Archives for category: Theatre

The summer audition season has been long gone, the summer season is winding down, and many actors are facing a harsh reality. Their paychecks from this cushy summer gig they’ve been on are about to disappear just as fast as those sets come down on closing night. No need to panic! If you live in a big city like New York City, there’s no reason to remain unemployed for long.

There’s the old fallback of waiting tables and tending bar which is always lucrative but sometimes drives you absolutely insane. Don’t worry, there are so many other jobs you can do that cater to actors and actresses.

First, check out your local usher’s union. If you’re not acting in the show at least you should be in the theatre. It doesn’t require the technical skills that being in the box office requires and it’s pretty lucrative. Box office work is great but very hard to get. Ushering allows you to audition during the day and work at night.

Second, promotional work for a show or a theatre is usually pretty easy to get. Standing outside handing out fliers might seem on the surface like a terrible job but at at least $10.50 an hour and the chance to hang out outside on gorgeous summer days are fantastic perks.

For other work, search out temp agencies that cater to the arts community. These are people who understand when you need to go on a gig and then want to come back afterwards.

One of the biggest complaints about those who want to see Broadway shows is the cost of a ticket. The people who are doing this complaining obviously don’t know about the myriad of ways to get discounted tickets to Broadway and off-Broadway shows!

One of the biggest and most popular ways to get discounted tickets is by visiting a TKTS booth. TKTS is program run by TDF (Theatre Development Fund). They have three booths set up all over New York City where you can go to get highly discounted tickets to the hottest Broadway shows.

The locations are: Time Square, South Street Seaport, and Downtown Brooklyn. The most crowded of these is definitely Times Square. This booth is located under the big red steps in the middle of Father Duffy Square on Broadway and 47th street. You can stop by this booth Monday through Sunday to pick up tickets for evening shows. On days where there are matinees you can be there when the windows open at 10 am.

Here’s a tip. Don’t go to the Times Square TKTS booth. Don’t even try unless you’re going to get there at 6am and set up camp. While they often have big shows there, you’re going to be aggravated trying to get them. Here’s my insider New Yorker secret. The Downtown Brooklyn booth is the nicest, most pleasant to deal with, and easily accessible by public transportation. (Yes, even for out of towners.)

If you want to know more about TKTS, the hours for all of their booths, and to download their nifty iPhone app (which you should totally do, it’s free and easy to use) check out this page.

I grew up in a town that was a little weird. Outside the courthouse we didn’t have a statue of the Liberty Bell or George Washington. There wasn’t even a cannon. What we did have was a larger than life bronze statue of Jimmy Stewart. He was born in Indiana, PA and aside from being the self proclaimed Christmas tree capital of the world, that was pretty much our only claim to fame.

While I’ve never seen It’s a Wonderful Life (don’t judge, I just never saw it. I’m not against it or anything. It’s kind of a weird anomaly that I’ve made it this far in my life without seeing it) I have seen many of Jimmy Stewart’s other movies. Yes, that includes American Tail: Fivel Goes West and The Last Gangster. But by far, my favorite movie of Mr. Stewart’s, and possibly one of my top five favorite movies of all time, was Harvey.

I always had an affinity for the show and when I did it in college as a stage play I fell even more in love. I could listen to to Jimmy Stewart read the phone book but when he says: “Years ago, my mother used to say to me, she’d say ‘In this world, Elwood, you can be oh so so smart, or oh so pleasant.’ Well, for years I was smart… I recommend pleasant. You may quote me.” it was like an aural orgasm.

When I heard rumors of a Broadway launch of the show a few years ago I only cringed for a moment. I had no idea who was going to play my beloved Elwood but they had better pick the right person…and boy did they.

I’m a huge Jim Parsons fan. I had the biggest fangirl moment of my life when he appeared in the latest Muppet movie. A scene with Jim Parsons, Jason Segel, puppets, and singing? I swooned. He’s a brilliant actor, anyone who has ever seen him on stage or screen can attest to that. And his voice even has a little affectation that makes it slightly Stewart esque…that small back of the palate gurgle that made Stewart iconic.

Harvey opened yesterday at Studio 54 in New York City to a rave review in The Times. A Broadway run is perfection for this time tested and beloved tale of a man and his gigantic 6-foot tall invisible white rabbit best friend.

Sorry, Six feet three and a half inches. Now let’s stick to the facts.

You can find more about the show and buy tickets (and purchase one for your favorite Theatre blogger…that would be me) at http://www.roundabouttheatre.org/. In a time where big musicals like Gershwin’s Porgy and Bess and Jesus Christ Superstar seem to be reigning supreme it is a great joy to see a straight play like Harvey getting such fantastic attention.

 

This years Tony Awards gave us plenty of entertainment. It starts out with a musical number spoof of Book of Mormon trying to sell the Holy Book to the Tony presenters, each slamming the door in their face. In fact it’s pretty appropriate because this year had quite a number of Jesus musicals. Then Neil Patrick Harris takes over singing about how life would suck less if life was like a musical.

This year the performances jam-packed the stage and the lesser awards seemed to take second place to the spotlight. The full list of  big performances of the night were Newsies, Jesus Christ Superstar, Follies, Ghost, Nice Work If You Can Get It, Porgy and Bess, Once, Evita, Godspell, and Hairspray. Out of those performance, which for the most part were good, you get a few glimmering exciting moments.

Here are the more interesting parts: the Newsies performance was the typical “wow ‘em out of the park with typical Disney professionalism.” You get a bunch of high kicks, back flips, and newspaper throwing. Ghost started out with the enchanting “Unchained Melody” and quickly ruined it with a hot mess and poorly arranged self-indulgent bit of modern theater songwriting. With Evita, Ricky Martin carried the entire number while Elena Roger awkwardly stepped around in her obviously fake bleach blonde hair. And even Ricky had to restrain shaking his “bon bon” so he could stay on pitch. And of course, we had to get the shameless plug for the company funding the event– Royal Cruises with Live “on cruise” performance from Hairspray.

While Newsies seemed like a shoe-in for the bigger awards, Once actually took home eight awards, including the “Best Performance by a Leading Actor in a Musical” and “Best Musical” awards. However, Alan Menkin and Jack Feldman did win Best Original Score for their work on Newsies. The other big winner was Peter and the Starcatcher with 5 awards.

For all the other nuances, performances, NPH’s mischief, and winners please watch the full Tony broadcast here.

 

One of the great things about living in New York City is the opportunity to see new theatre in workshops, readings, and first runs. This is what I did last night. The Abingdon Theatre Company specializes in brand new works from American playwrights.  Last night, they held a reading of “Absolute Amy” a new play from John Morogiello, a playwright based in Maryland.

Morogiello’s plays are very much like watching a hilarious English comedy series in the heyday of Monty Python mixed with the brilliant vocabulary and quick wit of Oscar Wilde and George Bernard Shaw. Morogiello’s shows are fast paced, intellectual, and a veritable pantheon of phraseology. Last night’s reading of “Absolute Amy” was no exception.

The story of a seemingly air-headed girl who is about to marry a man who was in the Iraq war unfolds in the living room of her parents home only days before her wedding. An old friend, who happens to be a priest, comes in and sets the whole world of this family on it’s ear.

The characters of the parents were completely relate-able as southern Republicans concerned for their daughter’s happiness, well-being, and wealth even for an audience filled with New York liberals. The future husband, Scott, is a little dopey, a little lovable, and a little sad. It’s Cody, the intellectual priest and friend of Amy, that is the catalyst of all of the events that unfold through the play.

The eponymous Amy undergoes such a drastic change in her philosophical makeup during the show that it’s like a riptide forcing the audience to make a strong decision on the topic at hand: torture and war.

While it can be a little verbose for the casual theatre goer, Morogiello mixes comedy and hard thinking with a firm but even hand. Even to the last scene of the play you don’t know how it’s going to end. The suspense follows the audience out of the theatre and all the way home making them question themselves and their world views.

If you ever get the chance to see any of John Morogiello’s brilliantly worded plays, I highly recommend that you do so! I for one can’t wait to see the next show!

The big news of the day is the Les Miserables teaser trailer that appeared yesterday. How could that not be big news? Hollywood is once again throwing their hat into the ring of Broadway.

The last time they did this, there were a few complaints. Sweeney Todd is a sweeping stage musical and they condensed it to a very tiny film. Not tiny in that there were no stars and no one loved it, that’s obviously not the case. I mean, it was cinematically small.

This time, just the trailer sparks the notion that this is going to be an epic on par with the other grand scale projects like Lord of the Rings and the new Star Trek movies.

It’s nice to see that Hollywood is finally taking notice of the musical genre. Heck, maybe they can help bolster falling Broadway ticket sales.

Sure, it would be really easy for me to sit here and pick apart the teaser trailer piece by piece. It was Fantine heavy. Anne Hathaway has sung much better. Where are Javert’s classic mutton chops!? And who on earth is that guy in the beard…oh…that’s Hugh Jackman. Not a good look man. But the point is it’s a teaser. It’s just supposed to whet our whistle until we get a full on screaming “Do You Hear The People Sing” trailer with a great confrontation scene and gunpowder around Thanksgiving.

Until then, we’ll settle ourselves with this amazingly tantalizing clip.

 

Oh, and for the record, I think Anne is going to do a kick ass job.

No matter what you do in the theatre business it seems there’s always someone better than you at your job. Whether it’s being a carpenter, a singer, an actor, or a director someone is always more talented, skinnier, fatter, a better singer etc… The list goes on and on and you would think that’s a terrifying and depressing fact but really it makes us all work harder at our jobs and as a result fantastic theater happens.

The old adage holds up – “practice makes perfect.” When you hit a rough spot in your script, your design, or your composition the best way I’ve found to combat the sinking fear that you’re never going to get it right is to do it over and over and over again. Recently I became terrified of a song because I didn’t think I could sing it properly or really even at all. “There’s a Fine, Fine Line” from Avenue Q was the thorn in my side, the bane of my existence, my white whale…or something like that.

I sat at work and watched this video over and over and over again. I learned how to place the singing in my head. I learned how to form the words. I learned the melody, the accompaniment, and the specific beats in the song that I should be hitting. After work I would sit in my apartment and sing it (much to my neighbor’s dismay) over and over and over again. Eventually I began to feel really good about the work that I had put into it and the product I was getting out of it. Sure, there were people better. I’m sure of it. But the work I put into skyrocketed my confidence and my talent level to the point where I was absolutely comfortable with it.

Just remember, practice makes perfect. Don’t forget to send your poor neighbors a fruit basket for putting up with your insane practicing.

I have been hearing about this project for quite some time now and was really excited to see the great reviews rolling in for Fat Camp A New Musical. All across the twitterverse, the facebook social circles, and the blogging networks Fat Camp has been getting rave reviews! From all corners, this new show is getting some mad theatre love.

About a group of people who spend their summer at Camp Overton, this new musical promises a great rock score from Matthew roi Berger and a great set of book and lyrics from Randy Blair and Tim Drucker.

Now, I haven’t seen it yet but I have friends who have come out of the theatre saying they can’t stop smiling and tapping their toes, and apparently craving some s’mores.

If you want to see this show, don’t miss out! It’s only playing for another seven performances! After winning Best in Fest at the New York Musical Festival in 2009 this off-Broadway show is going to be PACKED for the next week. Get your tickets now! If you’re a student, the rush starts half an hour before the show and it’s $20 cash with your ID.

You can find this show at The American Theatre of Actors on 314 West 54th Street, New York, NY 10019.

Hey fellow theatre lovers! It’s that time of year again! The Tony award nominations have been announced! It’s TONY SEASON!

That was a lot of exclamation points. I’ll try to tone it down a little. I’m just really excited. Here’s your list of nominees. How many of these Broadway shows have you seen?

Play
“Clybourne Park,”  Bruce Norris
“Other Desert Cities,”  Jon Robin Baitz
“Peter and the Starcatcher,”  Rick Elice
“Venus in Fur,”  David Ives

Musical
Leap of Faith
“Newsies”
“Nice Work If You Can Get It”
“Once”

Revival of a play
“Arthur Miller’s Death of a Salesman”
“Gore Vidal’s The Best Man”
“Master Class”
“Wit”

Revival of a musical
“Evita”
“Follies”
“The Gershwins’ Porgy and Bess”
“Jesus Christ Superstar”

Book of a musical
“Lysistrata Jones,” Douglas Carter Beane
“Newsies,” Harvey Fierstein
“Nice Work If You Can Get It,” Joe DiPietro
“Once,” Enda Walsh

Original score (music and/or lyrics) written for the theater
“Bonnie & Clyde,” music: Frank Wildhorn; lyrics: Don Black
“Newsies,” music: Alan Menken; lyrics: Jack Feldman
“One Man, Two Guvnors,” music & lyrics: Grant Olding
“Peter and the Starcatcher,” music: Wayne Barker; lyrics: Rick Elice

Performance by an actor in a leading role in a play
James Corden, “One Man, Two Guvnors”
Philip Seymour Hoffman, “Arthur Miller’s Death of a Salesman”
James Earl Jones, “Gore Vidal’s The Best Man”
Frank Langella, “Man and Boy”
John Lithgow, “The Columnist”

Performance by an actress in a leading role in a play
Nina Arianda, “Venus in Fur”
Tracie Bennett, “End of the Rainbow”
Stockard Channing, “Other Desert Cities”
Linda Lavin, “The Lyons”
Cynthia Nixon, “Wit”

Performance by an actor in a leading role in a musical
Danny Burstein, “Follies”
Jeremy Jordan, “Newsies”
Steve Kazee, “Once”
Norm Lewis, “The Gershwins’ Porgy and Bess”
Ron Raines, “Follies”

Performance by an actress in a leading role in a musical
Jan Maxwell, “Follies”
Audra McDonald, “The Gershwins’ Porgy and Bess”
Cristin Milioti, “Once”
Kelli O’Hara, “Nice Work If You Can Get It”
Laura Osnes, “Bonnie & Clyde”

Performance by an actor in a featured role in a play
Christian Borle, “Peter and the Starcatcher”
Michael Cumpsty, “End of the Rainbow”
Tom Edden, “One Man, Two Guvnors”
Andrew Garfield, “Arthur Miller’s Death of a Salesman”
Jeremy Shamos, “Clybourne Park”

Performance by an actress in a featured role in a play
Linda Emond, “Arthur Miller’s Death of a Salesman”
Spencer Kayden, “Don’t Dress for Dinner”
Celia Keenan-Bolger, “Peter and the Starcatcher”
Judith Light, “Other Desert Cities” Condola Rashad, “Stick Fly”

Performance by an actor in a featured role in a musical
Phillip Boykin, “The Gershwins’ Porgy and Bess”
Michael Cerveris, “Evita”
David Alan Grier, “The Gershwins’ Porgy and Bess”
Michael McGrath, “Nice Work If You Can Get It”
Josh Young, “Jesus Christ Superstar”

Performance by an actress in a featured role in a musical
Elizabeth A. Davis, “Once”
Jayne Houdyshell, “Follies”
Judy Kaye, “Nice Work If You Can Get It”
Jessie Mueller, “On a Clear Day You Can See Forever”
Da’Vine Joy Randolph, “Ghost the Musical”

Scenic design of a play
John Lee Beatty, “Other Desert Cities”
Daniel Ostling, “Clybourne Park”
Mark Thompson, “One Man, Two Guvnors”
Donyale Werle, “Peter and the Starcatcher”

Scenic design of a musical
Bob Crowley, “Once”
Rob Howell and Jon Driscoll, “Ghost the Musical”
Tobin Ost and Sven Ortel, “Newsies”
George Tsypin, “Spider-Man Turn Off The Dark”

Costume design of a play
William Ivey Long, “Don’t Dress for Dinner”
Paul Tazewell, ”A Streetcar Named Desire”
Mark Thompson, “One Man, Two Guvnors”
Paloma Young, “Peter and the Starcatcher”

Costume design of a musical
Gregg Barnes, “Follies”
ESosa, “The Gershwins’ Porgy and Bess”
Eiko Ishioka, “Spider-Man Turn Off The Dark”
Martin Pakledinaz, “Nice Work If You Can Get It”

Lighting design of a play
Jeff Croiter, “Peter and the Starcatcher”
Peter Kaczorowski, “The Road to Mecca”
Brian MacDevitt, “Arthur Miller’s Death of a Salesman”
Kenneth Posner, “Other Desert Cities”

Lighting design of a musical
Christopher Akerlind, “The Gershwins’ Porgy and Bess”
Natasha Katz, “Follies”
Natasha Katz, “Once”
Hugh Vanstone, “Ghost the Musical”

Sound design of a play
Paul Arditti, “One Man, Two Guvnors”
Scott Lehrer, “Arthur Miller’s Death of a Salesman”
Gareth Owen, “End of the Rainbow”
Darron L. West, “Peter and the Starcatcher”

 

Are you going to be in any Tony pools this year? I sure am. I’m pulling for Leap of Faith and Phillip Boykin. In their categories. I’ve seen them; I’ve met them; They’re brilliant.

I’m going to use my unique position as a blogger (and specifically a theatre blogger) to tell you a little bit about this ridiculously cool show that’s opening up tomorrow night on Broadway.

Leap of Faith has been in the works for years now. It’s been work-shopped and performed across the country with many different leading ladies and even different story lines and dance numbers. Tomorrow is the culmination of the journey that this show has taken and I must tell you that this one is a must see.

Raul Esparza alone is reason enough to see this show. As a veteran of the stage he’s an absolute pleasure to watch. His dance moves are bang on and his voice is better than I’ve ever heard it. Honestly, the man is sex on legs in this production.

The cast around him is absolutely phenomenal too. Nightingale’s sister, the leader of the gospel choir, and the town’s sheriff all have amazing stage presence. The gospel choir is so tightly choreographed and their singing is so joyous you’re going to want to jump on your seat and clap along…and guess what? That’s encouraged. The show is framed around the idea that the theatre goers are attending the third night of a revival. The story we are seeing is what happened in the past and Jonas Nightingale (Esparza) is narrating.

I don’t want to give away too much but I will tell you that you’re going to leave humming the songs, tapping your feet, and wondering when you can come back. I’m telling you, give Leap of Faith a fighting chance and you won’t be disappointed.

Get ready to fall under the spell of Jonas Nightingale. With
his troupe of singers, he’s journeyed far and wide, rattling
the rafters, conning the crowds and trading miracles for
money. And tonight’s a special night: He’s sharing the story
of his very own redemption. Don’t miss his roof-raising tale
about the time he came face to face with a strong-willed
woman and a spirited boy who put his grift–and his own
faith–to the test.

Four-time Tony Award® nominee Raúl Esparza headlines
this inspired new musical from a remarkable team: eight-
time Oscar-winning composer Alan Menken; bookwriters
Janus Cercone and Tony®-winner Warren Leight (Side Man);
lyricist Glenn Slater; choreographer Sergio Trujillo (Jersey
Boys); and Christopher Ashley, director of the Tony®-winning
Best Musical Memphis.