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Special Advantages the Theatre Students Have



Prepare yourself to find out what traits, skills, and qualities of personality a theater can help students to develop. After completing four years of undergraduate theatre study, you can be sure you will boost your personality, confidence, and charisma. Some of these qualities are more important than perhaps you think. Your theater course will give you unbelievable experience and advantages which students in other disciplines can only dream about. 

Public speaking skills

Many theater students will agree that theatre developed their confidence. You will forget about having fears while giving a public speech. Your speaking will be clearly, lucidly, and engaging. Once you start acting on the stage, you will learn how to feel comfortable in front of the audience. You will begin speaking to little groups to get the first experience. Later you will polish your oral skills on the stage without feeling embarrassed or shy. Your voice will be precise and confident. Some companies send their top managers to such training workshops to develop this skill, and you will have it within your study course, which is a huge advantage.

A creative way to solve problems 

We think that theater students show their creativity while acting, directing, designing, playwriting, etc. We all appreciate creative thinkers. But you should not forget that theater will teach you many techniques to solve problems creatively. This skill will be applicable to many jobs. For example, you have an exam or college assignment, such as writing an essay, scenario, academic paper, or something else, but no time at all to do the job correctly. You will analyze the situation and will go online to find a reliable company offering such services. Read Edusson reviews to be sure that you will get high results. This is how you learn how to identify a problem, evaluate all possible solutions, and choose the best option.

Always strive for perfection

Theater students know that just to get things done will not work in the theater. You must go beyond your limits. You must do things correctly and with all your potential. It does not matter what job you do: performing, management, research, you have to do it as well as possible. You will learn how to do things at the best level. This skill will help you with any aspect of your life.

Commitment and self-motivation

Once you get involved in the theatre business, you will have to prove your motivation and commitment. These are must-have qualities for every theater student. Students must remember that success comes only to those who are fully committed to the task. A positive attitude is essential not only in theater but in daily life as well.

Cooperative work

The theater will teach you how to work effectively and how to deal with different types of people. You will be encouraged to work together, cooperatively to reach success. You can be sure that your theater colleagues will let you know when you start violating the team spirit of theater production. You should do your best to support others. The skill to be a good team player is essential in any kind of job.

Independent work

When you are a theater student, you can be assigned to particular tasks which you will have to complete without supervision. This skill will be much in need if you plan to work as a crew chief, director, etc. The ability to work independently will help you to figure out how best to achieve the goal and perfect performance. All employers look for such independent and confident workers.

Time-management skill

Once you are enrolled in a theater course, you will learn how to manage your time smartly. You learn how to schedule working days carefully to keep up your grades and do as many rehearsals as needed according to the significant demands of your theatre. Time management skills are essential to any kind of employers.

Skill to take initiative

Theater students usually work with initiative. You should not wait for instructions of what needs to be done. A theater production is very complex, and it requires people who are ready to undertake any task for the production to succeeding. If you want to reach success in theatre, you must be a self-starter. Do not be afraid to take the initiative, complete challenging projects, and offer new solutions.

High-level of responsibility

You, as a theater student will have an excellent opportunity, which is rarely given to students in other disciplines – you will be asked to take on sole responsibility for a creative project. You will be asked to test yourself to be a stage manager, a designer, a crew chief, or even a director. 

The theater is one of the most beautiful forms of arts, which require enormous efforts, talent, and self-organization. If you want to connect our life to theater, you will have to dedicate your life to beauty and perfection. The theater will become your heart, soul, and home. Not everyone is ready for such commitment, but if you take a risk, you will discover how rewarding it is!

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The Cast of Ain’t Done Bad Meets the Press And You Are There



Tuesday morning the cast of Ain’t Done Bad meet the press. This hybrid theatrical dance experience is conceived, directed, and choreographed by Jakob Karr (“So You Think You Can Dance”) and featuring the music of country star Orville Peck will play a limited engagement at The Pershing Square Signature Center with previews beginning July 9, opening July 14, and running through September 1st.

Ain’t Done Bad tells the powerful heartwarming story of coming out, falling in love, and finding one’s true voice as a queer person in the South. Told entirely through contemporary dance without a single spoken word, the 90-minute performance stars Jakob Karr along with ten leading dancers.

The Cast of Ain’t Done Bad that includes Jakob Karr, Joshua Escaper, Caden Hunter, Magma Iwama, Yusaku Komori, Adrian Lee, Jordan Lombardi, Madison O’Connor, Luke Qualls and Ian Spring Photo’s By Genevieve Rafter Keddy

Karr is joined onstage by Adrian Lee (Wicked) as the Father, Megumi Iwama (“Mean Girls” the movie) as the Mother, Ian Spring (Parsons Dance) as the Brother, Luke Qualls (The Radio City Christmas Spectacular) as Jakob Karr’s alternate, Yusaku Komori (“The Greatest Showman”) and Jordan Lombardi (Phantom Of The Opera Nat’l Tour) as the Friends, and Joshua Escover (“Empire Strips Back”) as the Lover. Swings include Caden Hunter (Juilliard) and Madison O’Connor (Radio City Rockettes), who also acts as Dance Captain.

Jakob Karr Photo’s By Genevieve Rafter Keddy

Ian Spring, Jakob Karr and Adrian Lee Photo’s By Genevieve Rafter Keddy

Ain’t Done Bad comes to The Irene Diamond Stage at The Pershing Square Signature Center after critically-acclaimed workshops in Orlando at Renaissance Theatre Company and in North Carolina at Durham’s PSI Theatre, Greensboro PAC, and the Wortham Center for Performing Arts in 2023. The production premiered in 2021 at the Orlando International Fringe Festival, where it received the festival’s highest honor (Best Show). Karr is joined by Scenic Designers Philip Lupo, Joey Coombs, and Blake Schulte, with Lighting Design by Philip Lupo. Morgan Lemos is the Stage Manager and additional creatives include Grace Buckley (Associate Choreographer) and Joi Marchetti (Additional Music Production). Evan Bernardin Productions is the general manager, Eli Owens in the production assistant, and digital advertising is by SINE Digital.

Patti Maurer, Jakob Karr and Donald Rupe Photo’s By Genevieve Rafter Keddy

The Cast of Ain’t Done Bad that includes Jakob Karr, Joshua Escaper, Caden Hunter, Magma Iwama, Yusaku Komori, Adrian Lee, Jordan Lombardi, Madison O’Connor, Luke Qualls and Ian Spring Photo’s By Genevieve Rafter Keddy

Jakob Karr with Adrian Lee, Megumi Iwama and Ian Spring Photo’s By Genevieve Rafter Keddy



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Off Broadway

“N/A” at LCT Delivers the Wit and the Anger Somewhat Lopsided, But Still With Value




We aren’t here to talk about him,” N states pretty early on in Mario Correa’s new play N/A which recently had its world premiere at the Mitzi E. Newhouse Theaterat Lincoln Center. And we all breathe somewhat a sigh of relief, even though my viewing of this playfully fascinating play winds its way forward through time, starting out with these two characters’ first meeting. It happens soon after the younger woman named A surprises them all by winning her primary against an established politician. A, to no one’s surprise, basically stands for Alexandria Ocasio-Cortez, or the AOC, as I like to call her. The other, N, stands for Nancy Pelosi, although don’t quote me, as those names don’t appear anywhere in the program or the press release.

What Correa (Tail! Spin!; Commander) does tell us quite quickly is that this play, written with a wit and a wink, is about the clashing of two types of liberals; the old guard and the new green. It’s preaching to the choir, though, on both sides of that L-word and for the crowd that has assembled at the Lincoln Center, we are all game to hear both sides.

Directed with a straightforward, somewhat loose easy by Diane Paulus (Broadway’s Jagged Little Pill), N/A dives in with both hearts fully exposed. Holland Taylor (Broadway’s Ann; The Front Page) as N revels in the part, giving us a masterclass of comic timing and sharp wit. Her character has been gifted quite generously with many of the stand-up comedy zingers, flung out with ease and clarity by an actress who’s relishing the experience. She’s a well-crafted machine, echoing her part’s strength of character and determination in all the ways it blesses and bruises her.

Holland Taylor and Ana Villafañe in LCT’s N/A, at the Mitzi E. Newhouse. Photo by Daniel Rader.

Ana Villafañe (“Castro’s Daughter“; UK’s Sinatra the Musical) as A isn’t given as much froth and fun to play with. You see the anger that leads her forward, coming off as less fun, for a good reason. It’s somewhat clear that this is the side where Correa’s heart truly lies (or is it?), but like our own sensibilities, it flies back and forth with almost every point made by both. The fencing match is almost always off-balance, with the older more experienced guard winning pragmatic points in abundance against the idealistic and less experienced Representative from Queens and the Bronx. And definitely don’t forget the Bronx, we are told.

But the framework is sharp enough to know that a shift is coming, and it happens with a somewhat overly dynamic departure from the one-on-one battle that has been laid out before us, with set and costumes designed by Myung Hee Cho (Shakespeare in the Park’s Richard III), with lighting by Mextly Couzin (Off-Broadway’s JOB), sound design by composer Sun Hee Kill alongside German Martínez, and projection design by ‘Possible’, taking on the charge with a non-fussy approach. “Change takes courage”, we are told, and the shifting of perspectives happens with almost every line. Whether pleased or disappointed, they are here to talk, even if not about him. They have come together to let us understand what’s at stake in our country, and give us some hope that these two ideals might find a way to come together, in a way that is needed even more today than back then.

Watching this fresh off last night’s debate (and posting this one day after the Supreme Court’s treacherous ruling), the clickity-clack of the work feels as fresh and as forced as it needs to be, even if we would like some theatrical relief from the world of politics. They fling slogans and formulations at one another within the clever text, sometimes feeling forced but also feeling true, and wickedly funny. It’s lopsided, this act that is both serious to A and to the world, and to the comedically enhanced N. Past triggers and memories of what has changed (and not) within those walls of the U.S. House of Representatives where this play takes place fill out the framing, trying to give it a bit more human alignment, and it does level out after the storm, but the play, in the end, after scoring fairly well for Holland, remains a teeter-totter of an ideal, where two women who orbit one another throughout never really find their way to come together. But these two actors certainly find their way into our conscious collective hearts.

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The Musical Titanic Successfully Sails onto the Stage at City Center



Titanic The Musical proves that the music and story does not need the special effects of a sinking ship to send the audience on an emotional journey. Twenty-five years ago when Titanic opened on Broadway, after reading headlines about the  malfunctioning unsinkable set, I skeptically went to the show; but, those first 18 minutes turned out to be the greatest opening number I had ever seen. The show is currently being performed at City Center in the Encores! Series and this score can stand alone without the trappings usually required to produce a Broadway spectacle. The opening number not only introduced us to the three focal people who each in their own way contributed to the disaster of the iceberg: Captain E.J. Smith (Chuck Cooper), Thomas Andrews (Jose Llana), J. Bruce Ismay (Brandon Uranowitz); but, also the members of all three classes aboard the ship and the crewmembers. As the 32 member cast raises their voices in beautiful harmony to cheer “Sail on, great ship Titanic” the hopes of the third class passengers, the wonder of those in first class and the pride of the crew are all felt by the audience. So moving is this song that we can suspend reality and wish that the maiden voyage of this “floating city” actually successfully makes it to New York.

This is not the Rose and Jack story that fictionalized a love story between a third and first class passenger but an even more beautiful story based on real people who either survived or were left onboard as the ship broke apart.

The music and lyrics by Maury Yeston are thrilling, cheerful, romantic and haunting. The story and book by Peter Stone who had previously done justice to the telling of the signing of the Declaration of Independence in 1776 again brings history to the stage with wit and suspense despite knowing the eventual tragedy.

Over twenty songs fill this musical score with a variety of styles and themes. Each one perfectly delivered by this amazing team of actors and singers briskly directed by Anne Kauffman. There is not a bad song in the mix nor a disappointing performer; but, in addition to that opening number I must highlight a few.

Lady’s Maid sung by the 3rd class passengers brings me to tears as three Irish lasses all named Kate start by telling their fellow travelers their dreams for America. Samantha Williams, Lilli Cooper, and Ashley Blanchet play the ‘three Kates’ and are joined by the ensemble all singing their own individual ambitions – to be a constable, engineer, and governess, etc. It fills my heart with pride that America is such a land of opportunity and then it breaks when I realize that some of these dreamers will never make it to their destination.

A pairing of two male singers, Ramin Karimloo and Alex Joseph Grayson, playing coal stoker Barrett and radio operator Bride, respectively sing two love songs one to his fiancé and one about his career choice is a magical duet where each voice is given a chance to shine.

Another example of Yeston’s genius is a song where three voices combine but certainly not in love; the ship’s owner, designer, and captain Blame each other for the inevitable sinking. It is a dramatic song that is rarely seen in such a show but too often seen in human nature.

The real life owner of Macy’s department store was actually onboard the Titanic with his wife. Chip Zien and Judy Kuhn portray the elderly Isidor and Ida Straus whose love proved even stronger than the two youngsters in the James Cameron film. Ida chose not to get on a lifeboat without her life long partner and that love is beautifully sung in their duet Still.

Love, anger, hope and desire are all represented on the stage but it is second class passenger Alice Beane that gives the tension a bit of comic relief. Wonderfully sung and acted by Bonnie Milligan, Mrs Bean dances into the first class salon and in one of the few choreographed numbers brings joy to the festivities. She and her husband Edgar (Drew Gehling) sing I Have Danced – a song that depicts the struggle of a happily married couple when ambitions are not in line.

We know the ship is going to hit the iceberg but as Matthew Scott as the ship entertainment sings the rhythmic tune Autumn coupled with the Company repeating the haunting No Moon the suspense grows as the ship sails in the night.

Anne Kauffman directs the cast seamlessly from scene to scene not only allowing the songs to tell a fantastic story but to bring out the wit and passion of Peter Stone’s words.

Rob Berman, the Encores! Music Director, again conducts this 30 piece orchestra with incredible ease despite the complicated orchestrations created by Johnathn Tunick. With every violin string, trumpet note, drum roll and cymbal clash the music envelops the huge theater yet touches every individual in it.

Encores! Began 30 years ago to honor scores that are not often revived. With minimal rehearsal time for this limited run some actors are still on book but that does not diminish either the music, story or the talent on the stage. Much has been written about the cost of producing on Broadway so a production with this many cast members and musicians may never be transferred to a Broadway theater as Encores other 2024 title, Once Upon a Mattress will be doing so do not hesitate to buy a ticket. Do not be left on the dock waving goodbye to this magnificent creation.

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Out of Town

Crow’s Theatre, Musical Stage Company, and Soulpepper Theatre Company Take Home Numerous 2024 Toronto Theatre Critics’ Awards




After a four-year hiatus, the Toronto Theatre Critics’ Awards (S) returned to honor excellence from the 2023-24 professional theatre season. The 11th TTCAs, announced Tuesday morning, June 11th, boast 19 winners across 14 categories, including a special citation for artistic achievement.

Crow’s Theatre and Soulpepper Theatre Company were the big winners this year, each receiving seven awards, with the sensationally well-received Crow’s Theatre/Musical Stage Company co-production of Natasha, Pierre and the Great Comet of 1812. The production led the musical division with three wins, including Best Production of a Musical, with two members of its company; George Krissa and Heeyun Park 박희윤, jointly awarded for Best Supporting Performance in a Musical.

Soulpepper Theatre Company followed close behind with two wines for the fascinatingly dynamic world premiere of De Profundis: Oscar Wilde in Jail. Damien Atkins, the production’s star, won the award for Best Lead Performance in a Musical. Gregory Prest, who directed and adapted the production from its source material; Wilde’s original love letter of the same name, was also recognized as Best Director of a Musical.

Damien Atkins and Colton Curtis in Soulpepper Theatre’s De Profundis: Oscar Wilde in Jail. Photo by Dahlia Katz.

In the Musical Division

  • Crow’s Theatre and Musical Stage Company co-production of Natasha, Pierre and the Great Comet of 1812: Best Production of a Musical, and George Krissa and Heeyun Park박희윤 were jointly awarded the prize for Best Supporting Performance in a Musical.
  • Soulpepper’s production of De Profundis: Oscar Wilde in Jail: Damien Atkins won the award for Best Lead Performance in a Musical, and Gregory Prest, who directed as well as adapted the material from Wilde’s original love letter of the same name won Best Director of a Musical.
  • Kelly v. Kelly, Britta Johnson and Sara Farb’s new musical inspired by true events, produced by the Musical Stage Company in association with Canadian Stage won Best Ensemble in a Musical.
Sean Arbuckle (left) as Thomas and Krystin Pellerin as Diana in Casey and Diana. Stratford Festival 2023. Photo by Cylla von Tiedemann.

The Play Division

  • Nick Green’s drama Casey and Diana, which ran at Soulpepper after premiering at the Stratford Festival, won the award for Best New Canadian Play, and actor Sean Arbuckle received the prize for Best Leading Performance in a Play.
  • Michael Healey’s satire The Master Plan, produced by Crow’s Theatre, also won Best New Canadian Play, and the cast won Best Ensemble in a Play
  • Amaka Umeh also won Best Leading Performance in a Play for their performance playing two characters in Soulpepper’s Sizwe Banzi is Dead.
  • Two actors were awarded the prize for Best Supporting Performance in a Play: Jadyn Nasato, for her performance in the Studio 180 Theatre production of Four Minutes, Twelve Seconds, and Oyin Oladejo for her turn in Three Sisters, co-produced by Soulpepper and Obsidian Theatre Company.
L-R: Antoine Yared, Stephen Jackman-Torkoff, Ben Page, Qasim Khan, and Daniel MacIvor in Canadian Stage’s production of Matthew López’s The Inheritance. Photo by Dahlia Katz.
  • Crow’s Theatre’s production Bad Roads won Best International Play, and Andrew Kushnir won Best Director of a Play. The work by Ukrainian playwright Natal’ya Vorozhbit is based on real-life testimonies from witnesses to Russia’s invasion of the Donbas in 2014.
  • Leora Morris also wins Best Director of a Play for their work on Coal Mine Theatre’s production of The Sound Inside by Adam Rapp.
  • Canadian Stage’s production of the two-part drama The Inheritance won Best Production of a Play.
  • Best Design, Play or Musical went to Nick Blais (lighting), Heidi Chan (sound), Anahita Dehbonehie (set), and Niloufar Ziaee (costumes) for their collective work on A Public Reading of an Unproduced Screenplay About the Death of Walt Disney, co-produced by Outside the March and Soulpepper Theatre Company.
  • Theatre legend Daniel MacIvor received a special citation for his work over the past season, which included a memorable performance in The Inheritance, and the revivals of his plays Monster and Here Lies Henry, both produced by Factory Theatre.
Mike Shara (front and center) and the cast of Crow’s Theatre’s The Master Plan. Photo by Dahlia Katz.
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Ken Fallin’s Broadway: Bernadette, Angela, Ethel and Patti




Gypsy turned 65 on May 21, and soon Audra mcDonald will take over the role. Let’s look at the other Mama Rose’s. Ethel Merman originated the character at the Broadway Theatre in 1959, and received a Tony nomination for her performance.

Patti LuPone last Rose, took home the 2008 Tony for her turn.

Angela Lansbury took on Rose in the 1973 London revival of Gypsy, which later transferred to Broadway in 1974. She was the first Rose to win a Tony Award for her performance.

Bernadette Peters took on Rose in the 2003 Broadway revival and received a Tony nomination for her perofrmance. At the 57th annual Tony Awards, she sang “Rose’s Turn.”

Bette Midler played Mama in the 1993 television adaptation of Gypsy and Barbra Streisand played the role on the big screen.

Looking forward to the next incarnation.

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