BroadwayWorld.com Blogs Stories

BWW Blog: DROWSY CHAPERONE's Paige Faure - Traveling with Baby

Mon, 20 May 2013 09:19:00 PST

Well, after 14 hours, 4 poopy diapers, 3 overpriced water bottles, 2 Toblerones and 1 mid-flight meltdown, Henry and I made it to Houston in one piece. Our connecting flight to Charlotte was cancelled creating an unexpectedly long day but we prevailed. Whoever said traveling with an infant alone was inexplicably hard was...actually very accurate. If and when everything goes exactly according to plan, life is good - but inevitably, something is left behind, someone gets fussy and hungry at an inopportune time (parent or child) or your plane fans get burnt out and they have to get rid of it leaving you and 125 others to rush to the rebooking agents desk like an actor to a dessert plate at a opening night party. (And that's fast...Or is that just me?)

Please understand that I have an angel of a little boy who is only upset when its something legitimate like that time when I laughed at him because he startled himself with his own fart. But these were trying times. you'd think four years of National tours would arm one with the wisdom and know-how for any/all things that could happen - alas, my suitcase still looks like 3 month-old Henry packed it, and I still forget to wear socks going through security. Gross. In any case, when with child in transit, you do get unsolicited advice, encouragement and stories from other parents who either have grown children (proof you will survive) or are traveling without them for today (with a big fat grin on their face). I had one father ask if I needed help getting a bag down, followed by his admiration of his own baby-momma who apparently travels via airplane frequently: "My wife successfully takes our three kids all over the country on her own all the time! I don't know how she does it! But you look like you are doing great..." So what you're saying is, "Don't complain til you have triplets and are flying to Alaska and back eight times." Got it.

Now, I know this issue of the blog was supposed to be about Henry's first Monty Python themed giggle-fest. But in light of this pastSunday being Mothers Day and getting a child thru the aforementioned day alive, I feel I must first turn attention to a subject very close to my heart right now: working Moms. And since this is Broadwayworld.com, specifically, working Theater Moms. Onstage, backstage, dancing, singing, acrobatting - Let me send this love letter to you : for spending all your 10 minute breaks in the bathroom pumping, for dancing the hardest you ever have while sleeping the least you ever have, for showing up to rehearsal with spilled breastmilk all down your Lululemons and NOT crying over it, I applaud you. For the stories that continue to roll in, like getting back into a Broadway show by four weeks postpartum, or having your 4-year old daughter finally realize that what you do is so cool, or belting so hard your boob milk sprays all over your costumes, I salute you. I am so inspired by the families being cultivated in this business right now...and how endlessly amusing it is to be a glamorous showgirl or brilliant director or the most reliable quick-change dresser by profession and then come home and go back to work as Mum extraordinaire, covered in pureed peas with still enough energy to carry that sweet babe on your hip. It's a cool thing. If I could bake you all a cake, I would...also because we all need the extra calories in order to accomplish the aforementioned activities. (Did I mention I love dessert? Where's the rest of those Toblerones...)

Next up (for real this time): Opening night of Spamalot and that "happy after-show buzz"...and no, I'm not talking about the amount of alcohol consumed post-curtain.

Peace and joy,

BWW Blog: Kelly McCormick of PTC's LES MISERABLES - Great Junk Food!

Thu, 16 May 2013 08:13:59 PST

When people ask me why I love Salt Lake City as much as I do, I usually reply, "Amazing outdoor life, a thriving creative community, and great junk food." Emphasis on the latter. For the record, I am not including in this category all of the amazing home-baked goodies that our very own Mary Driggs brings in on what seems like a weekly basis (and thank goodness for the hiking in the Wasatch Mountains to burn off all those cupcakes!). Only here have I had things like deep-fried scones (!), HawaiIan Haystack, Apple Beer, and Hires Big H. If you grew up in the Midwest, like I did, you probably know Hires Root Beer - it was my favorite pop (Yes, that's what we called it. Laugh away), available at any grocery store. How thrilling to know that their flagship restaurant, an old-fashioned burger joint where everything is made from scratch daily, is right here in Utah!

A few evenings ago, after a show, a bunch of PTC Les Mizzers went down to Hires for some late-night burgers and fries . . . and ended up running into Bryn Terfel! You know, as you do. He was there with his rep from Deutsche Grammophone and the President of the Mormon Tabernacle Choir. Clearly, someone had gotten the memo about SLC's great junk food.

It turns out that Mr Terfel was in town to record a new album with the Mormon Tabernacle Choir (or "MoTab," as it's called by the locals). He would also be singing three songs from this album during the special Mother's Day live broadcast of "Music and the Spoken Word," the world's longest continuing network broadcast (the first was in 1929!). Bryn (since we're on a first-name basis now) and his entourage asked if we'd like to be their special guests for the Sunday program. Of course the answer was a resounding, "YES!"

We arrived at 8:45 Sunday morning to find that three pews had been reserved for our group. Before the broadcast began, we, among other special guests, were announced and asked to stand and be recognized by the audience. As a side note, Mitt Romney, who was there and had been schmoozing before the concert began, wasn't asked to stand and be recognized! Now who's fancy? We settled in for a half-hour of inspirational music, beautifully sung and spectacularly produced. After we were off the air, Bryn was asked to turn and face the choir as they sung their traditional closing song, "God Be With You 'Til We Meet Again." What an incredibly moving end to the morning - we were all misty-eyed.

So I guess my list of favorite things about Salt Lake needs revision: add to it "celebrity sightings." Wishing you all a week full of music, inspiration and great junk food!

Mary Driggs Amazing Cupcakes!

Cupcakes for Birthday Girl Maggie Scott (a Little Cosette).

L-R: Jeffrey Scott Stevens (Ensemble), Billy Haggee (Ensemble), Chad Coudriet (Ensemble), Brigham Inkley (a Gavroche), Lindsea Garside (Ensemble), Madison Mitchell (Ensemble), and Melissa Mitchell (Cosette) at Hires Big H.

Manna Nichols (Eponine) discovers the joy of a Big H Combo!

This looks delicious. It's mine now! Ashley Gardner Carlson steals Jeffrey Scott Stevens' Banana split . . . for obvious reasons. Yummy!

Star Sighting! Lez Mizzers meet Bryn Terfel. L-R: Chad Coudriet (Ensemble); Kevin Vortmann (Enjolras); Josh Davis (Javert); Jeffrey Scott Stevens (Ensemble); Bryn Terfel (Opera Star); Perry Sherman (Marius); Michael Jablonski (Grantaire); Erik Agle (Ensemble); Mary Driggs (Ensemble); Billy Haggee (Ensemble); Sarah Killough (Ensemble); Dara Hartman (Ensemble); Lauren Rathbun (crew); Matt Stoke s (Ensemble).

We love our seats! L-R (front): Chad Coudriet (Ensemble); Erik Agle (Ensemble); Michael Jablonski (Grantaire); Josh Davis (Javert); Darren Cohen (MD); Christianne Tisdale (Mme. Thenardier); David Spencer (Bishop). 2nd Row: John Stokes (guest); Matt Stoke s (Ensemble); Dale Hensley (Thenardier). 3rd Row: Madison Mitchell (guest); Melissa Mitchell (Cosette); Manna Nichols (Eponine).

The broadcast is about to begin! Live in 3 . . . 2 . . . 1 . . .

Post-concert smiles all around! L-R: Ashley Gardner Carlson (Ensemble); Anne Stewart Mark (Ensemble); Michael Jablonski (Grantaire); David Spencer (Bishop); Darren Cohen (MD); Mary Driggs (Ensemble); Matt Stoke s (Ensemble); Billy Hagee (Ensemble); Melissa Mitchell (Cosette) John Stokes (Guest); Christianne Tisdale (Mme. Thenardier); Josh Davis (Javert); Kelly McCormick (Fantine); Chad Coudriet (Ensemble); Lindsea Garside (Ensemble); Manna Nichols (Eponine); Erik Agle (Ensemble); Perry Sherman (Marius); Dale Hensley (Thenardier).

2 More Productions Announced

Wed, 15 May 2013 13:54:49 PST

I am thrilled to announce two more productions for our 2013-2014 Season. The first production at the American Airlines Theatre will be a revival of The Winslow Boy by Terence Rattigan, directed by Lindsay Posner and starring Roger Rees and Mary Elizabeth Mastrantonio. We will also produce the World Premiere of Cutie and Bear, a Roundabout Commission by Bekah Brunstetter that will be directed by Evan Cabnet at the Laura Pels Theatre.

Lindsay is a British director of great esteem, and his production of The Winslow Boy at The Old Vic earlier this year was truly incredible. We'll be mounting that production with a new cast, led by the great Roger Rees. Roger has been a part of the Roundabout family since 1996, most recently seen in our production of Uncle Vanya (2000), and I'm sure he will be incredible in this play. Mary Elizabeth will be back on Broadway for the first time since her Tony-nominated performance in Man of La Mancha.

Bekah has had much success Off-Broadway with Be a Good Little Widow at Ars Nova andOohrah! at the Atlantic. We've had our eye on Bekah for quite some time, and I'm excited to finally have the opportunity to bring her exceptional play to our stage. And it will be wonderful to welcome back Evan, who directed The Dream of the Burning Boy in the Underground and has been on board withCutie and Bear since the first developmental reading.

I'm pleased to be adding these exciting productions to the 2013-2014 Season, and look forward to sharing more in the coming weeks. Productions in the 2013-2014 Season are currently only available to subscribers. To learn more about our variety of subscription packages and exclusive benefits please visit our website.

Todd Haimes
Artistic Director

CLICK HERE to visit the Roundabout blog.

BWW Blog: Kelly McCormick of PTC's LES MIS - Wig Magic

Fri, 10 May 2013 11:47:53 PST

When I toured with Les Mis in 2005, our wig master, Barry Ernst, kindly let me grow my hair as long as I wanted. You see, it had been a longtime wish for me to donate as much hair as possible to Locks of Love, a non-profit that provides prosthetic hairpieces to financially disadvantaged children (up to age 21) who suffer from medical hair loss. I was one of those kids: when I was twelve, my hair suddenly began to fall out in large chunks. I had a bald spot on the crown of my head about four inches in diameter, and other quarter-size spots scattered around. I was diagnosed with Alopecia Areata - a condition with no known causes or cures. My doctor went out on a limb and gave me a shot to the scalp of something experimental, and, luckily, it worked. After a few months, my hair began to grow back. Most people that suffer from Alopecia Areata are not so fortunate, and the sense of shame that I felt at my appearance (during puberty, no less) during those months will always stay with me. As a grateful adult with a fully-restored head of hair, it meant a lot to me to be able to help a child in a similar situation.

So after returning to NYC, I found a salon in Astoria that participated in the program and made an appointment. I was brimming with excitement - not only was I about to get a fantastic new haircut (which was SO overdue), someone else's life might change dramatically from this seemingly small act. I couldn't wait to sit in the stylist's chair and get that cape on, already! We discussed what the "after" look should be, and then my hair was divided up into 5 ponytails 18 inches in length. My stylist took out her scissors, smiled and asked, "Ready?" "Yes!" I declared . . . and then the first ponytail was cut off. Instantly, tears sprung to my eyes. "Are you okay?" my stylist asked. "Yes, yes . . . I want to do this!" I sobbed. And off it all came. I walked out of the salon feeling 10 pounds lighter, literally, and pondering why I had such a visceral reaction to a) such a simple thing as a haircut; and b) why I was crying when I had wanted to do this for so long!

You might be wondering why this is the topic of my blog this week . . . and I'll tell you: it's because eight times a week, as Fantine, my hair is cut off on stage. ON STAGE. IN FRONT OF AN AUDIENCE. (Side note for those of you who are not Sherlock Holmes: it's a wig. Yes, I have been asked in earnest if my ACTUAL hair is cut every show). In the original production, Fantine was swept offstage by the Hair Hag and had four seconds to do a wig change; in our PTC production, the brilliant Amanda French has engineered a wig that is able to be "cut" every show. The first time I heard how she had accomplished this design, my jaw was on the floor. Six years later, I'm still in awe of her creativity and astounded at what it gives me, Kelly the actor, emotionally in every show. I asked Amanda if she'd allow me to divulge a little bit of what makes the wig work, without giving away all of the magic trick. Generously, she said, "Sure!" So here it is, folks - magnets. Something so simple that creates theatrical magic and changes my show dramatically, in every sense of that word.

I'll leave you with a few images of Amanda and all of the beautiful work she does to make Les Mis leap off the page. Enjoy!

Amanda, doing maintenance on one of the wigs worn by Dale Hensley (Thenardier)

Amanda's wall of facial hair for Les Mis

Amanda's Room of Hair

Amanda resetting my trick wig in between shows

The final product: Manna Nichols (Eponine); Joe Cassidy (Jean Valjean); Melissa Mitchell (Cosette); Perry Sherman (Marius); Kelly McCormick (Fantine)

SOUND OFF: GLEE Goes Out Singing 'I Love It'

Fri, 10 May 2013 07:47:05 PST

"I don't care / I love it!" And so goes the chorus of Icona Pop's current chart-climbing hit covered on last night's GLEE. And, so, too, goes Glee 4.0 as it is - or, now, as it was. Indeed, this was a game-changing year for the pop culture mainstay and the season finale was a fulfilling sampling of many of the reasons why. Plus: Patty Duke!

To Love It More

The question has been answered: Unique (Alex Newell) is the catfish. Ryder (Blake Jenner) took the news relatively well, although the fall-out for the faux friendship is sure to be felt next season - an act of deception in a relationship that obviously intimate has lasting reverberations. And, while Unique's heart may have been in the right place, presenting himself as something he is not - in the form of a photograph of someone else entirely - is totally inexcusable, wrong and unfair to the other party, and, therefore, what will be will be with Ryder and understandably so, it seems. And, as for other unwanted affections, the cliffhanger of the entire episode hinged upon Blaine (Darren Criss) proposing marriage to Kurt (Chris Colfer) with a ring purchased from none other than guest star Patty Duke - yes, camp queen and VALLEY OF THE DOLLS star Neely O'Hara herself - who popped up on the heartwarming largely love-themed ep alongside famous FAMILY TIES TV mom Meredith Baxter. While that is yet another storyline we will have to wait nine months to see play out further, the real-life pregnancy of GLEE actress Heather Morris seemed to clearly inform many aspects of the rest of the Brittany-heavy ep - apparently, a sort of bidding adieu to her, fireworks and fanfare included.

Thus, "Glee by Brittany" - or so it was billed - gave us not one, but two helpings of the internationally recognized, Lord Tubbington-produced/directed web series FONDUE FOR TWO - with guests Sue Sylvester (Jane Lynch) and Santana (Naya Rivera), no less, this go-round - as well as a tearful pre-Regionals performance group confession session led by Brittany. Additionally, a coda moment with Brittany and Santana sharing a private exchange showed signs of a future for the pair, even with Brittany now on her way to MIT - yes, you read that right: MIT. She was an idiot savant, after all, you see - or, if you prefer: genius all along (whether she knew it or not). So, what exactly does that make Lord Tubbington then? In what capacity Morris will return in the next two seasons is unknown, but this S4 finale was a fitting farewell tribute to a character we will always remember for "My Cups" from a season finale not too long ago and many other memorable moments.

"All Or Nothing", written by Ian Brennan and directed by Bradley Buecker, pleasingly picked up where the last two weeks have left off and tied up many of the loose ends of Season Four and planted the seeds for some new Glee trees to grow - with ample room for some thorny bushes to grow here and there, too. While it did not quite deliver in the musical department in quite the same way as last year's positively spine-tingling and fingernail chew-worthy Nationals penultimate show - with Rachel (Lea Michele) and New Directions leading the stunning Jim Steinman medley ("It's All Coming Back To Me Now" and "Paradise By The Dashboard Light") - nor was it quite the theatrical paean such as we saw in the S2 final show (which even had Patti LuPone), "All Or Nothing" gave us almost all we could hope for insofar as a harmonious marriage of the two divergent parts of Glee 4.0 as we now know it goes - that is: the Lima, OH, story and that of Rachel, Kurt, Santana and NYADA in New York City.

On that topic, Rachel had her big Broadway callback audition and appeared to nail it with a spirited singing of the Celine Dion standard "To Love You More", which began the ep proper. Evidently, this has been a song Michele and many fans have yearned for her to cover on the series - as has one of the creators himself - since virtually the inception of GLEE itself. It was a promise that paid off handsomely - or, in this case, extremely beautifully. But, will Rachel actually land the role of the lifetime - that of Fanny Brice in FUNNY GIRL? With a pop song audition, to boot? We will have to tune in next season to see - plus, she could have to go through it all again (many times, as a matter of fact, if the portrayal is at all accurate). Furthermore, will Lea Michele herself ever actually essay the role - whether onstage or onscreen? Well, considering that FOX has renewed Glee for two more seasons, we have 44 more episodes at the very least in which to find out - and, who knows what the coming years may bring in the form of a real, live revival. It's a particularly exciting prospect to consider, whatever the ultimate reality turns out to be, in the GLEE universe and in the real world. Hopefully, we will be treated to more of the FUNNY GIRL score next season, in any event. Also, let's hope for more of NYC story guest stars Sarah Jessica Parker and Kate Hudson, too - much, much more of those two if it is anything like both of their final showings this season.

As for guest stars last night, besides frequent Glee player Nene Leakes and AMERICAN IDOL runner-up Jessica Sanchez, multi-award-winning stage and screen performer Patty Duke joined with real-life late-in-life lesbian Meredith Baxter in portraying a touching and timely tale of two loving ladies of a certain age who Blaine met while shopping for wedding rings for Kurt. While Glee standout showmance Klaine are currently not together, actually, Blaine proceeded to purchase the bling anyway - for better or worse. After what Kurt's dad, Burt (Mike O'Malley), said last week, maybe he should give such a big decision a bit more thought, though - and give his relationship with Kurt a bit more time to heal while he's at it (it was his fault they broke up after all; coming after a one-time fling, if you remember). It seems that Blaine and Kurt shall weather the storm, but whether or not that will happen sooner or later is unclear right now. Whatever the ending, the story so far is quite anomalous and revolutionary in its portrayal and depiction - especially on a network TV show - so for that alone it has been yet another boon in GLEE's favor and the relationship itself as portrayed by the two talented actors has been a highlight of Glee 4.0.

Alas, while Kurt and Santana were drawn back to the halls of McKinley High for the S4 finale - as contrived as those reasons may have really been - Rachel remained in New York and Finn (Cory Monteith), too, remained off-screen (a recent rehab stay for the actor in real life required it). So, too, was Puck (Mark Salling) missing, although the majority of the major Glee players were present for the big Regionals competition in one way or another - or, if not that, for the big surprise wedding of Will (Matt Morrison) and Emma (Jayma Mays) at long, long last. That is to say, Mercedes (Amber Riley) and Mike (Harry Shum Jr.) joined with the juniors, sophomores and seniors of New Directions - Marley (Melissa Benoist), Brittany, Ryder, Blaine, Sam (Chord Overstreet), Jake (Jacob Artist) and Kitty (Becca Tobin), as well as original gleeks Artie (Kevin McHale) and Tina (Jenna Ushkowitz) and also sporadic supporting players Sugar (Vanessa Lengies) and Joe (Samuel Larsen).

Besides the catfish subplot paying off with it ultimately being revealed that it was Marley covering for Unique who was pining away for football star Ryder as well as Brittany bidding bye-bye to McKinley but mending her bridge to Santana, Kurt and Blaine acted as the mirror to the Will and Emma's marriage subplot and that more or less was it plot-wise for the show, though the musical numbers at Regionals managed to pack the appropriate punch and send us all out on a high for S4. And, speaking of which: we've saved the very best for very last!

Kicking off the Regionals competition was "Rainbow Connection" performed acapella by the all-boys group The Wobbletoots, followed by hotly anticipated guest Glee star Jessica Sanchez - an American Idol finalist last year - who returned as the fabulously-named Frida Moreno and led two stupendous showstoppers as the leader of the Hoosier Daddies - Zedd's far-out anthem "Clarity" and Little Mix's ear candy do-it hit "Wings". While the Hoosier Daddies provided excellent entertainment and a positive message, New Directions had it in the bag thanks to their surefire trifecta of spunk, attitude and emotion - and an even clearer-cut winner's sheen - in the form of a contemporary trio fit for a group of gleeks like those we know and love: Will.i.am and The Script's empowering "Hall Of Fame" followed up with Icona Pop's aforementioned ear-grabbing "I Love It" and an original song presented as having been penned by Marley and thereby performed by the songwriter herself and Blaine along with the rest of the New Directions, appropriately titled "All Or Nothing". What's not to love? Nothing, that's what - nothing at all.

While "All Or Nothing" was not perhaps quite all it could have been in our wildest imaginations nor the all-out extravaganza like we have seen in season-cappers in the past on this seires, it was certainly nothing to sniff at or scoff about - well, perhaps with those tears it was sure to have earned in its running time, it was worth a sniffle or two. Most importantly, "All Or Nothing" set into motion many gears and set up many motors to begin revving up for an absolutely must-see new season coming up in September. Here's to Season Five! Until then...

Photo Credits: FOX

BWW Blog: Paige Faure - A Very DROWSY Opening

Thu, 09 May 2013 10:46:06 PST

Hello, how are we?

I'm feeling a little drowsy myself. It might be the glass of Red Zinfandel I have in my hand, or the fact that I have a three month old baby boy, Henry, who is always so excited to see me...at 3 am. Or it could be because last night we opened a beautiful production of "The Drowsy Chaperone" in Raleigh, NC at the North Carolina Theater, directed by Casey Hushion, with two weeks of rehearsal and little time to breathe let alone breastfeed. Regardless of the lack of sleep, I have to say I'm having such a grand time singing and cartwheeling with this bunch of actors. I mean, how many times in your life does someone say, "Would you be willing/able to share the stage with Beth Leavel reprising the role for which she won a Tony Award?" Boy, does that ever give you the fire to get back into shape post-partum. And if that weren't enough, the rest of the cast seems to be custom-made for their roles as well, including former-American Idol runner-up, Clay Aiken, playing the Man In Chair. Say what you want about reality stars, but he is the real deal, y'all. Makes me misty every night. Of course, I say every night like we have been doing this forever or will be doing this forever...no no, like a lot of regional gigs, this one lasts a mere week in actual performance mode. Sometimes one week is enough but I dare say, I could do this one for months on end. This all may seem a bit gushy - I don't like to be gushy - but it's true. If you haven't seen DROWSY somewhere, you should. Now. Preferably ours. Because we like big crowds laughing at us. (In the intentional way...)

Alas, many of you will not be able to see this one this time, so let me ruin a plot point for you - everyone gets married at the end. No one is left sad or lonesome or "blue" as Man In Chair puts it. The (Toledo) surprise of DROWSY is how silly it seems at first glance, then how meaningful it becomes as it unfolds. It leaves even the biggest outcast with a sense of belonging. Not that everything can or will be perfect, but that anyone can find their best possible place in the world, even if there's some STUMBLING ALONG the way...(Love that tune.) And its fun. Just fun.

Speaking of FUN - after my very short tenure as Miss Janet Van der Graff, I will be taking my little gypsy baby back on the road to hang with his daddy, my husband, Adam Monley, in Houston, TX for the Theater Under the Stars production of Spamalot, where he is playing "Sir Galahad". I will be judging the fate of my son based on his ability to handle the comedic genius of the Monty Python world. I don't care that he is but an infant - I have standards. Any self-respecting mother would. However, I'm fairly certain he will appreciate it, particularly since he even finds it amusing when I say "poopie" with a Muppet-like face. SO - Stay tuned, for the next exciting chapter of Paige Faure's Blog: "Will Henry find the Holy Grail of humor?"

Peace and Joy - Pf.

Photo Credit: Curtis Brown

Paige Faure as Janet Van der Graff

SOUND OFF: GLEE's Night Of (Stevie) Wonder

Fri, 03 May 2013 08:36:19 PST

Superstitions be damned - Glee Season Four is going out on a high! The last handful of episodes have managed to make a major mark while affording us ample opportunity to enjoy what we have come to know, love, expect and eagerly anticipate in any episode of FOX's hit musical dramedy series most of all - awesome performances. And, BroadwayWorld got its umpteenth shout-out last night, too!

Writings On The Wall

While some would argue that the "Superstition" lyric by Stevie Wonder describes GLEE, lo, eighty-seven episodes into its run - the one referring to "the good things in your past" - they would be outright wrong in their assessment making that claim. Yes, Glee continues to sparkle and shimmer in unexpected ways, at unexpected times and with unexpected players acting it all out - take last night's "Wonder-ful" episode, for instance. Ostensibly a tribute to R&B pioneer and all-around music royalty Stevie Wonder, the episode not only managed to contain seven of Wonder's most celebrated and fondly remembered tunes, but, also, develop a significant number of plotlines in doing so, amping up the drama for the finale next week. While the split-focus Nature of Glee 4.0 thus far may cause some to bristle, it is the name of The Game and the way of the show at this stage, so go with it or don't - Glee is still heading in the right direction and further evidence of that is presented each week. It is more consistent than ever, actually, with the outlandish character arcs, Camp stlyings, over the top characterizations and stingingly real-to-life moments of truth all enacted entertainingly - and, from time to time, less so; but, more often than not, more so - with all of it pointedly punctuated by some of the best performances anywhere in the entertainment landscape by a veritable stable of revolving original superstars and guest-starring notables, all singing some of the world's best-loved songs; all with joy. Such is GLEE. While the recipe and its description may seem laid on thick, the proof is in the pudding - and the writing is on the wall - Glee is still really good.

As the series prepares to bid adieu to Season Four and head into two upcoming seasons - yes, you read that right; two more have been ordered - the groundwork has been established at this point to take the series further, even four dozen more episodes down the line - or more. While dramatic consistency has never been paramount, the overall vibe of the show remains poignant and strong and its themes timely and oh-so apropos - take last night's episode and its eloquent and illuminating display of a father and son dealing with growing up gay, a cancer scare, a wedding proposal and a Motown dedication, for example - complete with copious cheers, tears and some fears finally allayed. The relationship between Kurt (Chris Colfer) and his father, Burt (Mike O'Malley), has remained a consistently strong and groundbreaking Hallmark of the series and both actors continue to shine in their moments together and in their shared storylines, as well.

Completing the depiction of the largely New York City-set portion of the show and its various character's lives last night, Rachel (Lea Michele) prepared for her big FUNNY GIRL revival callback - if we remember, she previously won the producers over with a passionate and plaintive "Don't Stop Believin'" in an evocation of the S1 showstopper and its subsequent showings. Guest star Kate Hudson as bitter, bitchy and fabulous NYADA instructor Cassandra July gave Rachel a scare at first, but ultimately with a pleasing pay-off - complete with a pulse-racing and positively hair-raising Motown hit to add to the booty (so to speak, ahem).

Additionally, the third reference to BroadwayWorld on last night's show was a ruby red cherry on top to our ever-continuing love affair sundae with GLEE. This relationship is Built to last! After all, whose Glee coverage is, was and always will be more comprehensive (and better) than anywhere else?! Look no further than last week's world premiere SOUND OFF exclusive first listen to Jane Lynch with ANNIE's "Little Girls" (available here) for proof!

As for the McKinley High goings-on, many college plans were revealed and graduation gears put into motion - will Brittany (Heather Morris) really attend M.I.T.? What about Tina (Jenna Ushkowitz) and her lofty academic plans? And, also, what of Artie (Kevin McHale)'s NY film school dreams? - though we will have to wait until next season to see that all start to play out, of course, given that next week is the season finale.

"Wonder-ful", written by co-creator Brad Falchuk and directed by Wendey Stanzler, was precisely that - delivering on the tremendous promise of a Stevie Wonder-themed show and a worthy successor to such stupendous Glee tributes as the Britney Spears and Madonna hat-tips, to say nothing of the Michael Jackson and Whitney Houston extravaganzas of late. The fact that Kurt's storyline treaded upon some new ground and provided some particularly pertinent social commentary was an added bonus. Also, who could not be moved by Katey Sagal's appearance as Artie's mom? An arresting episode managing to effortlessly encapsulate entertainment value more or less to the nth while still telling a coherent and compelling story while doing so. Is this the episode of the season? No. Was it just about exactly what Glee should aspire to be, all in all? Yes, indeed. While last week's incredible show was a series-high only achieved a few times a season, if that, this week gave us the comfortable and reliably enjoyable experience like that which we have come to know and love - yet another clear-cut reason that FOX has extreme faith in the series, no doubt; the fact that the series remains as strong as it always was, excelling even further in many new areas all the while and changing and growing while it does so.

Getting down to the basics of the plot, though: Kurt and Rachel's storyline tended to hold the majority of the screen time last night, while returning original gleeks Mercedes (Amber Riley) and Mike (Harry Shum, Jr.) strutted their stuff onstage with the new and old members of New Directions back in Lima, OH. Jake (Jacob Artist) and Mike cut a rug appropriately awesomely, for sure, while Mercedes dominated the musical side of the show with her sensational singing of some Stevie Wonder staples - namely, "Superstition" and "Higher Ground"; without even making mention of those seriously impressive wails out of the blue (with some blue skies and blue socks thrown into the overall dramatic stew, too).

Kurt's ode to fatherly guidance and love, "You Are The Sunshine Of My Life" was a heartrending moment to savor - a relationship too rarely depicted onstage or onscreen, as a matter of fact. Kate Hudson as Cassandra surely surprised us all in her suddenly near-maternal turn - and shocked Rachel, too - especially in the case of her upbeat and soulful performance of dance favorite "Uptight (Everything's Alright)" in honor of Rachel's big Broadway callback for FUNNY GIRL. Who knew the wickedest witch outside of WICKED actually had a beating heart beneath the glitter, sweat and bared décolletage? All the more reason the sexy musical sequence hit its target - and turned up the heat. New Directions also excelled with the three other endlessly lovable and luxuriously melodic Wonder singles - Jake and Marley (Melissa Benoist)'s spirited "I Wish"; as well as the energetic opener, "Signed, Sealed, Delivered (I'm Yours)", led by Kitty (Becca Tobin); and, the gorgeously sung, gamely enacted and genuinely uplifting closing song, "For Once In My Life", led by Artie. Truly, the only thing missing from the Wonder-fest was Rachel taking on that Epic Barbra Streisand/Stevie Wonder collaboration for the record books, "All Is Fair In Love" from her seminal THE WAY WE WERE album. S5, perhaps? Well, that's less than six months away!

Yes, the writing is on the wall - signed, sealed, delivered; Glee is ours and remains the most consistently engaging and overwhelmingly enjoyable series for the particularly performing arts-inclined among us. And, let's be totally honest: for pretty much everyone else, too.

Next week? A surprise marriage - but, who will it be tying the knot? Will it be Will (Matt Morrison) and Emma (Jayma Mays) once again or could it be Kurt and Blaine (Darren Criss)? Furthermore, what about Finn (Cory Monteith) and how will his absence impact Rachel's relationship with roommates Kurt and Santana (Naya Rivera), to say nothing of philandering ex Brody (Dean Geyer)? Creator Ryan Murphy has boasted of "many cliffhangers", too, for next week's finale, so there is a lot to look forward to, no doubt. Oh, yeah - and Regionals!

BWW Blog: Kelly McCormick of PTC's LES MISERABLES

Thu, 02 May 2013 08:13:33 PST

Hey BroadwayWorld.com! Hello from Pioneer Theatre Company in Salt Lake City, where we're deep in rehearsals for Les Miserables. This ever-popular musical is making a comeback - literally - and, no, I don't mean an uptick in ticket sales since the movie was released last December. PTC was the first regional theatre to produce Les Mis, in 2007, where it played for 10 sold-out weeks. So it's no surprise that we're here again, just six years later, bringing this amazing story to life.

You might think that it's the same production all over again, and while it's true that some of the elements remain the same - the costumes, the sets (partially - more on that, below), the creative team and some of the cast members (including yours truly, reprising the role of Fantine), much is different.

For starters, the version of Les Mis that is currently licensed is not the same version that was used in the original Broadway production or the 2006 revival, the 1st, 2nd, or 3rd National Tours, or the 2007 Pioneer production. On a nightly basis, most of those shows came dangerously close to the 3-hour mark, after which point overtime would need to be paid to the orchestra. One need not be a savvy producer to figure out that is a budget-buster! The current version has made a number of cuts - a verse of a song here and there, a few beats out of randomly scattered measures throughout the show. A first-time listener might not know the difference, but to those of us who grew up singing along with the cast recording, it's a toughie to get out of the muscle memory!

I will say I breathed a sigh of relief when, at my first costume fitting, the dresses that were built for me six years ago still fit. Whew! For my money, there is no better wardrobe department than PTC's, but, still, you don't want to make people work any harder than they have to on a show with thousands of costume pieces for 36 actors.

Aside from the score, the biggest change for PTC was the Barricade, the major set piece used in Les Mis. It wasn't a simple matter of getting the 2007 Barricade out of storage, dusting it off and using a little WD-40. Nooooo. It turns out that Barricade was made out of all of the leftover furniture from the 2006-07 season and dissembled when Les Mis closed . . . and that season had furniture that was particularly well-suited to building a Barricade. 2012-13? Not so much. Lots of flowery sofas and Restoration pieces. So our shop had their work cut out for them!

Alright, enough facts, figures and trivia . . . I'll leave you with some behind-the-scenes images. More to come in the weeks ahead!

Young actors Zoe Heiden (Young Cosette), Abigail Scott (Young Eponine), Maggie Scott (Young Cosette), Zachary Brown (Gavroche) and Brigham Inkley (Gavroche) lead a tournament of Spot It in the Green Room

Josh Davis (Javert) and Joe Cassidy (Jean Valjean) work their fight over who Fantine loves more. Isn't that what that fight is about?

Jeffrey Scott Stevens (Ensemble) in a rare moment of hamming it up for the camera.

Sarah Killough (Ensemble) and Perry Sherman (Marius) puzzle through the changes in the score.

Jeff Williams (PSM) shows Eric Agle (Ensemble), Billy Hagee (Ensemble) and Chad Coudriet (Ensemble) where they'll go to be punished if they're late for 1/2 hour. Just kidding. Just the trap, folks.

Manna Nichols (Eponine) models her new Lulu hoodie. This cast is OBSESSED with Lulu.

Kevin Vortmann (Enjolras) can finally wave the giant flag without worrying about smashing the ceiling lights or setting off sprinklers in the rehearsal studio!

Josh Davis (Javert) thanks Zachary Brown (Gavroche) for his acting tips

The Boys of the Barricade

The gorgeous Roy & Elizabeth Simmons Pioneer Memorial Theatre with our signage out front

Josh Davis (Javert) is bored in 1832 . . . where's the txting?

The Happy Couple: Melissa Mitchell (Cosette) and Perry Sherman (Marius)

Costume Designer Kevin Alberts fixes Perry Sherman's (Marius) cravat for publicity photos.

The Happy Thenardier Family: Manna Nichols (Eponine), Dale Hensley (Thenardier) and Christianne Tisdale (Mme. Thenardier)

Whores -- I mean Lovely Ladies -- Ginger Bess, Dara Hartman, and Sarah Killough with their Pimp, Justin Ivie at the Publicity Shoot.

The Boys climb their Barricade for the first time in the PTC shop.

Charles Morey (Director) and Karen Azenberg (PTC Artistic Director & Les Mis Choreographer) test the Barricade for safety

BroadwayGirlNYC: My Tony Nom Reactions pt 1

Thu, 02 May 2013 09:42:40 PST

This is a special week for everyone involved in Broadway theatre -- on & off the stage, professionals & fans, veterans & newbies, et al.

As did many of you, I woke up early on Tuesday to watch the Tony Awards nominations live on NY1.

The categories & nominees (darlingly delivered by Jesse Tyler Ferguson and Sutton Foster) came quickly, one after the other, so fast I could barely register the names, much less

process a reaction or live tweet my thoughts!

So, now that I've had a couple of days to consider the list, here are my very preliminary thoughts about each of the main categories.

(Today you get part 1! Part 2 is coming soon!)

Keep in mind that 1) there are some shows I haven't seen yet, and 2) these thoughts do not necessarily reflect my "should win" or "will win" predictions -- those come later!

BEST PLAY

The Assembled Parties Author: Richard Greenberg
Lucky Guy Author: Nora Ephron
The Testament of Mary Author: Colm Tóibín
Vanya and Sonia and Masha and Spike Author: Christopher Durang

These nominees remind me that I need to see more plays! I love musicals so much that I often return numerous times, and put off seeing dramatic (and comedic, though less often) straight plays. Of these four, the only one I've seen is Vanya and Sonia and Masha and Spike -- which is, in classic Durang style, a social commentary delivered via absurd dialogue and clever, ridiculous characters. A big disappointment for me is that The Performers, by David West Read, was not -- and in fact could not be -- nominated in this category. In order to be Tony eligible, a show must have 8 performances (not including previews). The Performers were one short, closing after its 7th show. Mine is a somewhat controversial opinion, but I say that The Performers was hands down one of the best plays in the last several seasons. I saw it twice in its short run, and that is one play that, given the opportunity, I'd have returned to even more often than most musicals.

BEST MUSICAL

Bring It On: The Musical
A Christmas Story, The Musical
Kinky Boots
Matilda The Musical

This is a category with two powerhouses and two underdogs -- Matilda and Kinky Boots as the former, and Bring it On! and A Christmas Story as the latter. Matilda, which won just about every award in London, is as smart as funny as it is irreverent and dark. The show boasts a stellar cast across the board (I've seen two of the four young actresses who play Matilda so far). And Tim Minchin's music is delightful and weird, singable yet unlike anything I've ever heard on Broadway. Kinky Boots is not quite as groundbreaking -- I can think of several previous musicals to which it pays homage -- but the combination of humor, heart, Billy Porter(!), and an absolutely fantastic score by Cyndi Lauper, I consider it an extremely strong contender. Bring It On! is a fun show with cheer-tastic choreography, a crowd-pleaser that could tour extremely well especially with the words "Best Musical" next to it on a marquee. That may be its best hope for an upset; many Tony Votes are cast by regional representatives across the country, who arguably benefit most from a show with wide appeal. And A Christmas Story, with music and lyrics by Pasek & Paul... well, I just feel really PROUD of those guys. Not even thirty and they are proving themselves as the real deal. Because the show is seasonal, it won't be as appealing to the "tour" voters who want a show that can run year-round. But I'm glad it was nominated. I was taken (admittedly) by surprise to find myself thoroughly entertained. Bottom line is I think this is largely a two-show contest.

BEST BOOK OF A MUSICAL

A Christmas Story, The Musical - Joseph Robinette
Kinky Boots - Harvey Fierstein
Matilda The Musical - Dennis Kelly
Rodgers + Hammerstein's Cinderella - Douglas Carter Beane

Best Book of a Musical, and all of the shows represented are adaptations of stories told elsewhere. A Christmas Story and Kinky Boots from films, Cinderella from a fairy tale and then a TV movie (Douglas Carter Beane is responsible for the "new book"), and Matilda from a Roald Dahl book (a movie version was released in 1996, but this musical is an adaptation of the original text). I feel that, in order to really speak in this category, I'd want to go back to the source material and see how much was changed in creating the Broadway show. Acknowledging that I have not (yet) done that, I do tip my hat considerably to Beane, who put a new spin on the familiar Cinderella story: Ella falls in love because Topher is a kind man who just happens to be a prince, and "living happily ever after" for them means enacting change for the better in the world around them. Source material aside, there's no doubt that all four librettos are engaging, moving, and significantly entertaining.

BEST ORIGINAL SCORE (MUSIC AND/OR LYRICS) WRITTEN FOR THE THEATRE

A Christmas Story, The Musical, Music and Lyrics: Benj Pasek and Justin Paul
Hands on a Hardbody, Music: Trey Anastasio and Amanda Green, Lyrics: Amanda Green
Kinky Boots, Music & Lyrics: Cyndi Lauper
Matilda The Musical, Music & Lyrics: Tim Minchin

Again I feel giddy with pride for Pasek & Paul being recognized. Because they're roughly my age, and I've been around town to watch their rise from "up-and-coming" to successful Broadway composers, I identify with them as if they're my own friends! They did a fantastic job musicalizing A Christmas Story, and (even here in the middle of Spring) I listen to it fairly often. It's a strong score, to be sure. But as with Best Musical, I think this category boils down to two. The pop icon or the quirky comedian? It's going to be a head-to-head battle between Cyndi Lauper for Kinky Boots vs. Tim Minchin for Matilda. For some reason, I have a hunch that one of these two shows will win Best Musical and the other will win Best Score. But who will win which? I have no idea! Kinky Boots is singable and danceable and energetic. Matilda is dark, multilayered, and full of smart wordplay. I LOVE that this category could go either way. What of Trey Anastasio? After all, he's a talented, hugely successful artist. Hands on a Hardbody had some lovely musical moments. Perhaps because the show closed so early, or because it was outshined by Kinky and Matilda, I don't expect Hardbody to get the win here. But who knows? Stranger things have happened... (haven't they?).

BEST REVIVAL OF A PLAY

Golden Boy
Orphans
The Trip to Bountiful
Who's Afraid of Virginia Woolf?

Hard for me to comment on this category. In fact, I really can't, since I've only seen two of the shows: Who's Afraid of Virginia Woolf and Golden Boy. So I will say this: I love Edward Albee. I don't connect so well with Clifford Odets. But I get that he's brilliant. If I was voting (between the two I've seen) I'd pick Virginia Woolf... but I gotta get to the other two before June 9 so I can make a decent and educated comment on the category.

BEST REVIVAL OF A MUSICAL

Annie
The Mystery of Edwin Drood
Pippin
Rodgers + Hammerstein's Cinderella

I'm pretty obsessed with Pippin at the moment. I saw it just this week and the acrobatics and stunts are still swimming in my head! More than I'm thinking about who might win, I'm thinking about which number Pippin will perform!!! And that gets me thinking about the other performances in this category. Suddenly my brain is full of cute little orphan girls -- and Jane Lynch performing with them! They HAVE to use her in the broadcast, and her debut as Miss Hannigan will come right at the appropriate moment. And I bet Cinderella will include one of their magical costume changes. And Drood!! We'll get to see the show return to life (won't we? Can we? Please say yes!!). These are my thoughts on Best Revival of a Musical. I'm all tingly about Pippin and I cried a bunch of times at Cinderella and I saw Drood multiple times and Annie is one of my favorite musicals to ever exist. So yay for all of them... bring on the performances!!

My thoughts on the rest of the categories coming soon!

What do YOU think??? Tweet me!!!!

THE MYSTERY OF EDWIN DROOD Has Been Solved

Mon, 29 Apr 2013 17:39:20 PST

Over a month has passed since The Mystery of Edwin Drood closed and diehard fans have been finding solace in listening to their cast recording on repeat, sharing photos from their stage door experiences, and even changing their ringtones to something Drood-themed. The show began previews on October 19th, 2012 and (after being extended) ran for 164 performances, through March 10th, 2013. During its run, many fans found themselves returning again and again to Studio 54 (aka the Music Hall Royale) to experience this one-of-a-kind musical. One such fan, Kelly Wallace, attended 15 performances-on one occasion she was even dragged onstage to take part in the opening number.

While many fans came to the show having performed in a college or community theatre production of it themselves, or being devoted fans of the actors involved in the Roundabout incarnation, Kelly came into the theatre as a self-described "Dickens purist." Her curiosity led her to investigate one of the first preview performances and she found that "it was probably one of [her] favorite theatrical experiences [she's] ever had." Such a good experience, in fact, that her enthusiasm didn't stop at frequenting the Music Hall Royale. She kept track of how the show's ending differed from night to night, spotting voting trends and patterns among statistics from 78 select performances.

So who most wanted to see poor Edwin pushing up the daisies? Shockingly, it turns out, it was Edwin's betrothed! Miss Rosa Bud was voted to be murderess during nearly half of the performances. The order for most-voted murderer was as follows:

1. Rosa Bud
2. The Princess Puffer
3. Helena Landless
4. Reverend Crisparkle
5. Bazzard
6. Neville Landless
7. Durdles
8. John Jasper, who has never harmed his nephew. (We think...)

Kelly's analysis found that audiences were most smitten with the cunning Helena Landless, voting for her to portray one of the three potential roles (murderer, Datchery, or one of the lovers) more than any other character. The Princess Puffer and young Deputy seemed to be the most amorous, entering a loving embrace more than any of the other characters. The incestuous Landless twins were the second most-voted pair. (We're not sure what this says about our audiences. We're not going to think about it too much...) The most unusual and coincidental bit of data that Kelly stumbled upon, however, was figuring out when the Reverend Crisparkle was committing the sin of murder. As it turns out, the holy man was most likely to be voted as the murderer on Sunday-the Lord's Day! But what about the girl calculating all of the voting data? What ending would she vote for?

Kelly says that her favorite combination was the first one she saw, back when the show was still in previews: Bazzard as detective Datchery, Helena as the murderer, and Puffer / Neville Landless as the lovers. Luckily for her, she was able to see this ending for a second time on one of her later visits. Regardless of combination, she enjoyed seeing Helena portray the murderer more than any other character. "...[S]he also kind of has the coolest murderer weapon. A veil? Come on. That's awesome," Kelly quipped.

What was your favorite murderer / detective / lovers combination? Let us know in the comments section below!

Clcik here to visit the Roundabout blog.

Photo Credit: Eric Emch