The AndyGram

Sunday, Jun 26th

You are here: Home Andrew C. McGibbon
Andrew C. McGibbon

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, The site was subsequently bought by, and became He continued to manage the site for Playbill for four years. In 2000 he became the website manager for With the 2008-09 season he finished his ninth year on the show. He has also worked as a webmaster for the Broadway LeagueJazz at Lincoln Center, and as the Director of Digital Media for the New Jersey Performing Arts Center.

Since 2015, Andrew has been working as an architectural photographer and virtual tour photographer known for his photography of theatres such as the Kimmel Center, Tanglewood, Signature Theatre Company, Roundabout Theatre Company, Arena Stage and the Goodspeed Opera House. His photography work can be previewed at

Mr. McGibbon is a member of the American Theatre Critics Association, the Independent Theatre Bloggers AssociationActors' Equity Association and the American Federation of Television and Radio Artists, as well as the American Society of Media Photographers

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




Tuesday, 27 October 2009 16:40

Brent Barrett Releases New Christmas Album


Star of Broadway's Chicago, Annie Get Your Gun
and Phantom - The Las Vegas Spectacular



'Christmas Mornings' 



This holiday season, Brent Barrett, one of Broadway's favorite and most sought-after leading men, is pleased to debut his much-anticipated third solo album, Christmas Mornings, on the Kritzerland label.
Following the success of his first two solo albums - The Kander and Ebb Album and The Alan Jay Lerner Album - Christmas Mornings is an intimate and personal holiday experience with Brent Barrett that featuresa glorious variety of classic Christmas standards plus two new songs, including "A Star To Guide Me," penned by Barrett himself.
Christmas Mornings is produced by Bruce Kimmel, with musical direction and arrangements by Christopher Denny and orchestrations by Larry Moore.  The complete track listing is as follows:
1.    "Santa Claus Is Coming To Town"
2.    "White Christmas"
3.    "Winter Wonderland"
4.    "A Star To Guide Me"
5.    "Christmas Waltz" / "It's the Most Wonderful Time of the Year"
6.    "Lovers on Christmas Eve"
7.    "O Holy Night"
8.    "I'll Be Home for Christmas" / "A Place Called Home"
9.    "Christmas Mornings"
10.  "Christmas Time Is Here"
11.  "Silent Night"
12.  "The Christmas Song"
In celebration of the album release, Barrett will perform two solo holiday concerts at Birdland Jazz Club in midtown Manhattan (315 West 44th Street) on Sunday, December 13 at 6 p.m. and Monday, December 14 at 7 p.m.
With musical direction by Christopher Denny, tickets for the Birdland concerts are $30-$40 each (plus a $10 food/drink minimum) and are available by calling 212-581-3080 or by visiting  
On Broadway, Brent Barrett is currently reprising his award-winning role of Billy Flynn in the Tony-winning musical smash Chicago at the Ambassador Theatre. He most recently starred as the Phantom in Andrew Lloyd Webber's Phantom - The Las Vegas Spectacular.
His other Broadway credits include West Side Story (revival), Annie Get Your Gun (opposite Reba McEntire), Grand Hotel and Candide. He received an Olivier Award nomination for his performance in the recent West End revival of Kiss Me, Kate, which was broadcast on PBS and is now available on DVD.
As a soloist, Barrett has received national and international acclaim with the Boston Pops and the Berlin Philharmonic, and in concerts at Carnegie Hall and London's Royal Albert and Royal Festival Halls.
For more information on Christmas Mornings, including audio samples and ordering information, please visit or

#   #   #


Brent Barrett -- Christmas Mornings (CD Cover Art)


Creator & Star 
Carrie Fisher
will appear on

“The Charlie Rose Show”

Wednesday, October 28th between 11:00PM-12:00AM  
on Channel 13

“Extremely funny full-frontal confession. Carrie Fisher makes you feel like you’ve arrived for a slumber party to swap confidences. You’re going to like it. A Lot.”  -Ben Brantley, The New York Times

"Winning and Hilarious! Carrie Fisher is witty, likable, acerbic, clever and wryly forthcoming about the warped reality of life in the celebrity bubble.” -David Rooney, Variety

on Broadway at Studio 54
On Wednesday, October 28th, Carrie Fisher, star of Roundabout Theatre Company’s Wishful Drinking, will appear on “The Charlie Rose Show” between 11:00PM-12:00AM on channel 13.

Roundabout Theatre Company (Todd Haimes, Artistic Director), in association with Jonathan Reinis, Jamie Cesa, Eva Price & Berkeley Repertory Theatre, is proud to present the Broadway premiere production of Wishful Drinking, created and performed by Carrie Fisher and directed by Tony Taccone at Studio 54 on Broadway (254 West 54th St).  

Wishful Drinking is a limited engagement through January 3rd, 2010.

In Wishful Drinking, Carrie Fisher recounts the true and intoxicating tale of her life as a Hollywood legend, told with the same wry wit she poured into bestsellers like Postcards from the Edge. The daughter of Eddie Fisher and Debbie Reynolds, Carrie Fisher became a cultural icon when she starred as “Princess Leia” in the first Star Wars trilogy at 19 years old. Forever changed, Carrie’s life did not stay picture perfect.  Fisher is the life of the party in this uproarious and sobering look at her Hollywood hangover.

Tickets are available by calling Roundabout Ticket Services at (212) 719-1300 and online at
Wishful Drinking plays Tuesday through Saturday evenings at 8:00PM with a Wednesday, Saturday and Sunday matinee at 2:00PM.  Prices range from $31.50-$111.50.



Tuesday, 27 October 2009 14:30

Cavenaugh to Exit WEST SIDE STORY


Matt Cavenaugh, currently starring as “Tony” in the hit Broadway revival of West Side Story at the Palace Theatre (1564 Broadway at 47th Street), will exit the production at the conclusion of his contract.  His final performance will be Sunday, December 13 at 3pm. 

Ben Brantley wrote in The New York Times that Cavenaugh’s “singing is more tender, wondering and introspective than that of most Tonys, with less of the regulation leading-man virility.  His Tony has a goofy, woolgathering and slightly shy side that helps explain his subsequent ill-advised behavior.”

Following West Side Story, Matt Cavenaugh is slated to star in a pilot of a new musical comedy, currently in development.  Also in development is a concert series with his wife, actress Jenny Powers (Happiness, Grease), featuring the music of Leonard Bernstein.  

"I want to thank the producers and the entire creative team, especially Arthur, for the opportunity to play the iconic role that inspired me (and countless others) to pursue a career in the theatre.  I have been blessed to work with such an incredible cast, who sweat blood and tears every night, to honor and share one of the greatest musicals ever written to a devoted and loving audience."

Tickets for the Broadway production of West Side Story at the Palace Theatre (1564 Broadway) are on sale at, by calling 212-307-4100, or visiting the Palace Theatre box office.  West Side Story plays Tuesday at 7 p.m., Wednesday - Saturday at 8 p.m., Wednesday and Saturday at 2 p.m. and Sunday at 3 p.m. Broadway ticket prices are $121.50 - 46.50. 

*      *      *


Tuesday, 27 October 2009 07:57

Broadway Review: "Memphis, A New Musical"

Chad Kimball and Montego Glover in Memphis
Photo: Joan Marcus

One thing is certain about Memphis, the new musical that just opened at the Shubert Theatre, you’re toe won’t stop tapping from start to finish. The score is infectious at times and occasionally annoying at others (“She’s My Sister”). It also has one of the most energetic and hardest working casts currently on Broadway. Unfortunately, both of these things don’t help the hokey story line.

Memphis is set in the early 1950s and tells the tale of love, race, ambition and the divergent paths life can lead you down. Huey is a white man in love with soul music or “the music of my soul” as he puts it. He falls for Felicia, the black woman he hears singing at a blacks-only club. Well, it was blacks-only until Huey came along. He promises to get her on the radio which he manages to do. The two fall for each other despite the protestations of her brother Delray, the owner of the club where she sings, and his mama.

Memphis is haunted by the ghosts of other musicals before it. There are hints of Hairspray and Dreamgirls. It tackles the subject of racism and interracial love in a parochial and provincial way and doesn’t cover any new ground. One thing it inadvertently did, for me anyway, was hold up a mirror to reflect the current struggle in the gay community for marriage equality.

The show has also been tripped up by the Achilles heel of musical theatre, that allusive perfect ending. I’m sorry to say that the show doesn’t have a very satisfying ending. The book and lyrics are by Joe DiPietro (The Toxic Avenger), based on a concept by George W. George. The book has its lighter moments. The music and lyrics are by David Bryan, a Grammy Award winner and founding member of Bon Jovi. He also co-wrote The Toxic Avenger with DiPietro.

Despite its shortcomings, I dare you to see this show and not enjoy yourself. If the reaction of the audience the night I saw it was any indication, you will. The cast of Memphis is terrific. As Huey, Chad Kimball is a one-man dynamo whose comedic sensitivities and mannerisms remind one of a young Robin Williams. Kimball sings, dances and charms his way through the show with aplomb. Montego Glover plays Felicia, Huey’s love interest, with a sharp wit and a stellar singing voice. Her over-protective brother Delray, played by J. Bernard Calloway is an ominous presence who never does warm up to the idea of having a white brother in law even after he makes her famous. The lovely and funny Cass Morgan plays Huey’s similarly disapproving mother. Michael McGrath is terrific as the cranky station manager. The entire cast is so good it almost feels inappropriate to name any of these talented folks by name.

Chad Kimball and cast members from Memphis
Photo: Joan Marcus

The cast is accompanied by a hot band under the direction of Kenny J. Seymour. As the audience walked out at the end, they lingered to hear the band play the end of the walk-out music and then gave another hearty round of applause. The scenic design by David Gallo morphs smoothly from the sound booth of a radio station, to an underground soul club, to a lily white department store. It does feel a little big for the space and this affected Sergio Trujillo’s phenomenal choreography. The amount of playing space the cast has on the stage is minimal after you subtract for the tremendous set with its multiple columns. Paul Tazewell’s costumes were spectacular. They capture the style of the day and are just plain gorgeous. Director Christopher Ashley (Xanadu) has guided this production with a deft hand and imbued it with ultra-hgih energy. Mr. Ashley is currently the Artistic Director at La Jolla Playhouse.

You might not get swept up in the story; but the song, dance, costumes and cast make it worth the trip. As Huey would say, Hockadoo! (is that dirty?)


Buy Tickets

Read the production credits at the Internet Broadway Database

- Wall Street Journal, Associated Press, Bloomberg News, MTV, Backstage
 – USA Today, Entertainment Weekly, NY-1 News, Variety, Crain’s New York, AM-New York
– Wall Street Journal, Variety, Associated Press, Hollywood Reporter


(New York) –Producer Jeffrey Finn announced today that the recently-opened, first-ever Broadway production of OLEANNA, the provocative drama by Pulitzer Prize winner David Mamet, will be offering a live, interactive online interview with its stars Bill Pullman and Julia Stiles this Tuesday evening, October 27 at 9PM.  The two stars will be taking questions from online viewers for the 30 minute session.

To watch the live video chat, go to the OLEANNA website at www.OleannaOnBroadway for a homepage link to the Live Chat page, facilitated by and hosted by  Mr. Pullman and Ms. Stiles, along with moderator Kathy Searle, will both participate in the live video event for the entire time, answering questions as they’re submitted online in real-time. Those viewers interested in submitting questions that night will need to sign-in either through their own Twitter account or by logging in via Ustream (which is a simple sign-up). 

Directed by Tony Award winner Doug Hughes (Doubt), OLEANNA is a gripping account of a power struggle between a male university professor (Pullman) and one of his female students (Stiles).  The production features scenic design by Neil Patel, costume design by four-time Tony Award winner Catherine Zuber, lighting design by two-time Tony Award winner Donald Holder and fight direction by Rick SordeletOLEANNA plays at The Golden Theatre (252 West 45th Street).

The New York Times calls OLEANNA “Infernally ingenious.  The ultimate he-said, she-said drama!” USA Today heralds it as “A gripping new production! OLEANNA has lost none of its provocative power and is bound to inspire animated conversations long after the curtain falls.” The Associated Press proclaims, “Get ready to be infuriated again! OLEANNA is incendiary and inflammatory, bruising and fascinating! It builds to an explosive climax!”  And critics keep coming back to the same three words: “EXPLOSIVE” (Wall Street Journal, Associated Press, Bloomberg News, MTV, Backstage); “PROVOCATIVE” (USA Today, Entertainment Weekly, Hollywood Reporter, NY-1 News, Crain’s New York, AM-New York, Backstage); and “INCENDIARY” (Wall Street Journal, Variety, Associated Press, Hollywood Reporter). 

OLEANNA is produced by Jeffrey Finn, Arlene Scanlan, Jed Bernstein, Ken Davenport, Carla Emil, Ergo Entertainment, Harbor Entertainment, Elie Hirschfeld, Rachel Hirschfeld, HOP Theatricals, Brian Fenty/Martha H. Jones and Center Theatre Group.

Tickets, $116.50 to $76.50, are available for purchase through visiting, calling (212) 239-6200 or visiting the Golden Theatre box office (252 West 45th Street).  Premium tickets are also available.  The performance schedule for OLEANNA is Tuesday at 7PM, Wednesday through Saturday at 8PM, with matinees Wednesday and Saturday at 2PM and Sunday at 3PM. 

Student tickets, $25 each, are available at the box office, day of performance only, beginning when the box office opens.  Tickets are subject to availability. Valid student ID required, 2 tickets per ID.

#    #    #



Tony® Award-winner Liev Schreiber and Golden Globe nominee Scarlett Johansson, in her Broadway debut, will star in Arthur Miller’s A VIEW FROM THE BRIDGE directed by Gregory Mosher on Broadway at the Cort Theatre (138 West 48th Street). Performances begin Monday, December 28, 2009 and the official opening is Sunday, January 24, 2010. The limited engagement will run for 14 weeks only.

In A VIEW FROM THE BRIDGE, Miller's most passionate drama, Schreiber will play Eddie Carbone, a Brooklyn longshoreman obsessed with his 17-year-old niece Catherine, played by Scarlett Johansson. When Catherine falls in love with a newly arrived immigrant, Eddie's jealousy erupts in a rage that consumes him, his family, and his world. 

A VIEW FROM THE BRIDGE will be produced by Stuart Thompson and The Araca Group.  Additional producers include Jeffrey Finn, Sonia Friedman, The Weinstein Company and Olympus Theatricals.

The creative team for A VIEW FROM THE BRIDGE will include John Lee Beatty (Scenic Design), Jane Greenwood (Costume Design), Peter Kaczorowski (Lighting Design), and Scott Lehrer (Sound Design).

Additional casting will be announced in the coming weeks.

Tickets will be available beginning Saturday, November 21 through, by phone at 212-239-6200, or 800-432-7250, online at

LIEV SCHREIBER (Eddie Carbone). Liev Schreiber's versatile repertoire of portrayals continues to garner him high praise. His performance as Ricky Roma in the 2005 Broadway revival of David Mamet's Glengarry Glen Ross, directed by Joe Mantello, earned him a Tony Award. He was again a Tony nominee for his portrayal of Barry Champlain in the 2007 Broadway revival of Eric Bogosian's Talk Radio, directed by Robert Falls. His other stage work includes the Public Theater's Shakespeare in the Park production of Macbeth, in the lead role opposite Jennifer Ehle, directed by Moisés Kaufman. Mr. Schreiber's many feature credits include Gavin Hood's X-Men Origins: Wolverine, opposite Hugh Jackman; Edward Zwick's Defiance, with Daniel Craig and Jamie Bell; John Curran's The Painted Veil, with Edward Norton and Naomi Watts; Jonathan Demme's The Manchurian Candidate, opposite Meryl Streep and Denzel Washington; Phil Alden Robinson's The Sum of All Fears, with Ben Affleck; James Mangold's Kate & Leopold, also with Hugh Jackman; Norman Jewison's The Hurricane, also with Denzel Washington; Michael Almereydea's Hamlet, as Laertes to Ethan Hawke's Hamlet; Tom Gilroy's Spring Forward, opposite Ned Beatty; Tony Goldwyn's A Walk on the Moon, with Diane Lane; Greg Mottola's The Daytrippers; Nora Ephron's Mixed Nuts; and Wes Craven's Scream trilogy. He recently was seen in Ang Lee's Taking Woodstock, opposite Emile Hirsch; Phillip Noyce's Salt, opposite Angelina Jolie; Miguel Sapochnik's Repossession Mambo, with Jude Law and Forest Whitaker; and Richard Levine's Every Day, opposite Helen Hunt. His portrayal of Orson Welles in Benjamin Ross' RKO 281 brought Mr. Schreiber Emmy and Golden Globe Award nominations. His other telefilm credits include George C. Wolfe's Lackawanna Blues and John Erman's The Sunshine Boys, opposite Woody Allen and Peter Falk. As one of the documentary medium's foremost narrators, he has lent his voice to such works as Mantle, :03 Seconds from Gold, and A City on Fire: The Story of the 68 Detroit Tigers; and the series Nova and Nature. In 2005, Mr. Schreiber made his feature directorial debut with Everything is Illuminated, which he also adapted from Jonathan Safran Foer's best-selling novel of the same name. The film, starring Elijah Wood and Eugene Hutz, was named one of the year's 10 Best by the National Board of Review.
SCARLETT JOHANSSON (Catherine). A View From The Bridge marks Johansson’s Broadway debut. A New York native, Johansson made her professional acting debut at the age of eight in the off-Broadway production of Sophistry, with Ethan Hawke, at New York’s Playwright’s Horizons. With more than a decade of work under her belt, four-time Golden Globe nominee and BAFTA winner, Scarlett Johansson has proven to be one of Hollywood’s most talented young actresses. Johansson received rave reviews and a “Best Actress” Award at the Venice Film Festival for her starring role opposite Bill Murray in Lost in Translation, the critically-acclaimed second film by director Sofia Coppola.  She recently wrapped production on Iron Man 2, playing the role of the Black Widow; set for release on May 7, 2010.   This past year she was seen in the box office hit He’s Just Not That Into You as well as in Frank Miller’s The Spirit.  Prior she starred in the Woody Allen film Vicky Cristina Barcelona and playing ‘Mary Boleyn’ opposite Natalie Portman in The Other Boleyn Girl.  In May 2008 she released her album, Anywhere I Lay My Head, a collection of Tom Waits covers featuring one original song and recently released a duet album Break Up with Pete Yorn. At the age of 12, Johansson attained worldwide recognition for her performance as Grace Maclean, the teen traumatized by a riding accident in Robert Redford’s The Horse Whisperer. She went on to star in Terry Zwigoff’s Ghost World, garnering a “Best Supporting Actress” award from the Toronto Film Critics Circle. Johansson was also featured in the Coen Brothers’ dark drama The Man Who Wasn’t There, opposite Billy Bob Thornton and Frances McDormand. Her other film credits include the critically acclaimed Weitz brothers’ film In Good Company, as well as opposite John Travolta in A Love Song for Bobby Long, which garnered her a Golden Globe nomination (her third in two years.) and Woody Allen's Match Point, which garnered her 4th consecutive Golden Globe nominee in three years.  Other film credits include Girl with a Pearl Earring opposite Colin Firth, The Island opposite Ewan McGregor, Brian DePalma’s The Black Dahlia, Christopher Nolan’s The Prestige and The Nanny Diaries. Her additional credits include Rob Reiner’s comedy North; the thriller Just Cause, with Sean Connery and Laurence Fishburne; and a breakthrough role at the age of 10 in the critically-praised Manny & Lo, which earned her an Independent Spirit Award nomination for “Best Female Lead.” Johansson currently divides her time between New York and Los Angeles. 

GREGORY MOSHER (Director) has produced or directed nearly 200 plays at the Goodman and Lincoln Center theatres, on Broadway and in London's West End. His long association with David Mamet included twenty-three plays, including American Buffalo, Glengarry Glen Ross, and Speed-the-Plow. He has worked with many major playwrights, often on new work, including Samuel Beckett, Leonard Bernstein, John Guare, Richard Nelson, David Rabe and Tennessee Williams. His association with Mr. Miller began in 1985, when Mosher invited him to be part of the creative team at Lincoln Center Theatre; A View from the Bridge will be the third play of Miller's he has directed. Mosher has won every major American theatre award, including two Tony's. 

ARTHUR MILLER (Playwright, 1915-2005) was born in New York City and studied at the University of Michigan. His plays include All My Sons (1947), Death of a Salesman (1949), The Crucible (1953), A View From the Bridge and A Memory of Two Mondays (1955), After the Fall (1964), Incident at Vichy (1964), The Price (1968), The Creation of the World and Other Business (1972), The Archbishop's Ceiling (1977), The American Clock (1980) and Playing for Time. Later plays include The Ride Down Mt. Morgan (1991), The Last Yankee (1993), Broken Glass (1994), Mr. Peters' Connections (1998), Resurrection Blues (2002) and Finishing the Picture (2004). Other works include Focus, a novel (1945); The Misfits, a screenplay (1960); and the texts for In Russia (1969), In the Country (1977) and Chinese Encounters (1979), three books with photographs by his wife, Inge Morath. Memoirs include Salesman in Beijing (1984) and Timebends, an autobiography (1988). Short fiction includes the collection I Don't Need You Anymore (1967); the novella, Homely Girl, a Life (1995);and Presence: Stories (2007). He was awarded the Avery Hopwood Award for Playwriting at the University of Michigan in 1936. He twice won the New York Drama Critics Circle Award, received two Emmy awards and three Tony Awards for his plays, as well as a Tony Award for Lifetime Achievement. He also won an Obie Award, a BBC Best Play Award, the George Foster Peabody Award, a Gold Medal for Drama from the National Institute of Arts and Letters, the Literary Lion Award from the New York Public Library, the John F. Kennedy Lifetime Achievement Award and the Algur Meadows Award. He was named Jefferson Lecturer for the National Endowment for the Humanities in 2001. He was awarded the 2002 Prince of Asturias Award for Letters and the 2003 Jerusalem Prize. He received honorary degrees from Oxford University and Harvard University and was awarded the Prix Moliere of the French theatre, the Dorothy and Lillian Gish Lifetime Achievement Award and the Pulitzer Prize, as well as numerous other awards.

#     #     # 


So You Think You Can Dance’s
* * *
Broadway’s Dance Hit now in Extension
Runs through January 3, 2010

The producers of Broadway’s hottest hit announced today that Mary Murphy of FOX’s “So You Think You Can Dance” will make her Broadway debut for one night only on Tuesday, December 22nd at 7 PM, when she “quicksteps” into the BURN THE FLOOR company at the Longacre Theatre.  She will join the dance juggernaut that has taken Broadway by storm, breaking box office records and extending its limited engagement.  The show, originally announced for a 12 week engagement, has been extended through January 3 2010.  Mary Murphy will be partnered with ballroom champion Vaidas Skimelis.

Mary Murphy is best known for her enthusiastic and emotional judging style on “So You Think You Can Dance,” gaining notoriety and earning fans as the “Queen of Scream.”  She is a US Ballroom Dance Champion and an Austrian National 10-dance and Ballroom Champion.  In addition to owning Champion Ballroom Academy in San Diego, Mary is a partner in the “Chance to Dance” program in the San Diego area school district, helping provide dance classes to children unable to afford lessons.

BURN THE FLOOR is the electrifying Latin and Ballroom dance spectacular which opened this summer at Broadway’s intimate Longacre Theatre (220 West 48th Street).  It is produced by Harley Medcalf, Joe Watson, Richard Levi, Richard Frankel, Tom Viertel, Steven Baruch, Marc Routh, Raise the Roof One, Toppall/Stevens/Mills, Benigno/Klein, Caldwell/Allen, Carrpailet/Danzansky, Bud Martin, The Production Studio, Schaffert/Schnuck, and Carrie Ann Inaba by special arrangement with Dance Partner Inc. 

BURN THE FLOOR has thrilled audiences in over 30 countries and was the first show of the new Broadway season. It opened in August and quickly broke the Longacre Theatre box office record and announced an extension to January 3 2010.

BURN THE FLOOR is created, directed and choreographed by Jason Gilkison.  Its cast is composed of award-winning international dancers from around the globe and include Australian Ballroom and World Latin American champions. They collectively hold more than 100 dance titles.  They are Henry Byalikov, Sharna Burgess, Artem Chigvintsev, Kevin Clifton, Sasha Farber, Jeremy Garner, Anya Garnis, Gordana Grandosek, Patrick Helm, Sarah Hives, Melanie Hooper, Pasha Kovalev, Peta Murgatroyd, Giselle Peacock, Nuria Santalucia, Mirko Sciolan, Sarah Soriano, Damon & Rebecca Sugden, Trent Whiddon, Damian Whitewood, and Robin Windsor.  The dancers are supported by two vocalists, Ricky Rojas and Rebecca Tapia.

Critics and fans around the world have raved about BURN THE FLOOR: The NY Daily News called it “athletic, sensual and rocket-fueled.” called it “utterly theatrical” and NY 1 News said BURN THE FLOOR is “hot, hot, hot.  Pulse pounding choreography.  A two hour adrenaline rush featuring some of the best and best-looking ballroom dancers in the world.”

Playing Schedule: Tue at 7, Wed- Sat 8, Wed & Sat at 2, Sun at 3.
Price Scale:  $111.50, $89.50, $ 59.50. All prices include $1.50 facilities fee.  Discounts are available on groups of 10 and more. Tickets are available at

For a sneak peek, visit

#   #   # 





Neil Simon’s Brighton Beach Memoirs opened last night at the Nederlander Theatre (208 West 41st Street) in a new production directed by David Cromer

The following is a sample of the rave reviews for the production, which will be playing in repertory with Broadway Bound (beginning performances on November 18).  

Review by David Rooney

Hats off to the farsighted producers of ‘The Neil Simon Plays’ for taking a risk on their choice of director. While David Cromer's most recent New York hits, ‘Adding Machine’ and ‘Our Town,’ mined piercing depths in timeworn texts, they did so in an austere presentational style that seemed a million miles from the warm-hearted humor of ‘Brighton Beach Memoirs.’ The first installment of a Simon double that continues with ‘Broadway Bound,’ opening Dec. 10, the revival strikes an exquisite balance between comedy and pathos, its impeccable ensemble landing every laugh while exploring every emotional nuance to build a tremendously moving portrait of family life.

Premiered in 1983, Simon's autobiographical play introduced 15-year-old alter ego Eugene Morris Jerome, an aspiring writer whose progression into adulthood was chronicled through the trilogy's subsequent parts, ‘Biloxi Blues’ (1985) and ‘Broadway Bound’ (1986).

It's easy to imagine ‘Brighton Beach’ becoming either mawkish or sitcommy in the wrong hands. But Cromer has wisely opted not to direct it as comedy shaded by poignant moments, instead taking the more sober reverse approach of treating the play as a family drama leavened by humor. That choice pays off beautifully.


Review by Linda Winer

‘Brighton Beach Memoirs’ is not as good as it was in 1983. It is even better. Neil Simon's coming-of-age autobiographical comedy is not as heartwarming as it was when the hit starred young Matthew Broderick and ran three years. It's now also a heartbreaker.

‘Brighton Beach’— the Depression-era memories of a teen named Eugene and his extended family in 1937 - is the first of an audacious coupling of two of Simon's four substantial plays from the '80s. ‘Broadway Bound,’ about many of the same people after World War II, opens Dec. 10, after which both will run in repertory for what deserves to be - oh, I don't know - maybe forever.

David Cromer (the Chicago director known off-Broadway for his bold musical reinvention of ‘Adding Machine’ and the revelatory ‘Our Town’) moves uptown with a high-wire act of old-fashioned tradition and an emotional honesty so acute it feels radical.


New York Post
Review by Elisabeth Vincentelli

The only way ‘Brighton Beach Memoirs’ could be any cozier is if we watched it in pajamas while sipping an egg cream.


Associated Press
Review by Michael Kuchwara

‘Brighton Beach Memoirs’ was first seen on Broadway in 1983 with Matthew Broderick as Eugene. Now it's returned in an enjoyable revival, which opened Sunday at the Nederlander Theatre, with Noah Robbins, a gawky, thoroughly ingratiating young actor, as the play's narrator and anchor. Robbins' self-deprecating charm sneaks up on you as Jerome struggles to deal not only with his parents but the outside world as well.

You could call ‘Brighton Beach’ a comedy-drama, a play peppered with amusing, often jokey dialogue alternating with poignant moments of personal confrontation and reconciliation. Yet the disconnect is not as disruptive as it could be thanks to David Cromer's smooth, seamless direction and an accomplished cast.


Washington Post
Review by Peter Marks

Let's hear it for the boys! To get a most endearing glimpse into the fumbling rites of passage for guys on the verge of manhood, look to the terrific interactions of Noah Robbins and Santino Fontana in Broadway's handsomely crafted new revival of “Brighton Beach Memoirs.”

Robbins and Fontana portray the alternately cantankerous and commiserating teenage brothers in the new staging of Neil Simon's 1983 autobiographical comedy that officially opened Sunday night at the Nederlander Theatre, under the precision guidance of director David Cromer.

Simon has always been a nonpareil joke writer. But at times in his long and prolific career, it's a facility that has gotten in the way of his efforts to penetrate the psyche's deeper caverns. Cromer's accomplishment is to assert some of the work's other qualities, to strike a balance between its wiseacre veneer and its aspirations to poignancy. He does allow the actors their fair share of robust laughs – particularly Robbins, in the role that once made a star of a young Matthew Broderick. Yet the punch lines no longer leave the impression that they have a stranglehold on the evening.

It feels like an eternity since a work by Simon has received this level of trenchant treatment in New York.


Chicago Tribune
Review by Chris Jones

In his distinguished and, frankly, very moving Broadway directing debut, David Cromer mostly does what he has been doing for years in little theaters all over Chicago. He tackles a tired, second-tier play — Neil Simon’s autobiographical “Brighton Beach Memoirs” — that has become clouded with contrivances, cliches and the stamps of star actors, and, in this particular case, expectations over the efficient deliveries of iconic one-liners.

He strips all that nonsense away like so much cheap Broadway bark, and he rediscovers the actual, vulnerable Americans underneath.
Cromer unlocks a big-hearted and aptly autumnal drama about the agonies of parenting, the rewards of loving your brother, the hopes and desires of youth, the confounding difficulty of keeping food on your extended family’s table in 1937, with the world on the cusp of war.

He replaces sentiment with heart. He raises stakes — yes, even the stakes of a Simon play — to an almost existential level.


Entertainment Weekly
Review by Thom Geier

Eugene is played by Noah Robbins, a 19-year-old just out of high school in Maryland who commands the spotlight from the show's opening line and holds it through the final curtain. Eugene may never play for the Yankees, as is his fervent hope, but this kid's a natural. Interestingly, Robbins' stunning, confident, funny performance evokes a young Woody Allen even more than Matthew Broderick — who created the role at age 21, won a Tony Award, and then went onto Ferris Bueller and a Hollywood career.

Robbins' Eugene is a distinctly post-Seinfeld nebbish, and David Cromer's thoughtful direction underscores the universality of the family's experience instead of stooping to borscht belt shtick. As Eugene's hard-working, all-knowing mother, Laurie Metcalf offers a master class in stage characterization. Her every line reading and gesture achieves a double ring: ringing fundamentally true while wringing the text for every possible laugh.

Laughs are, after all, Simon's stock and trade. There are plenty of them in this fine revival, easily the best show of a young Broadway season. A lot of things may have changed in the last quarter century, but this show's punchlines still work. A-,,20315327,00.html


NY1 News
Review by Roma Torre

When I first saw ‘Brighton Beach Memoirs’ by Neil Simon 26 years ago, it was a comedy with drama. In the current revival, it's a drama with comedy. While the script is essentially the same with topnotch actors in both productions, the difference is the direction. David Cromer, fresh from his unique, naturalistic off-Broadway staging of ‘Our Town,’ applies his now trademark directorial magic to the Neil Simon classic. The result is triumphant, as just as it was a huge hit back then, it deserves to be once again.
Word of Mouth Review

It’s been 23 years since Neil Simon’s ‘Brighton Beach Memoirs’ last played on Broadway, but the family dramedy is so well-loved that many theatergoers still have warm memories of the show. Word of Mouth panelists Angie, Phil and Joe didn’t see Brighton Beach the first time out, but were happy to catch up with the Jerome family antics at the new revival which just opened at the Nederlander Theatre. Did they think the play deserved a big-time comeback? They sure did!


Review by Brian Scott Lipton

You can practically hear the ocean in director David Cromer's beautifully calibrated revival of Neil Simon's autobiographical 1983 play, ‘Brighton Beach Memoirs,’ now at the Nederlander Theatre. Then again, even if you could, the sound of the waves coming to the shore would be drowned out by the noisy goings-on in the nearby Jerome household, where the Great Depression, the approach of World War II, and the dreams, longings, and troubles of this archetypal Jewish family are constantly colliding.


THE NEIL SIMON PLAYS are the first Broadway revivals of two of Neil Simon’s beloved Eugene Morris Jerome plays, Brighton Beach Memoirs and Broadway Bound, directed by David Cromer.  

Brighton Beach Memoirs began previews on October 2 and opened Sunday, October 25.  Broadway Bound begins previews on Wednesday, November 18 and opens Thursday, December 10.    Starting on November 18, the two plays will be performed in repertory on a varied schedule at the Nederlander Theatre (208 West 41st Street).   

Brighton Beach Memoirs and Broadway Bound were two of the longest running Broadway plays of the 1980s.  The works ushered in a new era of appreciation for Neil Simon, with praise for the playwright’s hilarious and poignant account of his adolescence, early career and family life in New York in the 1930s and 1940s.

Brighton Beach Memoirs originally opened on March 27, 1983 at the Alvin Theatre and played for 1,299 performances.  (During the run of Brighton Beach Memoirs, the Alvin Theatre was renamed The Neil Simon Theatre).   Broadway Bound opened on December 4, 1986 at the Broadhurst Theatre, where it played for 756 performances.  

Brighton Beach Memoirs stars Laurie Metcalf (Kate Jerome) and Dennis Boutsikaris (Jack Jerome) with Santino Fontana (Stanley Jerome), Jessica Hecht (Blanche), Gracie Bea Lawrence (Laurie), Noah Robbins (Eugene Jerome) and Alexandra Socha (Nora).

Broadway Bound stars Laurie Metcalf (Kate Jerome) and Dennis Boutsikaris (Jack Jerome) with Santino Fontana (Stanley Jerome), Jessica Hecht (Blanche), Josh Grisetti (Eugene Jerome) and Allan Miller (Ben).

Brighton Beach Memoirs centers on young Jewish teen Eugene Morris Jerome and his extended family living in a crowded home in the Brighton Beach section of Brooklyn in the late 1930s: his overworked father, Jack; overbearing mother, Kate; his older brother Stanley; Kate’s widowed sister Blanche and her daughters, Nora and Laurie.  As Eugene spends his time daydreaming about a baseball career, he must also cope with his family’s troubles, his awkward discovery of the opposite sex and his developing identity as a writer.   

In Broadway Bound, it’s the late 1940s and Eugene and Stanley have started their careers as professional comedy writers.  But when the brothers use their home life in Brighton Beach as inspiration for a radio comedy skit, the Jerome family may never be the same.  

Scenic design is by John Lee Beatty, costume design is by Jane Greenwood, lighting design is by Brian MacDevitt and sound design is by Josh Schmidt and Fitz Patton.   Hair and wig design is by Tom Watson. 

THE NEIL SIMON PLAYS are produced by Ira Pittelman, Max Cooper, Jeffrey Sine, Scott Delman, Ruth Hendel, Roy Furman, Ben Sprecher/Wendy Federman, Scott Landis and Emanuel Azenberg

THE NEIL SIMON PLAYS will be performed in repertory on a varied schedule.  Tickets are available at or 212-307-4100.  

# # # #    


Bye Bye Birdie
Nolan Gerard Funk and the chorus of Bye Bye Birdie
Photo: Joan Marcus

Roundabout’s inaugural production at the new Henry Miller’s Theatre raises one major question, why?  Bye Bye Birdie originally opened on Broadway April 14, 1960 and starred Dick VanDyke, Chita Rivera, Paul Lynde and Charles Nelson Reilly.  This production is the first revival of this show since then; there is a reason for that.    

The production that opened at the newly christened Henry Miller’s Theatre is given a first rate production with gorgeous costumes by Gregg Barnes, a 1950s mod looking set by Andrew Jackness and enough colorful light by Ken Billington to make it all look like a bag of skittles was just ripped open with wild abandon.

Unfortunately, it could be strongly argued that there has never been enough substance to this show beyond its tuneful and lilting score to warrant a revival production.  Conrad Birdie, played competently by Nolan Gerard Funk, is a hip-thrusting rocker and parental nightmare based loosely on Elvis Presley.  He has been drafted and is heading off to war.  His manager Albert, played by John Stamos (Cabaret) is trying to concoct one last publicity stunt so he can change careers, become an English teacher and marry his sweet-heart assistant Rose, played by Gina Gershon (Boeing-Boeing).  If Albert’s mother Mae, played by the talented Jayne Houdyshell (Wit) has anything to do with it this Latin tart won’t get her claws into  her mama’s boy of a son.




New York, NY (10/23/09)The American Theatre Wing has announced the launch of a new online, backstage video series, “In The Wings,available beginning today (Friday, 10/23) on  Focusing on the people who are almost never in the news but who are essential to the making of the shows we all see and love, "In The Wings" explores the talents and stories behind the scenes, from the costume and scenic shops to the rehearsal room to the stage itself, with designers, artisans and craftspeople explaining their unique contributions to theatrical art in their own words.  These short videos shine the spotlight on disciplines many may not even realize are a part of theatrical production and celebrate the full diversity of talent that contribute to bringing a show to the stage.  Click to subscribe to the podcast, listen or watch videos.

The first four editions of “In The Wings,” online now and also available on iTunes, spotlight Animal Trainer William Berloni (Legally Blonde), Stage Manager Martha Donaldson (The Bacchae), Costume Designer Carrie Robbins (Irving Berlin’s White Christmas) and Projection Designer Jeff Sugg (33 Variations).  Upcoming editions include Make-up Designer Angelina Avallone (Rock of Ages, The Little Mermaid), Dialect Coach Stephen Gabis (The 39 Steps), Dance Captain Greg Graham (Billy Elliot) and Fight Director Rick Sordelet (The Royal Family, Superior Donuts). 

American Theatre Wing Executive Director Howard Sherman commented, “While the American Theatre Wing has decades of showcasing the work of authors, writers, directors and designers, the many sub-specialties within theatre haven’t always been explored.  That's where “In The Wings” comes in.  “In The Wings” will focus on those aspects of theatre that are typically out of the spotlight.  While ATW’s previous programs have been long-form, our hope is that shorter material available on the web may prove more accessible and draw new people to all we have to offer.”

The two pilot episodes of “In The Wings” were produced for the American Theatre Wing by Tom Ginocchio.  The subsequent programs have been produced by New York-based RPP Productions, led by Amanda Rogers and Stephen Mann.  “In The Wings” was conceived by the American Theatre Wing’s Director of Web Development Robb Perry and overseen by ATW Producer Gail Yancosek.  New episodes will be released bi-weekly.

The American Theatre Wing (Theodore S. Chapin, Chairman of the Board of Directors; Howard Sherman, Executive Director) is best known as the creator of the Antoinette Perry “Tony” Awards®, which it presents annually with The Broadway League. In addition to “In The Wings,” the Wing sponsors many activities, all dedicated to recognizing excellence and supporting education in theatre.  These programs include “Downstage Center,” a weekly podcast featuring in-depth interviews with the leading artists and professionals working on stage today; “Working in the Theatre,” a weekly television program on CUNY TV which gathers panels of theater artists to discuss their crafts;  “Guides to Careers in the Theatre,” a video series developed for schools and libraries; a grants program for New York City not-for-profit theatre companies, which has awarded nearly $3 million since its inception; the Theatre Intern Group, a career development program for young professionals; SpringboardNYC, a two-week college-to-career boot camp for young performers moving to NYC; and the Jonathan Larson® Grants, given annually to honor emerging composers, lyricists and book writers. The expanded offerings of the American Theatre Wing website include “Masters of the Stage” with the Stage Directors and Choreographers Society and “This is Broadway” with The Broadway League.  All ATW media is available on and on iTunes.

For additional information about all American Theatre Wing programs, go to You can also find the American Theatre Wing on Twitter (