Oscar E Moore

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Jersey Boys Special – The Cloning of Frankie Valli

July 1st, 2009 by Oscar E Moore
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As the phenomenal, multi-award winning hit musical Jersey Boys, directed by Des McAnuff – based on the true story of Frankie Valli and the Four Seasons’ rise to fame (and fortune – the New York production alone has consistently been one of the top ten in gross receipts – approximately a million plus a week – do the math!) continues its fourth sold out year on Broadway and has productions running in Chicago, Las Vegas, London, Toronto, not to mention a National Tour and the soon to open production in Melbourne – July 4th 2009 I wondered – What makes Jersey Boys so special?  Why is it so hugely successful?   How can it be that there are so many excellent sound alike Frankie Vallis when once upon a time there was only one?  The original Frankie Valli.  How many Frankie Vallis can be cloned to meet the demand of casting such a difficult role in the many worldwide productions?

In November 2005, Jersey Boys opened on Broadway.  It caused a sensation.  It took in over $400,000 at the box office the day after it opened.  It has never slowed down.  In 2006 it won the Tony Award for Best Musical.  Best Actor – John Lloyd Young as Frankie Valli (who will be appearing with Lainie Kazan in the soon to be released comedy Oy Vey, My Son is Gay).  Best Featured Actor – Christian Hoff as Tommy DeVito (who was to star in Pal Joey until he was injured).  And Best Lighting – Howell Binkley.

Not one of the leads was well known.  Usually a big budget Broadway musical needs a star to sell tickets.  Not Jersey Boys.  Not one of the Four Seasons was a sure fire box office name.  In fact, Franki Valli (John Lloyd Young), Tommy DeVito (Christian Hoff), Nick Massi (J. Robert Spencer – who is now in the powerful new musical Next to Normal on Broadway) and Bob Gaudio (Daniel Reichard) were relatively unknown.  And yet the show continues on its merry way to the bank without a star, receiving nightly standing ovations for its roller coaster ride of a story and its songs.

Speaking with Richard Hester, Production Supervisor, I was curious if they had approached any well known stars to appear in the original production.  No.  The show itself was the star.  The producer, Dodger Productions, held open call auditions to find just the right person, the best person with just the right skills that were so specific for the part of Franki.  John Lloyd Young was chosen.  The rest is history.

Everyone was enthusiastic from the start.  It seems as if fate brought just the right people together at the right time.  And what about some of the other characters in the show?  Did they need permission from say, Joe Pesci?

Joe was very eager to have this story told.  The true story that included sex, drugs and the mob.  Everyone is still friends and there were no gunshots ever fired at anyone.  The writers smartly veered away from anything too dangerous.  Some things just couldn’t be said.

Deven May who is playing Tommy DeVito in Las Vegas has this to say – “The shows success is in no small part due to the spirit behind the show, the love and the care that all of our creative and technical staff provide to we actors.  However the story is what is key, that is part and parcel with the music, the real guts of the show.  Rick Elice and Marshall Brickman were able to take 30 years of story and turn it into two hours of riveting theater.”

Note:  This was Marshall Brickman’s first Broadway show at age 62 after freelancing as writer for the Johnny Carson Show among others and receiving the Academy Award along with Woody Allen for Annie Hall.  He and Rick had this idea about maybe doing something like Mama Mia! But not like Mama Mia!  They thought a show about Valli and the Four Seasons would work but unfortunately the many producers that they spoke with would have nothing to do with the project – thinking that no one cared about Franki Valli any more.  They met with Gaudio and Valli at Sardi’s and if they could tell the real story they would do it.  Finally Michael David at Dodger Productions came on board and wanted DesMcAnuff as director.  According to Marshall Brickman it was Des’ idea to divide Jersey Boys into four seasons.  Kismet!

Back to Deven – “Bob, Frankie, Tommy and Joe Long, have been great tutors for we Jersey Boys.  They have been very hands on and very willing to tell us a story or two when we ask them.  The choreography by Sergio (Trujillo) gives the piece a sense of urgency at times, celebration, and as the Four Seasons never really danced while singing, a great momentum.  Des’s direction gave us all the pallet of infinite colors to work from, his steady hand has been a guide that I could not have done without.  All that being said, the story at its core takes the audience into the realm of the untold.  This story was kept out of the papers and magazines at the time.  So now we all get to hear the truth.  Let’s call it reality theater.”

As to the songs (Bob Gaudio and Bob Crewe) which include Sherry, Big Girls Don’t Cry, Walk Like a Man, Rag Doll, Can’t Take My Eyes Off of You and a slew of other all time popular hits – they speak or rather sing for themselves.  They sold over 175 million records worldwide before any of them reached the age of thirty.

So how do they find all of the new Franki Vallis with the remarkable tenor/falsetto range required to replicate the original Valli sound?  To do so, the producers have created “Frankie Camp”.   Actually, said Richard Hester, Frankie Camp was created out of necessity.  The show was such a huge hit that there was a need for more and more Frankis.

According to Steve Canyon Kennedy who won the Drama Desk Award for Outstanding Sound Design for Jersey Boys it’s not easy to find an actor (let alone the many that are needed) with the distinctive high falsetto range that is needed to sing the 27 songs and to be able to go from the 1950’s to the 1990’s. And to dance.  It’s a marathon role.

At the week long, Manhattan “training camp” where some of the  20 something hopefuls are coached before their final callback to audition for the director, the entire creative team and oft times the real Frankie Valli, it’s a more relaxed atmosphere than the typical “Thank you, next!” usual casting process.  More relaxed?  Having to sing in front of the man himself?  What Valli could and can still do naturally with his voice these young guys are trained to do technically by vocal coach Katie Agresta –

“It is so much fun to prepare these men to do this extremely demanding role and it is very rewarding as a teacher to know that I am able to help them accomplish this.  I am very proud that I was able to work with this show from the beginning in New York City and was able to train John Lloyd Young and help him as he became the Tony Winner for this role.  It is a very daunting task for these performers to sing like Frankie Valli and dance and act.”

Frankie Camp obviously works.  Richard Hester tells me that there are presently nine hopefuls going through the process.  And so Jersey Boys will continue to amaze audiences worldwide.

The original Grammy Award winning cast album has returned to #1 on the Billboard Top Cast Album chart as of 4/4/09 after slipping to the number two slot the previous week.  It’s the 167th consecutive week that the RAA Certified Gold record has been on the chart.  Jersey Boys shows no signs of slowing down.   It was announced most recently that ticket resale website StubHub has paired with the hit musical to establish StubHub as the show-approved secondary sales outlet for North American productions of the tuner.

And what of the original Frankie Valli?  At age 74, in his sixth decade of stardom, he continues to do live concerts and has just released – Romancing the 60’s – his first studio recording in fifteen years, produced by Bob Gaudio.

He’s come a long way from cutting hair and the tough streets of Newark.  As the character of Tommy DeVito says, “If you’re from my neighborhood, you got three ways out.  You could join the Army.  You could get mobbed up.  Or, you could become a star.” Frankie Valli sure made the right decision.

www.frankievallifourseasons.com www.jerseyboysinfo.com/broadway

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Anthony Cochran sings at Metropolitan Room

June 30th, 2009 by Oscar E Moore
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Anthony Cochran is probably one of the unlikeliest looking guys to be singing a mix of gospel, country/western, blues and Dolly Parton that you are ever to come across.  Slightly bearded, black shirt sleeves rolled up and wearing a vest he comes across as that real nice guy next door.  He has a pleasantness and calmness about him that is contagious.  A confiding, soft spoken husky voice that transforms a lyric into a thing of beauty as his voice strengthens and then lifts into a clear and easy falsetto.   I guess you could say I was impressed.

This is his fourth gig at the Metropolitan Room and you can be sure that he’ll be back real soon.  Growing up in the Blue Ridge Mountains of North Carolina and having a Granny who inspired him to do what he thought best and forget what anyone has to say about it has instilled in him a desire to follow his dream of singing with a glass of port at hand to soothe the vocal cords.   Sure does work.

He spends countless hours on iTunes searching for the perfect song.  With the perfect lyric.  Listening to dozens of renditions and then coming up with his own.  He is after all a story teller who just so happens to sing – simply and beautifully.  No fancy back up singers.  Just his terrific pianist Daryl Kojak and guitarist Daniel A Weiss.  When some reinforcements are necessary the wonderful Melissa Cross helps with some very subtle vocals.

There is an underlying, pensive sadness to his performance.  As well as some self deprecating humor.  And some positive affirmations.  The hours he’s spent selecting the songs pays off in spades.  It’s a most original set and they are charmingly performed in Anthony Cochran’s understated style.  Not that he can’t get down and dirty with a rockin’ “Rock Me Baby” – he can and he does.  The audience really went along with him whether he was singing a pulsating “Wayfarin Stranger” or a wistful “Someone To Watch Over Me” or the standout “I Shall Be Released”. 

He recently helped decorate Dolly Parton’s temporary New York apartment for her stint on Broadway for her musical Nine To Five – which by the way is wonderful.   So he sang, as an encore, “Little Sparrow”.   Although he worked for weeks on her digs he never met her and I had so hoped that she would be standing in the wings to come out on stage to applaud his success.  Maybe she’ll get to read this and another one of Anthony Cochran’s dreams can come true.

For updates please visit www.anthonycochranmusic.com

www.metropolitanroom.com

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STEVEN BRINBERG as BARBRA STREISAND as FANNY BRICE in FUNNY GIRL

June 26th, 2009 by Oscar E Moore
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On July 11 2009 in a one-night-only benefit production at the Paramount Theatre on the Boadwalk in Asbury Park, New Jersey Steven Brinberg will be performing the starring role in Funny Girl.  A role that catapulted a young Barbra Streisand to stardom with her portrayal of Fanny Brice.  This should be a remarkable evening.  Tickets $25.00 – $100.00.

www.RevisionTheatre.org

732 455 3059

Also appearing in the Jule Styne-Bob Merrill musical will be Loni Ackerman, Harvey Evans, Grant Norman,Gene Castle, Bill Coyne, Ivy Austin, Nicola Blackman and Laura Jordan.

The creative team includes Dawn von Suskil (scenic design), Brian Tovar (lighting design) and David Withrow (costume design).  Connor Gallagher will direct and choreograph.  Musical diector is John Fischer.

Lainie Kazan, who was Barbra Streisand’s understudy in the original production will be there to start the celebration and is sure to share some backstage gossip as well as sing  “The Music That Makes Me Dance”.

ReVision Theatre is a non-profit professional regional theatre company dedicated to “producing invigorating theatre with a fresh new perspective reaching the diverse community of Asbury Park and Monmouth County.”

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All Things Norman for Fans of THE NORMAN CONQUESTS

June 26th, 2009 by Oscar E Moore
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Can’t get enough of that irascible, lovable rascal Norman and his friends from the other side of the pond?  Here’s a quick fix.  There’s a brand new website where you can indulge in everything Norman.  It’s beautifully designed and lots of fun.

www.NormanFans.com

If you haven’t seen this incredible cast in one of the funniest shows on Broadway get thee hence immediately.

Here is a reprint of my original review posted on Talk Entertainment.com.

You know immediately that Norman is a handful as he arrives for a weekend in the country in the heat of July looking like some disheveled sheep dog dressed in a London Fog rain coat, woolen hat and carrying a small suitcase espousing loud and clear that nobody loves him.

What we don’t know and are about to find out is that he is one big lecherous lothario who despite being married for five years to myopic, workaholic Ruth, has arranged to slip away with Ruth’s sister Annie (as a vacation from caring for her ill, difficult and never seen mother) who has been seeing Tom, a very shy vet, who seems to care for his cat more than Annie.  But Norman also has his eyes on tower of strength Sarah who is married to Reg (brother of Ruth and Annie – who is worried about getting varicose veins and chapped hands).  In a wild drunken spree on the lawn where the action of this particular play, one part of a three part trilogy takes place – Norman, in a state of undress, woos Reg.  It is mind boggling hysterical.

Playwright Alan Ayckbourn is a master of the intricate plot and complicated character relationships that will have you laughing out loud one minute and then contemplating the seriousness of it all the next.  There are three full length interlinked plays – Table Manners, Living Together and Round and Round the Garden.  You can see them in any order.  You do not have to see all three but after seeing one you can be sure that you’ll want to see the others.  They even have a special deal to accommodate such desires.  You will be hooked on these characters and want to know what happens to them over this long, illuminating and catastrophic weekend.

In fact after seeing Garden I made sure to see the other two installments.  Is is quite the theatrical event of the season.  An incredible feat of theatrical engineering.  Not since the original PBS series Brideshead Revisited have I been so intrigued to the point of becoming addicted to a group of English characters.

The production has been brought over from London with its original Old Vic cast and directed with sardonic glee and finesse by Matthew Warchus – in the round – at Circle in the Square Theatre for a limited engagement of 16 weeks.  It is not to be missed.

Stephen Mangan is a perfectly outrageous, strangely engaging Norman that will have everyone falling for him despite his full of self pitying behavior.  Or is it just an act to gain sympathy in order to seduce all who would be seduced?  He’s an incorrigible cad.  The catalyst that creates chaos and mayhem wherever he is.  Annie (a frumpish but endearing Jessica Hynes) wants to go with him but then changes her mind – waiting for shy Tom (Ben Miles) to propose.  When he does it is heartbreakingly hysterical.  Fussy Reg (Paul Ritter) and his overbearing wife Sarah (Amanda Root) both being led on by Norman are always at odds with one another.  Norman’s stalwart wife Ruth (Amelia Bullmore) knows exactly what Norman is but stays with him nonetheless as she is fond of him.  For whatever reasons.

Norman is the primitive, primal man that no matter what he does he gets away with – because he is who he is and we love and hate him for it.  What an incredible cast.  Combing both physical humor and the underlying pathos for their characters is an incredible feat and experience.  Their foibles, their fears, their misunderstandings and their ultimate love for one another bring on the laughs but also give us much to ponder.

They will be receiving a special Outstanding Ensemble Performance Award from the Outer Critics Circle at the annual awards ceremony on May 21st at Sardi’s Restaurant.

I think I will truly miss the lot of them.

 www.NormanConquestsOnBroadway.com

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Extra! Extra! New York Has A New Newspaper!

June 24th, 2009 by Oscar E Moore
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THE TIMES SQUARE CHRONICLE

PUBLISHES FIRST VOLUME

WEDNESDAY, JUNE 24th

Publisher, Suzanna Bowling, has put a new newspaper on the streets of New York today, Wednesday, June 24th.
 
The bi-monthly periodical will report on all things Times Square.
 
From theatres, to restaurants, to businesses, to hotels, to gift shops, to art galleries and to answers to all questions, this new periodical is one-stop-shopping for anyone who needs anything in the several miles that cover the world’s most famous crossroads.
 
THE TIMES SQUARE CHRONICLE services, reports on and covers
the community that includes three zip codes – 10018, 10019 and 10036.  
 
With the highest concentration of tourism in the US, Times Square welcomes 47,000,000 visitors annually.   It is an area where local businesses are in a constant state of flux, and residents can easily loose touch with their surroundings.
 
THE TIMES SQUARE CHRONICLE reaches the dual populations of Times Square.  
Locals will find news on community happenings and issues affecting their neighborhood,
while tourists and residents can benefit from discounts on theatre, restaurants, and hotels;
as
THE TIMES SQUARE CHRONICLE requires that all ads offer some form of discount for the reader.  
 
THE TIMES SQUARE CHRONICLE’S mission is to shine a spotlight on the world’s most successful neighborhood.   It is a compass that always leads the consumer in the right direction.
 
The first 15,000 issues of Vol. 1 No.1 will be distributed in Times Square
as well as being available in the Lobbies of selected Times Square business establishments.
ABOUT SUZANNA BOWLING
Founder / Co-Owner / Publisher

Prior to founding and publishing
THE TIMES SQUARE CHRONICLE, Suzanna Bowling worked as a producer, writer, performer and actress in the film, TV, theatre, music and advertising industries.  
She currently has a movie and a Television Series in development with Arthur Herzog.  
She was an on-staff writer for The Upper East Side Informer before signing on as a theatre reviewer for Philip Anshultz’s The Examiner and as a writer/consultant in the areas of Technology, Woman’s Issues, Political Causes, Charities and Entrepreneurship
for several national magazines including Real Simple and Self.  
Her widely read column www.XploreFacts.com  features articles on Food, Fashion, Arts, Clubs, the Social Scene as well as Social Causes.   
She consults and assists non-profit charitable organizations in their event planning and fund raising.

www.TimesSquareChronicle.com

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The Amish Project EXTENDS!

June 24th, 2009 by Oscar E Moore
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DUE TO POPULAR DEMAND

RATTLESTICK PLAYWRIGHTS THEATER

ANNOUNCES TWO-WEEK EXTENSION

FOR WORLD PREMIERE

OF

“T H E   A M I S H   P R O J E C T”

WRITTEN AND PERFORMED BY JESSICA DICKEY

DIRECTED BY SARAH CAMERON SUNDE

 CRITICALLY ACCLAIMED PRODUCTION

TO PLAY THROUGH JULY 12, 2009

 NEW PERFORMANCE SCHEDULE

New York, NY (June 24, 2009) – Rattlestick Playwrights Theater has announced a two-week extension (through July 12) of The Amish Project, “a remarkable exploration of loss and forgiveness beautifully written and performed by Jessica Dickey (The New York Times, 6/19/09), directed by Sarah Cameron Sunde. Performances began on Thursday, June 4thOpening night was Wednesday, June 10th.  The show, originally scheduled to close on June 28th, will now run through Sunday, July 12th.

A fictional exploration of true events, The Amish Project is the story of a schoolhouse shooting in an Amish community, and the path of forgiveness and compassion forged in its wake. Imbued with poetry and humor, The Amish Project investigates a community grappling with loss and faith. The show was a sensation in the 2008 New York International Fringe Festival. It was workshopped at the Cherry Lane Theatre and is being presented in association with Nora Productions.  The Amish Project is represented by Morgan Jenness at Abrams Artists Agency

The creative team is comprised of Lauren Helpern (sets & costumes), Nicole Pearce (lights) and Jill BC DuBoff (sound). Kelly Shaffer is Production Stage Manager. 

The Amish Project will have the following performance schedule for the extension:

Monday, June 29 @ 8pm

Tuesday, June 30 @ 8pm

Wednesday, July 1 @ 8pm

Thursday, July 2 @ 8pm

Friday, July 3 @ 8pm

Saturday, July 4: NO SHOW

Sunday, July 5 @ 3pm

Monday, July 6 @ 8pm

Tuesday, July 7: NO SHOW

Wednesday, July 8 @ 8pm

Thursday, July 9 @ 8pm

Friday, July 10 @ 8pm

Saturday, July 11 @ 2pm

Saturday, July 11 @ 8pm

Sunday, July 12 @ 3pm

 

Tickets are $35.00 and are available through SmartTix (212-868-4444) or www.smarttix.com. Rattlestick Playwrights Theater is located at 224 Waverly Place (off Seventh Avenue South – between West 11th & Perry Streets).

www.rattlestick.org   

Here is the link to my original review http://www.talkentertainment.com/TalkBack.aspx?art=11454

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The King & I at Lyric Stage opens tonight!

June 19th, 2009 by Oscar E Moore
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View THE KING & I Video and Order Your Tickets Today!
Take a look at this 90 second video to see what Lyric Stage has in store for our production of THE KING & I. Beautiful music, dazzling sets & costumes and magnificent performances from a cast of 50 and orchestra of 35 musicians. Click through to the LyricStage.org home page to view the video.

http://www.lyricstage.org

 

Premiere of Newly Restored Original OrchestrationsFollowing last season’s triumph of Rodgers & Hammerstein’s CAROUSEL, Lyric Stage Founding Producer Steven Jones has reunited director Cheryl Denson and music director Jay Dias for the world premiere of the newly restored THE KING AND I, featuring a 35-piece orchestra playing the original Robert Russell Bennett orchestrations. Performances are June 19, 20, 25, 26 and 27 @ 8:00 PM and June 21 & 28 @ 2:30 PM. Performances are in the Irving Arts Center’s Carpenter Performance Hall, 3333 N. Mac Arthur Blvd,. Irving, Texas. Tickets, priced from $20-$50, are available online @ www.lyricstage.org or by calling 972-252-2787.

Bruce Pomahac, Director of Music for The Rodgers & Hammerstein Organization says, “THE KING AND I is one of the most exciting and important restorations R & H has ever undertaken. For four years we’ve been tracking down and examining the original Broadway scripts, scores and instrumental parts in order to put back into the show pieces of the puzzle that have been missing for over fifty years. To that effect, we are indeed fortunate to once again be joining forces with producer, Steven Jones, director, Cheryl Denson and musical director Jay Dias. A restoration of a Broadway score isn’t complete until it is performed, and Lyric Stage’s June production will be the final step in polishing and perfecting this new edition of one of Rodgers & Hammerstein’s greatest musicals. When the curtain rises in Irving in June, Lyric Stage’s audiences will be seeing and hearing THE KING AND I as it has not been seen and heard since it opened on Broadway in 1951.”

“The National Endowment for the Arts has awarded Lyric Stage a grant enabling us to assemble a full 35-piece orchestra so Robert Russell Bennett’s orchestrations can be heard as they were originally written,” says Lyric Stage Founding Producer Steven Jones. “We have a tremendous cast, headed by Luann Aronson (Christine in Broadway’s The Phantom of the Opera and the original Betty Schaeffer in Andrew Lloyd Webber’s Sunset Boulevard at his Sydmonton Festival) as Mrs. Anna and Joe Nemmers, one of North Texas’ finest actors, as the King.” Ya Han Chang is Lady Thiang, Jung Eun Kim is Tup Tim and Adrian Li Donni is Lun Tha. THE KING AND I ensemble includes Brian Mathis, Greg Dulcie, Chamblee Ferguson, Jack VanGorden, Bryse Burris, Edward Andrion, Ben Giddings, Stephen Langton, Thomas Nanthavongdouangsy, David Lee Staggers, Sergio Antonio Garcia, Souk Burrowns, Jason Mayfield, Robert Patrick Paterno, Addison Faith Reed, Kelly McCain, Katherine Gentsch, Molly Welch, Amanda Brown, Angela Moore, Mary McElree, Amy Wells, Erin Nishimura, Jackie Lengfelder, Kathryn Frady, Lauren Godfrey, Pamela Langton, Hani Park, Lucia Welch, Vernecia Vernon, Rachel Legaspi, Kyle Hughes, Mei Li West, Tyler Rouse, Lana Staggers, Adrienne Morales, Chet Monday, Lilly Monday, Christie Fong, Ashley Fong, Alison Fong, Anthony Carrillo and Ashton Miramontes. Choreography is by Ann Nieman.

For their first musical based on a true story, Rodgers & Hammerstein turned to the popular novel Anna and the King of Siam by Margaret Landon, which was based on the memoirs of Anna Leonowens, a 19th century Englishwoman who became governess to the children of the King of Siam. Stage star Gertrude Lawrence brought the project to the team with the desire to star as Mrs. Anna.

Casting Gertrude Lawrence as Anna was the easy part. Finding a King was another story. Noel Coward, Rex Harrison and Alfred Drake all turned the role down. Mary Martin recommended Yul Brynner, a young dancer that she had worked with in Lute Song, for the role. At his audition, Brynner walked out onto the stage of the St. James Theatre, sat cross-legged on the floor and, in Richard Rodgers’ words, “plunked one whacking chord on his guitar and began to howl in a strange language that no one could understand…We had our king.”

THE KING AND I opened at Broadway’s St. James Theater on March 29, 1951, and ran for three years (1,246 performances). It won five Tony Awards, including Best Musical, and honors for both of its stars. Ultimately, the musical that was conceived by one star, and made a star out of another, has transcended its star vehicle status to live on as a classic in its own right. Oscar Hammerstein II wrote to his partner, Richard Rodgers in 1956: “I am convinced that this is our best work. I have a kind of humble feeling of not knowing how we did it. It has more wisdom as well as heart than any other musical play by anybody. It will remain ‘modern’ long after any of our other plays.”

Performances of THE KING AND I are June 19, 20, 25, 26 and 27 @ 8:00 PM and June 21 & 28 @ 2:30 PM. Performances are in the Irving Arts Center’s Carpenter Performance Hall, 3333 N. Mac Arthur Blvd,. Irving, Texas. For tickets, visit www.lyricstage.org or call 972-252-2787.

http://www.lyricstage.org/nowplaying.shtml

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HAIR NEWS – JUNE 23rd!

June 18th, 2009 by Oscar E Moore
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” H A I R ” TO CELEBRATE RELEASE

OF NEW BROADWAY CAST RECORDING

WITH ON STAGE “BE IN”

 

FANS ARE INVITED ON STAGE TO MEET

“THE TRIBE” & SHOW’S ALL-STAR BAND

 AND GET CDs AUTOGRAPHED

FOLLOWING EVENING PERFORMANCE ON TUESDAY NIGHT (JUNE 23)

New York, NY (6/18/2009) To celebrate the release of the new Broadway Cast Recording of the hit musical HAIR: The American Tribal Love-Rock Musical, the show will host a “be in” onstage at the Al Hirschfeld Theatre (302 West 45th Street, NYC) immediately following the 7:00 PM performance on Tuesday, June 23 (starting at approximately 9:45 PM).   Fans will be invited to have their CDs autographed by “the tribe” and the show’s all-star band.  That date will also mark the worldwide, in-store release date of the new Broadway Cast Recording, which features never-before-released tracks from the show’s iconic score.  The Ghostlight Records album, featuring the 37-member cast and band, was recorded on Monday, April 6th at New York City’s Legacy Studios and is produced by Kurt Deutsch and Joel Moss with Bill Rosenfield acting as Executive Producer.

While the onstage signing is open to the public, ticketholders for that evening’s performance will have preferred access.  Non-ticketholders can begin lining up outside the Al Hirschfeld Theatre beginning at 7:00 PM.  CD’s will be available for purchase at the Al Hirschfeld Theatre that night.  Due to time constraints, only CDs can be signed.

One of the most iconic of Broadway scores, HAIR features more modern “hit” songs than any show in history: “Aquarius,” “Let The Sun Shine In,” “Easy To Be Hard,” “Good Morning Starshine,” and the title song became chart-topping hits, Grammy winners, Gold or Platinum records, or all of the above.  The original Broadway cast recording of HAIR remains one of greatest selling pop albums of all time and among the most beloved in music history.

The new Broadway production of HAIR is the winner of the 2009 Tony Award for Best Revival of a Musical. The Drama Desk, Drama League, and Outer Critics Circle also recently honored the production with their 2009 award for Outstanding Revival of a Musical. 

www.HairBroadway.com

www.sh-k-boom.com

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Marilyn Maye Celebrates Johnny Mercer at the Metropolitan Room

June 14th, 2009 by Oscar E Moore
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“Mercer the Maye Way” has just opened for a nine performance run at New York’s Metropolitan Room through June 21st at 7pm.  Here is the number to call for tickets, if they are not already sold out – as well they should be – 212 206 0440 or visit www.metropolitanroom.com.   But be quick if you want to see one of the most exciting cabaret shows by one of the foremost entertainers in the business – the incredibly classy, glamorous and glorious Marilyn Maye – a woman who has been around the block a couple of times but still has the power to enthrall an audience with her sultry delivery and humor – electrifying the room with her charm and vocal prowess – bringing on thunderous applause one minute and complete silence the next.  Marilyn Maye should be designated a national treasure.

She has recently won her first MAC Award – Celebrity of the Year, so that’s a good start to National Treasure status.  Marilyn Maye has a way with a lyric that is legendary and so it is not surprising that this new show is a tribute to one of the greatest lyricists ever – Johnny Mercer – a good friend and fellow martini drinker.  The sheer number (thirty five in all) of incredible, memorable and beautiful hit songs that he wrote and that she sings with such joy and reverence is enough for you to want to get on bended knee and praise them both.

She is supported by a three terrific musicians.  Tedd Firth on piano, Jim Eklof (her drummer for more than 40 years) and Tom Hubbard on bass.  A better combo you will not find anywhere.

Standing beside the piano, looking fabulous, not a glass of water in sight and discarding her on stage stool Marilyn Maye sang her heart and soul out for almost two hours.  It was an amazing performance.  By an amazing woman.  Adorable.  Lovable.  It was her “let’s just have a party” mood that captured us all from the start.  It was especially interesting watching Anne Hampton Calloway watching Marilyn Maye and being mesmerized.  As we all were.

“I’m Old Fashioned” “Out of This World” “Charade” a beautifully controlled “Skylark” a revengeful “I Wanna Be Around”  “Come Rain or Come Shine” “Moon River” the very amusing “Pardon My Southern Accent” and “Arthur Murray Taught Me Dancing In a Hurry” (that she sang in Topeka Kansas when she was 12) and the knockout “Blues in the Night” and my all time favorite “Anyplace I Hang My Hat is home” are just a few of the songs that make up “Mercer the Maye Way”.

There is only one word to describe Marilyn Maye.  Perfection.

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A Deadly Production of The Funeral Director’s Wife

June 13th, 2009 by Oscar E Moore
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In a decidedly “bare bones” production of The Funeral Director’s Wife  – written by Beth Gilleland and Kathleen Douglass now running at Richmond Shepard Theatre – 309 East 26th Street at 2nd Avenue – through June 27th a cast of four perform before an audience seated at right angles to the playing area.  There are four silver chairs, a table, a telephone, a lonely potted plant, and a black curtain where two of the actors make costume changes so that we know they are portraying different folk in the small town in Iowa where the narrator of this epic piece of drudgery, the funeral director’s wife, informs us of the difficulties that she has experienced being married to the town’s sole means of burial – where “everyone’s dying to meet” the young, handsome and saintly guy.

After fifteen minutes of this ninety minute dead end production I completely lost interest.  Was it the mugging of Lisa Margolin who has the distinction of playing “the women” one of which is a cancer victim with nursing child choosing a coffin and a nurse who has her patient (Sam Platizky) inform her that his “penis has died” and then (figuratively) exposing his penis to her saying that “today is the viewing”?  It’s one of the many lame “funeral convention” jokes that abound here.  As one character says “there’s fun in funerals.”  Could it have been the addition of the many a cappella songs – Amazing Grace, Rock of Ages, Yankee Doodle Dandy, Nobody Knows the Trouble I Have (nice harmonies)?  Actually, they were good.  Intrusive but they managed to keep me awake.  Poor Sam Platizky.  He has the unfortunate task of delivering all the many not-very-funny jokes/ anecdotes.  I have to say he does so with great courage and conviction.

As the wife, Anais Alexandra, has a pleasant speaking voice when she isn’t tripping over her lines.  Paul Geiger, as her husband, does best – with a fine demeanor befitting a funeral director – but it’s a bland part in what is not a play.  It’s not a revue.  It’s a hodge podge of stories with some music and mime.  Speaking of which.  The director, Richmond Sheppard, teaches mime.  But the cast is obviously oblivious to his teachings.

Did you hear the one about the guy who had tickets for The Funeral Director’s Wife but died on the way to the theatre?   Boy, was he one lucky stiff! Ba Da Boom!  May The Funeral Director’s Wife rest in peace.  Amen.

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