David Hersey News

Today we are talking to a three-time Laurence Olivier Award-winning actress who has made a major mark on the West End with her peerless string of richly varied performances - ranging from premiere UK productions of MERRILY WE ROLL ALONG, SUNDAY IN THE PARK WITH GEORGE and PASSION to LADY IN THE DARK, RAGTIME and THE WOMAN IN WHITE, as well as her various solo engagements, who now also excels as a director of theatre and opera, as well - the gifted Maria Friedman. Discussing all aspects of the recent West End production of Stephen Sondheim and George Furth's anomalous musical experiment MERRILY WE ROLL ALONG - cited by the master himself as the best production of the show to date - and now the fantastic Fathom film presentation of it arriving in movie theaters nationwide (and around the world) on October 23. Detailing the finer points of the reverse-chronological tale of show business ambition and its effects on friendships and relationships, Friedman paints a vivid portrait of her process in bringing the emotionally bracing and musically thrilling stage show to the big screen byway of this passionately played, dramatically captivating and incredibly detailed film preservation. Additionally, Friedman also sheds some light on participating in the Haymarket Theatre production of MERRILY WE ROLL ALONG herself as an actress nearly twenty years ago and the effect, if any, that experience has had on her perception of the dense and fiercely idiosyncratic musical now, as a director of the piece. Plus, Friedman also touches upon some of her most celebrated roles to date in other Sondheim shows as well as abundantly imparts her deeply held appreciation and affection for his work and personal friendship in her own life, citing his elemental influence on MERRILY WE ROLL ALONG as well as her career in general. All of that and much, much more awaits!

Let's see what the critics had to say...

A new production of Cats is set to open at the Panasonic Theatre in Toronto on May 28, and is being produced by the same producers as the now famous 1985 production, which played the Elgin Theatre.

The full cast is announced today as rehearsals begin for the West End transfer of the stunning Menier Chocolate Factory production of the Sondheim/ Furth musical Merrily We Roll Along. Directed by triple Olivier Award winner Maria Friedman, previews begin at the Harold Pinter Theatre on Tuesday 23rd April.

Following a sell-out run at the Menier Chocolate Factory, MERRILY WE ROLL ALONG by Stephen Sondheim and George Furth transfers to the Harold Pinter Theatre for 12 weeks only 100 stalls and dress circle seats at £25 available for every performance until 1 June*

As reported by the Daily Mail, Menier Chocolate Factory's current production of Stephen Sondheim's Merrily We Roll Along will transfer to the West End's Harold Pinter Theatre in April.

Merrily We Roll Along at the Menier Chocolate Factory announced today that it will now be booking through the 9th March 2013.

Following its past sold-out Christmas musicals (Sunday in the Park with George, Little Shop of Horrors, La Cage aux Folles, A Little Night Music, Sweet Charity and Pippin), Menier Chocolate Factory announces the casting for its hugely anticipated revival of the Sondheim / Furth musical Merrily We Roll Along as its Christmas 2012 show.

Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. Forget "Rock Of Ages." That 21st century musical about the 1980s has nothing on the real thing. "Cats," the show that set much of the look and tone of musical theater for the next decade or so when it opened in London in 1981 and in New York in 1982 (and began continuous touring in 1984, a record unmatched in theater history) is on display for this week only (sorry, "Now And Forever") at Chicago's Cadillac Palace Theatre. And I, who saw the original Broadway production twice during that heady decade and have not seen the show in any form since then, was eager to go and see what the fuss was, and is, all about. So I went, Tuesday night. If you've never seen this show, if you kids have never seen it, or if you want to experience the magic of this unique theatrical masterpiece one more time, then this is a great opportunity to do so, as this is the only remaining North American production to (somewhat) accurately replicate the award-winning, record-setting British musical that took America and the world by storm thirty years ago. This tour of non-Equity performers, with its usual orchestra of five beefed up to eight for a weeklong stand (May 1-6) in a major theatrical market, has enough going for it that I highly recommend it. It's a little like entering a time machine, and there's a lot of sleight of hand, but it works. Let me explain. What is "Cats?" Much maligned by insiders, derided as dated by visual artists, underrated by dance teachers and ignored by voice teachers (save for its megahit song, "Memory," which is heard twice, but never in the sheet music version everything has heard and claims to know), it is in many ways a dichotomy. It's a dance show (choreography by Gillian Lynne) written by a singer's songwriter (Andrew Lloyd Webber), as well as a British song cycle based on poems written by a St. Louis-born English poet (T. S. Eliot) who never intended his work ("Old Possum's Book Of Practical Cats," and other snippets) to be either musicalized or staged. Its plot, slight though it is, is also the subject of much derision, but to this observer is very reminiscent of "A Chorus Line," a universally revered work that does include dialogue and more depth of character, but also honors unity of time and place. However, there are indeed works that dispense with plot entirely, and which people unabashedly love (you know, revues--"Ain't Misbehavin'" comes to mind), and even shows like "Forever Plaid" and Lloyd Webber's "Starlight Express" feature heaven-going as a climax that is not entirely a surprise. So, enough complaining about there being no dramatic tension, already. But the spectacle! Is it a rock concert with dance, a dance concert with character, a makeup and hair extravaganza with arena-style lighting (still thrilling, the work of David Hersey, as recreated by Rick Belzer), a radio-friendly cast album with a decidedly British keyboard-rock spin, an intellectual set of inscrutable poems with earworm melodies, an environmental theater piece that's fun for all ages (an unmistakeable set and costume design by the remarkable John Napier)--what exactly is going on? The answer, of course, is all of the above. Oh, and it owes a lot to the English music hall tradition and to contemporary classical music, too, not to mention Puccini. Name another show that encompasses so much. Not to mention that original marketing campaign. Aside from his immature works (the children's show "Joseph And The Amazing Technicolor Dreamcoat" and others), Lloyd Webber's previous shows written with Tim Rice (the two nominated for the Best Revival of a Musical Tony Award this year, "Jesus Christ Superstar" and "Evita,") were both introduced to the world via record albums and marketing campaigns that featured a logo rather than a star name and image. But "Cats" seemed to take that even further, dispensing with the concept album and zeroing in on the show AS the star. Indeed, this show has no leading roles. Really. But who can forget that moon/cats' eyes/dancer silhouette logo, and the letters of the title in color-coordinated graffiti (echoing the oversized junkyard scene design). It was exciting and revolutionary at the time, and the only shows that have done it better since then (Lloyd Webber's "The Phantom Of The Opera" and director Trevor Nunn's "Les Miserables," all three produced by wunderkind Cameron Mackintosh) are the only ones that have run longer in London and New York, due to the lessons they learned from the feline juggernaut before us now. It was "the birth of the musical spectacular," as Broadway In Chicago's promotional materials tell us. This particular edition of the endless "Cats" tour, directed and choreographed by Richard Stafford and featuring mostly young, recent graduates of top U.S. musical theater and dance schools, is indeed "cut down" from the total makeover that the Winter Garden Theatre in New York displayed for the 18 years it played there (1982-2000). But the "Christmas lights" that once ringed the audience do indeed extend past the proscenium arch, and the cast makes several trips out into the aisles, a nice touch. The back wall of the set does not swing down to reveal the ship's set needed for the "Growltiger's Last Stand" sequence--they use drops and a false proscenium downstage center here, and I almost liked it better. The set as a whole is not as detailed and certainly not as deep as it once was, but if you haven't seen the video of the London production, or the show as it played in the early '80s, you would be none the wiser. Sound-wise, I have to give credit to sound designer Duncan Robert Edwards, musical supervisor Kristen Blodgette and music director J. Michael Duff. I swear the show sounds better than ever, even with a smaller orchestra than originally employed. And I could understand the lyrics! The costumes and makeup design look simplified to me, though, but again, a newcomer to the proceedings wouldn't know. And do I care of part of the set is inflatable, as rumor would have it? I don't care how they get it from city to city, or how quickly they do it, but somebody does care, and they figured out a way to make it work! The floating tire and the thing that comes down from the fly space (spoiler alert?) look great, absolutely. Absolutely. The cast is led by Melissa Grohowski as Grizabella, the role made famous by Elaine Paige and Betty Buckley and carrying with it, shall we say, a certain expectation of a certain money note. Boy, does Ms. Grohowski deliver! Three people stood during the applause for the number. Bravo to Clemmons/Dewing Casting, I say! The two singing roles for the men, Old Deuteronomy and Gus/Growltiger/Bustopher Jones, are essayed here by Nathan Morgan and Christopher E. Sidori, who both acquitted themselves well and were very effective theatrically, whatever their actual ages. Among the dance roles, Daniel J. Self as the narrator Munkustrap, Chris Stevens as Rum Tum Tugger and especially Chaz Wolcott as Mistoffelees were crowd pleasers: Self with his movement detailing, Stevens with his Elvis impersonation and Wolcott with his amazing fouette turns. The cast of two dozen or so performers dances uniformly well, and sings very well, too, save for a few minor quibbles with single lines here. And there or some missing low notes that older performers would probably have no trouble with. But these are easily forgiven. Who cares if the leading lights of Broadway (Harry Groener, Terrence Mann, Anna McNeely and of course Ken Page) have been replaced in these roles by recent graduates of Wright State, SUNY-Purchase and Oklahoma City University? These energetic, disciplined performers are working their tails off (pun intended), singing like people who can't dance a lick and are basking in the glow of theater history with every city they visit. Yes, the show has moments that seem a little longwinded, and sure, it doesn't challenge your intellect as much as it challenges your wallet and your caffeine intake (it takes place at night, and everybody is dressed like a cat!). But I challenge you to remain unmoved when Grizabella begs for physical contact, when old Gus relives his moment of youthful theatrical triumph, when assorted junk becomes the train that Skimbleshanks loves, and when the sopranos of the ensemble soar on the words, "'Round the cathedral rang 'Vivat!" Come on! It's "Cats." It's eye and ear candy galore. I don't even like cats, but I do like "Cats." Very much. "Cats" plays this week only, Tuesday night through Sunday night, with additional matinee performances on Saturday and Sunday, at the Cadillac Palace Theatre, 151 W. Randolph Street in Chicago. Tickets are available at all Broadway In Chicago box offices, the Ticket Kiosk at Water Tower Place, all Ticketmaster retail outlets, by phone (800.775.2000) and online at www.BroadwayInChicago.com. Photos: Melissa Grohowski; The Cast

Frolicking felines took the stage last night in all their graceful glory, bringing the Andrew Lloyd Webber classic CATS to life once again - this time at Broadway San Jose. The fantastical, magical world of London's Jellicle cats, who are gathered together for their yearly Jellicle Ball, still has the power to transfix and delight even now, thirty years after it first opened on Broadway.

The Hobby Center and Broadway Across America are bringing CATS back to Houston for a limited one-week engagement. Billed as 'the longest running, most popular North American touring production in history,' it will close in Sarofim Hall Sunday, April 17.

The Hobby Center and Broadway Across America are bringing CATS back to Houston for a limited one-week engagement. Billed as 'the longest running, most popular North American touring production in history,' it will play in Sarofim Hall from Tuesday, April 12 to Sunday, April 17.

Cats is best viewed through fresh eyes, probably, when the wonder of the spectacle is first encountered. The show's technical wizardry, in its time mind-boggling and perhaps even revolutionary, is now old hat (although I can certainly let go of my own cynicism long enough to appreciate the very theatricality of the show) and expected. But, imagine if you will, if you know nothing about the show at all and you settle into your seat and give yourself over to the experience. Chances are - no matter how worldly or sophisticated you are - you'll find yourself just a little awestruck by Cats. It remains an important milestone in musical theater history, despite the derision of theater snobs the world over.

The Hobby Center and Broadway Across America are bringing CATS back to Houston for a limited one-week engagement. Billed as 'the longest running, most popular North American touring production in history,' it will play in Sarofim Hall from Tuesday, April 12 to Sunday, April 17.

Noël Coward's witty and provocative romantic comedy, Design For Living returns to the Londonstage for the first time in over 15 years. Directed by Anthony Page and starring Tom Burke, LisaDillon and Andrew Scott, Design for Living opens for previews on 3 September with a press night on15 September 2010.

Noël Coward's witty and provocative romantic comedy, Design For Living returns to the Londonstage for the first time in over 15 years. Directed by Anthony Page and starring Tom Burke, LisaDillon and Andrew Scott, Design for Living opens for previews on 3 September with a press night on15 September 2010.

Michael Attenborough directs William Shakespeare's Measure for Measure previewing 12 February, with press night on 18 February and running until 10 April 2010. Designs are by Lez Brotherston with lighting by David Hersey, music by Stephen Warbeck, sound by John Leonard and movement by Imogen Knight.

Michael Attenborough will direct William Shakespeare's Measure for Measure previewing 12 February, with press night on 18 February and running until 10 April 2010.

Award-winning composer Stephen Warbeck brings together an ensemble of musicians for an evening of theatre and film music at the Almeida Theatre during the run of Measure for Measure for which he will compose the music.

It's easy to forget how ravishingly absorbing an evening at Equus can be if you only consider it as Peter Shaffer's scripted words. Though certainly not deficient in providing a neat little psychological morality drama, what makes the text succeed so well is that, like a great ballet composer, the author knows how to hand over to other artists the opportunity to use his work as a springboard for the creation of emblazing visuals that illuminate with lofty creativity. Equus may not read like great theatre, but director Thea Sharrock's elegant cerebral nightmare of a production shows it can sure play like it.