On Tuesday the New Dramatists’ 71st Annual Benefit Luncheon was held at the New York Marriott Marquis, 1535 Broadway, Broadway ballroom 6th floor and T2C was there to interview.
We were so pleased to interview Josh Groban and Annaleigh Ashford from Sweeney Todd, Natasha Yvette Williams from Some like It Hot, Colton Ryan (New York, New York) and Wayne Cilento (Dancin’)
Next up the honoree Suzan-Lori Parks (Topdog/Underdog and the Harder They Come), Miriam Silverman (The Sign in Sydney Brurstein’s Window), Jim Dale (Barnum), Eddie Cooper (Parade) and Stephen Boyer (Kimberley Akimbo)
And finally we talked to Ben Platt (Parade), Katy Sullivan (Cost of Living), Brandon Uranowitz (Leopoldstadt), Robert Horn (Shucked), Kevin Calhoon (Shucked) and Sharon Washington (New York, New York)
Tomorrow inside the event.
The Pepsi 125 Diner
In celebrating its 125th birthday, Pepsi is opening a unique pop-up restaurant for a limited time in NYC.
The Pepsi 125 Diner will open at a location in Midtown Manhattan TBA on October 19 and remain open until October 25. The secret entrance promises to be “instagram worthy.” The Pepsi themed American diner will serve timeless diner inspired dishes alongside a vast selection of Pepsi inspired offerings.
This fascinating immersive journey will have you traveling back in time through every era of Pepsi and get a glimpse into the future! A 3-course meal will consist of delectable diner classics with an innovative Pepsi twist. Specially crafted cocktails and mocktails will also be available. This experience states it goes beyond food and drink but brings together the connection between Pepsi and the world of pop music and culture through spectacular performances and rare memorabilia.
The diner is open to all ages with a duration time of approximately two hours. Ticket prices are set to start at $50, this will include appetizer, entree, dessert, and unlimited Pepsi soft drinks.
Tickets went on sale to the public and were snatched up ASAP, however there is a waitlist at feverup.com.
Keith F. Girard’s The Curse Of Northam Bay
Author Keith Girard says, “The idea for this book, literally, came to me in a dream. I was anxious to write a horror story since I’ve long admired Stephen King’s work and wanted to challenge myself. Once I got the idea, I put aside a dystopian science fiction book I was writing and devoted myself to this project. But I have to confess, while it started out as a macabre tale, it morphed into something else. I quickly strayed from the standard horror genre. I was intrigued by the Salem witch trials, which were supposed to be the basis for this story. But the more I looked into it, the more I became fascinated by the political, sociological, and religious factors that gave rise to the hysteria.”
Girard has a fascinating background as a writer: The Washington Post; Billboard; and this book, the follow-up to his Heidelberg Conundrum, is as richly rewarding as you’d want.
We sat with Keith for an exclusive T2C-interview:
G.H Harding: Give us a little bit on your background
Keith Girard: I grew up in a family with two brothers and a sister. My mother was English and met my father while he was stationed in England during World War II. After the war, they married and she came to the U.S. to live. My father was in the Air Force and after his military career ended, he worked for aerospace companies. I grew up as a military brat and we moved almost every two years. It was hard at times but also gave me a unique perspective on life, and having an international background also helped broaden my horizons. I’ve always had an interest in history, science and current events, because we lived them daily. Two of my siblings are, literally, rocket scientists. But I was drawn to writing at an early age. It came very naturally to me, and I decided to pursue it as a career, although it was against my father’s wishes. So, I guess I was a bit of a rebel, too.
G.H Harding: What was your first book The Heidelberg Conundrum about?
Keith Girard: The Heidelberg Conundrum contains all the elements that I mentioned above. At its root, it’s science fiction novel about time travel, but it’s also a historical novel that touches World War II, the atrocities that took place in Germany and their connections with the present day. It focuses on a young physicist who gets his “dream job” that turns out to be something quite different. He’s hired to solve the “Heidelberg Conundrum,” a 400-year-old mathematical equation that is thought to be the key to time travel. Think “The Da Vinci Code” meets “Raiders of the Lost Ark” with a science fiction twist. The book is a dark journey that takes readers back to the last days of the war and Nazi decadence and into interstellar space.
G.H Harding: What do you think makes a good novel?
Keith Girard: I personally like science fiction because the limits are boundless and because it lends itself so easily to political and social commentary. The Heidelberg Conundrum has all three. For contemporary fiction, I think Tom Wolfe’s writing embodies what I mean. Also, writers like Joseph Heller; “Catch 22” is one of my favorite novels, and almost anything Wolfe has written. I love Hunter Thompson’s singular writing style and biting satire. But I also admire the great science fiction writers like Isaac Asimov, Arthur C. Clarke, Robert Heinlein, Ray Bradbury and Frank Herbert. I grew up reading them.
G.H Harding: Billboard was the music industry’s go-to trade paper; what did you discover about the music industry during your time there?
Keith Girard: Billboard was a fantastic publication with a long history, but it was failing because of demographic and technological changes in the music industry. I was hired to turn it around, because I had a successful track record turning around two previous publications. If it ever had a chance to succeed, Billboard had to leave behind its legacy past, embrace technological change sweeping the industry and broaden its reach. Billboard was always a trade newspaper. Its readership base was made up of thousands of independent music stores across the country. It was the most economical way for record labels to market to them. But record stores fell by the wayside as big box retailers moved into that space. The MP3 revolution and streaming was the death knell. Talk about disruptive technology! The record industry was thrown into turmoil because it lost two important segments of its business – production and distribution. Any kid with a computer could reproduce identical copies of a song, over and over, and distribute it over the Internet to thousands of other kids. I saw Billboard as a great opportunity to reinvent itself. But legacies, especially as strong as Billboard’s, die hard, and the resistance to change, in the end, was too great.
G.H Harding: What do you think about Billboard’s decision to become a more of a consumer book?
Keith Girard: By and large it was a pretty significant strategic mistake. Billboard had a unique niche as a business newspaper focused on music. There was a lot of discussion about turning it into a consumer publication while I was there, but I opposed it. The consumer market was already saturated, and Rolling Stone dominated. When I joined Billboard, it had a circulation of about 26,000; Rolling Stone had a circulation of 3 million. There’s no way, Billboard could ever dent that, and it made no sense to give up a niche that Billboard owned. So, my efforts turned to broadening its audience. There was plenty of fertile ground. Plus, it was a way to build circulation and attract new advertisers. So, I greatly expanded coverage of touring, music management, music technology and musical instruments, all from a business angle, not just records and the record industry. Because Billboard readers were mostly affluent music professionals, it was also an untapped sell-through for luxury goods, from BMW to Rolex watches. We also made great inroads with guitar makers like Gibson, which loved the idea we were writing about musical instruments. Under my tenure, our Music and Money conference expanded and we launched an East Coast touring conference. But I didn’t ignore the consumer market. Our outreach to consumers was through our main website (billboard.com). We supplemented that with mini-sites focusing on business (billboardbiz), and the professions, agents, lawyers and managers. I think another big mistake was turning Billboard into a consumer magazine format. I spoke to dozens of music people at all levels and they wanted the kind of hard news Billboard was known for, and they liked seeing their artists on the front page. I could go on, but strategically that’s were Billboard went wrong in my opinion.
G.H Harding: The Salem Witch trials were always a hotbed of controversy; what did you discover in writing the new book?
Keith Girard: As you know, early Colonial America was a very dark period in our history, riven by superstition, fear and a belief in a literal God and Devil. But the more I looked into it, the more I discovered the period was marked by many of the same social and political undercurrents that exist today. That’s why I wrote the book in two parts, one focusing on 17th century New England and the other on contemporary society as it evolved in the same quaint fishing village over time. The Salem witch trials were fueled in large part by petty jealousies, religious differences, intolerance, greed and money. Often land disputes were at the root of witch craft allegations. Not surprisingly, those same forces are still embedded in our civic and political culture, today. That’s where I saw the parallels that make this story intriguing.
G.H Harding: How would you best describe Northam Bay?
Keith Girard: Northam Bay is a microcosm of everything that’s tearing at the seams of our society, today. There are class distinctions and disruption caused by new technology and new residents that have both a positive and negative affect on the town. I spent years as a reporter writing about small-town politics and graft, and Northam Bay is infected with schemers and grifters who will use everything, including murder, and stop at nothing to get their way. When you get down to it, it’s a tale about the growth of suburbia, and corruption in high places that shape our modern-day world. Plus, it’s generally a nice place to live, except, of course, for a curse that’s existed since the 1700s. And, it has a healthy dose of satire.
G.H Harding: What can you tell us about the Washington Post that would surprise us?
Keith Girard: Well, I worked as a reporter for The Washington Post in the mid-1980s. It was a decade after it rose to national prominence because of Watergate, and from the outside, it looked like this impenetrable colossus of infinitely brilliant people. I grew up reading the newspaper in high school. My father hated it, so I had to pay for my own subscription. I literally dreamed, one day, of working there. The odd thing was, once I was a reporter, my whole perspective changed. Let me first say, the 1980s was the golden era of newspapers, before the Internet and social media. The paper was huge; 500 reporters, a newsroom as big as a shopping mall and a huge cross-section of people. But there was one thing, it didn’t lose when it became a national newspaper. It was still a family business and felt that way. Kay Graham was still running the company along with her son, Donnie, and they were totally accessible. I saw them often when I was in the newsroom. The legendary Ben Bradlee was still the executive editor. If there ever was an imposing figure, it was him, a Harvard educated Boston Brahmin who hung out with Jack Kennedy. But as a boss, he was the most down-to-earth, relatable human being I’ve ever worked for. The Post had its share of eccentric characters, effete editors and genuine jack-asses, but it truly felt like a family to me, even it was more like The Royal Tenenbaums than Leave it to Beaver.
G.H Harding: As an astute journalist and editor, what do you read on a daily basis?
Keith Girard: I still read The Post and The New York Times daily and have online subscriptions to both. I also subscribe to Vanity Fair and The New Yorker. Otherwise, the nice thing about the Internet is that it gives you access to so many publications. I’m constantly surfing dozens of newspapers and magazines, looking for great reads. For some odd reason, I’m particularly drawn to British newspapers: The Independent, The Daily Mail, The Mirror, The Guardian, The Times of London, and so on. Maybe it’s just the British in me.
The Debut of the First Ever V12 Hybrid Vehicle by Lamborghini at Blu on the Hudson
- Lamborghini Islero-Bronze
- Lamborgh Diablo-Blue
- Lamborghini Countach of Murcielago
Kristin Chenoweth Is Married
Broadway darling Kristin Chenoweth, 55, married. In a private home in Dallas a romantic ceremony to her country musician fiancé Josh Bryant, 41, took place. The couple had been engaged for nearly two years.
The 140 guest list included David Foster, Katharine McPhee, Kathy Najimy, Kenny Ortega Andrew Lippa and Glee alum Jennifer Aspen.
Kristin, who is in love with the color pink, opted for a nude-and-pink Pamela Rolland wedding dress she described as “simple and elegant.”
The AC/DC classic Thunderstruck played as the couple’s dog and ring bearer Thunder kicked off the ceremony.
The bride’s friends and fellow stage actresses Marissa Rosen, Crystal Monee Hall, Nikki Kimbrough, and Melinda Doolittle sang the Celine Dion-Andrea Bocelli classic The Prayer, arranged specially for this wedding by Kristin’s musical director Mary-Mitchell Campbell.
Bryant, is the guitarist for the country band Backroad Anthem. The two met in 2018.
Their rehearsal dinner, was held a The Capital Grille in Dallas and the cake came from Baskin-Robbins.
Chenoweth stated , “I have been a self-proclaimed bachelorette my my entire life.” “I had no intention of getting married. I tried getting engaged before and failed. before I met Josh I thought, “Why would I ever let this guy go?” at that point.
Josh and Kristin, who are both devout Christians, exchanged vows leaving out the word Obey.
Pic Kristin Chenoweth / Twitter
Events in the News
Here are some exciting things in the news.
City of Hope, one of the largest cancer research and treatment organizations in the United States and a leading research center for diabetes and other life-threatening illnesses, held the third annual Closing the Care Gap event last night with its Music, Film and Entertainment Industry (MFEI) fundraising group. Hosted by music industry icons, Lyor Cohen, global head of Music at YouTube and Google, and Sylvia Rhone, chair and CEO of Epic Records, the event brought together industry professionals and influencers to inspire, educate and support opportunities to achieve access to the best treatment and care available for all people facing cancer.
“Too many people needlessly suffer due to lack of access to the latest medical innovations and systemic barriers that prevent them from getting the best cancer care,” said John Carpten, Ph.D., director of City of Hope’s National Cancer Institute-designated comprehensive cancer center, director of Beckman Research Institute of City of Hope, chief scientific officer and the Irell & Manella Cancer Center Director’s Distinguished Chair. “At City of Hope, we are working to carry out solutions that increase the likelihood that every person living with cancer — regardless of race or region — can get the best care.”
The US Open Tennis Championships has IHG Hotels & Resorts creating memorable and interactive fan experiences. There is a secret gift for superfans, which they can unlock with a special password. Beginning August 27, guests staying at select IHG hotels in NYC can unlock the surprise by whispering “Game. Set. Swag.” at the front desk to receive an IHG swag bag full of goodies to use at the US Open.
Kits are first come, first served, while supplies last, and are available to guests checking in at the below NYC-area IHG hotels
And coming up, the Grand Kyiv Ballet is excited to announce an upcoming American Tour this fall, featuring the performance “Snow White.” The show is scheduled for September 26, 2023, at the King Theatre in New York. This tour holds a special purpose, as it aims to support the renovation of the Kyiv State Choreographic College, an important institution in Ukraine. The principal dancers relocated recently to Seattle because of war, and it’s their first American tour.
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