Lysistrata Jones Giving It Up in Concert

For the fans who thought Lysistrata Jones shuttered too soon, have no fear, the team is here! On April 9th, the original company of the Lewis Flinn-Douglas Carter Beane musical will perform a one-night only concert of the score. Additionally, the company is hard at work at recording a cast album. Will you be there to cheer the team along? You know I'll be!

Disney's Jungle Book Comes to Life

Disney and Mary Zimmerman are a wild combination. Almost as wild as Julie Taymor and Spider-Man. Regardless of how wild, Zimmerman is entering the jungle to bring the Disney Classic and Rudyard Kipling The Jungle Book to the stage. Using the Sherman Brother's music, Zimmerman will adapt the story for the Goodman Theater in Chicago next summer. Don't look for the bare necessities in this production because it's bound to be crazy!

Matilda to Pond Hop to America

The hit London musical Matilda inspired by Roald Dahl's children's book, will make it's American premiere in New York early 2013. Matthew Warchus will direct the musical with a book by Dennis Kelly and music and lyrics by Tim Minchin. Will Matilda be another London transfer to be a hit on Broadway?

Smash Report: The Claws Are Out!

And for the second week in a row, we don’t start in fantasy musical mode, but instead on day one of the workshop. But before we begin, shout out to Ann Harada playing the stage manager! Yay! When Karen enters, the rest of the ensemble gives her the cold shoulder. Jealous or just catty bitches? And then Michael arrives. Of course leave it to Julia to think that Michael’s “don’t be nervous” is about them and not about the workshop. But they can’t start the workshop until Eileen arrives. Where is she? Why she’s at her office because lawyer Eisa Davis tells her her money ain’t there! Eileen is mad! But we need a happy moment. So cut to Ivy’s entrance where she gets a grand applause lead by McSleazy. He then informs them of the goals of the workshop: some staging, some singing at the music stand. But they have to fix the book. My question is who wrote the book?! If they need a script doctor, I’m up for the task! After they rehearse “20th Century Fox Mambo”, Sam, our new ensemble friend who has a past working relationship with Ivy, tells Karen she has a great voice. Of course she humbly doesn’t believe it, but wait, here’s Ivy to smash her hopes and dreams. Is Ivy’s friend fraternizing with the enemy or trying to get comfy with her in hopes he can get her in the sack. We’ll soon find out!

Eileen and Julia have a drink in Eileen’s office to recap day one of rehearsal. They discuss the Marilyn as a dramaturgical exercise for the audience. Like we really care. We want the show! We get back to the workshop where Ivy and the ensemble rehearse a new song called “I Never Met a Wolf Who Didn’t Love to Howl.” It’s upbeat and fun and Karen is dancing along, but apparently Ivy’s just not having it. She stops the number and claims she can’t hear her sing above the chorus (or ensemble as Wesley Taylor’s Bobby snidely responds) thus allowing her to call out Karen. This then leads to our friendly stage manager to have her token “it’s lunch” line. Let’s flesh out our stage manager more please! We’re real people too! Anyway, Derek tells Ivy he’s throwing a party for Lyle West, the boy he discovered. Tom and Ivy chat about Lyle, this is after she moans about Karen being a part of the ensemble without her knowledge. Ivy tells Tom that Derek discovered Lyle. Tom tells Julia (“Telephone Hour” much?) and Julia has the line of the day “what, does he think he planted a flag in the kid?” Ok. I know it’s not meant sexually, but McSleazy has a history, so perhaps…Or not. He was eight. After lunch we head back to our token new song of the show, “I Never Met a Wolf Who Didn’t Love to Howl.” Can’t we just cut the title of the song down to “Howl”? Ivy whines that she can’t focus so Karen gets shoved to the back. Try again Ivy! No luck. So Derek sends Karen and Bobby out of the number. Suddenly Ivy is back in action. What a conniving bitch! Someone brought their claws out.
Karen talks to Dev about what happened at rehearsal. Dev has absolutely no interest in the conversation. “Keep your head up.” “Just breath.” Dev, you are a bad supportive boyfriend! Karen, move on to Sam! Julia tries to get Tom to go to Derek’s party while walking in Union Square. Tom claims he has a date that his mother set up which of course Julia belittles. Eileen goes to the art gallery to try to sell her Degas sketch to get some money, but art dealer man says she can’t sell it because it’s not under her name but Jerry’s. Sad Eileen leads to rehearsing a new song. Tom stops it only so Michael and Julia can have another awkward scene, which makes Julia run out of the room. Julia just can’t control herself. When we start up the song again, Ivy again gets Karen kicked out of the number. Karen just doesn’t understand why. Karen is about to have a melt down until she is rescued by one of Ivy’s drones. Jessica, as Mother Theresa, takes Karen dance clothes shopping and teaches her the ways of high school, I mean theater. My Fair Lady much? Eileen whines about her financial woes to Julia who invites her to Derek’s party for Lyle. Eileen doesn’t want to go. That is until Julia informs Lyle just sold his tv series into syndication for 80 million. Light bulbs go off. How will Eileen get Lyle to invest with her? I smell an answer after the break!
Before we head back to the show, we had a skillful commercial plug. A commercial for How to Succeed in Business Without Really Trying. Does this mean that star of H2$ and guest star of “Smash” is coming up after the break? You producers. You got us!
Well, not yet. We start with Sam and Ivy at her apartment where Sam calls Ivy a diva for her devious ways. I mean, it is true. When he sees her in her getup, it is confirmed he is straight because he goes gaga for boobies. At Karen’s apartment, Karen enters with her three new besties, none of whom introduce themselves to Dev. Well that is until Bobby enters. He informs him that they’re there for an intervention. I wonder if it’ll be like the A&E series. But wait, we don’t have time for that because Nick Jonas has appeared! He sings Michael Buble’s “Just Haven’t Met You Yet.” And before we continue, a special shout out to my dear friend Megan Rucidlo who you can see in the scene at the piano (and later on seated NEXT TO the littlest Jonas Brother)! Ok, back to Nick Jonas. I mean Lyle. He then introduces himself to Ivy and proceeds to invite her to the bedroom. She thinks he’s joking, but alas he’s not. He’s just a womanizer as well. Then we get a glimpse of Tom’s date with Mr. Cutie. I see sparks! Recurring role por favor. Eileen and Julia arrive at the party, a cocktail waitress attempts to introduce herself to Eileen to only be shut down, proving that all actors are cater waiters. And then shocker to Julia, Ellis and his “friend” Cyn arrive. Julia is P.O.ed! And leave it to Ms. Rashad to look fierce. Eileen then tries to win over Lyle for some money. Looks like it’s going to work cuz the drinks are coming. Or does this mean Jerry is coming because when Eileen and a drink are together it usually ends up in Jerry’s face. And we haven’t seen him all episode. Back at the intervention, now with Chinese food, we get our token moment of pop song with the three musketeers dancing to Adele’s only good song, “Rumour Has It.” We will then see Karen learn the routine to the song. But not before Eileen gets monetarily seduced by Lyle. He won’t invest in Marilyn until he sees a performance. Really? Really? Contrived but fine, I’ll allow it. Just make sure next time you tell Julia to call Michael, make sure we see how awkward the conversation was. Once the “Reinforcements” arrive at the party, including Tom and dreamy date John, Lyle is ready to be wowed.

Lyle announces to his party goers that a gift from Derek was a song sung by the cast of the not even close to being ready show, Marilyn. Ivy sings “Howl”, which we learn is the USO number, with the help of Julia, Michael, Dennis, and Ellis?!? What business does that boy have being in this number? He is just the assistant! Well the party people don’t really care because they’re eating it up. Bopping around in mildly choreographed fashion. Ivy does a fantastic job at seducing every man in the room, including Tom’s date. Hands off, girlfriend! She has no shame does she? But it doesn’t matter, everyone loves it including waitress and Lyle who grabs a guitar, even the foxy lady McSlezy eyes. Uh oh. Ivy’s jealous. What to do, what to do. Oh, invite yourself back to Lyle’s bedroom. Ladies and gentlemen, regardless of how old Lyle is, the actor, Nick Jonas is nineteen. Are you as weirded out as I am?
Eileen has a moment with her Degas sketch as Lyle and Ivy are ready to do it. Well if that’s not a boner crusher! Michael shares a moment with Julia. Oh wait. No, she ran away. Ok, will someone have a romantic moment?! Yes! Tom and John! Tom serenades John on the keys. But we don’t get a kiss. Lame! Fine. Segway to the bar where the intervention leads to shots and singing? Really? That’s the best we can do? Again. Is it really that difficult to integrate music into this script? Before we can take the performance in question, Ivy calls out Derek for putting his hand on foxy lady’s ass and for casting Karen. Derek basically threatens Ivy back to the chorus if she doesn’t oblige to the bedroom. Of course she does. No. We don’t get to see them again because we have to watch “the Intervention Dance.” Karen is a quick learner! In the span of like an hour, she learned the entire routine of hand clapping and quick feet. Wait. She didn’t learn the bridge because she has to sing it! And now we get our montage. Ivy and Derek and fantasyland Karen. Rumor has it Karen is the one Derek’s leaving Ivy for. (See what I did?!)
Tonight’s episode was getting closer to being back to hit the pilot was. Partially helping the episode was the very limited screen time of Ellis and Dev. Though not so subtly, the rivalry between Ivy and Karen is back in action. That’s what we loved about the pilot. We wanted to root for one of the girls and based on the promos for next week’s episode, we’re going to see more of the battle of Marilyn. So? What happens next? Will Ivy be pissed that her besties betrayed her for Karen? Will Julia be able to stay in the same room as Michael? Will John stay in Tom’s life because frankly, Tom needs some lovin’ too!

Carrie Will Haunt Longer

The re-imagined musical of the legendary Carrie is already getting an extension. The musical which officially opens on March 1st was set to close on March 25th but now will extend four more weeks and end on April 22nd. I saw an early preview and it's a must see! I can't wait to see it again!

uPick: What Best Picture Would Make the Best Musical?

In honor of Oscar Sunday, it's time for another uPick! There's 9 movies up for the Academy Award for Best Picture, but which one do you think would make the best musical? In case you've been living under a rock, the nominees are:

The Artist

The Descendents 

Extremely Loud & Incredibly Close

The Help

Hugo

Midnight in Paris

Moneyball

The Tree of Life

War Horse

So take your pick. Would it be "The Artist" and just be a dance piece or "Moneyball" because (in the words of "Smash") you can do a baseball number! Leave your comments below and bonus points if you cast it!

New(ish) Reno in Anything Goes

Times are changing. Sutton Foster is officially getting a television series. Since her show "Bunheads" has been picked up, Foster will be departing the ocean liner at the Stephen Sondheim Theater on March 11. Who will replace her? Stephanie J. Block, again. Block, who temporarily took over for Foster in November, officially begins on March 15.

Bullets Over Broadway ON Broadway

In the spirit of the Oscars this weekend, an Academy Award winning film is being prepped for the musical treatment. Woody Allen's 1994 hit "Bullets Over Broadway" is in the process of making the jump to Broadway in 2013. The musical will use pre-existing songs from the time period as the score. The movie about a playwright who gets his Broadway play produced by a wealthy mobster starred John Cusack, Diane Weist, Chaz Palmenteri, and Jennifer Tilly. Who should we cast for Brodaway?

Kinky Boots Tests Chicago Before Broadway Kick

The Cyndi Lauper-Harvey Fierstein written musical Kinky Boots will get an out of town tryout in Chicago this fall before high kicking on the Great White Way. The musical inspired by the 2005 movie of the same name will be directed by Jerry Mitchell. Kinky Boots recently had a workshop lead by the incomparable Billy Porter and Stark Sands. Who's ready for another drag show on Broadway?!

Cell Phones Illegal in Theaters

Yes. You read that correctly. According to Reuters, as of Sunday, February 19, New York City now restricts cellular phones in "any indoor theater, library, museum, gallery, motion picture theater, concert hall or building in which theatrical, musical, dance, motion picture, lecture or other similar performances are exhibited." If you are caught, you will be fined a hefty $50. While the IDEA is brilliant to help minimize cell phones ringing during live performances, but this just seems outrageous. What do you think? Let the debate begin!

The Lyons Prowl at the Cort

Nicky Silver's hit The Lyons will rise again on Broadway this season, just before the Tony eligibility cutoff of April 26. The Lyon will snatch the soon to be vacant Cort Theater. The production hasn't officially announced full casting, but most of the original cast is said to return, including Linda Lavin. This will mark the official Broadway debut for Nicky Silver's original work. He was previously represented when he updated the book for The Boys from Syracuse in 2002.

Smash Report: Bad, Bad Boys

Ivy and Derek screwing in a bed. A wonderful way to celebrate getting the big role of Marilyn, isn’t it? Oh, and that’s how our third episode starts too. After doing the nasty, Ivy asks Derek to do some character study, like a real actor and director would, but Derek clearly has no interest in that now does he? Ivy begins to have second thoughts on whether her talent or her sexcapades got her the role. Leave it to her friends to break it down for her. Derek calls Karen for a late night bite at a bar to lay it down for her on why she didn’t get the part and only the ensemble. Is this just another opportunity for Derek to get in her pants? Well we won’t know that answer because gallant knight Dev saves the day. Then Derek and Dev have a London talk that I couldn’t really understand because their accents are a tad incomprehensible (is it just me?). Dev was clearly just jealous, or this was just an attempt to get back at his girlfriend for standing him up. It’s very evident that in the past two episodes, there is bound to be some trouble in paradise for the politician-wannabe and the star in the making. They both have varied ideas on where the future is heading, which means drama is on the way (and maybe a departure of Dev??? Wishful thinking I bet.).
But drama offstage means there has to be drama onstage. And now the time has come to find the leading man to play Joltin’ Joe (DiMaggio). Michael Swift, a Broadway star, is available to play Joe. But his audition? Well, a Bruno Mars jukebox musical of course! (wait…) Segway to Michael, aka Will Chase, singing a rockin’ version of “Grenade” on a set of scaffolding that looks like a lame attempt to be Rent. Not going to lie, it was weird. In the words of Simon Cowell. Michael is an offer only actor, meaning, he won’t come in to audition. But if THAT was his way of selling himself, I’d pass.
Eileen and Derek are at another restaurant talking about casting, when Jerry the ex appears trying to tempt Derek back to My Fair Lady. And of course, a drink lands in Jerry’s face. As Eileen said, “I don’t know why that keeps happening.” At the next writing session, Julia and Tom are writing a new song for the show, when Ellis pops in and sucks up with apparently the only line he knows “I liked it.” Julia kicks him out just before he actually does his job, assisting his employer. Julia starts to sway Tom from not including the one and only Michael Swift in their piece. Perhaps even cutting the men from the musical. Why a hater Julia? Could it be because Julia and Michael had a fling? Duh!
Eileen then has a producing meeting with some fellas who are previously Jerry benefactors. And it looks like it’s going sour because they don’t think she can do it and probably because they don’t think a woman can raise all the money. Pigs. Looks like they may be wrong. Ellis starts to discuss his job with his pals, played by Hale Appleman and the always sensational Condola Rashad! They try to convince him to get Tom to pay him for the brilliant idea of Marilyn the Musical. Will he heed their advice? Probably.
Karen goes home to Podunk, Iowa to visit the folks for a baby shower. Mommy and Daddy talk to baby about not getting the part, which of course terrifies them. Then Daddy attempts to understand what this “workshop is and why it only pays $200. Gasp! Back in NYC, Ivy is upset that Derek hasn’t called her in three days. The motley duo try to convince Ivy to call Derek, but who would believe it, there’s Derek seeing the show! And of course they do it in the dressing room.
Ellis at home with girlfriend Cyn, again played by my favorite Condola Rashad, as he’s reading Julia’s notebook. Thief! This kid is going to theater jail. Apparently that’s what he believed the “get them to pay you” advice meant. This leads to some funky foreplay between the lovers, but I’m thinking Ellis is just taking his girl done a path of lies (Code he’s not a ladylover). Down at Eileen’s office where Julia is dropping off the outline for Marilyn the Musical, she runs into Michael. Cue the tension. This is clearly uncomfortable for both of them as they can’t seem to control themselves when discussing their families. That’s right, they both have FAMILIES that they’re about to break up. Well duh, that’s how it works in the theater, right? Well, clearly Julia can’t handle it so she gets on the elevator, rides away, but not before she can say “See you in rehearsal.” Now she’ll probably go home and think about Michael.

Eileen is alone at a restaurant when the waiter arrives with a pair of earrings and a Manhattan. Who are they from? Jerry the ex! Why is he doing this? Well to butter her up and get her to drop Marilyn the Musical. They have an awkward interaction about getting producer that leads to a drink splash. At yet another restaurant, Tom and Dennis have lunch. Tom thinks it’s because of Heaven on Earth, but really because Dennis wants to a date. Dennis drops the bombshell about Ivy dating Derek. Tom is infuriated. He goes to Julia who defends Ivy’s actions because she’s clearly preparing herself for her own fling. Ellis happens to be in the apartment and has a passive-aggressive throw down with Julia. Oh snap. Ellis stands up for himself when Julia tries to kick him out, and even lies about “finding” Julia’s notebook. Ooooh! Ellis is tricky, sneaky one!
Eileen has a meal with Manny, the great theater producer, to try to pitch Marilyn, but he doesn’t seem to buy it. Probably because he’s about to croak. But in Iowa, things are a bit more lively. Karen is having drinks with her hometown pals, including Rebecca Naomi Jones, which turns into karaoke. How convenient. Of course “Broadway”, as she’s nicknamed, sings. She sings Gretchen Wilson’s “Redneck Woman” with ease, because that’s what you do when you’re a hick from Iowa apparently.
Ivy and Derek have just completed the nasty (third time in the episode) and she wants to know why they don’t do it at his place. She thinks it’s because he doesn’t want her, in his home, but really it’s because of gas problem. Right. Nice BS director. Does Ivy buy it? Absolutely. Julia and Tom work on their new song “Mr. and Mrs. Smith” which leads to Julia dropping the bombshell of her affair with Michael Swift. Tom is shocked. How could his writing partner keep it from him for five years? How dare she! How did it happen? Well Michael was so good in the show, which is a total turn on. Just a typical show crush as she puts it. They conveniently bumped into each other on the Brooklyn Bridge you go to be an adulteress. And thus started their affair. But wait, you think that was the highlight of the scene? Who’s hiding behind the wall listening to Julia’s confession? None other than Ellis! Looks like someone’s practicing for another career as a spy! Whatever will Ellis do with this information? Share it on the internet I bet!
Before Karen leaves Iowa, Daddy and Mommy have a heart to heart with their little girl. Karen tells them she’s good. She’s got it all under control. Good or not, Daddy gives Karen a check. And would you believe the whole conversation is being underscored by “Let Me Be Your Star?” It seems to be a trend on this show.
Ivy and Michael record “Mr. and Mrs. Smith” in Tom’s studio. It’s an old-fashioned musical song. How do we know? Well because you can hear the blahness and the magical onstage scene that appears between Joe and Marilyn. And of course during the song, Julia has her own montage with Frank and Leo as she stares at Michael. Is he the one that got away? Sure looks like it. And let’s not forget that Ellis, again, is in the room during the recording. Didn’t they learn?
So the first non-Karen centric episode focused on love and affairs. Ivy and Derek and Julia and Michael. Will they last? And what is going on with little spy Ellis? What’s he going to do with all his juicy information? And did “Mr. and Mrs. Smith” bore you to tears? That would be the first song I would cut! And who’s ready for Nick Jonas being a playa next week?!

uPick: President the Musical

We're starting something new here on theaterinthenow.com. We want to hear from you! So let your creativity start flowing with the first uPick, President's Day Edition!

Today, we want to know if you could see a musical about any President, who would it be and what would it be called? (Bonus points if you cast it!)

Spotlight On...Corey Mach

Name: Corey Mach

Hometown: Cleveland, OH

Education: Bachelor's in Music from Baldwin-Wallace College

Select Credits: Godspell (Standby for Jesus & Judas, Circle in the Square Theatre);  Wicked (Ensemble, u/s Fiyero, First National Tour); RENT (Gordon, u/s Mark & Roger, National Tour); I Love You Because (Austin, 14th Street Theatre); Harold and Maude (Harold, Cain Park)

Why theater?: Theatre is what I first fell in love with. You know, those cliche stories where the 4 year old goes to see a play and falls in love with it, starts taking classes, and then does it the rest of their life. That would be my story. It's where I fit in. There was no question what I wanted to major in in college. I don't even think my parents asked me- they just assumed that after I did 100 shows before college that I wanted to keep doing it. I fell in love with the relationship between the audience and the actor. I want to make them feel.

What is it like being a part of Godspell?: It's the perfect Broadway Debut. The cast is incredibly close. Usually on a night off you're with your other friends or family but this cast never minds being together when we're not at work. In rehearsals, we realized that the show requires such teamwork, togetherness, and the need to work off each other, so it began right away. There's really no drama behind the scenes because we all fit so well together, which is such a blessing. It's a thrill coming to work every day and working with these people. On stage, it's also a great time. I love that the show is very loose, and when the standbys go on, we can make it our own.

What’s life like as an understudy?: Life is pretty great. I've understudied before in RENT and Wicked but I was also in the ensemble, so I was performing every night. With Godspell, I'm a standby, so only when someone is out do I go on. At first, it really was not my cup of tea because no one was really calling out, but once winter came and people started to get sick, I began to go on pretty frequently. So to go on every so often and then to just hang out the rest of the time really became the perfect first job in NYC. The 3 other standbys and I have a lot of fun backstage and we keep entertained. AKA Downton Abbey.

What kind of theater speaks to you? What or who inspires you as an artist?: I love close-up, intimate theatre. A house of 100 seats, where the audience can see the actor's pupils really gets me going. It's a thrill that you just can't get in a 3,000 seat house. During college, I worked in few regional theatres where the average seating capacity in the theatres was about 150, and I did smaller, more intimate musicals like Harold and Maude and I Love You Because. This kind of theatre is my strong point. I get inspiration from getting out and seeing as much theatre as I can. I try to see one show every week. Actors who inspire me? Frances Conroy, Nina Arianda, Brian D'arcy James, Norm Lewis.

Any roles you’re dying to play?: Moritz in Spring Awakening, Whizzer in Falsettos, Toxie in The Toxic Avenger. I'd love to do Roger in RENT again.

What’s your favorite showtune?: I probably couldn't even pick my favorite musical let alone my favorite showtune. But somewhere in the top 5 would probably be "Unlikely Lovers" from Falsettos. It's a heartbreaking but completely sincere portrait of 4 best friends in a hospital room while one of them is dying of AIDS.

If you could work with anyone you’ve yet to work with, who would it be?: Michael Mayer. I love his work and the material he chooses to direct. I've never auditioned for him but I hear he is wonderful to work with.

Who would play you in a movie about yourself and what would it be called?: Bradley Cooper. "Mean Boys".

What show have you recommended to your friends?: Newsies at Paper Mill was pretty awesome. So much fun. As for shows running right now-- Porgy and Bess and War Horse. Also, Hurt Village Off-Broadway.

What’s up next?: Tons of concerts and benefits. Also doing the 2012 Broadway Beauty Pageant in March. Check out upcoming projects here: http://www.coreymach.com/Corey_Mach/news.html. And come see GODSPELL!

Family Drama in Yosemite Stays Around A Little Longer

Rattlestick's hit production Yosemite will stick around a little bit longer. Daniel Talbott's play about a family struggling with a big secret will extend until March 3. Yosemite features a top notch cast including Seth Numrich, Libby Woodbridge, Noah Galvin, and Kathryn Erbe. If you haven't seen it yet, better get a move on it!

Spotlight On...Eric Michael Krop

Name: Eric Michael Krop

Hometown: San Jose, CA

Education: AMDA

Select Credits: Hair (Claude, Alpine Theater Project); Miss Saigon (Chris, CMTSJ); Jesus Christ Superstar (Jesus, CMTSJ); Godspell (Principal Understudy, Circle in the Square)

Why theater?: I do theater because it is a wonderful way to express myself. I am a singer/songwriter first, and I am very lucky that I now have a job where I can support that desire and goal, and it is also an outlet for my inner artist. I started doing musical theater a little later in life, but once we found each other, I knew it was a good fit. I found that I have a place here, which is kind of an unfamiliar feeling. It's a good feeling though!

What is it like being a part of Godspell?: Godspell is a dream. I could not have asked for a better first time Broadway experience. I remember back in 2008 when I had a few friends who were going through audition process for the first time the revival was supposed to happen. They were telling stories about all the crazy parables they had to make up, and the vast amount of callbacks. All I thought to myself was how fun that sounded, and how much I wanted to be a part of something like that. Long story short, it was postponed and I was lucky enough to be able to be a part of it this time around. I feel like everyone in the cast is key. We are all teaching each other and learning important life things from each other, as well as getting to spread the Godspell message to the masses. It's incredible.

What’s life like as an understudy?: Life as an understudy in a word? Interesting. I am an offstage understudy, so when I am not watching the show, I am backstage with my fellow swings. We all have Hulu and Netflix accounts, catch up on tv, and we are also all working on side projects. I am in the works of preparing for recording a pop album, so I spend some shows writing and getting input from the other swings.

How is it different being an understudy as opposed to originating a role?: As an understudy and being a part of a new production, you don't really get to develop a character until the show has come together. That doesn't really happen until closer to opening night, so for the rehearsal process and previews, we spend most of our time watching and studying the principal actors. I know in most shows, the understudy is playing a character, but in Godspell we get to play ourselves. Our director told us at the beginning of the process that we get to play ourselves: but through the telescope of the people that we are on for.

What kind of theater speaks to you? What or who inspires you as artists?: I like plays a lot. I just saw Hurt Village at Signature and was blown away. I like the shows that make you question your mortality when you are leaving the theater. I kind of feel like what's the point of putting on a show if you don't have something to say and you don't want to move people?  I also love to laugh. I love a smart book and funny people on stage. Actors and singers who perform with reckless abandon inspire the hell out of me.

Any roles you’re dying to play?: I want to play Jesus in a movie remake of Superstar in like 2-5 years.

What’s your favorite showtune?: That's a tough one! It's a toss up. Either "Who Will Love Me as I Am" from Sideshow, or anything from Dreamgirls.

If you could work with anyone you’ve yet to work with, who would it be?: Megan Hilty. We did a concert together once in Pasadena, and it was such a short time but she was so fun to work with and I want more time with that brilliant lady! Especially if it means being on smash. :-)

Who would play you in a movie about yourself and what would it be called?: Honestly, I'd have to pull a Fantasia and play myself. Haha! It would be called "unexpected" or "obstacle"

What show have you recommended to your friends?: Mormon! But that is an easy way out. As I said before Hurt Village. Our former swing Joaquina Kalukango is starring in it Off Broadway. So moving!

What’s up next?: I am currently writing and in talks to get into the studio to record my first album. It will have nothing to do with musical theater and I am very excited about that. I've been writing since I was 10 and it has been a long term goal of mine to be a recording artist and even write pop songs for other artists. Lots of work to do! I'm so grateful that I have the time and resources right now to do it.

Visit Eric on Facebook at http://Facebook.com/ericmkrop and on Twitter @ericmkrop. And check out Eric's new single on iTunes! http://itunes.apple.com/us/album/say-buh-bye-single/id502524768

Chanler-Berat and Keenan-Bolger Return to "Starcatcher"

The New York Theater Workshop hit Peter and the Starcatcher is getting some old faces back for its Broadway bow. Adam Chanler-Berat and Celia Keenan-Bolger will return in the roles of Boy and Molly in Starcatcher. They join previously announced "Smash" star Christian Borle in the play. Additionally, original cast members Teddy Bergman, Arnie Burton, Kevin Del Aquila, Carson Elrod, Greg Hildreth and David Rossmer will reprise their roles. Start getting excited for this hit to return!

Spotlight On...Jeff Ronan

Name: Jeff Ronan

Hometown: Holmdel, NJ

Education: BFA from Kean University and a semester abroad studying with the Moscow Art Theatre School in Russia.

Select Credits: Seven Homeless Mammoths Wander New England (Early Man 1 understudy, Two River Theatre Company); Humbug (Bill/Ben/Caroler #2, Premiere Stages); The Last Supper (Pete, Rising Sun Theatre Company); The Last Days of Judas Iscariot (Satan, Sanguine Theatre Company); Mrs. Gould Welcomes Charlie Chaplin (Charlie Chaplin, St. George Productions)

Why theater?: I was a shy, introverted kid growing up, and theater gave me a way to connect to other people and help draw me out of my shell. Most new people I meet nowadays have trouble believing I used to be shy, so I guess it worked.

Tell us about These Seven Sicknesses: Watching five hours of Greek tragedy sounds like the worst night ever. But when those five hours include music, food, and the chance to see all seven of Sophocles' surviving plays performed by an epic cast of 38, it really is an unforgettable event. Everyone I know who has come to see it says they can't believe how fast the time flies while getting involved with the stories of these characters. Speaking of, what I personally love about the show is that it's a chance to see these classic Greek characters grow and change through the multiple stories in ways that have been hitherto unseen when staged as stand-alone plays as they traditionally are. Seeing Antigone face the end of her life is a lot different when you've literally just seen her entire life unfold from when she was a child.

What is it like being a part of These Seven Sicknesses?: Being a part of a (good) play is like becoming part of a new family. With this show, it's like being a part of an entire new community. We are all constantly working together onstage and behind the scenes for everything that goes into keeping a show like this running. I was going to say we're like cogs and bolts all working to power a machine, but we're probably closer to cells and organs bringing this living, breathing thing to life.

What kind of theater speaks to you? What or who inspires you as an artist?: For me, theater needs to speak to my heart or my head, preferably both. I saw a brilliant production of Chekhov's Ivanov in Moscow that was staged backwards. The theatrical conceit of it could have turned the show into an analytical look at cause and effect, but instead of robbing the show of emotion, it managed to break your heart all the more by showing the characters as they try so hard to connect when you've already seen the aftermath and know they never will.

Any roles you’re dying to play?: I used to have a big list of roles I've wanted to play, but the most fun I've had has been with roles I've created in plays and films and in roles I'd never heard of before being cast in a project. That said, I still want to play all four of the male roles in Martin Mcdonagh's The Pillowman at some point.

What’s your favorite showtune?: Technically not a show (yet) but anything really from "Dr. Horrible's Singalong Blog".

If you could work with anyone you’ve yet to work with, who would it be?: For a writer, Martin McDonagh. For a director, Danny Boyle. For an actor, Gary Oldman. If I was in a play or film written by Martin McDonagh, directed by Danny Boyle, AND starring Gary Oldman, my brain would explode.

Who would play you in a movie about yourself and what would it be called?: Uggie the dog from The Artist. It would just be 90 minutes of Uggie being awesome and it would be called "Isn't This Better Than a Movie About Jeff Ronan?" I know I'd pay to see that movie.

What show have you recommended to your friends?: Besides These Seven Sicknesses of course, the last show that I was able to see and recommend was EST's Hand to God which featured one of the best live performances I've seen from Stephen Boyer as a troubled youth and as the demonic hand puppet that has strapped itself to his wrist. I just had the pleasure of meeting Stephen the other day and congratulating him in person. Though the show is no longer playing, I hope it's brought back in some capacity soon.

What’s up next?: I'll next be seen in an original play in the Network One-Act Festival at the Barrow Group Theater from March 7th-March 15th and in a staged reading of a new musical called Over the Boardwalk, an ensemble piece set in the Jersey Shore during the 60's.

For more information on Jeff, visit http://www.jeffronan.com/

Spotlight On...Alex Draper

Name: Alex Draper

Hometown(s): Middlebury, VT; Charlottesville, VA

Education: BA, Middlebury; MFA, Yale

Select Credits: A Map of Virtue (13P); Lovesong of the Electric Bear, Scenes From an Execution, among many others (PTP/NYC); Terrorism (New Group/Play Company); Get What You Need (Atlantic Theater); Rose’s Dilemia (Manhattan Theatre Club); "The Good Wife", "Law and Order", "Law and Order: Criminal Intent", "Law and Order: SVU"

Why theater?: Because I love it, because it connects me to some larger tribe, and because I feel that now more than ever people are yearning to get together and see live human beings telling and acting out stories.

Tell us about A Map of Virtue: A Map of Virtue is a beautiful little surprise of a play that seduces you down a path you feel you may recognize, then sends you careening off into places you never imagined going.

What is it like being a part of A Map of Virtue?: It is thrilling.  The play is tricky, but Ken and Erin had a very specific sense of what the play needed, and we worked hard to find the right acting "vocabulary" with which to communicate that. Now that we have audiences, all those choices feel very right, and it is a pleasure to perform.

What kind of theater speaks to you? What or who inspires you as an artist?: As you know from the work we did together with PTP/NYC, (http://www.potomactheatreproject.org/) I love theatre that has a social and/or political drive behind it, and expects a considerable investment from both audience and performer. I am also currently kind of obsessed with formality and minimalism, both in language and performance, so Map of Virtue, despite it's deceptive hint at realism, landed right in that wheelhouse.

Any roles you’re dying to play?: So many, but two that pop up might be Vanya and Yosemite Sam (you know, beard parts).

What’s your favorite showtune?: I don't have one, but my three sisters were obsessed with Annie and listened to the album non-stop, so any one of those songs could pour out of me at any time.

If you could work with anyone you’ve yet to work with, who would it be?: Julie Taymore

Who would play you in a movie about yourself and what would it be called?: Danny DeVito and George Clooney would co-star, as me, in "Hey You, what the f#@k you doing sitting on the hood of my car!"

What show have you recommended to your friends?: Project Y's Love Sick, Keen's Painting Churches, and Rude Mec's Method Gun

What’s the best advice you can give someone trying to make it in theater?: Start or join a company whose work you love.

What’s up next?: I've just been asked to participate in a residency at Robert Wilson's Watermill Center to develop a work based on Texhing Hsieh's Cage Piece, and beyond that' we'll see…

Smash Report: And Marilyn Is...

And we start with a song. This time, a soulful “Call Me” by Blondie sung by our girl Karen at a club. And of course she has a fan club in attendance. Writers, producers, director, and Ellis the Intern naturally. Oh wait. It was all just a dream. Again. Karen’s stressed because she hasn’t heard about Marilyn. Drat. Why hasn’t she head? Well, because there’s still a debate between Karen and Ivy. Team Ivy, lead by Tom, is being outnumbered by Team Karen, lead by, the others. That is until Derek flip flops clearly since Karen rejected him.
Ivy chats with her besties, including the amazing Savannah Wise, about her miserable callback woes and her competition with Karen. Ten years in the chorus and then “Karen” comes around. “Karen” is now a derogatory word for these vets. Waiting is the hardest part, you know in callback world, and also when adopting a baby. We learn that the Chinese baby Julia and hubby want will take about two years to come. With all the babies in China, you’d think it wouldn’t be so tedious! Then we cut to Karen’s dance callback. Derek informs the troupe that they will be dancing to a demo sung by composer Tom (yay! We get to hear Christian Borle sing!). A little chorus boy does a couple of moves, Karen is suddenly overwhelmed, and then…our title screen (with a soundtrack of an orchestra warming up.) Alright, so that’s the set up of the episode. No new information. Will the rest of the episode be dragged out?
Of course not! We learn that Ivy’s boytoy Dennis is spying on little Miss Karen. But before we get to see more of him, we then jump to the Marilyn brainstorming process. Julia throws in a little quip about why she’s depressed on the couch because it took a shorter time to write West Side Story than to adopt a baby. Julia and Tom via a corkboard decide to order their songs when Julia figures out that perhaps the musical should be nonlinear, beginning the musical with “Let Me Be Your Star” instead before the act break. Thus, we enter fantasy world with Karen center stage with the girls, including Ivy, behind her singing a stripped down version of the song. We go back to reality when the adorkable Ellis asks, “but who plays Marilyn?” Julia responds the answer we all knew was coming, “We don’t know yet.” Duh! And thus Julia still hates on Ellis. Back at callback headquarters, Karen still can’t dance like a star. Derek gets frustrated, walks out to see little Miss Ivy standing outside with a copy of a Marilyn book. And since he’s a slut, he flirts, she obliges, and the Karen dance work ends. Ivy walks into the room and her spy shakes his head making sure that he thinks Karen sucks. Are we setting up Ivy to be a villain? The quintessential theater bitch? Sure looks like it! But how could we hate someone who tries the Marilyn pout in the mirror?

The Houston household has a discussion about whether or not a baby is a good idea. Wasn’t it just last episode that Frank was pro-baby? Well, he doesn’t want to be an old dad. And of course eavesdropping (current only) child Leo gets upset that he wants a brother or sister despite no real decision has been made. Kids these days. Jumping to conclusions.
Eileen reappears in the episode at the same restaurant, Bond 45 apparently, as her exhusband. She embarrasses him in front of his current bimbo blonde. Eileen, at lunch with Derek discuss the Marilyn ladies until, the Insider Moment of the show, Jordan Roth’s cameo steals the moment. Wait, what? JoRo? This allows for Eileen to get pissed at her ex for interrupting her, thusly throwing a drink in his face. So old school! Eileen and Derek discuss the workshop process until Eileen drops the bombshell: don’t overwork it! One workshop, one out of town try out, then BAM! Broadway! If only it worked that way. If only.
Frank Houston is the next to drop the bombshell: Honey, I’m going back to work. I miss the kids. So Frank’s a “good” science teacher who doesn’t want his own kid, but he’ll take the ones he can adopt for a year. Well someone can’t make up his mind. Trouble is brewing for the Houston’s! The question is who will get bratty Leo during their divorce.
Oh, yes, right. Dev did have some scenes. He’s just so bland, I decided to leave him out. He has a big fancy dinner or something. His lady is late because she has her acting callback work with Derek. She begins being out-acted by Dave the reader until McSleazy (oooo Derek’s new nickname?!) gives her an adjustment. And then we have the cliché moment where we see Dev alone at the fancy restaurant and then gets mad at girlfriend for following her dream. Wait…last episode you told her to do what it takes! Dev and Frank are bad lovers. Bad, bad lovers who can’t make up their mind.
Ivy now gets her alone time with McSleazy. Will he take advantage of the situation? You betcha! She uses the subtext to entice McSleazy who literally lets down Ivy’s hair and gets all up in her grill. What happens next? Duh! Ivy and McSleazy do it! Right before the day of the callback no less. Karen’s audition is first. They do a little number about Norma Jean (aka Marilyn before the name change) doing her screen-test, “The 20th Century Foxtrot” as it’s called. It’s a flashy number with props and set pieces galore. And then we enter fantasy moment. The studio is engulfed with lights and costumes, sans Karen. That is until she disappears into the ensemble circle of magic and has an incredibly quick costume and wig change. Oh the magic of theater, or television. But was it enough for Karen?
The deliberation room. McSleazy continues to call Karen “green.” Tom claims Ivy’s audition was great, but we don’t get to see it. Boo! But the decision seems to have been made? How do we know? Because Ellis talks about it and Karen talks about it and Ivy talks about it. When will we find out? The very next moment! Tom goes to see Ivy in person to tell Ivy that she…got it! Wait. I thought we were supposed to have like an entire season of battle! But what happens to Green Karen?
McSleazy and Eileen have a moment where he tells her that he told Mr. Ex to shove it on My Fair Lady, with an underscoring of “Let Me Be Your Star” of course. Then our second Insider Moment, has Tom Kitt at a club announcing that his friend Ivy Lynn winning the role of Marilyn. But before we can see her sing, we need to see Julia at Adapotive Parents Anonymous, where bi-poloar Frank joins late. Ivy sings a song (with Tom Kitt on piano) that is no where near as triumphant or wonderful as “Let Me Be Your Star” as we the reactions of all the “what just happened” moments of the episode.
We didn’t really learn anything too “new” except for Ivy winning the role of Marilyn, but honestly, are we shocked? So how does Karen play into the workshop process? Is she a chorus girl? An understudy? And will we see more of Dennis the boytoy spy? Something tells me Tom and Dennis will be acquainted at some point, if they haven’t already. And when will Dev get the axe!? And who's glad "Marilyn the Musical" was not mentioned once! With no promo for the next episode, what happens next?

Spotlight On...Jake Boyd

Name: Jake Boyd

Hometown: Tuscaloosa, Alabama

Education: BA in musical theatre from the University of Alabama

Select Credits: Xanadu (Sonny, Cape Rep Theatre); Oklahoma! (Will, National Tour); Bare (Zack, 2011 reading); “Are We There Yet?” (TBS, recurring)

Why theater?: I have always had an attraction to theater, even before I got to be a part of it. I remember going to see shows on school fieldtrips or watching the "Mickey Mouse Club" at home and I would pray, “God, I want to be doing that so bad. This is the only thing I want to do.” I am not exactly sure why I have been drawn to this art form so much instead of others-- no one else in my family is a performer. Over time theater has taken on different meanings for me. When I was a kid I didn’t have a lot of friends and was extremely shy and overweight and dealing with my parents divorce. In are myself at first. Overtime, that reason changed. In high school it was all about my own pride; I just needed to prove everyone wrong. I wanted to show that I was worth something and if I succeeded in this business then everyone who thought I couldn’t do it would now see that they were wrong. At this point in my life theater has taken on a more proactive agenda. Instead of worrying whether or not the audience loves my performance (which of course I still do to an extent), I want to focus on making innovative art that not only speaks with a bold voice, but also lives honestly. Schumann said, “To send light into the darkness of men’s hearts—such is the duty of the artist.” That quote sums up nicely what theater means to me. I am sure theater will take on several meanings for me as I continue to grow as an artist. But whatever reason, I will always trust my heart that tells me, “Do this… you need to keep doing this.”

Tell us about Carrie: This production of Carrie is NOT the original ’88 Broadway production. The creative team has taken a very realistic approach to telling this story and any hint of camp has been removed. Simply put, Carrie is the story of a girl who is tortured at school by her peers and at home she is at the mercy of her religious, overbearing mother. This new production offers audiences situations that they can actually relate too (even though parts of the story are heightened theatrically). With bullying and religious fanaticism all over the media, I believe that there is a moral interest here for everyone.

What is it like being a part of Carrie?: This is unlike any project of which I have been a part. I have never had the opportunity to work on a completely new show where changes are happening every day. This show is ALIVE. It’s breathing and living and working. That is the most exciting (and difficult) part of the process. And the talent is just unbelievable. Everyday I come to rehearsal and I am blown away by the commitment the actors on stage have to telling this story. It’s quite stunning.

What’s life like as an understudy?: Hard. I am covering 5 different tracks and I have never even been an understudy in my life. Every day I am learning new things and new ways to be on top of my game. The most nerve-wracking part of being a swing at this point in the preview process is that I have not had any put-in rehearsals yet. All of the knowledge I have of the show is what I have watched, studied, and practiced on my own. And because I can still be put into the show any day if one of the other actors calls out, my job becomes even more important. I am not going to be able to let my focus ease until the end of the run. On the flip side, this responsibility has been one of the most valuable learning experiences I have had in my entire career. As hard as it is sometimes, it’s making me a stronger performer.

How is it different being an understudy as opposed to originating a role?: When you’re an understudy you just have to shut up and listen. I don’t get the say in what the character feels or thinks because I am not originating it. That’s hard when you’re an artist. If you are an actor, you are a creator. It’s in us to want to create something from ourselves. Most actors don’t get in the business to rehash the same things they have seen.

What kind of theater speaks to you? What or who inspires you as artists?: Simply put, the kind of the theatre that speaks to me is one who actually has something to say. I love realism. I love farce. I just want to see actors living up there no matter what world they are occupying. The kind of art that inspires is anything that makes a bold statement and doesn’t apologize for it. I love when I see a show or an actor taking an unexpected turn. It shows that they are thinking. And I’m a sucker to see anything Cheyenne Jackson or Angela Lansbury is in.

What’s your favorite showtune?: “Heart and Music” from A New Brain

If you could work with anyone you’ve yet to work with, who would it be?: I want to work with one of the classic divas of Broadway: Bernadette Peters, Kristen Chenoweth, Elaine Stritch, etc).

Who would play you in a movie about yourself and what would it be called?: I guess if someone had to play me in a movie it would be Kermit.

What show have you recommended to your friends?: I haven’t seen a lot of shows recently but when I saw last seasons Brief Encounter that Roundabout produced I talked about it for weeks.

What’s up next?: Only time will tell. I am committed to Carrie for at least a few more months. After that… who knows?? : )

Lea Michele as Wendla on the Big Screen?

Say it ain't so! Sure, it's always wonderful when original cast members are considered for the movie incarnation of the stage play. But when it's Spring Awakening and Lea Michele? Well, no! Michele is reported to be in talks to reprise her (non Tony nominated) role as Wendla in the screen adaptation of the Tony winning musical. If Michele returns, they best bring back Tony nominee Jonathan Groff!

Spotlight On...Evan F. Caccioppoli

Name: Evan F. Caccioppoli

Hometown: Brooklyn, New York

Education: BFA in Theatre Performance from the University of Illinois at Chicago, The Poor School in London, England, and currently a masters degree candidate in Educational Theatre at NYU.

Favorite Credits: Director: Unbroken by Alexandra Wood (Kid Brooklyn Productions, American Premiere); In The Key of You by Diana Stahl; Dog Sees God: Confessions of a Teenage Blockhead; The Last Five Years; and original devised works Shattered Silence and 8:46:40 (The September 11th Project). Assistant Director to Daniel Talbott on Eightythree Down (Hard Sparks/Under St. Marks) and Much Ado About Nothing (Boomerang Theatre Company/The Secret Theatre), and to Pedro Pascal on Yosemite (Rattlestick Playwrights Theater). Artistic Director and Founder of Kid Brooklyn Productions, an independent theatre production company.

Why theater?: It’s the only thing I’ve ever wanted to do. I saw my first Broadway show at age four and I never looked back, I knew in that theatre and in that moment I had found where I belonged. There is so much wonder and discovery in what we get to do as theatre artists. I love telling stories on stage and I love that as theatre artists we get to explore what it is to be human. Having the opportunity to dig into both the dark and light sides of humanity. We are so lucky in that we get to step into so many different worlds and live, feel, and breathe as so many different people. I love that we get to break the rules and do/show what is never supposed to be seen. We also get to make what is impossible possible; anything can be done on stage!
 
What kind of theater speaks to you? What or who inspires you as an artist?: I love theatre that is dangerous, theatre that scares me. The work that hits me in my core and that I want to run away from, that is the work I want to do. As I said I look for the plays that explore the human condition, why we think and feel the way we do and why we as humans make certain choices. So much inspires as a theatre artist. Life in general is a huge inspiration in my work as director/devisor, the experiences I have go into my work. There are so many amazing theatre artists that I admire for the work they create. Daniel Talbott has been a huge inspiration to me, he’s love and passion for the theatre is amazing.  Daniel puts so much into the work he creates as a Director and Playwright and shares that with everyone he works with. Daniel is a genius of the theatre, that is the only way to describe him. He is also one of the best teachers I have had, he gives so much to nurturing new theatre artist. He has become a mentor to me and I learn so much from working with him. I also draw inspiration from the amazing playwrights who’s work I read, whether they are new playwrights or well known. Over the past few months I have had the opportunity to read the work of brilliant playwrights like Crystal Skillman, Diana Stahl, Mariah MacCarthy, Ken Urban, J. Stephen Brantley, among others. They are these amazing voices in the American theatre whose work is fearless and honest. Then there are playwrights whose work I’ve read over the years that I cannot wait to work on Tennessee Williams, Lanford Wilson, Shakespeare, Anton Chekhov, Stephen Sondheim, Samuel Beckett, Sarah Kane, Bertolt Brecht, Douglas Carter Beane, Donald Margulies, Beth Henley, Marsha Norman, Federico Garcia Lorca,  Maxim Gorky, Neil Labute, Tracy Letts, Sam Shepard, Harold Pinter, Nicky Silver, Paula Vogel, Adam Rapp, Anna Deavere Smith, Arthur Miler, Henrik Ibsen, Rebecca Gilman, Eugene O’Neil, Tony Kushner, Jose Rivera, Kenneth Lonergan, Lucy Thurber, Stephen Adly Guirgus, Eric Bogosian, Michael Weller, David Rabe, Dario Fo, Leslye Headland, Clifford Odets, Richard Greenberg, Alexandra Wood, Roberto Aguirre-Sacasa, Theresa Rebeck, David Lindsay-Abaire, William Inge, and so many others. One of the biggest inspirations to me has been The Steppenwolf Ensemble, The Public Theatre, Rattlestick Playwrights Theatre, Rising Phoenix Rep, The Amoralists, and other theatre companies who produce new and classic work and give theatre artists opportunities to explore and create. I’m also inspired by the amazing theatre artists I have had the chance to work with the past few months, artists like the casts and creative teams of Yosemite (Seth, Katie, Noah, Libby, Pedro, Mickey, and Sam who I spent the most time with), Eightythree Down (including my good buddy Brian Miskell), and Much Ado About Nothing (who I’m loving getting to know) who bring so much to everything they do. All the great theatre artists whose work I’ve studied and been awed by over the years and anyone who creates theatre. I’m really inspired by the music of Laura Nyro her music is on every playlist I create for a play I’m going to direct. My friends and family are so much inspiration to me. (That was a lot longer than I thought it was going to be.)

What is different, or similar, about the process of working on new works (like Yosemite) compared to classic texts (Much Ado About Nothing)?: They’re both so exciting and challenging. With a new work it constantly changing, you start with a working script and each day you will discover new things that take the story into different directions. You may begin rehearsal thinking the play is about one thing and discover the play is about something totally different. It’s so exciting to come into rehearsal in the morning and have the playwright bring in new pages. To have the actors and director work with the playwright to create the world of the play, I believe rehearsal is about discovery and with a new play it’s the playwright, director, actors, and everyone involved discovering the world of the play together. With a classic text it’s about discovering a new way to tell the story. That is the great thing about working on classic plays is there are a million different ways to interpret the story. The framework of the story is there we know what’s going to happen and we know that we have to serve the story but within that there is so much room to play and try new things. A character may have a slightly different intention or be interpreted by actor in a different way. What I love so much about Shakespeare is that there are so many places his plays can be taken. With new and classic work we just have to tell the story and find the honest within the characters and their intentions and wants.
 
If you could work with anyone you’ve yet to work with, who would it be?: There are so many people I want to work with; I’m going to try to keep this short. Directors I would love to work under are Anna D. Shapiro, Anne Bograt, George C. Wolfe, Sean Graney, Tina Landau, Deborah Warner, Philip Seymour Hoffman, Joe Mantello, Sam Mendes, Mike Nichols…the list goes on.  If I could go back in time I would love to work with Bob Fosse and Elia Kazan. There are so many playwrights and actors I really hope I get to work. I would really love to work with The Steppenwolf Ensemble and The Public Theatre. I hope to continue to work with Rattlestick and Rising Phoenix Rep and all the amazing artists I am working with now. I hope to have the chance to direct plays by these amazing playwrights and have to chance to direct these brilliant actors in plays on my own.

What show have you recommended to your friends?: Yosemite and then come see Much Ado About Nothing in March!!! Now that I’ve given that shameless plug, sadly I haven’t had the chance to see much lately. I really enjoyed Other Desert Cities when it was Off-Broadway last year. I looking forward to seeing Porgy and Bess on Broadway and Off-Broadway How I Learned to Drive and Carrie (That’s something you have to see even if you hate musicals, come on.). Everyone should check out Rising Phoenix Rep’s Cino Nights, they are a lot of fun and the playwrights, directors, and actors working on them are the best!

What’s your biggest guilty pleasure?: Theatre, Food, Designer Jeans, and Laughter.
 
If you weren’t working in theater, you would be _____?: Dead! No really, probably a Teacher or Social Worker.

What’s up next?: Much Ado About Nothing opens in March and we are right now in the middle of rehearsal. I’m so excited to be bringing the World Premiere of Crystal Skillman’s beautiful and brilliant play WILD to Chicago this June/July. It’s the second play for my company Kid Brooklyn Productions and the first play I’ve ever commissioned. I can’t wait to be in rehearsal and start to discover it even more.  I have a couple of other pieces that I’m developing with other kick ass playwrights that I can’t wait to dive into further. I would really love to direct a classical play or an American classic since I’ve never done that on my own before. Getting ready to start MFA/Directing applications next fall.

Smash Report: Opening Night!

The world of theater has always had a wee bit of difficulty surviving in the mainstream media. Hollywood actors have crossed over to the theater world and vice versa to help engage a newfound group of theatergoers, but maintaining a new audience has been the challenge. So right off the bat, a television series about the creation of a new Broadway musical seems like a major risk. But executive producer Steven Spielberg and Co. are willing to take it, and boy was the pay off worth it! Shall we? Curtain rises.
The pilot of the new NBC series “Smash” starts off with a bang, well, a ring. Karen Cartwright, a budding actress, sings a glowing rendition of “Somewhere Over the Rainbow” in a fantasy world only to be interrupted by the cell phone ring coming from the casting director. An inside joke to us theater folks? Perhaps. But a great way to start off a show? Absolutely. Katharine McPhee, of American Idol 5 fame (she was the runner up to Taylor Hicks…who? Don’t remember? Exactly. She did sing “Over the Rainbow” a capella on AI5, a risk that should have solidified her victory) plays the innocent faced Karen who just wants a chance to see her name in lights. Karen seems to be the centric arc that “Smash” will most likely want to us follow. Sure there’s an ensemble of characters we haven’t even seen yet, but from the get go, we’re watching Karen’s journey to apparent stardom.
From start to finish, the pilot is jammed packed with theatrical inside jokes and clichés. From references to the “Napoleonic Nazi” Michael Riedel to the parents who just don’t understand to what it’s like to audition. The theater geeks will love it for sure, but I think they’re accessible enough for the non-theater watchers to understand.

As we meet our other characters, we get just enough exposition to make it a bearable pilot, because boy can pilots turn into expositionrama! Tom Levitt (Christian Borle) and Julia Houston (Debra Messing) are a prized writing team who are supposed to take a break from their work. That is until Tom’s new boytoy assistant Ellis (Jamie Cepero) suggests a Marilyn Monroe musical. Marilyn the Musical? (Let’s hope that’s not the title of the actual musical…or if it is, let’s start a drinking game!) The thought of creating a “baseball number” is the selling point for Julia. Then we meet Julia’s loving and devoted husband Frank (Brian d’Arcy James), who is gearing up to adopt a baby with her. That is until Julia drops the bombshell that she’s writing Marilyn the Musical. Looks like there will be some trouble in marital paradise. We are told that we want to like our Marilyn creators. Both Borle and Messing are lovable and have a magnificent report with one another. But there’s bound to be some conflict between the two of them at some point in the series. Most likely on who to choose to play Marilyn, Karen or Ivy (Megan Hilty).
When we go back to Karen’s story, we meet her stuffy-lite boyfriend Dev (Raja Jaffrey) who is NOT in the theater business. I repeat, he is NOT a theater guy. If only that worked in real life. Jaffrey may be the weakest link in the ensemble. I predict he’ll be the first causality of the “kill off.” When Karen’s parents come to town to check up on her, we instantly see the fear of the unknown world in their eyes. Despite putting Karen through theater training, the Cartwright’s seem to be having second thoughts on the success of their daughter’s career. But don’t worry, Dev saves the day by correcting daddy Cartwright that Karen is an actress not a waitress. The real life couple, Becky Ann and Dylan Baker, play Karen’s parents with ease. I’m sure they’ll be back for more.
After Julia and Frank meet the social worker, who’s a fan of Julia’s, assigned to them for the adoption, Julia and Tom record a demo of Ivy singing the first song they wrote for Marilyn the Musical. In this age of technology, leave it to the unknowledgeable assistant Ellis to record the recording session, which ends up on the internet. Tom and Julia freak out at Ellis and fire him on the spot. That is until the feedback of the song is all positive. Cue the Michael Riedel name drop! Since apparently almost everyone in the theater biz has seen the video, producer Eileen Rand wants first dibs on the show. Despite her being on the potential losing end of her divorce, Eileen wants Marilyn the Musical. Eileen meets with Houston and Levitt (we need to come up with a clever nickname. Any ideas?) and asks them to audition a director to bring on to the project. Eileen mentions Derek Wills, which makes Tom quite irritated. Though we don’t know the history between Derek and Tom quite yet, we do know whatever happened didn’t end so lovely. Derek isn’t thrilled with the idea of auditioning himself, since he thinks way too highly of himself already, but he obliges and puts on a show.
And what a show it was! We get to see the baseball number! Ivy plays Marilyn in a workshop style audition of the baseball number that goes back and forth from rehearsal to stage. We’ll expect a lot of that threshold breaking throughout the series. It’ll help when the show’s producers actually try to bring this musical to life on Broadway. The number is a hit and Derek is brought on, to Tom’s dismay. So now’s the time for auditions. Karen walks in, the only girl not dressed like Marilyn, and silently wows the pants off of the team singing Christina Aguilera’s “Beautiful.” We don’t see Ivy’s audition but we know both girls get a callback.
Karen celebrates with Dev with “Some Like It Hot” as the background, only to be interrupted by a text message from the vile creature known as Derek. Derek is the sleazy director we all wish doesn’t really exist in real life. Derek tries to seduce Karen only to be shut down after singing “Happy Birthday Mr. President” in one of Derek’s shirts. Casting couch cliché? Absolutely. Do we forgive it because the very next scene is the closing number of the episode? Totally. We get the brilliance that is “Let Me Be Your Star,” a stunning duet between Karen and Ivy as they do their callback. It’s sure to be a song that won’t leave your head.
The episode ends on a slightly engaging cliffhanger. Who gets to play Marilyn, Ivy or Karen? Based on the previews, it looks like we’re in for a battle for Marilyn for quite some time. How it plays out will be the interesting part. The pilot gives us just enough puzzle pieces that will keep us coming back for more. What exactly happened between Tom and Derek? How will Eileen’s divorce come back to haunt the production? What will happen with the adoption? And just how many gays will there be per episode?
For a pilot, “Smash” is a smash. It has the potential to be a brilliant show. That is as long as it doesn’t fall under the “Glee” trap and oblige to poor writing to make way for the music. Sure we know that there are moments that will be contrived, like writing and recording a song nearly overnight or the director audition, but we forgive it for an intriguing plot. If anything, as a theater person working in the business, it’s wonderful to see familiar faces getting their time to shine. From Christian Borle getting a lead role to recurring role by Brian d’Arcy James to small parts by Maddie Corman, Eisa Davis, and Savannah Wise. This is an opportunity to bring theater to the mainstream. And if the series sticks to this formula, it’ll be a hit. So what did we think of the show? And most importantly: Team Karen or Team Ivy?

Who's the Boss on a Honeymoon

Tony Danza will be coming to the Great White Way in the musical adaption of Honeymoon in Vegas. The musical is aiming for a bow on Broadway in Spring 2013 after a try out in Toronto. Honeymoon in Vegas has a score by Jason Robert Brown and a book by original screenwriter and director (something that rarely happens) Andrew Bergman. Danza will play the role originally created by James Caan.

Spotlight On...Libby Woodbridge

Name: Libby Woodbridge


Hometown: Born in NYC. Grew up in Amherst, Massachusetts.

Education: BFA from Boston University

Select Credits: Yosemite (Ruby, Rattlestick Playwrights Theater); Jerusalem (u/s and rave participant, Broadway); Gabriel (Estelle, Atlantic Theater Company); Bossa Nova (Grace, Yale Repertory Theatre); Moonlight (Bridget, Studio Theatre, DC); Rock ’n’ Roll (Young Esme/Alice, Wilma Theater)



Why theater?: Seeing theatre makes me feel alive; performance is thrilling to experience. As a performer, I feel an electric, heightened sense of existence when I’m onstage. Audiences fuel and charge a performance. I'm often shy offstage, so performing is a great way for me connect with and partake in a larger sort of collective energy. Additionally, every performance with an audience is unique and will never happen again. There’s something about the ephemeral nature of theatre that’s exquisite, scary, gorgeous, and a little bit painful.

Tell us about Yosemite: Yosemite is a new play by Daniel Talbott at the Rattlestick Playwrights Theatre. Pedro Pascal directed it. The play deals with a critical moment of survival for a family that is desperately trying to find a way out of dire circumstances. It’s set in the freezing woods of the Sierra Nevada Mountains in California. Seth Numrich and Noah Galvin play my brothers and Kathryn Erbe is our mother.

What is it like being a part of Yosemite?: The play is brutal to perform, but I love the piece. I hope it provides a moving and meaningful experience for everyone who comes. I believe it’s a play that has a lot of power in its ability to haunt, and I hope that audience members find themselves coming back to thinking about the piece in the hours, days, and months after leaving the theater. I consider myself so lucky to work with everyone involved in creating Yosemite. The Rattlestick is a wonderful place and I look up to my castmates so much. Daniel is such an inspiration to work with, and he galvanizes those around him to be braver and more generous theatre artists.

What kind of theater speaks to you? What or who inspires you as artists?: Generally, I like artists and work that connects me in a conscious and emotional way with what it means to be alive in the world.

Any roles you’re dying to play?: There are many roles already written that I’m excited to mature into. Although right now I’m really interested in doing new work, so I’d love to play a role I haven’t yet imagined for myself. Additionally, at some point in my life I would love to work on some Chekhov plays.

If you could work with anyone you’ve yet to work with, who would it be?: There are a lot of people I want to work with and a lot of people I want to work with again. I also know for certain that there are people I don’t know about yet who will change and impact my life when I work with them. I like this thought.

Who would play you in a movie about yourself and what would it be called?: Oh dear, if coerced by someone in a wildly implausible theoretical situation to make that movie, I’m not sure what the exact title or my physical representation would be. My only vision for the project would be that it be created in a similar way to a Pixar animated short.

What show have you recommended to your friends?: I just went to my first Cino Nights performance put on by Rising Phoenix Repertory and recommend that.

What’s up next?: I worked on a movie recently, “King Kelly” by SeeThink Films, that I’m immensely proud to be a part of. Louisa Krause plays the title role, and I play her sidekick. The movie is shot as if filmed from the perspective of two girls’ iPhones. The film is not out yet, but I’m looking forward to people seeing it.

"Got Talent?", Show It Off!

Full Circle Talent Group, lead by Martha Byrne (from my hometown Mahwah, NJ!) and Mario Costabile, is looking for some talent! All the information you need is below! It's a great opportunity, so get on it!

Courtesy of Full Circle Talent/Suzanne Curry

 Full Circle Talent Group Holds "Got Talent?" Talent Search:

2 Winners Receive Full Scholarships to Acclaimed Acting Program and More

Paramus, NJ - Got talent? If you are a budding actor, singer or songwriter then Martha Byrne and Mario Costabile's "Full Circle Talent Group" is looking for you! Full Circle Talent Group LLC., is holding auditions for their acclaimed acting and performing academy, Showbiz bootcamp, and giving away two scholarships, worth $1200 each. Auditions for Full Circle Talent's "Got Talent?" Talent Search will be held on Saturday, February 4th, Saturday, February 25th and March 3rd, all from noon to 3pm. at the studio at 26 Park Place in Paramus, NJ. Registration is requested for these live auditions by calling 201-483-8262 or emailing showbizbootcamp@me.com. Video auditions are welcome and can be sent to showbizbootcamp@me.com. One scholarship will be given to an actor/actress for the ShowBiz Bootcamp Acting Academy and one full scholarship will be given for the Showbiz Bootcamp Singer/Songwriter Academy. Also, at the completion of either program performers will have the opportunity to be invited to meet with casting directors, agents and music producers for potential contracts. Qualified students will also have the opportunity to be signed to a management contract with Full Circle Talent Group, LLC.

Full Circle Talent Group, LLC is owned by Two-Time Emmy Award winning actress, writer and producer Martha Byrne, a Mahwah resident and Vine Record Label owner Mario Costabile. Ms. Byrne is most well-known for her decades run on "As The World Turns", but has also acted in several movies, released three CD's, wrote for Bold and the Beautiful and was actor/producer and writer for her web-based series, www.Gothamtheseries.com which was recently nominated for an Emmy. Mario Costabile is an experienced producer/director and owner of The Vine Records and Publishing Company (Universal Music) and Visual Energy Entertainment. He has produced many videos for top companies and artists, including the "Boom Boom Dance" which was one of the most requested videos on MTV in 2010.

Full Circle Talent Group is seeking young male and female performers aged aged 10-25, interested in a career in show business as well as gaining education in the fields of singing, songwriting, acting and other aspects of the business. All prospects are asked to bring a photo (need not be professional). All will be asked to perform for 3 minutes. Actors are expected to perform a monologue. Singers will be asked to perform and songwriters can perform or bring a recording of their work. A piano will be available. Winners will be selected based on talent and potential. 

Those who audition will be auditioning to win the scholarship and a place in the acclaimed program, which there is a fee for. Showbiz Bootcamp is a serious program taught by industry professionals. It is a unique program which consists of clinics and workshops on acting, singing, songwriting, music/video production, resume development and other courses geared to getting started in the entertainment business. 

Full Circle Talent Group is proud to have a staff of widely-recognized professionals. In addition to Ms. Byrne and Mr. Costabile the staff includes: Michael Park, who recently won for the second year in a row the Emmy for Outstanding Lead Actor for As The World Turns and currently stars on Broadway in "How To Succeed in Business Without Really Trying"; John McCracken, A&R at EMI, music producer; Lisa Brown, Emmy-nominee, TV/music/video director and co-writer for Gotham The Series; Alison Rinzel, talent manager and independent casting agent with years of experience from CBS-TV; Peter Bliss, Platinum-selling songwriter/producer/performer and staff member of the Songwriters Hall of Fame; Buddy Nielsen, Lead Singer of Senses Fail (Vagrant Records); Freddy Shehadi, songwriter, music producer for NBC, writer/producer for Def Jam recording artist, Burnham; Jennifer Marks, award-winning singer/songwriter and national touring artist; and Deborah Zuke Smith, vocal coach/Brett Manning Certified.

Full Circle Talent Group is located at 26 Park Place in Paramus NJ. 07652. The phone number is 201-483-8262. Please visit their website, www.showbizbootcamp.com for more information.

August Movie A Go

Fans of the ever popular smash hit August: Osage County rejoice. Your film has been given the green light. Though no further casting has been announced, it is confirmed that Meryl Streep and Julia Roberts will play the battling mother-daughter duo. Streep will play pill-popping Violet while Roberts plays eldest daughter Barbara. Oscar bait anyone? I still would have picked Jane Fonda or Diane Keaton to play Violet, but I have no doubt that Oscar loving Strep will do the role wonders. How do we feel? Excited? Will this be a Doubt or a (God of) Carnage?