The League of Professional Theatre Women Presented Betty Corwin With a Special Lifetime Achievement Award at Sardis for her work as the founder of the theatre archives at Lincoln Center Library for the Performing Arts.
Estelle Parsons, Kathleen Chalfant,Paula Vogel, Daryl Roth, Linda Weiner, Patrick Hoffman, Philip Carrubba, James Morgan, Jamie deRoy, Carmen de Lavallade and many more joined in the celebration of Betty.
Corwin, founded and was the director of the Theatre on Film and Tape Archives (TOFT). It is thanks to Betty, that we have preserved visual records of live theatre performances, that will now never be forgotten. Since 1970, TOFT has produced video recordings of Broadway, Off-Broadway, and regional theatre productions. Corwin received a 2001 TONY Award for founding TOFT and has spoken about the Archive to groups across the country and abroad.
The night produced by League memeber Pat Addiss who thanked Ludovica Villar-Hauser for all her help. Pat who is a producer on Desperate Measures brought up the fabulous Nick Wyman who introduced cast members Lauren Molina and Conor Ryan, who sang “Just For You” accompanied by composer David Friedman.
The lovely “It’s Good To Be Alive,” followed.
Introducing Betty was Paula Vogel who worked for Betty as her secretary, until Betty found out she was a playwright and raised her salary and position.
Letters were read from the Governor, Charlotte St. Martin and the Broadway League and Chita Rivera.
Then Betty got up and talked and for those of us who used that library, we fell in love with her courage and resilience. There was a time that the archive was my entertainment and my school. On November 19, Betty will be 97.
Betty was then given an award by Ludovica Villar-Hauser in a beautiful blue Tiffany’s box.
Kathleen Chalfant talked about what it meant to be filmed.
For 35 years, the LPTW has been committed to honoring women in the field and for fighting for gender parity in theatre. LPTW is funded and sponsored by the NYC Department of Cultural Affairs, in partnership with the City Council, and with funds from the NYS Council on the Arts, a state agency, with the support of Governor Andrew M. Cuomo.
Broadway’s A Doll’s House Meticulously Stunning Revival Soars Like a Birdie Above That Clumsy Cat on a Hot Tin Roof
For a revival to find its footing, it has to have a point of view or a sense of purpose far beyond an actor’s desire to perform a part, whether it suits them or not. It needs to radiate an idea that will make us want to sit up and pay attention. To feel its need to exist. And on one particular day in March, I was blessed with the opportunity to see not just one grande revival, but two. One was a detailed pulled-apart revolutionary revival of Henrik Ibsen’s A Doll’s House that astounded. The other, unfortunately, was a clumsy revival of Tennessee Williams’ Cat on a Hot Tin Roof that fell lazily from that high-wired peak – not for a lack of trying, but from a formulation that never found its purpose.
Relevantly Tuneless Fairytale Bad Cinderella Isn’t Bad, It’s Forgettable
You are seriously asking for it, when you make the title for your musical Bad Cinderella, however the show is not bad, it’s just seriously lacking. For an Andrew Lloyd Webber musical, which is normally rich in melody, the only song that has any kind of hold is “Only You, Lonely You” sung by Prince Sebastian (Jordan Dobson or in my performance the wonderful Julio Ray). The lyrics by David Zippel and book by Emerald Fennell, adapted by Alexis Scheer are inane. It doesn’t help that the cast for the most part speaks and sings with mouths full of cotton. The orchestrations sound tinny and computerized, The lead Linedy Genao has no charisma or vocals that soar musically, instead she is rather nasal, like Bernadette Peters with a cold. Why this show is two and a half hours long is beyond me.
The show is based in a town called Belleville (beautiful town en Francais), that is based solely on looks and prides itself on its superficiality. The opening number starts with “Beauty Is Our Duty,” the Queen (a fabulous Grace McLean) is into her hunks including her missing son Charming (Cameron Loyal).
And the fairy godmother (Christina Acosta Robinson) is a plastic surgeon who sings “Beauty Has a Price”. In a day and age, where we are suppose to see past all that, this show is politically incorrect.
Cinderella a Gothic, and a graffiti artist, naturally does not fit into the town’s mold of beauty, which is how she earns her nickname. Her rebel move happens when she defaces a memorial statue of Sebastian’s older brother, Prince Charming. Sebastian is more of a geek, and he and Cinderella are in the “friend zone,” since both lack communication skills in admitting their love.
Sebastian is being forced by his mother, the Queen to find a wife at a ball and invites Cinderella. Cinderella’s stepmother (the always remarkable Carolee Carmello) blackmails the Queen to get one of her daughters Adele (Sami Gayle) or Marie (Morgan Higgins) the gig.
McLean and Carmello are the bright spots in the show and if the show had been about these two, maybe we would actually have a show that could work. These two steal the show.
Cinderella has not one, but two what should have been show stopping numbers “I Know I Have A Heart (Because You Broke It)” and “Far Too Late,” but she does not have the vocals, the character development or the star power to carry them off.
The set and the revenge porn costumes by Gabriela Tylesova, are just over the top, with the storybook set faring much better than the over complicated flowered pastels that waltzed across the stage.
The direction by Laurence Connor is just dull and lacks oomph.
If you like buff men and Chippendale type choreography this is the show for you.
Bad Cinderella, Imperial Theatre, 249 West 45th Street.
Did You Know There Is A Kander & Ebb Way?
On Friday, March 24th, the 96-year-old John Kander was given a Mayoral Proclamation from Mayor Eric Adams in celebration of the first performance of his new Broadway musical New York, New York. Following the proclamation, Lin-Manuel Miranda unveiled the sign renaming 44th Steet ‘Kander & Ebb Way. On hand was the Manhattan School of Music to performed the iconic Kander & Ebb song “New York, New York.”
New York, New York opens Wednesday, April 26, 2023 at Broadway’s St. James Theatre (246 West 44th Street).
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