killing kylie jenner. For tickets and more information, click here.

For more go to frontmezzjunkies.com

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Live From The Hotel Edison Times Square Chronicles Presents tick, tick…Boom!

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We are so pleased to announce our guests this week are Director Eric Rosen, Andy Mientus and Krystina Alabado about tick, tick…Boom! at The Cape Playhouse this summer. Join us Wednesday May 22nd at 5pm.

Andy Mientus as Jon in Tick, Tick…BOOM! at Bucks County Playhouse.
(© Joan Marcus)

Artistic Director Eric Rosen brings his acclaimed production – hailed as a powerful and bold new interpretation of this show – for his Cape Playhouse debut. Rosen directed the original production of A Christmas Story: The Musical, which opened on Broadway in 2012 and was nominated for a Tony Award for Best Musical. He co-wrote and directed Venice at the Public Theatre. He is also known for his reimagining of classic musicals including Sunday in the Park with George, a punk rock production of Pippin, and Hair: Retrospection in collaboration with and starring members of the original Broadway companies of Hair

As a playwright, his work includes the play Dream Boy which won a Chicago Jeff Award for Best New Play and Best Direction.

In 2000, he co-founded About Face Youth Theatre, one of the nation’s foremost arts and advocacy programs for at-risk LGBTQ youth, and the 18 year old program continues to serve thousands of young people in Chicago.

Director Eric Rosen

Andy Mientus toured with the first national touring company of Spring Awakening, appeared in the 2012 Off-Broadway revival of Carrie: The Musical, He made his Broadway debut in the 2014 revival of Les Misérables as Marius Pontmercy. In February 2015, he was cast as journalist Brett Craig in Parade, for a one-night-only concert presentation at the Lincoln Center’s Avery Fisher Hall. In LA he appeared in the show Bent at the Mark Taper Forum. He also reprised his role as Hänschen in the Deaf West production of Spring Awakening, directed by his partner Michael Arden. The production then transferred to Broadway. In 2013, Mientus was cast in season two of the musical drama television series Smash as series regular Kyle Bishop. Following the cancellation of Smash, Mientus and co-stars Jeremy Jordan and Krysta Rodriguez joined the cast of Hit List, the real-world staging of the fictional rock musicalcreated for season two of Smash

Mientus appeared in several episodes of the ABC Family series Chasing Life as Jackson, the CW series The Flash as the Pied Piper (Hartley Rathaway), having previously auditioned for the lead role of Barry Allen. Mientus made history with this role by playing the first openly gay supervillain ever. He was in GoneGrendel, an eight-episode Netflix series based on Matt Wagner’s Dark Horse comic books.

Andy Mientus

At the age of 18, Krystina Alabado joined the national tour of Spring Awakening and made her Broadway debut in 2011 as a replacement ensemble member and understudy in American Idiotlater reprising her role in the show’s first national tour. In 2013, she joined the national tour of Evita (based on the 2012 Broadway revival) playing Juan Perón’s mistress. In 2016, she appeared in the short-lived Broadway production of American Psycho.  In  2019, Alabado joined the cast of Mean Girls as Gretchen Wieners, replacing Ashley Park. In March 2020, Alabado started a YouTube channel to explain to her followers different aspects of how Broadway works and interview her fellow castmates during the COVID-19 pandemic that temporarily closed Broadway

Krystina Alabado

“Live From The Hotel Edison Times Square Chronicles Presents ”, is a show filmed at the iconic Hotel Edison, before a live audience. To see our past episodes; First episode click here second episode click here,  third episode click here, fourth episode click here, fifth episode click here, sixth episode here, seventh episode here, eighth episode here, ninth episode here, tenth episode here, eleventh episode here, our twelfth episode here, thirteenth episode here and fourteenth here

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Another Barricade Visit for Mirvish Toronto’s “Les Misérables”

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I was apprehensive and excited, all at the same time, as I entered the touring company staging of Alain Boublil and Claude-Michel Schonberg’s  Les Misérables, now taking form at the Princess of Wales Theatre, Toronto. The production, brought to us by Mirvish Productions, transported me back to that time, about forty years ago, when I first saw this glorious musical over in London’s West End. Twice actually, with the magnificent Patti LuPone. Lupone was divine, broking my heart at every moment given. This might have been the show that somehow created this theatre junkie, so much so that I had to return again a few weeks later, spending more than this young man could really afford. And I believe I also returned to see that same beautiful revolving stage design when it made its award-winning debut on Broadway, about two more times before it closed.  It was heavenly and forever memorable.  I remember being swept away by the intensely moving story, and sumptuous music and songs. Tears were in my eyes at so many emotionally heart-breaking moments, that I left fully satisfied and happy each and every time.

The staging this time around, with set and projected image design created by Matt Kinley (25th Anniversary Production of Phantom of the Opera) is said to be “inspired by the paintings of Victor Hugo”, and with a stunning musical staging by Geoffrey Garratt and directed most beautifully by Laurence Connor (Mirvish’s Joseph and the Amazing Technicolor Dreamcoat) and James Powell (London’s The Witches of Eastwick), the production still found its way into my emotional heart. It carried forth all of the same powerful moments, even without that famous revolve. It was different, and in some ways, it felt smaller and not as expansive and connecting, but maybe, with time and an awareness that I didn’t have when I first saw the same touring revival on Broadway back in 2016, this familiar staging fully engaged, taking me happily on that same emotional journey, even while missing the expansive previous revolving set design.

The music and those powerful tragic moments still deliver with a vengeance, mainly because of the incredible vocal performances of this touring cast. Tears came to my eyes at numerous moments, and I knew that I would enjoy myself from the moment the Bishop of Digne, played by a wonderful Randy Jeter (Public’s Parable of the Sower) told the constables that he had in fact given Jean Valjean, embodied by a magnificent Nick Cartell (Broadway’s Paramour) the church’s silver (that he, in fact, had stolen). And furthermore, he had forgotten to take the more valuable pieces of silver during the epic Prologue and ‘Soliloquy’. That and each subsequent moment, lasting all the way from the beautiful ‘I Dreamed a Dream’ sung with such loving sadness by Haley Dortch, the saddest of all sad songs; the engaging ‘On My Own’ by the powerful voiced Mya Rena Hunter; to Valjean’s stunningly rendered of ‘Who Am I?’ and all points in-between, moved me most generously. The songs, delivered graciously by these glorious-voiced actors brought it all back to life, and embedded itself inside my soul once again.

The glorious “Bring Him Home“, sung with incredible intensity and love by the gifted Cartell, felt as tender and angelic as ever. Understudy Cameron Loyal (Broadway’s Bad Cinderella) as the determined Javert couldn’t match the heightened level of expertise that Cartell climbed himself up to and was maybe the weakest link in this beautifully performed construction, but it never tarnished the overall effect. The Thenardier husband and wife team, gorgeously well-played by Matt Crowle (Mercury Theater’s The Producers) and Victoria Huston-Elem (Goodspeed’s Gypsy), performed the wonderfully crafted ‘Master of the House’ number with great comic timing and delivery, and the Student’s songs, ‘The People’s Song’ and ‘Drink With Me to Days Gone By’ were also lovingly performed, although there were a few over-done attempts of humor and inauthentic drunkenness. Marius, lovingly portrayed by the handsome Jake David Smith (Off-Broadway’s Between the Lines) delivers a tender (but not so well stage-designed) version of one of my favorite songs, ‘Empty Chairs at Empty Tables’.  His voice graced us with its loving tones, lifting us in its softness, and working well our emotional heartstrings with this sad sweet song.

All in all, my friend and I had gathered together to hear all these aforementioned, beautifully crafted, and much-loved songs, sung with care, expertise, and love. Les Misérables sounds as glorious as ever, and I must add that I was happy to have had the chance to insert these songs back into my head. I’ve been humming these numerous melodies, all of which brought me great joy and happiness, all weekend long.  This small simple staging still packs a musically beautiful and powerful punch, and I’m forever grateful for that gift, revolving or not.

For more go to frontmezzjunkies.com

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