PRESS RELEASE: 6TH ANNUAL BROADWAY SERIES CONCERT AT CARNEGIE HALL
MANHATTAN CONCERT PRODUCTIONS
ANNOUNCES 6TH ANNUAL BROADWAY SERIES CONCERT AT CARNEGIE HALL
FEBRUARY 20, 2018
New York, NY, November 1, 2017—Manhattan Concert Productions (MCP) is pleased to announce the sixth installment of its annual Broadway Series, Broadway Classics in Concert, at Carnegie Hall on February 20, 2018 at 8pm.
This special retrospective, led by Broadway Series alumni, Don Stephenson (Director), and Tom Murray (Music Director/ Conductor), celebrates Manhattan Concert Productions’ past collaborations by paying homage to the composers of the past Broadway Series concert events—Lynn Ahrens & Stephen Flaherty (Ragtime), Alan Menken (Hunchback of Notre Dame), Maury Yeston (Titanic), Jason Robert Brown (Parade), Lucy Simon (The Secret Garden), George & Ira Gershwin (Crazy for You)—many of whom will make a special appearance at the event.
Broadway Classics in Concert will not only feature best-loved pieces from past Broadway Series performance, but also numbers from the composers’ full catalogs. The performance will include a chorus of over 200 singers from across the United States, a professional cast and creative team, and the New York City Chamber Orchestra.
Tickets go on sale on Thursday, November 2, 2017 at 11am. Tickets may be purchased by visiting www.carnegiehall.org/events; calling CarnegieCharge at (212) 247-7800; or by visiting the Box Office located at 57th St. and Seventh Ave.
ABOUT MANHATTAN CONCERT PRODUCTIONS
Manhattan Concert Productions (MCP) is an esteemed production company in its 19thseason. MCP has provided opportunities to thousands of musicians in choirs, bands, and orchestras to perform at famous venues throughout the United States and many countries abroad. Additionally, MCP regularly features the work of professional singers, actors, instrumentalists, conductors, and composers. The guest musicians of the Broadway Classics in Concert chorus will spend five days in New York City rehearsing and performing side-by-side with the professional principal cast and crew as part of Manhattan Concert Productions’ continuing mission of student and professional collaboration. Visit www.mcp.us to learn more.
Cast and creative team announcements to follow.
Press Release: Lincoln Center’s 2018 American Songbook Season
Lincoln Center Press Release
Lincoln Center’s 2018 American Songbook Season
January–March 2018
Musical legendsRandy Newman and Rosanne Cash Bring Series Back to the
Rose Theater at Jazz at Lincoln Center for First Time Since 2005
Composers & Lyricists Spotlights Include Stew & The Negro Problem, Scott Frankel & Michael Korie with Kelli O’Hara and Julian Ovenden, Matt Ray performing Hoagy Carmichael, and Justin Vivian Bondpresenting the music of The Carpenters
The Blind Boys of Alabama, Rachel Bloom&Adam Schlesinger, Cloud Cult,
Jackie Hoffman,Shelby Lynne & Allison Moorer, Aaron Tveit, John Paul White,
and Lizz Wrightround out Appel Room Concerts
Jalen N’Gonda to perform free show in the David Rubenstein Atrium
October 31, 2017—The 19th season of Lincoln Center’s acclaimed American Songbook series opens this January, presenting the voices and stories of singers, songwriters, and musicians across a range of genres. From musical theater to Americana to R&B and gospel, these performers will chronicle personal journeys, pay tribute to legendary artists, and showcase the breadth of creativity, emotion, and expression found throughout American song.
The season opens in the iconic Appel Room on January 24, 2018, with Grammy Award winner John Paul White (The Civil Wars) performing his lyric-driven Southern gothic folk. And in March, the series will return to the Rose Theater for the first time since 2005 for a pair of special evenings with Oscar-, Emmy-, and Grammy Award–winning songwriter Randy Newman(March 26) and Rosanne Cash(March 27), a four-time Grammy Award winner, best-selling author, and activist.
Composers and lyricists are a centerpiece of this season, as Tony winners Stew & Heidi Rodewald (Passing Strange¸ The Total Bent) reflect on two decades of music-making through the prism of their self-described “Afro-Baroque cabaret” (Feb. 7); Matt Ray pays homage to Hoagy Carmichael with singer Kat Edmonson(Jan. 27); composers Scott Frankel&Michael Korie (Grey Gardens, War Paint) are joined by stars Kelli O’Hara and Julian Ovenden (Feb. 17); and downtown legend Justin Vivian Bond weaves the trials of Karen Carpenter’s complicated life into a modern context using her music (Feb. 15).
Additional featured musicians ranging from icons to iconoclasts include comedian Jackie Hoffman, coming off her Emmy-nominated performance as Mamacita in Feud: Bette and Joan (Jan. 25); indie band Cloud Cult, which mixes swelling harmonies and orchestrated arrangements with an environmentalist message (Jan. 26); sisters ShelbyLynne & Allison Moorer, each a groundbreaking artist of Americana in her own right (Feb. 8); Broadway star Aaron Tveit, who headlined Next to Normal and Catch Me If You Can (Feb. 9); the team behind Crazy Ex-Girlfriend, Rachel Bloom&Adam Schlesinger (Feb. 10); vocalist Lizz Wright, whose 2017 album Grace melds the spirituality and sensuality of the American South (Feb. 14); and gospel legends The Blind Boys of Alabama, who are celebrating their more than 70-year legacy with a new album inspired by the memories of founding members James Carter and Clarence Fountain (Feb. 16).
The rising Maryland-born, Liverpool-based soul and R&B singer-songwriter Jalen N’Gonda will also perform a free show on February 1 in the David Rubenstein Atrium.
“Each season of American Songbook juxtaposes the popular music of our time while honoring that of the past and anticipating the voices of the future. From the world of Broadway to television to the backroads of Alabama to Duluth, Minnesota, this year we are covering considerable ground,” said Jane Moss, Lincoln Center’s Ehrenkranz Artistic Director. “Each of these artists moves us with their creativity, personal stories, and, for many of them, their much-needed humor.”
Hailed for its expansive embrace of American songwriting spanning centuries and geography, American Songbook is based at three venues at Lincoln Center. The Appel Room at Jazz at Lincoln Center, with its floor-to-ceiling windows overlooking Columbus Circle, hosts cabaret-style performances that include table seating, close proximity to the performers, and an incomparable view of the Manhattan skyline. In addition, the series will return to the Rose Theater, which maintains an intimate atmosphere as the largest of Jazz at Lincoln Center’s performance spaces, and the David Rubenstein Atrium, a vibrant indoor public commons offering hundreds of free programs each year.
“PGIM, the global investment management businesses of Prudential Financial, is proud to be the lead supporter of such an innovative concert series as Lincoln Center’s 2018 American Songbook,” said David Hunt, President and CEO of PGIM.“The array of performances allows Lincoln Center audiences to celebrate the diverse aspects of the American experience through music, and we are honored to be a part of it for the fifth year in a row.”
Tickets for Friends of Lincoln Center go on sale November 6 and to the general public beginning November 13. They may be purchased online at AmericanSongbook.org, via CenterCharge at 212.721.6500, and at the Alice Tully Hall and David Geffen Hall Box Offices. Premium packages, which include red wine, dinner, and the best seats in the house, are available for purchase for Appel Room performances; find more information at AmericanSongbook.org, and learn about our Friends of Lincoln Center program at Support.LincolnCenter.org.
© 2017 Lincoln Center for the Performing Arts
An Interview with Broadway’s Tony Sheldon
In this very fun interview Tony shares the story of his life and career, so far, and breaks some exciting news about the upcoming 10th Anniversary Australian National Tour of “Priscilla, Queen of the Desert”!
So get a beverage, make yourself comfortable and watch and enjoy…
Elli did a podcast! Troika of Terror with Angry Bob!
TO LISTEN:
CLICK THE LINK BELOW
http://troikaofterror.libsyn.com
PRESS RELEASE: PRECIOUS Little TALENT
P R E C I O U S Little T A L E N T
BY ELLA HICKSON
DIRECTED BY GEORGE C. HESLIN
GREG MULLAVEY, CONNOR DELVES & ELIZA SHEA TO STAR IN NY PREMIERE OF “PRECIOUS LITTLE TALENT” DIRECTED BY GEORGE C. HESLIN.
FOLLOWING SUCCESSFUL PRODUCTIONS AT THE EDINBURGH FRINGE FESTIVAL AND IN LONDON’S WEST END, WHICH GARNERED FOUR STAR REVIEWS ACROSS THE BOARD, “PRECIOUS LITTLE TALENT” BY ELLA HICKSON IS PRESENTED IN A LIMITED ENGAGEMENT OFF-OFF-BROADWAY RUNNING SEPTEMBER 20-30.
The critically acclaimed British sensation, Precious Little Talent, will make its NY Premiere in a limited two-week engagement, beginning September 20.Award-winning playwright, Ella Hickson (Eight, Boys, Oil) marks herreturns to NYC, with this production directed by Origin Theatre Company’s Artistic Director, George C. Heslin. The play starsAmerican film and TV legend, Greg Mullavey, whose credits include, Rumors (Broadway, with Veronica Hamel), Mary Hartman, Mary Hartman & iCarly.The play also starsConnor Delves(Endangered, Off-Broadway) and British actress, Eliza Shea(Blithe Spirit, Chenango River Theatre).
Taking place in New York City and London, between 2008-11, Precious Little Talent explores the culture clash of American optimism with British cynicism, and how a tangled love story sits somewhere in between. Hicksonpits the struggles of young peoplein the midst of an economic downturn, against those faced by an aging man, desperate to retain his independence whilst suffering from dementia.
It plays 12 performances at The West End Theatre, 263 W86th St. 2nd Floor, New York, NY 10024, (1 train to 86th St.) from Wednesday September 20-30, with an official opening on Wednesday September 20 at 8pm.
Shea Delves Productions, in association with Co-Producer Joseph Lavezzo, present this NY premiere. The creative team includes Drama Desk Award-Winner,Maruti Evans (Set Design), Michael O’Connor (Lighting Design), Sam LaFrage (Sound Design), Jenny Green (Costume Design). Alaska Caleois the production stage manager. George C. Heslin, is the Artistic Director of Origin Theatre and founder of the 1st Irish Theatre Festival. Having worked extensively on Broadway and in the West End, Heslin was invited to meet President Obama in 2011, for his services to arts and culture.
Critical acclaim in London includes:
- ‘A little gem…it bursts with unmistakable freshness’ (The Telegraph, 4 stars)
- ‘Precious Little Talent’ wins battle for hearts and minds’ (The Daily Mail, 4 stars)
- ‘Full of spluttering energy and has a real fire in its belly’ (The Guardian, 4 stars)
- ‘A rising star of British theatre, she has a gorgeous way with words’ (The Independent, 4 stars)
Precious Little Talent performs at The West End Theatre, 263 W 86th St. 2nd Floor. Performances (12 in total) are Tuesday,Wednesday, Thursday, Friday at 8pm; Saturday at 2pm & 8pm, and Sunday at 2pm.
For tickets, which are $30, call 866-811-4111 or visit https://web.ovationtix.com/trs/cal/34943?sitePreference=normal
Please see www.PreciousLittleTalentNYC.com for further information.
(Running time: 80 minutes.)
Sincerely,
Shea Delves Productions
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Guest Review: A review of INDECENT At the Cort Theatre
“The Play is the Thing”
A review of
INDECENT
At the Cort Theatre
June 20, 2017
by Moshe Bloxenheim
INDECENT is a biography: The protagonist is born, grows up, has some trouble in adolescence, moves beyond parental control and has many discoveries.
The main character is also a play – THE GOD OF VENGEANCE written by Mr. Sholem Asch in 1907. Created as an indictment of religious hypocrisy and the piety that glosses over terrible actions, THE GOD OF VENGEANCE takes place in the home of Yekel, the owner of a bordello. He and his former prostitute wife Sarah have raised their daughter Rifkele in the strictest respectability, planning for her to marry a Rabbinical Scholar and even commissioning the writing of a Torah Scroll in honor of such a future marriage. Though Rifkele is forbidden to enter the brothel basement of the family home, she has visited there and befriended Manke, one of the women who work for her father. The two girls are drawn together and Rifkele runs away with Manke. When Rifkele is brought back, her enraged father – stripped of his devout pretensions – drags her off to work in his basement.
THE GOD OF VENGEANCE begins its life in the Yiddish Theater as a well-received drama. Once in New York, like many immigrants, it tries to adapt to a more mainstream society only to lose its way and become the subject of an infamous obscenity trial. Abandoning Broadway, THE GOD OF VENGEANCE thrives, lasting beyond the demise of the Yiddish Theater that had nurtured it, and the author who has eventually turned his back on it. Many issues are bought up by the play as it is produced through the years: Idealism that is crushed by reality, a desire for more realistic literature, a need to face unpleasant facts and the fear of trouble that publicizing such truths can cause a people.
Ms. Paula Vogel wrote the play INDECENT, but it is very hard to separate the superb story telling of her script from the inventive direction of Ms. Rebbeca Taichman, which makes it understandable why they are both billed in the Playbill as the creators of INDECENT. With THE GOD OF VENEGANCE as the star, the actors take on their roles as in a traditional Yiddish Repertory: One actor plays all the older gentlemen, another covers the youthful men while a seasoned lady takes on the women of maturity, etc. Performers flow from scenes about Mr. Asch’s play into actual passages of THE GOD OF VENGEANCE as it gets played in one of its many productions. Mr. Asch and other characters are shared out by the actors so a young Sholem Asch and his wife are first introduced by youthful performers and as time passes the more mature players take them over. Traditions of theater are both invoked and turned on their heads. Expositions are acted out most convincingly and projections (brilliantly designed by Mr. Tal Yarden) set the places of the action and of the languages being used in a way that amazed me. INDECENT is true theater of alienation, and it would have made Mr. Bertolt Brecht green with envy.
With the shifting nature of the roles, it is not so easy to give my usual breakdown of actors in the show, but be assured that the troupe of INDECENT is a truly fine one.
Mr. Tom Nellis is memorable as the senior actor covering dignified scholars, noted actors, the older Sholem Asch and leading a delightfully surprising turn as a Berlin cabaret performer. He is a new person in practically every scene, even to the point of being a different actor performing Yekel in THE GOD OF VENGEANCE as it passes through its various presentations.
This is also true of the other members of the cast. Ms. Katrina Lenk fascinates as a flirtatious star in the first staging of THE GOD OF VENGEANCE and takes on other people as INDECENT dictates.
Similarly Mss. Mimi Lieber and Adina Verson suitably play many characters – some of whom have to play the same part in the successive enactments of Mr. Asch’s play – with different accents as needed.
As the young Sholem Asch, Mr. Max Gordon Moore provides the idealistic writer who slowly loses his fervor as he begins to second guess his aspirations and motives for writing THE GOD OF VENGEANCE in the face of the Anti-Semitism, Pogroms and the Holocaust that an enlightened world should have prevented.
Taking on a host of roles, Mr. Steven Rattazzi ranges admirably from annoying intellectuals to eager producers.
Adding to the stage as well are the first-rate instrumental and performing talents of the musicians Ms. Lisa Gutkin and Messrs. Matt Darriau and Uri Sharlin. They play the evocative music composed by Ms. Lisa Gutkin and Mr. Aaron Halva (incidentally, at the performance I attended Mr. Sharlin filled in most admirably for Mr. Halva).
There is one acting part that is constant throughout INDECENT: Lemml, the Stage Manager is in many ways the human representative of THE GOD OF VENGEANCE as it travels the world. First seen as a poor relative invited to Sholem Asch’s first reading of his script, Lemml becomes the play’s biggest champion and the one who feels its triumphs and failures the most – even more than Asch himself. Mr. Richard Topol is truly marvelous as he shows Lemml evolving into the voice of THE GOD OF VENGEANCE and the conscience of the doomed Jewish world that brought the play into being. His is a great performance in a special role.
And how does THE GOD OF VENGEANCE perform? Although THE GOD OF VENGEANCE permeates the very fabric of INDECENT we are repeatedly shown only two scenes of the actual play and it is the Rain Scene that is the pivotal piece: Having slipped out late at night to dance in a rainstorm, Manke and Rifkele enter the silent house and express their love for one another – an action that allows them one moment of true joy and hope outside the harsh realities of their lives. In the various reenactments, this scene becomes an emotional escape for many of the portrayers of Manke and Rifkele, culminating in a ghetto staging in Nazi occupied Poland where starving, fearful actors transcend their own misery when the heroines once again rise beyond their daily despair and capture something wonderful. And we are better for this.
Mr. Riccardo’s stark scenery is a fitting setting for the actors who must roam the world and time, aided by Mr. Christopher Akerlind’s lighting and Mr. Tal Yarden’s informative and haunting projections. Similarly, Ms. Emily Rebholz has created deceptively simple costumes that allow the players to inhabit literary salons, nightclubs, rehearsal halls, wartime garrets or even the afterlife. All of these elements, together with the wigs and hair design by Messrs. J. Jared Janas and Dave Bova, give a memorable and occasionally unsettling feeling of peering into a series of forgotten old photographs.
The sound system of Mr. Matt Hubbs provides a good impression of natural sound.
From the title, one might think INDECENT is about the outrage of the subject matter of THE GOD OF VENGEANCE or focuses on the first sexual kiss between two women on a public stage, but instead INDECENT is more about how a classic play rises above the real hardships that can make life itself an indecency. It is this story and the thoughtful and innovative way it is told that make INDECENT a true theatrical event about a theatrical event.
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About the reviewer:
MOSHE BLOXENHEIM
I am a computer programmer, wannabe writer who loves theater and just got into the habit of inflicting my theatrical opinions.
I live in New York. Moshe can be reached at MB1224@aol.com
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Guest Review: Scott Sickles’s “COMPOSURE” at the WorkshopTheater
“Offstage Drama”
A review of
COMPOSURE
At the WorkshopTheater
June 21, 2017
by Moshe Bloxenheim
Mr. Scott Sickles’s thoughtful play COMPOSURE is about people trying to get beyond the past: One year after a broken relationship results in a fatal campus shooting, the local college puts on a student production of ROMEO AND JULIET to commemorate the tragic anniversary. Former alumnus Fletcher is hired to direct this controversial production and after his first rehearsal he meets Jeff, a recently divorced academic who has recently begun to come to terms with his sexuality. Over the six weeks of Fletcher’s stay, the two men find themselves being drawn close to one another, but both men also are forced to come to terms with their earlier lives: Fletcher must resolve his feelings about Tommy, a bullying friend of his teenage years who left young Fletcher with more than a few damaging scars, while Jeff has to clear the air between himself, his ex-wife and the memory of his deceased brother-in-law.
The sounds of the student’s rehearsal of ROMEO AND JULIET provide a surprisingly fitting commentary on the adult’s events onstage as the play’s themes of doomed love, mishandled information, exile, etc., constantly resurface throughout COMPOSURE. In addition, Mr. Sickles’ love of language wittily permeates COMPOSURE, capitalizing on both the modern scenario and the parallel us of Shakespearean text.
Fletcher is the man around whom all the action of COMPOSURE revolves and Mr. Robert Bruce McIntosh shows the ambivalence and confusion of a person who wants to complete his task and move on but who cannot easily follow the course he had planned out for himself; whether those plans involves directing ROMEO AND JULIET, having a no-strings connection with Jeff or trying to get some sort of undefinable closure with Tommy. Mr. McIntosh’s character is all too human so even if he does not quite follow the story arc of a triumphant hero, Fletcher is likable, understandable and real.
Mr. C.K. Allen’s Jeff has the wide-eyed aspect of someone who is still new at being himself. We see Jeff’s fear about hurting people and how that complicates his own need for honesty. Jeff still has a lot to discover and Mr. Allen makes us root for him as Jeff allows himself credit as being a man who can feel desire and love.
Jeff’s ex-wife Amanda thought she had Jeff’s devotion but is now forced to confront the realities of their failed marriage and the need to stop looking back. Ms. Susan Izatt gives a fine, incisive performance, making it clear that Amanda is trying very hard not to hate her former husband but she is still not able to make peace with the fact of who he now is. We feel the control Amanda exerts over her feelings and even over Jeff and when things reach a breaking point, Ms. Izatt’s delivery of irony and anger are all the more pointed and yet still sympathetic.
Another character who still has to learn something about being loved is Beth, Tommy’s worshipful but self-denigrating wife. We might not care for a doormat, but Ms. Christine Verleney makes us care for Beth even though this character does everything she can to keep her belief in the loutish Tommy as the ideal husband. Ms. Verleney makes it pretty apparent that the moment that Beth believes in herself, Tommy will be in trouble.
Then there is Tommy.
As I have stated before, Tommy is a bully who must be everybody’s idol. Yet Mr. Rob Ventre presents this self-assured man in a way that makes me think of the sort of jerk who victims claim “…loved me – in his fashion…” Mr. Ventre’s convincing Tommy may very well believe that his brand of love is the best thing to happen to the people around him, but his manipulations and denials make it obvious that deep down he knows how wrong he is.
Christopher is a brief role, but a very significant one, and Mr. Cliff Miller clearly understands the angst and disbelief of a young man who was not only a victim of the tragedy, but is forced to survive in a story that is different from real situation and an aftermath which he has no idea how to remedy.
Under Mr. Fritz Brekeller’s direction the characters are all quite real as the people who would be encountered in a college town setting. Even Fletcher – the traveling Director – is a person determined to do the best of a difficult job with his eye already on his next task. Director Brekeller takes full advantage of Ms. Elizabet Puksto’s movable set, Ms. Diana Duecker’s lighting, Mr. Greg Emetaz’s surprising projections and Mr. Ian Wehrle’s sound design to allow the story of COMPOSURE move at its own steady pace. Using these excellent assets, the events and scenes (both contemporary and those related to ROMEO AND JULIET) can easily change and flow into one another in a cinematic way so that the momentum of the play is never lost.
Mr. Anthony Paul-Caveretta’s costumes are suitably day-to-day and give some inkling to the personalities of their wearers (such as Amanda’s more serious clothing: suitable for a divorce, an academic lecture or having an outburst at a gravesite).
With its excellent script, cast and staging, this current production of COMPOSURE offers a lot to enjoy and to think about.
COMPSURE’S last performance was on June 24, 2017
Scott Sickles
CK Allen
Robert Bruce McIntosh*
Susan Izatt*
Cliff Miller*
Rob Ventre*
Christine Verleny
J. Warren Weber*
* Appears courtesy of Actors Equity Association
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About the reviewer:
MOSHE BLOXENHEIM
I am a computer programmer, wannabe writer who loves theater and just got into the habit of inflicting my theatrical opinions.
I live in New York. Moshe can be reached at MB1224@aol.com
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GUEST REVIEWER: A Star is Reborn: A review of the Cabaret MULLIGAN & MOORE, VEGAS ‘55
A Star is Reborn
A review of the Cabaret
MULLIGAN & MOORE, VEGAS ‘55
At the Metropolitan Room
June 22, 2017
Before his 1969 knighthood and achieving his legendary status in the entertainment world, Sir Noël Coward found his position as the leading British playwright and actor threatened by postwar changes in the English theatrical establishment of the early 1950’s. Turning to the cabaret stage, Sir Noël found a more welcoming venue that led to his famous 1955 turn at the Desert Inn in Las Vegas Strip.
Singer Gregory Moore and Pianist Simon Mulligan could have easily offered up an entertaining time by simply delivering the material from that famous performance, but instead — from Mr. Frank Sinatra’s attendance of the opening night show to Noël Coward’s appreciation of American audiences – MULLIGAN & MOORE, VEGAS ‘55, captures the anticipation, surprise and relief that were all a part of Sir Noël Coward’s famously successful performance and its notable aftermath. While most of the evening is devoted to The Master we are also treated to Mr. Moore’s enjoyable summoning up of Mr. Sinatra with “Luck Be a Lady Tonight” which begins a very interesting and often amusing discussion of Mr. Sinatra’s personal and career woes and leads to his need to offer support to his friend Sir Noël by not merely taking seats at the Desert Inn but flying in the largest and most glittering group of celebrities to ever cheer a cabaret act on its first night.
Though Mr. Simon Mulligan does not supply anecdotes nor lyrics, his superb piano playing supplies both a marvelous accompaniment and at intervals takes center stage with some wonderful solo performances. These musically relate to Mr. Moore’s narrative as well, such as the lushly atmospheric “Brazil,” Mr. Mulligan’s tribute to pianist Carmen Cavallaro which neatly sets off “Nina” Sir Noël’s riposte to Mr. Cole Porter’s tropical “Begin the Beguine”. In fact, though the evening seems to enjoyably go from anecdote to song to observation, it is a discreetly managed flow that sometimes focuses on one point briefly and then spends more time entertaining the audience with more detailed revelations on another matter: such as Sir Noël Coward’s willingness to make some modifications of his material for American tastes, but not when it led to foolish censorship.
As a singer, Mr. Gregory Moore does Sir Noël Coward proud. It is not merely that he knows how to deliver songs like “Bar on the Piccola Marina” but Mr. Moore relishes the wit and humor in the piece and shares that delight with his audience, never missing a laugh. This is not only limited Sir Noël’s songbook; Mr. Moore’s dapper style works very well with numbers by Mr. Frank Loesser or Messrs. Harold Arlen and Ira Gershwin. Indeed, the only criticism I might offer Mr. Moore has to do with his microphone placement which tends to hide the lower part of his face from the audience.
Even if you know the numbers or have heard the anecdotes elsewhere, Messrs. Mulligan and Moore make it all sound new and share in the delight Sir Noël Coward himself must have felt on that 1955 evening in Las Vegas when he had the audience eating out of his hand.
MULLIGAN & MOORE, VEGAS ’55 was last performed at the Metropolitan Room on June 22, 2017
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About the reviewer:
MOSHE BLOXENHEIM
I am a computer programmer, wannabe writer who loves theater and just got into the habit of inflicting my theatrical opinions.
I live in New York. Moshe can be reached at MB1224@aol.com
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PRESS RELEASE: STARS IN THE ALLEY®PERFORMERS & SOCIAL MEDIA HOST ANNOUNCED!
FOR IMMEDIATE RELEASE
STARS IN THE ALLEY®PERFORMERS
& SOCIAL MEDIA HOST ANNOUNCED!
BRANDON URANOWITZ
2017 Tony Award® Nominee for Falsettos
@BranUran on Instagram
TO BE STARS IN THE ALLEY
SOCIAL MEDIA CORRESPONDENT
#StarsInTheAlley
RAIN OR SHINE!
Free Outdoor Broadway Concert
In Legendary Shubert Alley
Featuring Musical Performances and Appearances
From Over 20 Broadway Shows!
PRODUCED BY THE BROADWAY LEAGUE
SPONSORED BY UNITED AIRLINES
New York, NY – May 25, 2017 – STARS IN THE ALLEY® is proud to announce that 2017 Tony Award® Nominee for Falsettos Brandon Uranowitz will serve as social media correspondent for the 2017 concert. He will be on hand to cover the event live on Twitter and on Instagram bringing fans both exclusive backstage access and a unique perspective on all that’s happening on stage and in the audience this year.
The end of season celebration will also include scheduled appearances by even more 2017 Tony Award nominated performers including:Jenn Colella (Come From Away), Rachel Bay Jones (Dear Evan Hansen), Dave Malloy(Natasha, Pierre & The Great Comet of 1812),John Douglas Thompson and Ruben Santiago-Hudson (August Wilson’s Jitney), Richard Thomas (The Little Foxes), Eva Noblezada (Miss Saigon), Corey Hawkins (Six Degrees of Separation), Johanna Day and Michelle Wilson (Sweat) as well as performances from 2017 Tony Award-nominated musicals including: Anastasia,Bandstand, Come From Away, Dear Evan Hansen, Groundhog Day the Musical, Miss Saigon, and Natasha, Pierre & The Great Comet of 1812.
STARS IN THE ALLEY will take place on Friday, June 2nd at 1:00pm in Broadway’s legendary Shubert Alley, west of Seventh Avenue between 44th & 45th streets. The free outdoor concert with live music, produced by the Broadway League and sponsored by United Airlines, celebrates the end of the 2016-2017 Broadway season and adds to the festivities leading up to the 2017 Tony Awards. The event will consist of performances from over 20 musicals, including shows from this past season as well as numbers from current long-running shows, all accompanied by a 12-piece live orchestra.
PARTICIPATING MUSICALS* INCLUDE:
Aladdin, Anastasia, Bandstand, Beautiful: The Carole King Musical, A Bronx Tale,Cats,
Charlie and the Chocolate Factory, Chicago,Come From Away, Dear Evan Hansen,
Groundhog Day the Musical, Kinky Boots,Miss Saigon, Natasha, Pierre & the Great Comet of 1812,
On Your Feet! The Story of Emilio and Gloria Estefan, The Phantom of the Opera,
School of Rock – The Musical, Sunset Boulevard, Waitress, Wicked
WITH ADDITIONAL APPEARANCES* FROM:
August Wilson’s Jitney, The Little Foxes,The Play That Goes Wrong,
Present Laughter, Six Degrees of Separation, Sweat, War Paint
INCLUDING PERFORMANCES OR APPEARANCES BY*:
Christy Altomare, Alistair Brammer, Nick Cordero, Trista Dollison, Barrett Doss, John Dossett,
Ali Ewoldt, Christopher Fitzgerald, Alyssa Fox, J. Harrsion Ghee, Alan H. Green, Ellen Harvey,
John Benjamin Hickey, Caitlin Houlahan, Rodney Ingram, Allison Janney, Telly Leung,
Kristolyn Lloyd, Bianca MarroquÍn, Tedra Millan, Sean Montgomery, Abby Mueller,
Laura Osnes, Mamie Parris, Will Roland, Charlie Russell, AthanSporek, Douglas Sills,
Ana Villafañe, Michelle Wilson, Michael Xavier, Nancy Zamit
*(subject to change)
For more details about STARS IN THE ALLEY or for Broadway information in NYC as well as for shows on tour across North America and internationally, visit Broadway.org.
The concert will come just nine days before the American Theatre Wing’s 71st Annual Tony Awards. The ceremony will air on the CBS Television Network on Sunday, June 11, 2017 (8:00-11:00 PM, ET/delayed PT) live from Radio City Music Hall in New York City, hosted by Tony Award-winner Kevin Spacey. The Tony Awards, which honor theatre professionals for distinguished achievement on Broadway, have been broadcast on CBS since 1978. The Tony Awards are presented by The Broadway League and the American Theatre Wing.
For more information on the Tony Awards, visitTonyAwards.com andFacebook.com/TheTonyAwards and follow @TheTonyAwards on Instagram and Twitter.
The event is produced by The Broadway League. United Airlines is the title sponsor of Stars in the Alley® and is the official airline of The Broadway League and the Tony Awards. Live music sponsored by The Recording Industry’s Music Performance Trust Fund and The Film Funds. The official hospitality partner is Junior’s Restaurant. The official media partner is The New York Times. Additional support is provided by The Shubert Organization and SL Green Realty Corporation.
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UNITED AIRLINES and UNITED EXPRESS operate approximately 4,500 flights a day to 337 airports across five continents. In 2016, United and United Express operated more than 1.6 million flights carrying more than 143 million customers. United is proud to have the world’s most comprehensive route network, including U.S. mainland hubs in Chicago, Denver, Houston, Los Angeles, New York/Newark, San Francisco and Washington, D.C. United operates 743 mainline aircraft and the airline’s United Express partners operate 478 regional aircraft. The airline is a founding member of Star Alliance, which provides service to 190 countries via 28 member airlines. For more information, visit united.com, follow @United on Twitter or connect on Facebook. The common stock of United’s parent, United Continental Holdings, Inc., is traded on the NYSE under the symbol “UAL”.
THE MUSIC PERFORMANCE TRUST FUND (MPTF) was established in 1948 as a nonprofit independent public service organization whose mission includes contributing to the public knowledge and appreciation of music, as well as making music a part of every child’s life experience. Headquartered in New York City, the tax-exempt MPTF, operating under section 501(c) 3 of the Internal Revenue Code, evolved from a landmark collective bargaining agreement between the American Federation of Musicians and the major recording companies of the day. Today the MPTF is a vital organization that brings music to the public and supplements the income of musicians, all at no cost to those receiving this precious gift of music.
THE BROADWAY LEAGUE (Charlotte St. Martin, President), founded in 1930, is the national trade association for the Broadway industry. The League’s 700-plus members include theatre owners and operators, producers, presenters, and general managers who present in nearly 200 markets in North America. Each year, League members bring Broadway to nearly 30 million people in New York and on tour across the U.S. and Canada. The Broadway League has recently added a new category for International membership to collaborate with professionals from around the world who produce and present Broadway quality theatre. The Broadway League annually co-presents the Antoinette Perry “Tony” Awards®, one of the most coveted awards in the entertainment industry.
Key League programs and resources include: Kids’ Night on Broadway®, The National High School Musical Theatre Awards™ (The Jimmys®), Stars in the Alley®, Internet Broadway Database® (ibdb.com), Broadway.org, SpotlightonBroadway.com, BwayZone.com, Commercial Theater Institute (with Theatre Development Fund), as well as numerous conferences and forums for our members. TheatreAccessNYC (co-produced with TDF) is the one-stop website of accessible Broadway performances for theatregoers with disabilities. Broadway.org is the League’s official on-line headquarters for Broadway in NYC, on tour, and internationally.
For more information visit BroadwayLeague.com, or follow @TheBwayLeague on Twitter and visit us at Facebook.com/BroadwayLeague. Download the free Broadway.org and IBDB mobile apps from the iTunes App Store or Google Play.
Broadway theatres are filled with an exciting array of new and classic musicals and plays, providing the perfect experience for every audience. Great seats are available at every price point and are easy to buy online, by phone, or in person at theatre box offices. It’s always the perfect time to see a show. Broadway performs every day of the week at multiple curtain times to accommodate every schedule.
PHOTOS: Download Link
Contact:
Martine Sainvil, msainvil@broadway.org, 212-703-0231