Tag Archives: entertainment
GUEST REVIEWER: THE VISIT At the Lyric Theatre
Be our guest.
A review of
THE VISIT
at the Lyric Theatre
April 12, 2015 and April 21, 2015 – Opened April 23, 2015
THE VISIT offers so much that one does not usually get in a typical new musical nowadays: a score with memorable songs, a plot that is thought provoking and best of all, a Star Turn of the Highest Caliber. THE VISIT is also a brave show, in the sense that it does not try to stroke the audience’s sensibilities and even dares to make them work at understanding what happens onstage. In the VISIT, the citizens of the desperately poor Swiss town of Brachen welcome Claire Zachanassian, the richest woman in the world, who is returning to the hometown that she had fled long ago. The impoverished villages hope that they can persuade Claire to use her wealth to revitalize the town. To their surprise Claire agrees but lays out a deal. She will endow the village with untold billions if they kill the man who loved her, impregnated her and then denied being the father of her child, forcing her to flee Brachen when she was a young girl and make her own way in a cruel and dangerous world. That man is Anton Schell, an impoverished shopkeeper who can’t even win the respect of his own family. The leaders of the town indignantly reject such a horrendous offer, but soon after townspeople start buying expensive items from Anton’s store, charging their purchases to some unmentionable windfall they expect and talk darkly about how Anton had so foully wronged poor Claire…
Mr. Terence McNally has created an often powerful book based upon the original play by Mr. Friedrich Dürrenmatt and Mr. Fred Ebb’s lyrics and Mr. John Kander’s music further hone the sharpness of this Brechtian Fractured Fairy Tale. Justice, revenge, the violent collision of love and self-interest, and the moral fluidity of honorable people are all covered in rather raw terms, but somehow there is a humor and even lightness that flavors even the most severe and unsavory moments of this story with a touch of vaudeville. Messrs. McNally, Ebb and Kander work very carefully together contrasting the diverse feelings of the Brachen denizens with their attempts to form a united front in the face of poverty with such numbers like the community glee “Out of the Darkness.” They eventually show these same people descending into moral self-delusion with the bitterly entertaining “Yellow Shoes.” As far as Claire is concerned, her very first entrance provides her with firm dramatic footing augmented with strong numbers like the unforgettable matrimonial success catalogue “I Walk Away” or Claire’s soulful description of her feelings for and about Anton and their broken past in “Winter.”
Admittedly, not every song is a gem – Anton’s first number “I know Claire” has a very general feeling as if it could be from any show at any period from 1965 to the present. In fact there is sometimes an uneven style that seems less an attempt at being rustic and more a case of needing more work. Nevertheless much of what is on offer is choice indeed.
The opening scene of THE VISIT makes for a most appropriate introduction to the threadbare inhabitants of Brachen: Ms. Diana Dimiarzo’s plays the Mayor’s wife and local gossip and Messrs. David Garrison, Rick Holmes, Aaron Ramey, Timothy Shew and Jason Danieley are the town’s Mayor, Priest, Policeman, Doctor and Schoolteacher respectively: all are excellent as desperately respectable people who will throw aside all scruples if they have to, all the while convincing themselves of their decency.
Just as bad – and very good – are the members of Anton’s own family. Ms. Mary Beth Peil is wonderfully acerbic as Matilde Schell, a wife who never hesitates to reminds Claire that she is the woman who married Anton, yet doesn’t even find much satisfaction in that fact. Mr. George Abud is Anton’s son Karl and Ms. Elena Shaddow plays daughter Ottilie, showing a very effective indifference for a father who couldn’t even afford to let them have things from their own family store. The promise of prosperity brings this family and the town to life, even though they all have to keep tamping down that little part of them that knows what the price will be. Mss. Piel and Shaddow and Mr. Abud make this painfully clear in the song “A Car Ride;” a pleasant and simple number sung with Anton where the Schells enjoy what is the first happy family moment that they have had in many years. Everyone is delighted but the unspoken cost is still there.
Contrasting the dingy indigence of Brachen’s people is Claire Zachanassian’s astonishing entourage led by Mr. Tom Nelis’ imposing Butler Rudi. Mr. Matthew Deming is Eunuch Louis and Mr. Chris Newcomer takes the role of Eunuch Jacob. All three are always dressed in dapper suits, carefully hatted and walking in eye-catching footgear. These performers shine in their marvelously fantastic roles, often taking the spotlight with remarkably controlled insanity beginning with the Eunuch’s startling backup chorus in “I Walk Away.”
Since this is a show about a present that can never escape the past, the figures of the young Claire and Anton are part of every scene whether reenacting their amour or watching the current situation. Ms. Michelle Veintimilla and Mr. John Riddle truly haunt the show, vividly showing the joy of young love and standing aside as observers to the demands and cruelties of the real world. When Ms. Veintimilla and Mr. Riddle join their present counterparts (such as in the beautiful song “You, You, You”) the contrast of destroyed youthful romance and the cynicism, hurt and longing that has taken its place is deeply moving.
Of course the present Anton has long been a beaten down man who cruelly sacrificed love for security and has since had to make do without either. Mr. Roger Rees plays this role expertly rising from the miserable storekeeper to the hopeful former lover who dares to hope a little. Mr. Rees displays every turn of amazement, disgust and realization that is inherent in Anton Schell as he sees the past catch up with him and the future demand his removal. Mr. Rees makes it painfully clear that anyone in Brachen could have been as cruel and stupid as Anton had been in his youth, but there are times in the middle of THE VISIT when Anton is less caught by the story than bogged down in it.
Of course it is a task indeed for Anton to approach the level of the fabulous Claire Zachanassian – especially when Ms. Chita Rivera so embodies that adjective. This is natural, not only due to Ms. Rivera’s phenomenal performance but because Claire’s presence simply permeates the play – even when the action does not focus on Claire, it occurs because of her. Ms. Rivera imbues this glamorous and wealthiest of women with the world weary brio of one who is always in charge, but when Claire turns to the only happy memory of her past, Ms. Rivera lets the joy and pleasure of that youthful love melt her hardness. This is one of the reasons that Claire Zachanassian is not a monster of vengeance, but someone all too human and desperate to take back something that had been stolen from her so long ago. This performance keeps the play’s ending from being the grotesque finale that it might have been and transforms it into something that ought to be seen to be appreciated: a true example of Theatrical Power at its height.
Director John Doyle does amazing work with THE VISIT giving the story the universal feeling that a fable ought to have. But Mr. Doyle wisely never paints anyone as an outright villain, making the wrongs committed all the more real. People can disassociate themselves from bad actions that happen in the present just as they did so many years ago. Other folks may demonstrate what can happen when justice is withheld. But the moral caprices are far from alien. Unfortunately, while the show engrosses and appeals and appalls two thirds of the way through THE VIST seems to get stuck. The depiction of Anton feeling trapped and his putting up with the emotional justifications of an apologizing villager is essential but the storytelling at this point seems to go awry and put a drain on the energy of THE VISIT’s surreal narrative. Maybe Anton ought to have more or different emotional power as he watches his own world turn on him, but as done now, Anton, Mr. Doyle and THE VISIT seem to just soldier through this void, until theatrical balance returns. Happily the ending is well worth it.
Ms. Graciela Daniele’s choreography lets the citizens of Brachen make much use of Mr. Scott Pask’s spare scenic design with its decrepit railroad station setting and Claire’s vast pile of luggage and coffin. With the addition of Mr. Japhy Weideman’s lighting, we are taken all over Brachen from station to hotel to woods to past and present with amazing clarity, giving a wonderful meaning to the idea of dealing with people’s baggage. Then also, both Mr. Doyle and Ms. Daniele gives nodding acknowledgement to the notion that Claire Zachanassian now has some trouble with her limbs, but they allow Ms. Rivera to soar gloriously beyond such commonplaces as physical infirmity in this mythic role. When handling the young Anton and Claire too, director and choreographer are amazingly able to let these shades be a part of the action and still keep them firmly in the past.
Music Director David Loud contributes mightily with the orchestra allowing the different types of numbers – choral to star solo to ghostly echoes – to shine and fit the action even when the music suddenly shifts from one style to another.
The costumes by Ms. Ann Hould-Ward with hair and makeup by Messrs. Paul Huntley and J. Jared Janas are downright spellbinding with the dusty threadbare denizens of Brachen contrasted strikingly against the glamorous and dapper beings that are Claire and her crew and the cream white garb of the young Claire and Anton.
As it is now, Ms. Chita Rivera and Messrs. Kander and Ebb’s score make THE VISIT a truly amazing spectacle to behold and well worth the trip to the Lyceum Theatre, but there is still a feeling of inertia in the middle of THE VISIT that cannot be ignored and must be endured as one goes from the extraordinary start to its dazzling finish.
Running Time: 95 minutes, no intermission
LYCEUM THEATRE
149 West 45th Street
Between 6th Avenue and Broadway
Box Office Hours: Mon – Sat: 10am – 8pm | Sun: Noon – 6pm
Online Tickets: Or Call 
212.239.6200
About the reviewer:
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
EDITOR’S UPDATE: 04/28/2015
GUEST REVIEWER: A review of Lincoln Center Theater revival of THE KING AND I
Anna’s Undies
or
The Front Row Follies
A review of Lincoln Center Theater revival of
THE KING AND I
At the Vivian Beaumont
April 7, 2015 IN PREVIEWS
NOTE TO READERS: I usually try to treat every show I review as if I am seeing it for the first time. However in the case of THE KING AND I such a position was not entirely possible.
Mr. Oscar Hammerstein II wrote the book and lyrics for the classic 1951 musical THE KING AND I basing his work on Ms. Margaret Landon’s novel ANNA AND THE KING OF SIAM, (which is in turn a reworking of Ms. Anna Leonowens’ dramatic memoirs of the 1870’s). THE KING AND I tells the story of the young widow Anna Leonowens who in the 1860’s has journeyed to Siam with her young son Louis. Anna has been hired as teacher for the King of Siam’s royal family as part of the King’s plan to modernize (westernize) his country while fending off the imperialist ambitions of European powers. As she starts her work, Anna finds herself being drawn into the intrigues of Palace life and even having conflicts with the King – primarily regarding a certain term of her contract that he claims to have no knowledge of. In turn the King is intrigued by the Englishwoman who apparently has no fear of him and who represents the western advances in sciences and ideas that he is aspiring to achieve. When Western adventurers call the King a barbarian whose country should be made a protectorate Anna helps him to entertain and influence an English Delegation with results that deeply affect the King, the Royal Family, Siam and herself.
Director Bartlett Sher and his production team are clearly in awe of THE KING AND I and have mounted a revival that is both an astonishing eyeful and a veritable crowd pleaser. But for all that Mr. Sher and Co. have accomplished to impress the hell out of the audience and make it feel that it has gotten its money’s worth, there is an air of self-importance and a tendency to miss details that keeps this revival from being the truly outstanding production it so clearly is trying to be.
The book itself is an example of this problem: the current revival makes certain revisions to Mr. Hammerstein’s book and cuts the song “A Puzzlement” in a way that adds emphasis to the King’s difficult position as a traditional Eastern monarch who must adapt and strategize in the face of European imperialism. For the most part, I actually like these changes which make His Majesty seem less naïve and driven by personal desires than in previous productions. However, there is a tendency to make the situation clear and then immediately expound upon another variation of the same point. This causes certain scenes to lose their tension and focus and become rather labored. Judicious cutting and refining would definitely help.
Of course even with such changes, the rest of the score is wonderfully intact: from the optimistic trepidation of “I Whistle a Happy Tune,” through the endearing “Getting to Know You,” and the climactic “Shall We Dance,” Composer Richard Rodger’s and Mr. Hammerstein’s widely ranging music and lyrics define characters, enhance the action and make up one of the truly great musical scores.
This production of THE KING AND I is indeed “Mrs. Anna’s” show as Ms. Kelli O’Hara’s Anna Leonowens sweeps into Siam with all the apparent eagerness and self-confidence of someone who is certain that she is right. But Ms. O’Hara makes it clear that Anna’s assuredness and insistence of promises being fulfilled is actually the armor her character uses to protect herself and her son in this strange new place. Bit by bit this shell is removed, letting us see the woman who can become a discreet champion of doomed lovers in the moving “Hello Young Lovers,” make a classroom of royal children into a believable mutual adoration festival through the joyful “Getting to Know You.” It is Ms. O’Hara’s ability to contrast Anna’s humanity and vulnerability with her overwhelming desire to have everything set to rights in the Kingdom that makes this Governess a heroic and sympathetic person instead of the interfering intruder she might easily have been. This Anna may be exasperated and critical of the King – earning our sympathy and well deserved laughs and applause in the explosive and difficult soliloquy “Shall I Tell You What I Think of You?” – but she champions his goals and even makes some effort to understand him.
As Anna’s employer, Mr. Ken Watanabe is a truly formidable King Mongkut of Siam, presenting a man driven by politics as well as royal prerogative. This King understands how essential it is for him to speedily assimilate new ideas and languages, while trying to maintain authority in a changing world. Thus for Mr. Watanabe’s King, his fascination for Mrs. Anna is that of someone who represent the challenge of a Western influence as well as a colleague with whom he can communicate. Mr. Watanabe uses his accent to provide a vocal brusqueness that would be natural for a Monarch who is still feeling his way through English. Alas, some of the spectators around me did have some trouble fully understanding him – especially when he sometimes hastened though his sentences. Furthermore – although I fear this may have been due to Mr. Bartlett Sher’s direction – Mr. Watanabe’s depiction of angst was often of an “all or nothing” style of delivery that made his version of “A Puzzlement” appear less a song of intellectual perplexity than of digestive trouble.
Adding to His Majesty’s anxieties is the emotional isolation of his new wife, the Lady Tuptim. A gift from the court of Burma, Tuptim had already fallen in love with Lun Tha, one of the Burmese delegates, before she had ever been presented to the King. Charming Ms. Ashley Park is a wonderful Lady Tuptim, giving her role a grace and spirit that makes Tuptim more than just a girl driven by love. This is a woman who dares to hope for a better future even in the face of futility. Ms. Park’s memorable rendition of “My Lord and Master” – a song describing Tuptim’s emotions when she has been accepted as a wife to the King – manages to be both operatic and yet believably from Tuptim’s secret heart.
Although the handsome Mr. Conrad Ricanora’s Lun-Tha is not as imposing or even as heroic a character as the King is, his reckless and despairing love for Tuptim endows his role with its own power. When he sings “We Kiss in a Shadow,” Mr. Ricanora makes it Lun-Tha’s musical lure that unites him to Tuptim in their dangerous dream.
Where Tuptim feels trapped in the world of the Palace, Ms. Ruthie Ann Miles’ brilliant Lady Thiang is a poised inhabitant. Ms. Miles’ shows us the embodiment of a loving consort, who truly loves the King and does all she can for him and her son, the Crown Prince Chulalongkorn, seeing their potential for good. This is clearly shown in Ms. Miles’ moving performance of “Something Wonderful” which can all too easily become a hymn to enablement rather that the longing need of a woman to assist someone she loves in their aspirations for greatness.
As the heir of the King, Prince Chulalongkorn represents the aspirations for the future. Mr. Jon Viktor Corpuz presents us with a sturdy young prince who is not sure that he is really thrilled with life under Anna’s instruction and plays the Prince’s gradual warming to his teacher most quite well, keeping Anna unsure of how much her lessons are reaching him.
Mr. Jake Lucas succeeds nicely in preventing Anna’s son Louis Leonowens from becoming a mere prompt for other people’s dialogue. Indeed Mr. Lucas’ sunny young man provides an interesting contrast to the Royal Children, always being part of the crowd yet apart from them too which gives his duet with Chulalongkorn in the recap of a “A Puzzlement” a bit more depth than I expected in a reprise that was originally devised to cover a scene change.
Another surprise was Mr. Paul Nakauchi’s finely tuned performance as the King’s Prime Minister, the Kralahome. Mr. Nakauchi created an aloof dignitary who truly understands and respects his ruler, letting his feelings for him show briefly but most effectively.
The rest of the performers are all excellent, be they wives, children, courtiers, dancers and foreigners. Indeed the troupe who dance the balletic play-within-a-play THE SMALL HOUSE OF UNCLE THOMAS are simply phenomenal, performing this earnest “Siamese” take of UNCLE TOM’S CABIN with a flair and sense of fun that never crept into parody.
It is obvious from this splendid cast and the ornate production that Director Bartlett Sher truly has an embarrassment of riches on his hands. I only wish he could let some of that wealth fall to the sidelines when a concept does not quite work. Also it is apparent that Mr. Sher is enthralled by staging and designs that can only be appreciated properly from the back rows of the theater. This results in a lovely and inspiring state of affairs for anyone seated in the rear of the house but downright frustrating to those holding seats closer to the action, starting with the opening scene which became a debacle for many people sitting in the first four or five rows around the Orchestra Pit: As the stage extends over the musicians in orchestra an imposing model steamer sails onward, its prow towering above the front of the stage apron. When Captain Orton and Louis Leonowens appear on the top deck of this vessel, all that is visible for those unfortunates in the closer seats is Captain Orton’s cap. Then Ms. Kelli O’Hara makes what ought to be THE star entrance as Anna Leonowens. Her voice is clear and her hat the only visible part of her until she approaches the ship’s rail and treats the spectators seated beneath the ship to several long and unnerving views of the vast underside of her hoopskirt. After THAT introduction, I can report that under the interesting array of her crinoline, Ms. O’Hara wears sturdy traveling shoes, proper hose and clean pantalets that ended above the knee.
After this annoyingly awkward sequence, everyone climbs off the ship which pulls away to reveal a quayside setting that would have been perfectly fine from the very beginning since most of the action and singing takes place here anyway IN FULL SIGHT. But clearly someone’s judgement was woefully affected by the concept of that unfortunate ship.
This “sightlines be damned” tendency occurs consistently and aggravatingly throughout the evening, caused by the arrangements of the set, a prop or groupings of the cast members and I firmly and regretfully lay the blame for this ineptitude at Mr. Bartlett Sher’s feet. Doubtlessly Mr. Sher is trying to emulate the beautifully cinematic flow of SOUTH PACIFIC (a show he dazzlingly revived at the same theater some years ago), but the palatial progression and set pieces of THE KING AND I constantly works against such a dynamic approach due to the need for the action to be visible to the entire audience and because all the time taken for the constant onstage shifting and rearranging of scenery tends to drain off more and more energy.
Then too, it appears that Director Sher sometimes focuses on the impressive climax of a scene but lets everything coast into it. At other times he allows the action to build up ponderously, such as the aforementioned thematic repetition of the King’s concerns with Europe. For me the worst instance of all this sloppiness is in Act 2 during Anna’s final confrontation with the King. Each of her accusations is rushed along like a run-on sentence that comes to a halt with her final indictment of His Majesty. This haste robs Ms. O’Hara and Mr. Watanabe of their most powerfully dramatic moment since each of Mrs. Anna’s charges is meant to hit the king like an emotional body blow until he can no longer take it and finally erupts at her.
Still, there is much to praise in Mr. Sher’s work from the scholarly and politically shrewd King through Anna’s delightfully individual relationship with each of the Royal Children. Mr. Sher makes certain that even the smallest role onstage provides another character in the story rather than function as mere walking scenery. If I had to argue with any of the characterizations it would be with Mr. Edward Baker-Duly’s Sir Edward Ramsey: why must this visiting dignitary who had been part of Anna’s past always get played with a sort of to-the-gallery vapidity? I have seen this style of portrayal often enough to assume it is traditional with revivals of THE KING AND I but to me is just seems silly and makes Anna and the King’s interaction with Sir Edward of far less importance than we have been led to believe it should be, especially after all the highlighting of the King’s political concerns.
Choreographer Christopher Gattelli is quite faithful to Mr. Jerome Robbin’s original dances but marvelously makes the fullest use of the vast Vivian Beaumont stage to permit the performers to come alive rather than merely re-enact the glory of Mr. Robbin’s past work.
Similarly Mr. Ted Sperling directs a wonderfully large orchestra that truly glories in Mr. Richard Rodgers unforgettable music (with the classic orchestrations of Mr. Robert Russell Bennett and Ms. Trude Rittman’s additional arrangements). Alas the Overture deserves better treatment, not merely being truncated which would have been understandable given the length of the show, but being rewritten into a mere hit parade of tunes lingering on “Shall We Dance,” a theme that is usually never heard in the overture because it is reserved for actual performance to heighten it’s impact. Such a spoiler of an overture is better discarded altogether.
The sets (besides the confounded boat) are simple yet grand. Mr. Michael Yeargan understands how sumptuous and magnificent does not have to be overwhelming. He skillfully evokes the Bangkok riverside and the Palace Environs on the large performance space with care and even delicacy. The sets and stage action were admirably lit by Mr. Donald Holder and Mr. Scott Lehrer’s judicious sound designs assured that even if the scenes cannot be fully seen by everybody, they can clearly be heard.
It has been observed that certain moments of THE KING AND I star not only the actors but the costumes they wear and Ms. Catherin Zuber’s gorgeous creations take the stage most impressively. From English hoopskirts to Siamese pha nungs, Ms. Zuber’s garments both capture the eye and define the character of the wearer. While using new designs to make Mrs. Anna look most charming, Ms. Zuber wisely does not eschew the magic of the famous pink satin ball gown that has always made “Shall We Dance” one of the most memorable moments in musical theater. On an irreverent note, THE KING AND I’s opening scene makes it most clear to the closer seat holders that Ms. Zuber is as just meticulous about designing the cast’s underclothes.
THE KING AND I is slated to open on April 16 and it is sure to be a popular draw and should not be missed. All the same, I feel sad that some unfortunate and thoughtless choices will prevent this revival from being the defining hallmark production that it ought to be. And I close with a word of advice:
When booking your seats, avoid the first five rows around the stage.
and an ardent plea to Mr. Sher:
SINK THAT SHIP!
About the reviewer:
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
BREAKING: Frozen 2 is Officially Announced – Disney Blog
Frozen 2 is Officially Announced And We Are Crying Icy Tears of Joy
It’s of-f-f-f-f-icial: Frozen 2 is in development at Walt Disney Animation Studios with directors Chris Buck and Jennifer Lee and producer Peter Del Vecho, the Oscar-winning filmmaking team behind Frozen.
The news was announced at this morning’s Annual Meeting of Shareholders by Bob Iger, Chairman and Chief Executive Officer of The Walt Disney Company; John Lasseter, Chief Creative Officer of Walt Disney and Pixar Animation Studios; and actor Josh Gad (voice of Olaf and all-around cool dude).
We don’t have an official release date for the film yet, but we do have so many hopes and dreams and excited screams and are jumping up and down! We can’t believe this is real life!!
Some GIFs that represent our feelings (they are of escalating size but equal status in our hearts):
What do you think’s going to happen in Frozen 2?!
Be the first to get the Oh My Disney newsletter when it launches!
Get Social
Featured Articles
13 Pieces of Beautiful Frozen Concept Art
Popular Posts
Guest Review of Encores! “THE BAND WAGON” at New York City Center
Off the wagon.
A Guest Review of Encores!
“THE BAND WAGON”
at New York City Center
November 8, 2014
THE BAND WAGON is an energetic celebration of the music and lyrics of Messrs. Arthur Schwartz and Howard Dietz. Based on the 1953 MGM film THE BAND WAGON, Mr. Douglas Carter Beane uses the original screenplay by Ms. Betty Comden and Mr. Adolph Green to provide a workmanlike pastiche of scenes in which to launch the songs; many of which had originally been created for the 1931 Broadway review of the same name. And what a lovely score there is, with fun numbers like “I Love Louisa,” the wistful “I Guess I’ll Have to Change My Plan,” and the intense “Dancing in the Dark” to name but a few. All are played with the flair and obvious pleasure that has come to be a hallmark of the Encores! Orchestra which is led for THE BAND WAGON by Mr. Todd Ellison. Indeed there is such a wealth of beloved songs that the couple behind me had a lovely time quietly singing along with the music onstage and I had not the heart to turn around and ask them to stop.
The plot is simple: Hollywood Screen Idol Tony Hunter is slipping at the box office and in hopes of revitalizing his career Tony has accepted the invitation of British Thespian Jeffrey Cordova to star in a new Broadway show. Tony arrives in New York only to learn to his reluctant surprise that the show is going to be a musical that Jeffrey will direct – his first musical to be precise. Adding more to Tony’s hesitation is the fact that his former friends Lily and Lester Martin – who aren’t exactly thrilled to be working with Tony again – are supposed to supply the book and score to this new production. Toss in Paul Byrd, a self-important choreographer, and his girlfriend Garielle Gerard, a former member of the Tony Hunter fan club and you know that there are going to be complications, hijinks, tantrums and spur-of-the-moment decisions of such significance before they make it to Broadway, that I wondered why they didn’t simply resort to Judy and Mickey’s barn – actually someone DOES ask that same question in the show.
The cast works very hard to flesh out the cinematic shadows they are saddled with. Mr. Brian Stokes Mitchell gives a pleasantly light performance as Tony Hunter that is in keeping with the “aw shucks” 1950’s ambiance. In fact he’s a somewhat more entertaining but slightly flawed “Father Knows Best” figure; trying to marshal his troupe to a successful first night and at the same time renew his career and inspiration. But there was very little Tony Hunter for Mr. Mitchell to work with so I took Mr. Mitchell at his word that this was his role and just enjoyed watching him try to make the best of it. Song and dance-wise he was simply delightful.
The Great British Dramatic Actor Jeffrey Cordova is a theatrical babe in the woods who is such a good sport and so eager to take up the latest half-baked idea that he would be absolutely impossible to believe as a character had not Mr. Tony Sheldon had so much fun playing him with a wink and a nudge. Jeffery is unreal, but Mr. Sheldon makes him amusingly good company.
Complementing Jeffrey Cordova is his devoted right-hand man Hal Meadows. Hal is down to earth and often keeps Jeffrey from running off the rails. As the show proceeds Hal is often the one who is there to keep things moving forward for everybody. Mr. Don Stephenson plays Hal with wonderful understatement often providing an ideal counterpoint to the more volatile “creative” people.
Speaking of volatile, Mr. Michael Berresse is the egocentric choreographer Paul Byrd. Byrd is something of the heavy of the piece – determined to have an advanced ballet produced in the show at all costs (Boo! Hiss!). Thankfully Mr. Berresse remembers that this is a MOVIE version of Broadway and NOT “A Chorus Line” and if he does not quite twirl a moustache and mutter “Curses,” he does exude a villainous single-mindedness to his plot to inflict his interminable ballet upon the public, even at the expense of the show.
It is surprising that Paul Byrd has a girlfriend as talented and idealistic as Gabrielle Gerard who clearly seems to overshadow him. There is something of a blushing “Gee Whiz” demeanor in Gabrielle that Ms. Laura Osnes makes believable. Here is a sweet and likable young lady who has something of a full story to tell us. Better still Ms. Osnes makes us root for her.
Lester Martin is another incompletely drawn character; he is there to sit at the piano and push his music while worrying about losing his wife Lily to Tony Martin. Somehow Mr. Michael McKean brings him sweetly to life and makes us care for this man who knows that his wife had settled for him after Tony left for Hollywood.
Indeed I too was in love with Ms. Tracey Ullman’s Lily Martin. Lily is not glamorous nor does she have any major dance number, but she is the most three dimensional and sympathetic of all the people trying to bring this musical to a successful Broadway opening. Here we have a successful woman who was deeply in love and only married her best friend Lester because she could not have Tony. She has to work out her feelings for both men while trying to keep the show from closing out of town. Watching Ms. Ullman’s superb portrayal of Lily, I thought, “What an amazing musical there might have been had Lily Martin been the focus of THE BAND WAGON – not Tony Hunter.”
The rest of the ensemble do their best to be believable city people and show folk, not even cracking a smile during the most ludicrous of Paul Byrd’s dance excesses.
The problem with adapting a well-known and beloved film into another form is that the original is a ghostly presence that haunts whatever new version is created. In the case of THE BAND WAGON an exorcism would have been a good idea. Mr. Douglas Carter Beane’s book does not want to risk alienating the audience who remembers the original – like the musical duo I mentioned before – but at the same time he often forgets that the speedy development of the plot points that might work in a movie may come across as incomplete onstage. Interactions that can mean a lot in close-up need more fleshing out when on a big stage. Matters that should be detailed are merely relayed to the audience in a second hand way, sometimes with minimal exposition: Who really cares about Tony Hunter and his bad movie making decisions?
Director and Choreographer Kathleen Marshal has to make the most of the uneven script but she cannot get beyond some of the moments that are staged for the sole purpose of setting a song that has no logical place in the script. She tries to interest us in these musical numbers that are often part of the Broadway bound show in a show but beloved as some of these scenes are in the movie (like “Triplets” and “Louisiana Hayride”) it might have been better just to assemble them as some sort of independent entre-act rather than waste time in a painful attempt to make them integral. Again, I have to hearken back to Mr. Beane’s adaptation. I understand that this BAND WAGON is based on Hollywood’s take on Broadway, but the creaky conventionalities (commercial entertainment versus ART, the comeback of the has-been, etc…) and the hackneyed theme of the Lester and Lily Martin’s plot for the Broadway Bound show are either a spoof or a lousy script.
Even when there are departures that seem promising, everything is firmly buried in what Mr. Beane assumes are the Hollywood conventions of the day. Mr. Beane claims the script was a tribute to Ms. Comden’s and Mr. Green’s work as a writing team. As an admirer of the duo, I had this sinking feeling that they’d have demanded a rewrite Happily when the musical numbers get going they are a lot of fun to hear and watch. Ms. Kathleen Marshal does know how to make performers move and some of the staging is memorable such as for the song “I Love Louisa.”
Mr. Derek McLane’s excellent sets and Mr. Peter Kaczorowski’s lighting followed and highlighted the action smoothly, while Mr. William Ivey Long’s costumes were very much of the 1950’s and he allowed himself a sly joke of dressing some performers in the show within the show as recognizable characters from other musicals of the era. But little point: Ms. Osnes please tuck in ALL of your hair for “Triplets” – it just spoils the point when the three babies sing about how they are all alike when one of them is sporting long flowing curls down past her shoulders. Then too in “Triplets”, Mr. Brian Ronan’s sound design is either muffling some of the lyrics or amplifying the performers’ mumbling of them – and not only in that number.
I feel like a grump writing down all these criticisms – especially as the audience seemed to be having a whale of a time. And I enjoyed THE BAND WAGON too for what it was: a pleasant diversion that entertained in spite of its story – not because of it.
-
Cast & Credits
Book by Douglas Carter Beane
From the screenplay by Betty Comden and Adolph Green
Music by Arthur Schwartz
Lyrics by Howard Dietz
Based on the classic MGM film
Produced by special arrangement with Warner Bros. Theatre Ventures
Featuring The Encores! Orchestra
Guest Music Director Todd Ellison
Directed and Choreographed by Kathleen MarshallStarring Brian Stokes Mitchell, Tracey Ullman, Michael McKean, Tony Sheldon, Laura OsnesWith Michael Berresse, Don Stephenson, Lawrence Alexander, John Carroll, Joyce Chittick, Jason DePinto, Ericka Hunter, Dionna Thomas Littleton, Gavin Lodge, Erica Mansfield, Brittany Marcin, Paul McGill, Kaitlin Mesh, Jermaine R. Rembert, Brandon Rubendall, Jennifer Savelli, Eric Sciotto, Samantha Zack
-
An Encores! Special Event
The Band Wagon
- Mainstage
- Nov 6 – 16, 2014
- Tickets start at $30 available here:
About the reviewer:
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
GUEST REVIEWER: ON THE TOWN – Lyric Theater – October 21, 2014
Bringing up Gabey.
A review of the revival of
ON THE TOWN
At the Lyric Theater
October 21, 2014
by Moshe Bloxenheim, Guest Reviewer
When the house lights dimmed in the Lyric Theatre on 42nd Street and the audience hushed expectantly, no strains of Bernstein rose from the orchestra pit – instead we heard the stately notes of the “Star Spangled Banner.” Ours was doubtless not the first performance where everyone looked at one another in confusion, but soon enough all rose from their seats, hand over heart, and began to join in singing the National Anthem – first unsure of themselves but finishing the first stanza in full. It was only then that the curtain – itself a large US flag – rose and the show began.
A cynical scheme to make sure no one could hate this show?
No, we are traveling back to 1944 and wartime when New York was truly part of the Home Front and all theater performances started off with this tribute to our embattled country before taking the audience away from the grim realities of battle news, casualties, blackouts and rationing.
Happily there is no rationing or actor shortage in this revival of ON THE TOWN. Nicely cast, cleverly staged and lushly orchestrated, the new production is an enthusiastic valentine to a bygone New York City: a glorious eyeful and earful that goes far to please the audience.
The premise of ON THE TOWN is simple: Ozzie, Chip and Gabey are three US Sailors who have 24 hours leave in New York City before they ship out. As they ride the subway from the Navy yard, Gabey sees a picture of the latest month’s “Miss Turnstiles” and longs for the exotic young lady who has been so honored by the New York City Board of Transportation: Miss Ivy Smith. The three young men agree to split up and use clues from the Miss Turnstiles poster to locate her. As they search, Chip meets the delightfully direct ex-cabbie Hildy Esterhazy and Ozzie encounters a soul-mate in the volatile anthropologist Claire de Loone. But poor Gabey must endure many more obstacles before he can meet the Ivy Smith of his dreams.
Jay Armstrong Johnson, Tony Yazbeck and Clyde Alves
These three young men and three young ladies may be the lead roles, but the starring spot is reserved for the setting of ON THE TOWN itself; the big, confusing, often tawdry New York City that even in wartime offers a magic wonderland that beats the organized, rational happiness of Disneyland hollow.
To populate such vibrant metropolis, the company has to be large by necessity and many performers play multiple roles: exiting as one citizen of the fair city and reentering the scene as another different character, each one with his or her own story to tell, be they sailor, cop, schoolgirl, commuter, lover or employee of Mr. Godolphin. Such careful delineations are certainly due to the efforts of the director and the choreographer, but a long and hearty ovation surely must go to these actors who never devolve into walking stage properties.
One of these many-faceted players is the very talented Mr. Stephen DeRosa. He plays a motley series of individuals and the spectator is hard put to recognize the tired shipyard worker, wise guy bill poster, harried professor, hackneyed club hosts, etc., as one and the same person even though Mr. DeRosa often adds his own funny touch that makes the most of each individual.
Mr. Phillip Boykin is another skillful actor who adds to the multitude, with his warm booming voice and the ability to go from the sleepy worker who memorably opens the show to the campily shrill announcer for the Miss Turnstiles contest and finishes off as a gritty Coney Island carny.
Megan Fairchild and Jackie Hoffman
If other actors are giving us a remarkable parade of the New York public, Ms. Jackie Hoffman gleefully rounds up her various personalities to show how many people can be a singular pain in the neck. Whether she is a crotchety Old Lady who objects to our heroes or becomes each of the various club singers who must moan the most inconveniently depressing of songs, Ms. Hoffman is hell bent on demonstrating how ruining everyone else’s fun can be a grand activity, especially when she is playing the chief obstacle between Gabey’s and Ivy’s meeting: the dipsomaniacally mercenary singing teacher Maude P. Dilly.
Though Mr. Michael Rupert only inhabits one role –Judge Pitkin W. Bridgework – he makes the most of this slowly building gag who is Claire’s relentlessly understanding fiancé. For the good Judge, realism is not worthy of a hearing.
Just as gratifying in her small, but vital part is Ms. Allison Guinn as the definitive drip and third wheel, Lucy Schmeeler.
So what of our sailor’s and their ladies?
Jay Armstrong Johnson and Alysha Umphress
The cutely handsome Mr. Jay Armstrong Johnson definitely gets a merit badge for his performance as the boy-scoutish Chip, who wants to see the big city but is there for his pals. One can easily see why Hildy is determined to get this Sailor away from his guidebook. Not that sensible Chip can resist Hildy for long, and who can blame him? The marvelously named Ms. Alysha Umphress provides a deliciously voluptuous and direct young lady who knows what she likes and is happy to let us all in on the secret. Vocally Ms. Umphress belts her numbers with a wonderfully knowing air that makes her singing “I Can Cook Too” one of the highlights of the evening.
In direct contrast to Hildy is Claire de Loone: she also knows what she wants, but is trying to make do with what she believes would be better for her – such as her fiancé Judge Pitkin W. Bridgework. But deep down Claire knows that better isn’t always best. She is a healthy mademoiselle who tries desperately to maintain a cool, intellectual facade only to give way to vigorous explosions of enthusiasm as she amusingly explains in the whimsical song “Carried Away.” Unfortunately Ms. Elizabeth Stanley never quite strikes the balance between a vessel of simmering passions about to hilariously blow her top or a cartoonish basket case who is dangerously close to putting her carefully manicure index finger to her rosy lips and going Bliblbliblblibl… Still, when avoiding the outright caricature, Ms. Stanley’s Claire can be quite a girl.
Ozzie might get carried away too, but the excellent Mr. Clyde Alves keeps it all in fun and avoids psychiatric undertones. Here is a likeable fellow who might get a bit full of himself but his reaction to the overwhelming Claire shows that he has a thing or two to learn.
Tony Yazbeck
As a farm boy from the Midwest, one might think the innocent Gabey would have a LOT to learn, but in spite of all his friend’s advice, Mr. Tony Yazbeck’s sweet and boyish Gabey does better relying on himself. From the moment he falls for Miss Turnstiles’ poster, Gabey has everybody rooting for this heart-struck young man. A one dimensional character would be hard put to convey the helpless loneliness of “Lonely Town” or the jubilation of “Lucky to Be Me,” let alone bring the audience along in Gabey’s nightmarish fantasy search of “Imaginary Coney Island.” Yet, Mr. Yazbeck makes it all feel real.
Megan Fairchild and the cast of On The Town
Happily for Gabey, Ms. Megan Fairchild’s Ivy Smith is just what he needs – a nice and pretty girl who is far from the exotic creature that was conjured up by the Miss Turnstiles campaign. Ms. Fairchild can soar in a fantasy ballet and do a Miss Turnstiles strut, but her Ivy is a likeable down-to-earth person who is more than a little bewildered by everyone else’s expectations for her and she proves a droll foil for Ms. Hoffman’s conniving Maude P. Dilly.
Such a big cast could easily engulf a less carefully thought out stage, but Mr. Beowulf Boritt provides a mix of sets, curtains, moving panels and projections that is well worth seeing on its own merit. Under the expert lighting of Mr. Jason Lyons, streets rush by, clubs spring up, subways hurry through a fantastic city that can seamlessly expand to handle the show’s biggest dances and contract to focus on the most intimate moments. This is ON THE TOWN’s native environment and everyone and everything involved seem to belong here and take sheer joy in the energy and motion of the show – even the Status of Liberty’s torch, which would have been blacked out during the war years, beams approvingly over the goings on.
If Messrs. Borrit and Lyons provide the world of 1944 New York, then the costumes, hair and makeup designs of Mr. Jess Goldstein, Ms. Leah Louks and Mr. Joe Dulude II do a fine job of filling the streets with believable 1944 New Yorkers, strikingly imaginary people for the dream ballets, eye-catching carnies and lots and lots of handsome sailors.
On the whole the direction is quite good with Mr. John Rando effectively keeping the development of the characters and their situations flowing smoothly and enjoyably. Unfortunately Mr. Rando does not always know where the fine line lies between the believably funny or the flatly cartoonish. There are, of course, downright caricatures like Judge Pitkin W. Bridgework and Maude P. Dilly where any degree of actuality would ruin the fun, but I somehow wondered if Director Rando had something to do with poor Claire de Loon’s operatic excess. Also Hildy’s speedy moderation of her initial “Duh Bronx” accent with its “Youse” and “Dese” inflections to a more pleasing enunciation show how much this was just a sloppy and unnecessary gimmick to establish character.
But I thought Mr. Rando’s staging had one misstep which went beyond funny-papers “haha” to downright crude: When the Announcer of the Miss Turnstiles competition struggles to relieve the unwilling Ivy of her crown at the end of the month, he looks like he is ripping it off her hair.
It is unfortunate that such lapses are there for both the actors and the audience to endure, but they are happily outnumbered by Mr. Rando’s better choices, Adding to the plusses, Conductor James Moore, the orchestra and the singers clearly appreciate Mr. Leonard Bernstein’s music and (Assisted by Mr. Kai Harada’s subtle sound designs) give it a glorious sound. Ms. Betty Comden and Mr. Adolph Green provided the lyrics as well as a fun book and, along with Mr. Bernstein, convey their own youthful enthusiasm for New York and life and optimism about the future. The songs are gems and more than a few are classic hits starting with the unforgettable “New York, New York (a helluva town).” From the blissful “Lucky to Be Me,” to the endearingly raunchy “I Can Cook Too,” to the sweeping ballet pieces, and the heartfelt “Some Other Time” it is clear that even in their twenties Ms. Comden and Messrs. Bernstein and Green could cover emotional and dramatic ground with a skill that seems harder and harder to find in modern musicals.
ON THE TOWN is a show that was inspired and in part developed by the legendary Mr. Jerome Robbins. Choreographer Joshua Bergasse understands this heritage, giving us a city where dance inhabits every onstage motion without any air of “art for culture’s sake”; it is often funny, frequently beautiful and more than one moment brings a lump to the throat.
With all the people and sets that must pass on and off the stage in such a smooth and continuous progression, it would be ungrateful not to offer up an extra round of applause to the Production Stage Manager Bonnie L. Becker. I bet her backstage work with its split second timings of cast and properties would be another fascinating performance to behold.
At any rate what is offered on stage is a true jewel of Musical Theater. It may not be a flawless pearl, but ON THE TOWN is still to be valued and delighted in.
————————————————————————-
Leaving the theater I was left with an interesting question; how many people below a certain age would now see ON THE TOWN as anything but three goofy sailors who have left their ship for a day?
When ON THE TOWN opened in 1944, the musical had dramatic undertones that were felt by everyone whether onstage or in the audience: At the end of their 24 hour leave, these three sailors who had already undergone combat would be shipped off once more to a possibly dangerous destination from which they may never return. Additionally, the three girls were discovering themselves in a world changed by war and no one knew what the outcome would be even at home. Even after 1945, further unrests in the world and the possibility of the draft must have lent the show’s final moments poignancy that I fear many of today’s younger people must miss – living as we now do in a compartmentalized world where the US can be fighting wars that have far less affect back at home than they once might have had. Who would have the nerve these days to talk of a home front or ask anyone to make sacrifices for our nation’s good?
I began my review by mentioning how the show attempted to evoke 1944 by the singing of the National Anthem. Perhaps the sense of those uncertain times could have been enhanced by the addition of one more lighting effect to the dazzling array of projections: a discreet image of World War II news sliding across the Times Square News Ticker.
One more notion: Although it might ruin a desired measure of surprise for the show, I think it would be a little more respectful to both the audience and the National Anthem if everyone had fair warning that the “Star Spangled Banner” was imminent before they got to their seats. It just isn’t something one ought to spring on people.
————————————————————————-
On the Town Tickets
ONLINE AT TICKETMASTER.COM
BY PHONE (877) 250-2929
or at the
BOX OFFICE
Lyric Theatre 213 W 42nd St, New York, NY 10036
RUNTIME
The performance is 2 hours 30 minutes, including one 15-minute intermission.
MOBILE LOTTERY
Visit TodayTix for a chance to win same-day $20 tickets from your phone.
ENTER NOW
About the reviewer:
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
An Interview with: Bruce Vilanch in PTown
While on vacation in PTown this summer www.BroadwayKingdom.com had the pleasure to sit down at Curio Coffee with the most famous person you NEVER heard of!
Bruce Vilanch is best know for his stint on Hollywood Squares but you’ve known him for YEARS and didn’t even realize it!
Watch the video and be in awe of an amazing career in front of and in back of the spotlight!
Special thanks to Craig Austin Hoffmeyer for arranging this.
Greetings for
Rosh HaShanah 5775
Elli – The King of Broadway
&
BroadwayKingdom.com
Wish You and Your Loved ones a
Healthy, Happy, Sweet, Prosperous New Year 5775
In the year to come may the Al-mighty
grant you everything you need
(and a little of what you want as well!)
Kesivah Vachasimah Tovah
Shana Tovah U’mesuka
May you be inscribed and sealed in
the Book of Life
for a Good, Sweet New Year
I hope to see each and every one of you very soon.
Elli
***********************************
IMPORTANT HOLIDAY LINKS/INFO:
Make sure you hear the Shofar BOTH Days!
To Find Holiday Services Near You CLICK HERE
For Rosh Hashanah/Shabbos Candle Lighting Times
PLEASE CLICK HERE
For a Rosh Hashanah Holiday Guide Click HERE
For a Rosh Hashanah Meal Guide Click HERE
On Rosh Hashanah it is customary not to eat foods which are sour or tart (the gefilte fish will have to do without the horseradish…). Instead, we focus on sweet foods, symbolizing our desire to have a sweet year full of blessings and abundance. It is also customary not to eat nuts on Rosh Hashanah, as the numerical value of the Hebrew word for nuts (“egoz”) is the same as the Hebrew word for sin (“chet”).
An Interview with: Hal Linden at Café Carlyle
On May 14, 2014 www.BroadwayKingdom.com had the extreme honor to sit down with a living legend – the inspirational HAL LINDEN – Barney Miller!!! Mr. Linden was a fountain of information with stories, anecdotes and behind-the-scenes info on one of the most prolific careers of any star – ever! Please, sit back and enjoy one of our longest and best video interviews! I am proud to present a conversation with HAL LINDEN! Enjoy!
“Hal Linden Live in Concert” at the legendary Café Carlyle at 35 East 76th St. NY, 10075 Tuesday, May 20th through Saturday, May 24th.
**All shows are at 8:45pm with two shows on Saturday, May 24th at 8:45pm and 10:45pm
**For ticket info please visit: http://www.rosewoodhotels.com/en/the-carlyle-new-york/location/things-to-do/events-at-the-carlyle
**Also please visit www.hallinden.net
***************************************************
Originally opened in 1955, Café Carlyle is New York City’s bastion of classic cabaret entertainment, a place where audiences experience exceptional performers at close range in an exceedingly elegant setting. Since composer Richard Rodgers moved in as The Carlyle’s first tenant, music has been an essential part of The Carlyle experience. Other talents who have made the Café Carlyle their musical home include Woody Allen, who regularly appears to play with the Eddy Davis New Orleans jazz band, and, for three decades, Café Carlyle was synonymous with the legendary Bobby Short, who thrilled sell-out crowds for 36 years. His spirit lives on through the music at Café Carlyle.
Please join us for
PRESS RELEASE: DEMI LOVATO GOES BICOASTAL FOR PRIDE
MULTI-PLATINUM SELLING RECORDING ARTIST
DEMI LOVATO GOES BICOASTAL FOR PRIDE
NEW YORK, NY | LOS ANGELES, CA – Monday, May 5, 2014 – In honor of the 45th anniversary of the Stonewall Riots, two of the largest Pride events in the world— LA PRIDE and NYC PRIDE—have joined forces to announce the participation of one of the biggest names in Hollywood in this year’s LGBT Pride celebrations, Demi Lovato. On June 8th, the multi-platinum selling recording artist will join the LA PRIDE Parade as Grand Marshal and her participation will include a special performance. On June 29, Lovato will head east to headline perform at NYC Pride’s legendary Dance on the Pier on Pier 26 in Tribeca.
“It’s such an honor to be a part of both LA and NYC PRIDE celebrations this year,” says Lovato. “I have been an active advocate of the LGBT community and am wholly committed to supporting individuality and being comfortable in one’s own skin. I am thrilled to be a part of both events as they are a wonderful celebration of independence and self-confidence.”
One of the most exhilarating aspects of LA PRIDE’s weekend celebration is that of its annual parade, which brings out hundreds of thousand of participants, spectators and marchers to the streets of West Hollywood. A focal point in the flamboyantly colorful parade, the Grand Marshal represents a person whom has used their celebrity to be an outspoken supporter of the LGBT community.
“Demi Lovato is an amazing role model for today’s youth, both LGBT and non-LGBT, for her activism in the area of equality, positive messaging on body image, and level of openness with her struggles. As a community, we’re fortunate to have an ally like Demi,” said Patti DiLuigi, Co-President of Christopher Street West, producers of LA PRIDE.
Dance on the Pier is NYC Pride’s largest fundraising and community support initiative. The event’s production committee awards over $45,000 in grants to LGBT and LGBT-friendly nonprofits and community organizations each year. The event also supplies NYC Pride with critical operating revenue and pulls in countless visitors, driving attendance to NYC Pride’s other official events as well as various unofficial Pride events throughout the city. The historic event has played host to world-renowned performers, including Jennifer Hudson, Jennifer Lopez, Janet Jackson, Whitney Houston and most recently Cher.
“We are thrilled to welcome Demi to our stages for this historic celebration. Now in its 28th year, the Dance on the Pier continues a proud tradition of partnering with all-star talent to create a high-quality event that raises funds to support local LGBT non-profits and New York City’s annual Pride festivities,” says Chris Frederick, Managing Director of NYC Pride.
LA PRIDE runs June 6 to 8. Visit lapride.org for more information on LA PRIDE’s Parade and other annual events, including the thrilling Festival, featuring entertainment from Jennifer Hudson, Azealia Banks, The Bangles, Mary Lambert and Betty Who.
NYC Pride runs June 21 to 29. For tickets to Dance on the Pier, visit nycpride.showclix.com. For information on NYC Pride and their full roster of annual Pride events, visit nycpride.org/events.
###
About DEMI LOVATO
Demi Lovato is a singer, songwriter, and television star with a fan base that includes over 20 million die-hard Twitter followers and 30 million fans on Facebook. She is a platinum-selling recording artist whose latest album, Demi, hit #1 on iTunes in 50 countries. The lead single—”Heart Attack”— earned Platinum status just 10 weeks after launch. Demi is currently on the road for the NEON LIGHTS TOUR which was named after the third single and “Top 5” radio hit off of her album, Demi. In addition to her musical accomplishments, in 2014, her book, STAYING STRONG: 365 DAYS A YEAR became a New York Times best-seller, she returned to television as a judge and mentor on “The X-Factor” and starred in Fox’s hit series “Glee.” She is an outspoken advocate for young people everywhere. She has become a role model by talking openly about her personal experiences and speaking out against bullying among other issues. She serves as an official Ambassador for We Day and the organization Free the Children. She has recently launched The Lovato Treatment Scholarship Program, which helps people struggling with mental health and/or addiction issues cover the cost of treatment.
About LA PRIDE / CSW
In it’s 44th year, Christopher Street West (CSW) is proud to produce LA PRIDE, a series of events celebrating the accomplishments of the TLGB community and shedding light on its continued march for equality. A year after the modern Transgender, Lesbian, Gay, and Bisexual liberation movement was launched by the mob-led rebellion at the Stonewall Inn on New York’s Christopher Street in June 1969, activists in Los Angeles’ community came together to honor the rebellion with the world’s first PRIDE Parade in Hollywood, CA. Today, the organization continues to promote equality and diversity amongst the TLGB community and its allies with a three-day event held in West Hollywood, CA. The non-profit organization is comprised of an all-volunteer board of directors and professional consultants committed to the goals of human rights, education and outreach.
About NYC PRIDE
NYC Pride strives to empower individuals, groups, and our community as a whole, through the commemoration of our history—in particular the Stonewall Riots of 1969. New York City’s Pride events provide an opportunity to join together to celebrate our lives, take joy in all that we have done, and honor all those who have helped make our progress possible. The events provide a safe and affirming space in New York City while educating those both inside and outside our own community. In creating these Pride events, we reaffirm the self-worth of all Lesbian, Gay, Bisexual and Transgender people and all those who join in the ongoing struggle for our civil rights.