Going outside is for losers. It’s the coldest night in 10 years, and if you try to leave the house, you just might step in an icy puddle that goes up to your knees. Doesn’t that sound horrible? Instead, we propose you stay inside, cuddle up under a snuggly blanket (maybe this one) and watch movies with Broadway.com! Here’s what’s on tonight’s playlist. Fame High When we were kids, we always dreamed of running away and joining a performing arts school (OK, we still kinda do). Live vicariously through the real lives of the toe-tapping teens from Fame High, a.k.a. the Los Angeles County High School for the Arts. A five-six-seven-eight! Company: A Musical Comedy Even if you’re spending the night alone with a bottle of wine (…fine, a box of wine), Raul Esparza is always here to keep you Company. Celebrate Bobby bubi’s 35th birthday all over again with the 2010 revival of the Stephen Sondheim masterpiece. Camp OK, so this is technically a summer movie, but if you haven’t seen baby Anna Kendrick, Sasha Allen and Robin de Jesus wail their hearts out at Stagedoor Manor—uh, we mean Camp Ovation—you’ve really never lived. You just haven’t. Also, there’s a Sondheim cameo, soooo… West Side Story There are a ton of classic movie musicals on Netflix, but West Side Story is the only one we can watch 200 billion times and never get sick of. Plus, we know you know all the lines. “How many bullets are left, Chino? Enough for you? Or you? ALL OF YOU!” You’ll totally freak out your dog. C.O.G. OK, so this isn’t exactly theater related, but we thought you guys should know that the 2013 flick C.O.G., starring Spring Awakening stud Jonathan Groff, is now streaming on Netflix. You’re welcome! The Phantom of the Opera at Royal Albert Hall Sierra Boggess and Ramin Karimloo (soon to make his Broadway debut in Les Miserables) will heat up your freezing living room in no time in the passionate and sensual 25th anniversary production of Phantom at Royal Albert Hall. We dare you to watch the final lair scene without bawling. View Comments Shrek the Musical Celebrate the Broadway return of the great Sutton Foster (who will star in Violet beginning March 28) with the lighthearted live broadcast of Broadway’s Shrek. The 2010 Tony-winning tuner also stars Christopher Sieber, Daniel Breaker and Brian d’Arcy James as the grumpy green ogre. Into the Woods Wait, did someone say Sondheim? Brush up on your fairy tales before the release of the new Into the Woods film with this 1991 classic (we still have a dusty VHS of this in a closet somewhere), starring Bernadette Peters, Joanna Gleason, Chip Zien and more stars of the original Broadway production. Dr. Horrible’s Sing-Along Blog In less than three months, Neil Patrick Harris will get glittery (like, really glittery) in Hedwig and the Angry Inch on Broadway. Until then, watch all three installments of Dr. Horrible’s Sing-Along Blog, starring NPH as an adorable wannabe supervillain with a giant crush. First Position Take a break from Broadway and check out First Position, an inspiring doc about teens competing at the prestigious Youth America Grand Prix, one of the most famous ballet competitions in the world. It’s really fun to eat a giant ice cream sundae while watching this, then not offer any of the ballerinas any.
The cast is set for Transport Group’s off-Broadway revival of John Van Druten’s I Remember Mama. Joining previously announced stage vet Barbara Andres will be Oscar and Tony nominee Barbara Barrie, Alice Cannon, Lynn Cohen, Rita Gardner, Heather MacRae, Marni Nixon, Letty Serra, Dale Soules and Phyllis Somerville. Directed by Jack Cummings, I Remember Mama will begin previews on March 16 at the Gym at Judson. Opening night is set for March 30. Based on Kathryn Forbes’ novel Mama’s Bank Account, I Remember Mama centers on a Norwegian immigrant family, settling into 1910s San Francisco and held together by its indomitable Mama. The new reinterpretation of the play explores how even the smallest and seemingly insignificant experiences of family life can silently accumulate to take our breath away. The 10 veteran actresses will play 23 different roles in the show. View Comments The original production of I Remember Mama opened at Broadway’s Music Box Theatre in October 1944, starring Mady Christians, Oscar Homolka, Joan Tetzel and Marlon Brando, in his Broadway debut. After its successful run, the play was adapted for film, into a TV series, and to the stage again as a 1979 Broadway musical with a book by Thomas Meehan, lyrics by Martin Charnin and Raymond Jessel and music by Richard Rodgers in his final original Broadway production.
Kinky Boots Star Files Show Closed This production ended its run on April 7, 2019 View Comments Andy Kelso Related Shows The Today Show co-host Natalie Morales caught a matinee performance of the hit musical Kinky Boots on April 23 and went backstage at the Al Hirschfeld Theatre to catch up with stars Billy Porter, Andy Kelso, Jeanna de Waal and Cortney Wolfson. Morales even tried a pair of kinky boots on for size. Perhaps they’re not quite the right footwear for the morning sofa over at 30 Rock, although we’re sure that Kathie Lee and Hoda would approve! Billy Porter
FRONTRUNNERS (By Gross) 1. The Lion King ($2,208,482) 2. Wicked ($2,026,702)* 3. The Book of Mormon ($1,759,420)* 4. Aladdin ($1,497,976) 5. Beautiful: The Carole King Musical ($1,301,425) View Comments The last round was a hit. Rocky, in its last week of performances, brought in its highest gross ($870,165) and its largest audience (85.4%) of the summer. The Andy Karl-led tuner took its final bow on August 17. Meanwhile, another show bidding farewell to the Great White Way this month, Newsies, joined the top five shows by capacity this past week, and also hit its highest gross ($966,603) of the summer. Audiences have until August 24 to catch the paper-peddling underdogs at the Nederlander Theatre. As usual, Tony winner Neil Patrick Harris packed ’em in to the Belasco Theatre. He left Hedwig and the Angry Inch on August 17. Here’s a look at who was on top—and who was not—for the week ending August 17: UNDERDOGS (By Gross) 5. Chicago ($627,709) 4. Pippin ($596,032)* 3. Lady Day at Emerson’s Bar & Grill ($506,840)** 2. Once ($453,259) 1. Rock of Ages ($342,772) Source: The Broadway League FRONTRUNNERS (By Capacity) 1. The Book of Mormon (102.63%)* 2. Hedwig and the Angry Inch (101.82%)** 3. A Gentleman’s Guide to Love & Murder (100.70%) 4. Newsies (100.05%) 5. Matilda (100.03%) UNDERDOGS (By Capacity) 5. Motown the Musical (83.97%) 4. If/Then (80.33%) 3. Cinderella (72.72%) 2. Once (72.67%) 1. Bullets Over Broadway (70.80%) *Number based on nine regular performances **Number based on seven regular performances
Tony nominee Annaleigh Ashford, who can currently be seen in You Can’t Take It With You, and Wicked’s Mary Testa will appear in Peter Duchan and Breedlove’s Stu for Silverton, one of the eight musicals to be presented at the National Alliance for Musical Theatre (NAMT)’s 26th annual Festival of New Musicals. The event is set to take place at New World Stages on October 23 and 24. Star Files The Festival of New Musicals introduces eight new musicals to industry professionals through reading presentations. As previously announced, the NAMT event will also include a Shongwriters Showcase featuring Oscar winner Kristen Anderson-Lopez, Pigpen Theatre Company and more. Additional performers set to appear in the festival’s lineup include Terence Archie and Natalie Venetia Belcone in Beautiful Poison, Janet Dacal in Cubamor, Denielle Herbert and Francis Jue in Great Wall, Adam Matta in How to Break, Colin Hanlon, Emerson Steele and Ruth Gottschal in Mary Marie, Todd Buonopane, Alli Mauzey and Kate Shindle in The Noteworthy Life of Howard Barnes and Heidi Blickenstaff and Geoff Packard in String. Annaleigh Ashford View Comments
Show Closed This production ended its run on June 21, 2015 Gigi Related Shows About the Artist: With a desire to celebrate the magic of live theater and those who create it, and with a deep reverence for such touchstones as the work of Al Hirschfeld and the wall at Sardi’s, Squigs is happy and grateful to be among those carrying on the traditions where theater and caricature meet. He was born and raised in Oregon, lived in Los Angeles for quite a long time and now calls New York City his home. View Comments Still don’t understand the Parisians? Let Vanessa Hudgens help. The Broadway production of Alan Jay Lerner and Frederick Loewe’s Gigi opens officially at the Neil Simon Theatre on April 8. The Eric Schaeffer-helmed production stars Hudgens, Corey Cott and Tony winner Victoria Clark.To celebrate the musical’s big night, Broadway.com resident artist Justin “Squigs” Robertson penned this portrait of the bubbly cast at play. In addition to Hudgens as Gigi, Cott as Gaston Lachaille and Clark as Mamita, the sketch includes Howard McGillin as Honoré Lachaille, Dee Hoty as Aunt Alicia and Steffanie Leigh as Liane d’Exelmans.Broadway.com wishes a magnifique opening to the entire cast of Gigi. Keep the champagne flowing! But please drink responsibly—you have a show tomorrow.
After securing five trophies each, the two productions that received top honors at the 2015 Tony Awards celebrated gangbusters weeks at the box office. Best Play winner The Curious Incident of the Dog in the Night-Time saw its highest gross since New Year. Meanwhile, Best Musical recipient Fun Home brought in its biggest gross of its run, as did three other musicals that performed on the June 7 ceremony: An American in Paris, Something Rotten! and Finding Neverland. Although it still appeared on the bottom end of shows by gross, It Shoulda Been You seemed to benefit from its audience favorite performance on the Tonys, having received a considerable boost in gross and capacity. On the Town, while drumming up a slight increase in gross via its average ticket price, was unable to fill the colossal Lyric Theatre any more than in recent weeks.Here’s a look at who was on top—and who was not—for the week ending June 14:FRONTRUNNERS (By Gross)1.The Lion King ($2,102,748)2. Wicked ($1,954,144)3. Aladdin ($1,592,508)4. The Book of Mormon ($1,494,196)5. An American in Paris ($1,399,818)UNDERDOGS (By Gross)5. Gigi ($508,643)4. Hedwig and the Angry Inch ($456,585)*3. It Shoulda Been You ($403,081)2. Hand to God ($389,264)1. The Visit ($274,465)FRONTRUNNERS (By Capacity)1. Fun Home (103.31%)2. The Book of Mormon (102.58%)3. The Audience (101.26%)*4. Aladdin (100.01%)5. Skylight (100.00%)UNDERDOGS (By Capacity)5. Hedwig and the Angry Inch (68.92%)*4. The Visit (64.00%)3. Gigi (58.54%)2. On the Town (55.76%)1. Wolf Hall Parts One & Two (54.03%)* Number based on seven regular performancesSource: The Broadway League View Comments
View Comments Broadway’s An Act of God, starring Emmy winner Jim Parsons, has recouped its investment. The production, capitalized at $2.9 million, opened officially on May 28 and is scheduled to conclude its run at Studio 54 on August 2.The Creator Himself has written the Play, which has been transcribed by Emmy-winning The Daily Show head writer and executive producer David Javerbaum. God (through His press agent) has billed the show as such: “A 90-minute conversation in which I will reveal the mysteries of the Bible and answer some of the greatest existential questions that plague mankind.” In an early statement, He said, “This Play will help clear up the fallacy that I’m old fashioned…and instead reveal the true Me: up-to-date and holier-than-you.”Along with Parsons as God, the cast includes Christopher Fitzgerald and Tim Kazurinsky as angels. Tony winner Joe Mantello directs. Although the show is playing at Roundabout’s Studio 54, it is not a Roundabout production. Show Closed This production ended its run on Aug. 2, 2015 Related Shows An Act of God
Hamilton Want to be in the room where it happens? Stay home on February 15! Gargantuan Broadway hit Hamilton is set to feature on this year’s Grammy Awards. Creator and star Lin-Manuel Miranda, along with the cast of the new musical, will perform a number directly from the Main Stem’s Richard Rodgers Theatre. It marks one of only four times the Grammy telecast has included a performance live via satellite and the eighth time musical theater has featured in the lineup (American Idiot was the most recent).”We’re going to do the opening number, scream with joy, and then celebrate the fact that we were just on the Grammys,” Miranda told USA Today. “Best night ever.”Directed by Thomas Kail and featuring a book, music and lyrics by Miranda, Hamilton is inspired by the book Alexander Hamilton by Ron Chernow. The new musical follows the scrappy young immigrant who forever changed America, from bastard orphan to Washington’s right hand man, rebel to war hero, loving husband caught in the country’s first sex scandal to Treasury head who made an untrusting world believe in the American economy. George Washington, Thomas Jefferson, Eliza Hamilton and lifelong Hamilton friend and foe, Aaron Burr, all make appearances in the tuner about America’s fiery past.Starring Miranda in the title role, the cast also includes Jonathan Groff as King George III, Christopher Jackson as George Washington, Leslie Odom Jr. as Aaron Burr, Phillipa Soo as Eliza Hamilton, Anthony Ramos as John Laurens/Phillip Hamilton, Daveed Diggs as Marquis De Lafayette/Thomas Jefferson, Renée Elise Goldsberry as Angelica Schuyler and Javier Muñoz as Hamilton alternate.Check out the cast announcing their news below! from $149.00 Related Shows Star Files Hamilton(Photo by Joan Marcus) View Comments Lin-Manuel Miranda
Related Shows Lydia R. Diamond is probably best known to New York audiences for her play Stick Fly, which was produced on Broadway during the 2011-2012 season. Her other award-winning plays—including Harriet Jacobs, The Bluest Eye, The Gift Horse and Voyeurs de Venus—have been seen across the country. The playwright sat down with Broadway.com in the Green Room at Second Stage, where her work Smart People, directed by Kenny Leon, opens on February 11.What time of day do you get your best work done?Midafternoon. I think I’m going to get my best work done at six o’clock in the morning. I say to myself the night before, “I’m going to get up at six and go to Starbucks and start writing!” I usually get there by about two. When I’m on a real roll or under a scary deadline, I can go from two until 11 or something. I get a babysitter.Was there a specific event that inspired Smart People?What inspired Smart People was that there were a lot of plays by white men coming out that were kind of musing about race. Race is what I do: race and gender, sexuality and class. [Smart People] is a play about love and family and relationships—because it can’t be a play if it’s not about those things first. I decided I’m going to write about [race] boldly and without fear yet just as funny and quirky and with characters just as flawed as they always are. I was like, “You know, I’m going to write a play that very clearly doesn’t have an ax to grind.” How long did it take you to write this play?It was a good eight years. Three years into writing it, Obama won the election and it changed the way we talk and think about race. It made me up my game. It also changed everything about what this play wanted to be, and it took me a while to catch up. I thought I knew how to talk about race—I had that down. I can’t do a panel or an interview without talking about race and this asked me to look at it with a more open mind and also up the stakes in an interesting way.What play changed your life?What essential items do you like to have with you when you are writing? My pen, my notebook. If there’s some kind of research—for [Smart People] it was stacks and stacks of studies and science stuff. I also have my cell phone and on it I have my dictionary app. It’s funny because my characters are always smarter than I am. It’s like I’m channeling them and they have a tendency to use words that I don’t know. So after I’ve finished writing, I make sure that they use those words correctly. They almost always do. It’s weird.What’s the best piece of advice you’ve ever received about writing? There are two things: One is less about writing and more about having a career in writing; my mentor in Chicago, Chuck Smith, reminded me to always have plays happening at small storefront theaters as much as I’m having plays at theaters like Second Stage. I found keeping the relationships with the smaller companies helps me to not write in a vacuum. To have a place to develop work in which the stakes aren’t so high that I’m thinking first about my audience and not about my work. But also there is a political piece to it that feels right. As for writing advice, it’s just keep writing. Be rigorous as much as possible all the time even if it’s to no end.What writers inspired you? What’s the nitty-gritty hard work about being a playwright that no one ever told you? For me, it’s leaving the rehearsal process. I started as an actress and I don’t know if that’s why, but I feel as though I write to get to have these three weeks [of rehearsals]. The most valuable and precious thing is to be in a room with actors and a director and be collaborating and making the play better in real time. It is slightly heartbreaking the day I realize that they don’t need me anymore. I feel like Cinderella leaving the ball. The other thing is actually the writing. I find it exhilarating when I get into the groove, but I find being able to get to that place harder and harder. I think it’s just life: You get older, and you could call them distractions, but I’ve tried to reframe it so it doesn’t feel like intrusions and so I acknowledge that it is just life. I have a son that’s on the autism spectrum, and I have a world that is full and loud—how this quiet solitary thing fits in can be tricky. But the flip side of it is that my big loud life informs my work in a way I didn’t know it would.Do you write for a specific audience? No. I answer that almost defensively because I think it’s so important. Now I would say that I write sometimes understanding that I’m communicating with an American audience and that we come to the table with all of our hang-ups about race, sexuality and class. I want my writing to always be entertaining and not didactic. So to that degree it would kind of be precious to say, “Oh no, I absolutely write in a vacuum of not knowing who I’m writing for.” My eyes are wide open as to the kind of reflex way we defend ourselves or protect ourselves around these things we have such a hard time talking about in America.What do you think all aspiring playwrights should do?They have to write all the time and not be afraid to tell the stories that are there. There’s this tendency to think that if I’m a white boy from the suburbs and I grew up in a home with two parents that I don’t have deep dark thing to write about. Or if I’m a black woman who grew up with privilege or a young man—you know, whatever. We have the tendency to think our stories—if they aren’t full of adversity in a very tangible way—are not compelling. I think that what we enjoy seeing are plays that are honest and interesting. Don’t be afraid of who you are. Go to lots and lots of theater and read lots and lots of plays. Also, always hear plays out loud as often as possible. Write the scene, invite some actors to come over, order some pizza, hear the scene. I think that’s really important.What’s your favorite line in Smart People? View Comments Show Closed This production ended its run on March 6, 2016 Smart People Lydia R. Diamond(Photo by Caitlin McNaney)