Chat w/ L. Steven Taylor, MUFASA of THE LION KING MUSICAL

After 22 landmark years on Broadway, The Lion King continues ascendant as one of the most popular stage musicals in the world. Since its premiere on November 13, 1997, 25 global productions have been seen by more than 100 million people. Produced by Disney Theatrical Productions (under the direction of Thomas Schumacher), The Lion King has made theatrical history with three productions worldwide running 15 or more years and three others running 20 or more years.

L. Steven Taylor plays MUFASA on the broadway in The Lion King. Taylor made his Broadway debut in The Lion King in 2006. His film and TV credits include The Electric Company, Last of the Ninth, Made For Each Other and Game Over. After performing in the ensemble of The Lion King and being the understudy, he took on the principal role of Mufasa in Broadway’s The Lion King on July 10, 2015.

Art Shrian Tiwari had a wonderful chat with Steven, you can listen to it below.

You can listen to the full podcast with review of The Lion King musical and interview with both Bradley Gibson (Simba) and L. Steven Taylor (Mufasa) below:

Learn more about THE LION KING and buy your tickets at the link below

http://www.lionking.com/tickets







Chat w/ Bradley Gibson, SIMBA of THE LION KING MUSICAL

After 22 landmark years on Broadway, The Lion King continues ascendant as one of the most popular stage musicals in the world. Since its premiere on November 13, 1997, 25 global productions have been seen by more than 100 million people. Produced by Disney Theatrical Productions (under the direction of Thomas Schumacher), The Lion King has made theatrical history with three productions worldwide running 15 or more years and three others running 20 or more years.

Bradley Gibson plays adult SIMBA in the broadway production of The Lion King Musical. Before starring as Simba in The Lion King, Bradley Gibson was seen in the Broadway production of A Bronx Tale and Rocky. His off-Broadway credits include Love’s Labour’s Lost (The Public Theater) and The School For Scandal (Red Bull Theater). He has also been seen on the national tour of Chicago and in The Last Goodbye at the Old Globe. On screen, he's been seen in Mozart of the Jungle. A self professed Disney kid, he grew up watching Disney shows and movies, The Lion King being one of his favorites. Now he has spent over an year on the Broadway stage, bringing this character to life.

Art Shrian Tiwari had a wonderful chat with Bradley, you can listen to it below.

You can listen to the full podcast with review of The Lion King musical and interview with both Bradley Gibson (Simba) and L. Steven Taylor (Mufasa) below:

Learn more about THE LION KING and buy your tickets at the link below

http://www.lionking.com/tickets







THE LION KING CELEBRATES 22ND ANNIVERSARY ON BROADWAY WEDNESDAY, NOVEMBER 13

Broadway’s award-winning best musical THE LION KING celebrates its 22nd anniversary on Wednesday, November 13 at the Minskoff Theatre.

In the past year alone, The Lion King hit several historic milestones. In May the entertainment blockbuster reached over 100 million guests worldwide, in June the Broadway production hit 9,000 performances, and this past October the London production celebrated its 20th anniversary in the West End. This summer several of the show’s creators including Elton John, Lebo M, and Hans Zimmer — collaborated on the 2019 version of the film, executive produced by Julie Taymor and Thomas Schumacher, which has gone onto extraordinary worldwide success.

ABOUT THE LION KING

After 22 landmark years on Broadway, The Lion King continues ascendant as one of the most popular stage musicals in the world.  Since its premiere on November 13, 1997, 25 global productions have been seen by more than 100 million people.  Produced by Disney Theatrical Productions (under the direction of Thomas Schumacher), The Lion King has made theatrical history with three productions worldwide running 15 or more years and three others running 20 or more years.  Performed over its lifetime in nine different languages (English, Japanese, German, Korean, French, Dutch, Spanish, Mandarin and Portuguese), productions of The Lion King can currently be seen on Broadway; London’s West End; Hamburg; Tokyo; Madrid; on tour across North America, Japan, and the U.K. & Ireland, with a separate production touring internationally, for a total of nine productions running concurrently across the globe.  Having played over 100 cities in 20 countries on every continent except Antarctica, The Lion King’s worldwide gross exceeds that of any film, Broadway show or other entertainment titles in box office history.          

The Lion King won six 1998 Tony Awards®:  Best Musical, Best Scenic Design (Richard Hudson), Best Costume Design (Julie Taymor), Best Lighting Design (Donald Holder), Best Choreography (Garth Fagan) and Best Direction of a Musical.  The Lion King has also earned more than 70 major arts awards including the 1998 NY Drama Critics Circle Award for Best Musical, the 1999 Grammy® for Best Musical Show Album, the 1999 Evening Standard Award for Theatrical Event of the Year and the 1999 Laurence Olivier Awards for Best Choreography and Best Costume Design. 

The show’s director, costume designer and mask co-designer Julie Taymor continues to play an integral part in the show’s ongoing success.  The first woman to win a Tony Award for Direction of a Musical, Taymor continues to supervise new productions of the show around the world.

The Broadway score features Elton John and Tim Rice’s songs from the Lion King animated film along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor, and Hans Zimmer; and music from "Rhythm of the Pride Lands," an album inspired by the original music in the film, written by Lebo M, Mark Mancina and Hans Zimmer.  The resulting sound of The Lion King is a fusion of Western popular music and the distinctive sounds and rhythms of Africa, ranging from the Academy Award®-winning song “Can You Feel the Love Tonight” to Lebo M’s rich choral numbers.

The book has been adapted by Roger Allers, who co-directed the animated The Lion King feature, and Irene Mecchi, who co-wrote the film’s screenplay.  Other members of the creative team include:  Michael Curry, who designed the masks and puppets with Taymor, Steve Canyon Kennedy (sound design), Michael Ward (hair and makeup design), John Stefaniuk (associate director), Marey Griffith (associate choreographer), Clement Ishmael (music supervisor) and Doc Zorthian (production supervisor). Anne Quart serves as a co-producer.

In the Broadway company of THE LION KING:

“Scar” is played by STEPHEN CARLILE, L. STEPHEN TAYLOR is “Mufasa,” TSHIDI MANYE is the baboon shaman “Rafiki,” CAMERON POW portrays the hornbill bird “Zazu,” BEN JEFFREY is the warthog “Pumbaa” and FRED BERMAN is the meerkat “Timon.”  Mufasa’s son, “Simba,” the lion prince born to be king, is played by BRADLEY GIBSON and ADRIENNE WALKER is the lioness “Nala.” 

The show also features JAMES BROWN-ORLEANS (“Banzai”), BONITA J. HAMILTON (“Shenzi”) and ENRIQUE SEGURA (“Ed”).  The role of “Young Simba” is alternated between HAVEN ALEXANDER and JESUS DEL ORDEN and the role of “Young Nala” is alternated between SURI MARRERO and ALIYA “JO” RAMEY.

For more information, visit LionKing.com

CHAT W/ MAJOR ATTAWAY, THE Genius "Genie" OF BROADWAY’S ALADDIN

Get tickets to ALADDIN: http://www.broadway.com/shows/aladdin-broadway/ In this episode of Character Study, ALADDIN's Major Attaway takes us inside the lamp to witness how he goes from a gentleman to a Genie. FEATURING Major Attaway DIRECTED BY Alexander Goyco

The Broadway company of the Disney musical Aladdin welcomed and celebrated the return of Major Attaway in the role of the Genie beginning September 23 at the New Amsterdam Theatre.

Attaway followed Michael James Scott, who played his final performance on September 22. Attaway previously played the Genie on Broadway from February 2016 through February 2019.

The cast currently features Clinton Greenspan in the title role, Arielle Jacobs as Jasmine, Tony nominee Jonathan Freeman as Jafar, Brian Gonzales, Mike Longo, and Brad Weinstock as Aladdin’s sidekicks Babkak, Kassim, and Omar, respectively, JC Montgomery as Sultan, and Don Darryl Rivera as Iago.

Art Shrian had a interesting chat with Major Attaway about his character, Genie-us, his exciting, well-celebrated comeback at Broadway’s Aladdin and a lot more wonderful stuff! Listen to this mynewyorkeye exclusive interview below:

Based on the Oscar-winning animated film—which was recently adapted into a live-action feature—Aladdin is now in its sixth year on Broadway.

The Disney Theatrical Productions title features music by Tony and Oscar winner Alan Menken, lyrics by two-time Oscar winner Howard Ashman, Tony and Oscar winner Tim Rice, and Tony nominee Chad Beguelin, with a book by Beguelin. The production is directed and choreographed by Tony winner Casey Nicholaw.

ABOUT MAJOR ATTAWAY 

(Genie). Joyous Broadway Debut!  National tour: Aladdin (Genie). Regional: Hot Mikado (Mikado), Stagger Lee (T-Bone), Hands on a Hardbody (Ronald), Little Shop of Horrors (A2), Ain’t Misbehavin’ (Ken), Frosty the Snowman (Frosty). 

Television: “Orange Is the New Black” (DeShaun McAdams).  Video Games: “Borderlands 3 (Clay),” “Battleborn” (Ghalt).

Follow on: @majorattaway #BigTexGenie

To celebrate the 5th anniversary of Aladdin on Broadway, 5 current and former Genies - Tony Award winner James Monroe Iglehart, current star Michael James Scott, tour Genie Major Attaway, and current Broadway standbys Juwan Crawley and Deonte L. Warren - stopped the show following today's matinee with a medley of Aladdin hits.

Chat w/ Clinton Greenspan, the Title Star of Broadway’s Aladdin

Get Tickets to ALADDIN: https://www.broadway.com/shows/aladdin-broadway/ Go beyond the palace walls as as Clinton Greenspan turns into the title star of Disney's ALADDIN before a show.

The Broadway company of the Disney musical Aladdin welcomed Clinton Greenspan, who starred in the North American tour of Aladdin, in making his Broadway debut. He succeeded Jacob Dickey. Major Attaway has returned to the role of the Genie on Broadway which began on September 23. Attaway previously played the Genie on Broadway from February 2016 through February 2019.

Based on the Oscar-winning animated film—which was recently adapted into a live-action feature—Aladdin is now in its sixth year on Broadway.

Art Shrian had a wonderful chat with Clinton Greenspan about his role as Aladdin, his experience at Broadway performing our much-loved disney character and a lot more! Listen to the whole interview below:

About Clinton Greenspan:

Clinton Greenspan (Aladdin) is making his Broadway debut in Aladdin! National Tour: Aladdin. Other credits include Romeo & Juliet; Dreamgirls (Dallas Theater Center) and Fiddler on the Roof (Casa Manana). NYMF (2014). Studied at KD Conservatory. Insta: @clinton_patrick

Aladdin cast:

The cast currently features Arielle Jacobs as Jasmine, Tony nominee Jonathan Freeman as Jafar, Brian Gonzales, Mike Longo, and Brad Weinstock as Aladdin’s sidekicks Babkak, Kassim, and Omar, respectively, JC Montgomery as Sultan, and Don Darryl Rivera as Iago.

The Disney Theatrical Productions:

The Disney Theatrical Productions title features music by Tony and Oscar winner Alan Menken, lyrics by two-time Oscar winner Howard Ashman, Tony and Oscar winner Tim Rice, and Tony nominee Chad Beguelin, with a book by Beguelin. The production is directed and choreographed by Tony winner Casey Nicholaw.

The School of American Ballet announces the Workshop Performance Benefit 2015

At the Peter Jay Sharp Theater at Lincoln Center on Tuesday, June 2, 2015

The School of American Ballet announces the Workshop Performance Benefit 2015 on Tuesday, June 2, 2015. The evening begins with cocktails at 5:30pm in Juilliard's Morse Hall, followed by the performance at 7pm in the Peter Jay Sharp Theater at Lincoln Center. A seated dinner at 9pm at the Mandarin Oriental will conclude the evening. 

The Workshop Performance Benefit 2015 is The School of American Ballet's most anticipated event of the year. The annual Workshop Performances are SAB's only public performances and a rare opportunity to get a sneak preview of the ballet world's up and coming young stars. A Benefit Dinner follows the Tuesday evening performance at Lincoln Center, and attracts more than 550 arts patrons, corporate VIPs and New York's social elite. 

The School of American Ballet’s 2014 Workshop Performance Benefit Photos by Erin Baiano

This year's event is headed by Chairmen Michele Barakett, Linda Daines, Hillary Lane Hochberg, Nell Kleinschmidt, and Max R. Shulman; and Young Patron Chairman Stephanie Linka.

This year's benefit will celebrate the legendary Rudolf Nureyev and commemorate the 20th Anniversary of the Rudolf Nureyev Dance Scholarship. At the peak of his career, Mr. Nureyev spent many hours in the classroom, polishing his technique alongside SAB's students in Stanley Williams's acclaimed advanced men's class. In 1995, the Rudolf Nureyev Dance Foundation generously presented the School with funding for an annual scholarship to support promising students in honor of Mr. Nureyev's affinity for SAB and Mr. Williams's teaching.

In 1964, Alexandra Danilova, George Balanchine's former classmate at the Imperial Ballet and a leading ballerina of Diaghilev's Ballets Russes and the Ballet Russe de Monte Carlo joined SAB's faculty. In 1965, Madame Danilova established SAB's annual year-end Workshop Performances, giving the School's advanced students an opportunity to participate in professionally staged, publicly performed productions of classic ballet works. Since its inception, the Workshop Performances have seen hundreds of SAB's advanced students make their public debut as they prepare to leave SAB and go on to dance on the world's top stages. The New York Times coined Workshop a "spot-them-before-they-are-stars showcase". Scores of notable SAB alumni have performed at Workshop, including Merrill Ashley, Peter Boal, Maria Kowroski, Lourdes Lopez, Sara Mearns, Benjamin Millepied, Ethan Stiefel, and Wendy Whelan.

Young Patron Chairmen Brynn Putnam and Erica Sheftman

The post-performance dinner has evolved through the years, from an intimate gathering hosted by SAB co-founder Lincoln Kirstein at his Gramercy Park townhouse into a festive fundraiser held in the SAB studios. The continued success of the Workshop Performance Benefit has led to the use of another wonderful New York venue.The post-performance dinner will take place in the magnificentballroom at the Mandarin Oriental with the City's iconic skyline as a backdrop.

The 2015 Workshop Performances program will include 19th & 20th Century Masters (Petipa, Bournonville, Balanchine & Robbins); Harlequinade ("Ballabile des Enfants"), Choreography by George Balanchine, Music by Riccardo Drigo; William Tell (pas de deux), Choreography by August Bournonville, Music by Gioachino Rossini; The Sleeping Beauty (pas de deux), Choreography by Peter Martins (after Marius Petipa), Music by Peter Ilyitch Tschaikovsky; Valse-Fantaisie, Choreography by George Balanchine, Music by Mikhail Glinka; Stars and Stripes (3rd Regiment "Thunder and Gladiator"), Choreography by George Balanchine, Music by John Philip Sousa, arranged by Hershy Kay; and Fanfare, Choreography by Jerome Robbins, Music by Benjamin Britten.

The Peter Jay Sharp Theater is located at 155 W. 65th Street (between Amsterdam and Broadway). The Mandarin Oriental is located at 80 Columbus Circle at 60th Street, NYC.

For more information,

BROADWAY FINDS NEW MUSICAL VOICES

People ask, "where is the new talent" for Broadway especially shaped around musicals.

Revivals are always a big kick but that's not doing much for the new crop of talented but undiscovered lyricists and composers whose dream is to add their artistic contribution to theater. 

Well, the right group was listening and that group is the American Theatre Wing and today, they announced the recipients of the 2015 Jonathan Larson® Grants are writing team Tim Rosser (composer) & Charlie Sohne (composer) receiving $10,000, Sam Willmott (composer/lyricist) receiving $10,000 and a week-long residency at the Running Deer Musical Theatre Lab, and Max Vernon (composer/lyricist) receiving $10,000. This year’s recipients were selected by an expert panel consisting of Amanda Green (Hands on a Hardbody), Steven Lutvak (A Gentleman’s Guide to Love and Murder), and Ted Chapin (President and Executive Director of Rodgers & Hammerstein). The prestigious grants totalling $30,000 will be presented on Monday, March 23, 2015 at a private event at the WNYC Greene Space. The event will feature special performances of the recipients’ work.

“The Jonathan Larson Grants give us the opportunity each year to support exciting new theater makers and invest in the changing landscape of the American musical, one writer at a time.” said Heather Hitchens, President of the American Theatre Wing.

Additionally, Sam Willmott and Max Vernon will be featured in an evening of performance at Adelphi University, as part of their Larson Legacy Concert Series. The Concert Series, to be held in Fall 2015 and Winter/Spring 2016 at the Adelphi University Performing Arts Center in Garden City, NY, will help nurture and support the next generation of creative artists by one of the same organizations that supported and nurtured Jonathan Larson as an artist – thereby carrying on his creative and ground-breaking legacy.

The grants, given annually to honor emerging composers, lyricists and book writers, help to continue Tony Award®-winning composer Jonathan Larson’s dream of infusing musical theatre with a contemporary, joyful, urban vitality. Dedicated to celebrating excellence and supporting theatre, the American Theatre Wing awards the Larson Grants to artists to recognize and showcase their work with no strings attached - except to put it to the best use possible to help further the artists' creative endeavours.

Past recipients of the Larson Grants include Benj Pasek & Justin Paul (A Christmas Story), Dave Malloy (Natasha, Pierre & the Great Comet of 1812), Tom Kitt & Brian Yorkey (Next to Normal), Chad Beguelin & Matthew Sklar (The Wedding Singer), John Bucchino (A Catered Affair), Laurence O’Keefe (Bat Boy: The Musical), Michael Korie (Grey Gardens), Amanda Green (Hands on a Hardbody), Sara Cooper & Zach Redler (The Memory Show), and Shaina Taub (The Daughters). 

Tim Rosser and Charlie Sohne are 2014-15 Dramatist Guild Fellows. Together, they have written: The Boy Who Danced on Air (2013 NAMT Festival of New Works and Writers Residency Grant, 2013 Rodgers Award Finalist, 2013 ART/NY and NYTB Workshop), The Profit of Creation (2011 Yale Institute for Musical Theater, developed through ASCAP’s 2010 Johnny Mercer Songwriters Program) and the short musical Political Speeches (The Culture Project’s IMPACT Series). Their work has been seen in a sold-out 54 Below Show, at Birdland, Cutting Edge Composers at Joe’s Pub, A Little New Music at Rockwell in L.A, Contemporary Classics at Seattle Rep, The Holiday Concert at the Lincoln Center Library and others. They were members of the Advanced Class of the BMI Workshop. Separately, Charlie Sohne has developed work at New York Stage and Film, the O’Neill National Music Theater Conference, The Lark and the Cherry Lane Theater – and has had his work sung in concert at Second Stage (DCMTW’s “The Concert”) and through BMI’s Smoker and Showcase. His song “I’m Just Glad You’re Here” (music by David Gaines) was named one of the Top 25 Songs in the Directory of Contemporary Musical Theater Writers. Tim Rosser has music directed the Broadway Cares/Equity Fights AIDS benefit Broadway Backwards at the Palace and Al Hirschfeld Theaters and was the Associate Music Director of I am Harvey Milk at Avery Fischer Hall.  He has played keyboards for Rocky, The Addams Family on Broadway, Carrie at the Lucille Lortel, and he's played rehearsals for A Gentleman’s Guide to Love and Murder on Broadway, and City Center's Encores series.

Sam Willmott is a NYC-based composer/lyricist, whose projects include Bhangin' It (with Rehana Lew Mirza and Mike Lew); Yo, Vikings! (with Marcus Stevens, published by Samuel French); the mini-musical Scarlet Takes a Tumble; and Standardized Testing - The Musical!!!! (published by Playscripts, Inc.), among others. He is the recipient of the 2013 ASCAP Foundation Harold Adamson Award for Lyrics, the 2012 Fred Ebb Award, the 2012 John Wallowitch Award, and the 2009 Kennedy Center ACTF Musical Theater Award, and has been a writer-in-residence at Goodspeed Musicals (2014, 2013) and the Eugene O'Neill Theater Center (2013).  Sam is also a proud contributor for English Egg, a Korea-based children's language program.  For more information, check outsamwillmott.com

Max Vernon is a composer/lyricist, playwright, and performer. Described by the New Yorker as "equal parts bohemia and Broadway," his work has been performed and developed at Ars Nova, Theatreworks USA, Naked Angels, New Dramatists, Two River Theater (NJ), Dixon Place, Woodshed Collective, Ma-Yi, LaMaMa, and Pride Films and Plays (Chicago), among others. This past year he was a Dramatist Guild Theatre Fellow, an artist in residence at Rhinebeck Writer's Retreat, a JFund award recipient, and also finished his first commission for Disney Creative Entertainment. He is currently a member of Ars Nova's Uncharted, as well as the Civilians R&D Group. He has performed over a hundred concerts in New York City, including sold out shows at Joe's Pub (Frisk Me: The Songs of Max Vernon) and The Metropolitan Museum of Art (The Civilians' Let Me Ascertain You). His musicals include The View UpStairs (NYU, Pride Films and Plays) and WIRED (Ars Nova) Developing: Co-Op (Ars Nova, Naked Angels Radio); Aesop's Fables (Theatreworks USA); WAM! Entertainment (Ars Nova/Ma-Yi); Show & Tell (Jerome Foundation, Civilians R&D Group) MFA: NYU-Graduate Musical Theatre Writing Program. www.maxvernon.com

The American Theatre Wing (William Ivey Long, Chairman, Board of Trustees; Heather Hitchens, President) is dedicated to advancing artistic excellence and nurturing theatre’s next generation: on the stage, behind the scenes, and in the audience. For nearly a century, the Wing has pursued this mission with programs that span the nation to invest in the growth and evolution of American Theatre. Traditionally, the Wing has encouraged members of the theatre community to share their off-stage time and talent directly with the theatre audience at large--whether it was singing for the troops in the Stage Door Canteen of the 1940's, or sharing their stories on a podcast today.  As the founders of The Tony Awards®, the American Theatre Wing has developed the foremost national platform for the recognition of theatrical achievement on Broadway. Yet the Wing's reach extends beyond Broadway and beyond New York. The Wing develops the next generation of theatre professionals through the SpringboardNYC and Theatre Intern Network programs, incubates innovative theatre across the country through the National Theatre Company Grants, fosters the song of American theatre through the Jonathan Larson Grants, honors the best in New York theatrical design with the Henry Hewes Design Award, and illuminates the creative process through the “Working in the Theatre” program and media archive. The American Theatre Wing has also entered into a long-term partnership with The Village Voice to co-present The OBIE Awards, Off Broadway’s Highest Honor, beginning this year, which will mark the Award’s 60th Anniversary in May 2015.  Visitors toamericantheatrewing.org can get inspired and gain insight into the artistic process through the Wing’s extensive media collection, and learn more about its programming for students, aspiring and working professionals, and audiences.

Follow the Wing on:

Facebook.com/TheAmericanTheatreWing 

Twitter.com/TheWing.

ONE NIGHT ONLY AND FREE!!

Our myNewYorkeye has a tip and it's free-kind of-

ONE NIGHT ONLY. “C A R M I L L A”

The reading is open to the public with a suggested donation of $5.00.

The York Theater Company Developmental Reading Series will present—one night only— for one night only performance, March 3 at  3:00PM.

The York Theatre Company (James Morgan, Producing Artistic Director; Andrew Levine, Executive Director), and its acclaimed Developmental Reading Series, will present a staged reading of the new musical “Carmilla,” with book & lyrics by Joel Gross, and music & lyrics by Paul Aleman at The York Theatre Company at Saint Peter’s (619 Lexington Avenue, entrance on East 54th Street, just east of Lexington Avenue).

Directed by Gabriel Barre, music direction by Nathan Patten, and music supervision & arrangements by James Abbott, the cast will feature Leenya Rideout in the title role, with Julia Burrows as Vanessa Warwick, Michael Minarik as Dr. Johan Hoffman, Kaye Tuckerman as Countess Moreth, and Nick Wyman as Colonel Warwick. 

The ensemble will feature Liz Kimball, Darren Matthias, Michael Padgett, Kristin Parker, Clifton Samuels, Eveline Suter, and Erica Sweany.  The creative team also includes, Drew Feldman (Assistant Director) and Marci Skolnick (Stage Manager).

“Carmilla," a new musical, is inspired by the eponymous 1871 novel by Joseph Sheridan Le Fanu. Vanessa, an adorable young Englishwoman, lives with her father in an inherited Gothic castle in Central Europe, surrounded by superstitious peasants. Vanessa  is about to marry a handsome Viennese doctor, when passion comes into her life for the first time in the form of Carmilla, a beautiful, supernatural, irresistible  presence.

The York presented readings of Gross and Aleman's previous musical, Dillinger: Public Enemy Number One, in 2008 and 2009. ONE PERFORMANCE ONLY: Tuesday, March 3, 2015 at 3:00 p.m

Reservations can be made by visiting the website at www.yorktheatre.org 

The Developmental Reading Series presents some 40 readings and workshops of new musicals by emerging and established authors throughout the year, a vital part of the writing process. The series serves as an incubator for shows to be considered for Main-stage productions, thus serving the York's unique mission of taking new musicals through the complete development process to full production.

The York Theatre Company offers the 54th Street Membership Program, an exclusive membership package for as low as $54.00 - with elite benefits that includes a 30% discount on tickets to York Theatre Productions (2 per membership), exclusive member pre-sale opportunities, 50% off on all lobby concessions, 20% off on all lobby merchandise, in addition to special member only receptions.

York Memberships may be purchased online at www.yorktheatre.org/membership, or by calling the York Theatre Company Box Office.

BROADWAY and the JERSEY BOYS come Home

The Midtown Men - Jersey Boys

CROON WITH THE JERSEY BOYS. MARK YOUR CALENDAR FOR JUNE 20TH !!

Turn the clock back and enjoy the signature sound of the Jersey Boys and you can thank the The Midtown Men, the vocal group comprised of four stars from the Original Broadway Cast of Jersey Boys, for the opportunity to enjoy nostalgia with music.

It’s their long awaited New York City Homecoming concert on June 20th, 2015 at New York’s famed Beacon Theatre (2124 Broadway, NYC).

The Midtown Men have been performing nearly 400 concerts across North America, the group’s leading men include Tony Award-winner Christian Hoff, Michael Longoria, Daniel Reichard, and Tony Award-nominee J. Robert Spencer. 

The Midtown Men know how to put on a show and that’s using their celebrated arrangements of the greatest hits of the 1960s. This June performance, at the Beacon, will be their final show of this year’s tour.

During their time in the mega-hit musical Jersey Boys, these four talented artists shared the stage for over a thousand performances.  Since forming in 2010 as The Midtown Men, they have played in concert halls from coast to coast and have sung with over 20 major symphonies, including the National Symphony Orchestra at the Kennedy Center. In 2012, The Men released their first radio single, “All Alone on Christmas,” written and produced by rock icon Steven Van Zandt and backed by Van Zandt’s bandmates from Bruce Springsteen’s E Street Band as a fundraiser for the Red Cross after Hurricane Sandy. They were honored to perform the song at the White House for the National Tree Lighting Ceremony in Washington DC that year. Wrapping up their fifth national tour in 2015, the “Men” continue to sell-out venues across the U.S. and Canada.

Promoted by Live Nation, tickets for The Midtown Men’s NYC Homecoming can be purchased by visiting www.ticketmaster.com or by calling 1-800-745-3000. If fans wish to receive their tickets by pledging to public television, they can visit www.thirteen.org/ticketbooth or call 1-800-468-9913.

The group's PBS/Thirteen television pledge drive special will air on WNET (New York), NJTV (New Jersey), and WLIW (Long Island) starting February 28th at 5 p.m. in NYC. Please check your local listings for additional airings.

For more information on The Midtown Men, Visit :

www.themidtownmen.com 

www.oandmco.com 

www.twitter.com/oandmco

THE SCHOOL OF ROCK is ROCKING TO BROADWAY MASSIVE OPEN CALL FOR YOUNG PERFORMERS

THE SCHOOL OF ROCK is ROCKING TO BROADWAY MASSIVE OPEN CALL FOR YOUNG PERFORMERS @BROADWAY’S WINTER GARDEN THEATRE SATURDAY, JANUARY 24

Here is an opportunity to get your kid a part on Broadway -- maybe -- because School of Rock—The Musical is launching a coast-to-coast search for its new, Broadway-bound class of pint-sized rock stars, offering the once-in-a-lifetime chance to join the most famous kid band of all time.

A massive open casting call will take place in New York on Saturday, January 24 at Broadway’s Winter Garden Theatre (1634 Broadway), on the stage where the show is set to have its world premiere later this year.  

Additional open casting calls for young performers will take place in Los Angeles on January 17 at Screenland Studios (10501 Burbank Blvd.) and Chicago on Saturday, January 24 at Actor’s Equity Association (557 W. Randolph Street).  All open calls begin at 10:00 a.m. (local time), with sign-in at 9:00 a.m.

This has hint written all over it because of the star power crafting the new musical. When the production was first announced last month, Andrew Lloyd Webber said “School Of Rock is hugely about how music can empower kid. … It will be a joy to discover and work with talented musical kids in the USA and, who knows, maybe discover a rock star or three of the next generation.”

This is an open call for kids aged 9-15.  Adults, they should bring a picture and resume (if available) and a pop/rock song he/she loves to sing.  (An accompanist will be provided.)  

Better news, if the hopefuls that play guitar, bass, or cello they are encouraged to bring along their instruments and be prepared to rock out!  Hopefuls that play the piano should prepare a rocking tune, and hopefuls that play the drums are encouraged to bring along their sticks.  

There will also be an open casting call for the role of Dewey (late 20’s t0 30’s: “an original guy with a high pop/rock voice”) in Los Angeles on Sunday, January 18 at 2:00 p.m. (sign-in at 1:00 p.m.).

School of Rock—The Musical will have its world premiere on Broadway later this year.  Previews will begin on Monday, November 2, 2015 at the Winter Garden Theatre, with an opening set for Sunday, December 6.  

Based on the smash hit 2003 film of the same title, School of Rock will feature music from the movie, as well as new music written by Andrew Lloyd Webber and lyricist Glenn Slater, with a book by Julian Fellowes.  School of Rock—The Musical will be directed by Laurence Connor (currently represented on Broadway by Les Miserables). 

In School of Rock—The Musical, down-on-his-luck wannabe rock star Dewey Finn poses as a substitute teacher at a prestigious prep school to make ends meet. When he discovers his students’ musical talents, he enlists his fifth-graders to form a rock group and conquer the Battle of the Bands.

School of Rock—The Musical will feature Choreography by JoAnn M. Hunter, Scenic and Costume Design by Anna Louizos, Lighting Design by Natasha Katz, Sound Design by Mick Potter, and Music Supervision by Ethan Popp.

School of Rock—The Musical is produced on Broadway by The Really Useful Group, Warner Music Group & Access Industries, The Shubert Organization, and The Nederlander Organization.  Nina Lannan serves as Executive Producer.

www.SchoolOfRockTheMusical.com

L’s BROADWAY

Hey families, it’s time to go to the theater and bring a friend!  

The Broadway League and NYC&Co invite you to experience Broadway Week in New York City! 

Twenty-two Broadway shows are offering 2-for-1 ticket deals for selected performances January 20-February 5. 

Visit the Broadway Week page at NYCGo.com to purchase your tickets and for important details and restrictions.

Shows participating in Broadway Week Winter 2015:*

Aladdin

Beautiful: The Carole King Musical

Cabaret

Chicago The Musical

The Curious Incident of the Dog in the Night-time

A Delicate Balance

Disgraced

A Gentleman’s Guide to Love and Murder

Honeymoon in Vegas

If/Then

It’s Only a Play

Jersey Boys

Kinky Boots

Les Misérables

The Lion King

Mamma Mia!

Matilda the Musical

On the Town

The Phantom of the Opera

The River

Wicked

You Can’t Take it With You

*Subject to availability. Blackout dates may apply.

PS. Reminder – Kids’ Night on Broadway® takes place from January 9-15! Kids age 18 and younger can see a participating Broadway show for free when accompanied by a full-paying adult. 

Tickets are still available at KidsNightonBroadway.com

Hey Kids—-let’s put on a show!

Casting call for the kids in your life that love to rock out!  School of Rock—The Musical is launching a coast-to-coast search for its new, Broadway-bound class of pint-sized rock stars, offering the once-in-a-lifetime chance to join the most famous kid band of all time.  

A massive open casting call will take place in New York on Saturday, January 24 at Broadway’s Winter Garden Theatre (1634 Broadway), on the stage where the show is set to have its world premiere later this year.  

Additional open casting calls for young performers will take place in Los Angeles on January 17 at Screenland Studios (10501 Burbank Blvd.) and Chicago on Saturday, January 24 at Actor’s Equity Association (557 W. Randolph Street).  All open calls begin at 10:00 a.m. (local time), with sign-in at 9:00 a.m.  

Based on the smash hit 2003 film of the same title, School of Rock will feature music from the movie, as well as new music written by Andrew Lloyd Webber and lyricist Glenn Slater, with a book by Julian FellowesSchool of Rock—The Musical will be directed by Laurence Connor (currently represented on Broadway by Les Miserables). 

In School of Rock—The Musical, down-on-his-luck wannabe rock star Dewey Finn poses as a substitute teacher at a prestigious prep school to make ends meet. When he discovers his students’ musical talents, he enlists his fifth-graders to form a rock group and conquer the Battle of the Bands.

School of Rock—The Musical will feature Choreography by JoAnn M. Hunter, Scenic and Costume Design by Anna Louizos, Lighting Design by Natasha Katz, Sound Design by Mick Potter, and Music Supervision by Ethan Popp.

School of Rock—The Musical is produced on Broadway by The Really Useful Group, Warner Music Group & Access Industries, The Shubert Organization, and The Nederlander Organization Nina Lannan serves as Executive Producer.

www.SchoolOfRockTheMusical.com

SIDE SHOW has the next big thing and it’s not conjoined twins!

David St. Louis

When I was invited to see the wonderful new musical Broadway revival of SIDE SHOW which dazzles under the masterful hands of director Bill Condon, with music by Bill Russell and Henry Krieger, I recevied an unexpected treat— that chill that goes through the body when you see a new talent that has the “it” factor.

You know the “it” factor. It’s that unseen yet powerful energy that sets someone apart.  

Billed around the true story of people with “unusual” abilities, this story focuses on the real life of conjoined twins twins Daisy and Violet Hilton— Emily Padgett and Erin Davie —and their search for love and fame.

In the first act, in walks the actor David St. Louis, who plays Jake who, like the conjoined twins, worked in the side show as “freaks.”

In the opening sequence the character Jake is shackled and billed as a “wild man”and using his color and race as a card of horror and fear, he ran among roaring, biting and causing a fitful scene.

That was the show.  Curtains down and the patrons gone, the loving Jake is the protect of the fragile twins and has a soft spot for Violet, who also shares the same warm feeling.

Violet never allows herself to love Jake because during that era, to be married to a Black woman would have made her more of a target, a fate that she would not venture. 

I caught up, briefly, with David St. James between matinees of SIDE SHOW and here is what he had to share:

myNewYorkeye: David, you have “it.”  How long have you been mastering your craft?

David St. Louis: Thank you for your kind words.  Well, I was a voice major at Oberlin Conservatory but I decided I wanted more from the stage. I decided to study acting at Howard and I found my love, my calling. Since, I could already sing, I focused in musical theater. I kept my nose to the grind and worked, landed TV work and when I left university, I had all of my union cards and a special thing, as well, which is a Helen Hayes award.

myNewYorkeye: Your no stranger to Broadway, new to me but you’ve been in RENT and a few others.  What was your favorite production?

David St. Louis: Favorite? This one definitely (SIDE SHOW) and the New York production of HARLEM SONG.

myNewYorkeye: Your singing voice is deep and rich but your speaking voice, well, it’s not the same (laughing).

David St. Louis: (affecting a deeper tone) “No? It’s not the same?” My voice is a big tricky because most composers write for tenor.  I love when people work against that idea.

myNewYorkeye:  I was very uncomfortable about how the character, Jake, is first seen on stage. A black man, in chains and being called such despicable things. OMG.

David St. Louis:  I understand but you must remember the year these events occurred and pay mind to the historical accuracy.  What I enjoy most about my character is that’s he’s a bridge to the very “weird” world for the audience.  He has no physical affliction, so, in that way I become their respersentatve in the show.

myNewYorkeye:  Your right. I found myself always looking for Jake to explain it me!  What do you love about the magic of being in theater?  I was impressed by the costumes and the lighting!

David St. Louis: The crew is exceptional but the costumes are a neat trick.  It’s not your ordinary costume rack show.  It is the result of a truly imaginative team.  The music is good too!

myNewYorkeye: In closing, what is it about NYC and Broadway that gives you that extra “kick?"

David St. Louis: This is a city that crackles with vitality.  You know, I like the hub going on in the lobby and outside the theater.  That’s become a part of my ritual but each show is so different for me.  That’s what makes being in NYC so special, it’s always changing.

Website: http://davidstlouis.com/

Music as weaponry! Performance as protest! "Finding Fela" opens August 1

"Finding Fela—" a look inside the mesmerizing life of steadfast activist/musician/ Fela Kuti under Award-winning director Alex Gibney’s keen cinematic eye is a joyful adventure that's creatively supported by hypnotic music and skillfully coupled with heart wrenching politics and personal insight into the life of the man that became legend—Fela.

"Finding Fela" is executive produced by New York businessman Stephen Hendel and his wife Ruth Hendel who also produced the 2009 Tony Award winning play, FELA! directed by McArthur Fellowship-winning choreographer and director Bill T. Jones.

Gibney’s pairing with the footage of the "making of the Broadway musical" (FElA!) is a artistic stroke of genius.

"Finding Fela" is just as the film title suggests, a journey of discovery and an appreciation of just how difficult it is to put this man’s life on stage, while witnessing an authentic jumble of characters all of whom share their poignant views and personal stories.

One of the most riveting and contemporary parts in the film is provided by Seun Kuti (31) the youngest son who inherited his father’s extraordinary Egypt 80 orchestra after his death.

Gibney doesn't romance Fela's life nor flinch from sharing the documented facts surrounding his uncontrollable womanizing in the name of free love, his indifference towards his children and his irresponsibility with sexual health. He died of AIDS- related illness in 2007.

Gibney achieves that alchemic balance choosing to use the music to highlight the bravery and conscience of a man who risked his life (daily) in the face of a brutal Nigerian military who would constantly beat and harass him.

Fela is not deified in any way and no critic could argue that this is a classics biopic. It isn't like Kevin Macdonald’s "Marley" or Martin Scorsese's "The Last Waltz"—it's better—and I wouldn't be surprised if it earns a 2015 Oscar like Morgan Neville’s euphoric "20 Feet From Stardom."

Gibney’s "Finding Fela" speaks eloquently to his constant search for identity. The film handpicks key moments in Fela’s life: his decision to reject medicine and study music, listening to James Brown, witnessing the Black Panthers – all of which crystallized his views which enriched his music and, stone-by-stone, helped paved his path to iconic status.

Music is everywhere and Afrobeat and Jazz fans will not walk away unserved!

Yes, the politics is raw and urgent and the storytelling immensely thoughtful but it's the sound that will make "Finding Fela" successful.

Music as weaponry and an uniting force that cruelty can't extinguish.

Protest as performance. The struggle continues and the message—like music—keeps hope alive!

"Finding Fela" opens in theaters on August 1, 2014.

Black Woman Of Soul Shaped Joplin

A Night With Janis Joplin," currently knocking audiences side-ways with nuclear fueled rock-n-roll at the Lyceum Theater, is much more than the title suggests. 

The poster and other marketing elements give the illusion that its more of a concert than a musical.  It's neither and it's both.

Nostalgia seems to be the unifying cord of Randy Johnson's musical time capsule.  The time machine lever is firmly locked on the psychedelic haze of the 1970's; exploring the inner workings of the rock icon whose husky, whiskey soaked wails cut through the noise of the rock & roll boys club –forever earning her a distinctive–yet tragic –place in rock history.

It's remarkable to witness the transformation of Mary Bridget Davies into Janis Joplin (who died of an overdose of heroin and alcohol at 27).

Phoenix rising, ashes scattering, the metamorphous by Ms. Davies begins with the small details: Joplin's impatient walk, her rebel stance and most endearing, how she absentmindedly rubs her forehead when confronting uncomfortable truths.

Then Davies opens her mouth to sing and the spot on vocal impersonation of the legendary belter are, dare I write this, better than most recording that I've heard of the immortal, tragic diva. 

Mary Bridget Davies out sings Janis Joplin.

The spell is woven and it's powerfully backed by the Joplinaire's, four African-American women

with sweeping voices that support and captivate: Taprena Michelle Augustine (Joplinaire/Chantel/Bessie Smith/Blues Singer), De’Adre Aziza (Joplinaire/Chantel/Nina Simone/Odetta), Allison Blackwell (Joplinaire/Blues Woman/Aretha Franklin) and Nikki Kimbrough (Joplinaire/Etta James/Chantel.

Janis's life and signature sound was infused by the blues and inspired by women who are as much a legend as Joplin herself.

The hunger for love and the fight for equality, which are so much a part of the African-American sound that erupted in the 1930's is why Janis Joplin sounded like Janis Joplin.

Little Janis wanted to be black and to share the stages with the women that made her feel alive: Bessie Smith,  Odetta, Chantel, Nina Simone, Etta James and Aretha Franklin all of

which have solid stage time.

Carrying the spirit of Odetta and Nina is the shimmering De'Adre Aziza (Tony and Audelco nominated) whose performance brings such a welcome and unexpected jolt you're reminded

that theater equals power either that or the mischievous house technicians ran live electric wires under the seats.

You can't get sincere soul without the queen of soul, Aretha Franklin, who takes center stage sporting feathers, glitz and star power — effortless performed by Allison Blackwell.

Staying in your seat will be a challenge because the live house band, under musical director Ross Seligman, take hazy memories and sets the theater ablaze note-by-note.  You will shake, rattle-and-roll, scream-and-shout, feel the blues and boogaloo.

The artist soul, immortal, and re-examined is what makes the book by Randy Johnson, who also directed, such an original.

Economically the producers really deliver two shows for the price of one.

It's Broadway with a soulful twist and Odetta, Bessie, Etta, Nina and the late Janis Joplin would not only approve but jump on stage to keep the party going at the Lyceum Theater.

WITH: Mary Bridget Davies (Janis Joplin), Taprena Michelle Augustine (Joplinaire/Chantel/Bessie Smith/Blues Singer), De’Adre Aziza (Joplinaire/Chantel/Nina Simone/Odetta), Allison Blackwell (Joplinaire/Blues Woman/Aretha Franklin) and Nikki Kimbrough (Joplinaire/Etta James/Chantel).

 

Written and directed by Randy Johnson; choreography by Patricia Wilcox; music director/ conductor, Ross Seligman; original music arrangement and direction, Len Rhodes.

The album and the CD is currently available at the Lyceum Theatre,  Amazon.com and the official show website