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The Glorious Corner



G.H. Harding

 Photo Ringo Starr’s Blindman

THIS IS HOW LONG —“How Long” by Ace has just hit the #1 Spot on Billboard’s Rock Digital Song Sales chart (the new present day Billboard has a chart for everything!) , all due to its use in a new Amazon Prime TV ad.  (In the past two weeks it has sold over 4,000 downloads and reached 831,000 streams, thus increasing its previous sales by more than 2000 percent.)

Although the song did reach #1 on the Cash Box chart when it was first released in 1975, it only peaked at #3 on Billboard’s Hot 100 … so I guess the answer to the musical question “How Long … does it take to have a #1 Record?” might be … 45 years!  (Once again,Billboard is distorting the facts here just a little bit … comparing having a #1 Record on the Digital Rock Songs Sales Chart … which didn’t even exist yet when this record was first released … to the Billboard Hot 100 Pop Singles Chart, long considered to be “the music bible” when it comes to ranking the hits … are two ENTIRELY different things … but it still is quite an accomplishment.)  

With several decades old Christmas songs chart high on Billboard’s Hot 100 Chart late last year maybe there is hope for our “vintage music” after all!  Proof again that much of “our” music is as timeless and memorable as we keep telling you it is.  

Now, I’ve seen this story reported in dozens of outlets, and the fact that the leave out which really is annoying is that the song was written by the group’s Paul Carrack, who has played with Eric Clapton for the better part of the last ten years. Here’s the original video of the song: 

Even more interesting to music-philes, is the fact that often, Clapton and band will play “How Long” as part of their set with Carrcak on vocals and it’s received very well.

Ready for one more Clapton-fact? Pianist Chris Stainton has played with Clapton for almost 40 years; he started out as Joe Cocker’s keyboard wizard and he wrote the chestnut: “High Time We Went” which Cocker first recorded in 1972 and Clapton and band often do to this day. Amazing, right? 40 years!

Paul Carrack

THE STORY BEHIND THE SONG —  (from Forgotten Hits) While “How Long” has long been considered a great love song about a cheating lover running around behind someone’s back, and it paints this portrait beautifully, that’s not REALLY what the song is about.

Ace Lead Vocalist, Keyboardist and the song’s writer Paul Carrack has since explained that it was actually about one of his own band members sneaking around, sitting in with other bands, impatient at the fact that it was taking Ace so long to make it.  Bass Player Terry Comer just didn’t feel things were happening fast enough for the band and he was getting frustrated … and started exploring other opportunities.  (In fact, he was sitting in with Sutherland Brothers and Quiver, who had the hit “(I Don’t Want To Love You But) You Got Me Anyway” in 1973.)  When the others found out, they pleaded with him to stick things out, telling him that if they just worked together, they would hit pay dirt eventually.

The incident was enough to inspire Carrack to write a song about it, which masquerades perfectly as a scenario millions of lovers could relate to worldwide (Carrack was proven right when their record hit the charts … and Comer stayed with the band long enough to play bass on their hit recording.  In fact, it’s his bass notes that kick off the song).

“How Long” became Ace’s only Top 40 Hit, peaking at #1 in Cash Box magazine and #3 in both Billboard and Record World.  The Amazon Prime ad has proven to be incredibly successful in resurrecting this soft-rock / pop classic.

 Lead Singer Paul Carrack would score his own Top Ten Hit as a solo artist in early 1988 when “Don’t Shed A Tear” went to #9 on the Billboard Hot 100 Pop Singles Chart.  Prior to that, he lent his voice to Squeeze (singing lead on “Tempted,” another pop/rock classic), Mike and the Mechanics (Mike Rutherford’s Genesis off-shoot band, who had three Top Ten Hits:  “Silent Running” (#6, 1986), “All I Need Is A Miracle” (#5, 1986) and “The Living Years” (which went all the way to #1 in 1988.)  Carrack also played keyboards for Roxy Music in the late ‘70’s and Nick Lowe and his Cowboy Outfit.  

 Tym Moss and Wendy Stuart Kaplan

WENDY TO THE RESCUE — When the world seemingly went in to lock-down last week, social-influencer Wendy Stuart Kaplan came up with a great idea: the web-series Pandemic Cooking: about what to cook, swiftly and surely through this troubled period. Meticulously shot by her husband Alan, Wendy is home prepping the most creative and efficient meals.

The show was an instant hit and her publicist reports that he’s already received calls from the Food Network and several other cable outlets interested in immediately re-broadcasting the show.

Kaplan, long a major figure in social awareness, is perfect: funny, informative and definitely assisting all in this terrible moment. Right now, check out her page on Facebook for every episode – 

RINGO’S BLINDMAN — (from Rolling Stone) When Paul McCartney shocked the world in April 1970 with his announcement of the Beatles’  break-up, drummer Ringo Starr added a surprise of his own by becoming (initially, at least) the most musically active member of the former Fab Four.

As he would later recount in the lyrics of “Early 1970,” the deceptively jaunty b-side of his 1971 hit “It Don’t Come Easy,” Starr was the only Beatle who didn’t have any serious beef with any other member of the band at the time. Feeling lost without the family dynamic of the musical entity that had completely consumed the previous eight years of his life, he tried to distract himself from the pain by playing as much music as possible. In addition to releasing two solo albums (Sentimental Journey and Beaucoups of Blues) and two non-LP international hits (“It Don’t Come Easy” and 1972’s “Back Off Boogaloo,” both produced by George Harrison), the musician spent his first two post–Fab-Four years playing drums on recording sessions for Harrison, John Lennon, Yoko Ono, Stephen Stills, Leon Russell and several other artists.

Still, Ringo felt adrift. Unsure of what else to do with himself, he continued to pursue his rather unorthodox film career, which had begun with Beatles vehicles (Walter Shenson, who produced 1964’s A Hard Day’s Night and 1965’s Help!, called him “a superb actor, an absolute natural”) and expanded to include parts in such cult films as 1968’s Candyand 1969’s The Magic Christian. In February 1971, Ringo took the role of Frank Zappa stand-in Larry the Dwarf in 200 Motels, Zappa’s surreal comedy about the life of a rock band on tour. But the ex-Beatle yearned to expand his range beyond comedic parts. Which is how, four months later, he found himself traveling to Almeria, Spain, to play a cowboy in Blindman, a Spaghetti Western directed by Ferdinando Baldi.

This wasn’t the first time Starr had been to Almeria, a city whose arid outskirts doubled as North American deserts in hundreds of European-produced Westerns, most famously Sergio Leone’s The Good, the Bad and the Ugly. Five years earlier, he had visited John Lennon there while his bandmate was filming How I Won the War with Richard Lester. (Lennon famously wrote “Strawberry Fields Forever” during that film’s production.) This time, however, he was in the company of Allen Klein, the tough-talking American lawyer whose controversial tenure as the group’s manager had led directly to McCartney’s exit from the band. Klein, who was co-producing Blindman for his company ABKCO Films, thought Starr would be perfect for the part of Candy, a lovelorn outlaw whose obsession with a rancher’s daughter ultimately leads to his own demise. (The fact that his character bore the name of the titular heroine of Terry Southern’s satirical novel, the adaptation of which Ringo had just appeared in, was completely coincidental.)

Briefly released in the US in early 1972, and not released in the UK until late 1973 in a severely censored version, Blindman had ultimately little impact on Ringo’s acting career. But ABKCO’s new reissue of the movie (which has been mastered from its original 35 mm negative, and will  in DVD and digital download formats) offers folks a welcome opportunity to re-appraise the once-obscure cult film in all its restored Techniscope glory.

A gritty tale of double- and triple-crossing in the white slavery trade of the old west, Blindman stars American actor Tony Anthony in the title role of the sightless bounty hunter who – with a little help from his friends, namely a trusty seeing-eye horse – must take on bloodthirsty bandits and the Mexican Army in his quest to deliver 50 mail-order brides to hard-up miners in Texas. Blatantly based upon the itinerant blind swordsman of Japan’s popular Zatoichi films, Anthony’s character gives new meaning to the term “dead-eyed shot”; he only needs to be pointed in the general direction of a town’s church steeple in order to ring its bell with a rifle blast.

Betrayed by his business partner, who has already sold the women to a gang led by the ruthless Domingo (Lloyd Battista) and his even more ruthless sister (Magda Konopka), Blindman follows his nifty embossed leather map of North America to Mexico, unaware that Domingo is already using the brides as bait with which to kidnap a Mexican general (Raf Baldassare). It’s while tracking down Domingo that our antihero first encounters Candy, the criminal’s none-too-bright younger brother who’s busy trying to win the love of a woman.

Though he received second billing for obvious promotional reasons, Starr’s role in the film isn’t a major one; Anthony and Battista get most of the screen time. But it does leave a big impression, and Baldi makes the most of the Beatle’s droopy features and naturally downcast expression, using lingering close-ups to draw out the sadness and confusion the drummer was undoubtedly still feeling over losing his day job. Given his proclivities at the time, it’s also entirely possible that the musicians’s soulful, thousand-yard stare was the result of an overindulgence in booze. Still, whatever the case, his palpable inner melancholy adds makes Candy — a deeply unsympathetic character who abuses and rapes the object of his affections — come across as more layered and conflicted than he probably seemed in the original screenplay (penned by Vicenzo Cerami with help from Pier Giovanni Anchisi and Anthony, a veteran of spaghetti Westerns who also co-produced the film with Klein and Saul Swimmer).

And Ringo acquits himself nicely in some solid action sequences: He shoots a poisonous snake, tortures Blindman, stabs an old rancher to death, and (spoiler alert) eventually meets his end in a cave, where the sight-impaired, sure-shot gunfighter confuses him with some well-timed dynamite explosions before putting some lead in the back. It’s also no knock on his acting talents to say that his most memorable scene involves Candy’s bizarre funeral, during which Domingo insists that his brother is still alive – “He likes dancing! And drinking! And pretty women!” – and will thus marry Pilar from his coffin, whether she likes it or not. The surreal ceremony takes place against the haunting backdrop of an adobe village where all the buildings are painted either jet-black or ivory white, and the black of the mourners’ garments contrast equally starkly with the white of the priests’ robes.

Filmed both in Spain and at the legendary Cinecitta Studios in Rome, Blindman features more lavish sets than are typical for the genre, probably because of the money that Klein and ABKCO were pumping into the production. (The newly restored version of the film does ample justice to Riccardo Pallottini’s gorgeous cinematography.) Klein himself makes an un-credited appearance in one of the early scenes; the irony of him playing a sweaty, double-crossing bandit will not be lost on anyone who recalls the music mogul’s reputation for unethical business practices. Former Beatles road manager Mal Evans appears in the same scene as one of Klein’s grimy, rifle-toting co-horts, though the meta-reference regarding his role is sadder — five years later, while drunk, depressed and under the influence of valium, Evans would make the fatal mistake of pointing an air rifle at three members of the LAPD.

It’s also blessed with an excellent score by underrated Italian film composer Stelvio Cipriani, best known by film nerds for his work on early 1970s Mario Bava horror films (Twitch of the Death Nerve, Baron Blood) and his music for the 1977 killer-octopus film Tentacoli, parts of which were excerpted for the soundtrack of Quentin Tarantino’s 2007 exploitation-a-go-go film Death Proof. Cipriani’s score splits the difference between eerie spaghetti Western twang, operatic exultations and groovy, turn-of-the-decade psychedelia. The only thing missing from the soundtrack is Ringo’s song, “Blindman”; recorded shortly after he returned to England from Spain, with the help of Klaus Voormann and Badfinger’s Pete Ham, the song was reportedly rejected for use in the film, probably because its dirge-y sound clashed musically with Cipriani’s vivid sound paintings. It later appeared on the flip side of “Back Off Boogaloo,” where lyrics like “Blindman with your piece of paper/What you gonna do?” inevitably puzzled the hell out of listeners who’d never seen the film, or even knew of its existence.

Though obviously not the finest entry in the Beatles-related filmography — it can’t touch A Hard Day’s Night, but it’s also certainly several leagues above Give My Regards to Broad Street — Blindman remains a fascinating artifact from the period where he was still trying to come to grips with life after the Fab Four. For fans alike, it’s well worth a look.

Personally, I’ve always been intrigued by Ringo’s film-career. Now, somewhat forgotten, but still a pivotal moment for him. Blindmanintrigued me for sure, but his movie with fellow musician Harry Nilsson, Son of Dracula, was another interesting journey for him.

SHORT TAKES — Sad news about music-icon Kenny Rogers. We ran into him numerous times over the years and always found him to be a stands-up fellow: always gracious, always funny. A true-icon for sure. RIP Kenny … Friday last would have been Fred Rogers’ 92-birthday.

Thank You Mister Rogers

Two-time Grammy winner Dennis Scott, who produced the tribute album, Thank You Mister Rogers (featuring the likes of The Cowsills; Micky Dolenz; Vanessa Williams and Tom Bergeron) was to do an event last week commemorating his birthday. Obviously the event was postponed. Scott was going to have a petition, to be signed, to get Rogers into the Songwriter’s Hall of Fame. Stay tuned on this one; more to come …

Robert Miller’s Project Grand Slam

And, Robert Miller’s Project Grand Slam continues to offer their music for free. Check out their site here:

NAMES IN THE NEWS — Robin Leach; Joel Diamond; Rebecca Holden; Tom & Lisa Cuddy; Tony King; Pete Bennett; Bob Austin; Lenny Beer; Marty Ostrow; David Adelson; Bruce Grakal; Freda Payne; and, welcome BELLA!

G. H. Harding is a four decades insider to the entertainment world. He’s worked for record companies; movie companies; video-production He’s worked for record companies; movie companies; video-production companies and several cable outlets. His anonymity is essential in bringing an unbiased view to his writings on pop culture. He is based in NYC.

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We Say Good Bye To Costume Designer Extraordinaire Carrie Robbins



I met Carrie Robbins at an art gallery with Louise St Louis, Baayork Lee and Judy Jacksina. The four of us stayed well into the morning talking, laughing and having a fabulous time. Carrie and I bonded after that as she turned to playwriting. It broke my heart to learn that on the evening of April 12, 2024 Costume Designer extraordinaire Carrie Robbins passed away.

Carrie’s work has been featured in over 30+ Broadway shows, including Class Act, Grease (original), Agnes of God, Yentl, Octette Bridge Club, Sweet Bird of Youth (Lauren Bacall), Frankenstein, Happy End (Mary Streep), Boys of Winter, Cyrano (Frank Langella), & Shadow Box (Mercedes Ruehl).

Her awards and nominations included: 2012 recipient of the Irene Sharaff Lifetime Achievement Award presented by the Theatre Development Fund & the tdf/Costume Collection with the support of the Tobin Theatre Arts Fund. 2 Tony (Noms.), 5 Drama Desks, Maharam, USITT/Prague International, L.A. Dramalogue, Henry Hughes, F.I.T-Surface Design, & Audelco, among others.

Robbins’ costumes for the Irving Berlin musical White Christmas played major cities in the USA, Broadway, and Great Britain. Her regional work included M. Butterfly and On the Verge, for director Tazewell Thompson (Arena Stage) and the Gershwin musical American in Paris by Ken Ludwig for director Gregory Boyd (Alley Theatre, Houston) as well as The Tempest (Anthony Hopkins as Prospero) & Flea in Her Ear (director Tom Moore at Mark Taper Forum), many productions for the Guthrie (MN), Williamstown, and many others from Alaska to Buffalo.

Locally, in NYC, Robbins designed for many productions for The Lincoln Center Repertory Theatre, Chelsea Theatre at BAM, Acting Company at Juilliard and NY Shakespeare Festival.

She also designed for the Opera and they included Death in Venice for Glimmerglass (’08 Prague International Design Exhibit), Samson et Dalila (San Francisco Opera, Houston Grand, more), and many productions for Sarah Caldwell’s Opera Company of Boston. Her work has also been seen at the Hamburg StatsOper.

For film Robbins designed the movie “In The Spirit” (Elaine May, Peter Falk, Marlo Thomas); TV design included: Saturday Nite Live, PBS Arts in America, & several unseen pilots.

Robbins has designed clothes for several seasons of Queen Esther Marrow and The Harlem Gospel Singers’ European Tour. She also did the designs for The Cincinnati Ballet’s new Nutcracker, in December of 2011

Robbins was an MFA grad from the Yale School of Drama and was Master Teacher of Costume Design at the NYU Tisch School of the Arts for many years. She is extremely proud of the extraordinary number of award-winning, successful young costume designers and costume teachers across the country who came out of her classes.

Besides being a costume designer Carrie also was a playwright. In August 2010, her play, The Death & Life of Dr. Cutter, a Vaudeville, based on the true stories told by her husband Dr. R.D.Robbins, had its 4th reading at the Snapple Theatre Center; it was chosen by Abingdon Theatre Co, NYC, to be part of its First Readings Series in Fall, 2009. In 2011-12 the  League of Professional Theatre Women chose The Dragon Quartet as part of its 30th year anniversary celebration. In 2012-13, La MaMa (oldest off-off-Broadway theater in NYC at 51 years) chose The Diamond Eater for its “Concert Reading Series”. In 2013: TACT (The Actors Company Theatre, chose Sawbones for part of its newTACTics New Play Festival. In 2014 both The Diamond Eater and Sawbones  received 6 Nominations from N.Y. Innovative Theatre Awards (the most nominations given out in the 2014 season). In 2015, Le Wedding Dress, was a semi-finalist in NYNewWorks Theatre Festival. In 2016: Obsessions Of An Art Student chosen by NYNewWorks Theatre Festival. In 2016, The Actress, was a finalist in NY Thespis Summer Festival. In 2017, My Swollen Feet, chosen by NY Summerfest Theatre Festival/ Hudson Guild Theatre. In 2018 The Diamond Eater , semi-finalist at the 14th St. Y competition War + Peace/2018/19 season and The Dragon Griswynd, was chosen by Theater for the New City for its “Dream-Up Festival” In 2019 Pie Lessons, was invited by Crystal Field, Exec. Artistic Director of Theater for the New City, to be part of “Scratch Night at TNC”.

The last thing Carrie was working on was For The Lost Children Of Paris. This play was about how the Nazis, with help from the Vichy Government, collected French-Jewish schoolchildren and delivered them to Auschwitz. Excellent German record-keeping revealed 11,400 children were taken. At the liberation, only 200 were found alive. This is the story of one classroom’s collection day and its aftermath.

She did this play using puppets as the children.

Carrie had a voice that she used in a multiple of ways. She was a caring friend, a dedicated teacher, a prolific writer and costume designer, who always cared about others first. Carrie you will be missed.



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Patti LuPone Returns to Broadway and The Big Screen



Three-time Tony Award winner Patti LuPone, who gave up her Equity card in 2022, will star opposite Mia Farrow in Jen Silverman’s new play, The Roommate. The production will be directed by Jack O’Brien and will begin previews at the Booth Theatre in August ahead of a September opening.

The Roommate tells the story of Sharon, in her mid-fifties, who is recently divorced and needs a roommate to share her Iowa home. Robyn, also in her mid-fifties, needs a place to hide and a chance to start over. But as Sharon begins to uncover Robyn’s secrets, they encourage her own deep-seated desire to transform her life completely. A dark comedy about what it takes to re-route your life – and what happens when the wheels come off.

The Roommate premiered at the Actor’s Theatre of Louisville in March 2015, and has had several regional productions including at Williamstown Theatre Festival in 2017.

Ms. LuPone will star in the upcoming Marvel series, WandaVision spinoff series Agatha: Coven of Chaos. She’s in a coven of witches, playing Lilia Calderu, who is hot, with a great body and hair. Calderu, first appeared in Marvel comics in 1973 as a 450-year-old Sicilian witch whose power is divination and whose trial is tarot. The other witches are Kathryn Hahn, Aubrey Plaza, and a familiar who is played by Joe Locke. Locke, is currently on Broadway in Sweeney Todd.

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Out of Town

Tarragon’s El Terremoto Rises and Faulters Inside its Cracks




The Latin music and the birds chirping draw us into the scene, that is, before the tremor sounds blow their nose all around us. We feel the vibrations throughout our bodies as we sit up and take notice of Tarragon Theatre‘s compelling but ultimately disconnecting El Terremoto, written with an earnest determination to engage by playwright Christine Quintana (Someone Like You; As Above). “Why do you get so tense?“, one caring neighbor asks the oldest of three sisters, Luz, portrayed by Mariló Núñez (Aluna’s La Communion), as she busies herself preparing for a sweet birthday party that no one really seems to want to be at, beyond a few outsiders. And it’s no wonder, with the energy that exists at the core of this half-interesting, half-disjointed play that is trying to tell us a lot of things, without having a stable foundation to stand on.

Rosalba Martinni, Monica Garrido Huerta & Juan Carlos Velis in El Terremoto – Tarragon Theatre 2024 – Photo by Cylla von Tiedemann.

Directed with an unfocused vision of constant movement by Guillermo Verdecchia  (Tarragon’s The Jungle), the fault lines appear way before the foundations of this familial home are shaken to its ghostly roots. A grandmother, Abuela, played with heart and nuance by Rosalba Martinni (Nightwood/Aluna’s The Solitudes) stands before us, paying dear homage to the lost parents of these three Jurado sisters who will come together like a different kind of terremoto. The set-up sizzles with possibility, but somewhere along the road to reconciliation, which is clearly the desired outcome in this messy play, too many inauthentic cracks and travels take place for one to fully engage with these three. Based on the way these sisters argue and attack one another, the faultlines that become visible from the onset make me care more for those poor souls who hang around hoping for some breadcrumbs of love and affection. A connection that is in short honest supply in this family’s East Vancouver home.

 Margarita Valderrama, Caolán Kelly, Miranda Calderon, Michael Scholar Jr., Rosalba Martinni & Mariló Núñez in El Terremoto – Tarragon Theatre 2024 – Photo by Cylla von Tiedemann.

It’s been twenty years since the parents of these three died suddenly in an automobile accident, but rather than bringing them together, the crash has only made them more fractured and distant. Núñez’s Luz tries with all her anxious might to hold and keep the family unit working, even as she forgets to care for her own self along the way. She needles and micromanages those who have come together, pushing them away and reaching out for them like a desperate yoyo. The middle sister, Rosa, portrayed conflictually by Miranda Calderon (Stratford’s Birds of a Kind), is clearly the mess of the family, lashing out relentlessly at almost everyone who looks her way, including the man who got away (maybe luckily), Henry, dutifully portrayed by an engaging Michael Scholar Jr. (Alameda’s The Refugee Hotel). Like a lot of this play, the relationships are clear from the very beginning, leaving little to fully understand except maybe why one would travel across town, and kayak across dangerous waters to see, only to be told to go home with a wave of a messed up wrist. And leave without question. That exit didn’t make any emotional sense, like a lot of the comings and goings in their home.

Shooting back shots that taste like lost youth, the birthday party of the late arriving youngest sibling, Lina, played with an air of disconnected desperation by Margarita Valderrama (Roseneath’s Meet Cute), along with her well-meaning and lovestruck partner, Tash, engagingly well played by Caolán Kelly (Stratford’s Hamlet-911), pull us into the dynamics of the family, and because of Tash’s openness to the engagement, we can’t help but notice that the structural ideals of the play make us want to lean in and hold on for support through their trauma. Yet somewhere along the road, past a failed and ignored proposal to Luz by the family’s neighbor, Omar, played compassionately by Sam Khalilieh (Studio180’s Stuff Happens), this dramatic comedy tries with an almost too diligent force to throw us off balance. It shows us its complicated value while never feeling completely true, all before the interval earthquake envelopes us. It’s a tremor of epic proportions, felt by all, that nearly destroys the city of Vancouver, taking down bridges and buildings in an almost unimaginable way, and leaving us wondering how this will throw them off their destructive combative course.

Caolán Kelly & Margarita Valderrama in El Terremoto – Tarragon Theatre 2024 – Photo by Cylla von Tiedemann.

On a well-crafted set, designed by Shannon Lea Doyle (Soulpepper’s Jesus Hopped the ‘A’ Train), with distinct costuming by Fernando Maya Meneses (NAC’sNigamon/Tunai), strong lighting by Michelle Ramsay (Theatre Rusticle’s The Tempest), a sometimes clever projection design by Samay Arcentales Cajas (Native Earth’s Where the Blood Mixes), and an environmentally powerful sound design by Alejandra Nuñez (Two Birds/Common Boots’s Apocalypse Play), El Terremotomoves with frantic supernatural (and unnatural) movement forward, delivering the message that nothing really matters, “so everything matters.” So when the doors fly forward and the aftershock releases the parental visuals by Monica Garrido Huerta (lemonTree Creations’s Private Eyes) and Juan Carlos Velis (Alameda’s The Refugee Hotel), we work hard at staying connected to this dysfunctional family. Because we want to see understanding and reconciliation, even with all the acts of inconsistency.

Their urgency in their manic movements, decision-making, and sparring never feel organic or honest, even as the actors work hard to find honest connections with one another. But only in the outsiders do we find the much-needed thread of connectivity. Kelly’s Tash, a beautiful creation that could have easily been a stock figure, finds the formula of play that unpacks the complications of feeling love with a wide-eyed honest observance. They register, that even with the strong feelings attached, this family is too much. The work to find stable connection that feels honest is elusive and probably not possible. I wanted them to find unity and some sort of authentic understanding, but the aftershock of the play El Terremoto at Tarragon Theatre was of sad disbelief.

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Music News: Stereophonic, Aaron Tveit, Abby Mueller, Cheyenne Jackson, Lempicka, Reeve Carney, Rodgers & Hammerstein and The New Belters



After starting previews to an extraordinary standing ovation this week, the season’s most critically acclaimed new play, Stereophonic, has dropped a brand-new music video of the hit song in the show, “Masquerade”, written by Academy Award® nominee and Grammy Award® winner Will Butler.

Direct from its smash hit world premiere engagement at Playwrights Horizons, David Adjmi’s Stereophonic is directed by Daniel Aukin and features songs by Will Butler, formerly of Arcade Fire. The highly anticipated Broadway production is currently in performances at the Golden Theatre (252 W 45th St) for 14 weeks only, and will officially open on Friday, April 19.

The music video was creative directed by Cameron Sczempka (Polymoth Productions). Director of Photographer was Hil Steadman.

Aaron Tveit

After incredibly high demand for his initial announcement, Broadway sensation Aaron Tveit, has extended his debut residency at Café Carlyle. Tveit’s captivating performances, characterized by his impeccable vocal talent and magnetic stage presence, have garnered widespread acclaim. With this extension, audiences will have another opportunity to experience the magic of Tveit’s musical artistry in the intimate setting of Café Carlyle, promising an unforgettable evening. The event will take place June 11 – 29, 2024 (previously June 18 – 29) at Café Carlyle in The Carlyle, A Rosewood Hotel (35 East 76th Street, at Madison Avenue).

54 Below, Broadway’s Supper Club, presents Abby Mueller on April 26-27, 2024 at 7pm. The performance on April 27 will also be streamed live. After her celebrated reign in Six, Abby Mueller (Broadway’s original Jane Seymour) makes her 54 Below and NYC solo concert debut! Previously seen on Broadway in Beautiful: The Carole King Musical and Kinky Boots, this Drama Desk Award winner and Grammy nominee invites you on a musical journey from Carole to Adele, pop to American Songbook classics, and beyond.

She will be reunited with her OG Six “Ladies in Waiting” Kimi Hayes (guitar), Michelle Osbourne (bass) and Elena Bonomo (drums), led by Music Director Sharon Kenny. Special musical guests include Nasia Thomas (Caroline, or Change, Ain’t Too Proud), Yasmeen Sulieman (Shucked, Paradise Square), and Paris Nix (Hamilton, Beautiful: The Carole King Musical)

Cheyenne Jackson

54 Below, Broadway’s Supper Club and 2022 Tony Awards® Honoree for Excellence in the Theatre, is thrilled to welcome back star of stage and screen Cheyenne Jackson on September 23-29 at 8pm. Each night will feature a Broadway VIP, with Tony Award® winner Matt Doyle on September 23, Cheyenne’s Once Upon A Mattress co-star Nikki Renée Daniels on September 24, Tony Award® winner J. Harrison Ghee on September 25, Company star Claybourne Elder on September 27, Tony Award® winner and Emmy nominee Jane Krakowski on September 28, and Wicked star Jessica Vosk on September 29. The special guest on September 26 will be announced at a later date. Tickets can be purchased at Mr. Jackson’s shows are scheduled at 8pm instead of the usual 7pm and will be the only show of the night to allow for an extended dinner hour and enhanced patron experience. Following the show, the bar will remain open for patrons who wish to linger and continue to enjoy the evening.

Sony Masterworks Broadway, Seaview, and Jenny Niederhoffer announce the forthcoming Original Broadway Cast Recording of Lempicka, the sweeping new musical with leading lady Eden Espinosa, celebrating the gripping true story of renowned artist Tamara de Lempicka.  With music and lyrics by Matt Gould and Carson Kreitzer, the digital album arrives May 29, 2024 with the physical CD release set for July 5, and available for preorder now.

The album news follows the release of three tracks “Woman Is,” performed by Eden Espinosa; “Perfection,” with vocals by George Abud; and “Stay” performed by Amber Iman from Lempicka – the Musical (2022 Sessions) – listen here.

The creative team consists of Tony Award winner Rachel Chavkin (director), Carson Kreitzer (book, lyrics, and original concept), Matt Gould (book and music), and Raja Feather Kelly (choreography).

Spanning decades of political and personal turmoil and told through a thrilling, pop-infused score, Lempicka boldly explores the contradictions of a world in crisis, a woman ahead of her era, and an artist whose time has finally come.

The cast of Lempicka is led by leading lady, Eden Espinosa as Tamara de Lempicka, with Amber Iman as Rafaela, Andrew Samonsky as Tadeusz Lempicki, George Abud as Marinetti, Natalie Joy Johnson as Suzy Solidor, Zoe Glick as Kizette, Nathaniel Stampley as the Baron, and Beth Leavel as the Baroness with Mariand Torres, Alex Aquilino, Lauren Blackman, Stephen Brower, Kyle Brown, Holli’ Conway, Abby Matsusaka, Jimin Moon, Khori Michelle Petinaud, Ximone Rose, Nicholas Ward, Veronica Fiaoni, Mary Page Nance, Julio Rey, and Michael Milkanin rounding out the company.

Tickets are now on sale at


The Green Room 42 – the intimate concert venue dubbed Broadway’s “off-night hotspot” by The New York Times – will present a special two-part evening with Grammy Award-winning singer-songwriter and actor Reeve Carney, paying tribute to one of his greatest musical influences in “Reeve Carney Sings The Beatles,” on Monday, May 13 at 7:00 PM and 9:30 PM. Performing two completely different sets, Carney will cover era-defining selections ranging from 1963’s “Twist and Shout” to 1970’s “Let It Be,” and everything in between. The recent star of Broadway’s Hadestown, Carney co-starred in Ridley Scott’s hit film House of Gucci, opposite Al Pacino, Lady Gaga, and Adam Driver.

“I love a good challenge,” says Reeve. “And what greater challenge, musically speaking, than to do my best to tackle one of my greatest influences? I grew up on the Beatles. They have always been my parents’ favorite band, and quickly became mine through wearing out cassette tapes from Please Please Me all the way to Let It Be on long car rides. They have served as a seemingly endless source of inspiration for me as a songwriter, as well as a recording engineer. While producing my solo album, Youth Is Wasted, I drew constantly upon them through obsessive auditory deep dive explorations of all of their astonishing records. I also immersed myself in books by both George Martin and Geoff Emerick, both of whom were at the helm of capturing The Beatles’ music. Their unparalleled prolificacy in the modern recorded music world has served as an inspiration to many of my other prominent influences. So it felt only natural for me to pay tribute to them in the way I have done with some of my other inspirations. When I sat down to put this set together, I quickly realized it would be a nearly impossible task to select only 10 or even 15 of my absolute favorites. So I am excited to present this as a two-part evening.”

Concord Theatricals Recordings announced that the 42-track live recording of My Favorite Things: The Rodgers & Hammerstein 80th Anniversary Concert will be released on double CD and digital platforms worldwide on Friday, May 31. The star-studded new album is now available to preorder on CD HERE.

Celebrating the historic partnership of Richard Rodgers and Oscar Hammerstein II, the album features iconic songs from The Sound of Music, South Pacific, Oklahoma! and more, recorded live by stars of the stage and screen at the landmark December 2023 event in London.

In tandem with the album release, a condensed version of the filmed concert will premiere on PBS as a part of their “Great Performances” programming on May 31. Learn more HERE.

The concert was headlined by recent R&H leading lady Joanna Ampil (Rodgers & Hammerstein’s South Pacific); two-time Olivier Award®  winner Michael Ball; television, film and stage actor Daniel Dae Kim; four-time Olivier Award®  winner Maria Friedman; Emmy®, two-time GRAMMY®  and six-time Tony Award®  winner Audra McDonald; Olivier Award®  nominee Julian Ovenden; West End sensation Lucy St. Louis; Tony Award®  winner Aaron Tveit; two-time Olivier Award®  nominee Marisha Wallace; and two-time Tony®, two-time Golden Globe®  and Emmy Award®  nominee Patrick Wilson. Also featured are Anna-Jane Casey, Lily Kerhoas, Jonny Labey, and Jordan Shaw, among others.

The performance featured the 40-piece Rodgers & Hammerstein Concert Orchestra, conducted by music supervisor Simon Lee, with stage direction by Tony Award-winning director and choreographer Christopher Gattelli and associate choreography by Simon Hardwick.

54 Below, Broadway’s Supper Club, presents Seth Sikes and Nicolas King in The New Belters Sing MGM on Monday, April 22 at 7:00 PM. Acclaimed jazz pianist Billy Stritch will music direct the evening, a brand-new show celebrating music from the golden age of MGM. This vast and iconic catalog includes songs from the films Singin’ in the Rain, The Band Wagon, Meet Me in St. Louis, The Wizard of Oz, and many more. Under the musical baton of Stritch, Sikes and King will deliver a powerhouse performance that promises to capture the glitter and magic of the golden age of Hollywood, and bring it into the next generation.

The swinging American Songbook is the specialty of these performers, and the duo has been touring the country with their debut show, The New Belters.

Seth Sikes is one of New York’s popular young nightclub entertainers and a regular at 54 Below. His critically acclaimed tributes to Judy Garland (which have won two BroadwayWorld Awards), Liza Minnelli, Barbra Streisand and others are a consistent draw for audiences. Sikes was also Associate Director on the multiple Tony Award-winning musical The Band’s Visit and many other productions. During the pandemic he made numerous musical video parodies set on Fire Island that were widely viewed.

Nicolas King is an award-winning artist who’s been belting out tunes since he was 4-years-old, having been seen in dozens of TV commercials, and numerous times on Broadway opposite Tom Selleck, Carol Burnett, Linda Lavin and Andrea McArdle. King was the longest running Chip in Disney’s Beauty and the Beast. He toured the country as Liza Minnelli’s opening act, and has performed on stages all over the world from Carnegie Hall to “The Tonight Show with Jay Leno.”

The New Belters Sing MGM plays 54 Below (254 West 54th Street) on Monday, April 22 at 7:00 PM.

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Cabaret Celebrated Broadway Legend Joel Grey’s Birthday



Last night, Eddie Redmayne currently in previews as the ‘Emcee’ in Cabaret at the Kit Kat Club celebrated Broadway legend Joel Grey’s 92ndbirthday on stage at the August Wilson Theatre. Grey, who originated the role of the ‘Emcee’ on Broadway in 1966 and went on to star in the beloved film of Cabaret, took the stage as the entire cast, band, and creative team sang “Happy Birthday” while a custom cake, shaped like a giant pineapple, emerged from the stage.

 During his speech honoring Grey, Eddie Redmayne said, “Tonight is an extraordinarily special night for us because we are in the presence of an extraordinary human being without whom none of us would be here.” After thunderous applause, Redmayne continued “Your performance in this part changed my life and it was one of the things that made me want to be an actor.”

Joel Grey, Gayle Rankin, and Eddie Redmayne Photo by Jenny Anderson

The cast and Grey were also joined on stage by Cabaret composer John Kander.

Alongside Joel’s daughter Jennifer Grey and Kander, a star-studded crowd came out to fete the theater icon including Anderson Cooper, Candice Bergen, Jackie Hoffman, Jane Krakowski, Lin-Manuel Miranda, David Rockwell, and more. They were joined by numerous alum of Cabaret spanning the decades including Maude Apatow (Sally Bowles in London, 2023), Madeline Brewer (Sally Bowles in London, 2022), Joely Fisher (Sally Bowles on Broadway, 2000), Gina Gershon (Sally Bowles on Broadway, 2001), Mason Alexander Park (Emcee in London, 2023), Adam Pascal (Emcee on Broadway, 2003), Molly Ringwald (Sally Bowles on Broadway, 2002), Jake Shears (Emcee in London, 2023), and Brooke Shields (Sally Bowles on Broadway, 2001).

Cabaret at the Kit Kat Club is now in previews on Broadway at the August Wilson Theatre (245 West 52nd Street). The production, directed by Olivier Award winner Rebecca Frecknall and designed by Tony Award nominee and Evening Standard Award® winner Tom Scutt, will have decadent twin opening night gala celebrations starting Saturday, April 20 and continuing into the following night, with the official press opening on Sunday, April 21. Tickets are on sale now at or via Seat Geek HERE.

In addition to Redmayne, Cabaret also stars Gayle Rankin as the toast of Mayfair ‘Sally Bowles, two-time Tony Award winner Bebe Neuwirth as ‘Fraulein Schneider,’ Tony Award nominee Ato Blankson-Wood as ‘Clifford Bradshaw,’ Obie Award winner and Drama Desk Award® nominee Steven Skybell as ‘Herr Schultz,’ Henry Gottfried as ‘Ernst Ludwig,’ and three-time Helen Hayes Award winner Natascia Diaz as ‘Fritzie/Kost.’

The cast of Cabaret includes Gabi Campo as ‘Frenchie,’ Ayla Ciccone-Burton as ‘Helga,’ Colin Cunliffe as ‘Hans,’ Marty Lauter as ‘Victor,’ Loren Lester as‘Herman/Max,’ David Merino as ‘Lulu,’ Julian Ramos as ‘Bobby,’ MiMi Scardulla as ‘Texas,’ and Paige Smallwood as ‘Rosie.’ Swings include Hannah Florence, Pedro Garza, Christian Kidd, Corinne Munsch, Chloé Nadon-Enriquez, and Karl Skyler Urban.

The Prologue Company, the dancers and musicians that welcome audiences to the club, feature dancers Alaïa, IRON BRYAN, Will Ervin Jr., Sun Kim, Deja McNair and swings Ida Saki and Spencer James Weidie. The musicians of the Prologue are Brian Russell Carey (piano & bass), Francesca Dawis (violin), Keiji Ishiguri (dedicated substitute), Maeve Stier (accordion), and Michael Winograd (clarinet).

For this thrilling production of Cabaret, the creative team have transformed the August Wilson Theatre into the Kit Kat Club with an in-the-round auditorium and custom spaces which guests will be invited to explore during the Prologue, the production’s pre-show entertainment. After purchasing tickets, guests will receive a “club entry time” to allow them to take in the world of the club before the show starts.

Patrons can upgrade their experience at the Kit Kat Club with exclusive dining or drinks packages that allow them to soak up the pre-show atmosphere. These various upgrades offer unparalleled service and unique experiences in the heart of the Kit Kat Club. Drinks can be enjoyed before and during the show, while food will be cleared shortly before the performance begins, ensuring uninterrupted and unmissable views of Cabaret. For a complete menu and more information on the upgrade packages, please visit

The 2021 Original London Cast Recording of Cabaret featuring Eddie Redmayne and recorded during a live performance is available on Decca Records as a CD and to stream on all major platforms. To order the album or stream it, please visit

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