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Roundabout’s The Wanderers Does Exactly That, But Fails to Find its Way to the Core

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The loopholes in life are piled up and plastered across the back walls of the Roundabout Theatre Company‘s production of The Wanderers, the new play that just opened at the Laura Pels Theatre off-Broadway. The pages and books that decorate the stage tell two stories that work their way around one another, flipping back and forth until they finally find the connective tissue that loosely binds. It’s a compelling construct that tries its best to hold Anna Ziegler’s ambitious story together but somehow muddles itself in its own high-mindedness and poor formulation. Lines and ideas are put forth by Ziegler (The Last Match), through the distinctive, yet somewhat stereotypical characters, registering interesting pathways regarding culture, religion, and unhappiness, that could be at the core, but are often left in the dust. Sidelined, and discarded, for more showier movie star explorations.

Lucy Freyer, Dave Klasko Photo by Joan Marcus.

The layers are complex and dynamic but as directed by Barry Edelstein (RTC’s All My Sons), the design fails to capture the intent, leaving the play to push through entrances and exits that slow down the wonder it is so desperately trying to script, chapter to chapter. The frustrated modern wife, Sophie, played by Sarah Cooper (“Summering“) delivers the first page, standing in the symbolic arena, designed haphazardly by Marion Williams (PlayMakers’ Into the Woods). Her character sets up a conflict with highlighted determination, that ultimately takes the backseat, and in the end, has little to do with the main outcome, other than pointing out the obvious. Those poetic openings do their job, I guess, pulling us into the pages of the conflict, I just wish the play understood what it really needed to say about these two couples, separated by time and culture, and why a movie star presence is even needed.

The Wanderersis an overly literal play that doesn’t quite know its way around the tabled subject, planting the formulation in an abstract that isn’t quite dramatic enough for the flattened structure. The play wants us to be drawn into the conflicts of these two very different heterosexual couples standing at the brink of conflict and change, and the impulse is there. One of them is a young newlywed Orthodox Jewish couple, Esther and Schmuli, finding their way toward one another even as we watch them grow apart, and the other, Abe and Sophie, is a modern, somewhat non-religious married couple with kids, both highly educated, intellectual, and writers of books, finding their literal world more complex then either seem prepared for. The projected chapter titles, designed by Joey Moro (Broadway’s Skeleton Crew), do little to draw us in, even though they make us believe there will be a point, and the lighting, designed by Kenneth Posner (Broadway’s Beetlejuice) needed a bit more pooling subtlety rather than making all these characters forever walk in to deliver their lines before casually strolling off, well lit and obvious, to alter their pretty costuming by David Israel Reynoso (Punchdrunk’s Sleep No More) for no apparent reason other than the play’s requirements.

The interlocking connection, beyond the fact that both marriages are clearly walking towards trouble almost from the get-go, doesn’t present itself until about halfway through, even though the clues are pretty obviously teased out. But the reasoning for this overlap never seems powerful or deep enough to warrant their existence together. The stories, in their own particular orbit, do offer intrigue, especially in the alteration (and some could say enlightenment) of Esther, played delicately by Lucy Freyer (“Paint“), who desires connection to the modern world, to the concerned amazement of her more traditional new husband, played exquisitely by Dave Klasko (SITP’s King Lear). Their work together is deliciously enticing, especially Klasko in a role that most modern non-Orthodox Jewish audience members would not want to align with, yet he finds humanity and tenderness in his confused collision with his own belief systems. Their story has a soul, and although it’s one we have seen before, particularly well told in the Netflix series “Unorthodox“, the dual emotional complexities register in a way that the rest of the play fails to.

Katie Holmes (Julia Cheever) and Eddie Kaye Thomas (Abe) in Roundabout Theatre Company’s production of The Wanderers. Photo by Joan Marcus.

The modern story, even with its twists and turns, stays solidly in territory that feels less tenderly determined. The husband, who is the more accomplished writer, played with determination by Eddie Kaye Thomas (MCC’s The Submission), unpacks ideas poetically, as he becomes entranced by an email and instant messaging exchange with a beautiful movie star, Julia Cheever, played solidly by Katie Holmes (Broadway’s All My Sons). It’s a compelling narrative, although poorly orchestrated on that wide bright stage. Holmes’ movie star character floats in and out, engaging in chatter that is overblown and unreasonable. In a strange way, her sad regular person living an irregular life feels like titillation rather than an inherent need. Yet it gives the playwright opportunities to throw out complexities about fame and creativity that are fascinating, yet somehow unrelatable. And Cooper’s annoyed wife role, unfortunately, standing on the sidelines folding laundry, only finds her space later on, but still manages to never find its weight that the initial poetic monologue hinted at in the very beginning.

Wake up, Abe,” she says, placing ideas in between the lines that haven’t presented themselves quite yet. Ziegler’s writing feels smart, poetic, and recklessly brave, while not really discovering the ropes that bind these two stories together tightly. The play seems to be asking the overly simplified question, “Can we be happy with what we have while we have it?” but fails, in a way, to answer it completely or deeply, beyond the simplistic, disconnected tones of two stories that don’t have a lot to say to one another. And why the movie star? The correspondence has some fleshy bits, but never finds deeper meaning to its internal unhappiness or desire. The two connect, yet it doesn’t feel real, and it certainly isn’t honest in more ways than one. Maybe that is the point, yet I never cared about the two, and the twist (or is it a manipulation?) that comes later, made it feel reasonable that I didn’t. Which I don’t think served the overall cloudy theme. The stories themselves made me curious, but the charm of the play, Abe’s words, and his egotism faded quickly, and as the novel approach came sputtering to an end, The Wanderers remained, looking for the core, but not exactly finding its way.

Eddie Kaye Thomas (Abe) and Sarah Cooper (Sophie) in Roundabout Theatre Company’s production of The Wanderers. Photo by Joan Marcus.For more go to frontmezzjunkies.com

My love for theater started when I first got involved in high school plays and children's theatre in London, Ontario, which led me—much to my mother’s chagrin—to study set design, directing, and arts administration at York University in Toronto. But rather than pursuing theater as a career (I did produce and design a wee bit), I became a self-proclaimed theater junkie and life-long supporter. I am not a writer by trade, but I hope to share my views and feelings about this amazing experience we are so lucky to be able to see here in NYC, and in my many trips to London, Enlgand, Chicago, Toronto, Washington, and beyond. Living in London, England from 1985 to 1986, NYC since 1994, and on my numerous theatrical obsessive trips to England, I've seen as much theater as I can possibly afford. I love seeing plays. I love seeing musicals. If I had to choose between a song or a dance, I'd always pick the song. Dance—especially ballet—is pretty and all, but it doesn’t excite me as, say, Sondheim lyrics. But that being said, the dancing in West Side Story is incredible! As it seems you all love a good list, here's two. FAVORITE MUSICALS (in no particular order): Sweeney Todd with Patti Lupone and Michael Cerveris in 2005. By far, my most favorite theatrical experience to date. Sunday in the Park with George with Jenna Russell (who made me sob hysterically each and every one of the three times I saw that production in England and here in NYC) in 2008 Spring Awakening with Jonathan Groff and Lea Michele in 2007 Hedwig and the Angry Inch (both off-Boadway in 1998 and on Broadway in 2014, with Neal Patrick Harris, but also with Michael C. Hall and John Cameron Mitchell, my first Hedwig and my last...so far), Next To Normal with Alice Ripley (who I wish I had seen in Side Show) in 2009 FAVORITE PLAYS (that’s more difficult—there have been so many and they are all so different): Angels in American, both on Broadway and off Lettice and Lovage with Dame Maggie Smith and Margaret Tyzack in 1987 Who's Afraid of Virginai Woolf with Tracy Letts and Amy Morton in 2012 Almost everything by Alan Ayckbourn, but especially Woman in Mind with Julia McKenzie in 1986 And to round out the five, maybe Proof with Mary Louise Parker in 2000. But ask me on a different day, and I might give you a different list. These are only ten theatre moments that I will remember for years to come, until I don’t have a memory anymore. There are many more that I didn't or couldn't remember, and I hope a tremendous number more to come. Thanks for reading. And remember: read, like, share, retweet, enjoy. For more go to frontmezzjunkies.com

Broadway

Summer Listening: Here We Are, Water for Elephants, Days of Wine and Roses, Harmony, How to Dance in Ohio, The Great Gatsby, Lempicka, The Outsiders, Stereophonic and Suffs  

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Today Concord Theatricals Recordings released the original cast recording of Here We Are, on CD and digital platforms worldwide. The album will be available on 2-LP, 180g baby blue vinyl on Friday, September 6. Here We Are (Original Cast Recording) has music and lyrics by Stephen Sondheim, orchestrations by Jonathan Tunick, and music supervision and additional arrangements by Alexander Gemignani, conducting a 14-piece orchestra. The album was recorded and mixed by Ian Kagey and mastered by Oscar Zambrano. The album packaging was designed by Derek Bishop. Complete production credits can be found in the album booklet available for free download HERE.

Stream, download or purchase the album HERE.

The album features the cast of Joe Mantello’s celebrated world premiere production: Francois Battiste, Tracie Bennett, Bobby Cannaval

Ghostlight Records has announced that Water for Elephants: Original Broadway Cast Recording, which preserves the show’s soaring score by the acclaimed PigPen Theatre Co., is available in streaming and digital formats today, Friday, May 17. A CD is being planned for this summer. The show has been nominated for seven 2024 Tony Awards, including “Best Musical.” Produced by Peter Schneider, Jennifer Costello, Grove Entertainment, Frank Marshall, Isaac Robert Hurwitz, and Seth A. Goldstein, Water for Elephants is currently running at the Imperial Theatre (249 West 45th Street). Water for Elephants is based on the critically acclaimed and New York Times-bestselling novel by Sara Gruen. The new musical has a book by four-time Tony Award nominee Rick Elice (Jersey Boys, Peter and the Starcatcher) and is directed by two-time Tony Award nominee Jessica Stone (Kimberly Akimbo). The album is produced by Mary-Mitchell Campbell and Ian Kagey. Stream or download the album at ghostlightrecords.lnk.to/WaterForElephants

Water for Elephants is currently running at the Imperial Theatre (249 West 45th Street). The cast stars Grant Gustin (“The Flash,” “Glee”) in his Broadway debut, Isabelle McCalla (The Prom, Shucked), four-time Tony Award nominee Gregg Edelman (City of Angels), Drama Desk and Outer Critic Circle Award nominee Paul Alexander Nolan (Slave Play), Stan Brown (“Homicide: Life in the Streets”), Joe De Paul (Cirque du Soleil’s Dralion), Sara Gettelfinger (Dirty Rotten Scoundrels), and Wade McCollum (Wicked), and features Brandon Block, Antoine Boissereau, Rachael Boyd, Paul Castree, Ken Wulf Clark, Taylor Colleton, Gabriel Olivera de Paula Costa, Isabella Luisa Diaz, Samantha Gershman, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Harley McLeish, Michael Mendez, Samuel Renaud, Marissa Rosen, Alexandra Gaelle Royer, Asa Somers, Charles South, Sean Stack, Matthew Varvar, and Michelle West.

Days of Wine and Roses written by Adam Guettel, features powerful songs like “Forgiveness” and “There Go I”, performed by Kelli O’Hara and Brian d’Arcy James. Stream the Tony Award-nominated score here.

Harmony has a score by Barry Manilow and Bruce Sussman. The cast recording was released last August. You can still stream the cast recording here.

How to Dance in Ohio released an original Broadway cast recording on January 19, 2024. To stream the album, which features “Building Momentum,” click here.

The Great Gatsby has a new score by Jason Howland and Nathan Tysen, they will release a cast album digitally on June 21, 2024. Ahead of the album’s release, hear a sneak preview of tunes “For Her” and “My Green Light”performed by Jeremy Jordan and Eva Noblezada.

Lempicka has songs that were fabulously sung by Eden Espinosa, Amber Iman, Andrew Samonsky, George Abud, Natalie Joy Johnson and Beth Leavel. The new score from Matt Gould and Carson Kreitzer will be available to stream on May 29, 2024.

The Outsiders new score by Jamestown Revival (Jonathan Clay & Zach Chance) and Justin Levine will be available to stream on May 22, 2024. The songs were written by Academy Award nominee and Grammy Award winner Will Butler. You can get a sneak preview of the song “Masquerade” here.


Well Suffs is the show that will win the Tony for Best Musical and Score. The book, composer, lyricist, and star is Broadway darling Shaina Taub. The cast recording, produced by Atlantic Records, will be available to stream on June 14, 2024.

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Live From The Hotel Edison Times Square Chronicles Presents Jana Robbins and Tim Tuttle

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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 Jana Robbins and Tim Tuttle. Jana Robbins is starring in A Final Toast, which opens at The Chain Theatre, 312 West 36th Street #3rd Floor, this Friday. Her performance this Thursday, which is an invited dress is dedicated to the memory of her beloved mother Edythe Elaine Eisenberg May 16, 1922 – Oct. 24, 2022.

Tim Tuttle, wrote the book, music and lyrics for 44 Lights: The Musical that opened last night at the AMT Theatre, 354 W 45th StreetTuttle worked as a trader on Wall Street, until September 11th, 2001. He turned to music to heal. 44 Lights is a chance for Tim to tell his story, to remember the many who didn’t come home, and find a way to keep their memories alive forever.

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 Jana Robbins and Tim Tuttle.

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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Off Broadway

TBTB’s I Ought to Be in Pictures Zings Out One Liners Solidly

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When you think of snappy one-liners or biting comebacks, there is one playwright that comes to mind. That is the one and only Neil Simon who has a writing credit of almost 50 plays. Probably his most well-known is The Odd Couple. It was revived recently on Broadway with an all-star cast. Now one of Simon’s plays that has not been seen on or off Broadway since the early eighties is back. I Ought to Be in Pictures, produced by Theater Breaking Through Barriers, is playing at Theater Row on 42nd Street starring Makenzie Morgan Gomez (Off-Broadway Debut) as Libby, Pamela Sabaugh (Off-Broadway’s Richard III) as Steffy and Chris Thorn (Off-Broadway’s Pride and Prejudice) as Herb.

Makenzie Morgan Gomez and Chris Thorn Photo credit: Carol Rosegg

The play begins as aspiring actress Libby shows up at screenwriter Herb’s door and announces that she is his daughter whom he abandoned 16 years ago and she wants him to help her get into “pictures.” Hair/make-up artist Steffy is Herb’s one-night-a-week girlfriend for the past two years.

Makenzie Morgan Gomez, Pamela Sabaugh, and Chris Thorn Photo credit: Carol Rosegg

Thorn seems to embody Herb, the talented and once successful writer, mired in the lonely world of self-doubt who can’t trust his craft, his ideas, or his ability to keep pushing in the competitive “younger” world of the entertainment business. His anger has turned to resignation as his confidence has faded. Thorn can join in the quick and cutting war of words in the Simon script and still carry that heavy weight of failure that’s dragging him down. As Libby, Gomez is like a haboob that has swirled into Herb’s life. Her rapid-fire delivery gives the daughter the edge keeping anyone from reeling her in or rearranging her plan.

Gomez plays Libby a bit young for someone who has crossed the country traveling with a bus ticket and the rest with her thumb (think the 1970s) to get into the “pictures”, an industry she knows nothing about. But Gomez is up to the task.  Her monologues are spot on even though she can get a bit high-pitched in the excitement and her scenes with Herb ring true. Pamela Sabaugh’s Steffy is right on point. You can see her affection for both Libby and Herb and you can feel her desire to see her relationship with Herb grow. Having Libby meet Herb’s “girlfriend on Tuesdays” at the door gives Steffy some added weight in the plot and Sabaugh takes it in and runs with it.

Directed by Nicholas Vitelli (TBTB’s God of Carnage)I Ought to Be in Pictureshas a real feel for its characters and their environment, moving them around the drab living space of the dad’s small West Hollywood apartment in the late 1970s. Scenic and lighting designer Bert Scott (TBTB’s Brecht on Brecht) gives the tired apartment touches that show how Herb sees himself, tumbling on the way down; old appliances, and smudges around cabinet pulls and light switches emphasize the decline.

Theater Breaking Through Barriers (TBTB) production of  I Ought to Be in Pictures is a funny and touching comedy, hitting all the right notes with a cast that fits together seamlessly. What we have here is vintage Neil Simon giving us his classic verbal sparing that has the audience continually holding their breath waiting for the next one to zing in. TBTB is “dedicated to advancing and celebrating the work of professional artists with disabilities.” The performance included an audio description of the set and characters before the performance began and script text during the play.

For more go to frontmezzjunkies.com

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Broadway

The Outer Critics Circle Winners: Stereophonic and Suffs Take The Lead

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The Outer Critics Circle (OCC), has just announced the winners of the 2024 Outer Critics Circle Awards, honoring the 2023-2024 Broadway and Off-Broadway season.

The awards ceremony for the winners will be held on Thursday, May 23, 2024, in the Bruno Walter Auditorium at Lincoln Center’s New York Public Library for The Performing Arts (111 Amsterdam Avenue, NYC).

Founded during the 1949-50 Broadway season by respected theater journalist John Gassner, The Outer Critics Circle is an esteemed association with members affiliated with more than ninety newspapers, magazines, broadcast stations, and online news organizations, in America and abroad. Led by its current President David Gordon, the OCC Board of Directors also includes Vice President Richard Ridge, Recording Secretary Joseph Cervelli, Corresponding Secretary Patrick Hoffman, Treasurer David Roberts, Cynthia Allen, Harry Haun, Dan Rubins, Janice Simpson and Doug Strassler. Simon Saltzman is President Emeritus & Board Member (Non-nominating) and Stanley L. Cohen serves as Financial Consultant & Board Member (Non-nominating). Lauren Yarger serves as the Outer Critics Circle Awards ceremony executive producer.

Outstanding New Broadway Play: Stereophonic

Outstanding New Broadway Musical: Suffs

Outstanding New Off-Broadway Musical: Dead Outlaw

Outstanding New Off-Broadway Play: Primary Trust

John Gassner Award for New American Play (preferably by a new playwright): Oh, Mary! 

Outstanding Revival of a Musical: I Can Get It for You Wholesale

Outstanding Revival of a Play: Appropriate

Outstanding Lead Performer in a Broadway Play: Jessica Lange – Mother Play

Outstanding Featured Performer in a Broadway Play: Kara Young – Purlie Victorious

Outstanding Lead Performer in a Broadway Musical: Kelli O’HaraDays of Wine and Roses

Outstanding Featured Performer in a Broadway Musical: Kecia LewisHell’s Kitchen

Outstanding Lead Performer in an Off-Broadway Musical: Andrew Durand Dead Outlaw

Outstanding Featured Performer in an Off-Broadway Musical (tie): Judy Kuhn – I Can Get It For You Wholesale and Thom Sesma – Dead Outlaw

Outstanding Lead Performer in an Off-Broadway Play (tie): Cole Escola – Oh, Mary!  and
William Jackson Harper – Primary Trust

Outstanding Featured Performer in an Off-Broadway Play: Jay O. Sanders – Primary Trust

Outstanding Solo Performance: Patrick Page – All the Devils are Here

Outstanding Book of a Musical: Shaina Taub – Suffs

Outstanding Score Shaina Taub – Suffs

Outstanding Orchestrations Marco Paguia – Buena Vista Social Club

Outstanding Direction of a Musical: Jessica Stone – Water for Elephants

Outstanding Direction of a Play: Daniel Aukin – Stereophonic

Outstanding Choreography (Broadway or Off-Broadway):Justin Peck — IllinoiseOutstanding Scenic Design (tie): David ZinnStereophonic and Paul Tate dePoo III – The Great Gatsby

Outstanding Costume Design: Linda Cho – The Great Gatsby

Outstanding Lighting Design: Brian MacDevitt The Outsiders

Outstanding Sound DesignRyan Rumery – Stereophonic

Outstanding Video/Projections: Peter Nigrini – The Who’s Tommy

Shows with Multiple Award Wins
4: Stereophonic
3: Dead Outlaw, Primary Trust, Suffs
2: The Great Gatsby, I Can Get It For You Wholesale, Oh, Mary!

Broadway Productions Considered in FullGrey House, Once Upon a One More Time, The Cottage, Back to the Future, The Shark Is Broken, Purlie Victorious, Melissa Etheridge: My Window, Jaja’s African Hair Braiding, Gutenberg! The Musical!, I Need That, Monty Python’s Spamalot, How to Dance in Ohio, Appropriate, Days of Wine and Roses, Doubt, The Notebook, An Enemy of the People, Water for Elephants, The Who’s Tommy, The Outsiders, Lempicka, The Wiz, Suffs, Stereophonic, Hell’s Kitchen, Cabaret, The Heart of Rock and Roll, Patriots, Uncle Vanya, The Great Gatsby, Mother Play

Only New Elements of the Following Productions Were Considered: Just for Us, Here Lies Love, Merrily We Roll Along, Harmony, Prayer for the French Republic, Mary Jane

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Events

Live From The Hotel Edison Times Square Chronicles Presents Jana Robbins and Tim Tuttle

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Our guests this week are Tony and Olivier Award winning Broadway actor and producer Jana Robbins and book, music and lyric writer Tim Tuttle. Join us Wednesday May 8th at 5pm.

Jana Robbins is thrilled to be back on stage with A Final Toast.  As an actor she has appeared in leading roles on Broadway in Good News, I Love My Wife, Crimes of the Heart, Gypsy  – covering Tyne Daly as Mama Rose while playing the “bump it with a trumpet” stripper Mazzeppa – and The Tale of the Allergist’s Wife – where she covered both Linda Lavin and Michele Lee and starred opposite Valerie Harper in the National Tour.  Jana has played leading roles across the country in National Tours, as well as many of our well know theaters and repertory companies, including Seattle Rep, The Alliance Theater, Cinncinati Playhouse in the Park, Papermill Playhouse and many more. On TV she has appeared in Cheers, Babylon 5, The Good Wife, Law And Order, SVU, Nurse Jackie and more.  Her favorite film credit was working with Annette Benning and Meg Ryan in The Women. Jana’s Broadway and West End producing credits include Little Women, Ragtime, Company on Broadway and in the West End, (Tony and Olivier Award) and most recently The Shark Is Broken. Off-Broadway, Ms. Robbins was also the lead producer of Fiddler on the Roof in Yiddish directed by Joel Grey (Drama Desk Award).  As Pinnacle Productions, with producer Haley Swindal, she recently produced Rose at The Ambassadors Theatre (West End), as well as Death Note – The Musical at London’s Palladium and The Lyric Theater.  Just last month, they produced Your Lie In April at The Royal Drury Lane in the West End which transfers to the Harold Pinter Theater in the West End in June. They  also have a Broadway musical revival coming up, to be announced soon.  Jana is a proud recipient of The Jewish National Fund’s “Tree of Life” Award.  www.janarobbinsproductions.com

Her performance is dedicated to the memory of her beloved mother Edythe Elaine Eisenberg May 16, 1922 – Oct. 24, 2022

Tim Tuttle wrote the book, music and lyrics for 44 Lights: The Musical opening Wednesday nightTuttle spent a decade working as a trader on Wall Street, he moved to the world of commodities at the World Trade Center in the mid 90’s. On September 11th, 2001, everything changed. He got away safely that morning from Ground Zero, but he was forever altered by what he witnessed. The evening of 9/11, he wrote his first song. A song that would attempt to express the pain and loss he was suffering in the aftermath of the most tragic day in modern American history. He sang it to his wife Barbie in the darkness of their apartment. He kept writing as the list of friends and neighbors he knew had not returned home. He turned to music to heal. On the first anniversary of September 11th, he perform a memorial concert called “Music from Ground Zero”. 44 LIGHTS is a chance for Tim to tell his story, to remember the many who didn’t come home, and find a way to keep their memories alive forever.

44 Lights: The Musical, will begin Wednesday, May 15, 2024 at 7pm, for a limited engagement through Saturday, May 25, 2024 at AMT Theater (354 West 45th Street – between 8th & 9th Aves). Visit 44Lights.com for more information.

“Live From The Hotel Edison Times Square Chronicles Presents ”, is a show filmed in the lobby of 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 and our thirteenth episode here.

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