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Broadway’s LOMBARDI on WNYC Radio and Bloomberg TV

Broadway’s LOMBARDI in the News

Stars Dan Lauria & Judith Light on WNYC’s Leonard Lopate Show

Producer Tony Ponturo on Bloomberg TV

WATCH

LISTEN

Broadway’s Lombardi was featured last Friday on WNYC Radio’s Leonard Lopate Show and on Bloomberg TV.

Stars Dan Lauria and Judith Light, who portray Vince and Marie Lombardi, visited Lopate and spoke to him about the show’s success and the recent announcement that tickets are now on sale through June 19.   Also on Friday, producer Tony Ponturo was featured on Bloomberg’s TV’s “Surveillance Midday.”

Join the LOMBARDI cast after the show every Tuesday and Thursday in January for a post-show “talkback.”

Directed by Tony Award nominee Thomas Kail, LOMBARDI is an original play by Academy Award-winning playwright Eric Simonson, based on the best-selling biography When Pride Still Mattered: A Life of Vince Lombardi by Pulitzer Prize winner David Maraniss.  The production opened in October at Circle in the Square Theatre.

Starring Dan Lauria as the legendary Hall of Fame football coach Vince Lombardi and Judith Light as his wife Marie, LOMBARDI also features Keith Nobbs as Michael McCormick, Bill Dawes as Paul Hornung, Robert Christopher Riley as Dave Robinson and Chris Sullivan as Jim Taylor.  Joining producers Tony Ponturo and Fran Kirmser as special producing partner is the National Football League, marking the organization’s first foray on Broadway.

Tickets can be purchased online at www.telecharge.com, by phone at 212-239-6200, or in person at the Box Office (50th Street, West of Broadway).

www.lombardibroadway.com

Follow LOMBARDI on Twitter: @LombardiPlay or on Facebook.

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For the most up to date press releases visit our Blog.

Broadway’s LOMBARDI on WNYC Radio and Bloomberg TV

Broadway’s LOMBARDI in the News

Stars Dan Lauria & Judith Light on WNYC’s Leonard Lopate Show

Producer Tony Ponturo on Bloomberg TV

WATCH

 

LISTEN

 

 

Broadway’s Lombardi was featured last Friday on WNYC Radio’s Leonard Lopate Show and on Bloomberg TV.

 

Stars Dan Lauria and Judith Light, who portray Vince and Marie Lombardi, visited Lopate and spoke to him about the show’s success and the recent announcement that tickets are now on sale through June 19.   Also on Friday, producer Tony Ponturo was featured on Bloomberg’s TV’s “Surveillance Midday.”

 

Join the LOMBARDI cast after the show every Tuesday and Thursday in January for a post-show “talkback.”

Directed by Tony Award nominee Thomas Kail, LOMBARDI is an original play by Academy Award-winning playwright Eric Simonson, based on the best-selling biography When Pride Still Mattered: A Life of Vince Lombardi by Pulitzer Prize winner David Maraniss.  The production opened in October at Circle in the Square Theatre.

 

Starring Dan Lauria as the legendary Hall of Fame football coach Vince Lombardi and Judith Light as his wife Marie, LOMBARDI also features Keith Nobbs as Michael McCormick, Bill Dawes as Paul Hornung, Robert Christopher Riley as Dave Robinson and Chris Sullivan as Jim Taylor.  Joining producers Tony Ponturo and Fran Kirmser as special producing partner is the National Football League, marking the organization’s first foray on Broadway.

 

Tickets can be purchased online at www.telecharge.com, by phone at 212-239-6200, or in person at the Box Office (50th Street, West of Broadway).

 

www.lombardibroadway.com

Follow LOMBARDI on Twitter: @LombardiPlay or on Facebook.

Follow BBB on Twitter: @BBBway or on Facebook.

For the most up to date press releases visit our Blog.

TIME STANDS STILL Begins Final 2 Weeks Tonight

BROADWAY’S BEST REVIEWED NEW PLAY

TIME STANDS STILL

BEGINS FINAL 2 WEEKS OF PERFORMANCES TONIGHT

STARRING RECENT GOLDEN GLOBE WINNER LAURA LINNEY,

BRIAN D’ARCY JAMES, ERIC BOGOSIAN, CHRISTINA RICCI

TIME STANDS STILL, Broadway’s best reviewed new play, begins its final two weeks of performances tonight at 7 PM. The play stars recent Golden Globe Award winner Laura Linney (“The Big C”), Brian d’Arcy James, Eric Bogosian, and Christina Ricci. The production will play its final performance, as previously announced, on Sunday, January 30 at the Cort Theatre (137 West 48th Street). The play is written by Pulitzer Prize winner Donald Margulies and directed by Tony Award winner Daniel Sullivan.

 

When it returned to Broadway in September, the play was hailed by critics and audiences alike. In his review for the New York Times, Charles Isherwood said, “New plays of substance remain rare on Broadway, and return engagements are almost unheard of, which makes this remounting of TIME STANDS STILL as brave as it is unusual. Thankfully audiences now have a second chance to catch it.”

 

Below is a sampling of what other critics had to say about the production: “intensely moving” (Entertainment Weekly), “smart, funny, touching and very wise” (Bergen Record), “Under Daniel Sullivan’s sure-handed direction, the cast is uniformly excellent. A perfectly-pitched quartet.” (The Daily News), “The performances of Laura Linney and Brian d’Arcy James are intensely felt – and intensely fine. They are superb.” (The New York Times), “The cast is shamelessly watchable.” (Newsday), “Christina Ricci makes a highly impressive debut.” (Hollywood Reporter), “Eric Bogosian is excellent.” (NY1), “The cast has gotten even better.” (The Hollywood Reporter), “Dan Sullivan’s direction is incisive.” (Newsday) and “Donald Margulies outstanding play is even more satisfying on second viewing.” (Bloomberg News).

 

TIME STANDS STILL follows Sarah and James (Laura Linney and Brian d’Arcy James), a photojournalist and a foreign correspondent trying to find happiness in a world that seems to have gone crazy.  Theirs is a partnership based on telling the toughest stories and together, making a difference. But when their own story takes a sudden turn, the adventurous couple confronts the prospect of a more conventional life… and everything changes – in a flash.

Before re-opening at the Cort, TIME STANDS STILL enjoyed an extended sold-out run at Manhattan Theatre Club’s Samuel J. Friedman Theatre. The production was honored with Tony and Outer Critics Circle nominations for Best Play and Laura Linney was recognized with nominations for Best Actress by the Tony Awards, the Drama Desk Awards, The Outer Critics Circle Awards, and the Drama League.

 

Tickets range from $26.50 – $121.50 with premiere seating available from $176.50 – $251.50 with standing room (when available) at $26.50. Tickets include a $1.50 facility fee. Tickets are available through Telecharge.com, by phone at 212-239-6200, or 800-432-7250, online at www.Telecharge.com or at the Cort Theatre Box Office (138 West 48th Street).

 

TIME STANDS STILL is produced by Manhattan Theatre Club Productions; Inc. (Lynne Meadow, Artistic Director; Barry Grove Executive Producer); Nelle Nugent; Bud Martin; Ted Snowdon; Wendy Federman; Max Cooper; Susanne Adamski; Mari Nakachi; Jack M. Dalgleish; Joseph Sirola; Elisabeth Morten; Kenneth Teaton; and Sharon A. Carr.

 

The creative team includes John Lee Beatty (scenic design), Rita Ryack (costume design), Peter Kaczorowski (lighting design), Darron L West (sound design), Peter Golub (original music), and Thomas Schall (fight direction).

 

PERFORMANCE SCHEDULE FOR TIME STANDS STILL:

  • NOW THROUGH SUNDAY, JANUARY 30: Tuesday 7PM, Wednesday 2PM & 8PM, Thursday 7PM, Friday 8PM, Saturday 2PM & 8PM, Sunday 3PM.

 

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www.TimeStandsStillonBroadway.com

Follow “Time Stands Still” on Twitter: @TimeStandsBway or on Facebook

 

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For the most up to date press releases visit our Blog.

 

 

SCKBSTD Begins Performances Tonight at Virginia Stage Company & is Featured in Virginia Press

SCKBSTD

BEGINS PERFORMANCES AT VIRGINIA STAGE COMPANY TONIGHT

JANUARY 18, 2011

PRODUCTION RECENTLY FEATURED IN THE LOCAL VIRGINIA PRESS

NORFOLK, VA – SCKBSTD – A New Musical by Bruce Hornsby takes the stage at The Wells Theatre beginning tonight – Tuesday, January 18. This world premiere production features music and lyrics by Williamsburg native and Grammy Winner Bruce Hornsby, lyrics by Chip deMatteo and book by Clay McLeod Chapman. The show is based on an original story by Bruce Hornsby.

 

The production’s official opening is Friday, January 21 and it will run through February 6, 2011. SCKBSTD is produced by VSC by special arrangement with Michael Rafael and David Riemer of Spiral Staircase LLC, New York. BB&T is the sponsoring presenter of SCKBSTD.

 

Hornsby’s piano-based melodies and rousing dance tell the story of a close-knit small town rocked with rumor and paranoia when a stranger moves in and cruises the streets in his Dodge.

 

SCKBSTD is a very relatable story about a family — a couple running a business together, sandwiched between caring for their children and an aging parent. Then a stranger comes to town and the resulting fears and rumors turn their daily lives upside down. Most rock musicals are about teenage angst. This is a rock musical about middle-age angst. There are light-hearted, funny moments, touching moments… ultimately it’s a story of redemption and love,” said co-producer Mike Rafael.

 

“I’ve enjoyed pushing the boundaries with the music. There’s a broad range of styles here, musically and vocally… it took a lot of colors to paint this story,” said Hornsby. “The whole reason for being here is in creating something that moves people, something soulful that makes a connection.”

 

SCKBSTD’s cast of Broadway veterans includes Robert Cuccioli, William Parry, Marcus Lovett, Jill Paice, Kevin Mambo, Eugene Barry-Hill, Kenneth Cavett, Riley Costello, Rosa Curry, Charles Franklin, Garrett Long, Jayne Paterson, Karl Warden and Brynn Williams. The SCKBSTD creative team is led by Director John Rando (Tony Award-winning director of Broadway’s Urinetown) and Choreographer Scott Wise (Tony Award winner for Jerome Robbins’ Broadway).

The production has recently been featured in the local Virginia press.


Bruce Hornsby’s Broadway-bound Musical Debuts at Wells Theater

By Jim Newsom

VEER MAGAZINE

January 17, 2011

 

When SCKBSTD opens its three-week run at the Virginia Stage Company, much of the buzz will focus on the production being Bruce Hornsby’s first theatrical foray. In fact, he and co-creator Chip deMatteo began their career as playwrights in high school in the early ‘70s.

 

“We were co-presidents of Zappo Productions from 8th grade to 12th grade,” Hornsby told me a couple of weeks before Christmas, “kids just trying to see what we could get away with. We sold worthless stock; we booked terrible bands for dances and changed their names. We wrote a couple of plays back then, when it was popular to name bands after cities. We named our first play Schenectady and finagled our way into having it produced as the Drama Club production at Hampton Roads Academy, where Chip went to school. Then we wrote a sequel called Son of Schenectady that was produced once at the local youth center here where they used to have sock hops.”

 

It’s a long road from the Williamsburg youth center to the Virginia Stage Company. In the intervening years, Bruce Hornsby became one of the biggest stars in popular music, winning three Grammy awards and selling millions of recordings. Chip deMatteo followed in the footsteps of his father and grandfather, becoming a silversmith (his dad was the Master Silversmith for Colonial Williamsburg), owning Hand & Hammer Silversmiths in Woodbridge since 1979.

 

The play itself has been several years in development and has gone through numerous permutations. The idea for Bruce to create a Broadway-style musical actually came from Broadway.
Click here to read the full feature.

 

For new musical, Bruce Hornsby pushes actors to drop the glee, boost the soul

By Sam McDonald

DAILY PRESS

January 14, 2011

 

Bruce Hornsby, Williamsburg’s own pop music champion, gave himself a tough assignment when he stepped into the unfamiliar world of big-time theater music.

 

He wanted to create a Broadway-style musical that doesn’t sound too much like a Broadway-style musical. The result of five years of effort, “SCKBSTD,” debuts Tuesday at Wells Theatre in Norfolk.

 

Hornsby and his childhood friend and co-lyricist Chip deMatteo penned songs covering a range of emotions as well as musical styles. Gospel, rock, New Orleans boogie-woogie — even polka — show up in the 19 tunes featured in the play, whose title is pronounced “Sick Bastard.”

 

While the range of music is somewhat unusual for Broadway, Hornsby said the singing style he wants has little to do with what’s expected on the Great White Way.

 

Click here to read the full feature.

 

Norfolk Perspectives

 

Television interview with Author Clay McLeod Chapman and Robert Cuccioli.

Click here to watch the interview.

 

Tickets for SCKBSTD may be purchased through Ticketmaster by calling 800-982-2787 or at any Ticketmaster outlet, at the VSC box office, or online at www.vastage.com. Group discounts are available by calling 757-627-6988 ext. 358. Regular performances run Tuesdays at 7:00pm, Wed./Thur./Fri. at 8:00pm, Saturdays at 4:00pm and 8:00pm, and Sundays at 2:00pm through February 6. Tickets range from $15 to $50. A special event with VSC’s Young Professionals, EnterAct, will take place on January 28, featuring two show tickets and a catered reception for $45.

 

An Electronic Press Kit featuring interviews with Composer Bruce Hornsby, Author Clay McLeod Chapman and Director John Rando video is available at http://www.vastage.com/news/video. Additional broadcast-quality video is also available.

 

Now in its 32nd season, Virginia Stage Company is Hampton Roads’ only fully professional resident theater company, serving an annual audience close to 90,000. Since its founding, Virginia Stage Company has made significant contributions to the quality of life in Hampton Roads: presenting more than 185 plays through more than 3,700 performances; revitalizing and renovating the historic Wells Theatre; providing educational programs for students of all ages; and preserving the legacy of live theatre for future generations. Seasonal support for VSC’s 32nd Season is provided by Norfolk Southern.

 

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Tickets for THE MOTHERF**KER WITH THE HAT Go On Sale Tomorrow, January 19

TICKETS GO ON-SALE TOMORROW, WEDNESDAY, JANUARY 19

FOR THIS LIMITED ENGAGEMENT

BOBBY CANNAVALE, CHRIS ROCK, ELIZABETH RODRIGUEZ,

ANNABELLA SCIORRA, YUL VÁZQUEZ

TO STAR IN THE WORLD PREMIERE OF

STEPHEN ADLY GUIRGIS’ NEW PLAY

THE MOTHERF**KER WITH THE HAT

DIRECTED BY ANNA D. SHAPIRO

PRODUCTION OPENS APRIL 11, 2011 AT THE GERALD SCHOENFELD THEATRE

PREVIEWS BEGIN MARCH 15, 2011

 

Tickets go on-sale to the general public tomorrow morning, Wednesday, January 19 for the world premiere of Stephen Adly Guirgis’ new play THE MOTHERF**KER WITH THE HAT, starring Bobby Cannavale, Chris Rock, Elizabeth Rodriguez, Annabella Sciorra and Yul Vázquez. Directed by Anna D. Shapiro, the production will open on Monday, April 11, 2011 at the Gerald Schoenfeld Theatre (236 West 45th Street, New York City). The strictly limited 15-week engagement will begin previews on Tuesday, March 15, 2011.

 

THE MOTHERF**KER WITH THE HAT is a new high-octane, verbal cage match about love, fidelity, and misplaced haberdashery from playwright Stephen Adly Guirgis. Jackie (Cannavale) and Veronica (Rodriguez) have been in love since the 8th grade. But now, Jackie is on parole and living clean and sober under the guidance of his sponsor, Ralph D (Rock), while still living and loving with his volatile soul mate Veronica (Sciorra) who is fiercely loving, but far from sober. Still, their love is pure. And true. Nothing can come between them – except a hat.

 

The creative team includes scenic design by Todd Rosenthal, costume design by Mimi O’Donnell and lighting design by Donald Holder.

 

TICKET INFORMATION:

Tickets for THE MOTHERF**KER WITH THE HAT will be available beginning Wednesday, January 19 through Telecharge.com by phone at 212-239-6200, or 800-432-7250, or online at www.Telecharge.com. Group tickets are also available through Telecharge.com. Tickets will be available in person beginning Tuesday, February 22 at the Gerald Schoenfeld Theatre (236 West 45th Street). Box office hours are Monday through Saturday from 10:00 a.m. to 8:00 p.m.

 

Tickets on Monday through Thursday evenings and Wednesday, Saturday and Sunday matinees range in price from $66.50 to $121.50. Tickets on Friday and Saturday evenings range in price from $76.50 to $131.50

 

PERFORMANCE SCHEDULE:

March 15 – April 9: Monday through Saturday at 8:00 pm & Saturday at 2:00 pm.

 

Beginning April 12: Tuesdays at 7:00pm, Wednesday through Saturday at 8:00 pm, Wednesday and Saturday at 2:00 pm, Sunday at 3:00 pm.

 

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For more information, visit www.TheMFwiththeHat.com (**website will go live at midnight tonight**)

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Wonderland featured in the Associated Press

 

 

WONDERLAND

A New Alice.  A New Musical.

FEATURED IN THE ASSOCIATED PRESS

OPENS ON BROADWAY

AT THE MARQUIS THEATRE

APRIL 17, 2011

PREVIEWS BEGIN MARCH 21

Broadway’s WONDERLAND – A New Alice.  A New Musical is featured in the Associated Press:

Tampa project creating original works for Broadway

By KELLI KENNEDY

 

TAMPA, Fla. — Something in the final scenes of Broadway-bound “Wonderland – A New Alice. A New Musical” was off.

Producers felt the dialogue didn’t fully capture Alice’s feelings about returning home after tumbling down the rabbit hole. They penned changes the next morning and tested it with the audience that night.

It’s a rare but valuable luxury to retool a show outside the harsh spotlight of Broadway critics and blogging theater junkies. While headlines of injuries and cast changes have plagued the previews of “Spider-Man: Turn Off the Dark,” Wonderland has evolved with little fanfare.

The $15 million musical is the first offering of the Broadway Genesis Project, born of Tampa’s Straz Center for the Performing Arts, in a quest to create original material for Broadway. “Wonderland,” which features a 25-member cast, the music of Tony-nominee Frank Wildhorn and costumes by Tony-winner Susan Hilferty, opens April 17 at New York City’s Marquis Theatre.

“We started this initiative so we could become an incubator for important new work,” said Judy Lisi, CEO of Straz Center. “We hope this can begin the process of Florida, Tampa, the Straz Center getting known, as a place where these new shows begin.”

Click here to read the full story

http://www.miamiherald.com/2011/01/16/2018597/tampa-project-creating-original.html#ixzz1BPYuxGnG

WONDERLAND just completed a return engagement at The David A. Straz, Jr. Center for the Performing Arts (Judy Lisi, President and CEO) in Tampa, Florida January 5 through January 16, 2011, and will open on Broadway at the Marquis Theatre (1535 Broadway between 45th & 46th Streets) April 17; previews begin March 21.

 

WONDERLAND stars Janet Dacal (In The Heights) as Alice, Darren Ritchie (Little Shop of Horrors, Thoroughly Modern Millie) as White Knight, E. Clayton Cornelious (The Scottsboro Boys, A Chorus Line) as Caterpillar, Jose Llana (Spelling Bee, Flower Drum Song) as El Gato, Karen Mason (Hairspray, Mamma Mia!) as Queen of Hearts, Kate Shindle (Legally Blonde, Cabaret, Jekyll and Hyde) as Mad Hatter, Carly Rose Sonenclar (Les Miserables, Little House on the Prairie) as Chloe, Edward Staudenmayer (Spamalot, Martin Short:  Fame Becomes Me) as White Rabbit and Danny Stiles (Regional productions of Guys and Dolls and Sister Act:  The Musical) as Morris.  The book is by Gregory Boyd and Jack Murphy, lyrics by Jack Murphy, music by Frank Wildhorn, choreography by Marguerite Derricks and direction by Gregory Boyd, WONDERLAND.

 

The ensemble includes April Berry, Grady Bowman, Sae La Chin, Dan Domenech, Mallauri Esquibel, Derek Ferguson, Wilkie Ferguson, Laura Hall, Natalie Hill, Lauren Lim Jackson, Morgan James, Ryan Link, Kate Loprest, Renee Marino, Heather Parcells, Stefan Raulston, Julius Anthony Rubio, and Tanairi Vasquez.

 

The design team is comprised of Neil Patel (set), Susan Hilferty (costume), Paul Gallo (lighting), Peter Hylenski (sound) and Sven Ortel (video and projection).

 

WONDERLAND is the first production of the Broadway Genesis Project, an initiative by the Straz Center for the Performing Arts to develop and prepare new musical theater for Broadway. From a show’s inception to final staging, the Project provides a safe and nourishing environment in a state-of-the-art complex with artistic, technical and administrative resources.

 

WONDERLAND was optioned by Judy Lisi, CEO of the Straz Center, and was subsequently produced as its world premiere at the David A. Straz, Jr. Center for the Performing Arts in Tampa, FL in December, 2009.  In association with the Alley Theatre in Houston, TX, in January of 2010, the show was transferred for further development, becoming one of the highest grossing shows in that theater’s history.

 

A new spin on the classic story of Alice and her Looking-Glass world, WONDERLAND is about a modern-day woman who goes on a life-changing adventure far below the streets of New York City, where a colorful cast of strange but familiar characters help her rediscover what’s really important. Featuring a fresh, contemporary pop score from the creator of Jekyll and Hyde, WONDERLAND arrives on Broadway this spring following two sold-out national stage premieres.

 

WONDERLAND is produced on Broadway by the David A. Straz, Jr. Center for the Performing Arts (Judy Lisi, President and CEO), William Franzblau and Nederlander Presentations, Inc.

 

Broadway ticket Information:

Tickets to WONDERLAND – A New Alice.  A New Musical are now available through www.Ticketmaster.com or by calling 877-250-2929.

 

For more information about the David A. Straz, Jr. Center for the Performing Arts and its upcoming events, please visit www.strazcenter.org

 

The WONDERLAND Concept CD is available through ITUNES from SONY Masterworks.

 

For more information, log on to www.WonderlandOnBroadway.com

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WWW.WonderlandOnBroadway.com

 

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On Twitter:  http://Twitter.com@WonderlandBway

On Facebook:  http://www.facebook.com/WonderlandBway

 

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NY Times, Arts & Leisure features Arena Stage D.C. & plans for new play development

(Washington, D.C.) Arena Stage (Artistic Director Molly Smith) recently began their 60th season filled with award-winning artists and projects to celebrate the grand opening of Arena Stage at the Mead Center for American Theater. Arena Stage begins the 2010/2011 season as a national center for production, presentation, development and study of American theater.

NEW YORK TIMES, Arts & Leisure

January 16, 2011

Leaving the Light On for Playwrights

By Patrick Healy

WASHINGTON

WHEN Molly Smith began envisioning a third theater space here for Arena Stage, as part of the recent $135 million transformation that she led as artistic director, she grappled with how to distill her ideas into a clear form. Then one day she found herself staring at her hands. “I cupped them together, and there it was, that was our theater,” Ms. Smith recalled. “When you look inside two cupped hands, you have a cradle. That’s what I wanted: a small, enveloping cradle where we could nurture and stage newly birthed American plays.”

Cradle is not a word typically associated with playwriting. Many writers do not look to theaters for care and feeding, let alone a security blanket. What you often hear about instead is crummy pay, no health insurance, not enough time for rehearsals, and enormous frustrations in persuading major regional houses like Arena Stage to mount the second or third production of a new play, given how many artistic directors prize world premieres. And those artistic directors are no pollyannas. Staying afloat is tough business, they say, with theaters like Intiman in Seattle, the Pasadena Playhouse and others that have endured financial struggles in this era of diminished donations. Producing largely unknown plays is usually a riskier bet at the box office than a revival of a classic. (Paging Willy Loman!)

So it is an act of some theatrical audacity, really, that Arena Stage has christened its new 200-seat space as the Arlene and Robert Kogod Cradle (named for benefactors who donated $7.5 million) and endowed it with the mission “of developing new American plays and cradling artistic risk.” But the Cradle is itself part of an audacious act: Arena Stage’s effort to brand itself as a national center for producing, presenting, developing and studying American theater. At a time of great competition for grant and foundation money among nonprofit theaters Arena is seeking to stand out among the 75 or so major regional theaters by building on its 60-year-old roots in Washington, stressing the word “American” in its messages to audience members and convening events to focus on the craft of playwriting and careers of playwrights.

To read the rest of the story, click the link: http://www.nytimes.com/2011/01/16/theater/16arena.html?_r=1&ref=arts

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Jersey Boys wins Sydney Theatre Awards including Best Musical

MULTI-AWARD WINNING

JERSEY BOYS

WINS SYDNEY THEATRE AWARDS

BEST MUSICAL &

BEST ACTOR IN A MUSICAL (BOBBY FOX)

 

JERSEY BOYS – The Story of Frankie Valli & The Four Seasons won the Sydney Theatre Award for Best Musical.  In addition Bobby Fox, who plays Frankie Valli, won Best Actor in a Musical.

 

The Sydney Theatre Awards are presented annually by a group of leading theatre critics to celebrate the strength, quality and diversity of theatre in Sydney.

 

“The Sydney Theatre Award for Best Musical to JERSEY BOYS acknowledges the wonderful collaboration between everyone associated with the production across the entire range of disciplines and the artistic excellence that makes JERSEY BOYS so special for audiences and for all of us associated with this wonderful production. The entire company of JERSEY BOYS is thrilled that Bobby Fox has been recognised by Sydney’s premier critics for his extraordinary performance of Frankie Valli” – Rodney Rigby, Newtheatricals, Producer of JERSEY BOYS – The Story of Frankie Valli & The Four Seasons.

Chris Green of Dainty Consolidated Entertainment, Producer said “We are absolutely elated how Sydney audiences have embraced the Australian production of JERSEY BOYS and delighted to have been further acknowledged by receiving these Awards.”

 

Jersey Boys is already the recipient of two Helpmann Awards being Best Musical and Best Music Direction of a Musical, four Tony Awards® including Best Musical, winner of the Olivier Award for Best New Musical, and winner of seven Victorian Green Room Awards.

 

After 4½ sell-out months in Sydney, and 14 months in Melbourne seen by nearly 600,000 patrons and playing 453 sold out performances, JERSEY BOYS – The Story of Frankie Valli & The Four Seasons continues to play to huge acclaim and standing ovations.

The Four Seasons, Frankie Valli, Bob Gaudio, Tommy DeVito and Nick Massi wrote their own songs, invented their own sounds and sold 175 million records worldwide – all before they were thirty. JERSEY BOYS features all their hits including Sherry, Big Girls Don’t Cry, Oh What A Night, Walk Like A Man, Can’t Take My Eyes Off You, Working My Way Back To You and many more.

www.jerseyboysaustralia.com.au

 

 

Million Dollar Quartet to Welcome Wanda Jackson “The Queen of Rockabilly” on January 20

BROADWAY’S

MILLION DOLLAR QUARTET

TO WELCOME “THE QUEEN OF ROCKABILLY”

WANDA JACKSON

TO NEDERLANDER THEATRE THURSDAY EVENING, JANUARY 20

FOR ONE TIME ONLY JAM SESSION

MILLION DOLLAR QUARTET, Broadway’s new hit musical, is pleased to announce that Wanda Jackson, the “Queen of Rockabilly,” will join the cast of the Tony nominated Best Musical for a special performance during the finale of the Thursday evening, January 20 performance at the Nederlander Theatre (208 West 41st Street).

 

Jackson, a 2009 Rock and Roll Hall of Fame inductee, first gained national attention with her 1958 recording of Let’s Have a Party,” a tune she made into a hit of her own even after one-time boyfriend Elvis Presley had released a version of it. She’s been a pioneer in rockabilly, rock and roll, country, and gospel music. Her latest album, The Party Ain’t Over, which she recorded with guitarist-vocalist-White Stripes founder Jack White, will be released January 25 on Third Man/Nonesuch Records.

The cast of MILLION DOLLAR QUARTET features Eddie Clendening (Elvis Presley), Lance Guest (Johnny Cash), Tony Award®  winner Levi Kreis (Jerry Lee Lewis), Jared Mason (Carl Perkins), James Moye (Sam Phillips), and Elizabeth Stanley (Dyanne).

 

On December 4, 1956, an auspicious twist of fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley together. The place was Sun Records’ storefront studio in Memphis. The man who made it happen was Sam Phillips, the “Father of Rock and Roll,” who discovered them all. The four young musicians united for the only time in their careers for an impromptu recording that has come to be known as one of the greatest rock jam sessions of all time.

 

Inspired by the actual event, MILLION DOLLAR QUARTET features a treasure trove of the greatest rock and roll, gospel, R&B and country hits from these musicians, including such iconic songs as “Blue Suede Shoes,” “Fever,” “Sixteen Tons,” “Who Do You Love?,” “Great Balls of Fire,” “Riders in the Sky,” “I Walk the Line,” “Folsom Prison Blues,” and “Whole Lotta Shakin’ Goin’ On.” MILLION DOLLAR QUARTET captures the infectious spirit, freewheeling excitement and thrilling sounds of a singular moment when four of the music industry’s most extraordinary talents, all in their creative prime, came together for one of the most memorable nights in music history.

In addition, to Kreis’ Tony® for Best Featured Actor in a Musical, MILLION DOLLAR QUARTET received Tony nominations for Best Musical and Best Book of a Musical (Colin Escott & Floyd Mutrux). The show received an Outer Critics Circle Award for Outstanding Featured Actor in a Musical (Levi Kreis), a Drama Desk Nomination for Outstanding Musical Revue and three Drama League Nominations including Distinguished Production of a Musical and Distinguished Performance (Lance Guest & Levi Kreis).

 

MILLION DOLLAR QUARTET is directed by Eric Schaeffer and features a book by Colin Escott and Floyd Mutrux. The design team for Broadway includes: Derek McLane (scenic design), Howell Binkley (lighting design), Jane Greenwood (costume design), Kai Harada (sound design) and Chuck Mead (musical arrangements and supervision).

 

MILLION DOLLAR QUARTET is produced by Relevant Theatricals, John Cossette Productions, American Pop Anthology, Broadway Across America, and James L. Nederlander.

 

The Chicago production of MILLION DOLLAR QUARTET opened in 2008 and is still playing to packed houses at the Apollo Theatre. An upcoming national tour will launch next season and a London production will open at the Noël Coward Theatre on February 28, 2011 with previews beginning February 8, 2011.

 

For more information about MILLION DOLLAR QUARTET, visit www.MillionDollarQuartetLive.com.

 

Follow MILLION DOLLAR QUARTET news on Twitter @milliondquartet and on Facebook.

TICKET INFORMATION:

Tickets for MILLION DOLLAR QUARTET are available online www.TicketMaster.com, by calling 877-250-2929, or by visiting the Nederlander Box Office (208 West 41st Street).

 

MILLION DOLLAR QUARTET’s performance schedule is Tuesday at 7PM, Wednesday through Saturday at 8PM. Matinees on Wednesday and Saturday at 2PM and Sunday at 3PM.

 

NEW REGULAR PERFORMANCE SCHEDULE (BEGINNING MONDAY, JANUARY 3) is Tuesday and Wednesday at 7 PM, Thursday through Saturday at 8 PM. Matinees Wednesday and Saturday at 2:30 PM and Sunday at 3 PM.

 

BIOGRAPHY

When WANDA JACKSON, the justly crowned Queen of Rockabilly, recorded Let’s Have a Party,” a tune she made into a hit of her own in 1958 even after one-time boyfriend Elvis Presley had released a version of it, her delivery of the chorus wasn’t so much a suggestion as a command. As the title – and, more importantly, the contents — of her latest album, The Party Ain’t Over, indicates, this feisty septuagenarian artist is as galvanizing as ever. Jackson was recently inducted into the Rock and Roll Hall of Fame, honored with a long-time-coming, Early Influence accolade for her pivotal role in the evolution of popular music, especially where female artists were concerned. As a teenager in the mid-50s, the diminutive Jackson was the first woman to perform unadulterated rock and roll – and she one-upped the boys defining this new genre, Presley included, with her exhilaratingly forthright approach. The young Jackson, an Oklahoma native, came across as both gritty and glamorous; a playfully suggestive growl to her voice matched the daring, handmade outfits she wore, short skirts and fringed dresses that have inspired would-be bad girls for decades to come. A tireless touring artist for more than 50 years, Jackson continues to win over new, young fans, including guitarist-vocalist-White Stripes founder Jack White.

 

On this debut for Third Man/Nonesuch Records, produced and arranged by White at his Nashville studio, the spirited Jackson proves that brash rock and roll attitude need not have an age limit. Her trademark growl remains intact on rockers like “Rip It Up” and “Nervous Breakdown;” she opens the set with an echo-laden sneer on a rollicking version of “Shakin’ All Over” and ends it ten songs later with a plaintive take on Jimmie Rodgers’ Yodel #6,” along the way gamely tackling country, gospel, densely worded Bob Dylan, and a little bit of Tin Pan Alley. Jackson and White are a remarkably simpatico pairing; their collaboration came together quickly, serendipitously. One of Jackson’s colleagues had originally approached White about doing a duet with Jackson for a proposed “Wanda and Friends” disc, but White demurred. Instead, he offered something better, inviting Jackson to cut a single with him for his Third Man label, and that swiftly led this kindred spirits to put together an entire album.

 

Jackson admits, “I was scared at first because I didn’t know what this young rock star was going to expect of me or ask me to do. I kind of had shaky feet, deciding whether I wanted to do this or not. Of course I knew about him, I have to admit, from the album he did with Loretta Lynn and how successful that was. That certainly got my attention when he said he was interested in doing one with me. So we began sending material to each other; he sent me the things he thought I should do or he wanted me to do, and I sent him some ideas of things I had put aside for recording at a future date. When I finally got to Nashville, he put me at ease immediately. He’s just so laid back and such a cool guy that I found myself wanting to please him, I wanted to do it his way. My husband (Jackson’s manager of 40 years) and I told him, you do this. If you want a suggestion from me, feel free to ask. Otherwise, you make the decisions. That gave him a lot of freedom and I wanted him to have that freedom. And I think that’s what made it so good as an album. As I began singing these songs and listening to the playbacks he made, I realized he wasn’t wanting to change my style of singing at all. He just wanted me to have new, fresher material. And I said, hey I could do this. I can sing like Wanda Jackson. He just wanted more of Wanda than I was used to putting out. And apparently it worked.”

 

White and Jackson came up with inspired and wide-ranging song choices that reflect Jackson’s long history with country, gospel, and even the big-band music she remembers from her childhood as well as with rock and roll: Harlan Howard’s woozy lament Busted”; the Andrew Sisters’ kitschy tropical travelogue, “Rum and Coca Cola”, a fitting companion to her own “Fujiyama Mama”; Dylan’s rockabilly fever dream, “Thunder On The Mountain.” They also recorded a cover of contemporary bad-girl Amy Winehouse’s You Know That I’m No Good,” which White first released as a single in 2009, paired with “Shakin All Over.” The Winehouse song suits her, Jackson says, but she’s careful to draw the line between life and art: On the one hand, I’m good, on the other hand, I’m bad. That seems to be the image this new generation of fans that I have has given me. It’s like the title of the documentary about my life that recently came out: The Sweet Lady With the Nasty Voice. Maybe that says that I become a different person, a different persona, when I sing those songs. I have a good reputation, always have had, and respect from everyone as a lady, and that pleases me very much. But the young girls think I’m this hard gal that gets her way and storms in. It’s just because of the material I’ve sung and the way I’ve sung it. And that’s okay. That’s cute.

 

White himself backs Jackson on lead guitar, cutting loose with solos that are as ferocious and fun as Jackson’s vocals; in fact, the entire band that White assembled – including pedal steel, a horn section and backing vocals from singers Ashley Monroe and Karen Elson –is similarly uninhibited, matching Jackson’s and White’s intensity and, just as often, their humor. Though the work is carefully arranged, the resulting tracks feel like one unforgettable after-hours session, with everyone in thrall to the woman at the heart of these tunes. The first song White suggested they cut was “Rip It Up,” one Jackson knows very well from her rockabilly days. As she explains, “It shocked me that he wanted me to do that but that was the first one I recorded. He loves that song and I do too. But I think he did that to put me at ease, let me do something that I’m real familiar with and real comfortable with, and he didn’t have to direct me or any of that. I just reared back and sang it. That got me loosened up and made me comfortable.” Not that White simply wanted to make things easy. On the sultry “You Know I’m No Good,” says Jackson, “We’d get through one take and he’d say, ‘Oh Wanda that was great.’ And I said, ‘Whew, I made it.’ Then he said, ‘Now let’s do one more and let’s push a little more.’ I was getting physically kind of tired and probably kind of got angry but he got the take he wanted. It’s funny how you can come up with what your producers want in the strangest ways. A little bit of their repartee can be detected at the top of the track, just as the analog tape gets rolling.

 

The Party Ain’t Over is about stepping out, not summing up, but it does touch on important aspects of Jackson’s life and ever-evolving career. “Teach Me Tonight,” a country-inflected interpretation of the DeCastro Sisters’ hit, partly fulfills Jackson’s desire to cut a 40s-style big-band disc. “Like A Baby,” recorded live in the studio with the whole band, allowed Jackson to revive an obscure, bluesy number from her old buddy Elvis. The Jimmie Rodgers tune is the first song she ever learned as a child; her father taught her the chords on the guitar, she figured out how to sing along while she played, and, like any aspiring vocal star of the era, she taught herself how to yodel, a skill she has clearly maintained over the ensuing decades.

 

Jackson remains too busy to look back – her legend looms especially large now in Europe and Japan, where she is always in demand as a concert performer – but she does allow herself a moment to reflect: I can’t think of anyone who could be any luckier or any happier than me. I think it’s a blessing from the Lord. I had wonderful parents who gave up so much so that I could have my dreams come true. I was an only child so I had all the love and attention that anyone could ask for. My mother made my stage clothes and a lot of my street clothes too. Dad traveled with me and drove me to all those early dates so I didn’t have to be alone. You couldn’t ask for more, to make your living doing what you love to do, to sing and travel and entertain people all your life. I can’t think of any life that could be better than that.”

And, as she notes, the party ain’t over.

 

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www.MillionDollarQuartetLive.com

 

www.WandaJackson.com

 

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Judith Light of Broadway’s LOMBARDI to appear on NY-1’s “On Stage” this weekend

Judith Light of Broadway’s LOMBARDI to appear on NY-1’s “On Stage” this weekend

 

Before catching this weekend’s NFL Playoff games, sit down with NY-1’s Donna Karger and actress Judith Light, who currently stars in LOMBARDI, Broadway’s hot new play about football coaching legend Vince Lombardi.  Tune in to NY-1’s “On Stage” on Saturday, January 15 at 9:30 AM or 7:30 PM to watch Donna Karger interview Ms. Light about her role as Vince Lombardi’s wife Marie, for which she is earning rave reviews from theatre critics and football fans alike.  “On Stage” re-airs on Sunday, January 16 at 9:30 AM and 7:30 PM, as well as Monday, January 17 at 9:30 PM and Tuesday, January 18 at 12:30 AM.

 

The 2007 Vince Lombardi Trophy, awarded to the New York Giants upon their victory in Super Bowl XLIII, will remain on display in the lower lobby of the theater this weekend, through Sunday, January 16.

 

Fran Kirmser and Tony Ponturo, producers of Broadway’s LOMBARDI, recently announced a new block of tickets for LOMBARDI, now on sale through June 19.

Join the LOMBARDI cast after the show every Tuesday and Thursday in January for a post-show “talkback.”

Directed by Tony Award nominee Thomas Kail, LOMBARDI is an original play by Academy Award-winning playwright Eric Simonson, based on the best-selling biography When Pride Still Mattered: A Life of Vince Lombardi by Pulitzer Prize winner David Maraniss.  The production opened in October at Circle in the Square Theatre.

 

Starring Dan Lauria as the legendary Hall of Fame football coach Vince Lombardi and Judith Light as his wife Marie, LOMBARDI also features Keith Nobbs as Michael McCormick, Bill Dawes as Paul Hornung, Robert Christopher Riley as Dave Robinson and Chris Sullivan as Jim Taylor.  Joining producers Tony Ponturo and Fran Kirmser as special producing partner is the National Football League, marking the organization’s first foray on Broadway.

 

Tickets can be purchased online at www.telecharge.com, by phone at 212-239-6200, or in person at the Box Office (50th Street, West of Broadway).

 

www.lombardibroadway.com

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