Having already broken down barriers in Season Three insofar as the depiction of gay teenage romance in concerned, last night on GLEE Ryan Murphy and company addressed lesbianism and its similarly taboo place in society - both in school and out. Brave and daring, GLEE's "I Kissed A Girl" episode surely opened up the doors to closets and more open conversations pertaining to human sexuality, yet it also painted a complex and all-too-real picture of the challenges facing teens of any and all sexual persuasions and how challenging it really is to be a teenager at the edge of seventeen in 2011. On the musical side, last night's show boasted an eclectic assortment of Sapphic-themed songs to go along with the dramatic content, such as Dolly Parton's "Jolene", Melissa Etheridge's "I'm The Only One", KD Lang's "Constant Craving" and Katy Perry's recent hit "I Kissed A Girl". With Pink's "F-ing Perfect" given the duet treatment courtesy of Kurt and Blaine and a stripped-down, male-sung version of Cyndi Lauper's "Girls Just Wanna Have Fun" rounding out the seriously stupendous songstack, it was a night to remember for many more reasons than merely oh-so-fabulously spilled slushies and touching coming out stories - the music really, truly acted as an elemental ingredient; even more than usual. So, too, did Naya Rivera's seriously fine acting throughout make her turn as Santana this season a truly Golden Globe and Emmy-worthy performance - not unlike how Kurt's complex coming out story rightfully acted as award bait for Chris Colfer in seasons past. So, for all of that - and to recount the stunning "Constant Craving" and all of the rest of the superb musical sequences; as well as all about Rachel's surprising expulsion from McKinley High right when Sectionals are quickly approaching - read on.

The fine art of the mash-up has been a hallowed tradition that has been explored to a significant extent on GLEE since the very beginning, so a night filled with only such two-stack tracks would seem to be the ideal way to celebrate the show's 300th musical performance to date, which came in last night's "Mash-Off" episode. The mash-ups blasted off in a grand manner and the carefully-constructed couplings were often quite brilliant twists on the sounds of the original singles - the spectacular 300th performance showcase of Adele's "Rumor Has It' and "Someone Like You" acting as the musical apotheosis of the evening. Mixing disparate elements from the incredibly diverse musical catalogs of Adele, Lady Gaga, Hall & Oates, Pat Benatar, Blondie, Van Halen, Eddie Rabbit and Crystal Gayle, "Mash-Off" managed to shine a light on the couples singing the musical mergings, as well as provide the high entertainment value implicit in any episode so far on the resoundingly strong third season of GLEE.

WEST SIDE STORY is definitely back in a big way - in the last two weeks alone it has had its very own tribute episode on GLEE featuring four of the show's most famous songs, and, also, Fathom re-released the new HD remastering of the film in movie theaters nationwide for a one-night-only showing - so, given its 50th anniversary, the time has definitely come to pay tribute to one of the finest American movie musicals ever manufactured, which itself was based on one of the most innovative, controversial and progressive Broadway shows in history. From 'A Boy Like That' to 'Tonight' to 'Somewhere' and beyond, this is a score that has enraptured two or three entire generations - with very, very good reason; these songs are simply musical and lyrical magic. Truly, this is as good as musical theatre gets, and, furthermore, the 1960 film version by Jerome Robbins and Robert Wise is just as good. The combination of the two? Transcendent. No, never before has WEST SIDE STORY presented the power, potency, prescience and put forth the plosive overall 'pow!' to the system - heart, mind and body - than it does, here, now, on the absolutely sensational new 3-disc 50th Anniversary Blu-ray edition, which will be released on Tuesday. I was lucky enough to get a copy early and I was simply blown away in every single imaginable way. A red, hot and blue all-American movie masterpiece given its full, magnificent, ecstatic due on Blu-ray. Be prepared to be blown away. Bam!

The potential prospect of the entertainment behemoth known as GLEE taking on perhaps the finest American musical ever written - WEST SIDE STORY - is enough to make any Broadway baby near-exultant, yet when the songs of the classic Bernstein/Sondheim score then are allowed to act as all-too-apt musical commentary on risque dramatic content in the highly controversial episode itself - all-too-appropriately named "The First Time" - a cataclysmic consequence can almost be counted on to inevitably arise. And, it did. Again. And again. And again - all night long. While it may have very well been Kurt, Rachel and Blaine's first roll in the hay, it would be akin to searching for a needle in a haystack to find much - if any - fault whatsoever with GLEE's button-pushing and excellently played tribute to Tony and Maria. Given what resulted from the doomed coupling of those Shakespeareans - Tony and Maria being more modern-day answers to Romeo and Juliet, of course - the ire of all the up-in-arms conservative helicopter parents in the country - and Capulets and Montagues, too, for that matter - could not even dare to try and contain the joy, excitement and sheer pleasure of what is undoubtedly one of GLEE's finest hours to date. There was a message or two to be learned, too. Yes, indeed, GLEE taking on WEST SIDE STORY went all the way - and then some. So, whether you are a Jet or Shark, you must be compelled to give it up for GLEE and its ode to WEST SIDE STORY.

Today we are talking to the songwriter responsible for the new collection of songs culled from his many musical theatre ventures, both new and old - oh-so-appropriately titled OUT OF CONTEXT - who perhaps is best known to Broadway babies as the composer/lyricist of the mid-00s Off-Broadway smash boy-band spoof musical ALTAR BOYZ - the versatile and fiercely committed Michael Patrick Walker. Talking all aspects of OUT OF CONTEXT - including working with the tremendous talent featured on the multi-faceted and highly entertaining album (many of whom are also InDepth InterView participants themselves), such as Cheyenne Jackson, Kelli O'Hara, Lisa Howard and many more - as well as describing the shows from whence these songs derived (such as THE DISTANT BELLS, which recently was work-shopped starring Chita Rivera and Ana Gasteyer, among others) Walker and I attempt to paint a picture of the career of a rising star composer such as himself and what we can look forward to from him in the future, near and far - and, of course, what is in the ether for the release party performance concert at Birdland on Monday night featuring Ann Harada, Lauren Kennedy, Peter Friedman, Kenita Miller, John Tartaglia, Julie Foldesi, Noah Galvin, Andy Karl, Tyler Maynard, Andy Mientus, Jim Stanek and Betsy Wolfe. Additionally, he shares his experiences working on screen-to-stage adaptations of KINKY BOOTS and SOAPDISH, as well as shares news of his upcoming musical with Rick Ellis of JERSEY BOYS fame and the Rockettes musical number that will be premiering this season at the annual Radio City Music Hall Christmas spectacular. Plus, we also discuss his compositional and lyrical inspirations, favorite scores and composers, thoughts on GLEE and much, much more!

Coming after a nearly month-long mini-hiatus following the superb "Asian F" in early October, the gleeks of McKinley High on GLEE swept back onto the main stage last night with the hotly anticipated "Pot O' Gold" episode, which introduced new recurring cast members and THE GLEE PROJECT co-winner, Damian McGinty in the tailor-made role of sassy and offensive Rory Flanagan. While McGinty proved to be a winning addition to the roundly respectable line-up of GLEE Season Three, once again the musical performance highlight of the night goes to new GLEE regular Darren Criss - alongside show standout Lea Michele and the rest of the glee club - and their electrifying take on Katy Perry's campy anthem "Last Friday Night (T.G.I.F)". Much like with Lea Michele's emotionally shattering "Firework", once again a Katy Perry anthem has been rendered even better than the huge hit original by the gleeks of GLEE. Also, "Pot O' Gold" - directed by HAIRSPRAY movie musical helmer Adam Shankman - continued the season-long character arc of Tony-winning Broadway star Idina Menzel, in the role of rival McKinley glee club director Shelby Corcoran, and further developed her complex relationship with Quinn and Puck, played by sensitive Dianna Agron and imposingly forceful Mark Salling - the latter of whom contributed an emotionally charged and displayed his rarely seen softer side with his sensitive rendering of the 80s Foreigner power ballad "Waiting For A Girl Like You". McGinty's two selections - Teddy Thompson's "Take Care Of Yourself" and Kermit The Frog's "Bein' Green" - were relatively lucky and charmed introductions to the foreign exchange student character. Additionally, Mercedes, Santana and Brittany also got a Christina Aguilera/BURLESQUE-esque moment in the spotlight with their sweet and sexy "Candyman" (written by Linda Perry) as the newly formed girl-group The Troubletones. So, as for the rest of "Pot O' Gold" and how the songs stacked up in their dramatic context - as well as virtually everything else? Read on! The rainbow certainly ends with a shiny, gleaming pot o' gold - and maybe a leprechaun or two to love, too! Thank goodness it's Tuesday (or was) - and thank St. Patrick it's GLEE! After all, we've been waiting for a GLEE like this all October!

Since the spookiest and scariest of seasons is aggressively upon us, now is the perfect time to take a look at some selected clips from the most theatrical and horrifying of Halloween treats available to view on YouTube and beyond - especially these six specially-chosen, seriously spooktacular entities! While SILENCE OF THE LAMBS has recently given birth to some new mutton in the form of the Off-Broadway camp spoof musical SILENCE! starring Brent Barrett, there are some surprisingly effective and engrossing horror-themed musicals on our list, as well - REEFER MADNESS: THE MOVIE MUSICAL and THE ROCKY HORROR PICTURE SHOW included - but, also, some theatrically-themed flights of fearsome fancy - such as Dario Argento's OPERA and Darren Aronofsky's BLACK SWAN. Also, we have a historic classic helmed by the director of two of the most beloved movie musicals of all time - WEST SIDE STORY and THE SOUND OF MUSIC - Robert Wise and his original black and white horror-fest, THE HAUNTING - and a look at a modern-day master from the other side of the planet, Japan's Takashi Miike and his banned-from-American-broadcast IMPRINT. Julie Harris to Kristen Bell, Tim Curry to Alan Cumming, Ana Gasteyer to Natalie Portman - this Halloween countdown is definitely one that is all treats and no tricks! Well, maybe just one…

Today we are talking to a five-time Grammy Award winning recording artist and concert star who is perhaps best known for her nearly forty albums - most in the gospel genre - but who soon will be taking on the titanic title role in a starry regional production of Jerry Herman's classic musical HELLO, DOLLY! - co-starring Tony-winner Gary Beach, no less - the cheery and incredibly talented Sandi Patty. In addition to discussing all aspects of her fantastic new musical theatre-influenced album BROADWAY STORIES - with tunes from THE SOUND OF MUSIC, THE MUSIC MAN, FIDDLER ON THE ROOF, LES MIZ, and the film version of HELLO, DOLLY!, among others - we also discuss her recent concert collaboration with Michael Feinstein and what we can expect from her upcoming dates throughout the rest of 2011. Also, we analyze the performances of some of the great Broadway vocalists - Barbra Streisand, Dame Julie Andrews, Liza Minnelli and more included! Plus, she even shares her experiences working for a decade on the Christmas spectacular YULETIDE! in Indianapolis, as well as some of the songs she would like to have a chance to perform in the future and special concert material - and much, much more.

Today, in an extension of the FLASH FRIDAY column, we are sharpening our focus on the six upcoming revivals of musicals that are soon to hit the boards in the next few months (post-FOLLIES) and battle it out for the Best Revival as the Broadway season heats up just when the weather begins to cool: the classic Jule Styne/Bob Merrill musical that originally starred that star-of-stars, Barbra Streisand - FUNNY GIRL; the groundbreaking rock opera that rewrote the theatrical rulebook thanks to young creators Andrew Lloyd Webber and Tim Rice - JESUS CHRIST SUPERSTAR; the hippie, flower child take on the Christ story covering some similar Biblical ground to that of SUPERSTAR, with this one being the composing debut of WICKED songwriter Stephen Schwartz - GODSPELL; another Andrew Lloyd Webber/Tim Rice collaboration that won seven Tony Awards and acted as the vehicle for Patti LuPone's blazing Broadway debut in a starring role - EVITA; the significantly reworked, revised and rewritten new version of the beautifully scored time-travel musical by Burton Lane and Alan Jay Lerner, this time starring a male movie star crooner - ON A CLEAR DAY YOU CAN SEE FOREVER; and, the landmark American opera composed by the Gershwins with DuBose Haywerd - PORGY & BESS. While each and every one of these entities has a huge hit song or two that nearly everyone on the planet knows by heart - "Don't Rain On My Parade", "I Don't Know How To Love Him", "Day By Day", "Don't Cry For Me Argentina", "On A Clear Day…" and 'Summertime' included - each of these revivals also comes after a film version (or two) that, in more than a few of these cases, will be relatively difficult to top as far as expectations of many audience members undoubtedly will go. So, by taking a listen to the smash hit crossover songs from these musicals as well as looking at their respective film version's trailers - as well as a couple of surprises, too - perhaps we can glean some insight into what makes these generally pretty terrific properties so well worth reviving on Broadway, here, now, today, in 2011. Furthermore, all of this crystal ball commentary is not even taking into account the starry assortment of performers that have already been announced for these productions so far - especially with FUNNY GIRL's Lauren Ambrose and Bobby Cannavale, GODSPELL's Hunter Parrish, SUPERSTAR's lauded Josh Young, EVITA's Ricky Martin and Michael Cerveris, PORGY's Norm Lewis and Audra McDonald, as well as the leading man in what was once a leading lady's role (that of Barbara Harris) in ON A CLEAR DAY YOU CAN SEE FOREVER, Harry Connick, Jr.! What a tight race it is turning out to be for these new productions, particularly come Tony time in June! With rock to rhumba and borscht belt comedy to messianic hosannas and even full-out opera, seemingly every conceivable customer base is more than covered by this packed, potentially, well, awesome, season of shows - and many Broadway babies around BroadwayWorld are undoubtedly looking most forward to these six forthcoming revivals - with particularly good reason given the relative dearth of new musicals announced so far. So, let these revivals revive your flagging spirits as we leap into the 2011-2012 season with this comprehensive prospective and retrospective all about what makes them work so well in the first place and so worthy of another look!

SOUND OFF: AMERICAN HORROR STORY Makes Hell Heaven Perhaps it should have been billed more appropriately as: Grand Guignol From The Genius Guys Who Gave Us GLEE (& NIP/TUCK, too). Any entity with the pedigree apparent in FX's new drama series AMERICAN HORROR STORY is worth a view or two and last night's premiere episode was nothing short of riveting. An explosive and absolutely terrifying corroboration of creepy historical drama, atmospheric suspense, psycho-sexual character study, semi-snuff, psychological terror, grand guignol and plain old scares, AMERICAN HORROR STORY delivered on all of the mysterious and intriguing previews that have aired for the last several months on FX - from the creator of NIP/TUCK and the co-creators of GLEE, Ryan Murphy and Brad Fulchak, this was a definite opportunity for envelopes, buttons and limits of taste, decency and sheer terror allowable on TV. On that accord, Murphy and Falchuk scored a solid field goal. Insofar as the talent assembled to tell the tale at the heart of the haunted house story - including major TV talent in the leads with Dylan McDermott and Connie Britton, as well as a seriously starry supporting cast including Broadway regulars Denis O'Hare and Jessica Lange. AMERICAN HORROR STORY delivers as a compelling character-based family drama - with the backstory of the central couple being a situation rife with possibilities - and an all-out horror show of THE SHINING proportions - and, the acerbic comedy, camp, one-liners and hot-button-pushing that makes Ryan Murphy television always entertaining is amped up to such a high level as to be far too much to take all in in one mere viewing. Even on the second look I'm not sure I've caught all of the flash-cut secrets and editing tricks employed in the impressively dynamic and complex meta-narrative employed by the various camera and stylistic techniques. If the creepy, cryptic and surprisingly quite comprehensive website is any indication whatsoever of the devilishly detailed tapestry being woven by Murphy, Falchuk and company over the course of the first season then we are certainly in for the decadent danse macabre of the decade - perhaps not since David Lynch's groundbreaking TWIN PEAKS has a TV premiere so completely enraptured and ensnared me in its wicked web of debauchery and depraved devilry. Heck - if this is Hell, throw another coal or two on the flames.

Today we have a super-special DVD and Blu-ray overview as we take a look at and listen to five brand new Blu-rays hitting the shelves in October, including two stunning Blu-ray debuts of two of Quentin Tarantino's seminal 90s films - PULP FICTION and JACKIE BROWN. While Tarantino won his only Oscar to date for his screenwriting work on PULP - a credit he shared with co-storywriter Roger Avery - it is his studied, mature and delicate directorial work on JACKIE BROWN that won over many film fans who may have found a bit too much flash, pop, sizzle and razzmatazz in the packed-to-the-gills PULP. Although, if all the Tarantino tough guy talk and off-the-wall soundtrack selections are not quite your speed, we also have three early Halloween selections sure to send some shivers up your spine, with MANHUNTER, HANNIBAL and the recent remake of THE LAST HOUSE ON THE LEFT. While MANHUNTER was the movie-going public's first glimpse of what became the most beloved movie villain of all-time - the cannibalistic genius himself, Hannibal Lector - it was in a very different, completely different guise: noted stage and screen actor Brian Cox plays the role that eventually was made famous (and Oscar-winning) by Anthony Hopkins in the second film of the Hannibal Lector series, THE SILENCE OF THE LAMBS (by Jonathan Demme), just a few short years after Michael Mann's treatment of the original Thomas Harris novel, RED DRAGON. Of course, RED DRAGON was also made into a movie of the same name recently, directed by Brett Ratner and featuring an all-star cast comprising Philip Seymour Hoffman, Ralph Fiennes, Mary Louise Parker, Ed Norton, Harvey Keitel and many more. While many film fans certainly cite SILENCE as the finest Lector film - and it very well may be - my personal bias is for Ridley Scott's daring and gruesome 1999 hit, HANNIBAL, starring Hopkins alongside Julianne Moore in the role of Clarice Starling (made famous by Jodie Foster, who passed on the ultra-violent script), which is also finally getting the Blu-ray upgrade along with Mann's MANHUNTER. Then, there is the witty and disturbing remaining of one of the most scandalous and prurient torture porn films ever made - created long before that term was ever coined; in the age of Eli Roth and the SAW series - Wes Craven's harrowing horror revenge tale, THE LAST HOUSE ON THE LEFT. Recent PROMISES, PROMISES on Broadway star Tony Goldwyn was a recent InDepth InterView participant and told me about how pleased he was with this remake and while it does not have the seedy voyeuristic bent of the original, it makes an impact in a new and equally entertaining way. Whether checking out one or all of these superb new Blu-ray releases you are assured a memorable movie experience, just as the temperatures begin to cool and you yearn for nights of warmth inside away from the elements.

Last night's GLEE, titled "Asian F" (referring to an A-), was an A+ in almost every respect, managing to pack all the musical power, dramatic pathos, fabulous diva-tude and off-the-wall comedy that made GLEE the international sensation that it is and also push a few buttons over the course of an hour - and make a new star or two of its impossibly talented cast in the process, with that individual walking away - or, should I say, strutting away - with the night undoubtedly being Harry Shum, Jr., thanks in no small part to his premiere solo song sung on the show so far in his two seasons on the show. Indeed, Shum's "Cool" from WEST SIDE STORY was imbued with more choreographic tics and embellishments than even Jerome Robbins could have dreamed up in a week's time to get on film this swiftly and speedily. Besides the ultra-hip-swingin' awesomeness of Shum, last night's GLEE also set in motion a number of plots that will surely be a central focus of this fresh-faced and bold newly focused season - Santana/Brittany's relationship, the new Glee club member arriving next week and Idina Menzel's continuously ingratiating and increasingly impressive arc as Shelby, Rachel (Lea Michele)'s estranged mother, foremost among them. What will next week hold for New Directions? Plus, how did the famous recitative sequence from DREAMGIRLS - "It's All Over" - work outside of the classic r&b musical's context? Did Mercedes (Amber Riley) deliver in true Oscar-winning Effie fashion by taking on Jennifer Hudson's hit single "Spotlight" and making it her own? What about Heather Morris and Beyonce's "Run The World (Girls)"? And, most importantly, which semi-secondary lead stole the whole show? To see the answers to these pressing "Asian F" queries and some explanations of many of the reasons why GLEE continues its sterling winning streak with the third episode of the resoundingly successful Season Three, read on! Merely calling it "cool" doesn't even begin to cover it!

One of the central joys of GLEE for theatre fans is the constant stream of top-tier triple-threat talent on display, oftentimes the very best and brightest stars on Broadway - and the epic return of Idina Menzel on GLEE last night was certainly a cause celebre of the highest order on that accord. While Idina's WICKED co-star Kristin Chenoweth has certainly made more appearances over the seasons - and racked up Emmy and Golden Globe nominations for her splendid work, as well; as recently as in the Season 2 finale and the "Rumours" Fleetwood Mac tribute episode - it is Menzel who has a pivotal role in the story of the show in a way perhaps no other guest star does: she plays Rachel Berry's estranged mother, Shelby. While the physical similarities in the appearance of Menzel and Lea Michele are easy to see (and, in some ways, hear) - although they bare no actual relation - it is in their masterful musical marriage that some of the best moments of GLEE arise and have arisen in the past - many the most heart-breaking and heart-warming among them. "Poker Face" is the gold standard by which every other duet is held up to since Season One and their take on the LES MIZ (and Susan Boyle) classic "I Dreamed A Dream" fulfilled the promise of its title for every Broadway baby - and even Idina's "Funny Girl" left a little footprint on our hearts. Yet, what about these two titanic Broadway leading ladies taking on one of the most well-known and best-loved musical theatre songs of all time - from one of the greatest musicals ever written, no less - "Somewhere" from WEST SIDE STORY? Furthermore, what about Chris Colfer essaying yet another grand dame show-stopping number, this time in the form of FUNNY GIRL'S "I'm The Greatest Star"? And, most of all, how did the hotly anticipated performance by Darren Criss of the WEST SIDE STORY staple "Something's Coming" come off - a song that had its audio world premiere in this very column this weekend - and did it ultimately pan out onscreen on GLEE as stupendously as it sounded it would? To find out all about how last night on GLEE the divas dominated, Criss catapulted to the top of the gleek heap and Colfer channeled Barbra Streisand herself - as well as all the other McKinley High-related drama and overall epic entertainment value that the show offers every week - read on.

Today, BroadwayWorld is beyond thrilled to present the world premiere of the newest track from Fox's hit musical dramedy series GLEE - Darren Criss, as Blaine, performing the classic Leonard Bernstein/Stephen Sondheim opening vocal number from WEST SIDE STORY, "Something's Coming"! This year's choice for McKinley High's new musical production, WEST SIDE STORY is a classic American institution known not only for its original Broadway run but also for the memorable 1961 film version that won a boatload of Oscars, including Best Picture. The Shakespeare-based musical tragedy created by Broadway's finest minds has more than its fair lion's share of unforgettable songs, as well - among them, last season's top fan-favorite, "I Feel Pretty". With "Something's Coming" Criss proves to be the ideal Tony, too. A match made in musical theatre heaven, here is GLEE meets WEST SIDE STORY!

Returning to the very same format that made him internationally famous - and, to many, infamous; with the same network that brought AMERICAN IDOL by way of POP IDOL to the USA - Fox; alongside the compatriot IDOL judge whose palpable rapport with him made them one of TV's unlikeliest couples - Paula Abdul; yes, indeed - with last night's grandiose season premiere of THE X FACTOR on Fox, Simon Cowell proved why he is one of the most powerful forces in the entertainment industry and why he is the sole reason to watch reality competition programming on any level. THE VOICE hasn't got a note on THE X FACTOR - and, most of all, IDOL is mere idolatry compared to the solid gold Buddha of Simon. THE X FACTOR delivered on its promise and hype - and how!

GLEE is back! With a bevy of big Broadway anthems in tow - including HAIRSPRAY'S "You Can't Stop The Beat", ANNIE GET YOUR GUN'S "Anything You Can Do", the Barbra Streisand version of "Ding Dong The Witch Is Dead" from THE WIZARD OF OZ by Harold Arlen, and, a song culled from a show currently in a hit revival playing eight times a week on Broadway, Cole Porter's title song from ANYTHING GOES - last night's GLEE was a Broadway baby's perfect first day back to school. If all of that wasn't enough, Darren Criss even got a chance to tear up a jive-talkin' Tom Jones hit, "It's Not Unusual"! The musical quotient was exceedingly satisfying, without a doubt, yet what about the rest of the night's proceedings? Will Season Three and the final season for a handful of New Directions' best assets - and two of the show's finest performers, Lea Michele and Chris Colfer - spell disaster come this time next Fall? What do Ryan Murphy and co. have up their sleeves to satiate the situation and appease the fans, and, furthermore, will they make right on their promise to bring the main players into even sharper focus this season? While we still have more than twenty episodes to find out, the kick-off episode, "The Purple Piano Project", came through in a rainbow of colors on its promise. The long-awaited return of Idina Menzel as Rachel Berry's absentee mom next week, in a season-long arc, will only up the ante and make GLEE an even more winning bet than it already is, even just judging from the fun and touching premiere ep!

Today, BroadwayWorld has the distinct privilege of premiering an exclusive world premiere clip from the Season Three finale of Liftime's hit original dramedy series DROP DEAD DIVA. Click below to check out Brooke Eliott as the titular lady in action and legal eagle in charge breaking down the classic Rosemary Clooney rouser "Mambo Italiano", penned by the theatre's own Bob Merrill (of FUNNY GIRL and CARNIVAL fame) - with some generous assistance from Thunder Down Under, no less - and bringing down the house with her big, bright Broadway belt. As is clear to see in this clip and in the rest of the musical numbers on the show, DROP DEAD DIVA delivers the goods for Broadway babies and perhaps that is because DROP DEAD DIVA boasts the same executive producers as CHICAGO, HAIRSPRAY, the forthcoming FOOTLOOSE remake, as well as a string of hit television musical theatre adaptations (such as ANNIE, THE MUSIC MAN, GYPSY and LIZA'S AT THE PALACE) - the esteemed Craig Zadan and Neil Meron - so, the production values are truly top-most and they deserve a huge tip of the top hat for their continued excellence in bringing theatre-themed entertainment to an international audience time and time again.

Last night was TV's top honors and the queen bee of the night was undoubtedly host Jane Lynch, who rocked the amphitheatre from beginning to end and proved to be a host to boast she is the most of the most - and among the best. The very best. Neil Patrick Harris and Hugh Jackman better watch out now with Jane in town! The rest of the Emmys evening was filled with a few thrilling surprises and some very unexpected upsets, chiefly among them: Julie Bowen and Ty Burrell's MODERN FAMILY wins as the show proceeded to sweep most of the Comedy categories, including Best Comedy for the second year in a row; and, in Drama, Peter Dinklage taking top honors for his ingratiating GAME OF THRONES turn and Kyle Chandler taking home the prize for the final season of FRIDAY NIGHT LIGHTS. Grandiloquent DOWNTON ABBEY was shown some serious love in the form of Oscar-winning GOSFORD PARK scribe's Julian Fellowes writing win, Maggie Smith for her supporting role, Brian Percival for directing; as was HBO's MILDRED PIERCE - with Guy Pearce and Kate Winslet scoring the big wins - yet the picaresque big-budget series ultimately lost Best Miniseries to the UK-bred DOWNTON ABBEY, where it was somewhat unfairly juxtaposed by most accounts - and, surprising no one coming after its superb fourth season, MAD MEN expectedly took home Best Drama Series. So, for a rundown of the best, the rest and a whole lot more, read on!

Never more apparent than at this very moment in history, the operatic emotions, over-the-top theatrics and outrageous outspokenness of the 1983 SCARFACE, new on Blu-ray this week, burst forth from screens both large and small, depending on your preferred venue. And, with the fiery, ferocious fearlessness that Brian DePalma so astutely and assuredly weaves his web of debauchery and demons of the soul, heart and mind with - its apotheosis residing in Al Pacino's legendary essaying of the title role - the world finally seems ready to see SCARFACE for what it really is: a classic American film. No, there are not many modern day classics and there certainly have not been over the last thirty years since its release, but SCARFACE is unquestionably now part of the great pantheon of American films - just as much as CITIZEN KANE, CABSABLANCA and THE GODFATHER before it - and with Fathom's re-release of the film in movie theaters for one night only last week, the impact of the film as felt in its true artistic home was something akin to transcendental. Indeed, I was lucky enough to check out the HD print in a showing in Ithaca, NY, last week, which was also accompanied by an ultra-informative and revealing behind-the-scenes look at the production and subsequent legacy of the near-thirty-year-old film which is also available in an even more expanded form on the new Blu-ray - including new interviews with Brian DePalma, Al Pacino, Steven Bauer, Robert Loggia, Martin Bregman, as well as comments from fellow filmmakers and fans like Eli Roth (who shares a particularly hilarious anecdote about reciting Lopez's monologue for classmates in sixth grade). The new Blu-ray is packed to the brim with Special Features - including this brand new hour-long making-of documentary to go along with the hours of bonuses ported over from many of the prior DVD releases. Yet, above all of these other virtues, the reason you must own SCARFACE on Blu-ray is not just because the HD remastering of the image is pristine, the 7.1 sound is perfect and the Special Features are overwhelmingly enjoyable, but - most of all - it is because SCARFACE is American movie-making at its finest - and most emotionally, visually and outwardly operatic. It sings. And stings. And zings. And, bring it - all.

Though most well-known to Broadway babies for his starring role in the original Broadway production of Frank Wildhorn and Leslie Bricusse's JEKYLL & HYDE, over the last few decades Robert Cuccioli has carved out quite a career for himself as a performer of considerable range, as his resume amply evidences: from LES MISERABLES and CAMELOT in the 80s and early 90s, to Maury Yeston's PHANTOM and the original Off-Broadway production of the Susan Stroman-directed Kander & Ebb revue AND THE WORLD GOES ROUND, as well as Woody Allen's CELEBRITY starring Kenneth Branagh, to JACQUES BREL IS ALIVE AND WELL AND LIVING IN PARIS as well as a string of Shakespeare roles in the 00s, all the way up to today and his participation in three brand new original musicals - in between rehearsing Iago for an upcoming production of OTHELLO, of course - including: Bruce Hornsby's SCKBSTD, CUTMAN: THE BOXING MUSICAL, and his own solo show, A STANDARD LOVE. Discussing many aspects of these enterprises and much more - and even a comment or two on LONE STAR LOVE and the Quaids' shenanigans - Cuccioli also shares all about his upcoming appearance at Feinstein's in BROADWAY LIVE! and what we can expect from him on Monday night, as well as in the future, near and far - with his long-awaited solo album of romantic standards included!

A powerhouse of a performer like Sutton Foster comes along only once a generation or so - the last of her likes on these shores was undoubtedly grande dame EVITA diva Patti LuPone and, across the pond, original EVITA and CATS headliner and current FOLLIES revival star, Elaine Paige - and in her debut lead performance in THOROUGHLY MODERN MILLIE more than ten years ago Ms. Foster set Broadway babies' hearts aflutter and tongues a-wagging with her steam train take on the title role and nabbed a well-earned Best Actress Tony Award for her considerable efforts. After that, starring roles in LITTLE WOMEN, YOUNG FRANKENSTEIN and SHREK followed - as well as a stupendous turn in the Encores! ANYONE CAN WHISTLE opposite Raul Esparza and Donna Murphy - but it was not until this very last season on Broadway that Sutton Foster truly received her shot to tap, strut, belt and, well, blow, in the old big Broadway Diva fashion. Make that even more to the point - in true Ethel Merman fashion. The new Tony on her mantle bespeaks Sutton's power in the theater, yet what about on the fresh new 2011 Broadway revival recording out this week on PS CLASSICS? And, what about her co-stars like Oscar-winner Joel Grey, Broadway stalwarts John McMartin and Adam Godley and the newer generation of Broadway hoofers like Colin Donnell, Jessica Stone and Laura Osnes? Come on aboard the S.S. Broadway World and find out for yourself!

On August 18, Fathom Entertainment continues their unprecedented live stage-on-film series begun earlier this summer - in the form of movie theater showings of THE MERRY WIVES OF WINDSOR and HENRY IV: Part 1 in June and July, respectively - with Dominic Dromgoole's conclusion of the epic Shakespearean historical saga featuring the most beloved character in the entire canon, Falstaff - Shakespeare's Globe new production of HENRY IV: Part 2. For those who were lucky enough to witness the first part of HENRY IV last month, you are most assuredly intimately familiar with the sumptuously detailed and microscopically sensitive production on view and how sensitively it has been captured in these stupendous HD movie theater showings, and, HENRY IV: Part 2, I am glad to report, is much more of the same - and with even bigger stakes and higher drama!

Today, in conjunction with BroadwayWorld's special summer-long series BRIDGING TV & THEATRE: DROP DEAD DIVA, we have the distinct privilege of world premiering a musical performance from Sunday night's episode, "Mother's Day"! This exclusive clip features DROP DEAD DIVA headliner Brooke Elliott alongside Broadway babies Sharon Lawrence and Faith Prince, performing a spunky and more-than-slightly funky karaoke version of the classic Bill Withers country/gospel/rock anthem "Lean On Me". In Sunday's episode, Lawrence returns as bubbly Bobbie Dobkins and Prince as Jane's dotty mother, Elaine, just in time for some familial and celebratory Mother's Day festivities - yet there are some surprises in store. What antics will the Ladies Bingum cook up and what secret does Bobbie Dobkins have to reveal? Plus, what is this rumor of a new romance between Bobbie and the firm's head partner, Parker? Be sure to tune in to DROP DEAD DIVA Sunday night at 9 PM on Lifetime to get briefed!

Tonight at 8 PM, PBS/Thirteen in NYC will be airing one of the most comprehensive and revealing documentaries of its kind all about one of the most important theatrical venues in the world, Lincoln Center. The enthralling hour-long doc is hosted and narrated by Broadway baby and a superstar herself at the various venues of Lincoln Center many times over - most famously, perhaps, in ANYTHING GOES in 1987 and her own solo show MATTERS OF THE HEART; plus, this century, the film of COMPANY: IN CONCERT, today's Emmy-nominated SONDHEIM! The Birthday Concert and much more at Avery Fisher Hall - the one and only Patti LuPone. Tracing the origins of the creation of the three-block big performing arts center in what was once a residential neighborhood - the first of its kind in the USA when construction began in the early 1960s - all the way through the recent, extensive renovation, TREASURES OF NEW YORK: LINCOLN CENTER is an engrossing treat for fans of theatre, opera, ballet, architecture and the arts in America in general. Don't miss it!

Even with all the bases covered and loaded given this stupendous creative team, a cast of veritable Broadway all-stars and a surprise bottom of the ninth pop fly play courtesy of Norbert Leo Butz's fresh Tony win, CATCH IF YOU CAN can't seem to get the break it deserves on Broadway. Sure, it just passed the hundred performance mark and it is alive and well, but it deserves far more praise than it has been given. After all, Marc Shaiman and Scott Wittman's score is every bit as ingratiating and endearing as their work on the Tony-winning Best Musical HAIRSPRAY and for that fact alone CATCH ME IF YOU CAN commands the utmost attention from any cast album collector or Broadway baby interested in keeping up with all the scores and stats of Broadway‘s best. And, yes, indeed, CATCH ME IF YOU CAN possesses a score among the very best of the 21st century and the best new score on Broadway this season. The songstack as represented on the brand new Original Broadway Cast Recording is even more entertaining and enlivening than the show's songs onstage - although they have all their own allure there - and that is a huge credit to the fiercely talented songwriting team who knocks each and every pitch clear out of the park; here, just as always. CATCH ME IF YOU CAN is a fully-decked game of far-flung, fun, and not-so-frivolous fantasy ably aided by some of the most inspiring leading male performances in musical theatre in many years thanks to the wonderful work by the aforementioned Butz, plus impossibly charismatic leading player Aaron Tveit and a sensitive and suave Tom Wopat.