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Regional Roundup: Top New Features This Week Around Our BroadwayWorld 4/20 - BRIGHT STAR, ALADDIN, THE MUSIC MAN and More!

Fri, 20 Apr 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature BRIGHT STAR, ALADDIN, THE MUSIC MAN and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Los Angeles: Contributor Michael Quintos reviews FLYING SOLO. He writes "To reiterate the show's intimacy, Gunn is only joined on stage by his unassuming (but hard-working) musical director/pianist Michael Bagby, who pretty much stays behind the piano hidden in the shadows for the show's entirety. By contrast, Gunn moves about on stage throughout, taking on several other roles besides playing himself, as he reaches for props, costume accessories, and other minimal stage props from behind the antique chair that is a replica of the one that used to be owned by his father." Salt Lake City: Contributor Tyler Hinton reviews THE MUSIC MAN at the Hale Centre. He writes "Chris Brown as Mrs. Paroo (double cast with JaNae Gibbs Cottam), Christian Johnston as Marcellus Washburn (double cast with Matt Baxter), Allan DeWitt as Tommy Djilas (double cast with Cory Reed Stephens), Zac Zumbrunnen as Mayor Shinn (double cast with Brandon Suisse), and Shawnda Moss as Eulalie Shinn (double cast with Sharon Lynn Kenison) are also memorable in their parts." Denver: Contributor Chris Arneson reviews The Arvada's SUNDAY IN THE PARK WITH GEORGE. He writes "To produce a solid production of Sunday in the Park with George, it takes a theatre company that can successfully create the ambiance of Seurat's work using suitable tech. Few have the opulence of the Arvada Center, which may explain why this show is done less frequently. Directed by Rod. A. Lansberry, the production plays with an unpretentious sophistication, focusing on the characters but not overlooking the art of it all. Not only is the scenic design (by Brian Mallgrave) meticulously crafted, costumes by Claire Henkel emulate Seurat's work exquisitely, along with a delectable touch of mid-'80s fashion." Brisbane: Contributor Virag Dombay reviews AMERICAN IDIOT at QPAC. She writes "Once you've seen the show, it is clear to see as why the musical is a two-time Tony winner for Best Scenic Design of Musical and Best Lighting Design of a musical. John Mcintosh's bedraggled, grimy, two-level set is representative of the way the characters see the world around them and their role in it, however, it further allows space for Craig Wilkinson's video design to splash the walls with graffiti, live footage of the characters and newsreels of various political figures, such as the current American president. Mathew Marshall's lighting design compliments Lucas Newland's dynamic ensemble choreography (the only colour in the black and white world) through not only bringing light to nooks and crannies of the set in which the characters abide, but involves the audience in the narrative through quite frequently, leaving them in the light or, having the colourful lights circle around them, as if they were trapped in the same tale.My favourite lighting elements were the graffiti of the dates and handful of words from Johnny's diary entries splattered over the backdrop and the constant flashes of the television screen; the media becoming an eye surveilling each character's movements and relationships. Melaine Knight's costuming is the perfect punk-rock blend, with each character wearing clothing of a divergent design but of the same colour palette (with the exception of St Jimmy's bedazzled suite), additionally signifying how they are all the same, in their city of the damned." Denver: Contributor Chris Arneson reviews ALADDIN at the Denver Center. He writes "A few new songs are featured in the production. Some, like "Proud of Your Boy" and "High Adventure," were originally written for the movie by As[...]



CRY HAVOC Set For STET The English Theatre Beginning 4/19

Fri, 13 Apr 2018 15:59:46 PST

(image) CRY HAVOC is coming to STET The English Theatre from April 19 to April 21. The show is written and performed by Stephan Wolfert and incorporates material from Shakespeare.

CRY HAVOC is the personal story of war veteran Stephan Wolfert. He uses his story of reintegrating into civilian life and suffering from PTSD with the timeless verse of Shakespeare.

This production is part of The Hague Shakespeare Fringe Weekend, Shakespeare Unexpected. After the show there will be an opportunity to discuss the performance and the themes it addresses with Stephan Wolfert.

For tickets and more information, please visit http://www.theenglishtheatre.nl/stet-productions/2018/cry-havoc.html

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Regional Roundup: Top New Features This Week Around Our BroadwayWorld 4/12 - LOVE NEVER DIES, FINDING NEVERLAND, FUN HOME, and More!

Fri, 13 Apr 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature LOVE NEVER DIES, FINDING NEVERLAND, FUN HOME, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! San Francisco: Contributor Linda Hodges reviews The Bridges of Madison County at TheatreWorks. She writes "Director Robert Kelley lovingly navigates Pulitzer Prize-winning playwright Marsha Norman's script by slowly simmering the attraction between Francesca and Robert. Kelley sprinkles in small moments of laughter and cameos of country life, all the while leading us inexorably to the moment when Francesca and Robert cross over the line and into each other's arms, drinking in a love that they didn't know they were BWW Review: TheatreWorks Brings the Passion of THE BRIDGES OF MADISON COUNTY to the Stage and Into Your Heart even thirsty for." Santa Barbra: Contributor Anna Jensen reviews AMERICAN IDIOT at Center Stage Theater. She writes "Out of the Box's concept for the production foregrounds this particularly American malaise, the dissatisfying circumscription of the self, bound by the parameters of commodity culture. The show's scenic design supports the theme of the individual defined as product, brand, social media alter-ego. To illustrate, a large screen hangs over the stage space on the upstage wall, continuously streaming a montage of text and imagery gleaned from commercials, news, and social media. Out of the Box regularly employs Center Stage's upstage back wall to great effect, expanding the visual perception of the intimate theatre's stage space. In this production, the upstage screen's imagery and text (designed with virtuosity by Timothy Reese) exists in precisely timed dialogue and sometimes counterpoint, with the action on stage." Sacramento: Contributor Courtney Symes reviews FINDING NEVERLAND at California Music Theatre. She writes "Ray makes Barrie inherently likable. He is whimsical, not immature. Creative, not childlike. In awe of the world around him, not naive. His strong vocal background comes through in numbers such as "My Imagination," "Neverland," and "When Your Feet Don't Touch the Ground." Creative projections and scenic design by Scott Pask and a jewel-toned lighting theme by Kenneth Posner (both of Pippin) enhance the feeling of fantasy and make for some truly awe-inspiring scenes. "Hook" is not to be missed and, in a stronger second act, what may be sad is mitigated by the pure magic of the special effects." Jacksonville: Contributor Jordan Higginbotham reviews BEAUTIFUL at the Times Union Theater. She writes "The stage design of Beautiful was incredible. From the moment the show starts, the audience was mesmerized by "So Far Away". Carole, while sitting on her piano, is rolled away and the set is completely changed in a matter of seconds. Throughout the show, the audience is in awe of the ever-changing set, where one minute we viewed Carole and Gerry's office, and the next the piano and desks are switched to Barry Mann and Cynthia Weil's office just on the other side of an invisible wall. One of the most incredible set changes was the change between Barry and Cynthia's office to the bright lights of Broadway in "On Broadway". The lights, the set, the performance truly captured Broadway at this time and was magnificent." Salt Lake City: Contributor Blair Howell reviews FUN HOME. He writes "As adult Alison's lover, Mary-Helen Pitman is correctly unshowy. The penultimate scene of Kennington's "Telephone Wire" that leads into "Edges of the World," by Benjamin Henderson as Bruce Bechdel, is heartwrenching. (Henderson makes the WTF moments not only plausible but r[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 4/6 - THE COLOR PURPLE, WAITRESS, WICKED and More!

Fri, 06 Apr 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature THE COLOR PURPLE, WAITRESS, WICKED and more! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Cincinnati: Contributor Abby Rowold reviews SOONER/LATER at Cincinnati Playhouse in the Park. She writes "As usual, the Playhouse delivered on the technical side. The costuming by Teresa Squire humorously displayed Nora's fashion impediments and the set design by Narelle Sissons was simple and tasteful. It evoked the various locations of the play while conforming to the dimensions of the cozy space, managing to fit a stylish coffee shop, a boudoir filled with baskets, shelves, and racks of clothing, and a widow's walk looking over the sea under a starry sky without the stage seeming cluttered." Delaware: Contributor Greer Firestone reviews DIRTY DANCING at The Playhouse. He writes "The leads could dance, case closed on that. And there was some steam arising from the bedroom scenes. Aaron Patrick Craven (Johnny Castle), Kaleigh Courts (Baby) and Anais Blake (Penny) come from strong ballet upbringings. Craven's lines were beautiful, intensified by his height. He worked seamlessly - and should I say courageously - in his lifts of Courts and Blake. His tough guy vibe and attitude got a bit old and my guest lamented that he did not smile until the last 4 minutes of Act II." Raleigh: Contributor Lauren Van Hemert reviews THE COLOR PURPLE at the Durham Performing Arts Center. She writes "Five members of the original Broadway cast lead the national tour, including Adrianna Hicks (Celie), Carla R\. Stewart (Shug Avery), and Carrie Compere, who reprises her role of Sofia. Compere commands the stage with her unapologetic portrayal of Sofia and brings down the house with her rendition of Hell No! and rollicking romp through Any Little Thing with fellow Color Purple Broadway Alum J\. Daughtry (Harpo)." Buffalo: Contributor Michael Rabice reviews SCHOOL OF ROCK at Shea's Buffalo. He writes "The star of this production is the large ensemble of children. A prerecorded announcement from Andrew Lloyd Webber himself informs the audience that yes indeed, each child does play their own instruments on stage. These kids are all super multi-talented and have such infectious energy that you can't help but root for them. But their chance of winning a band competition may be spoiled when their parents overtake the school for parent conferences and their teacher is exposed as a fraud. Here the poignancy of the story allows each child's inner story to be exposed to their tough as nails parents by Dewey." Dallas: Contributor Kyle Christopher West reviews WAITRESS at Music Hall at Fair Park. He writes "Three talented leading ladies take on the bulk of the baking: Leanne Kingaman as quirky-but-cute Dawn; Charity Angél Dawson as the steadfast and sassy (and high belting) Becky; and Desi Oakley as down-on-her luck and damaged Jenna, who attacks the world with a tough-as-nails approach until a change in her routine gives her a fresh look at life. Oakley's performance takes a bit to warm up to, but once she soars on her emotional eleven o'clock ballad, "She Used to be Mine," we're there to hold her hand through the final curtain. Bryan Fenkart (Dr. Pomatter), Nick Bailey (Earl), and Ryan G. Duncan (Cal) prove perfect scene partners for the night, but it's Jeremy Morse (Ogie) who is hands-down the audience favorite. And, just in case there weren't already enough sweet treats on stage, four-year-old Eliza Chabot of Farmers Branch (who alternates nightly with Quinn Johnson of Grapevine), enters late in the evening as the cherry on top, with the most adorable smile you've ever seen [...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 3/30 - PRETTY WOMAN, LES MIS, BOOK OF MORMON, and More!

Fri, 30 Mar 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature PRETTY WOMAN, LES MIS, BOOK OF MORMON, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Chicago: Contributor Misha Davenport reviews PRETTY WOMAN. He writes "The fault does not lie with the casting. Samantha Barks (Éponine in the film version of "Les Miserables") is making her Broadway debut as Vivian Ward, the hooker with the heart of gold played in the film by Julia Roberts. She is radiant and likeable in the role and can belt out the score with an emotional intensity. This could be her breakout Broadway moment much like the film was for Roberts' career." Milwaukee: Contributor Kelsey Lawler reviews LES MIS at the Marcus Center. She writes "The women of the revolution - a grown-up Cosette and Eponine, played by Jillian Butler and Emily Bautista, respectively - are each incredibly strong. With one a sweet soprano and the other a sky-high belter, these parts can sometimes play out as shrill or try-hard. Butler and Bautista consistently strike the perfect chord." Seattle: Contributor Jay Irwin reviews THE GREAT LEAP at Seattle Rep. He writes "Director Eric Ting does a fantastic job of switching between the time periods and locales and keeping the action moving with never a wasted moment. Yes, it's literally writ large on the stage but the tone shifts are palpable as well with each moment building beautifully on the last until they all come to a head in an incredibly fast paced game of words. And kudos to Christopher Kuhl for his lighting and Shawn Duan for his projections which aid in that tension build immensely." Long Island: Contributors Anthony Hazzard and Scott Stolzenberg review MAMMA MIA! At the Smithtown Center. They write "Finally, Sophie's groom to be is just sensational. The great Niko Touros is absolutely fabulous as Sky! As much as we support Sophie's self-searching and Donna's breakdown, we are on team Sky the whole way and certainly don't want his warm heart to be broken. Mr. Touros is a triple threat who deserves every ovation coming to him as he flies and glides through every lavish song and dance number with the widest of smiles." Central PA: Contributor Marakay Rogers reviews THE MARVELOUS WONDERETTES at Servant Stage. She writes "The songs, though predictible, are enjoyable. The Fifties set, in the first act, is the wholesome, non-controversial popular music of teen love ("Lollipop," "Mr. Sandman") and teen loss ("Lipstick on Your Collar"). The Sixties, though, are more mature and more rebellious, and so are the Wonderettes ("You Don't Own Me," "Son of a Preacher Man," "Leader of the Pack," "Respect"). Because of that, and because of the plot, as they say, having thickened over ten years, the second act is more energetic and more edgy, but that's a deliberate construction in the plot." Louisville: Contributor Annette Skaggs reviews YOU ACROSS FROM ME at Actors Theatre of Louisville. She writes "Ms. Guha's Mother's Blessings was perhaps the least entertaining of the evening. While the actors did well in grasping what is considered an Amish tongue and dialect, there were those among the troupe that swallowed their lines, which is quite unfortunate as the storyline was extremely hard to follow when one could not understand even half of the dialogue." Los Angeles: Contributor Michael Quintos reviews THE BOOK OF MORMON at the Segerstrom Center. He writes "After seeing the show multiple times and seeing multiple actors take on the lead roles, I am still impressed at the talent pool that has come into [...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 3/23 - PHANTOM, IN THE HEIGHTS, WAITRESS and More!

Fri, 23 Mar 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature PHANTOM, IN THE HEIGHTS, WAITRESS and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Orlando: Contributor McKenzie Lakey reviews WAITRESS at the Dr. Phillips Center. She writes "Center stage Oakley shines in every number she takes part in, and her chemistry with co-star and on-stage love interest Bryan Fenkart (in the role of the quirky Dr. Pomatter) is palpable. Their scenes on-stage together don't disappoint as they range from humorous to intimate and poignant. Oakley's depiction of Jenna's personal struggle with her situation is highlighted well through dramatic comparisons to Jenna's childhood and her mother's own experiences. These recollections help the audience understand the deeply intimate connection they shared through baking-all leading up to Oakley's soaring ballad of "She Used To Be Mine." Chicago: Contributor Emily McClanathan reviews AN ENEMY OF THE PEOPLE at The Goodman Theatre. She writes "Philip Earl Johnson shines as Thomas Stockmann, the idealistic doctor who discovers the deadly bacteria infesting the water supply of his beloved hometown. Johnson movingly portrays Stockmann's journey through a variety of stages - disillusionment when the local authorities fail to act in the interest of their constituents' health, outrage when the townspeople whom he seeks to protect label him a traitor to society, and, finally, determination to stand alone for what he believes." Long Island: Contributor Melissa Giordano reviews IN THE HEIGHTS at the Engeman. She writes "Excellently leading the cast as bodega owner Usnavi - Mr. Miranda's role from the Broadway showing - is Spiro Marcos in his Engeman début. Mr. Marcos receives roaring applause and laughs for his natural wit and first-rate renditions of "96,000" and the show's title number with the company. Also, Mr. Marcos' performance of "Hundreds Of Stories" with Tami Dahbura, portraying Abuela Claudia, the town grandmother, is truly endearing and an audience favorite." New Orleans: Contributor Tara Bennett reviews THE PHANTOM OF THE OPERA at the Saenger Theatre. She writes "Directed by Laurence Connor, PHANTOM still emits a sense of wonder and the macabre. The combination of talents from its cast, consisting of newcomers and Broadway vets, make for a compelling and engaging story. In the title role, Quentin Oliver Lee is overall triumphant in his sensitive interpretation of the tragic, disfigured outcast behind the mask. With a resonant voice that haunts the stage - even when he's not on it - Lee reigns with a commanding physical presence, towering over his scene partners. His spell was initially broken during the first act as his voice seemed straining his notes out at times. However, by the second act, he sang with the intensity you expect from the Phantom." Miami: Contributor Roger Martin reviews ONCE at the Actors' Playhouse. He writes "Jodi Dellaventura designed the bar, remarkable in its authenticity and detail and Jeni Hacker provided choreography and musical staging that lagged not a whit. Ryan McCurdy directed the music, with Shaun Mitchell designing the sound and Ellis Tillman the costumes. Eric Nelson designed the lights and here's my only carp: too much of the show was in the dark. Atmospheric lighting sure, but don't drive me to a white cane." Toronto: Contributor Taylor Martin reviews ANIMAL FARM at Soulpepper Theatre. He writes "All of Jain's animals take on various recognizable personalities. The chickens, led by Raquel Duffy as Mercy, are an outrageously funn[...]



UK Tour of SUNSET BOULEVARD to Come to Koninklijk Theater!

Fri, 16 Mar 2018 09:29:31 PST

The UK Tour of Andrew Lloyd Webber's hit SUNSET BOULEVARD is coming to the Koninklijk Theater! This touring production stars Ria Jones, Glenn Close's understudy in the recent West End production, as Norma Desmond, as well as Danny Mac as Joe Gillis. SUNSET BOULEVARD will open at the Koninklijk Theater on March 28th and run through April 8th. The Cast of SUNSET BOULEVARD: Ria Jones (Norma Desmond), Danny Mac (Joe Gillis), Adam Pearce (Max Von Meyerling), Molly Lynch (Betty Schaefer), Dougie Carter (Artie Green), Carl Sanderson (Cecil B. DeMille), Bernadette Bangura (Jean), Benjamin Chambers (Jonesy), Kristoffer Hellström (Sheldrake), Simon Loughton (Manfred), James Meunier (Myron), Gemma Naylor (Marilyn), Fiona O'Carroll (Joanna), Joanna O'Hare (Mary), Jessica Paul (Dawn) , Sam Peggs (Hog Eye), Tom Vincent (Cliff), Barney Wilkinson (Adam), Matthew Barrow (Swing & Assistant Dance Captain), and Joanna Goodwin (Swing & Dance Captain). The Creative Team: Andrew Lloyd Webber (Composer), Christopher Hampton (Book & Lyrics), Don Black (Book & Lyrics), David Cullen (Co-Orchestrator), Nikolai Foster (Director), Lee Proud (Choreographer), Stephen Brooker (Musical Supervisor), Ben Cracknell (Lighting Designer), Tom Marshall (Sound Designer), Douglas O'Connell (Video Designer), Simon Gooding (Production Manager), Marcus Hall Props (Props Supervisor), David Grindrod CDG (Casting Director), Adrian Kirk (Musical Director), Colin Richmond (Set and Costumes), Jason Capewell (Resident Director), Stephen Hill (Orchestral Management), Michael Harrison (Producer), David Ian (Producer), and Curve (Originating Theatre). For tickets and more information, please visit https://carre.nl/en/show/sunset-boulevard.[...]



Operadagen Rotterdam 2018 Launches Programme And Ticket Sales

Thu, 15 Mar 2018 18:31:10 PST

Operadagen Rotterdam, the festival for contemporary opera and music theatre, will be held from 18 through 27 May 2018. The programme was launched today as online ticket sales commence. 100+ performances can be enjoyed in Rotterdam's major theatres as well as at exciting inside and outside locations across the city. This year's festival theme is Heroism, with narratives revolving around the challenges and trials inherent to every hero's journey. Operadagen Rotterdam is an important meeting place for opera and music theatre professionals from around the world. This year the festival will host a programme developed by the international network organisation Opera Europa for the second time. Operadagen Rotterdam awards prizes to makers of innovative music theatre during the GALA!, now in its second edition. Director Wouter Van Looy's music-theatrical spectacle Earth Diver in Nieuwe Luxor Theater opens the festival. It contains powerful video images, garlanded by narrator Phil Minton's words and Heinrich Schütz's comforting baroque music. The latter is performed by the famous German singers of the magnificent choir Chorwerk Ruhr as they weave into and around the spectators. The performance is co-produced by the Ruhrtriennale. International highlights Operadagen Rotterdam closely monitors what is going on in society. The festival is brimming with stirring and gripping stories, which originate all over the world - from Argentina to Switzerland and from Tanzania to Ukraine. The virtuoso performance IYOV (Ukraine) plays all registers and is inspired by the Book of Job. The Swiss director/musician Thom Luz based his piece When I Die on the true story of the musically uneducated Rosemary Brown who in 1964 was requested to perform unfinished works by the ghosts of deceased composers, including Liszt, Bach, and Brahms. New compositions The world-famous composer (and special festival guest) Gavin Bryars wrote new music for Calamity/Billy: A two-part paradise lost that features two Wild West heroes: Billy the Kid meets Calamity Jane, the (in)famous woman who bested the men of her time. Operadagen Rotterdam and de Doelen present the world premiere of Klas Torstensson's completed triptych De Christina Cyclus about the Swedish Queen Christina I (1626-1689). Robert Zuidam, one of today's most fascinating composers in the Netherlands, set to music several sonnets about the Queen of Scots that were written by Nobel Prize winner Joseph Brodsky for Mary Stuart: In my end is my beginning. Classics and young talent The renowned Argentine conductor Leonardo García Alarcón and his Cappella Mediterranea are returning to the festival with star soprano Mariana Flores. They perform Carmina Latina, a production about cultural exchange in times of colonisation and suppression. Classic operas are transformed into something new. The young Flemish director Tom Goossens has given a makeover to Wolfgang Amadeus Mozart's and Lorenzo Da Ponte's Così fan tutte as Così and there is a beautiful version of Beethoven's Fidelio for children 6 and over. The festival is also a platform for raging talents such as Tijdelijke Samenscholing, Nienke Nasserian Nillesen, and Les Âmes Perdues. Ring of Resilience: BEAST As Wagner predicted in Götterdämmerung water is heading for the city! Together with the people of Rotterdam, director Arlon Luijten is building an ark that can withstand the future. It is part of the four-year urban project Ring of Resilience in the context of Resilient Cities, which is inspired by Wagner's The Ring of the Nibelung. The audience will contribute to the design during BEAST, a magical opera playground that offers singing, dancing, and escape routes for the entire family. Ticket sales Visit several performances if you want to get the most out of Operadag[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 3/16 - IN THE HEIGHTS, GUYS AND DOLLS, MOTOWN and More!

Fri, 16 Mar 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature IN THE HEIGHTS, GUYS AND DOLLS, MOTOWN and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Louisville: Contributor Keith Waits reviews DO YOU FEEL ANGER at Actors Theatre of Louisville. He writes "By the end of the show, I found that I was a little disappointed - not with any of the performances, production value or even writing, as all of that was at a level befitting the Festival's history. I wanted to have answers. I was angry with what happened to the characters I had fallen in love with. I was as powerless to help them as they were to help themselves. I think that was precisely the point, but it didn't make the play an easy watch by the end. I'll put it another way by borrowing the play's title and one of Sofia's empathy exercises:" Indianapolis: Contributors Dylan and Celeste Caraker review LES MIS at the Old National Centre. They write "The costuming, wonderfully designed by Adreane Neofitou and Christine Rowland were expertly crafted and Matt Kinley's incredible set and images (literally based on images by Victor Hugo) provide a topnotch backdrop for the action. As a techie, if any part of the production design could really be the star of the show last night, it would have to be the intense lighting design by Paule Constable, which perfectly recreated the world of Hugo's France with admirable skill. The lighting was absolutely breathtaking and gorgeous, and it really helped focus the attention of the audience with ease and created a sense of wonderment as the story unfolded." Raleigh: Contributor Jeffrey Kare reviews THE WIZARD OF OZ at North Carolina Theatre. He writes "Though under the direction of Dean Sobon, there is a wonderful cast of performers that should keep audiences invested. Kalie Kaimann as Dorothy Gale gives a performance that really makes you care for her throughout the show. Her three companions in Oz are perfectly portrayed in this production with Chris Duir as the brainless Scarecrow, Christopher Russell as the heartless Tinman, and Victor Legarret as the Cowardly Lion. As the story's classic antagonist, Emily Perzan is wickedly spunky as The Wicked Witch of the West." Palm Springs: Contributor Stan Jenson reviews SISTER ACT at Palm Canyon Theatre. He writes "The energy throughout the evening is spectacular, especially in the numbers where Tillman is leading the sisters in enthusiastic sacred production numbers. Tillman hails from Asbury, New Jersey where she is the Worship Leader of the Shore Christian Church, so her role indeed finds art imitating life. From her first number in the nightclub, "Take Me to Heaven," we know that she is a very special talent, and it is obvious why PCT was willing to transport her across the country to take on this role. There doesn't seem to be a moment in the show when she sits back and takes a breath." Jacksonville: Contributor Jordan Higginbotham reviews Motown at the Times Union Center. She writes "Berry Gordon, played by Kenneth Mosley, was spectacular. My first thought to Mosley's performance was he portrayed Gordon as a voice behind the iconic voices, but Mosely's voice was just as memorable. Mosley performed with such strength and stamina through the entire production. His "Can I Close the Door (On Love)?" was breathtaking and pulled the entire show together. Not only were his singing abilities phenomenal, but Mosley's stage presence was astounding. The moment he walked on stage, the audience knew Berry Gordon was the boss an[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 3/9 - WAITRESS, RAGTIME, CHICAGO, and More!

Fri, 09 Mar 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature Waitress, Ragtime, Chicago, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Pittsburgh: Contributor Greg Kerestan reviews WAITRESS at the Benedum. He writes " Sassy waitress Becky (Charity Angel Dawson) loves her invalid husband, but is having an affair with the more vital Cal (Ryan G\. Dunkin), the diner's grouchy manager. Dawson has an amazing voice, and Dunkin finds the meat in a one-dimensional role without any singing, but both of them are saddled with the most sitcom-generic of characters. Lenne Klingaman fares better as buttoned-up waitress Dawn, who learns to open up and love life with the help of her persistent, quirky suitor Ogie, as played by Jim Hogan. Hats off to Hogan, handling one of the most difficult comedic roles in contemporary musical theatre, charming the audience and winning over Dawn at the same time. We have every reason to see Ogie as a loser, a creep, or even a stalker- in his very first scene, he must bring enough joy and innocence to his persistence that we see why Dawn comes to fall for him quickly. Finally, Larry Marshall (who played a manic Simon Zealotes in the first Jesus Christ Superstar film) brings both warmth and crustiness to the role of Old Joe, the diner's owner and chief patron. At first, I was a little uneasy with seeing a black man in the role- there's a certain touch of the outdated "Magic Negro" trope around a lovably raunchy old black man who is always handing out sage advice and solving white people's problems with handy deus ex machina moments. (It's not an inherently offensive trope so much as a trite one- the Magic Negro cliché dates all the way back to Uncle Remus.) Nonetheless, Marshall overcomes this slight cultural baggage to make Old Joe more than just a Morgan Freeman wananbe." Los Angeles: Contributor Ellen Dostal reviews JACKIE UNVEILED at the Wallis. She writes "Burrows delivers the herculean task of presenting a two hour solo play with finesse but is also undermined by Jackie's accent. Though carefully studied and phonetically perfected, it is centered around one pitch and never varies much from it. The limited vocal range combined with a downward emphasis at the end of every sentence becomes monotonous with its predictable rhythm. And while she is working very hard to connect with the audience, it never feels like we truly get to see behind the veil. Something in the eyes still keeps us at a distance and that is a missed opportunity." Sioux Falls: Contributor Katie Becker reviews CHICAGO at The Washington Pavillion. She writes "Several cast members return to roles in this production of Chicago, including leads Dylis Croman (Roxie Hart) and Terra C\. MacLeod (Velma Kelly), bringing with them a familiarity and excitement for their characters. Throughout the show, MacLeod expertly conveys the desperation of Velma Kelly as she watches Roxie go from media revival to finally convincing her to become the other half of her double act. One of MacLeod's strongest scenes is during the Act 2 duet, Class, between her and Jennifer Fouché's Matron Mama Mortan; beautifully capturing the strong on stage chemistry between the two." Tampa: Contributor Deborah Bostock-Kelley reviews FOREVER PLAID at the Straz Center. She writes "The men are funny and engaging. Before performing their opening number Three Coins in a Fountain, there's a quiet warning of "it's time to start the show; check your flies." The quartet's perfecte[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 3/2 - ALLEGIANCE, RAGTIME, GHOST, and More!

Fri, 02 Mar 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature Allegiance, Ragtime, Ghost, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Los Angeles: Contributor Don Grigware reviews ALLEGIANCE at the JACC. He writes "As I mentioned above the entire 15 member cast do splendid work with their acting, singing and dancing. As a chorus, they sound terrific. Choreographer Rumi Oyama does nice work putting the cast through some fast and furious moves. Se Hyun Oh's scenic design is adequate, as are Halei Parker's costumes. Nice projection work from Adam Flemming, who puts his projections in several places across the stage. One very strange element is the use of box-like shapes that float down consistently. One side of each is used for projections, but why these curious shapes? Do they symbolize something in the Japanese culture? Very disconcerting!" Philadelphia: Contributor Pati Beuhler reviews SOMETHING ROTTEN at the Kimmel Center. She writes "Did I mention that the theatrical competition at that time is none other than William Shakespeare? Broadway legend Adam Pascal plays the strutting peacock "I am the Will with the skill/ To thrill you with the quill". Pascal is obnoxiously talented in his role. But Nostradamus assures Nick that one day he will dazzle the whole world with his immortal work - a musical called "Omelet". Well, that's almost all the plot you need, because there's entirely too much insanely crazy gobbledygook in Act Two." Madison: Contributor Scott Rawson reviews AN AMERICAN IN PARIS at the Overture Center. He writes "This combination ballet/musical has cleaned up most of the sexism and misogyny of the original film, as it should, we are, after all, living in a different age. The dancing was fabulous, if not excessive. The set and multi-media were breathtaking. The actors, for the most part, believable." Seattle: Contributor Jay Irwin reviews Seattle Rep's HERSSEY FELDER AS Irving Berlin. He writes "Felder's talent on the piano is only matched by his talent as a storyteller. He locks you into the ride from the beginning and never lets go. You need someone with presence to be able to carry a one-man show such as this and Felder has that presence in spades but it's an unassuming presence, so you feel like you're just listening to a friend and not a performance. He draws you in with heart and humor and delightfully with a couple of sing-a-longs into which the audience gleefully joined. And adding to the storytelling is a magnificent set from Felder that looks like a living room but then doubles as a backdrop for amazing lighting and projections from Richard Norwood and Christopher Ash & Lawrence Siefert." Los Angeles: Contributor Michael Quintos reviews THE KING AND I at the Segerstrom Center. He writes "From the moment the curtain rises to reveal the show's first "wow" moment---which finds a stunningly imposing ship Chow Phya slowly docking into Bangkok carrying widowed British school teacher Anna Leonowens (played by the spectacular Laura Michelle Kelly) and her young son Louis (Rhyees Stump)---the production will have you instantly mesmerized. Michael Yeargan's eye-popping sets and Catherine Zuber's Tony Award-winning costumes convincingly transport the audience to 19th Century Siam, where we find the country caught at the crossroads between many centuries' worth of traditional, old-world standards and a new modern, contemporary world outside their borders that is slow[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 2/23 - THE LION KING, FINDING NEVERLAND, and More!

Fri, 23 Feb 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature The Lion King, Finding Neverland, The Crucible, and more! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Orlando: Contributor McKenzie Lakey reviews THE LION KING at the Dr. Phillips Center. She writes "The Lion King" is the perfect introduction to Broadway musicals for audience members of all ages, but still maintains the pure talent, ingenuity and sheer power that only the best of Broadway can produce and maintain. No matter how well you know the story or how many times you have seen "The Lion King" (either animated or brought to life on stage), it always has a way of transporting viewers back to a period in their life filled with the awe and wonder of childhood that they may have long forgotten-and it's a trip definitely worth taking." Baltimore: Contributor Charles Shubow reviews THE GREAT SOCIETY at Arena Stage. He writes "This play should be required viewing for all high school students. No books or lectures could reveal how President Johnson was able to push through his "Great Society" legislation that included passage of the Civil Rights Act, Voting Rights Act, Clean Air Act, Medicare, Medicaid, Food Stamps, Head Start, Social Security, Public Broadcasting, National Public Radio, and the National Endowment for the Arts. Is there any doubt why this era was called "The Great Society"?" Jacksonville: Contributor Jordan Higginbotham reviews MADAMA BUTTERFLY at the Times Union Theatre. She writes "All parts were beautifully and poignantly portrayed in the opera. The cast was amazingly talented and dedicated to their characters. As someone who has listened to the Miss Saigon soundtrack, I could not help making the connections of each character to its inspired character, and the story in which it was based." Nashville: Contributor Jeffrey Ellis reviews SMART PEOPLE at Nashville Rep. He writes "Clearly, the four people who inhabit the world as presented in Smart People are indeed more intelligent than most of the people in your neighborhood (and certainly my neighborhood), they each represent some archetype in order to create a universal tale that is at once appealing, yet somehow troubling. In the manner of all compelling theater, Smart People makes you think, encourages you to consider your own thoughts and actions, and challenges the status quo in which we are all complicit. One thing you can be certain of - you'll have plenty to talk about after the curtain has rung down on Nashville Rep's articulate Smart People." Norfolk: Contributor Jeremy Bustin reviews A RAIN IN THE SUN at Virginia Rep. He writes "Jasmine Coles is perfectly cast as the eccentric and aspirational Beneatha, and has a show-stealing moment with a tribal chant and dance featuring an equally delightful Solomon. But it's Trezana Beverley as Lena 'Mama' Younger, who gradually inherits the reins of the production with a finely shaded performance. Audiences will hear the nuance in every word she speaks and absorbedly watch every move she makes." Milwaukee: Contributor Kelsey Lawler reviews FINDING NEVERLAND at Milwaukee's Marcus Center. She writes "But it can't be denied that there are shining moments aplenty in this Pan-themed spectacular. Again, the choreography is remarkably well-crafted and perfectly executed by a brilliant cast of characters. Especially unforgettable is the way in which Sylvia goes to Neverland in a flurry of sparkle [...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 2/16 - HUNCHBACK, HAMILTON, FRANKENSTEIN, and More!

Fri, 16 Feb 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature HUNCHBACK, HAMILTON, FRANKENSTEIN, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Salt Lake City: Contributor Tyler Hinton reviews HUNCHBACK at the Hale Center. He writes "Director/choreographer Dave Tinney and musical director Kelly Dehaan have shepherded the performances to be much more than just the individuals on their own. There is a unity and power that radiates from the large group of actors and singers, skillfully costumed by Peggy Willis, as they navigate through the ever-shifting multi-leveled set." Seattle: Contributor Jay Irwin reviews HAMILTON at the Paramount Theatre. He writes "And now I must mention four tracks that may be the most demanding in the show and were stunners. These four actors have to pull double duty all night long, each with two very different characters. Elijah Malcomb starts the night as one of Alexander's best friends John Laurens with tons of resolve and dedication and then moved onto play Hamilton's son Phillip whose bravado will break your heart. Fergie L. Phillipe was probably my favorite of the four with his braggadocious Hercules Mulligan and then going into the meeker and sickly James Madison. Kyle Scatliffe who Seattle audiences may remember from his amazing turn as Jud in "Oklahoma" a few years back was a stunner as the quick talking Lafayette and then the scheming Jefferson. And last but certainly not least Danielle Sostre as the notably overlooked Schuyler sister Peggy who turns around to completely kill it as the sultry Maria Reynolds." Omaha: Contributor Natalie McGovern reviews AN AMERICAN IN PARIS at the Orpheum Theatre. She writes "Jerry Mulligan (McGee Maddox) has the je ne sai quoi you'd expect from a worldly artist and American GI, as he glides through scenes effortlessly, polished and charismatic. Other standouts are Lise, talented Houston Ballet veteran Allison Walsh, with her perfected French accent that comes off as charmingly authentic and demure, and a brooding yet sentimental Jewish composer, Adam Hochberg (Matthew Scott) already resigned to the fact he may only get the girl in the form of a muse." Portland: Contributor Krista Garver reviews A GENTLEMAN'S GUIDE TO LOVE AND MURDER at the Keller Auditorium. She writes "Where things get really fun is the murders themselves. All of the D'Ysquiths ahead of Monty are played by James Taylor Odom. As such, he dies eight times during the show, from causes ranging from wind and ice to barbells and bees. Odom does this brilliantly. Bearing more than a passing resemblance to John Cleese, Odom also has a gift for physical comedy, ratcheting up the outrageousness with each death. The whole show feels at times like a Monty Python sketch." Dallas: Contributor Samuel Weber reviews FRANKENSTEIN at Dallas Theater Center. He writes "Mary Shelley's now timeless speculative fiction concerns itself with more than green monsters and mad scientists. Rather, Shelley's work is almost an exercise in understanding what lies at the edge of contemporary science, and more deeply, exploring the themes of those who wanted more - the Lucifer figure. This is an archetype I like to believe Shelley identified herself with, an educated woman wanting more for herself than her time would allow. Finding this characterization is something Dear's text does well, especially in its original iteration where light and illumination played such [...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 2/9 - DOGFIGHT, MOTOWN, WAITRESS and More!

Fri, 09 Feb 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature DOGFIGHT, MOTOWN, WAITRESS and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Washington DC: Contributor Elliot Lanes reviews DIGGING UP DESSA at the Kennedy Center. He writes "First, there are the performances. As Dessa, Alina Collins Maldonado commands the stage. She embodies a teenager with tons of angst. The same can be said for Chris Stinson as Nilo. He is the perfect match for Maldonado's Dessa. Both characters are, as drawn, pretty grating - and Director Rives Collins does nothing to soften them - but both of the talented actors work with what they have." Boise: Contributor Shannon Foy reviews BEER FOR BREAKFAST at Boise Little Theater! She writes "Now the rest of the audience seemed to bubble along with laughter -- remembering what it was like to dance with your girlfriend in the quad the night before graduation. Before kids and bills and high cholesterol levels gripped at you from every angle. I firmly believe that although I didn't like the script, that the target audience may enjoy it and have a fun, light-hearted time." Japan: Contributor Mara Jill Herman reviews DOGFIGHT at Toho Stage. She writes "Birdlace's tentative heart slowly opens over the course of the night. When Rose nervously invites him home, they consummate the relationship in "Give Way." The next morning, he leaves for Vietnam where Birdlace witnesses the senseless deaths of his friends, including his closest, the two B's. The play transitions to where it began in 1967 and as a sole survivor of the trio, Birdlace's delivery of "Come Back" as a lost and broken man is impactful. He surprises Rose at the diner and the estranged lovers embrace, left to an uncertain fate." Vancouver: Contributor Alyson Eng reviews MOTOWN at Vacounver's Victoria Theatre. She writes "Outstanding performances were made by many of the cast members including Trenyce as Diana Ross. Her impressive powerhouse vocals and overall stage presence as Diana was phenomenal. At one point in the show, she makes her way into the crowd to sing, "Reach Out and Touch (Somebody's Hand)" with some lucky members of the audience. This component of the show really connected the audience to Diana and displayed Trenyce's dedication to the fine details of her character." New Jersey: Contributor Marina Kennedy reviews AINT MISBEHAVIN at NJPAC. She writes "The audiences at NJPAC were tapping their toes and enjoying every moment of the production that transported them to Manhattan nightclubs of yesteryear like the Cotton Club and Savoy Ballroom. The show opened with a thrilling rendition of the 1929 Fats Waller song that the show was named for,"Ain't Misbehavin". Some of our very favorites in the first act included "Honeysuckle Rose," Jitterbug Waltz," "Cash for Your Trash," and "The Joint is Jumpin'." The second act had charming and comical numbers like "Your Feets Too Big," "Fat and Greasy," along with moving selections that included "Black and Blue." The show also had vibrant dance numbers like "Jitterbug Waltz" and "The Viper's Drag." Buffalo: Contributor Michael Rabice reviews WAITRESS at Shea's Buffalo. He writes "The book by Jessie Nelson is served well by swift direction by superstar Broadway Director Diane Paulus- w[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 2/2 - WAITRESS, LES MIS, PRISCILLA, and More!

Fri, 02 Feb 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature LES MIS, WAITRESS, PRSCILLA, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! New Jersey: Contributor Marina Kennedy reviews THE OUTSIDER at Paper Mill Playhouse! She writes "The cast of The Outsider is exceptional. They master their roles and capture the humor and charm of the play. The company features Lenny Wolpe as Ned Newley; Julia Duffy as Paige Caldwell; Manoel Felciano as Dave Riley; Erin Noel Grennan as Louise Peakes; Burke Moses as Arthur Vance; Kelley Curran as Rachel Parsons; and Mike Houston as A.C. Petersen. Audiences will love the dynamic scenes that keep you chuckling and wondering what will happen from minute to minute." Los Angeles: Contributor Michael Quintos reviews SHAKESPEARE IN LOVE at South Coast Rep. He writes "For SCR's staging in particular, I think it's a splendid bit of efficient maneuvering overall, which, for the most part, works well in retelling the same exact narratives featured in the film. I marvel at the logistics of this play---which presumably requires its enormous cast to zip in and out alongside or past each other in such a strategically mapped-out way. Like figurines on a war strategy map moved every which way by Commander Masterson, every single actor requires precision and concentration, while still keeping in character and dolling out bon mots of comedy gold, and working in conjunction with lighting, sound, and even the on-stage band. Kudos to director Masterson and his well-deployed troop/troupe for making it work and for keeping us laughing." Rhode Island: Contributor Veronica Bruscini reviews ON YOUR FEET at the Providence Performing Arts Center. She writes "Of course, even the most thorough biographical musical condenses decades' worth of history into roughly two hours of performance time, combining or eliminating events and individuals in order to move the plot forward coherently. If On Your Feet! does have a weak point, it's in pacing this aspect of the production. While the show highlights the Miami Sound Machine's early industry frustrations, a moving series of Estefan/Fajardo family heartbreaks, and Gloria and Emilio's struggles against racial prejudices (both personally and professionally), most of these incidents are taken at a fairly rapid clip. Even the Estefans' family life - including the couple's marriage and the births of their children - is more often implied than shown on stage. Still, in spite of this brevity, the production establishes enough key points to capture interest and tell the story in engaging fashion." Melbourne: Contributor Victoria Beal reviews PRISCILLA QUEEN OF THE DESERT. She writes "Watching the show in 2018, there are a few cultural or racial moments in the show that have perhaps lost a little of their comedic shine, especially opening the production so soon after January 26th. Changes to these moments wouldn't have damaged the narrative or enjoyment of the show, similar to the song changes that have been made, so whilst this discomfort could have been addressed, those close to the show appreciated them nonetheless." Sacramento: Contributor Courtney Symes reviews JERSEY BOYS at California Music Theatre. She writes "A top-notch cast was led by the amazing Four Seasons-Tommaso Antico (Bob Gaudio), Corey Greenan (Tommy DeVito), Chris Stevens (Nick Massi), and Jonny Wexler (Frank[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 1/26 - HAMLET, CABARET, CHICAGO, and More!

Fri, 26 Jan 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature HAMLET, CABARET, CHICAGO, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Washington DC: Contributor Benjamin Tomchik reviews HAMLET starring Michael Urie. He writes "As the title character, Urie is thrilling to watch! Quick-witted and sly, when his Hamlet goes "mad" we are constantly left guessing about just how far he'll go. It's the type of performance that keeps you in as much suspense as the royal court in wondering 'what happened to the young prince?' Building on that is Urie's command of the script's inherit humor and Hamlet's constant state of turmoil over his father's fate. It is this inner doubt that fuels Urie as he drives this epic production." Birmingham: Contributor David Perry reviews CARMEN at Opera Birmingham. He writes "Taking full advantage of the intimate space, Director Candace Evans was able to effectively convey the location of a small French chateau with much character and charm. "Carmen "is a grand opera famous for a giant orchestra and vast elaborate sets. The stage obviously had limitations to be able to hold a 100 piece orchestra, but to be honest, the smaller yet spacious venue amplified the power of the vocalists. Their projection felt focused and magnified. The singer's performances became as if they were an audio massage to the ear and body. You literally felt them singing through your body. It was an enjoyable experience that was very memorable and impressive." New Orleans: Contributor Tara Bennett reviews BASKERVILLE: A SHERLOCK HOLMES MYSTERY at Theatre Baton Rouge. She writes "Most comedic interpretations of Holmes and Watson seem to be larger than life, or a little bit over the top. Not so with Grezaffi and Coats who serve as the straight-men roles for the three who portray everyone else, Kenneth Mayfield, Zac Thriffiley and Kacie Barnes. I recommend BASKERVILLE for anyone who appreciates pure theatricality because you will find it here in spades. While some accents are more effective than others, the three are hugely funny in their array of characterizations that you wouldn't realize it is the same three people playing different characters." Louisville: Contributor Taylor Clemens reviews CHICAGO at the Kentucky Center for the Arts. He writes "Croman as Roxie Hart is flawless. She effortlessly provides the ditz and dizziness of a wannabe vaudeville star, all while gliding beautifully across the stage performing Fosse's signature moves, arguably the hardest of all dance disciplines to master. Lana Gordon equally matches Croman by providing a sassier take on Velma Kelly. Her voice is wonderful, and she never misses a beat leading several complicated dance numbers. Jeff McCarthy's Billy is smooth and sly. He is in great voice, and takes advantage of his musical moments. Paul Vogot is a lot of fun as Roxie's dumb as a rock husband Amos. He brings high comedy whenever he's onstage, and has the audience in the palm of his hands as he croons "Mister Cellophane." Last but not least is the fabulous Jennifer Fouche as Mama Morton, the Matron of the Cook County Jail. She wails her solos like nobody's business." Washington DC: Contributor Jeffrey Walker reviews MAMMA MIA at the Riverside Center. He writes "Holding their own and making equally strong impr[...]



Three Operadagen Rotterdam Co-Productions Shortlisted For Innovative Opera Award

Thu, 25 Jan 2018 10:51:28 PST

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No less than three performances co-produced by Operadagen Rotterdam have been included on the shortlist of sixteen projects for the FEDORA - GENERALI Prize for Opera, a prominent award for 'new opera creations of excellence'. Harriet, Prisoner of the State, and We, the drowned each stand a chance of winning €150,000 for further development. The nominations serve as an acknowledgement of Operadagen Rotterdam's growing role as a co-producer and its enthusiasm for investing in talented makers. The festival collaborates with experienced producing organisations on developing new performances and showing them to the public. The winner, partly decided by public vote, will be announced in June 2018. Voting is now open via the FEDORA website.

The FEDORA - GENERALI Prize for Opera was founded in 2015 by FEDORA, the international non-profit organisation for supporting young opera and ballet talents. That same year Operadagen Rotterdam was awarded the top prize for the project Private View. A collaboration between two or more partners from different countries is an important criterion for awarding the prize. Operadagen Rotterdam joined forces with Muziektheater Transparant (Harriet), De Doelen (Prisoner of the State), and Walpurgis (We, the drowned) to realize the eligible productions, which can be seen during Operadagen Rotterdam in 2019 and 2020.

Two of Operadagen Rotterdam's other co-productions, which are also creating international waves, will be staged in both European Capitals of Culture this year. Façade: The last days of Mata Hari is part of the official opening programme of Leeuwarden- Fryslân Cultural Capital of Europe 2018. The Dutch premiere takes place in Heerenveen on 26 January. The 'culinary performance' Nightshade: Aubergine featuring the American star soprano Claron McFadden - which was a resounding success at Operadagen Rotterdam 2017 - will be performed in Valletta (Malta) in the autumn.

FEDORA was founded in 2014 and is committed to supporting and contributing to the future of opera and ballet. The main goal is raising funds to support the development of new opera and ballet productions through FEDORA prizes. Thanks to the support of Creative Europe programme of the European Union, FEDORA can develop a European quality label and launch the FEDORA platform in 2018 as a showcase of innovative new opera and ballet projects by emerging talents.

The thirteenth edition of Operadagen Rotterdam takes place from 18 to 27 May 2018. Operadagen Rotterdam is a worldwide opera and music theatre festival featuring contemporary, innovative, and ground-breaking productions by established international makers as well as young and adventurous talent. Please go to www.operadagenrotterdam.nl to view more information about the upcoming festival edition and several first performances.
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Regional Roundup: Top New Features This Week Around Our BroadwayWorld 1/19 - HAIRSPRAY, RAGTIME, WAITRESS, and More!

Fri, 19 Jan 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature Hairspray, Ragtime, Waitress, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Seattle: Contributor Jay Irwin reviews TWO TRAINS RUNNING at Seattle Rep. He writes "Each member of this ensemble is simply a true professional at the top of their game. Lee delivers such a guarded yet raw performance that it doesn't even feel like a performance but like we're just there eaves dropping. Hall makes for a superb adversary for him yet keeps him real in his own right. Toney and Jackson bring some wonderful added life to the diner. Lewis is simply a force of nature and her chemistry with Byrd is palpable with the two of them giving one of the best and sweetest seduction scenes I've seen on stage. And Riley may not have many lines in the show but that doesn't mean he doesn't have a lot to say and he does." Milwaukee: Contributor Kelsey Lawler reviews ANIMAL FARM at Milwaukee Rep. She writes "Along with fine performances, the costumes are truly the jewel of Animal Farm. Costume Designer Izumi Inaba's creations buoy the imagination, as each sculpted animal head captures the look and essence of its character. Though there are multiple pigs and horses in the play, no two look alike. The fussy mare, Mollie, boasts soft curves and a coquettish expression. Boxer the workhorse appears sturdy and strong." Indianapolis: Contributor Melissa Hall reviews A RAISIN IN THE SUN at Indiana Repertory Theatre. She writes "Dorcas Sowunmi plays Ruth, the disenchanted wife of Walter Lee, and her exhaustion is palpable. Beneatha (Stori Ayers) is all sass and ideals, just like any college student. Walter Lee (Chiké Johnson) dreams big, but lives a life of frustration, beaten down by his circumstances and failed endeavors. Each actor embodies their role wonderfully, making the ensemble as a whole feel like a true family." New Jersey: Contributor Pati Buehler reviews Ritz Theatre's RAGTIME. She writes "The compelling score is thought provoking and exhilarating as they grab all the appropriate emotions forwarding the plot so well that you barely recover from one scene when your are thrust into another drama. Outstanding songs include the show stopping opening number "Ragtime", "Getting' Ready Rag", "Your Daddy's Son" sung beautifully by Sarah, "The Wheels of a Dream" by Sarah and Coalhouse, "Back to Before" powerfully sung by Mother as she realizes her life and the world can never go back to what is was again, and of course "Make Them Hear You" by the broken yet brave Coalhouse." Los Angeles: Contributor Michael Quintos reviews Laguna Playhouse's I AM MY OWN WIFE. He writes "Listening to Charlotte regale us with even the minutia of gramophone manufacturing proves to be an unexpected treat, because it is told from a place of pure love for something that brings her joy. But, also however, the journey that has led Charlotte to this moment when we meet her is so fantastical that it's not a surprise that we, along with Wright himself, are left wondering where truth ends and where hyperbole begins. Did she fudge some of the details? Perhaps. But are the absolute truths essential in corroborating her awesomeness?" Cincinnati: Contributor Abby Rowold reviews WAITRESS at the Arnoff Center. She writes "Desi Oakley does an admirable job as Jenna, her expressive face and eyes doing much of the work. Oakley's voice [...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 1/12 - RAGTIME, WAITRESS, and More!

Fri, 12 Jan 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature Ragtime, Waitress, Something Rotten, and more! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Louisville: Contributor Taylor Clemens review WAITRESS at the Aronoff Center. He writes "The cast is uniformly stellar. Lead by the fantastic Desi Oakley as Jenna, who gives her performance equal parts grit, vulnerability, and spunk. Her voice soars in Bareilles' pop infused score, and more than once managed to pull at my heartstrings. Charity Angel Dawson's Becky is scrappy, sassy, and fierce. Dawson gets the fun task of delivering about 40% of the one liners throughout the show, and never fails to find the laugh. On top of it all, she's got a voice to beat the band, as displayed by her second act solo that leaves the crowd with their jaws glued to the floor. Lenne Klingaman as Dawn is sweet and sensitive, while ultimately discovering new things about herself as the show progresses. Her voice is great, and she gets a great chance to show off her comedic chops with her first act solo. Fenkart as Dr. Pomatter is funny, endearing, and has wonderful chemistry with Oakley. Jeremy Morse is an absolute delight as Ogie. I'm not going to ruin anything for you with context, but lets just say Morse comes out of nowhere and instantly has the audience eating out of the palm of his hand." Salt Lake City: Contributor Tyler Hinton reviews SOMETHING ROTTEN at the Eccles. He writes "The production itself is worthy of the performances. The choreography by director Casey Nicholaw (ALADDIN) is precise and joyous. The scenic design by Scott Pask (THE BOOK OF MORMON) and lighting design by Jeff Croiter (NEWSIES) work in tandem to create a colorful, exaggerated world that is filled with the lush, whimsical costumes designed by Gregg Barnes (KINKY BOOTS)." Houston: Contributor Audrey Morabito reviews THE COLOR PURPLE at The Hobby Center. She writes "Adrianna Hicks played the initially innocent, sensitive Celie with her mind, body, and soul simultaneously at play. It takes immense focus and technical training to deliver the vocal and acting performance of her character, but the performance she gave required an additional focus of compassion, empathy, and depth. In the beginning of Act I, she already had the audience in the palm of her hand, as the only sounds you could hear were the creaking floorboards of the rustic set and her flawlessly raw voice singing "Somebody Gonna Love You". Her 11 o'clock number "I'm Here" was even more stunning, and Hicks completely stole the performance with it." Nashville: Contributor Cellea Hougton reviews JERSEY BOYS at TPAC. She writes "And audience-goers treated Jonny Wexler (Frankie Valli), Corey Greenan (Tommy DeVito), Tommaso Antico (Bob Gaudio) and Chris Stevens (Nick Massi) as if they were the real Four Seasons, cheering them on just as enthusiastically as if it was the 1960s. With their impeccable harmonies, each of the four actors seemed to step back in time themselves to capture the essence of their character's flaws and strengths, not to mention the ensemble cast that managed to take on multiple roles, brilliantly bringing to life the other figures that played an important role in the singers' lives." Rhode Island: Contributor Andria Tieman reviews THE BODYGUARD at the Providence PAC. She writes "There are moments that are genuinely funny and s[...]



Filmmaker Aditya Vikram Sengupta's Second Feature, 'JONAKI' To Make Its World Premiere At The Rotterdam Film Festival

Mon, 08 Jan 2018 05:40:09 PST

After his internationally acclaimed debut, "LABOUR OF LOVE", director Aditya Vikram Sengupta's next Bengali language feature "JONAKI" makes its world premiere at the 47th International Film Festival Rotterdam (IFFR), one of the most prestigious film festivals in the world. An Indo French Singaporean co-production, the film will be screened in the Bright Future Section of IFFR 2018 to be held between 24th January and 4th February. The film features 81-year-old actress Lolita Chatterjee (of Aap Ki Kasam & Victoria No. 203 fame) who is making her comeback as Jonaki along with Jim Sarbh (Neerja, Padmavati, A Death In the Gunj) and Ratnabali Bhattacharjee (Permanent Roommates). Produced by Magic Hour Films, For Films, and Catherine Dussart Productions, Jonaki is a tale of an 80-year-old woman who searches for love in a strange world of decaying memories, while her lover, now old and grey, returns to a world she is leaving behind. Thrilled about his second feature making its international debut at one of the most celebrated film festivals in the world, director Aditya Vikram Sengupta, says, "Jonaki is an esoteric journey of the unfulfilled life of an 80 years women. It is a film that is very personal to me and to have its world premier at Rotterdam is a true honour. IFFR celebrates and upholds auteur cinema with the highest regard and I think this is the perfect platform for us to showcase our vision." Aditya Vikram Sengupta's award winning debut feature Labour Of Love premiered at the Venice Film Festival 2014 where it won the FEDEORA award for best Debut Film. The film then featured at over 70 international film festivals including Busan, London, Tallinn, Munich, Marrakech, Shanghai, Abu Dhabi and Los Angeles and won 13 awards internationally. The film was also feted with two National Awards in 2015 including the esteemed Golden Lotus for Best Debut Film. Samir Sarkar, Magic Hour Films, the principal producer of Jonaki says, "When I watched "Labour of Love, I realised I had found an Indian director that was out there to create a daringly distinct filmic language of his own. I wanted to support Aditya's vision." Sarkar who was deeply involved with the production of Ang Lee's Life of Pi adds, "Jonaki is another powerfully poignant tale of love lost. It is, in my opinion, one of those rare Indian films that has broken several boundaries to create an original Avant-garde style in filmmaking. Each frame is like a painting, each scene is thought provoking. IIFR will definitely help promote its journey". Here is the trailer link: https://youtu.be/QqPfx7IZ8NU (JONAKI First Look Trailer, youtube) To know more click on the website link: www.jonakithefilm.com "Jonaki" is a tale of an 80-year-old woman who searches for love in a strange world of decaying memories, while her lover, now old and grey, returns to a world she is leaving behind. DIRECTOR's NOTE Calcutta was made the imperial capital when the British colonised India, this made the state of Bengal a socio-cultural capital as well. Markedly influenced by western designs, a new breed of Bengalis emerged, aping the British lifestyle and thriving financially. They absorbed the shock of the west and stood superior to other fellow Bengalis yet not completely British. This now-nearly extinct class lived a life of convoluted lifestyle and clashing ideologies. Such is Jonaki, the protagonist of this film, my Grandmother who I was incredibly fond of and shared an indelible bond with. Chronicles of her life, her affluent upbringing, her authoritarian mother, the[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 1/4 - WAITRESS, LOVE NEVER DIES, and More!

Fri, 05 Jan 2018 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature The Book of Mormon, Waitress, Love Never Dies, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Seattle: Contributor Jay Irwin reviews THE BOOK OF MORMON at the Paramount. He writes "Well looking through the cast bios I began to wonder what we were getting. It seemed a very young cast many of whom noting their tour debuts. No necessarily a bad thing. I mean the leads are all supposed to be young but can they pull off such a complicated show night after night? The answer, HELL YES! Clay is the perfect Mormon poster boy with his perfect smile and good looks and manages the songs and the comedy with seeming ease. As did Peirson who fits into that adorable awkward chubby guy role perfectly and just plain nails it and blissfully seems to have no shame in any of his dance moves. Kayla Pecchioni as the optimistic Nabulungi is delightful with killer pipes and the sunniest of dispositions. And PJ Adzima is a riot as the so very "NOT gay" leader of the missionaries Elder McKinley and manages to steal most scenes he's in. And every member of the ensemble is right there with them with the craziness. The Mormon boys are all earnest and great dancers, the villagers are all wonderfully snarky until they come around and then put on the best church play ever, and the warlord is equal parts terrifying and hilarious." Milwaukee: Contributor Kelsey Lawler reviews WAITRESS on Tour. She writes "But the most laughs actually went to Jeremy Morse as Ogie, Dawn's seriously smitten speed-date-on-the-cusp-of-stalker. My only regret is that this laugh-out-loud breath of fresh air doesn't enter the story until the end of the Act One. One could argue that more of Ogie could be too much - but I think a dash more, earlier on, would do the trick. His big song, "Never Getting Rid of Me," left the audience grinning from ear to ear with uproarious applause." Palm Beach: Contributor John Lariviere reviews FINDING NEVERLAND at the Kravis Center for the Performing Arts. He writes "Billy Harrigan Tighe has a lovely, clear singing voice and an unashamed honesty in his portrayal of J\.M\. Barrie that speaks to the youthful heart of the character though he visually looks about five years too young for the role. Tighe's has wonderful chemistry with the four Llewelyn Davies children. He is endearingly playful - exactly what is needed to break whatever spell of sadness remains for them over the loss of their father, and forge a bond born of a mutual love of make believe. The four children, as well as their pet dog, steal bits of scenes here and there with their undeniable charm and talent." Pittsburgh: Contributor Dylan Shaffer reviews LOVE NVER DIES in Pittsburgh. He writes "Played by Meghan Picerno, Christine beautifully delivers a powerful piece and remains consistent throughout the entire show. Gardar Thor Cortes, who plays the Phantom, is able to control his voice as well, but at times I almost wish he did not have a microphone to pick up every sibilant and accentuated consonant noise. The role of Gustave (Casey Lyons) is nicely intertwined with the story of the Phantom, and his youthful voice adds a nice contrast to the booming voices of the adults in the room." Oklahoma: Contributor Robert Barossi reviews THE COLOR PURPLE at Oklaho[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 12/29 - FIDDLER, LES MIS, LOVE NEVER DIES, and More!

Fri, 29 Dec 2017 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature FIDDLER, LES MIS, and LOVE NEVER DIES. Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Japan: Contributor Mara Jill Herman reviews Toho's production of FIDDLER ON THE ROOF. She writes "In great voice, a charismatic and equally comedic Tevye (Masachika Ichimura) breaks the fourth wall to relay the state of affairs in his Russian shtetl. As "Tradition" resounds, the full company emerges, arms linked at a 90-degree angle, paying homage to Jerome Robbins' signature choreography. Shigeki Majima recreates most of Robbins' original staging but adds his unique stamp to this American music theater classic." South Carolina: Contributor Neil Shurley reviews ON YOUR FEET at the Peace Center. He writes "Christie Prades and Mauricio Martinez star as Gloria and Emilio. Prades is simply terrific as Gloria, with a voice that sounds, to my ears, nearly spot on to the original. She also convincingly shows us an awkward young woman who grows into her rightful place in the spotlight. She's well matched with Martinez, who almost drips charisma and easily pulls us all under his sway as the confident, swaggering, charmer who is Emilio Estefan." Rhode Island: Contributor Veronica Bruscini reviews LOVE NEVER DIES at Providence PAC. She writes "Gardar Thor Cortes is an ideal Phantom in every way. He moves across the stage with an effortless elegance, styling the Phantom as both powerful and vulnerable by turns, and his utterly luminous vocal performance truly befits Christine's "Angel of Music." As Christine, Meghan Picerno shows playfulness in her relationship with Gustave, real affection during her conversations with Raoul, and authenticity in her abiding love for the Phantom. Picerno's breathtaking delivery of the show's title song absolutely brings down the house in the second act." Orlando: Contributor Kimberly Moy reviews SCHOOL OF ROCK at the Dr. Phillips Center. She writes "Rob Colletti plays Dewey and seemingly embodies the character. He is comically on point as Dewey stumbles through his life. It was not surprising to learn that Colletti played Elder Cunningham in BOOK OF MORMON. Both characters have this charm about them that causes audiences to get behind the character. Colletti can carry the show and is believable with his rock obsession. Despite being lazy, Dewey is a good person and his juvenile nature allows him to connect with the students. He is able to see their strengths and understand what motivates them." Jackson: Contributor Juliana Asbill reviews A CHRISTMAS STORY in Jackson. She writes "The company of this show is one guaranteed to entertain and delight. Chris Carsten as Jean Shepherd was spot-on with his comedic narrations throughout the show, telling the story as a now-older Ralphie. On for Ralphie at this performance, Tristan Klaphake embodied the beloved movie character hilariously well while adding an element the movie didn't include - talented vocals. Along with Mother, played by Sara Zoe Budnik, Matthew Brennan in the role of The Old Man, and Evan Christy as Ralphie's younger brother, Randy, the Parker family was one rife with charm, heart, fun, and incredible voices. (Miss) Shields, Ralphie's teacher, is played by Angelica Richie, and she blows the top out of her big s[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 12/22 - THE PHANTOM OF THE OPERA, A CHRISTMAS CAROL, THE LORAX, and More!

Fri, 22 Dec 2017 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature The Phantom of the Opera, A Christmas Carol, The Lorax, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Sweden: Contributor Annette Stolt reviews THE PHANTOM OF THE OPERA at Goteborg Opera. She writes "Christine does not feel as girly and naïve. From the beginning she is more in command of her feelings and acting and does not let herself be seduced She has a stronger will. She doesn´t faint when she looks at the Phantom but walks freely with him into his bedroom with the red silky sheets... Raoul doesn't have the usual boyish appearance, he's more man and more equal to the Phantom, both voice and appearance. It seems like the director wanted to have another dynamic between the characters. Raoul are more modern dressed, like a businessman and Christine is wearing a bit more provocative and modern dresses in some scenes." New Jersey: Contributor Sarah Vander Schaaff reviews A CHRISTMAS CAROL at McCater Theatre. She writes "This production does not linger long on moments of loss or suffering-the plight of the Cratchit family, the children of London, the duping of Fuzziwig or farewell to Fan, can't compete with the ebullient pace that drives, unrelentingly, to the end. Considering this is an annual production, it's worth asking how much these elements deserve more attention in years to come, as does the use of the community ensemble. But those are questions for another year. As Scrooge learns, there is no time like the present to spread the joys of the season." Des Moines: Contributor Zachary James reviews A CHRISTMAS CAROL at Iowa Stage Theatre Co. He writes "Iowa Stage skillfully brings the story to life with an impressive ensemble cast, each of whom wears many hats throughout the performance, literally and figuratively. Richard Maynard is exactly the Scrooge you would hope for, miserly and miserable, a shadowy, chilling figure you would not wish to darken your doorway. He at once is both terrifying and delightful in his characterization and takes the audience on a smartly crafted journey, the ultimate pay off, as with any version of this beloved holiday favorite, when we see an old grump of a man transform before our eyes into a cooing, giggling baby, a surprisingly buoyant moment from Maynard's Ebenezer. Scrooge's misery is self-imposed and it is an important lesson to observe his transformation, the ice melting from his heart as we warm to his bubbling new visage." Toronto: Contributor Taylor Long reviews THE LORAX. He writes "Where THE LORAX doesn't necessarily succeed is in the structure of the show. Squeezing a two-hour musical out of a 45-page children's book is problematic without the creation of engaging, new material. The result, in this case, is a compelling first act that moves quickly through the story, and a second act that struggles to maintain the energy of the piece, extending the drama to fill time." Washington DC: Contributor Andrew White reviews AN IRISH CAROL at Keegan Theatre. He writes "American audiences used to hard-luck stories of Irish immigrants ("Brooklyn," anyone?) might be surprised to find that in An Irish Carol, the immigrant bartender is Polish. Josh Sticklin does a fine job as Bartek, a seemin[...]



BWW Interview: Pia Douwes Talks Debut Solo Album and International Career

Thu, 21 Dec 2017 10:12:04 PST

Pia Douwes has spent the last three decades building an illustrious international career. She first burst onto the scene when she created the role of Kaiserin Elisabeth in ELISABETH DAS MUSICAL, a show that would go on to become iconic throughout the whole of Europe. She has since taken on some of musical theatre's most powerful roles including Velma Kelly (Chicago, Broadway and West End), Grizabella (Cats, The Netherlands and Moscow), Eva Peron (Evita, The Netherlands), Norma Desmond (Sunset Boulevard, The Netherlands and Germany), Diana Goodman (Next to Normal, Germany and Austria), and Mrs. Danvers (REBECCA DAS MUSICAL, Germany). In addition, she has created powerhouse characters such as Milady de Winter (3 MUSKETEERS) and most recently Claire Zachanassian (DER BESUCH DER ALTEN DAME). Now, she has released her first solo album, aptly titled "After All This Time". Pia took a moment out of her non-stop schedule to chat with BroadwayWorld about this exciting recording as well as her career thus far. Pia, what took you so long? What made now the perfect time to release a solo album? I just never thought anyone would want to listen to a whole CD with me singing the songs everyone already knows anyway. But a friend of mine, Maxim Bezembinder, persuaded me gently to do it and now I am glad I did! How involved were you in writing the translations? What made you decide to re-translate songs like 'Ich Gehör Nur Mir' and 'Rebecca'? The roles that were kind of written for me, Elisabeth, Mrs. Danvers, Milady de Winter and Claire Zachanassian, had never been heard in English speaking countries before. But they deserve to be heard in English because they are such amazing and iconic roles! So on my CD they have their English language Premiere. Charles Hart made 'Ich gehör nur mir' from ELISABETH, 'Milady ist zurück' from 3 MUSKETEERS and 'Die Welt gehort mir' from DER BESUCH DER ALTEN DAME into new English versions and I immediately thought they were fabulous! The title song from REBECCA had already been translated by Michael Kunze and Christopher Hammond for the Broadway production that unfortunately never opened. And so it's an honor to have that version on my CD too! Any plans to perform again in the US? I would love to perform in the USA, but my schedule is always so fully booked. And besides, I would need to audition in the US and it's almost impossible without a Green Card. I was lucky enough that I was asked to perform Velma Kelly in Chicago on Broadway! But if I could have the chance, I would return to the USA. So many of your roles you've performed once and then returned to years later. What is that experience like? It's a wonderful experience! When you take a break from a role and return, there is so much more you can add to the role due to new life experience and added depth. So the role keeps on growing as you return to it. Which is also great for the part and the piece. How do audiences differ by country? What have you noticed about the way different cultures react to your work? The German audience is extremely grateful and really admires what we do on stage. That is a very rewarding feeling. The Dutch audience is more outspoken and critical, which can go in both directions. The English and American audiences expect nothing less than high quality but react very well during a show, especially when there's humor involved, which is always fun. Shows like REBECCA and TANZ DER V[...]



Operadagen Rotterdam 2018 Is All About Heroism

Mon, 18 Dec 2017 08:43:03 PST

The 13th edition of Operadagen Rotterdam, the festival for contemporary opera and music theatre, runs from Friday 18 through Sunday 27 May 2018. Operadagen Rotterdam presents more than 100 performances in major theatres, unusual venues, and outdoor locations in Rotterdam. The festival theme for 2018 is heroism with fascinating stories about the trials and challenges of a hero's journey. Online ticket sales of the first performances have just started. The full programme will be presented at the festive kick-off on 15 March 2018. Festival opener Earth Diver focuses on perception Operadagen Rotterdam 2018 opens in the Nieuwe Luxor Theater with Earth Diver by director Wouter Van Looy, who outlines a portrait of a seemingly fictitious society in crisis. Earth Diver is a music-theatrical spectacle revolving around the phenomenon of perception. The audience is situated inside a gigantic installation, literally surrounded from up close by the famous German singers of ChorWerk Ruhr as Heinrich Schütz's comforting baroque music adds lustre to Wim Catrysse's powerful video images. The performance is a co-production with the Ruhrtriennale. International festival favourites The programme features international top productions, modern classics, and high-profile new work by young talent with a contemporary voice. The ensemble Cappella Mediterranea and conductor Leonardo García Alarcón have achieved the status of global super stars within a short space of time. They are back at Operadagen Rotterdam after doing L'Orfeo in 2017. The latest production is about cultural interchange in times of colonisation and suppression. The welcome wrinkly rockers of Young @ Heart are also returning to the festival with their new energetic show in Theater Rotterdam. Online ticket sales have already started for these performances as well as Earth Diver (which opens the festival), Headroom, The Christina Cyclus, and Ein deutsches Requiem. Heroic stories Operadagen Rotterdam keeps a finger on the pulse of today's world; its performances reflect topical social themes. The 2018 festival presents Heroism, the second of four yearly themes under the umbrella of Lost & Found. The intrepid hero enters the eye of the storm, defies danger, confronts his demons, and ventures into strange places far from home. Heroes often display the greatest courage in the darkest moments of the journey. Mata Hari and Mary Stuart are among the heroines paying a visit to the festival and so is Leonore from Beethoven's opera Fidelio. All exemplify heroism in their own way. International platform with Opera Europa Operadagen Rotterdam is a global opera and music theatre network encompassing professionals from around the world. A delegation from Opera Europa will attend for the second time since 2010 this edition. The members of this international network of opera companies and festivals convene to take part in conversations and presentations on the subject of Collaboration between smaller opera companies and large opera houses and festivals. They bring their own stakeholders to Operadagen Rotterdam to facilitate even more meetings and exchanges of information between people in the field. FEDORA, a cross-border non-profit organisation for the development of young opera and ballet talent, will also assemble in Rotterdam during the current edition of the festival. About Operadagen Rotterdam Operadagen Rotterdam is a worl[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 12/15 - BEAUTY AND THE BEAST, ANNIE, and More!

Fri, 15 Dec 2017 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature Beauty and the Beast, Annie, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Los Angeles: Contributor Don Grigware reviews BEAUTY AND THE BEAST at Pasadena Playhouse! He writes "Most everyone knows Beauty and the Beast from the fine musical retelling of the fairy tale. Redemption, hope, faith and love are at the core, and Kris Lythgoe has kept the lovely story pretty much in tact with some great choreography from Mandy Moore - those kids can really dance - and overall slick staging from director Sheldon Epps. In the Panto version, the place is Pasadena, France...and the villain, Gus (James Snyder) a muscular stud who typifies self-adulation. Belle (Kelli Berglund) is the beautiful heroine who with her father Marcel (Gedde Watanabe) are held prisoners of the Beast (Jonah Platt). Gus tries to win Belle, but the wise young girl prefers the intelligence and thoughtfulness of the Beast who is actually a handsome Prince, under the spell of a curse. Love wins out, and the curse is broken allowing all to live happily everafter." Minneapolis: Contributor Jill Schafer reviews ANNIE at The Ordway! She writes "The adults are pretty good too. Broadway actor Lance Roberts' Daddy Warbucks is more jolly than scary, making it easy to see why Annie wants to be with him. Our very own Ann Michels is a dream as Warbucks' assistant Grace (with the most divine wardrobe, more on that later). Another Broadway actor, Michele Ragusa, comes close to stealing the show as Miss Hannigan. I know we're supposed to hate her, but I sure did love her; her experience on stage shines through in every moment, big or small. As Miss Hannigan's con artist brother Rooster, Britton Smith is simply fantastic. How can we convince him to stay in the Twin Cities? Along with a great turn by local actor Cat Brinidisi as Rooster's ditsy girlfriend, this trio is the highlight of the show (after the orphans, of course). The ensemble is filled with too many talented #TCTheater actors to mention, all of whom bring great life and personality to the multiple roles they play (with honorable mention for Elise Benson, appropriately and prophetically singing "A Star to Be"). Oh and of course, the other star of the show is the famous canine Marti as Sandy, reprising her role from the 2014 movie, looking adorable and hitting every mark (in exchange for treats)." Cleveland: Contributor Roy Berko reviews THE LOUSH SISTERS at Cleveland Public Theatre. He writes "The girls are less humorous when they are acting out the plot of a meaningless "story" line, supposedly a take-off on the '80s film, "Die Hard." No sense in writing a recap of the tale...no one is there for the plot...they are there to laugh at the not-for-prime-time material, often yelling comments to and about the girls. (Depends on the night as to how raucous it gets.)" Los Angeles: Contributor Aimee Curameng reviews A FUNNY THING HAPPENED ON THE WAY TO THE FORUM at the Garry Marshall Theatre! She writes "For example, Joey McIntyre best known for his role in the popular group New Kids on the Block, performs several seconds of "You Got It (The Right Stuff)," dan[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 12/8 - Les Mis, Newsies, School of Rock, and More!

Fri, 08 Dec 2017 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature LES MIS, NEWSIES, SCHOOL OF ROCK, and More! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! New Jersey: Contributor Marinka Kennedy reviews AN ACT OF GOD George Street Playhouse. She writes "The Creative Team has done a wonderful job of bringing An Act of God to the stage. They include set design by Timothy R. Mackabee; costume design by Esther Arroyo; and lighting design by Jason Lyons. The Original Music and Sound Design is by Scott Killian; the Production Stage Manager is Eileen F. Haggerty; the Production Manager is Christopher J. Bailey; Casting is by McCorkle Casting, Ltd." Florida: Contributor Roger Martin reviews THE BOOK OF MORMON The Arsht Center. He writes "On an overwhelmingly brilliant set that soared from a neon lighted Jesus on a biblical mountain (golden plates buried here) to the Mormon training school, to a Ugandan jungle, to missionary outposts, native huts and a quick shot of Hell, and of course, Orlando, there was enough eye candy to bedazzle a blind man. And let me say, right off the top, the thirty-two actors showed musical theatre at its best." Los Angeles: Contributor Ellen Dostal reviews THE HEART OF ROBIN HOOD at The Wallis. She writes "Farr (whose 2016 mini-series The Night Manager was a huge hit with television audiences) first directed his play at the Royal Shakespeare Company in 2011. His nods to Shakespeare are unmistakable and those who know the canon will find many parallels. Marion's journey mirrors that of Rosalind's in As You Like It. She is accompanied by her fool, Pierre (Daniel Franzese), an effeminate and comical twist on Touchstone, and in her guise as Martin, must hide her attraction to Robin in a Rosalind/Orlando rip-off." Salt Lake City: Contributor Tyler Hinton reviews NEWSIES at Pioneer Theatre Company. He writes "Really the entire cast is strong, and the dancing is quite extraordinary. With leaps and turns that defy gravity, every dance number impresses. Director/choreographer Karen Azenberg has created a vocabulary of movement that is something special, especially in the fluid transitions from scene to scene that use staging as a means to further character and plot development. The only quibble is that there is not more full out dancing throughout the show than there is." Sacramento: Contributor Courtney Symes reviews A CHRISTMAS CAROL at Sacramento Theatre Company. She writes "Michael Jenkinson, the multi-talented choreographer and co-director of this show, also plays Bob Cratchit. He lends an earnest quality to the role and brings a vulnerability and tenderness that suits it well. He is convincingly kind and patient, even when Scrooge insists that "love is more ridiculous than a Merry Christmas." He is someone that you would like to be at your Christmas dinner. I would trade him for some of my guests. (P.S. Michael, the invitation will be forthcoming)" Milwaukee: Contributor Kelsey Lawler reviews A CHRISTMAS CAROL at Milwaukee Rep! She writes "But any production of A Christmas Carol - however flashy - is only as good as its Scrooge. Luckily for the Milwaukee Rep, they've found a remarkabl[...]



Regional Roundup: Top New Features This Week Around Our BroadwayWorld 12/1 - A Christmas Carol, Fiddler, School of Rock, and More!

Fri, 01 Dec 2017 06:00:54 PST

BroadwayWorld presents a comprehensive weekly roundup of regional stories around our Broadway World, which include videos, editor spotlights, regional reviews and more. This week, we feature A CHRISTMAS CAROL, FIDDLER, SCHOOL OF ROCK, and More! Voting is also open for the BroadwayWorld Awards all accross North America!Click here to vote! Check out our top features from around the BroadwayWorld below! Want more great global content? Check out our "Around The World" section! Minneapolis: Contributor Jill Schafer reviews CHRISTMAS AT PEMBERLEY at The Jungle Theatre. She writes "Set and costume designer Sarah Bahr says in a video on the Jungle website that designing a Jane Austen period holiday piece is a designer's dream, and it's also an audience's dream. The Jungle is famous for their brilliant sets in their intimate theater space, that to me are like looking into a perfect little diorama, and this is another one of those. A perfectly charming early 19th Century English estate, piano nook on one side (which Christian does a brilliant job of pretending to play), tiny library on the other. A few stairs up in the back can be seen the newfangled German tradition of a tree (indoors!), that gets increasingly more decorations as the show goes on. The women are dressed in gorgeous empire-waist gowns, the men in tails, with matching coats, hats, gloves, shoes. A dream indeed!" Seattle: Contributor Jay Irwin reviews THE HUMANS at Seattle Rep. He writes "The performances and arcs in the piece are stunning, however. Egan and Plaehn as two sisters in very different points in their lives each show off some amazing needs to succeed, one to get back where she once was and the other to find her place. Vega, makes for a perfect foil as the new family member trying to fit into this odd dynamic. And Klein may not have much to do throughout the piece but what she does is outstanding. But it's Reed and Thomas who do much of the heavy lifting in the play as we watch them attempt to remain the parental figures to their daughters even as their worlds are crumbling. Especially Reed who manages to convey volumes with a mere glance." Nashville: Contributor Jeffrey Ellis reviews Nashville Rep's A CHRISTMAS STORY. He writes "Rene Copeland, Nashville Rep's artistic director, again takes up the challenge of somehow creating a stage rendition of A Christmas Story that hews closely to what audiences have come to expect year after year, but somewhat surprisingly, astute and observant audience members will take note of some changes in blocking and what we like to refer to as "the rhythm" of the play to entice and delight. These updates are subtle, to be certain, but nonetheless they help to refresh the show and to keep the people sitting out in the dark engaged in the goings-on in the small Indiana town in 1940 that provides the ideal backdrop for the tale." Chicago: Contributor Patrick Rybarczyk reviews A CHRISTMAS CAROL at The Goodman Theatre. He writes "The Goodman's production is anchored by dazzling visual effects (Keith Parham's lighting and Richard Woodbury's sound design), stunning sets (by Todd Rosenthal), and strong performers who work well with the text to convey engaging emotions. Yando portrays a wonderful balance of the sadness and loneliness of Scrooge, with the bliss he finds after his overnight "this is yo[...]



Awakenings presents Four Shows at The Gashouder for Easter Special

Mon, 27 Nov 2017 20:13:26 PST

(image) From Thursday March 29 through to Sunday April 1, 2018, Awakenings will celebrate Easter with four editions, including the special daytime show on Easter Sunday April 1.

The venue will be the Gashouder on the Westergasfabriek premises in Amsterdam. Over the last 20 years Awakenings has grown to become the largest and best-known techno festival in the world.

On Thursday March 29 the Adam & Joseph Special will kick things off. Adam Beyer and Joseph Capriati will take up position behind the turntables, as will Luigi Madonna and Roberto Capeano.

Ben Klock & Marcel Dettmann will feature on Friday March 30 during the Good Friday Special. Chris Liebling, Rodhad and Kobosil will also be part of the lineup.
Joris Voorn, Kolsch, Pan-Pot, Konstantin and Prunk & Chris Stussy have been enlisted for the Easter Special by Night on Saturday March 31.

On Easter Sunday April 1 the Special by Day will take place. From 1200 hrs onward doors will be open for Sven Vath, Dubfire, Ilario Alicante, Sam Paganini, Monika Kruse and 2000andOne.

Ticket pre sale: www.awakenings.comFB: https://www.facebook.com/awakenings/

Easter Lineup:
29 MarchAdam Beyer & Joseph CapriatiLuigi Madonna & Roberto Capuano
30 MarchBen Klock & Marcel DettmannChris LiebingKobosilRodhad
31 MarchJoris VoornKolschKonstantinPan-PotPrunk & Chris Stussy
1st April2000 and oneDubfireIlario AlicanteMonika KruseSven VathSam Paganini
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BroadwayWorld Teams with Charity Network to Launch Charity Corner!

Tue, 28 Nov 2017 09:00:51 PST

BroadwayWorld, the largest and most comprehensive theatre website, has signed on as the 2018 official media partner for Charity Network, including online auction site Charitybuzz and sweepstakes platform Prizeo. This collaboration will bring to the forefront news about doing good and giving back, from Broadway to the broader entertainment industry. As part of the partnership, BroadwayWorld launched its "Charity Corner," which features exclusive interviews with top talent and influencers, as well as news about the industry's commitment to giving back. The section launches with more than 30 Broadway stars and notables sharing the causes that mean the most to them. "One of our favorite things about the theatre community is their tireless energy for giving back," said Robert Diamond, Editor-in-Chief of BroadwayWorld. "And we're excited to do the same with a brand new section of the site that will shine a spotlight on causes both big and small." Charity Network is a one-stop shop for cause that harnesses the power of celebrity, technology and media to raise awareness and funds for some of the world's toughest challenges. Charity Network is the parent company to leading online auction site Charitybuzz and celebrity sweepstakes platform Prizeo. Through campaigns with Lin-Manuel Miranda on both Prizeo and Charitybuzz, Charity Network has raised a record-breaking $10 million for non-profit organizations including Planned Parenthood, the Hispanic Federation and Gilder Lehrman Institute of American History. Lin-Manuel's current fundraising campaign with his wife Vanessa Nadal is live on Prizeo, offering one lucky winner and a guest a trip to London to see Opening Night of Hamilton. Funds raised will benefit the Natural Resources Defense Council (NRDC) and UK-based 1010 - both organizations combating climate change. Additionally, Charitybuzz launched its first annual Broadway Auction in May 2017, as part of its successful Charitybuzz Curates program, which also includes themes like Music, Golf, Entrepreneur, Fashion and Hollywood. "Broadway truly is a community and Broadway fans are passionate and engaged. We are pleased to provide once-in-a-lifetime experiences to Broadway fans around the world, all while giving back," said Charity Network Chief Creative Officer Jan Friedlander Svendsen. "BroadwayWorld is leading the way, not only in news coverage of the industry, but also in showcasing the important philanthropic work that is happening across the Broadway landscape." Visit BroadwayWorld.com/charitycorner to check out all of the cause-focused content from the Charity Network partnership. To learn more about Charity Network and its platforms, please visit charitynetwork.com. Charity Network, named one of Fast Company's 2017 Most Innovative Companies, harnesses the power of celebrity, technology, and media to raise awareness and funds for some of the world's toughest challenges. With a mission to help charities transition from analog to digital, Charity Network has raised hundreds of millions of dollars for causes across the globe. Launched in 2016 by entrepreneur Todd Wagner, Charity Network is the parent company to three top digital fundraising platforms: Charitybuzz, Prizeo and Chideo. Each platform is a leader in its own field -- Charitybuzz i[...]