Andrew Lloyd Webber’s Bad Cinderella will open on Broadway February 17, 2023, ahead of an opening night on March 23rd. Newcomer Linedy Genao will take on the title role in the musical. Genao, previous Broadway credits include understudy and ensemble roles in On Your Feet! and Dear Evan Hansen. Ms. Genao was offered the role of Cinderella by Lloyd Webber in person at her last audition back in February. She was under contract to keep it a secret.
Here are the two of them on the Today Show. Andrew Lloyd Webber stopped by Studio 1A to talks about the closing of The Phantom of the Opera on Broadway. He was joined by Linedy Genao to talk Bad Cinderella.
There is a new Some Like It Hot music video: “A Darker Shade of Blue”. A little sultry and sizzling, the new Sugar, Adrianna Hicks is here to deliver! We are less than a month away from previews and this show looks to deliver.
The Producers of The Music Man, starring Hugh Jackman and Sutton Foster, announced today that Tony Award nominee Mark Linn-Baker, will join the company of the highly-celebrated revival as Mayor Shinn, beginning October 25. As previously announced, Tony Award Winner Jefferson Mays will depart the production on October 23, 2022. The Music Man will conclude its record-Breaking Broadway run on January 1, 2023. Beetlejuice the Musical launched their partnership with HeadCount, the nonprofit, nonpartisan voter registration organization, to grant one lucky fan and a friend the ultimate trip to the Netherworld. Fans can check their registration status, register to vote, and enter the contest by visiting HeadCount.org/BEETLEJUICE.
The contest is a part of HeadCount’s Good to Vote campaign, which sees the voter registration organization collaborating with major artists and entertainers to motivate young people to participate in civic engagement. HeadCount’s partnership with Beetlejuice the Musical will gift one winner and a friend a flyaway trip to New York, two premium tickets to the show, a virtual meet and greet with the cast members, a merch pack including an autographed item, and a stay in the Beetlesuite at the Marriott Marquis. The lucky winner will have the exciting opportunity to see Beetlejuice the Musical before its final performance at the Marquis Theater on January 8, 2023.
You can check out Beetlejuice the Musical cast members talking about the HeadCount partnership and the importance of the midterm elections HERE.
Online acting workshop performing Shakespeare with Kate Burton on 3 Thursday afternoonsOctober 20-November 3 from 2:00 – 5:00 pm ET online only. Over three Thursday afternoons you will learn how to demystify Shakespeare and his verse and find the internal truth of the character. By the end of the class you will leave armed with the confidence in Shakespeare to take on any audition or performance. Class size is limited!
Ms. Burton was nominated for three Tony Awards for her work on Broadway in Hedda Gabler (directed by Nicholas Martin), The Elephant Man (with Billy Crudup) and The Constant Wife (with Lynn Redgrave), her other Broadway shows include Present Laughter (with both George C Scott and Kevin Kline), the original production of The Beauty Queen of Leenane by Martin McDonagh directed by Garry Hynes (and in the UK/Ireland tour) and Company (directed by Scott Ellis). Having played Prospera in The Tempest at The Old Globe in 2018, Volumnia in Coriolanus at NY’s Shakespeare in the Park in 2019 and Ghost of Christmas Past at the Ahmanson Theatre in 2021, she will next appear in Master Class in the summer of 2023 to be directed by Susan Stroman. Find out more.
France’s support of the nascent United States in 1778 is one of the great diplomatic triumphs of history, credited to the ambassadorial team of Benjamin Franklin, John Adams and Thomas Jefferson. An exciting backstory to this miracle of statecraft is the platonic affair between Franklin and the flamboyant, beautiful Madame Brillon (Anne-Louise Hardancourt Brillon de Jouy). Spoiled by her wealthy, elderly husband and livid at having to coexist with his mistress (their children’s governess), Madame Brillon made an open show of her affection for the “good doctor,” flirtatiously calling him “Cher Papa” while perched on his lap and playing chess with him while in her bath.
L’Amour `a Passy by G.W. Reed, is a new two-character play and the story of their relationship, performed by its author as Franklin and Musa Gurnis as Madame Brillon, directed by Manfred Bormann. The events of the play invite tantalizing speculation on how Madame Brillon could have insinuated Franklin into the court of France, ultimately leading to the Franco-American alliance. It will debut November 4 to 20 at The Jeffrey and Paula Gural Theatre at A.R.T./ New York Theatres, 502 West 53rd St., NYC, presented by B&R Productions.
Broadway’s Harmony Sounds Great But Lacks Emotive Power
I don’t think I knew, going in, that Harmony, the new musical from book/lyric writer, Bruce Sussman (Ted Tally’s Coming Attractions) and music writer Barry Manilow now on Broadway at the Ethel Barrymore Theater, is based on a true story. But as it sings itself out to us, it starts by taking us back to the Carnegie Hall stage of 1933, but then shifts even further back to Berlin, Germany 1927, giving us a clearer picture of what might be coming at us. Panning out in tones not so subtle and utilizing the narrative structure of a standard memory play, a narrator, played by the endearing Chip Zien (Broadway’s original Baker in Sondheim/Lapine’s Into the Woods), stands forward, center stage, ushering us into the past and this story. His name, he tells us, is Rabbi, and he once was, back in the day, a member of a comedic singing group in Berlin made up of six young men who could harmonize and craft a joke like few others could. The group, ‘The Comedian Harmonists‘, was an internationally famous, all-male German close harmony ensemble that performed between 1928 and 1934. As one of the most successful musical groups in Europe before World War II, they steadfastly rose to fame and fortune as the Nazis came to power in Germany, and within that historic framework, the dye has been cast and the stage set.
Zien is most definitely an affable figure, one guaranteed to take us through this complicated and emotional story with expert ease, and we feel safe in his testimony. The elder Rabbi pulls us in, ushering us back to the first days of the group, and joining in with the fun whenever he can. It’s a tender beginning, and as directed and choreographed with energy by Warren Carlyle (Broadway’s After Midnight), we are forever cognizant of where this all will be heading. Zien quickly lets us into the framework, informing us that he is the only surviving member of this long-forgotten troop of singers, and he’s here to tell us their story so they won’t be forgotten. Noting the historical landscape, we can’t help but know where we are being delivered to, and it’s not all that shocking where we will end up.
With a group name that doesn’t exactly roll off the tongue, they come together with a joyful clarity, delivering the cool notes of a well-cast harmonic group. The crew of six, including a very good Matthew Mucha (CFRT’s Memphis)-an understudy for the absent Danny Kornfeld (Barrington’s Fiddler on the Roof) who usually plays the parallel part of Rabbi, younger and sweetly entwined with the other five; Sean Bell (HBO’s “Succession”) as Bobby; Zal Owen (Broadway’s The Band’s Visit) as Harry; Eric Peters (National tour: Motown the Musical) as Erich; Blake Roman (Paramount+’s “Blue Bloods”) as Chopin; and Steven Telsey (National tour: The Book of Mormon) as Lesh; come together neatly. They all fit into nicely categorized stereotypes that sing, make scene jokes, and travel the world entertaining their audiences with an ever-increasing amount of success, all under the watchful, but pseudo-approving eyes of the Nazis.
The six singers, all delicious and delightful to watch, deliver the goods solidly, even with songs that aren’t exactly memorable. But they sure look and sound good (and sometimes even great). No wonder they are seen as good public relations personas to the world, especially with their diversity, but as an audience member who knows what’s coming, it doesn’t sit so easily in the pit of our stomachs. The Nazis, as embodied by Andrew O’Shanick (“Pitch Perfect“) as Standartenführer – who claims to be a fan – don’t even seem to mind that a number of the group members, but not all, are in fact Jewish. This comes as a surprise, as most Jews and their equivalents were being robbed of their livelihood, their money, and their passports. But not these boys. Even when they push the boundaries of their PR protections outside of Germany, nothing happens, at least not right away.
The drama of the musical’s story is played out with conviction on a straightforward uncomplicated set by scenic designer Beowulf Boritt (Broadway’s New York, New York), with formula costuming by Linda Cho (Broadway’s Take Me Out) and Ricky Lurie (Gallery Players’ Godspell), inventive lighting by Jules Fisher + Peggy Eisenhauer (Broadway’s Gary), and a solid sound design by Dan Moses Schreier (Roundabout’s Trouble In Mind). It charges forward, but oddly, doesn’t hold us emotionally tight in its arms, running too long, and feeling soft-focused and sometimes generic in tone and form.
Can’t Wait For Boop To Come To Broadway
At the CIBC Theatre in Chicago, BOOP! The Musical, the new Broadway-bound musical extravaganza is making its debut . Actress Jasmine Amy Rogers is currently bringing her to life in Chicago, as she proves in this exciting song “Where I Wanna Be”.
The show is created by Tony Award®–winning director/choreographer Jerry Mitchell (Kinky Boots, La Cage aux Folles, Hairspray) who brings the Queen of the Animated Screen to the theater with celebrated multiple-time Grammy®-winning composer David Foster (“I Have Nothing,” “After the Love Is Gone,” “The Prayer”), Tony-nominated lyricist Susan Birkenhead (Working, Jelly’s Last Jam), and Tony-winning bookwriter Bob Martin (The Drowsy Chaperone, The Prom).
I am obsessed with the songs already. First was “Something To Shout About” and now “Where I Wanna Be”.
For almost a century, Betty Boop has won hearts and inspired fans around the world with her trademark looks, voice, and style. Now, in BOOP!, Betty’s dream of an ordinary day off from the super-celebrity in her black-and-white world leads to an extraordinary adventure of color, music, and love in New York City—one that reminds her and the world, “You are capable of amazing things.” Boop-oop-a-doop!
Ken Fallin’s Broadway: Michael Urie and Ethan Slater
With the holidays, my caricature of Spamalot is taking time, so I decided to highlight the two performers who for me stood out.
I have drawn Michael Urie several times, but I love this picture with him and my drawing of him in Buyer and Seller. Urie as Sir Robin, shows a new side of him that is truly funny.
Ethan Slater should have won a Tony for Sponge Bob Square Pants. My guess is he will be nominated again for his multiple roles in Spamalot.
Up next my caricature of Spamalot
Spamalot Gives Them The Olde Razzle Dazzle
Somehow I missed the original Monty Python’s Spamalot, based on the 1975 film “Monty Python and the Holy Grail” that played 18 years ago. So seeing this production at the St. James Theatre was fresh for me.
This show which runs over 2 1/2 hours is jammed packed with frat boy jokes, an uber talented cast and lots of razzle dazzle by director/ choreographer Josh Rhodes.
Satirizing the Arthurian legend, written by Eric Idle with music and lyrics by Idle and John Du Prez. The plot follows King Arthur (James Monroe Iglehart), as he is searching the kingdom for his Knights of the Round Table with his trusty sidekick Patsy (Christopher Fitzgerald). This is much like Don Quixote and Sancho, without those glorious songs. Instead we get “Look On The Bright Side Of Life.”
Arthur recruits Sir Bedevere the Wise (Jimmy Smagula), Sir Lancelot the handsome and incredibly violent (Taran Killam), Sir Galahad the Pure (Nik Walker) and Sir Robin the Not-Quite-So-Brave (Michael Urie). Arthur leads the knights to Camelot, but, after a Las Vegas Style review, he changes his mind, deeming it “a silly,” and they go off to find the Holy Grail.
In the meantime the Lady of the Lake (Leslie Rodriguez Kritzer) is rather peeved that her role has been cut. Kritzer tears down the house and the scenery with her vocal pyrotechnics and her attitude. She almost steals the show.
Ethan Slater plays the historian, not dead Fred, a baby, a nun, a mine and a minstrel, as well as wimpy Prince Herbert, and a demonic killer bunny. To each of these roles, he is like a chameleon and morphs into a comedic clown. He is truly funny.
Michael Urie, as Sir Robin, is hilarious and has the politically incorrect number “You Won’t Succeed On Broadway,” (if you don’t have any Jews). I am seriously surprised it has not been pulled considering parodies seem to be no longer appropriate.
Paul Tate dePoo III’s set is serviceable, but the projections are fabulous.
Many will like this show and if I had watched their performance on the Macy’s Thanksgiving Day Parade, I too would be buying tickets.
Monty Python’s Spamalot: St. James Theatre, 246 W 44th Street.
Events For December
Talking to The Creatives Of War Words
Park Terrace Hotel, Hotel Chocolat and Ofreh
Bryant Park Tree Lighting and Andy Karl
Romantic and Meaningful Love Quotes For Her To Help Win Her Heart
How to Take Advantage of Virtual Numbers for SMS
Entre Institute Review – Is Jeff Lerner’s Program a Scam?
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FreePalestine Protesters Tried To Ruin Thanksgiving and Black Friday, What’s Next?
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Spamalot Gives Them The Olde Razzle Dazzle
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