Connect with us

Broadway

The Ferryman and Tootsie Win The New York Drama Critics’ Circle Awards

Published

on

Niall Wright, Matilda Lawler, Justin Edwards, Mark Lambert, Fra Fee, Willow McCarthy

The New York Drama Critics’ Circle met on May 6, 2019, to determine the winners of its 84th annual awards. The results were as follows:

Best Play: The Ferryman (Jez Butterworth)
Best American Play: What the Constitution Means to Me (Heidi Schreck)
Best Musical: Tootsie (David Yazbek and Robert Horn)
Special Citations: Irish Repertory Theatre; Page 73; Fiddler on the Roof in Yiddish

The awards will be presented at a private cocktail reception on Monday, May 13. The award for best play carries a cash prize of $2,500; the award for best American play is a cash prize of $1,000. The prizes are made possible by a grant from the Lucille Lortel Foundation.

The Ferryman, written by Jez Butterworth and directed by Sam Mendes, had its world premiere at London’s Royal Court Theatre on April 24, 2017, then transferred to the West End’s Gielgud Theatre on June 29, 2017 and closed on May 19, 2018. The production received its U.S. premiere at Broadway’s Bernard B. Jacobs Theatre on October 21, 2018 where it currently plays.

Tootsie, book by Robert Horn, music and lyrics by David Yazbek, directed by Scott Ellis, had its world premiere at Chicago’s Cadillac Palace Theatre on September 29, 2018, and its New York premiere at Broadway’s Marquis Theatre on April 23, 2019 where it currently plays.

What the Constitution Means to Me, written by Heidi Schreck and directed by Oliver Butler, had its Off Broadway premiere at New York Theatre Workshop on September 12, 2018 and closed on November 4, 2018, before moving to the Greenwich House Theater on November 27, 2018 where it closed December 30, 2018. The play had its Broadway premiere on March 31, 2019 at the Hayes Theatre where it currently plays.

The New York Drama Critics’ Circle comprises 19 drama critics from daily newspapers, magazines, wire services and websites based in the New York metropolitan area. The New York Drama Critics’ Circle Award, which has been awarded every year since 1936 to the best new play of the season (with optional awards for foreign or American plays, musicals and special achievements), is the nation’s second-oldest theater award, after the Pulitzer Prize for drama.

Adam Feldman, theater critic and editor for Time Out New York, has served as president of the NYDCC since 2005. Joe Dziemianowicz serves as vice president; Zachary Stewart is treasurer. In addition to Feldman, Dziemianowicz and Stewart, the members of the New York Drama Critics’ Circle are: David Cote, Michael Feingold, David Finkle, Jeremy Gerard, Sara Holdren, Charles Isherwood, Christopher Kelly, David Rooney, Frank Scheck, Barbara Schuler, Helen Shaw, David Sheward, Marilyn Stasio, Terry Teachout, Elisabeth Vincentelli and Matt Windman. Emeritus members include Melissa Rose Bernardo, Robert Feldberg, Elysa Gardner, Brian Scott Lipton, Jesse Oxfeld, John Simon, Michael Sommers, Steven Suskin, Linda Winer and Richard Zoglin.

On the first ballot for Best Play, no play received a majority among the 18 active members voting this year. A second vote was then taken to determine whether an award would be given at all. Having agreed that one should, the Circle moved to a weighted third ballot, with 26 points required to win. The Ferryman cleared that threshold with 27 points; What the Constitution Means to Me placed a close second with 24 points.

Having awarded Best Play to a work by a foreign author, the Circle then considered an award for Best American Play. What the Constitution Means to Me received 9 votes on the first ballot. just shy of the 10 required for a majority. After agreeing to give an award in this category, the Circle moved to a third 
ballot, which What the Constitution Means to Me won handily with 34 points, besting Fairview (12 points), To Kill a Mockingbird (11 points) and Dance Nation (9 points). 

No show received more than 5 votes on the first ballot for Best Musical. After agreeing that an award should be given in this category, the Circle moved to a weighted third ballot, on which Tootsie earned 25 points, just below the 26 points it needed to win. The top four vote-getters then proceeded to a weighted fourth ballot. With the proxy voters no longer voting, only 11 members cast ballots, lowering the winning threshold to 17 points. Tootsie won with 25 points, followed by The Prom (14 points), Girl from the North Country (14 points) and Twelfth Night (13 points).

The Circle also voted to award three Special Citations: to the Irish Repertory Theatre; to Page 73; and to National Yiddish Theatre Folksbiene’s revival of Fiddler on the Roof.

The awards will be presented at a private ceremony at Feinstein’s/54 Below on May 13, 2019.

Best Play, first ballot:

David Cote (proxy): Plano
Joe Dziemianowicz: What the Constitution Means to Me 
Adam Feldman: Dance Nation 
David Finkle (proxy): The Ferryman
Jeremy Gerard: The Ferryman
Sara Holdren (proxy): What the Constitution Means to Me
Charles Isherwood: What the Constitution Means to Me
Christopher Kelly (proxy): Slave Play
David Rooney: The Ferryman 
Frank Scheck:  The Ferryman 
Barbara Schuler: What the Constitution Means to Me
Helen Shaw (proxy): Fairview
David Sheward:  The Ferryman 
Marilyn Stasio (proxy): The Ferryman
Zachary Stewart:  What the Constitution Means to Me
Terry Teachout (proxy): Mary Page Marlowe
Elisabeth Vincentelli:  Fairview
Matt Windman: The Ferryman

Best Play, third ballot:

David Cote (proxy):
Plano
What the Constitution Means to Me
Ain’t No Mo’

Joe Dziemianowicz:
What the Constitution Means to Me
The Ferryman
Ink

Adam Feldman:
Dance Nation
The Ferryman 
Fairview

David Finkle (proxy):
The Ferryman
White Noise
To Kill a Mockingbird

Jeremy Gerard (proxy):
The Ferryman
What the Constitution Means to Me
Gary: A Sequel to Titus Andronicus

Sara Holdren (proxy):
What the Constitution Means to Me
Fairview
Hurricane Diane

Charles Isherwood:
What the Constitution Means to Me
The Ferryman
Lewiston/Clarkston

Christopher Kelly (proxy):
Slave Play
The Lehman Trilogy
What the Constitution Means to Me

David Rooney:
The Ferryman
What the Constitution Means to Me 
The Lehman Trilogy

Frank Scheck:
The Ferryman
The Lifespan of a Fact
Lewiston/Clarkston

Barbara Schuler:
What the Constitution Means to Me
Dance Nation
The Ferryman

Helen Shaw (proxy):
Fairview
Plano
Pass Over

David Sheward: 
The Ferryman
What the Constitution Means to Me
Dance Nation

Zachary Stewart: 
What the Constitution Means to Me
The Ferryman
Usual Girls

Terry Teachout (proxy):
Mary Page Marlowe
The Hard Problem
Nantucket Sleigh Ride

Elisabeth Vincentelli:
Fairview
Ink
Dance Nation

Matt Windman:
The Ferryman
Ink
The Lehman Trilogy

Best American Play, first ballot:

David Cote (proxy): Plano
Joe Dziemianowicz: What the Constitution Means to Me
Adam Feldman: Dance Nation
David Finkle (proxy): White Noise
Jeremy Gerard: What the Constitution Means to Me
Sara Holdren (proxy): What the Constitution Means to Me
Charles Isherwood: What the Constitution Means to Me
Christopher Kelly (proxy): Slave Play
David Rooney: What the Constitution Means to Me
Frank Scheck: Lewiston/Clarkston
Barbara Schuler: What the Constitution Means to Me
Helen Shaw (proxy): Fairview
David Sheward: What the Constitution Means to Me
Marilyn Stasio (proxy): What the Constitution Means to Me
Zachary Stewart: What the Constitution Means to Me
Terry Teachout (proxy): Mary Page Marlowe
Elisabeth Vincentelli: Fairview
Matt Windman: To Kill a Mockingbird

Best American Play, third ballot:

David Cote (proxy):
Plano
What the Constitution Means to Me
Ain’t No Mo’

Joe Dziemianowicz:
What the Constitution Means to Me
Pass Over
Lewiston/Clarkston

Adam Feldman:
Dance Nation
Fairview
Plano

David Finkle (proxy):
White Noise
To Kill a Mockingbird
What the Constitution Means to Me


Jeremy Gerard:
What the Constitution Means to Me
Gary: A Sequel to Titus Andronicus
White Noise

Sara Holdren (proxy):
What the Constitution Means to Me
Fairview
Hurricane Diane

Charles Isherwood:
What the Constitution Means to Me
Lewiston/Clarkston
Mary Page Marlowe

Christopher Kelly (proxy):
Slave Play
What the Constitution Means to Me
To Kill a Mockingbird

David Rooney:
What the Constitution Means to Me
Mockingbird
Lewiston/Clarkston

Frank Scheck:
Lewiston/Clarkston
The Lifespan of a Fact
To Kill a Mockingbird

Barbara Schuler:
What the Constitution Means to Me
Dance Nation
White Noise

Helen Shaw (proxy):
Fairview
Plano
Pass Over

David Sheward:
What the Constitution Means to Me
Dance Nation
Fairview

Marilyn Stasio (proxy):
What the Constitution Means to Me
To Kill a Mockingbird
Mary Page Marlowe

Zachary Stewart:
What the Constitution Means to Me
Usual Girls
Fairview

Terry Teachout (proxy):
Mary Page Marlowe
Nantucket Sleigh Ride
Noura

Elisabeth Vincentelli:
Fairview
Dance Nation
White Noise

Matt Windman
To Kill a Mockingbird
What the Constitution Means to Me
White Noise 

Best Musical, first ballot:

David Cote (proxy): The Prom 
Joe Dziemianowicz: The Hello Girls
Adam Feldman: Tootsie
David Finkle (proxy): Girl from the North Country
Jeremy Gerard: Twelfth Night
Sara Holdren (proxy): The Prom
Charles Isherwood: Girl from the North Country
Christopher Kelly (proxy): The Prom
David Rooney: Girl from the North Country
Frank Scheck: Tootsie
Barbara Schuler: Girl from the North Country
Helen Shaw (proxy): Tootsie
David Sheward: The Prom
Marilyn Stasio (proxy): no award 
Zachary Stewart: Rags Parkland Sings the Songs of the Future
Terry Teachout (proxy): Girl from the North Country
Elisabeth Vincentelli: Tootsie
Matt Windman: Be More Chill

Best Musical, third ballot:

David Cote (proxy):
The Prom
Head Over Heels
Tootsie

Joe Dziemianowicz:
The Hello Girls
Twelfth Night
Girl from the North Country

Adam Feldman:
Tootsie
The Appointment
The Prom

David Finkle (proxy):
Girl from the North Country
The Hello Girls
Be More Chill


Jeremy Gerard:
Twelfth Night
Tootsie
Beetlejuice

Sara Holdren (proxy):
The Prom
Head Over Heels
Be More Chill

Charles Isherwood:
Tootsie
Girl from the North Country
The Cher Show

Christopher Kelly (proxy):
The Prom
Tootsie
Be More Chill

David Rooney:
Girl from the North Country
Tootsie
Twelfth Night

Frank Scheck:
Tootsie
The Prom
Girl from the North Country

Barbara Schuler:
Girl from the North Country
Tootsie
Twelfth Night

Helen Shaw (proxy):
Rags Parkland Sings the Songs of the Future
Tootsie
The Appointment

David Sheward:
The Prom
Tootsie
Twelfth Night


Zach Stewart:
The Prom
Rags Parkland Sings the Songs of the Future
The Hello Girls

Terry Teachout (proxy):
Girl from the North Country
Be More Chill
The Prom

Elisabeth Vincentelli:
Tootsie
Girl from the North Country
Midnight at the Never Get

Matt Windman:
Be More Chill
Girl From the North Country
Twelfth Night

Best Musical, fourth ballot:

Joe Dziemianowicz:
Twelfth Night
Girl from the North Country
Tootsie

Adam Feldman:
Tootsie
The Prom
Girl from the North Country

Jeremy Gerard:
Tootsie
Twelfth Night
The Prom


Charles Isherwood:
Tootsie
Girl from the North Country 
Twelfth Night

David Rooney:
Tootsie
Girl From North Country
Twelfth Night

Frank Scheck:
Tootsie
The Prom
Girl from the North Country

Barbara Schuler:
Tootsie
Girl from the North Country 
Twelfth Night

David Sheward:
The Prom
Tootsie
Twelfth Night

Zachary Stewart:
The Prom
Twelfth Night
Tootsie

Elisabeth Vincentelli:
Tootsie 
The Prom
Girl from the North Country

Matt Windman
Girl from the North Country
Twelfth Night
The Prom

For more information on the New York Drama Critics’ Circle, please visit www.dramacritics.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

Art

Bonnie Comley Nothing To Wear

Published

on

Bonnie Comley stepped into the art world last night. She and ChaShaMa presented a piece called “Nothing To Wear”, at 340 East 64th Street, which is an interactive installation, a thought provoking look at fast fashion and body image. This provocative look at our relationship with our clothing choices as it pertains to our self image, fast fashion and textile waste, challenges the fashion industry to create an alternative to current business models and the global appetite for consumption. “Nothing to Wear”, asks viewers to question dress codes like the current policing of women in political office, facilitates self-reflection on biases regarding our own clothing and the community around us as uniform, self-expression, or just protection from the elements of weather.

Also involved were Sarah DeMarino – Co-Producer/Director, Leah Lane – Soundscape Monologue Writer and Jasper Isaac Johns the Exhibit Designer.

Sarah DeMarino and Dallas Bernstein

At the opening and on certain dates Hannah Durant Joe Guccione and Dallas Bernstein perform monologues that coincide with the project. These mini playlets were insightful and thought provoking.

Hannah Durant Joe Guccione and Dallas Bernstein

In attendance were:

Anita Durst and fashion designer Shani Grosz

Cooper Lawrence, Dr. Robi Ludwig, Errol Rappaport, Bonnie Comley, Quinn Lemley, Suzanna Bowling, Shani Grosz and Merrie Davis

Anita Durst and Bonnie Comley

Danielle Price, Bonnie Comley and Andrina Wekontash Smith

Guest and Bonnie Comley

Guest and Bonnie Comley

Alyssa Ritch Frel and Bonnie Comley

Guests

Bonnie Comley and guests

Riki Kane Larmire

Bonnie is a three-time Tony Award-winning producer. She has, also, won an Olivier Award and two Drama Desk Awards for her stage productions. She was recently re-elected as the Board President of The Drama League. She is a full member of The Broadway League and the Audience Engagement and Education Committee. Comley has produced over 40 films, winning five Telly Awards and one W3 Award. She is also the founder and CEO of BroadwayHD, the world’s premier online streaming platform delivering over 300 premium live productions to theatre fans globally. The theatre community has honored Comley for her philanthropic work; she is the recipient of The Actors Fund Medal of Honor, The Drama League Special Contribution to the Theater Award, The Paul Newman Award from Arts Horizons and The Theater Museum Distinguished Service Award.

Stewart F Lane and Bonnie Comley

ChaShaMa helps create a more diverse, equitable, and inclusive world by partnering with property owners to transform unused real estate. Currently, they present 150 events a year, have workspace for 120 artists, and have developed 80 workshops in under served communities. They have awarded 11 million dollars worth of real estate to artists and have subsidizes another 300 with work spaces. They provide over 215 free art classes and have supported over 75 businesses with free space

To see Nothing to Wear click here

Continue Reading

Broadway

Days of Wine and Roses” the Musical Ages Like Cut Flowers, Rather Than Wine in its Transfer Uptown to Broadway

Published

on

By

This is my second shot of The Days of Wine and Roses, after seeing it at the smaller Atlantic Theatre off-Broadway stage, and unlike the wine mentioned in the title, time played with it like the roses. The musical, about a doomed couple destroyed by alcoholism, did not thrive, like fine wine, but wilted like cut flowers in a bigger vase. The larger stage of Studio 54, as hoped, did not make this drink taste any better for me, but it did make me notice some of the sharper tones that I must have overlooked before, leaving a slightly bad taste that still lingers in the back of my throat after swallowing.

With a book by Craig Lucas (I Was Most Alive with You) and distancingly complex music, lyrics, and orchestrations by Adam Guettel (The Light in the Piazza), Days of Wine and Roses does continue to deliver musical “magic time” in an effort to give us some abundance. It flows forward, trying to make us drunk with its intricate chocolate flavors of a Brandy Alexander, but left me cold outside in the murky waters that it tries to overlook. “What’s your tragic story?” he asks, as the two soon-to-be lovers drift forward, far too abruptly, into the choppy suburban sea of coupledom, isolation, and cocktail hours, shaken and stirred with complicated textured notes of sadness and need.

The music is soaring, in an operatic repetitive way, melodramatically hitting high, without giving much depth, much like what lives at the core of the 1958 teleplay and 1963 movie “Days of Wine and Roses” on which this new musical is based. Although the film, starring the magnificent Lee Remick and Jack Lemmon, never gives these two characters a moment to sing, even as the two fall madly in love, the premise is ripe for some introspection and investigation. These are their days of wine and roses, we are told, but here, in this sometimes compelling, but surprisingly distancing musical, the songs fling themselves out like a distress call for help from an isolated island, heaving with the intense feelings of being stranded, desperate, and seemingly on their own, but flailing in the choppy waters trying to connect. Even during the more enjoyable drunk song numbers, which are more fun and entertaining than some of the other more ‘meaningful’ songs.

Brian d’Arcy James and Kelli O’Hara in Broadway’s Days of Wine and Roses. Photo by Joan Marcus.

The musical’s ideas have depth and courage, and are delivered pitch perfectly by the two magnificent leads who carry most of the vocal weight and baggage. Brian D’Arcy James (Broadway’s ShrekInto the Woods) vocally ushers forth a Joe Clay that swings wide and true, sounding, quite possibly almost as brilliant as Kelli O’Hara (Broadway’s Kiss Me, Kate) in her role as the beautifully kind Kirsten Arnesen, the young secretary (that’s what they called them back then) who had not found the flavor of alcohol appealing until that fateful night. We watch with nervous anticipation as the drink is lifted to her lips, knowing what is in store. We hope that she doesn’t drink the Kool-Aid that Joe keeps pushing. And then they are off to the races, finding melancholy melodies in both the drunken pleasures and pain of addiction.

It’s a quick dive into the dark and dirty waters of this quicksand river. It jumps forward with wild drunken abandonment, never really feeling authentic this time around, but somehow forced and perplexing. Each song, particularly the more dramatic ones, seems to stop the story in its tracks, like a drunk trying to regain its balance as it walks down the street. The moments feel somehow true and isolated from us all at the same time, keeping us at a distance and never really engaging with us enough to want to join in with the emotional story. When the Kirsten character asks Joe if they can go somewhere other than that first scene party, it struck me as odd, as the book up to that moment has painted Joe in pretty negative annoying tones. Why she was the one who suggested that an intimate outing would be something she wanted at that exact moment didn’t really make sense. But if he had been the one asking, I could have believed, that after a little thought, she might have agreed to it, but this way around? It didn’t sit authentically true for me.

The music hangs big and bold between them, delivering the depth of their destructive ways, while keeping them isolated from the outside world (including us) that keeps shining a light on the problems that are approaching. The voices of the two leads are really the best part of this construction, with the other characters, under the direction of Michael Greif (2ST’s A Parallelogram), doing their best to step into that light, especially David Jennings (Broadway’s Tina) as Joe’s AA sponsor, Jim Hungerford, who wisely underplays this pivotal role rather than presenting a sermon. There is also the troubled father of Kirsten, played intently by Byron Jennings (Broadway’s Harry Potter…), who flounders a bit in the foreground, worried and angry about the road his daughter is taking, yet seeing clear that he has little power to challenge her path.

Brian d’Arcy James and Kelli O’Hara in Broadway’s Days of Wine and Roses. Photo by Joan Marcus.

Guettel pours out song after jagged song, exposing the twisted engagements that are taking over their lives. It’s troubling and upsetting to watch, and sometimes very difficult to follow along with the lyrics, even when so beautifully sung. The songs teeter on melodrama and mayhem, and the two leads strive forward, wobbly, leading us through the tangled path they are taking. The ideas and formulations don’t exactly mesh and blend in with each other, separating songs from the action, and the heart from the formula, all on an awkwardly complicated set designed by Lizzie Clachan (National Theatre’s The Witches). The piece somewhat stays far too close to the expanse of the film version, struggling to keep up, and crowding the stage more and more as it gets closer to the final blackout. I went in hoping that with the larger Broadway stage, a sharpening of its visual could have settled the piece, simplifying the locations and finding other ways to tell this tale without bringing a room full of plants, coffeeshop counters, and a motel room into the already crowded picture.

With determined costumes by Dede Ayite (Broadway’s Topdog/Underdog), simple lighting by Ben Stanton (Broadway’s Good Night, Oscar), and a solid sound design by Kai Harada (Broadway’s Kimberly Akimbo), the piece never shuffles with ease. This isn’t a hummable show, more akin to an opera led by two, at least in the beginning, before their daughter, Lila, dutifully portrayed by Tabitha Lawing (Atlanta Opera/Alliance’s The Shining), begins to join them in their vocal union, expanding what is at stake, from a pair to something more. Lila and her mother’s correspondence is one of the few moments that actually registered on the emotional spectrum inside, while the rest blurred together like a movie viewing after one too many martinis.

Under the watchful eye of choreographers Sergio Trujillo (Broadway’s Next to Normal) and Karla Puno Garcia (Netflix’s tick, tick…BOOM!), and backed most gorgeously by the score courtesy of music director Kimberly Grigsby (Broadway’s Camelot), The Days of Wine and Roses rolls forward drunkenly playing a tender but blurry game of hide and seek, teasing us with highend music and magnificent performances, but leaving us, somewhat unsettled and distant from this fragmented and choppy musical melodrama.

Kelli O’Hara and Brian d’Arcy James in Broadway’s Days of Wine and Roses. Photo by Joan Marcus.

For more go to frontmezzjunkies.com

Continue Reading

Broadway

Ken Fallin’s Broadway: Sweeney Todd’s New Cast

Published

on

Aaron Tveit and Sutton Foster joined the Broadway revival of Sweeney Todd February 9th, at the Lunt-Fontanne Theatre. They replaced Josh Groban and Annaleigh Ashford, who both earned 2023 Tony nominations for their leading performances in the production.

The Tony Award winning Tveit stepped into the role of Sweeney Todd, which is his first Broadway role since he originated the lead, Christian, in Moulin Rouge! The Musical. He is also known for his performances in Wicked, Catch Me If You Can, Hairspray, and Rent. Tveit has also portrayed several musical theatre roles on screen, such as Enjolras in the film adaptation of Les Misérables (2012), as well as Danny Zuko in Fox’s Grease: Live (2016). In television, he was Gareth Ritter on BrainDead, Tripp van der Bilt on Gossip Girl, Mike Warren on Graceland, and Danny Bailey/Topher in Schmigadoon!.

Foster’s last Broadway role was Marian Paroo in the 2021 revival of The Music Man, which earned her a Tony nomination the following year. She has earned six additional nominations and she is a two-time Tony winner for Thoroughly Modern Millie and Anything Goes. Her other credits include Violet and Little Women. In 2016, she starred opposite Aaron Tveit and Betty Buckley in the Stephen Schwartz revue Defying Gravity in Australia. She appeared in the Off-Broadway revival of Sweet Charity and was in the miniseries Gilmore Girls: A Year in the Life opposite her ex-husband, Christian Borle. She made guest appearances on The Good Wife and Mad Dogs, she is known for her role as Liza Miller in Younger. A month earlier she wow’d audiences as Winfred in the Encore production of Once Upon A Mattress.

Now the two are winning raves in this macabre masterpiece of musical theatre,

Continue Reading

Broadway

Museum of Broadway Celebrates Black History Month

Published

on

Museum of Broadway, 145 W. 45th Street, upcoming February Events

Saturday, February 24th | 12:00 PM

The Museum of Broadway Presents: A History of Minstrelsy with Ben West 

Join musical theatre artist and historian Ben West, author of the upcoming book The American Musical, for a journey into the history of minstrelsy, including its legacy of blackface on Broadway, its trailblazing Black artists, and its impact on the development of the American musical. Note: This talk will involve mature content.

– Event link here

Monday, February 26th | 11:00 AM

The Museum of Broadway Presents: A Conversation with Black Broadway Creatives

Join in celebrating and honoring the lives, careers, and experiences of Black Broadway creatives in the American theater.  Panelists include Ken Hanson, Dante Harrell, Destiny Lilly, Zane Mark, Thelma Pollard and Virginia Woodruff, in-conversation with Erich McMillian-McCall of Project 1 Voice.

– Event link here

Wednesday, February 28th | 12:00 PM

The Museum of Broadway Presents: Mary & Ethel…And Mikey Who? 

Talkback and Book Signing with award-winning author Stephen Cole joined by famed cabaret star Klea Blackhurst and special guest Anita Gillette

– Event link here 

Thursday, February 29th |10:30 AM

The Museum of Broadway Presents: Spotlight on Black Broadway Producers

Join acclaimed award-winning producers Rashad Chambers, Sade Lythcott & Brian Anthony Moreland in-conversation with Merrily We Roll Along’s Krystal Joy Brown

– Event link here

Continue Reading

Broadway

The Glorious Corner

Published

on

G.H. Harding

MORE MURDER — (Via Deadline) Sophie Ellis-Bextor is gearing up to tour around North America for the first time and adding more cities for fans to see her perform “Murder on the Dance Floor” live.

The British singer’s song is featured in the final scene of Emerald Fennell’s Saltburn, where Barry Keoghan’s Oliver dances naked around the manor. After the scene went viral, the song, co-written by Ellis-Bextor and Gregg Alexander, also went viral on social media. “Murder on the Dance Floor” was originally released in 2001, but it never charted on the Billboard Hot 100 until now, peaking at 51 recently.

Ellis-Bextor recently made an appearance on The Tonight Show starring Jimmy Fallon where she performed the viral hit and the star is now embarking on a North America tour.

The artist announced her first-ever live show in NYC, set to take place on June 6 at Webster Hall, and the date quickly sold out. Ellis-Bextor has now announced more dates across the U.S. and Canada that will take her to San Francisco, San Diego, Boston, Washington D.C. and Philadelphia.

“Oh my… the New York show sold out in a day! Thank you thank you thank you,” Ellis-Bextor said in her newsletter announcing the additional tour dates. “So – how about some more shows in some more cities?! My band and I are coming for you! Super excited. Come and dance with me….”

May 30: August Hall (San Francisco, CA)May 31: The Observatory North Park (San Diego, CA)June 3: 9:30 Club (Washington D.C.)June 4: Royale Boston (Boston, MA)June 5: Union Transfer (Philadelphia, PA)June 6: Webster Hall (New York City, NY)June 8: Danforth Music Hall (Toronto, Ontario, Canada)

I love this record, because its an actual song. Sure, they repeat the title about three-dozen times, but its a great track.

Neil Diamond and Micky Dolenz

NOISE CLOSES — (Via Deadline) Broadway’s A Beautiful Noise, The Neil Diamond Musical will play its final performance on Sunday, June 30, before launching a national tour this fall, producers announced today.

The musical, which began previews on November 2, 2022, at the Broadhurst Theatre and opened that year on December 4, will have played 35 preview performances and 657 regular performances when it closes.

As I’ve said, early reviews of the show, kind of stopped me from going to this. An artist who is even referenced in the play said to me ‘why would I go to a play that got bad reviews.’ Understood.

But, I did see it and absolutely loved it. Of course, I’m somewhat on the business side and loved all the insider-nuances. And, I saw it with the original performers in it.

There will be a national tour and I predict it will be a huge hit as Diamond’s music is multi-generational. As I’ve said, I preferred Diamond’s “Solitary Man”-period more than “America” and “I Am, I Said.” Although, “Turn On Your Heart Light” (written with Carole Bayer Sager and Burt Bacharach) was a great record.

An icon for certain.

SHORT TAKES — Warner’s second Aquaman movie; Aquaman and the Lost Kingdom will stream on MAX on February 27. The first Aquaman movie, out in 2018, remains the highest-grossing DC film of all time. The sequel, after a plethora of media, mostly about Amber Heard, disappeared in a matter of weeks … Broadway-journeyman and Rockers On Broadway-creator Donnie Kehr recupping. Get well soon brother! … Keith Girard’s New York Independent featured an interview with 17-old wunderkind Kjersti Long. Check it out: https://www.thenyindependent.com/music/1704991/kjersti-long-17-explores-her-jersey-roots-by-way-of-utah-with-power-pop-style-video/

Pet Shop Boys

Just listened to the Pet Shop Boys “West End Girls.” What a tremendous record that hold up amazingly well all these years later. It came out in 1984 and produced by Bobby Orlando … Amazon shuttering Freevee? First off, as an offshoot of Amazon, this has got to be one of the worst monikers ever! I mean, FreeVee ... always sounded like frisbee!  Adios … Thursday’s Law & Order was the ode to Sam Waterston’s Jack McCoy-character (Last Dance).

Sam Waterston

After 404 episodes, we had to say goodbye. It wasn’t the greatest episode, but when McCoy took over the case and presented it to the jury, Waterston shone brightly. When McCoy said to Hugh Dancy (Nolan Ryan), it was a hell of a ride, it resonated terrifically. Thanks Jack! …

True Detective

I loved the finale on HBO of True Detective with Jodie Foster and Kali Reis. I didn’t understand it all, but the look and direction (by Issa Lopez) and Jodie Foster was just superb. I had forgotten just how good an actress Foster was. Sure, she was good in Nyad, but it was a supporting role. Here, she was just stellar. I’d like to see more of her …

Micky Jones

It was a grim week medically speaking as talk-show hostess Wendy Williams was diagnosed with aphasia and dementia and Mick Jones of Foreigner, with Parkinson’s. Sending prayers to both … And finally, news surfaced Thursday that an “inebriated” Andy Cohen harassed Brandi Glanville. I don’t know Andy at all, but his bad-boy antics of the last several years were clearly leading to something like this. Glanville’s lawyers even invoked NBC’s Matt Lauer in their brief. Expect a huge media brouhaha over this one. Sad for sure … Happy Bday Lou Christie; Niki Avers and Chloe Gaier.

NAMES IN THE NEWS — Steve Walter; Obi Steinman; Felix Cavaliere; Tom & Lisa Cuddy; Kent Kotal; Ace Frehley; Alex Saltzman; Lush Ice; Tony King; Barry Zelman; Justin Ridener; Kent & Laura Denmark; Mark Bego; Mark Scheerer; Barbara Shelley; and SADIE!

Continue Reading

Trending

Copyright © 2023 Times Square Chronicles

Times Square Chronicles