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  1. #226

    Re: The Broadway/Theater Thread

    Billy Porter has a song called "Love Is On The Way" that's on "The First Wives' Club" soundtrack. An over the top song for an over the top movie. Both favorites of mine.


  2. #227
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    Re: The Broadway/Theater Thread

    Quote Originally Posted by Charlie02123 View Post
    Billy Porter has a song called "Love Is On The Way" that's on "The First Wives' Club" soundtrack. An over the top song for an over the top movie. Both favorites of mine.

    Billy does over the top very, very well.

    He's got a power ballad, and 2 gay anthem-like numbers in "Kinky Boots", and does a fantastic job with all three. The closing number "Raise You Up" is all kinds of "I Am What I Am" fabulous. This song, that he does with The Angels, is just as good (and is not a copyright violating video like the other one on YouTube, that will probably get pulled down in 3...2..

    Lola and The Angels - "The Sex Is In The Heel"
    Last edited by Moose; 09-03-2013 at 07:26 PM.
    With Lucas Pouille at Indian Wells (2018)

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    Re: The Broadway/Theater Thread

    Musical fans might particularly enjoy this Sporcle quiz:

    http://www.sporcle.com/games/Puzzgal...in-other-words

    I only got 37/40. One I'd never heard of, and another I had no idea was a musical.

  4. #229

    Re: The Broadway/Theater Thread

    ‘Hamilton’ Producers Will Change Job Posting, but Not Commitment to Diverse Casting
    By MICHAEL PAULSON MARCH 30, 2016


    Lin-Manuel Miranda, far right, in “Hamilton.” Credit Sara Krulwich/The New York Times

    The hit musical “Hamilton” has drawn widespread praise for its use of a diverse cast to explore American history. But a casting call seeking “nonwhite men and women” to audition for the show drew criticism from the union representing theater actors, prompting “Hamilton” to say Wednesday that it will amend its language to make clear that anyone is welcome to try out for the show.

    The dispute is in some ways semantic — audition descriptions of many of the characters in “Hamilton,” as for other Broadway shows, often specify the race, gender and age range of the characters, and that is standard practice in the theater industry. But Actors’ Equity said that auditions should be open to anyone.

    At the end of the day, the producers of “Hamilton” said that they would change the posting that had drawn criticism, to make it clear that people of all ethnicities are welcome to audition, but would not back away from the show’s commitment to hire a diverse cast. In a written statement, the producers said that they “regret the confusion that’s arisen from the recent posting of an open call casting notice for the show” but also that “it is essential to the storytelling of ‘Hamilton’ that the principal roles, which were written for nonwhite characters (excepting King George), be performed by nonwhite actors.”

    “‘Hamilton’ depicts the birth of our nation in a singular way,” the show’s lead producer, Jeffrey Seller, said in a statement. “We will continue to cast the show with the same multicultural diversity that we have employed thus far.”

    The casting question is a timely one for “Hamilton,” which was written by Lin-Manuel Miranda and depicts the life and death of Alexander Hamilton: The musical, which has won nearly universal acclaim and is sold out, has embarked on a casting binge. The show has been running on Broadway since last summer and will have to hire replacements for the original cast if, as expected, some of the actors leave this summer to pursue other projects. The show has also been casting for an open-ended production scheduled to open in Chicago this fall, and a national tour starting in San Francisco next March. And the show is expected soon to announce a production in London.

    The current Broadway cast features Hispanic and black actors as the founding fathers, and includes Asian-American and white actors in other roles. The use of a diverse cast to explore America’s revolutionary beginnings and its democratic ideals has been an important element in the show’s critical success — in his review last summer, Ben Brantley wrote in The New York Times that “‘Hamilton’ is, among other things, about who owns history, who gets to be in charge of the narrative.”

    Just a few weeks ago, President Obama also called attention to the symbolic import of the show’s casting choices, saying, “With a cast as diverse as America itself, including the outstandingly talented women, the show reminds us that this nation was built by more than just a few great men — and that it is an inheritance that belongs to all of us.”

    But the show’s decision to post on its website an open casting call “seeking nonwhite men and women, ages 20s to 30s, for Broadway and upcoming tours” went too far for some. Concern about the job posting was reported Tuesday night by CBS New York, which said that a local lawyer thought the request for “nonwhite” actors was discriminatory.

    On Wednesday, a spokeswoman for Actors’ Equity, Maria Somma, said that the casting call was “absolutely inconsistent with Equity’s policy,” and that “we want to encourage that everyone has an equal opportunity to go in and audition for shows.” Equity-approved casting calls for “Hamilton” use less restrictive language, asking for “performers of all ethnic and racial background.”

    A New York City law bars discrimination based on race in employment advertising; a spokesman for the city’s Commission on Human Rights, which enforces that law, said that it had not received any complaints about the “Hamilton” casting call.

    Howard Sherman, a strategy consultant for Inclusion in the Arts, said his organization “recommends defining the requirements or specifications of the character, rather than the actor, to avoid this issue.”

    http://www.nytimes.com/2016/03/31/ar...=tw-share&_r=0

    A version of this article appears in print on March 31, 2016, on page C2 of the New York edition with the headline: ‘Hamilton’ Casting Call Is Criticized By Union.
    "Even if you dance for your enemy on the rock, he will accuse you of splashing water on him." ~ African Proverb




  5. #230

    Re: The Broadway/Theater Thread

    ‘Hamilton’ Hits a New High: The Most Money Grossed in a Week on Broadway
    By MICHAEL PAULSON NOV. 28, 2016


    Javier Munoz, center, as Alexander Hamilton in the musical “Hamilton.” Credit Sara Krulwich/The New York Times

    History is happening in Manhattan: “Hamilton” has set a record for the most money ever made in a single week by a Broadway show.

    The musical, which attracted national attention just before the week began with criticism from President-elect Donald J. Trump of its quality and the manners of its cast, grossed $3.3 million last week. That’s a huge number on Broadway, where only a handful of unusually strong shows gross more than $1 million in a week, and most pull in far less.

    “Hamilton,” which won the Tony Award this year for best new musical, is now the first Broadway show ever to gross more than $3 million for an eight-performance week. In 2013, “Wicked” grossed $3.2 million during a week in which that show had nine performances, one more than usual.

    The show, which uses hip-hop music and a diverse cast to explore the life and death of Alexander Hamilton, also set a record for the highest premium ticket price ever charged by a Broadway box office — $998 — although some people have paid more buying tickets from resellers. The previous premium ticket price record was $700, for “Barry Manilow on Broadway” in 2013.

    It is not clear how many seats “Hamilton” sold for a $998 box office price, but the show’s high average paid admission last week — $303, which is also a Broadway record — suggests that a substantial number of seats were sold for a premium ( these are the official box office prices — many people pay more buying tickets from resellers). And it now seems clear that, barring a dramatic and unforeseen reversal of fortunes, “Hamilton” will be the top-grossing show this season, overtaking “The Lion King,” which has held the top spot through much (but not all) of its long run.

    Last week was a bonanza for Broadway, as it included Thanksgiving, which is generally the second most lucrative period of the year after Christmas and New Year’s. Tourists to New York are plentiful, and sought-after shows regularly increase their premium prices during those weeks. Thirteen shows grossed more than $1 million last week, including four that exceeded $2 million — “Hamilton,” “The Lion King,” “Wicked” and “Aladdin.”

    For “Hamilton,” the strong week follows a weekend of unexpected drama in which the vice president-elect, Mike Pence, attended the show. The cast addressed him afterward from the stage, asking him “to work on behalf of all of us,” and Mr. Trump reacted unhappily on Twitter. But the show is, at least in the short-term, insulated from any financial impact from public reaction, positive or negative, over such an episode, because it is sold out for months into the future.

    Overall, the 34 shows running during the week that ended Nov. 27 grossed $35.3 million, making it the highest-grossing Thanksgiving week ever, according to figures released by the Broadway League. The figures are not adjusted for inflation.

    The week was not, however, the best attended — there were two years in which more people attended Broadway shows over Thanksgiving, including last year.

    This season has been lagging behind last in total grosses, but has gradually been making up lost ground. As the crucial holiday period gets underway, total grosses are now 0.3 percent lower than last season. Overall attendance is up, if only slightly — 0.1 percent — with a number of promising shows yet to open.

    Among the new musicals this fall, three that faced skepticism in some quarters are starting strong. “Natasha, Pierre and the Great Comet of 1812,” which stars the pop singer Josh Groban and opened to strong reviews, has grossed over $1 million every week except one during which Mr. Groban was out sick. “Dear Evan Hansen,” now in previews and playing in a small theater, grossed a healthy $883,677 over just seven performances, playing to full houses and with a strong average ticket price. And “A Bronx Tale,” also in previews, is starting well, grossing $717,860 in seven performances.

    The news was significantly less good for another new musical, “In Transit,” an a cappella show that grossed $257,037 in eight preview performances.

    Among plays, a much-anticipated revival of “Les Liaisons Dangereuses,” starring Janet McTeer and Liev Schreiber, has been soft at the box office — it grossed $428,583 last week — and the producers have announced that they would close the show Jan. 8, two weeks earlier than initially planned.

    http://www.nytimes.com/2016/11/28/th...-broadway.html
    "Even if you dance for your enemy on the rock, he will accuse you of splashing water on him." ~ African Proverb




  6. #231

    Re: The Broadway/Theater Thread

    For those of us who can't afford tickets to Hamilton here's Lin Manuel Miranda's "Drunk History" version of his hit.

    http://www.cc.com/full-episodes/y51r...eason-4-ep-410
    "Even if you dance for your enemy on the rock, he will accuse you of splashing water on him." ~ African Proverb




  7. #232
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    Re: The Broadway/Theater Thread

    https://www.nytimes.com/2017/12/14/s...lay-nadal.html

    In a Play, Rafael Nadal Inhabits a New Role: Gay Icon
    By BEN ROTHENBERG

    Rafael Nadal has been the face and body of a Tommy Hilfiger underwear campaign. He has been a shirtless love interest in a Shakira music video. He is not bashful on the tennis court, either, taking off his shirt after each victory to the delight of many in the crowd.

    But Nadal has probably never been depicted the way he has in “The Rafa Play,” written by Peter Gil-Sheridan and directed by Morgan Gould, which has its final two performances on Friday and Saturday at the Flea Theater in TriBeCa.

    Gil-Sheridan, using a main character based on himself, imagines getting a job at the ATP offices in Florida and entering into a searing romance with Nadal, which he brags about to his awe-struck friends.

    “The fantasy was never that I was actually in Majorca with Nadal, but that I was coming back to New York and telling everyone about what my life was like now,” Gil-Sheridan said in an interview. “It was ultimately this giant escape fantasy. I was coming back and talking about my success.”

    The real Nadal is not gay, and his longtime girlfriend, Xisca Perelló, is a frequent courtside fixture at his matches. But in Gil-Sheridan’s fantastical, farcical script, Nadal, as played by Juan Arturo, is an exaggerated embodiment of the 16-time Grand Slam champion who finished this year atop the men’s rankings. To keep the play grounded in unreality, Rafa is surrounded by surreal side characters, including a scorned one-eyed cat.

    “It’s not what would be akin to a biopic; Rafa functions as symbol in the play,” Gil-Sheridan said. “I think, in that way, so many of these top tennis players function as symbol to us. Like Serena Williams: She is such a huge symbol in our culture. But who is Serena the woman versus Serena the symbol? I think it’s similar for Rafa. And for me, as a gay man, him as a masculine ideal is what I’m looking at. So it’s kind of him, and kind of not him. It’s a funny thing. He’s not being portrayed as a gay man; he’s being portrayed as a gay icon.”

    Arturo, a Nadal fan since watching him on TV in Spain during his gold medal run at the 2008 Beijing Olympics, said he had to work to make sure his portrayal of the well-known tennis player was something audiences could “reconcile with the actual human being.”

    He said he watched video of Nadal’s matches — incorporating, for example, his signature ear- and nose-touching tics in his preserve routine — and “hit the gym, hard.”

    “There’s a moment in the play where the trainer comes up and starts examining my muscles onstage, with the line ‘exquisite abdominals,’ and I thought: Oh, man, I need to get to work,” Arturo said. “But that work kind of helped me get in the mind-set of it, because people who go to the gym a lot have a different way of holding themselves and acting around people. It helped me find my way into the character a lot.”

    Arturo bears scant resemblance to Nadal, but his exaggerated physicality — gunshots are heard when he flexes his biceps — quickly dominates the 46-seat theater when he enters at the end of the first act. Rafa’s accent is exaggerated as well, adding a heavy Spanish lisp to endearments like “You are like my Australian Open title: singular.”

    The ludicrously lascivious climax of the first act in Peter and Rafa’s relationship gives way to a reckoning in the second act, set in Nadal’s home in Majorca, where the pair’s incompatibility becomes starkly clear and Peter (Olli Haaskivi) clashes with Nadal’s mother (Annie Henk).

    “If you actually played this fantasy out, what would it actually be? And of course it would never work,” Gil-Sheridan said. “I’m a nebbish playwright — and he’s not even gay! That’s what the play starts to come down to: that the Rafael Nadal that I’ve created in the first act is a huge figment of my imagination.”

    As the demands and high standards of an elite athlete come into focus, the relationship crumbles. Many of the stresses Gil-Sheridan has imagined in Nadal’s touring life ring true — like weariness about traveling to Asia for tournaments there. Gil-Sheridan said Nadal’s generally good behavior makes him less knowable than other players.

    “He doesn’t present in as complicated a way as Andy Roddick or Roger Federer or Novak Djokovic,” Gil-Sheridan said. “Those guys, they kind of show their hand a little bit more; you see their negative stuff happening. I feel like Rafa doesn’t do that as much. He’s more diplomatic in the way he talks about things. He’s the hardest character to write in the second act.”

    He did not contact Nadal or his representatives for permission to use him as a character in the play; satire and parody, particularly of public figures, have long been protected from libel and defamation lawsuits.

    Gil-Sheridan’s vigilant fandom pays off in several details. Nadal’s real-life love of “The Phantom of the Opera” is mentioned, and when his character is wearily discussing the wear and tear of life on tour, he mentions “the cramps in my calves that make me collapse beneath tables,” a reference to an incident during a news conference at the 2011 United States Open.

    Some details are more incongruous. At one point, Rafa wears an Adidas-made Manchester United jersey — an unlikely choice for the real Nadal, a Nike-sponsored supporter of Real Madrid. But tennis fans will appreciate when Rafa gleefully fist-pumps at the news that his favorite potatoes are going to be served.

    Gil-Sheridan said one of the things he found most enviable about tennis was its indisputable scoreboards.

    “Artists don’t have that clarity,” he said. “You’re always walking around asking, ‘Am I doing O.K., or am I messing up my life?’ In tennis, you get some real direct feedback: The match ends and you know the result; you know your ranking.”

    Several plays with tennis themes have been staged in recent years, which Gil-Sheridan believes speaks to the sport’s power as “metaphor for the game of life.”

    “There are these crushing defeats that can happen at any time, no matter how good you are,” he said. “And then there are victories that can happen no matter how much you’re struggling; you can come through and suddenly find yourself winning. I think that’s always been really meaningful to me. As a tennis fan, I so relate to the underdogs and so root for them, and am so excited when they prevail — even over Rafa, sometimes.”

  8. #233

    Re: The Broadway/Theater Thread

    Maybe I need to brush off my fanfiction chops...
    "Even if you dance for your enemy on the rock, he will accuse you of splashing water on him." ~ African Proverb




  9. #234
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    Re: The Broadway/Theater Thread

    A friend of mine used to be part of that theater company, but I found out too late about this play

    I hope this isn't part of some weird trend of producing fan fiction!


  10. #235

    Re: The Broadway/Theater Thread

    Jarrod Spector
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    Hey @kanyewest so cool that you’re here at @TheCherShow! If you look up from your cell phone you’ll see we’re doing a show up here. It’s opening night. Kind of a big deal for us. Thanks so much.
    "Even if you dance for your enemy on the rock, he will accuse you of splashing water on him." ~ African Proverb




  11. #236

    Re: The Broadway/Theater Thread

    I should post this in a "way after the fact" thread:

    So after The Band's Visit won all of those Tonys and I fell in love with the music from it, I planned to order immediately a CD of the music of Umm Kulthum, about whom I knew nothing before that show. Six months later I did.

    Her singing was amazing. She had an amazing low alto voice. The songs are sensuous and touching at the same time. Having translations of the lyrics (mostly easily available) helps. But I also learned a lot about middle-eastern music from listening to her. She exquisitely uses quarter and eighth tones to color the music. Hearing that made me realize (as if I were the first to hear this!), that this use of quarter tones, especially, to color the music, is such a huge feature of that region's music, largely explaining much of its uniqueness.

    Hearing Umm Kulthum also made me appreciate even more Katrina Lenk's performance of the song "Omar Sharif," a live performance of which, from the Tonys, is available on YouTube. The goal was clearly to have her sing that in the style of Umm Kulthum, and for me, she succeeded beautifully. I could have seen myself handing her the Tony, which she did win, for the performance of that song alone.

    Totally up-to-date as always. Yours truly,

    GH

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