Roundabout Now Accepting Applications: Directing Fellowship and Directors Group
Roundabout Theatre Company (Todd Haimes, Artistic Director/CEO) is now accepting applications for two of the institution’s signature Artists-in-Residence programs: the Roundabout Directing Fellowship and the Leon Levy Foundation Roundabout Directors Group. The deadline for applications is Thursday, March 16 at 11:59pm (ET). Applicants may apply for one or both programs. For more information and to submit an application, please visit LINK.
An online Information Session for both programs will be held on Monday, February 13, 2023 at 5:00pm (ET). To register, please visithere to receive the Zoom link. Interested applicants who are unable to attend the Information Session can e-mail DirectingPrograms@roundabouttheatre.org with any questions.
The Roundabout Directing Fellowship was launched in 2017 to provide development opportunities, resources, and career assistance to early career directors in the American Theatre. The Fellowship was created specifically to foster new relationships with, and to create a launchpad for, artists who have traditionally been denied equitable opportunities in the theatre industry. Past Fellows have gone on to direct off-Broadway, regionally, and at academic institutions around the country. They have served as associate directors on and off Broadway and have taken further steps in their freelance careers after deepening their networks through the Fellowship.
Previous Directing Fellows include Sivan Battat, current Associate Artistic Director at Noor Theatre and director of Layalina at Goodman Theatre; director of last season’s Exception to the Rule and Roundabout Resident Director Miranda Haymon; and Roundabout Associate Artist and Associate Director of the A Soldier’s Play tour, Cristina Angeles.
Launched in 2019, the Leon Levy Foundation Roundabout Directors Group (RDG) was created to provide an artistic community for directors at similar stages of their careers, fostering camaraderie, lateral mentorship, access to expanded professional networks, and insight into the workings of a large not-for-profit institution. The RDG cohort meets monthly with established artists to offer mentorship and workshops on topics such as: transitioning from assisting to directing, directing for TV/Film, understanding SDC, self-producing, finding representation, and more. Most importantly, RDG serves as a connection point to find community between colleagues with the hope that our members leave RDG with a larger circle of industry connections, knowledge, and a close group of peers.
Previous members of Leon Levy Roundabout Directors Group include Danilo Gambini, who is Associate Artistic Director at Rattlestick Playwrights Theater; Miranda Cornell, a 2022-2023 2050 Artistic Fellow at New York Theatre Workshop; and Ryan Dobrin, the Associate Director on New York Theatre Workshop’s recent production of Merrily We Roll Along.
Support for the Directors Group and all of Roundabout’s Artists in Residence programming is generously provided by the Leon Levy Foundation.
The Leon Levy Foundation, founded in 2004, is a private foundation created from Leon Levy’s Estate by his wife and Founding Trustee, Shelby White. The Foundation continues Leon Levy’s philanthropic legacy and builds on his vision. Since its inception, the Foundation has made grants totaling over $400 million.
The Leon Levy Foundation supports the preservation, understanding and expansion of knowledge in the Ancient World, Arts and Humanities, Nature and Gardens, Neuroscience, Human Rights and Jewish culture.
Roundabout 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 www.roundabouttheatre.org/socialjustice
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, musicals and new works 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 Kathy Hochul and the New York State Legislature.
Roundabout’s current and upcoming productions include: The Wanderers by Anna Ziegler, directed by Barry Edelstein; and Primary Trust by Eboni Booth, directed by Knud Adams.
Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof
For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.
Relevantly Tuneless Fairytale Bad Cinderella Isn’t Bad, It’s Forgettable
You are seriously asking for it, when you make the title for your musical Bad Cinderella, however the show is not bad, it’s just seriously lacking. For an Andrew Lloyd Webber musical, which is normally rich in melody, the only song that has any kind of hold is “Only You, Lonely You” sung by Prince Sebastian (Jordan Dobson or in my performance the wonderful Julio Ray). The lyrics by David Zippel and book by Emerald Fennell, adapted by Alexis Scheer are inane. It doesn’t help that the cast for the most part speaks and sings with mouths full of cotton. The orchestrations sound tinny and computerized, The lead Linedy Genao has no charisma or vocals that soar musically, instead she is rather nasal, like Bernadette Peters with a cold. Why this show is two and a half hours long is beyond me.
The show is based in a town called Belleville (beautiful town en Francais), that is based solely on looks and prides itself on its superficiality. The opening number starts with “Beauty Is Our Duty,” the Queen (a fabulous Grace McLean) is into her hunks including her missing son Charming (Cameron Loyal).
And the fairy godmother (Christina Acosta Robinson) is a plastic surgeon who sings “Beauty Has a Price”. In a day and age, where we are suppose to see past all that, this show is politically incorrect.
Cinderella a Gothic, and a graffiti artist, naturally does not fit into the town’s mold of beauty, which is how she earns her nickname. Her rebel move happens when she defaces a memorial statue of Sebastian’s older brother, Prince Charming. Sebastian is more of a geek, and he and Cinderella are in the “friend zone,” since both lack communication skills in admitting their love.
Sebastian is being forced by his mother, the Queen to find a wife at a ball and invites Cinderella. Cinderella’s stepmother (the always remarkable Carolee Carmello) blackmails the Queen to get one of her daughters Adele (Sami Gayle) or Marie (Morgan Higgins) the gig.
McLean and Carmello are the bright spots in the show and if the show had been about these two, maybe we would actually have a show that could work. These two steal the show.
Cinderella has not one, but two what should have been show stopping numbers “I Know I Have A Heart (Because You Broke It)” and “Far Too Late,” but she does not have the vocals, the character development or the star power to carry them off.
The set and the revenge porn costumes by Gabriela Tylesova, are just over the top, with the storybook set faring much better than the over complicated flowered pastels that waltzed across the stage.
The direction by Laurence Connor is just dull and lacks oomph.
If you like buff men and Chippendale type choreography this is the show for you.
Bad Cinderella, Imperial Theatre, 249 West 45th Street.
Did You Know There Is A Kander & Ebb Way?
On Friday, March 24th, the 96-year-old John Kander was given a Mayoral Proclamation from Mayor Eric Adams in celebration of the first performance of his new Broadway musical New York, New York. Following the proclamation, Lin-Manuel Miranda unveiled the sign renaming 44th Steet ‘Kander & Ebb Way. On hand was the Manhattan School of Music to performed the iconic Kander & Ebb song “New York, New York.”
New York, New York opens Wednesday, April 26, 2023 at Broadway’s St. James Theatre (246 West 44th Street).
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