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TRU announces a one-on-one networking event with commercial and indie producers, Writer-Producer Speed Date on July 15, 2018 with coaching sessions at 4:30pm and 5:30pm at Studios 353, 353 W 48th St, NYC. For more information, visit https://truonline.org/events/speed-date-07-18/. Application extended to July 5, 2018. Application must be accepted before purchasing tickets. Tickets are available for purchase for accepted applicants on July 7, 2018. Tickets are $75 for TRU Members; $85 for non-members, $25 per additional collaborator. Tickets may be purchased at https://truonline.org/events/speed-date-07-18/.
You meet a producer at a party and have two minutes to interest him in your work. Do you have the skill to sell yourself? Here’s a chance to practice your pitching with real producers who are open to and looking for new work. Okay, they probably won’t option you on the spot, but you’ll meet them and have the opportunity to start developing a relationship. And that’s what this business is all about. Relationships.
I participated in TRU’s Writer’s Speed Date Pitch session last year, and got a LOT out of it! I found it so motivating to have a deadline to create production assets and prepare myself for meeting producers. My partner and I worked tirelessly for days before the event to make sure we were in top form before presenting (as writers) to the “producers” on hand. My experience was one of the rare occasions where several producers expressed real interest in my work. Later, one attended my reading, and followed up with a coffee meeting to talk financing. We’re still in touch. Again, this is never promised, but it does happen for some of us. In my opinion, the price of $85 for all that value is a BARGAIN! ~Ed Zareh
The speed date was essential to my production, helped me learn how to communicate about my work. ~Yaakov Bressler
 
I’ve had follow-up meetings with two people I met from the event. and provided scripts to three others. I also met some fellow playwrights, and through a chain of introductions coming out of that, I’m now working on a possible film deal in Los Angeles.  If you have a project where you’d like to practice and receive feedback on your pitch; potentially make some connections that would be useful for script development or early production; and meet some other playwrights – this is an ideal opportunity. ~William Roetzheim
There will be eleven producers lined up, from both the commercial and not-for-profit worlds, all with an interest in new projects; there also may be eleven aspiring producers, including some from our Producer Development program. So you’ll be pitching to as many as 22 producers in total! Come with a willingness to learn, because the real value is the chance to practice your pitching. And you’ll be getting invaluable coaching from experts, as well. And did we mention the wine and snacks afterwards?
Confirmed producers include:
  • Margot Astrachan, producer (A Gentleman’s Guide…, Ghost the musical, Around the World in 80 Days, Nice Work If You Can Get It, On a Clear Day…);
  • Patrick Blake, producer (The 39 Steps, Bedlam Theatre’s Hamlet/St. Joan, My Life Is a Musical, Play Dead, The Exonerated);
  • William Franzblau, producer (Rocktopia, TONY Nominated Best Play Say Goodnight GracieAmerican Buffalo and Wonderland on Broadway, the tour of Little House on the Prairie the Musical; off-Broadway This One’s for the GirlsSistas, Jewtopia, Evil Dead the Musical, Illuminate);
  • RK Greene, producer (Peter & the Starcatcher, Cougar, Room Service);
  • Cooper Jordan, Producer of Live Entertainment for New York, Atlantic City and Northeast Touring Productions (The Rat Pack UndeadDex! a killer musical);
  • Cody Lassen, producer (Indecent, Significant Other, The Band’s Visit);
  • Lawrence D. Poster/Asparagus Entertainment, producer (RagsForbidden Broadway Comes Out Swinging, Fingers and Toes);
  • Markus Potter – producing artistic director NewYorkRep, producer (The Velocity of AutumnStalking the Bogeyman);
  • Shela Xoregos, artistic director of Xoregos Performing Company;
  • Ken Waissman, producer (original GreaseTorch Song TrilogyOver Here!,Agnes of God);
  • Frank Zuback, producer (Taking Leave, American Soldier, Roof of the World)
Coaches: Sharon Albert, Bailie Slevin and Gillien Goll. Trailing producers will include Mark Butler*, artistic director of The Wild Whatever; Mike Griffiths, producer and managing director of marketing at Dixon Place; Jeffery Lyle Segal*, writer/producer.
* member or graduate of TRU’s Producer Development & Mentorship Program (PDMP)
Sunday July 15th
Session 1: coaching at 4:30, pitching at 5:30
Session 2: coaching at 5:30, pitching at 6:30
 
Deadline to apply extended to July 5th at 6pm. Visit https://truonline.org/events/speed-date-07-18/ for application. Please fill out and email to TRUStaff1@gmail.com (put “Speed Date” in the file name). Late applications will be considered subject to availability. Store will open for purchase on July 7th, after the 22 writers have been selected. If you are coming in from out of town, you may request early acceptance.
Theater Resources Unlimited (TRU) is the leading network for developing theater professionals, a twenty-five year old 501c3 nonprofit organization created to help producers produce, emerging theater companies to emerge healthily and all theater professionals to understand and navigate the business of the arts. Membership includes self-producing artists as well as career producers and theater companies.
TRU publishes an email community newsletter of services, goods and productions; presents the TRU VOICES Annual New Play Reading Series and Annual New Musicals Reading Series, two new works series in which TRU underwrites developmental readings to nurture new shows as well as new producers for theater; offers a Producer Development & Mentorship Program whose mentors are among the most prominent producers and general managers in New York theater, and also presents Producer Boot Camp workshops to help aspirants develop the business skills they need. TRU serves writers through a Writer-Producer Speed Date, a Practical Playwriting Workshop, How to Write a Musical That Works and a Director-Writer Communications Lab; programs for actors include the Annual Combined Audition, Resource Nights and “Speed Dating” as well as actor workshops.
Programs of Theater Resources Unlimited are supported in part by public funds awarded through the New York State Council on the Arts (NYSCA) with the support of Governor Andrew Cuomo and the New York State Legislature, as well as the Montage Foundation and the Leibowitz Greenway Foundation.
For more information about TRU membership and programs, visitwww.truonline.org

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

Off Broadway

The Journals of Adam and Eve The World’s First Love Story Starring Hal Linden and Marilu Henner

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photo by Paul Aphisit

“Some day we’ll look back on this and laugh.”

The Journals of Adam and Eve The World’s First Love Story starring Hal Linden and Marilu Henner is a master class in acting. Created by Emmy-winning comedy writer Ed Weinberger (The Mary Tyler Moore Show, Taxi, The Cosby Show), the show is very reminiscent of Mark Twain’s The Diaries of Adam and Eve. Ultimately an endearing love story, the  show records the couple’s initial ambivalence to growth within themselves and in love.

Done like a reading, the actors are in black street clothes. They refer to their scripts from adjoining music stands. There is water on small tables and a chair for each.

Hal Linden and Marilu Henner are very amusing and powerful storytellers. Linden’s journey as Adam, starts off with “Much to my amazement, I was born a full-grown man,” to “It wasn’t the Garden of Eden. Not by a long shot.” We meet and see a man who is flawed, childlike in full blown ego to a man content with the journey. It is truly funny to see Mr. Linden recall his favorite herb. “A few swallows of the bud and I soon found myself wolfing down handfuls of figs drenched in honey and sprinkled with crunchy chili peppers. It also made me giggle when I counted my fingers.”

Henner commands the stage squeezing every laugh out of goading Adam, flirting in a way that is subtle and innocent. When he tries to rule over her she states; “Well, it just so happens that this living thing that ‘moveth’ is not one of your birds, fishes, or any other animal you have dominion over. So maybe you and this God ought to have another little talk about who is whoest and what is whateth.”

As the mysteries of life and love are explored desire, discoveries, temptation, lust, being the world’s first parents, joys, sorrows, separation and contentment in their twilight years all are explained and shown in a way that makes you think.

This thought-provoking comedy’s makes you wonder did we ever really know the first couple, that in a strange way has influenced all of our lives?

Amy Anders Corcoran’s direction is simple, yet effective and you will leave the theatre more satisfied than Adama dn Eve after they bit that apple.

The Journals of Adam and Eve: The Sheen Center, Loreto Theater, 18 Bleecker Street, until July 28th

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Off Broadway

Cats – The Jellical Ball at PAC NYC Death Drops Deliriously Divine and Feline-Free

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This is a ball darling, emote!” and with the glitter dust blown off an iconic album, this Jellicle Ball reimaging eyes the runway in classic form, giving a nod to the old, but radically restructuring this new version of Andrew Lloyd Webber’s Cats with divine aplomb. The shadow ballet to the overture, as directed by Zhailon Levingston (Broadway’s Chicken and Biscuits) and Bill Rauch (LCT’s The Great Society) with choreography by Arturo Lyons (Madonna’s Celebration Tour) and Omari Wiles (Les Ballet Afrik), sets fire to the excited crowd that has gathered around the runway at PAC NYC, giving mystical divinity to Gay Pride Saturday. It’s clearly the musical theatrical event of the summer, with nothing else coming close, other than a few shows that are coming to an end after reaping the awards of a Post-Tony upswing. And I couldn’t feel more blessed as I took my seat right behind the two special guests who were seated on each side of an empty throne. So prepare yourselves, kittens, for what is about to come, because it’s not what you remember. Not at all. It’s something very different, and magically magnificent in ways I could never have imagined before this construction. It has meaning, deeper than when it first crawled in from the streets, and a unifying sense of community that registers far beyond what one could have anticipated, culturally and emotionally.

For anyone of a certain age, this musical, Cats, which started out in the West End at the New London Theatre in May 1981, was a phenomenon that was unparalleled at the time. Interesting fact: Judi Dench was originally cast to play the glamour cat but tore her Achilles tendon during rehearsal and was replaced by Elaine Paige.  Later, it opened on Broadway at the Winter Garden Theatre in 1982 with Buckley as Grizabella. Her 1983 Tony-winning performance has etched itself firmly into our collective theatrical minds with all of its pain, beauty, and power. I was not lucky enough to have seen either Buckley or Paige as Grizabella, but I did see Cats for the first time at the newly opened historic Elgin Theatre in Toronto in 1985.  It was a big deal for me and the city when this famous show ushered in a new period of theatrical renewal for Toronto, and I, as a university student studying Theatre Design at York University, could not wait to see it.

André De Shields in Cats – The Jellicle Ball at PAC NYC. Photo by Matthew Murphy and Evan Zimmerman.

I had worn out my record (or was it a cassette tape?) listening to all of those unique and exciting songs over and over again. I cannot tell you who played the part in the Canadian production for this two-and-a-half-year run (if you can tell me, I’d love to know) but I can honestly admit that I loved the experience. An idea that both tells you the state of theatre at the time, and how this musical, even if it has gained a certain level of disdain and unpopularity in the modern theatrical world, ignited something in our collective consciousness that hadn’t been seen on stage before it purred its way forward. It was revolutionary, even as we look back at it down our more enlightened noses.

When I saw the 2016 Cats revival, directed again by Trevor Nunn, it was like revisiting an old magician friend, but one that I had hoped would have tried a few new tricks, and maybe given us a bit different twist.  Cats, to be frank, is a ridiculously silly show in terms of modern-day musical theatre, but I do recognize that at the time, back in 1985, it was historic. Cats started a theatrical trend or model, whether you like it or not, for producers to create what was to be called the ‘megamusical’ phenomenon. It quickly established a global market for musical theatre, focusing the industry towards establishing big-budget blockbusters, as well as creating a theatrical entertainment landscape devoted to family and tourist-friendly shows. The musical’s profound but polarising influence also reshaped the aesthetic, technology, and marketing of the medium for the better, or maybe the worse for the industry today.  It changed what musicals were allowed to be.  And I get that.  But some shows don’t age so well.  Don’t get me wrong, Cats is not a bad show in any way but it was running out of lives, and needed viewing through a completely different lens.

The cast of Cats – The Jellicle Ball at PAC NYC. Photo by Matthew Murphy and Evan Zimmerman.
But who could have guessed it would be reborn most brilliantly on the runway of Harlem Ballroom; a culture made iconic in shows like 2018’s “Pose“, as well as in the video for Malcolm McLaren’s “Deep in Vogue“, released in 1989, and Madonna’s “Vogue“, released in 1990, one year before the ground-breaking documentary “Paris Is Burning“, which really brought the iconic framework into our cultural sensibilities. They all did in their own ways, but co-directors Levingston and Rauch (artistic director of PAC NYC) took on this dusty ALW musical, that was famously inspired by “Old Possum’s Book of Practical Cats” by T. S. Eliot, and sent it swirling and voguing itself into an astounding new Heaviside Layer (the Cats version of heaven), reforming and rebirthing these former felines into something very different, and absolutely earth-shakeringly fabulous.
Their new Cats has been reborn and redesigned, throwing itself into the competitive Ballroom Scene with a confident power that is intoxicating and electrifying. Played out on a long runway space running from the windows to the judges’ table, designed with a spirited sense by Rachel Hauck (Broadway’s Hadestown; MCC’s The Wrong Man), the newly formed megamusical delivers its mega reframing with an African-American and Latino underground LGBTQ+ subcultural slant, rolled out with pride and self-assurance. The retooling has nothing to do with the four-legged feline. These ‘cats’ are performative alter-ego contestants; magnificent and creative, competing in a captivating, integrated competition that has its historic soul coming from drag balls of the mid-19th Century. And those balls, in response to increasing racism and homophobia, evolved in the 20th Century into house Ballroom Competitions, where Black and Latino participants would ‘walk’ the runway in a variety of categories, resulting in the awarding of trophies and cash prizes. The framework is perfection for these personality introductions, and these ‘cats’ are ready to revel and death-drop dip into these historic roots like no one could have ever imagined possible.The newly formed framing works its magic throughout, creating community within the Cats clan of chosen names and chosen family. Adam Honoré (Broadway’s Ain’t No Mo’) delivers a spectacle in lights alongside the solid sound design by Kai Harada (Broadway’s Kimberly Akimbo), as does the recreated iconic projections by Brittany Bland (Public’s A Raisin in the Sun) that honor, enhance, and elevate. But like any ballroom competition, memorable magic is forever created in the costumes designed masterfully by Qween Jean (TNG’s Black No More) and the wigs created by Nikiya Mathis (Broadway’s Home), and neither let this ball drop.

Sydney James Harcourt and the cast of Cats – The Jellicle Ball at PAC NYC. Photo by Matthew Murphy and Evan Zimmerman.

Competing in an assortment of Ballroom categories like “Butch Queen Realness” and “Old Way vs. New Way” voguing, the cast fly themselves forward, finding authenticity in their irresistibility. It’s powerful exciting and theatrical, while only once purring itself a bit too closely to the actual idea of playing Cats. That moment aside, everyone in the cast is beyond excellent, dipping themselves down into death at the drop of a hat, while playing with the structure and feline concepts most majestically. The incredibly sexy Sydney James Harcourt (Public’s Girl From the North Country) makes an irresistible Rum Tum Tugger, winning his trophy easily, while Emma Sofia (Broadway’s Charlie and the Chocolate Factory) as Skimbleshanks, loses by a whisker. Antwayn Hopper (Broadway’s A Strange Loop) as Macavity steals the scene in designer labels with tags still attached, while later on, ballroom legend Junior LaBeija delivers a touchingly sweet spiriting as Asparagus, the old theater cat. But it is the long-legged “Magical Mr. Mistoffelees“, embodied by the mega-talented Robert “Silk” Mason (“Into the Colors“), that truly brings all that brilliance to the forefront, and ties it all together with such talent and presence.

But really we are all waiting for the arrival of Old Deuteronomy, knowingly played most deliciously regal by André De Shields (Broadway’s Hadestown) to take his seat on the throne. His entrance and demeanor couldn’t have been more perfect for the part, carrying himself forward like many of the trophies given out by MC Munkustrap, portrayed dutifully well by Dudney Joseph Jr. (Public’s The Harder They Come), to the young contestant kitties vying for Old D’s respectful nod. As in the traditional telling of this tale, a tribe of ‘cats’ called the Jellicles have come before the honorable Old Deuteronomy to make the “Jellicle choice”, deciding which of the many worthy cats assembled will ascend up to the Heaviside Layer and come back to the world in a new life. Here, under the strongly focused eyes of its determined directors, the lens has shifted yet remained tuned into the competitive introductions of ‘cats’ vying for the ultimate award of the night. And the experiment works, better than any of us could have dreamed or hoped for.

André De Shields (center) and the cast of Cats – The Jellicle Ball at PAC NYC. Photo by Matthew Murphy and Evan Zimmerman.

It’s a deliciously delivered radical relayering, that completely renders us helpless against the talented ‘cats’ laid out before us, choreographed to the heavens, and performed to energetic perfection by an astounding cast. Anyone familiar with this musical knows we are all waiting for the one who has fallen on hard times, the formally glamorous Grizabella, usually played by “Tempress” Chasity Moore, but on this particular night, understudy Garnet Williams (Parity’s At Hotel MacGuffin) majestically donned the smudged lipstick and ripped coat, delivering the goods with extreme gusto. The other cats pull back and away from her at first, but it’s only a matter of time until Grizabella is given the floor, and Williams, thanks to the strong musical supervision and music direction by William Waldrop (Broadway’s Evita; Cats) and Beats arranger Trevor Holder (Brian Jackson’s Gotta Play; Broadway’s The Wiz), weaves some “Memory” magic all around her, shining radiantly upwards to the Heaviside Layer in shimmering majestic fashion. It’s an exit worthy of the work being done here, and the supreme magic created in this radically magnificent restructuring of Cats – The Jellical Ball. Let’s hope this ‘radical reimagined’ production has a few more lives to live, and runways to walk. Is Circle in the Square its next alley cat Ballroom? Or are the whisperings I hear wrong?

https://www.youtube.com/watch?v=rrfstFrQKccTo see the video click here.

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Events

The Glorious Corner

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G.H. Harding

ARGENT RETIRES — (via Ultimate Classic Rock) Rod Argent, a founder and longtime keyboardist for the British Invasion band the Zombies, has announced his retirement from touring following a stroke.

The group’s management announced in a statement that said: “We are saddened to report that Rod Argent, founder, keyboardist and primary songwriter of the Zombies, has suffered a stroke. Rod had recently returned home from a triumphant Zombies tour of the U.K. and spent a weekend in London with his beloved wife, Cathy, celebrating his 79th birthday and their 52nd wedding anniversary, before the stroke occurred.

“He was hospitalized overnight and released the next day. Doctors have advised that Rod will need several months of rest and recuperation. Rod has asked us to convey that he has made the very difficult decision to immediately retire from touring in order to protect his health. He was already preparing to wind down his live performance schedule after health scares on recent tours.”

In January 2022, the Zombies pushed back tour dates to 2023 after an unnamed member required an “urgent but non-life-threatening” medical procedure.

The band has been active in recent years, following their 2019 induction into the Rock & Roll Hall of Fame. They released their seventh album, Different Game, last year.

Argent and the Zombies had their first hit in 1964 with “She’s Not There.” The Hertfordshire, England-formed band, featuring singer Colin Blunstone, scored three Top 10 singles by the end of the decade, including “Time of the Season” from their classic 1968 album Odessey and Oracle, their last before a 1991 reunion LP.

During the break, Argent led the band Argent, which had a Top 5 hit in 1972 with “Hold Your Head Up.”

Argent and Blunstone, along with original bassist Chris White and original drummer Hugh Grundy, got back together for a 50th anniversary tour of Odessey and Oracle in 2017. (Original guitarist Paul Atkinson died in 2004.) The quartet has since toured with other current members of the band.

The statement concluded, “We don’t know what the future holds. What we have to tell fans today is that all upcoming performances by the Zombies will be canceled.”

SHORT TAKES — Watched the cast of Stereophonic perform two numbers on Thursday’s Today show.

This is the show that openly boasts that the play is a performance of Fleetwood Mac’s Rumours album and how it was recorded. I was actually surprised by just how closely it sounded like that album. If I was Mick Fleetwood, I’d ask for some of the profits. Amazing! …

Nicky Hopkins

You may not know the name Nicky Hopkins, but in the 60’s and 70’s he played with everyone from Joe Cocker to John Lennon and George Harrison.

He also put out a killer solo album called The Tin Man Was a Dreamer in 1983. He passed away years ago, but there’s a new doc on him (Session Man). He was a great player. Check out the trailer: https://thesessionmanfilm.com

… A Broadway-play on the life of Muhammad Ali is in the works … Saw the first commercial yesterday for back-to-school. does that mean the summer is officially over? …

Kevin Costner’s Horizon is going to MAX shortly. Sadly, it has not been the smash everyone desperately wanted. Check out Deadline’stake on it: https://deadline.com/2024/07/horizon-2-delayed-1236006327/

The Alec Baldwin trial has begun in Santa Fe. Will he testify? Hard call. Again, I think it was just a terrible accident. Should gun-safety be increased on movie sets? Of course …

Jeff Zucker

The Zuck returns? Rumors spread like wildfire Thursday that Jeff Zucker (NBC and CNN) will now run CBS News. He’s a visionary for sure … Happy Bday Shep Pettibone … RIP Shelley Duvall

NAMES IN THE NEWS —– Jackie Stander; Tom & Lisa Cuddy; Owen Bradley; Jon Bon Jovi; Brad Balfour; Jordan Gray; Steve Immerman; Tony Seidl; Frank’s Steaks; Tom & Lisa Cuddy; Nancy Ruth; Teresa Knox; Freda Payne; Brenda Lee; Mike Campbell; Veruca Salt; Bonnie Culpeppersmith; Roy Trakin; Daryl Hall; Jonathan Wolfson; Carl Perkins; Tommy James; Carol Ross; Marty Ostrow; Jann Wenner; and BELLA!

 Images on this page have been licensed under the Creative Commons Attribution-Share Alike 4.0 International license.

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Off Broadway

Empire: The Musical Wants To Be What It Is Not

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I was so looking forward to Empire: The Musical. I was impressed at the press meet and greet, as well as the video on Youtube with the musical scoring, sadly it did not hit the mark. The book by Caroline Sherman and Robert Hull is confusing and doesn’t allow for us to become emotionally involved. For the most part the show takes place in Great Depression, however it starts off in 1976 and is seen through Sylvie Lee (Julia Louise Hosack the understudy for Jessica Ranville) eyes. My first question becomes how did Sylvie get to the era of the Great Depression and interact with it considering it started in 1929, the Empire State Building began construction in 1930 and, after an incredible 13 months (just 410 days), was completed in 1931?

Sylvie is the daughter of a worker who died during construction and hates the building and the past. She is resentful and now she is in the Great Depression interacting with  former New York City Governor Alfred E. Smith (Paul Salvatoriello), former General Motors executive John J. Raskob (Howard Kaye), architect Charles Kinney (Albert Guerzon), and Frances Belle “Wally” Wolodsky (Kaitlyn Davidson) who is the person behind Smith and girlfriend of Kinney. Another of the confusion here is Shreve, Lamb & Harmon Associates were the architect not Charles Kinney.

Photo by Matthew Murphy

As we learn this story we meet the workers which are written so stereotypical. There is Irishman Ethan O’Dowd (J Savage), the racist Italian Mateo Menzo (Robbie Serrano), the Polish Joe Pakulski (Devon Cortez) a dreamer, as is his Mohawk wife, Rudy (also Kianna Labeary), who disguises herself as a man in order to work alongside him.

Dave Clemmons once told me we sing in musicals, because words are no longer enough. The problemm here is though the songs are pretty, there seems no reason to sing them. Sherman and Hull also did the score. Almost all of the songs sound the same and the lyrics don’t always work. They are well sung. especially by Kaitlyn Davidson, Paul Salvatoriello, Julia Louise Hosack and April Ortiz. What is done well is the harmony.

Lorna Ventura’s choreography tries to succeed and does for the most par,t but it seems like this is a poor man’s Newsies. There are even some riffs in the songs, that sound borrowed.

The cast has spirit and energy and gives performances that make you wish they had a better show or director. Cady Huffman seems lost considering she was given very little to work with.

Photo by Matthew Murphy

Even scenic designer Walt Spangler seems lost with the odd set that has hidden treasure every where you look, but doesn’t fit the musical.

I do hope to see more of Ms. Davidson and the boy in the chorus Joel Douglas, both stand out and made the most of what they could of their respective roles.

Empire: The Musical: New World Stages, 340 West 50th Street, until September 22nd.
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Entertainment

Times Square Chronicles Presents The Hamptons

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Since “Live From The Hotel Edison Times Square Chronicles Presents” is so popular, we decided to do a summer edition called “Times Square Chronicles Presents The Hamptons”. We started with the Bay Street Theatre  Gala because it is what we know.,,,,,theatre. The Gala honored Neil Patrick Harris, David Burtka, and Dr. Georgette Grier-Key.

In this episode you can see Richard Kind, Marc Kudisch, Scott Schwartz, Tovah Feldshuh, Lena Hall, Tracy Mitchell, Rose Caiola, Stewart F Lane, Lliana Guibert, Kate Edelman Johnson, Steve Leber and Bonnie Lautenberg and Riki Kane Larimer.

You can watch us here

 

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