Andrew C. McGibbon
Andrew C. McGibbon has spent the past thirty years working in live theatre as a stage manager, general manager, producer and leader in the convergence of Broadway and online.
Mr. McGibbon worked as a stage manager and general manager for ten years. In 1994 he created a website devoted to live theatre, BroadwayWorld-Wide.com. The site was subsequently bought by, and became Playbill.com. He continued to manage the site for Playbill for four years. In 2000 he became the website manager for TonyAwards.com. With the 2008-09 season he finished his ninth year on the show. He has also worked as a webmaster for the Broadway League and Jazz at Lincoln Center. He is presently the Director of Digital Media for the New Jersey Performing Arts Center.
In addition to his work in the theatrical industry, Mr. McGibbon is also a partner in Simple Solutions Distributing, a manufacturer of filtration equipment for the waste-water industry.
Photo: Elizabeth Leitzell
“FRIENDS” OFF BROADWAY at THEATRE 3
Previews OCTOBER 7th and the Opening is THURSDAY, OCTOBER 14th
Donis Productions presents “Friends” by Peter L. Levy, Off Broadway at Theater 3, 311 West 43rd Street 3rd Floor (home of the Mint Theatre company - off 8th Avenue). The play is directed by Jerry Donis and stars Harlan Tuckman and Judy Spiegel. Previews begin on October 7th and the Opening is Thursday, October 14th. www.friendstheplay.com/
Eric J. Steding, Jacques Rosas (Set Design) via their company Shop Studios are known world-wide for stunning museum designs, one-of-a-kind events, product launches, fashion shows, production design for film and TV. Their clients include: ABC, CBS, NBC, Time Warner, Nickelodeon, Comedy Central, NYC Parks Department, Rockefeller Center, Yves St. Laurent, Sony and many more Fortune 500 companies.
Steve O’Shea (Lighting) credits include: Macbeth, Twelfth Night, The Tempest, Chaos Theory, Ladies In Retirement (Pulse Ensemble Theater); Carmen, Tristan Und Isolda, The Magic Flute, Norma and Le Nezze di Figaro (Teatro de la Opera, San Juan, P.R.); Mere Mortals (Two Rivers Theater Company); SubUrbia (Montclair State University; Last Easter (Drew University); Blade To The Heat, Aloha Say The Pretty Girls, 12 Ophelias (Baruch College).
Ruth Appfelbaum and Max Horowitz, both in their seventies, meet on a bench in Central Park. Max, a widower, an intellectual, who used to devise crossword puzzles for a living, is existing on the edge because of his limited finances; and, Ruth, is a dreamer who never experienced true love. Their chance encounter gets off to a rocky start. Ruth finally condescends to allow Max to temporarily stay in her apartment, but says, “there will be no hanky panky.” As certain revelations are disclosed one can only wonder whether this relationship will survive.
Peter L. Levy (Playwright) has had numerous plays performed throughout the US, many of them prize winners. Some of his work includes Oscar, New York Performance Works; The Jerusalem Syndrome, Actors Theatre of Santa Rosa, CA; Obsession, ITN Theatre, NYC; Troika, 13th Street Reparatory Theatre, NYC, whichwas also taped for Russian TV; as well as two screen plays, many one-act plays and short stories.
Jerry Donis (Director/Producer) theatrical career spans 36 years. He began as an actor with the Marlboro Acting Company in New Jersey (Henry II, The Lion In Winter; Otto Frank, A Diary of Anne Frank; many musical featured roles: Herbie, Gypsy; Rooster, Annie). Over the past 15 years he has devoted most of his time to directing. His credits include: Fiddler on the Roof, Oliver, Cinderella and numerous children’s productions. Since 2005 he has been writing, developing and directing theater in Florida and New Jersey. The past two summers he has been a drama director in Camp Wayne (Preston Park, PA).
Harlan Tuckman (Max Horowittz) has had varied professional acting careers. He studied at the Neighborhood Playhouse and then went on tour with Myrna Loy in the pre-Broadway production of There Must Be A Pony. He also appeared in several episodes of the Mr. Novak television series with Burgess Meredith. He has been active in dinner and regional (Tevye in Fiddler on the Roof, Fagin in Oliver, Norman in On Golden Pond, and Nat in I’m Not Rappaport). Judy Spiegel (Ruth Appfelbaum) has been performing in area theaters for over 25 years. She has twice been nominated for a Perry Award by NJACT: 2006, Best Supporting Actress, Karen, Jake’s Women; 2007, Best Actress, Kate, Brighton Beach Memoirs. Other roles include: Real Women Have Curves; Beau Jeste; The Cemetery Club; and Busybody.
Performances are Thursday – Saturday at 8:00 pm, with matinees at 2:00 pm Wednesday and Saturday. There is a special performance on Tuesday 10/12 at 8:00 pm. Tickets are $40. Box Office: (212) 315-9703 Groups (20+ people): $32
Global Creatures presents
LIVE ON STAGE
Authorized by the Merian C. Cooper Estate
Sydney, Australia. September 15, 2010: Carmen Pavlovic, C.E.O. of Global Creatures, the company behind the phenomenal world-wide success, Walking with Dinosaurs – the Arena Spectacular, has announced that a creative team has been assembled and work has begun on KING KONG – Live on Stage, an entirely new production conceived for the Broadway stage. KING KONG – Live on Stage is authorized by the estate of Merian C. Cooper (Creator of KING KONG and director of the 1933 film).
KING KONG – Live on Stage is the latest project from the Australian-based Global Creatures, an international entertainment group that develops new and exciting theatrical productions to take to audiences all around the world. Their animatronics arm, The Creature Technology Company invents and deploys the latest in animatronic design. Global Creatures is the company behind the hugely successful Walking with Dinosaurs – the Arena Spectacular, which established a new entertainment genre that has been seen by millions of people and broken box office records in Australia, Europe, Asia and North America since its inception in 2007. Earlier this year, Global Creatures announced a collaboration with DreamWorks Animation to conceive and execute an arena show based on the film How to Train Your Dragon.
To bring KING KONG to the stage, Global Creatures has brought together an award-winning, international creative team highly regarded for their work in theatre and opera.
Directed by Daniel Kramer and written by Tony nominee Craig Lucas with new music by BAFTA winner and Grammy nominee Marius de Vries (who will also arrange the period songs featured in the production), the creative team for KING KONG – Live on Stage also includes Helpmann Award-winner Peter England (Production Design), Sonny Tilders (Creature Design), John O’Connell (Choreography),Tony Award-winner Roger Kirk (Costume Design), Olivier Award-winner Peter Mumford (Lighting Design), Gavin Robins (Aerial/Circus Direction), and Frieder Weiss (Projection Design).
One of the greatest love stories of all time, KING KONG – Live on Stage will feature a cast of more than 40 onstage actors, singers, dancers and puppeteers. The adventure begins in 1933 in New York City at the height of the Depression. The music in KING KONG will feature several new songs by Marius de Vries, who is also writing the incidental musical score, as well as arranging the standards that will be featured in the production.
Producer Carmen Pavlovic said, “At its heart, KING KONG is a love story which is why we have chosen the more intimate space of a proscenium theatre to tell this epic tale. We want to immerse the audience in the emotional journey of the book and music as much as the spectacle of our pioneering animatronics and puppetry.
“We are honored to collaborate with the Merian C. Cooper Estate. Through the input of Cooper’s son Richard and daughter Terry we have a lifeline to the heart and mind of the great man and the thinking that informed his iconic creation.
“Cooper’s intent was simple – to create a great story about an encounter between a beauty and a beast. However in reviving this story our theatrical challenge is to find something new to say. Kong is about love but it is also about many other things - a fall from grace, community; sacrifice and the consequences of degrading a culture and its environment. These themes are startlingly relevant today and some of what we hope to explore in our re-telling.
“The title and themes of KING KONG are universal, however New York is its spiritual home and therefore it seems fitting that the story is ultimately told there. I wanted a team who could speak to an existing Broadway audience but also respond to the next generation of theatregoers. Our version of KING KONG is an ode to the sweeping romance of the 1930’s but it is also very much about today. I was drawn to Daniel Kramer’s ability to preserve the classic story yet look at it through a contemporary cultural lens and in that regard there was an immediate meeting of the minds between us.
“We created Global Creatures to develop shows for audiences around the world. KING KONG moves us beyond an arena spectacle and into the realm of a classic musical theatre genre. The show is the next step in a diverse roster of work we have in development. Our workshop process for Kong has been invigorating and as a result it’s possible that the production could come to Broadway as soon as 2013. A schedule will be set shortly.”
Director Daniel Kramer is best known for his distinguished theatre and opera work in New York and London, including the acclaimed Woyzeck which played at St. Ann’s Warehouse and Bluebeard’s Castle at the English National Opera.
On the announcement of KING KONG – Live on Stage, Mr. Kramer said, "King Kong on Broadway will combine film, television and theatre's most exciting and classical vocabularies into one live event: projection, animatronics, puppetry and circus arts all taken to new heights and of course those timeless elements that Broadway pioneered and perfected: the 11 o'clock number, an electrifying singing and dancing Broadway chorus, a live orchestra, edge-of-your-seat story-telling, and some good old fashioned stage magic. To quote Merian C Cooper's exquisite novella, King Kong aims to be "Something never before seen."
Craig Lucas, book writer for KING KONG said, “I am thrilled to be part of this project, working with a team of world-class colleagues, a producing dynamo, on a myth that speaks to man's precarious relation to the natural world, poised as we are right now between annihilation and a slim chance of salvation.”
Sonny Tilders, one of the major creative forces of the high-tech world of animatronic puppetry for film and television, was one of the lead animatronic engineers for Jim Henson’s Creature workshop on the “Farscape” series, followed by work on Star Wars: Episode III and The Chronicles of Narnia.
Mr. Tilders said, “With the animatronics involved in this project, we are making huge leaps from what we created for the Dinosaurs, because here KING KONG is the key character who will have to command the stage and act alongside actors, when he scratches his nose, for instance, it will have to be done in one fluid, controlled motion where all the muscles up his arm will move at once and he has enough control not to accidentally punch a hole in his face!''
DANIEL KRAMER – Director
Born and raised in Wadsworth, Ohio, USA, Daniel began acting, singing and dancing at age 9 in the American high school spring musical tradition. Here his passion for the arts was born and quickly led him to study ballet, piano, singing and acting as a young professional – taking him as far as LaRochelle, France and London as an exchange student where he furthered his studies in ballet and acting at age 16. Daniel then attended Northwestern University, Chicago. It was here his focus shifted from acting to directing & devising, his work including Falsettos, Jesus Christ Superstar, Into the Woods and a myriad of original works fusing his ongoing training in modern dance and theatre and his developing knowledge of Performance Studies under the guidance of such Professors as Mary Zimmerman and Frank Galati. Daniel received his degree in Theatre, Performance Studies and Dance, graduating summa cum laude with an Honors Thesis in Theatre. Daniel was then the youngest recipient of the NYC Drama League Scholarship in 1999, moving to New York and directing Blood on the Cat’s Neck, The Quiet Game, and The Sorcerer’s Apprentice at the Hangar Theatre. From here Daniel was hired to teach Shakespeare and Directing at Playwrights Horizons Theatre School, NYU; Daniel also became Richard Foreman’s assistant for 3 months working on Foreman’s Bad Boy Neitzsche. Daniel’s NYC debut was his devised work, Funhouse, in the first ever NYC Fringe Festival, followed by his radical adaptation of The Crucifixion: A York Mystery Play at the Blue Heron Arts Theatre. Daniel then received a three year full ride scholarship to pursue his graduate studies in Europe. Daniel furthered his physical theatre training at the Etienne’s Decoux School of Corporeal Mime in London, Antonio Fava’s International School of Commedia dell’arte, and London Circus Space. Daniel then made his professional debut in London at age 25 with Franz Xavier Kroetz’s Through the Leaves at Southwark Playhouse which, subsequently transferred to the West End and received Evening Standard and Olivier Award Nominations. Daniel then became an associate at the Gate Theatre, Notting Hill where he directed Woyzeck and his radical reinvention of Hair. For both of these productions Daniel was nominated for the ES Outstanding Newcomer Award as well as being named a Creative Associate at the RSC. Woyzeck then took Daniel back home to NYC, playing at St Ann’s Warehouse where it received 3 Drama Desk Nominations including Best revival. Daniel then staged Bent starring Alan Cumming in the West End, and the first national revival of Tony Kushner’s Angels in America for which he garnered three TMA Nominations including Best Director. His first opera, Punch & Judy with the English National Opera at the Young Vic, won the Outstanding Achievement in Opera award and quickly led Daniel into the opera world where he directed the world premiere of Rufus Wainwright’s opera, Prima Donna, followed by Duke Bluebeard’s Castle, his ENO mainstage debut for which he received the Times Newcomer Award for Opera. Daniel is currently working on an array of operas and plays which will find him back home in NYC as well as Russia, Switzerland and Germany.
CRAIG LUCAS – Book
Craig Lucas’ plays include Prelude to a Kiss, Missing Persons, Blue Window, Reckless, God’s Heart, The Dying Gaul, Stranger, Small Tragedy, Prayer For My Enemy, The Singing Forest and Love & Irony. He wrote the book for The Light In The Piazza, music and lyrics by Adam Guettel; the musical play Three Postcards, music and lyrics by Craig Carnelia; the libretto for the opera Orpheus in Love, music by Gerald Busby; and he has recently completed Two Boys, an opera with composer Nico Muhly. His new English adaptations include Brecht’s Galileo, Chekhov’s Three Sisters and Uncle Vanya, and Strindberg’s Miss Julie. His screenplays include Longtime Companion (Sundance Audience Award), The Secret Lives of Dentists (New York Film Critics Best Screenplay), Prelude to a Kiss, Reckless and The Dying Gaul, which he also directed. Lucas also directed the film Birds of America. Onstage he directed Harry Kondoleon’s plays Saved or Destroyed at Rattlestick (Obie Award for Best Director) and Play Yourself as well as his own play This Thing of Darkness (co-authored with David Schulner) at the Atlantic. Twice nominated for a Tony (Prelude to a Kiss and The Light in the Piazza), three times for the Drama Desk(Prelude, Missing Persons and Reckless), he has won the L.A. Drama Critics Award (Blue Window), the American Theater Critics Award for Best American Play (The Singing Forest), the Hull-Warriner Award (The Light in the Piazza), the LAMBDA Literary Award (for his anthology What I Meant Was), the Flora Roberts Award, the Greenfield Prize, the Excellence in Literature Award from the American Academy of Arts and Letters, the Laura Pels/PEN Mid-Career Achievement Award; he has twice won the Obie Award for Best Play (Prelude and Small Tragedy).
MARIUS DE VRIES – Music
Marius de Vries has been involved in some of the most culture-defining recordings and soundtracks of the past two decades, and has won two BAFTAs and an Ivor Novello award for his film composition work, as well as four Grammy nominations for soundtrack and record production. Beginning his musical career playing keyboards for the English eighties pop-soul band The Blow Monkeys, he has since written, arranged, and produced across a wide range of styles and genres for Madonna, Bjork, Rufus Wainwright, Neil Finn, Annie Lennox, Bebel Gilberto, David Gray, PJ Harvey, U2, Massive Attack, Elbow, Teddy Thompson and Josh Groban, amongst many others. His film music career took off in the mid-nineties - his collaboration with Nellee Hooper and Craig Armstrong on the soundtrack and score for Baz Luhrmann's Romeo + Juliet won Marius the first of his two BAFTAs. A few years later, he music-directed the groundbreaking Moulin Rouge, starring Nicole Kidman and Ewan McGregor, resulting in another Grammy nomination, a second BAFTA, and numerous other awards. Marius also composed the score for Stepan (Priscilla Queen of the Desert) Elliott's surreal thriller The Eye of the Beholder, and last year's jazz-age period comedy Easy Virtue. In the world of Musical Theatre, Marius has worked several times with Andrew Lloyd- Webber, with his co-production of the cast album for A.R. Rahman’s Bombay Dreams, and his production and orchestration work on this year's sequel to The Phantom of the Opera, Love Never Dies, as well as producing the cast album for Richard Thomas’ hugely successful (and equally controversial) West End comedy hit Jerry Springer – The Opera. In early 2008 Marius created an hour-long contemporary dance piece, Squaremap of Q4, for the award-winning Spanish choreographer Rafael Bonachela; this premiered at the South Bank in London. He has also recently completed work on the eclectic Chinese singer Sa Ding Ding’s second album for Universal Records, Harmony, recorded in Beijing and mixed in London. 2010 has seen Marius contributing score and song productions to Matthew Vaughn’s irreverent superhero film Kick-Ass, and Zack Snyder’s music-driven action fantasy Sucker Punch, as well as co-producing an LP with and for Robbie Robertson, featuring guests Eric Clapton, Steve Winwood, Tom Morello and others.
PETER ENGLAND – Production Designer
Received aBachelor of Performing Arts in DesignNational Institute of Dramatic Art (NIDA) in 1994 following a Bachelor of Landscape Architecture (Honours) from the University of New South Wales in 1986. Peter won the Robert Helpmann Award for Best Stage Design in 2001 for Awakening (Sydney 2000 Olympic Games Opening Ceremony), in 2002 for Sweeney Todd (Opera Australia) and, in 2004 for Unaipon (Bangarra Dance theatre). He received the Victorian Green Room Award for Best Opera Design in 1998 for Madama Butterfly (Opera Australia) and 2002 for Sweeney Todd (Opera Australia) and for Best Dance Design in 2005 for Boomerang (Bangarra Dance Theatre). In 1997 He was awarded the NIDA Mike Walsh Fellowship, and in 2002 was a Finalist in the international design competition for the Pentagon Memorial, Washington DC (with Room 4.1.3). Other theatre design credits include: For Sydney Theatre Company: Tot Mom, Woman in Mind, Victory, The Virgin Mim, The School for Scandal, Betrayal and The Jungle. For the Shakespeare Theatre, Washington DC he designed Hamlet, Richard III and Titus Andronicus. ForOpera Australia his productions include Simon Boccanegra and La Boheme. Other designs include Orpheus and Eurydice (Victorian Opera), Antony and Cleopatra (Bell Shakespeare), Man of La Mancha (Gordon Frost Organisation + SEL). For Bangarra Dance Theatre Peter has designed Mathinna, Clan (Green Room Award nomination 2004), Bush (Helpmann Award Best Dance Work 2004), Walkabout (Helpmann Award Best New Australian Work and Green Room Award nomination 2003), Skin (Helpmann Award Best New Australian Work and Green Room Award nomination 2000), and Fish (Green Room Award nomination 1998).For The Australian Ballet his work includes Aesthetic Arrest, Amalgamate and Rites. For Sydney Dance Company and Shanghai City Dance (China) he designed Mulan. Peter’s other major event and installation credits include: Walking with Dinosaurs – The Arena Spectacular (Global Creatures) Australian and US tour (THEA Award for Outstanding Achievement and the Billboard Award for Creative Content in 2008), and Notes on a Separation (Sydney Theatre Company and IWC, Geneva). He was site designer for Universal Playground, (Adelaide Festival of Arts 2004), Kin (2007 Asia Pacific Triennial festival of Contemporary Art), and co-designer of Sydney Handover, 1996 Atlanta Olympic Games Closing Ceremony. As an installation designer he made Stairways (2003 Rugby World Cup, Sydney). He was an exhibition designer at the Mary McKillop Museum (Sisters of St Joseph); staging and concepts designer for Art House Hotel; and, production designer of three City of Sydney New Years Eve Celebrations on and around the Harbour, including Millennium which featured the giant floating Sea Creatures Lantern Parade and the Eternity and Smile effects on the Sydney Harbour Bridge.
SONNY TILDERS – Creature Design
As a leader in his field, Sonny Tilders has spent the last 22 years designing and building critters and contraptions for the film and theatrical industries. He is presently undertaking his next challenge as Creative Director of Creature Technology Company (CTC), the workshop that designed and built the dinosaurs for the enormously successful theatrical touring show Walking With Dinosaurs – The Arena Spectacular. Under Sonny’s guidance, CTC continues to be at the forefront of technologically advanced animatronic creature and puppet design and is recognized internationally for its work. With formal training in graphic design, Sonny graduated from Swinburne University, Melbourne in 1988. He worked the next 10 years at Australia’s foremost models and effects company, Mothers Art Productions in Melbourne where he was Senior Project Manager. Sonny then pursued his interests in the specialized field of “animatronics” (the world of high-tech puppet making). His work can be seen in US feature films such as Peter Pan, Ghostrider, The Chronicles of Narnia, Star Wars III - The Revenge of the Sith as key animatronics engineer. His television credits include Lead Animatronics Engineer for the US science fiction series “Farscape” where working with the resources of the Jim Henson’s Creature Shop he developed his approach to animatronics creature design further. This was also a catalyst for working on puppets for Australian theatrical touring productions of The Hobbit and The Lion, the Witch and the Wardrobe.
JOHN O’CONNELL – Choreographer
An internationally acclaimed choreographer for film, television and the stage, John O'Connell is probably best known for the international box office hits, Shall We Dance, Moulin Rouge, Strictly Ballroom, Enchanted and Baz Luhrmann's Australia. John’s most recent film choreography was for David Furnish/Elton John’s Gnomeo and Juliet in 2009. Other films choreographed by John include Razzle Dazzle, Romeo+Juliet, Muriel’s Wedding, Peter Pan, Passion, The Quiet American, The Matrix Revolutions, Scooby Doo, Children of the Revolution, Me, Myself & I and The Crossing. Known as a choreographer to the stars John has worked with some of the biggest names in the business including Nicole Kidman, Richard Gere, Jennifer Lopez, Tom Cruise, Russell Crowe, Susan Sarandon, Amy Adams, Patrick Dempsey and many others.For television he has worked on Come in Spinner, Brides of Christ, The Party Machine, Lucinda Smith and the Australia Remembers Gala tribute. In 2008/09 John choreographed a musical entitled Rudolf in Vienna, prior to which he choreographed the 80th Academy Awards (the Oscars) in Los Angeles 2008. Earlier in 2009 he choreographed The Rocky Horror Show for New Theatricals; The Convict’s Opera for the Sydney Theatre Company and The Sentimental Bloke for Riverside Theatre. In 2007, he choreographed the Sydney Theatre Company’s Tales from the Vienna Woods and Kookaburra’s Company. He has been the Staging Director for the international tour of Il Divo, and for Company B he choreographed Threepenny Opera and Keating! (winner of the Helpmann award for best musical in 2007). His other stage and theatre credits include the award winning Six Dance Lessons in Six Weeks (Ensemble Theatre); The Magdricals for Sydney Opera House; Baz Luhrmann’sDance Hall and A Midsummer Night’s Dream (Australian Opera, winner of most popular production at the 1996 Edinburgh Festival); Bananas in Pajamas, Emerald Room (STCSA), Burger Brain for (ATYP); Venetian Twins (Royal Queensland Theatre Company); Kissing Frogs (Glynn Nicholas Group); Barry Humphries’ one-man stage show, Remember You’re Out; South Pacific, which toured nationally and internationally (GFO); Sweet Charity, The Pajama Game, Assassins, Kiss Me Kate and Once on this Island (NIDA). John has also worked in international fashion creating and directing Colette Dinnigan's Salon of Images in 1997 in Sydney, as well as two of her fashion events in the Louvre in Paris. John has worked extensively in cabaret, including a starring role in Graham Bond's Captain Bloody, also featuring in his self-devised Boarder Line Cases with the Flying Trapeze Theatre, Soul Cha Cha with Renee Geyer, Burlesco at Melbourne's Universal Theatre and various other productions at Kinselas including the Lamont Cranston musicals. In New York, John choreographed Spiegelworld’s Desir (2008) – a mix of circus and burlesque. Other awards John has received include Best Choreographer (Moulin Rouge, 2001) at the American Choreography Awards, the highest accolade for dance in America, and winner, Australian Dance Award for Contribution to the Art of Dance, 1993. In 1989 John received the Golden Platypus Award for The Aquacade, for most popular event at the Brisbane Expo. John has also devised his own how-to-dance comedy show, Mr Cha Cha Says Dance, which featured at the Perth International Arts Festival in 2005 during which he taught 3000 people to Mambo.
ROGER KIRK - Costume Designer
Tony Award winning designer Roger Kirk has extensive experience as a set and costume designer for theatre - including drama, musicals, opera and special events - as well as film and television. Roger’s credits include set and costume design for Graeme Murphy’s Die Silberne Rose and Le Corsaire at the Munich Opera House - both for The Bayerisches Staatsballet. Opera Australia’s recent productions include costumes for Manon Lescaut, The Gypsy Princess, Pirates of Penzance and My Fair Lady. Roger also designed sets and costumes for A Little Night Music, Iolanthe , HMS Pinafore, Trial by Jury, Manon and Tales of Hoffman. Roger also designed for Graeme Murphy’s opera Aida. In 1996 Roger received the Tony Award for Best Costume Design for his work on the Broadway production of The King and I. He also received the Drama Desk Award, the Friends of New York Award, and the Outer Critics Circle Award for the same production. In 2001 the highly acclaimed production of The King And I was a popular feature at London’s Paladium Theatre. Roger also repeated the costume for the Stratford festival production of the King and I in Canada. Roger’s musical credits include sets and costumes for Aspects Love UK tour and West End. Costumes for the Jesus Christ Superstar UK tour and Broadway and 42nd Street Broadway – US tour, Stuttgart, Tokyo and Asian tour. Whistle Down the Wind in London, The Boy from Oz in Australia and Hugh Jackman’s - Boy From OZ Arena Spectacular and he also designed the sets and Costumes for Dusty – The Original Pop Diva and Shout!. Roger received the Victorian Green Room Awards for best costumes for Anything Goes, Boy From Oz and Dusty.
PETER MUMFORD - Lighting Designer
Peter Mumford trained as a stage designer at the Central School of Art in London, studying under Ralph Koltai, in the late Sixties. In 1969, during his last year at art school, he became a founding member of the mixed media experimental theatre group Moving Being (director Geoff Moore), with whom he worked as designer and lighting and projection designer on all productions until 1978, moving to Cardiff with the company in 1972. After that he continued to work with Moving Being on a project basis but began a wider based freelance career. In the late Seventies he became a part time member of the faculty of the London Contemporary School of Dance at The Place, teaching a course relating choreography to visual art and design and also at that time began collaborating with a number of choreographers in their early work at The Place, such as Siobhan Davies, Richard Alston, Ian Spink and many others. When the company Second Stride was formed in the early Eighties Peter was a founding collaborator as lighting designer - another working relationship that would last for nearly another decade. In the Eighties, Peter designed the lighting for a huge number of dance works for companies such as London Contemporary Dance Theatre, Rambert, Second Stride, Siobhan Davies Co. and many other individual projects at that time. He also continued to design projects with Moving Being like the major site specific “Mabinogion” - first at Carnarvon Castle and later in Cardiff. His work gradually expanded into opera, designing sets/costumes and lighting for Parsifal for WNO in 1978 and then into drama more towards the end of the Eighties. The Overgrown Path at The Royal Court in 1985 was the first straight play he lit in London. In 1987 he co-founded Dancelines Productions, a film/TV production company committed to creating and producing dance for television. He produced and directed many programmes/films for Dancelines for both Channel Four and BBC2 up until the mid- Nineties and during that period the work won many awards including OperaScreen IMZ 1991- Best New Work / DanceScreen 1992 - Best Studio Adaptation/ Video Danse Grand Prix 1994 - best series (Dance House) and an Emmy Nomination for the TV adaptation of Mathew Bourne’s Swan Lake which Peter directed. The last real work in this area was the series 48 Preludes and Fugues (Bach) for BBC2 in 2002 - 48 short films, of which Peter directed 24 and was lighting director on the rest. His work is now predominantly in the area of lighting design, but still designs sets on certain projects and most recently was Director of Photography for Francesca Zambello’s film of The Little Prince. He has directed on occasion in the theatre as well as film/TV. Productions include Hamletmachine and No, to the Yes-sayer (Jasager/Neinsager); both at St. Stephens Theatrespace in Cardiff. The Man with the Foot-soles of Wind; Almeida Opera. Earth and the Great Weather; Almeida Opera. L’Heure Espangnol & L’Enfant et Les Sortileges; Opera Zuid. Work in the theatre nowadays, is spread fairly equally across drama, dance (ballet) and opera. Most recent work includes Petrushka (Scottish Ballet); Prick Up Your Ears (Comedy Theatre, London); Bedroom Farce and Miss Julie (Rose Theatre, Kingston); Bluebeard’s Castle (English National Opera); Cock (Royal Court Theatre); The Misanthrope (Comedy Theatre, London); Carmen (The Metropolitan Opera House, New York).
GAVIN ROBINS – Aerial/Circus Director
Gavin Robins draws inspiration from a broad spectrum of theatre training and performance experience. His work focuses on the biomechanics of the actor and the animation of the actor for both the stage and screen. He has toured internationally as a physical performer with Legs on the Wall with many productions including the renowned All of Me. He was instrumental in the training and choreography of the Tin Symphony in the Opening Ceremony of the 2000 Olympics. He has created large-scale visual and aerial performances in many theatre festivals throughout the world. As a recipient of the Churchill Fellowship Gavin worked in LA and NY alongside leading specialists in animating the body for the stage and screen. Director: High Flyers, Festival First Night Sydney Festival, At First Sight, National Institute of Circus Arts, La Fanciulla del West (AD), Opera Australia, Sydney Festival First Night, Sydney Festival (AD),Kaleidoscope, Cirque Du Soleil/ATYP, Wars of the Roses (AD) Bell Shakespeare Co, Wicked Bodies, La Boite. Gavin’s credits as a Movement Director and Choreographer include: Wrong Skin, Adelaide Festival/Malthouse, La Fanciulla del West (AD), Opera Australia, The Sydney Theatre Company, The Crucible, Gallipoli, BlackBird, Tales From the Vienna Woods, Riflemind, The Art of War, Ruby Moon, Season at Sarsaparella, Troupers, The Bourgeois Gentleman, Fat Pig, Woman in Mind, The Lost Echo, Mother Courage, The Three Sisters, The Cherry Orchard, Company B, The Promise, Reuben Guthrie, Who’s Afraid of Virginia Wolf, Conversations With the Dead, Spook, The Chairs, The Bell Shakespeare Company, Henry V, Much Ado About Nothing, Julius Caesar, Antony & Cleopatra, R&J, Tempest, Richard lll, Comedy of Errors, Hamlet, Servant of Two Masters, A Midsummer Night’s Dream, Wars of the Roses, Romeo and Juliet, Merchant of Venice, As You Like It and Pericles. At the Queensland Theatre Company he worked on Christmas at Turkey Beach and School for Scandal; and at the Ensemble Theatre Co, Are You There. For Television and Film his credits as movement director include “Farscape” Series 2, The 2001, 2002 and 2004 “ARIA Awards,” “The AFI Awards,” and “Australian Idol” (series1, 2 and 3) as well as the Australian feature film Prime Mover and TV series “Spirited.” Gavin has worked as a movement coach with all of Australia’s major record labels. He trains artists for the stage and screen and has directed performers in numerous video clips, commercials and large scale stage performances. Gavin is a teacher of movement and acting at a host of our leading performance training institutions. Award include: 2007 Churchill Fellowship, 2001 Asialink Travelling Fellowship, 1999 Mike Walsh Travelling Fellowship, N.I.D.A.1998 Tongue Tied Third Prize, Tropfest, and the 1996 Herald Angel Award, Edinburgh Fringe Festival
FRIEDER WEISS – Projection
Frieder Weiss is a Berlin based video and installation artist and expert for real-time computing and interactive computer systems in performance art. He is the author of video motion sensing software especially designed for use with dance, music and computer art. As a pioneer in the field of intermedia performance he becameco-director of Palindrome Performance group, developing mediaperformances which toured worldwide and have received numerous awards (Transmediale, Berlin; CynetArt Dresden). Inspired by his work with Australian Dancer Emily Fernandez he developed an aesthetic which tightly integrates visual media with the moving body. Frieder created the video projections and interactivetechnologies for Chunky Move's recent works Glow and MortalEngine. For his contribution on Glow he was rewarded with a Greenroom award for Design in Dance . Mortal Engine was awarded the 2008 Live Performance Australia Helpmann Award for Best Visual or Physical Theatre Production. Other recent works were developed with Leine and Roebana in Amsterdam, phase7 in Berlin, Helga Pogatschar, Cesc Gelabert in Munich, the Danish Dance Theatre in Kopenhagen, im'ij-re in San Francisco, Transmedia Academy Hellerau in Dresden, Daniel Knorr at Kunsthalle Basel, Kylie Minogue in London.
CARMEN PAVLOVIC - CEO, Global Creatures
Carmen was educated in Melbourne and holds a Bachelor of Arts and an MA in Business Administration. Throughout the 1990s, Carmen’s career spanned various theatre companies and in 1998 she joined the Really Useful Company as executive producer of Cats, Grease and Shout! In 2001 she relocated to London as executive producer at Clear Channel Entertainment producing various shows including the UK and international productions of Chicago and Cats. Later Carmen became the Director of the International Production Department for Stage Entertainment responsible for establishing new territories (Russia, Italy and France), licensing, programming of 25 theatres across Europe and overseeing all productions in the UK, Germany, Holland, France, Italy, Spain and Russia. For Stage Entertainment Carmen was also the international executive producer of the European premiere of Dirty Dancing in Germany and subsequently Holland, the Russian speaking productions of Cats and Mamma Mia! (the first open-ended musicals in Moscow); the French speaking productions of Sam Mendes’ Cabaret at the prestigious Folies Bergeres and The Lion King at the Mogodor Theatre in Paris.
Roundabout Theatre Company
Receives grant award from
New York City Theater Subdistrict Council
To support theater production and audience development.
Grant Funding Is Second Round Facilitated by Theater District Zoning
Sustains New York City’s Unrivaled Concentration of Theatrical Excellence
New York City Theater Subdistrict Council (TSC), City Planning Commissioner Amanda M. Burden and Cultural Affairs Commissioner Kate D. Levin announced Roundabout Theatre Company (Artistic Director, Todd Haimes) is among 15 organizations to receive grants totaling $2.1 million for a range of projects that will encourage audience development and foster the creation of new work.
The groups are the beneficiaries of a zoning initiative that preserves historic theaters, and helps ensure the long term viability of live theater within New York City’s Theater District, the world-famous area in midtown Manhattan from 40th to 57th Street.
The TSC is a not-for-profit corporation established pursuant to a 1998 zoning rule that allows owners of landmarked Broadway theaters to transfer air rights within the Theater Subdistrict provided the theater is preserved, there is a commitment to use the space for legitimate theater use, and a portion of the proceeds are deposited into a Theater Subdistrict Fund designed to support the theater community. The TSC administers the Theater Subdistrict Fund, to allocate grants with the goal of developing new audiences, promoting the production of new theater work, and showcasing Broadway’s singular role in the history of American theater. As envisioned by the zoning text, a number of development plans resulted in significant contributions to the fund in recent years, which were followed by the appointment of a TSC Directors Council and creation of the grant program.
The TSC consists of the Mayor, three representatives appointed by the Mayor from the performing arts, theatrical and related industries, the Speaker of the Council and her designee, the Manhattan Borough President, and the Director of the Department of City Planning. The TSC is chaired by Commissioner Levin, on behalf of Mayor Michael R. Bloomberg. Approximately $5.5 million has been paid into the fund to date. This is the second round of TSC awards, following $1.26 million in grants that were awarded last year.
Todd Haimes (Artistic Director, Roundabout Theatre Company) said “I’m so proud that the Theater Subdistrict Council has chosen to support our ACCESS Roundabout program. It’s an initiative that we designed to provide inexpensive tickets to all of Roundabout’s productions, which is so important in building the next generation of audiences. We’ve already seen great results from the program, and it is incredibly gratifying to know that the TSC is not only supportive of this effort but is at the forefront of ensuring that we continue the good work being done to build audiences for theatre.”
Commissioner Burden said, “To every aspiring artist, New York is already the greatest stage in the world. It is gratifying that our zoning continues to sow the seeds for new generations of audiences and theatrical ventures, fulfilling the goal of bolstering the Theater District as a thriving, vibrant center of opportunity for the performing arts. Enhancing its accessibility to New Yorkers and allure to visitors around the world reinforces New York’s place as an international capital for creativity and theatrical achievement.”
“By supporting the development of new work and diverse voices, and stimulating expanded access to high-quality performance, the Theater Subdistrict Council grants will help build new audiences and reinforce New York City’s identity as a creative center,” said Cultural Affairs Commissioner Kate D. Levin.
City Council Speaker Christine Quinn said, “The City’s support of the Theater Subdistrict Council ensures innovation and creativity will continue to be the pulse of the Theater District in midtown Manhattan. We are committed to the continued support of our art programs to ensure creativity continues to live and thrive in every neighborhood.”
The Theater Subdistrict covers the area between Sixth and Eighth Avenues from West 40th to West 57th Streets. Theaters to be preserved and receiving sites for new development must be located within the district. As specified in the zoning, monies have been deposited into the TSC fund in connection with development projects that would result in the preservation of the landmark theaters. In addition to the contributions to the fund, six theaters have entered into preservation agreements that obligate the facilities to maintain or upgrade the properties such that they are in physically and operationally sound condition: Martin Beck AKA Hirschfield, St. James, Broadhurst, Majestic, Booth and Shubert.
The transferred air rights from the theaters have facilitated the construction of new hotels on West 44th on 8th Avenue (308 West 44th Street) and on West 45th Street between Sixth Avenue and Broadway (131 West 45th Street), and a new residential building on West 46th Street & 8th Avenue (750 8th Avenue).
The representatives of the theater community on the TSC were appointed by Mayor Bloomberg and Speaker Quinn. The Mayor’s appointees are Jed Bernstein, Ben Cameron, and George C. Wolfe. The Speaker’s designee is Paige Price.
ABOUT ROUNDABOUT THEATRE COMPANY
Roundabout Theatre Company is one of the country’s leading not-for-profit theatres. The company contributes invaluably to New York's cultural life by staging the highest quality revivals of classic plays and musicals as well as new works by established writers. Roundabout consistently partners great artists with great works to bring a fresh and exciting interpretation that makes each production relevant and important to today’s audiences.
Roundabout Theatre Company currently produces at three permanent homes each of which is designed specifically to enhance the needs of the Roundabout's mission. Off-Broadway, the Harold and Miriam Steinberg Center for Theatre, which houses the Laura Pels Theatre and Black Box Theatre, with its simple sophisticated design is perfectly suited to showcasing new plays. The grandeur of its Broadway home on 42nd Street, American Airlines Theatre, sets the ideal stage for the classics. Roundabout's Studio 54 provides an exciting and intimate Broadway venue for its musical and special event productions. Together these three distinctive venues serve to enhance the work on each of its stages. Roundabout also programs the Stephen Sondheim Theatre which is the first new Broadway theatre built in over a decade and set new standards for environmentally sustainable design and construction of performing arts venues.
American Airlines is the official airline of Roundabout Theatre Company. Flatotel is the official hotel of Roundabout Theatre Company. Roundabout productions are made possible, in part, with public funds from the New York City Department of Cultural Affairs; the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State’s 62 counties; the New York Department of State; the New York State Department of Education; and the New York State Office of Parks, Recreation and Historic Preservation among many private foundations, corporations, individuals, and patrons.
Roundabout Theatre Company’s 2010-2011 season features George Bernard Shaw’s Mrs. Warren’s Professionstarring Cherry Jones & Sally Hawkins, directed by Doug Hughes; Noël Coward’s Brief Encounter, adapted and directed by Emma Rice; Kim Rosenstock’s Tigers Be Still, directed by Sam Gold; Julia Cho’s The Language Archive, directed by Mark Brokaw; Oscar Wilde’s The Importance of Being Earnest, starring and directed by Brian Bedford; Tennessee Williams’ The Milk Train Doesn’t Stop Here Anymorestarring Olympia Dukakis, directed by Michael Wilson; Anything Goes starring Sutton Foster, directed & choreographed by Kathleen Marshall; David West Read’s The Dream of Burning Boy, directed by Evan Cabnet. The 39 Steps made its third transfer to the New World Stages after a successful Broadway run at three Broadway theatres.
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MILLION DOLLAR QUARTET
TO NEDERLANDER THEATRE FRIDAY EVENING, SEPTEMBER 24
FOR ONE TIME ONLY JAM SESSION
MILLION DOLLAR QUARTET, Broadway’s new hit musical, is pleased to announce that Lesley Gore will join the cast of the Tony nominated Best Musical for a special performance during the finale of the Friday evening, September 24 performance at the Nederlander Theatre (208 West 41st Street).
Gore is a singer/songwriter with over two dozen hits to her name including such iconic songs as “Judy’s Turn To Cry,” “She’s A Fool,” “That’s the Way Boys Are,” “Maybe I Know,” “You Don’t Own Me” and her classic smash hit, “It’s My Party.”
The cast of MILLION DOLLAR QUARTET features Eddie Clendening (Elvis Presley), Lance Guest (Johnny Cash), Tony Award® winner Levi Kreis (Jerry Lee Lewis), Robert Britton Lyons (Carl Perkins), Tony Award® nominee Hunter Foster (Little Shop of Horrors, Urinetown) and Elizabeth Stanley (Cry-Baby).
On December 4, 1956, an auspicious twist of fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley together. The place was Sun Records’ storefront studio in Memphis. The man who made it happen was Sam Phillips, the “Father of Rock and Roll,” who discovered them all. The four young musicians united for the only time in their careers for an impromptu recording that has come to be known as one of the greatest rock jam sessions of all time.
Inspired by the actual event, MILLION DOLLAR QUARTET features a treasure trove of the greatest rock and roll, gospel, R&B and country hits from these musicians, including such iconic songs as “Blue Suede Shoes,” “Fever,” “Sixteen Tons,” “Who Do You Love?,” “Great Balls of Fire,” “Riders in the Sky,” “I Walk the Line,” “Folsom Prison Blues,” and “Whole Lotta Shakin’ Goin’ On.” MILLION DOLLAR QUARTET captures the infectious spirit, freewheeling excitement and thrilling sounds of a singular moment when four of the music industry’s most extraordinary talents, all in their creative prime, came together for one of the most memorable nights in music history.
In addition, to Kreis’ Tony® for Best Featured Actor in a Musical, MILLION DOLLAR QUARTET received Tony nominations for Best Musical and Best Book of a Musical (Colin Escott & Floyd Mutrux). The show received an Outer Critics Circle Award for Outstanding Featured Actor in a Musical (Levi Kreis), a Drama Desk Nomination for Outstanding Musical Revue and three Drama League Nominations including Distinguished Production of a Musical and Distinguished Performance (Lance Guest & Levi Kreis).
MILLION DOLLAR QUARTET is directed by Eric Schaeffer and features a book by Colin Escott and Floyd Mutrux. The design team for Broadway includes: Derek McLane (scenic design), Howell Binkley (lighting design), Jane Greenwood (costume design), Kai Harada (sound design) and Chuck Mead (musical arrangements and supervision).
MILLION DOLLAR QUARTET is produced by Relevant Theatricals, John Cossette Productions, American Pop Anthology, Broadway Across America, and James L. Nederlander.
The Chicago production of MILLION DOLLAR QUARTET opened in 2008 and is still playing to packed houses at the Apollo Theatre, for information about the Chicago production of MILLION DOLLAR QUARTET, visit wwwithMillionDollarQuartetLive.com.
Tickets for MILLION DOLLAR QUARTET are available online wwwithTicketMaster.com, by calling 212-307-4100, or by visiting the Nederlander Box Office (208 West 41st Street).
MILLION DOLLAR QUARTET’s performance schedule is Tuesday at 7PM, Thursday through Saturday at 8PM and Sunday at 7PM. Matinees on Wednesday and Saturday at 2PM and Sunday at 3PM.
LESLEY GORE. With over two dozen chart hits to her credit, Lesley Gore created the soundtrack to the Sixties with hits like, “Judy’s Turn To Cry,” “She’s A Fool,” “That’s the Way Boys Are,” “Maybe I Know,” “You Don’t Own Me” and her classic smash hit, “It’s My Party” – the record that skyrocketed her to fame in 1963 at the age of 16. Lesley still sings those songs “as if I first heard them yesterday,” but it’s no exercise in nostalgia. Having expanded her career into songwriting and lecturing, in addition to her club and concert appearances, Lesley is celebrating the best years of her life. “I am currently working on my memoirs and a musical based on my life and career." www.lesleygore.com
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SMASH HIT REVIVAL TO GO OUT ON A HIGH
PLAYING FINAL BROADWAY PERFORMANCE
SUNDAY, JANUARY 2, 2011
STARS OF PROMISES, PROMISES EXTEND CONTRACTS FOR ADDITIONAL WEEK TO RING IN THE NEW YEAR
The producers of PROMISES, PROMISES announced today that the smash hit, Tony Award-winning revival will play its final performance on Broadway on Sunday, January 2, 2011, having played 30 preview and 291 regular performances. The show’s stars Sean Hayes, Kristin Chenoweth, Tony Goldwyn, Dick Latessa and Molly Shannon have all extended their contracts for an additional week to ring in the New Year. PROMISES, PROMISES is expected to recoup its investment in the coming weeks with complete details to be announced at that time. In addition the producers are excited to announce that discussions have begun for a possible tour of this new production of PROMISES, PROMISES, with more details to follow. PROMISES, PROMISES, directed and choreographed by Tony and Emmy Award winner Rob Ashford with Neil Simon’s funny and touching book and Burt Bacharach and Hal David’s hit-packed score, began previews at the Broadway Theatre (1681 Broadway) Saturday, March 27, 2010, and since it opened Sunday, April 25, 2010, has been one of Broadway’s top grossing shows week after week.
“We’ve had an amazing journey with Rob Ashford’s vision of this legendary show and we are thrilled to end this party on a high note, ringing in the New Year with our dream cast. This has been a perfect experience from start to finish.” said producer Beth Williams.
PROMISES, PROMISES currently stars Sean Hayes as Chuck Baxter, Kristin Chenoweth as Fran Kubelik, Tony Goldwyn as J.D. Sheldrake, 2010 Tony Award winner Katie Finneran as Marge MacDougall and Dick Latessa as Dr. Dreyfuss. They lead a cast of 27 that includes Brooks Ashmanskas as Mr. Dobitch, Helen Anker as Miss Olson, Peter Benson as Mr. Kirkeby, Seán Martin Hingston as Mr. Eichelberger, Ken Land as Jesse Vanderhof, and features Cameron Adams, Ashley Amber, Wendi Bergamini, Nikki Renee Daniels, Simone De La Rue, Sarah Jane Everman, Chelsea Krombach, Keith Kuhl, Marty Lawson, Ian Liberto, Matt Loehr, Mayumi Miguel, Brian O'Brien, Sarah O'Gleby, Adam Perry, Megan Sikora, Matt Wall, Ryan Watkinson and Kristen Beth Williams. On Tuesday, October 12, Molly Shannon will make her Broadway debut as Marge MacDougall.
Due to a vacation week and prior commitments, Kristin Chenoweth will not be performing in PROMISES, PROMISES from Friday, October 15, through the matinee Wednesday, October 27. Ms Chenoweth will return to the show at the 8pm performance on Wednesday, October 27. During the final week she will not perform Wednesday, December 29 at 8pm, Thursday, December 30 at 2 and 8pm and Saturday, January 1 at 8pm but will return for the final performance on Sunday, January 2 at 3pm.
PROMISES, PROMISES features scenic design by Scott Pask, costume design by Bruce Pask, lighting design by Donald Holder, sound design by Brian Ronan and hair and wig design by Tom Watson. Orchestrations are by Jonathan Tunick, with music direction by Phil Reno, and dance music arrangements by David Chase.
PROMISES, PROMISES is produced by Broadway Across America (John Gore, Thomas B. McGrath, Beth Williams), Craig Zadan, Neil Meron, The Weinstein Company/Terry Allen Kramer, Candy Spelling, Pat Addiss, Bernie Abrams/Michael Speyer, Takonkiet Viravan/Scenario Thailand, Norton Herrick/Barry & Fran Weissler/TBS Service/Laurel Oztemel in association with Michael McCabe/Joseph Smith and Stage Ventures 2009 No. 2 Limited Partnership. Beth Williams is the executive producer of PROMISES, PROMISES.
Based on the 1960 Academy Award-winning Billy Wilder film The Apartment that starred Jack Lemmon and Shirley MacLaine, PROMISES, PROMISEStells the story of the Consolidated Life Insurance Company and Chuck Baxter, one of its charming young employees. In an effort to advance his career, Chuck lends executives his apartment for their extramarital romantic trysts. But things become slightly complicated when Chuck discovers Fran Kubelik, the object of his affection, is involved with one of the executives.
The playing schedule for PROMISES, PROMISESis as follows: Tuesday at 7pm, Wednesday through Saturday at 8pm, with matinees Wednesday and Saturday at 2pm and Sunday at 3pm. Please note there will be added performances Monday, December 20 at 8pm, Sunday, December 26 at 2pm (early curtain time) and 8pm, Monday, December 27 at 8pm, and Thursday, December 30 at 2pm, and no performances Friday, December 24 at 8pm, Saturday, December 25 at 2pm, Friday, December 31 at 8pm, or Saturday, January 1 at 2pm. Tickets range from $146.50 - $56.50 and are available at telecharge.com (212-239-6200).
For publicity photos please visit: www.thehartmangrouppr.com
For more information please visit: www.promisespromisesbroadway.com
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BROADWAY BOUND PRODUCTION OF
THE SCOTTSBORO BOYS
PLAYS FINAL MINNEAPOLIS PERFORMANCES AT THE GUTHRIE THEATER
GUTHRIE ARTISTIC DIRECTOR JOE DOWLING LOOKS BACK
AT COMMUNITY AND CRITICAL RESPONSE TO THIS LANDMARK PIECE
(Minneapolis/St. Paul) The Broadway bound production of THE SCOTTSBORO BOYSwill conclude its run at the Guthrie Theater on September 25, 2010, following an eight-week engagement that has played to full houses and standing ovations every night. Lauded by critics and audiences as a daring and wildly entertaining musical that explores a fascinating chapter in American history with brilliant originality, this thrilling final collaboration by musical theater giants JOHN KANDER and FRED EBB continues to spark community conversation well beyond the final bows.
“We’ve been enormously gratified by the reaction to this remarkable musical by both audiences and critics,” said Guthrie Artistic Director JOE DOWLING. “We’re quite proud that the Guthrie Theater was able to bring this provocative new work to our audiences and thrilled by the response.”
Minneapolis critics have been captivated by the production, calling it “AN ASTONISHING MUSICAL ACCOMPLISHMENT” (Star Tribune), “DAZZLING ENTERTAINMENT” (St. Paul Pioneer Press), “OUTLANDISH BRILLIANCE” (Mpls.St.Paul Magazine) and “SHOWS A STARTLING LEVEL OF INTELLECTUAL AND SPIRITUAL COMPLEXITY” (CityPages).
Guthrie audiences have also embraced the discussion of race, examining and thinking about the piece in ways well beyond the normal play going experience. “This powerful and inventive musical reminds us of the corrosive effects of prejudice on individual lives and on society as a whole,” said Dowling. “It has sparked conversations and feedback from our audiences that is unlike almost any other show I’ve experienced.”
“The HUGELY TALENTED TRIPLE-THREAT CAST of this show embodies the principle that some subjects can only be approached through the lens of music and humor, lest they become unbearable. We laugh through the tears and remember, remember, remember--even if we never experienced the original events on which this great show was based.”
-- William, Minneapolis
“I FEEL HONORED, HUMBLED, AND FORTUNATE TO HAVE HAD THE OPPORTUNITY TO SEE IT before it becomes the huge hit on Broadway that it deserves.”
-- Carole, Sioux City, Iowa
"The Scottsboro Boys was A SUPREMELY SATISFYING THEATRE EXPERIENCE which takes one of the more benighted events in Jim Crow South and turns it on its head, humanizing the "boys" and addressing the multi-issued event with skill and poignancy."
-- Jack, Minneapolis
“The story was NAIL BITINGLY TRUTHFUL.”
-- Shelby, Chicago
“The Scottsboro Boys was ONE OF THE MOST FULFILLING & THRILLING NIGHTS IN THEATRE IN YEARS. We had read the story synopsis well in advance of the performance, and pretty much knew it would be a challenging subject matter, but were not prepared for the incredible spectacle we saw before us.”
-- Joe, Minneapolis
“This show was so MAGNIFICENT AND TRANSCENDENT to me. It was just powerful how all the different aspects came together to represent our struggle over this whole entire time.”
-- Veanne, St. Paul
For more audience commentary, visit www.guthrietheater.org/talkscottsboro.
THE SCOTTSBORO BOYS began performances at the Guthrie Theater on July 31, kicking off an eight-week engagement that concludes September 25, 2010. The critically-acclaimed production, directed by five-time Tony Award-winner SUSAN STROMAN and featuring a book by DAVID THOMPSON, comes to the Guthrie following a sold-out Off-Broadway run at the Vineyard Theatre earlier this year. Immediately following its Guthrie run, the production will move to Broadway’s Lyceum Theatre, where it will begin performances on October 7 in advance of its official October 31, 2010, opening.
The Guthrie Theater production of THE SCOTTSBORO BOYS is presented by special arrangement with BARRY and FRAN WEISSLER and JACKI BARLIA FLORIN.
The GUTHRIE THEATER (Joe Dowling, Director)was founded by Sir Tyrone Guthrie in 1963 and is an American center for theater performance, production, education and professional training. The Tony Award-winning Guthrie Theater is dedicated to producing the great works of dramatic literature, developing the work of contemporary playwrights and cultivating the next generation of theater artists. With annual attendance of nearly 500,000 people, the Guthrie Theater presents a mix of classic plays and contemporary work on its three stages. Under the artistic leadership of Joe Dowling since 1995, the Guthrie continues to set a national standard for excellence in theatrical production and performance. In 2006, the Guthrie opened its new home on the banks of the Mississippi River in Minneapolis. Designed by Pritzker Prize-winning architect Jean Nouvel, the Guthrie Theater houses three state-of-the-art stages, production facilities, classrooms and dramatic public lobbies.
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PRISCILLA FINDS HER PALACE!
PRISCILLA QUEEN OF THE DESERT THE MUSICAL
WILL OPEN MARCH 20, 2011
ON BROADWAY AT THE PALACE THEATRE
PREVIEWS BEGIN FEBRUARY 28, 2011
Priscilla Queen Of The Desert The Musical, written by Stephan Elliott and Allan Scott and directed by Simon Phillips, will open on Broadway on Sunday, March 20, 2011 at the Palace Theatre (1564 Broadway). Previews will begin on Monday, February 28, 2011.
The spectacular new stage musical will make its pre-Broadway, North American debut this fall when it begins performances at The Princess of Wales Theatre in Toronto for a twelve-week only engagement beginning October 12, 2010 and officially opening October 26.
Olivier Award nominee Tony Sheldon (“Bernadette”), Tony Award® nominee Will Swenson (“Tick”/ “Mitzi”) and Nick Adams (“Adam”/“Felicia”) star as the trio of friends on a heart-warming, uplifting adventure who hop aboard a battered old bus searching for love and friendship in the middle of the Australian outback and end up finding more than they could ever have dreamed.
With a dazzling array of outrageous costumes and featuring a score of dance-floor classics, PRISCILLA QUEEN OF THE DESERT THE MUSICAL is a sensational journey to the heart of fabulous.
Earlier this year PRISCILLA QUEEN OF THE DESERT THE MUSICAL won the Best Musical Award in London, voted for by Whatsonstage.com readers.
Priscilla Queen Of The Desert The Musical will also feature C. David Johnson (“Bob”), James Brown III (“Jimmy”), Nathan Lee Graham (“Miss Understanding”), Mike McGowan (“Frank”), J. Elaine Marcos (“Cynthia”), Jessica Phillips (“Marion”), Steve Schepis (“Farrah”), Keala Settle (“Shirley”), “Divas” Jacqueline Arnold, Anastacia McCleskey and Ashley Spencer and Thom Allison, Kyle Brown, Bryan West, Tad Wilson, Joshua Buscher, Susan Dunstan, Gavin Lodge, David Lopez, Ellyn Marie Marsh, Jeff Metzler and Eric Sciotto.
PRISCILLA QUEEN OF THE DESERT THE MUSICAL, adapted from the Academy Award® winning film “The Adventures of Priscilla Queen of the Desert,” starring Terence Stamp, Hugo Weaving and Guy Pearce, is written by Stephan Elliott and Allan Scott. Direction is by Simon Phillips, choreography is by Ross Coleman, musical supervision and arrangements are by Stephen ‘Spud’ Murphy and set design is by Brian Thomson. Tim Chappel and Lizzy Gardiner have re-created their Academy Award® winning costume designs, which were originally designed for the film. Lighting is designed by Nick Schlieper and sound design is by Jonathan Deans. BAFTA Award winning make up design is recreated by Cassie Hanlon.
PRISCILLA QUEEN OF THE DESERT THE MUSICAL had its world premiere in Sydney in 2006 and has subsequently wowed audiences and critics alike in Melbourne and New Zealand, becoming the most successful Australian musical of all time. The London production is now in its second smash hit year in the West End at the Palace Theatre. Beyond Toronto and Broadway, further international dates are also in discussion for productions in Brazil, Scandinavia and Germany.
Beyond Toronto and Broadway, further international dates are also in discussion for productions in Brazil, Scandinavia and Germany.
Along with winning the Laurence Olivier Award for Best Costume Design for Tim Chappel and Lizzy Gardiner, the musical was also nominated forBest New Musical and Tony Sheldon was nominated for Best Actor in a Musical.The Evening Standard raved that Priscilla “Takes you out of yourself and into daring places your wildest fantasies might never have dreamed of visiting,” and The Daily Telegraph, The Times, Evening Standard, and London Paper allgave the production “Four Stars!”
PRISCILLA QUEEN OF THE DESERT THE MUSICAL is produced by Liz Koops and Garry McQuinn; Specific Films; Allan Scott Productions; Roy Furman; James L. Nederlander; Terry Allen Kramer; Terri and Timothy Childs, Ken Greiner & Chip Meyrelles; Chugg Entertainment; Michael Buckley; Bruce Davey; Stewart F. Lane / Bonnie Comley; Thierry Suc; Robert G. Bartner; Volcano Project; David Mirvish; Paul Boskind and Martian Entertainment / Spirtas-Mauro Productions/MAS Music Arts & Show.
For more information visit:
TONY AWARD-WINNING HIT PRODUCTION
PLAYS FINAL BROADWAY PERFORMANCE
SUNDAY, JANUARY 2, 2011
The hit revival of WEST SIDE STORY, directed by its two-time Tony Award winning librettist Arthur Laurents with the original Jerome Robbins choreography restaged by Tony Award nominee Joey McKneely, will play its final performance on Broadway on Sunday, January 2, 2011, having played 27 preview and 748 regular performances.
On Monday, December 20, 2010, this Tony Award-winning production of WEST SIDE STORY will become the longest running incarnation of the groundbreaking musical, surpassing the original production which held the record having played 732 Performances on Broadway. This production of WEST SIDE STORY recouped its $14 million investment after running only 30 weeks (247 performances), Karen Olivo won a 2009 Tony Award for her performance as Anita, and this production’s original cast recording won the 2010 Grammy Award for Best Musical Show Album. A national touring production launches in Detroit on September 30, 2010, going on to cross the country visiting cities including Los Angeles, Orlando, Houston and Atlanta.
2009 Tony Award nominee Josefina Scaglione will play her final performance as Maria, Sunday, September 19, at 3pm, and Sarah Amengual will be Broadway’s new Maria beginning Tuesday, September 21, 2010. Natalie Cortez will continue in the role of Anita for the remainder of the Broadway run (Karen Olivo will not return per doctor’s orders) and Matt Shingledecker will play the role of Tony on Wednesday evenings and Sunday matinees beginning October 13th. WEST SIDE STORY currently stars, Matthew Hydzik, Josefina Scaglione, Natalie Cortez, John Arthur Greene, George Akram and Jeremy Jordan leading a cast of 48.
Tickets for WEST SIDE STORY at Broadway’s Palace Theatre (1564 Broadway) are on sale at www.ticketmaster.com (212-307-4100) or at the Palace Theatre box office and range from $121.50 - $46.50. The updated playing schedule for WEST SIDE STORY is Tuesday at 7 p.m., Wednesday - Saturday at 8 p.m., Wednesday and Saturday at 2:30 p.m. and Sunday at 3 p.m.
FOR MORE INFORMATION VISIT:
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National Theatre Live’s special encore broadcast of
Starring Academy Award Winner Helen Mirren
The broadcasts are shown on screens across New York City and throughout the U.S., beginning Thursday, September 23, 2010.
National Theatre Live is an initiative by the UK’s National Theatre to broadcast live performances onto cinema screens around the world. The first season launched in 2009 with the acclaimed broadcast of Phèdre, by Jean Racine in a version by Ted Hughes starring Helen Mirren (The Queen) and Dominic Cooper (Mamma Mia! film), directed by Nicholas Hytner. Phèdre has been added as a special encore broadcast to herald the second season of National Theatre Live on Thursday, September 23rd.
In the New York City area, screenings continue at Brooklyn Academy of Music, NYU’s Skirball Center, City Cinema 123, Kew Gardens Cinema, Fairfield University (CT) & the Shakespeare Theatre Company (DC).
The broadcast will also be shown on screens across the United States including the Mann Theatre in Hollywood, the Lensic Performing Arts Center in Santa Fe, NM, the Coolidge Corner Theatre in Boston, MA, and many more. Several venues have been added in the U.S. to National Theatre Live. Starting with Phèdre the series will be featured at the La Mirada Theatre for the Performing Arts in La Mirada, CA, the Shalin Liu Performing Arts Center in Rockport, MA, the Hopkins Center for the Arts on the campus of Dartmouth University and others.
WHEN: Thursday, September 23rd
Additional broadcasts in the New York City area include:
● Brooklyn Academy of Music
● NYU Skirball Center for the Arts
● Cinema 123 (Upper East Side)
● Jacob Burns Film Center, Pleasantville
● Fairfield University, CT
● Time and Space, Hudson – additional broadcast on Saturday, October 2nd
● Shakespeare Theatre Company (DC)
● Kew Gardens Cinema
● Katharine Hepburn Cultural Arts Center, Old Saybrook (CT)
For a complete list of U.S. dates, times & locations, please check: www.ntlive.com<http://www.ntlive.com>
Ticket prices vary by venue. The average ticket price is $20. Contact local venues for ticket information.
Consumed by an uncontrollable passion for her young stepson and believing Theseus, her absent husband, to be dead, Phèdre (Mirren) confesses her darkest desires and enters the world of nightmare. When Theseus returns, alive and well, Phèdre, fearing exposure, accuses her stepson of rape. The result is carnage.
NT Live is distributed by New York-based BY Experience, Inc. (www.byexperience.net)
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Theatre Communications Group Announces Thirty-Eight
2010 Edgerton Foundation New American Play Awards Totaling $924,000
"Rehearsing a world premiere, every moment is precious. Every question regarding the production has never been answered before. The Edgerton grant will provide us with an apt opportunity to experiment with the tone, pacing and momentum of this exhilarating new play."
Robert Kelley, Artistic, Director, TheatreWorks
NEW YORK, NY - Theatre Communications Group (TCG), the national organization for theatre, is pleased to announce the 38 Edgerton Foundation New American Play awards granted to theatres across the U.S. in 2010. The awards, which total $924,000, provide additional rehearsal and development time for the entire creative team on the new play, including the playwright. Over the last 4 years, 111 Edgerton Foundation New American Play Awards have been granted, totaling $3.2 million.
"It is vital that new play development exist in communities across the country - and that our audiences are invited to participate in the scary, messy, exhilarating process of bringing a new work to life," said Anita Stewart, executive and artistic director of Portland Stage. "Support from the Edgerton Foundation allows Portland Stage and our audiences to be involved in the process of creating something new and unique that can continue to live for years to come."
The goal of the Edgerton Foundation New American Play awards is to utilize up-front development time to help extend the future life of the plays. The plays have also received Pulitzer Prize and Tony Award recognition. Next to Normal won the 2010 Pulitzer Prize for Drama and the following were finalists, The Elaborate Entrance of Chad Diety, Bengal Tiger at the Baghdad Zoo and In the Next Room (or the vibrator play).
"Our Edgerton grant for Wanamaker's Pursuit is crucial to its development," said Amy Murphy, managing director of Arden Theatre Company. "We know from our talks and experience with playwright Rogelio Martinez that he makes extensive use of early rehearsals to revise and clarify. Set in the art world of 1911 Paris, with fashion designer Paul Poiret as one of the major characters, Wanamaker's Pursuit also affords remarkable opportunities for our design team. The extended development process will allow the designers more time to collaborate with Martinez to create a world that captures this most remarkable time and place."
"The Edgerton Foundation's commitment to enabling theaters like MCC to give additional time and resources to playwrights like Neil LaBute and the teams of artists who really shape a new work in its world premiere production is incredible," said Blake West, executive director of MCC Theater. "It makes better work, better artists. It has a huge impact not just on our institution or production, but on the whole landscape for new plays."
The 2010 Edgerton Foundation New Play Awards were presented to:
Actor's Express, Atlanta, GA
by Marco Ramirez
Alabama Shakespeare, Montgomery, AL
by Jeffrey Chasting
Arden Theatre, Philadelphia, PA
by Rogelio Martinez
Arden Theatre, Philadelphia, PA
by Michael Hollinger
Arena Stage, Washington, D.C.
Every Tongue Confess
by Marcus Gardley
Arizona Theatre Company, Tucson, AZ
by Jeffrey Hatcher
Borderlands, Tucson, AZ
Arizona: No Roosters in the Desert
by Kara Hartzel
Co-production with El Circulo Teatral and Prop Thtr
City Theatre, Pittsburgh, PA
by Jeffrey Hatcher & Eric Simonson
Curious, Denver, CO
by Robert Vaughan
Dallas Theater Center, Dallas, TX
The Trinity River Plays
by Regina Taylor
Co-production with Goodman Theatre
Denver Center Theatre Co., Denver, CO
Map of Heaven
by Michelle Lowe
Denver Center Theatre Co., Denver, CO
by Ken Weitzman
Goodman, Chicago, IL
by David Hwang
Co-production with the Public Theater
Goodman, Chicago, IL
by Sarah Ruhl
Guthrie Theater, Minneapolis, MN
Master Butchers Singing Club
by Marsha Norman
Kitchen Dog Theater, Dallas, TX
by Elaine Romero
Lincoln Center Theater, New York, NY
A Free Man of Color
by John Guare
Lookingglass, Chicago, IL
The Last Act of Lilka Kadison
by David Kersnar
Manhattan Theatre Club, New York, NY
by David Lindsay-Abaire
Marin Theatre Company, Mill Valley, CA
by Bill Cain
MCC Theater, New York, NY
Break of Noon
by Neil LaBute
Co-production with Geffen Playhouse
McCarter Theatre Center, Princeton, NJ
The How and The Why
by Sarah Treem
Merrimack Repertory, Lowell, MA
by Bob Clyman
New Theatre, Coral Gables, FL
by Shirley Lauro
Northlight, Skokie, IL
The Outgoing Tide
by Bruce Graham
Oregon Shakespeare, Ashland, OR
by Jonathan Moscone and Tony Taccone
Co-production with Berkeley Repertory
Playwrights Horizons, New York, NY
by Bathsheba Doran
Portland Stage, Portland, OR
Center of Gravity
by Gregory Hischak
Primary Stages, New York, NY
by Kristen Anderson-Lopez, James-Allen Ford, Russ Kaplan and Sara Wordsworth
Salt Lake Acting Co., Salt Lake City, UT
The Persian Quarter
San Jose Rep, San Jose, CA
Love in American Times
by Philip Gotanda
Second Stage, New York, NY
By The Way, Meet Vera Stark
by Lynn Nottage
Shakespeare & Co, Lenox, MA
by Joan Ackerman
Signature Theatre, Arlington, VA
By Michael Slade, Joseph Thalken and Mark Campbell
South Coast Repertory, Costa Mesa, CA
by Itamar Moses
Theatreworks, Palo Alto, CA
The North Pool
by Rajiv Joseph
Theatreworks, Palo Alto, CA
Auctioning the Ainsleys
by Laura Schellhardt
Yale Repertory Theatre, New Haven, CT
by Kirsten Greenidge
For more information on the plays, please visit: http://www.tcg.org/tools/newplays/index.cfm.
The Edgerton Foundation New American Plays Program, directed by Brad and Louise Edgerton, was piloted in 2006 with the Center Theatre Group in Los Angeles by offering two musicals in development an extended rehearsal period for the entire creative team, including the playwrights. The Edgertons launched the program nationally in 2007 and have funded 111 plays to date. Fifty plays have been scheduled to have subsequent productions following their world premieres in productions across the country and the globe in almost forty regional companies, five repertory companies and an international festival in Ireland. Six plays have made it to Broadway, including Curtains, 13, Next To Normal, 33 Variations, In the Next Room (or the vibrator play), and Time Stands Still. Five others have had off Broadway productions of plays first staged in regional theatres: Back, Back, Back, Equivocation, Restoration, The Brother/Sister Plays and The Elaborate Entrance of Chad Diety.
Theatre Communications Group (TCG), the national organization for the American theatre, exists to strengthen, nurture and promote the professional not-for-profit American theatre. Founded in 1961, TCG's constituency has grown from a handful of groundbreaking theatres to nearly 700 member theatres and affiliate organizations and more than 12,000 individuals nationwide. TCG offers its members networking and knowledge-building opportunities through conferences, events, research and communications; awards grants, approximately $2 million per year, to theatre companies and individual artists; advocates on the federal level; and serves as the US Center of the International Theatre Institute, connecting its constituents to the global theatre community. TCG is the nation's largest independent publisher of dramatic literature, with 11 Pulitzer Prizes for Best Play on the TCG booklist. It also publishes the award-winning AMERICAN THEATRE magazine and ARTSEARCH(r), the essential source for a career in the arts. In all of its endeavors, TCG seeks to increase the organizational efficiency of its member theatres, cultivate and celebrate the artistic talent and achievements of the field and promote a larger public understanding of, and appreciation for, the theatre.
In 2005, TCG received the Tony Honors for Excellence in Theatre in recognition of its impact on the national field. TCG and its member theatres are major contributors to the American theatre sector, which employs nearly 130,000 people, produces more than 187,000 performances each year and contributes $1.9 billion to the US economy annually. A 501(c)(3) not-for-profit organization, TCG is led by executive director Teresa Eyring and governed by a national board of directors representing the theatre field. www.tcg.org.
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