#jaygee macapugay

[d-criss-news]

shuckedmusical: Some new Corn Stars in the house!!! Some photos by @bruglikas @ broadwaybruce_

[ourladyofwaysandmeans]

The March (We Demand Equality), the opening number to the upcoming musical Suffs, featuring the entire cast.

[spaceasianmillennial]

SUFFS Notes: So I've seen both the off-Broadway and Broadway version

2 years earlier, I experienced the Public version of Suffs (before Hillary Clinton and Malala Yousafzai got producer credits). I even own two press scripts.

The Broadway Suffs opening is "Let Mother Vote" and oh I did fell in love with this opening because of how well it established the Carrie's conservative formation and showed us just how seductive it can be. I also kinda miss the older version that opened with woman and non-binary performers dressed as anti-suffrage men making all these awful anti-suffs slogans. By dressing up as the patriachy, these women and non-binary actors really own the story. The Broadway version has less emphasis on ensemble anti-suffs.

Anyone who has seen the Broadway version know that President Woodrow Wilson (Grace McLean) can't stop singing about "Ladies" and their proper domestic place. Now the off-Broadway run has an comedic ironic payoff to this. President Wilson suddenly gets a chest pain, a stroke, and it is a silly moment (I remember the entire theatre laughing hard). We see a few blackouts of him suffering, and SUDDENLY COSTUME CHANGE, Grace McLean is standing there in a black dress, now playing First Lady Edith Wilson, who took up "Stewardship" when her husband was disabled by his stroke. So Edith starts signing some of his paperwork, ("tariff reform, YOUR FAVORITE") and she runs into a paper that says, "Support for Ratification of the Suffrage Amendment." The stage direction indicates she might be on the "verge of epiphany," and she wonders if she should support it, but then she's like "Absolutely NO!" and rips it. It's a funny way of indicating that just because a First Lady has a Presidential role, that doesn't mean she has empathy for women's rights.

I can see why they cut from the Public, but I do miss the silly transformation sequence of President Wilson‘s stroke and Edith Wilson’s stewardship. (Just cause a First Lady got handed power, doesn’t mean she’s gonna save you.)

One striking change is more conspicuous racial stratification in the cast whereas Aisha de Haas, a Black actor, played the white socialite/Tennessee mother at the Public. Light-skinned BIPOC play white characters, and the Broadway script/direction nods a little more when a dark-skinned BIPOC is in a white role.

For example, in the Broadway version, a Black Tsilala Brock plays the white Irish Dudley and President Wilson utters the lines, "honest for an Irishman!" to bring deliberate attention to the race-bent casting.

Also, the Filipino actress Jaygee Macapugay plays the white Mollie Hay. When Wilson says, "The south will never let ladies vote, let alone colored ladies, thank God," he condescendingly takes Mollie Hay by the waist and Jaygee scrunches this deliberately astonished expression at "colored ladies."

The Broadway version cuts out verses of an anonymous Chinese American suffrage who brought her baby to a march. So I went to the Broadway SUFFS with a Black woman seatmate (who never caught the older version) and she felt the musical didn't directly address other suffrage ethnicities outside of white women and Black women. Yes, there is a diversity of BIPOC people playing white suffrages in both versions (and other backgrounders of color are somewhat suggestive of unnamed suffrages of color who did exist), but now there's no longer a direct acknowledgment of Asian suffrages.

The Broadway did some good work to add a sequence of Inez Milholland (Hannah Cruz) working herself to the bone and exhausting herself across states, with a succession of banners signaling another location, leading to her tragic death. It hits way harder than the off-Broadway version (where Phillipa Soo played Inez).

The Broadway version of Suffs tightened some of the numbers. For example, "When We Are Married/If We Are Married" were separate private moments. The Broadway version combined them and juxtaposition the kisses between the heterosexual Dudley and Doris Stevens ("When We Are Married") with the clandestine lesbian Mollie Hay and Carrie Chapman Catt ("IF We Were Married").

Mollie and Carrie did not kiss in the older iteration. So the script goes from Mollie and Carrie "They want to kiss, but there are people around" to "both couples kiss." A moment where Mollie tells Carrie, "Carrie, it's getting late. Come upstairs" (a major hint of their relationship) was also not in the off-Broadway version.

[medium-observation]

Video Release

Shucked - Broadway

April 13, 2023 - Medium Observation

Video

Cast:

John Behlmann (Gordy), Kevin Cahoon (Peanut), Caroline Innerbichler (Maizy), Andrew Durand (Beau), Alex Newell (Lulu), Ashley D. Kelley (Storyteller #1), Grey Henson (Storyteller #2), Jimmy Brewer, Audrey Cardwell, Dwayne Clark, Rheaume Crenshaw, Jaygee Macapugay, Scott Stangland, Yasmeen Sulieman, Quinn Vanantwerp

Notes:

Absolutely Perfect video of this show. Very little to no washout, some adjustments through out.

NFT Date: November 1, 2023

Screenshots:https://flic.kr/s/aHBqjAApNB

Video is $20

Can be purchased through me at mediumobservationtrading@gmail.com

[broadwaydivastournament]

Let Mother Serve, is right. Jenn Colella takes her crown as King of Broadway

Fun little fact: Jenn Colella and Jaygee Macapugay are the only two ladies kissing each other on Broadway right now. Go see Suffs at the Music Box Theatre.

BROADWAY DIVAS SUPERLATIVES: Happy Pride Month

Broadway is chock full of queer men, and we love and respect them here at the Broadway Divas Tournament, but let's give it up for the oft-overlooked queer women of the stage. Here are just a small handful of the queer ladies to delight us on Broadway.

More Polls

No video clips for this one, but I *strongly* advise you all to seek out Lea DeLaria's jazzy swing version of "The Ballad of Sweeney Todd" because if that isn't gay rights, what is?

[sonyclasica]

BRANDY CLARK & SHANE MCANALLY

SHUCKED: ORIGINAL BROADWAY CAST RECORDING

El álbum del musical con 9 nominaciones a los Premios Tony ya disponible en formato digital. Incluye dos bonus tracks “Friends” y “Maybe Love” interpretados por Brandy Clark & Shane McNally.

Consíguelo AQUÍ

Hoy, Sony Masterworks Broadway, junto a los productores Mike Bosner y Jason Owen, estrenan Shucked - Original Broadway Cast Recording.  El álbum, que ya está disponible en formato digital y que saldrá a la venta en CD el 9 de junio, incluye piezas musicales del espectáculo de Broadway, como "Independently Owned," el tema estrella interpretado por Alex Newell; "Somebody Will", una potente balada country interpretada por Andrew Durant; y "Maybe Love", una tierna canción de amor a cargo de Caroline Innerbichler. También se incluye en el álbum de Shucked  los bonus tracks “Friends” y “Maybe Love” interpretados por Brandy Clark y Shane McAnally.

Shucked, la nueva comedia musical de Broadway, está nominada a 9 premios Tony: Mejor musical, Mejor guion de un musical (Robert Horn), Mejor banda sonora original (Brandy Clark y Shane McAnally), Mejor interpretación de un actor en un papel principal de musical (Kevin Cahoon, Alex Newell), Mejor diseño escénico (Scott Pask), Mejor diseño de sonido (John Shivers), Mejor dirección (Jack O'Brien) y Mejor orquestación (Jason Howland).

Producida por Jason Howland, Billy Jay Stein, Shane McAnally, y Brandy Clark, la grabación original de Broadway Shucked incluye música y letras originales de Clark y McAnally que, juntos, obtuvieron 3 Premios Grammy® y 18 nominaciones a los mismos premios.

Brandy Clark comentó: "Este reparto original de Broadway es tan especial, y este álbum es una cápsula del tiempo musical para que las generaciones actuales y futuras descubran y vivan la magia que es Cob County y Shucked".

Shane McAnally dijo: "Escuchar a estas increíbles voces y músicos dar vida a estas canciones ha sido uno de los mayores regalos en el proceso de desarrollo de Shucked. Trabajamos mucho para crear una atemporalidad y un contrapunto emocional a la magia visual y la diversión de la versión escénica".

Shucked, con guion del ganador del Premio Tony®  Robert Horn, música y letras de Brandy Clark y Shane McAnally, y dirección de triple ganador del Tony®Jack O’Brien, las estrellas (en orden alfabético) John Behlmann, Kevin Cahoon, Andrew Durand, Tony Award nominee Grey Henson, Caroline Innerbichler, Ashley D. Kelley y Alex Newell.

El conjunto de Shucked incluye a Jimmy Brewer, Audrey Cardwell, Dwayne Clark, Rheaume Crenshaw, Jaygee Macapugay, Scott Stangland, Yasmeen Sulieman, y Quinn VanAntwerp. También participan Miki Abraham, Ken Wulf Clark, Traci Elaine Lee, y Alan Wiggins.

SHUCKED – ORIGINAL BROADWAY CAST RECORDING

TRACKLIST

1              Overture                               

2              Corn                                                      

3              Walls                                                     

4              Walls (Reprise)                                   

5              Travelin’ Song                     

6              Bad                                                        

7              Woman of the World                          

8              Somebody Will                                    

9              Independently Owned                       

10           Holy Shit                                               

11           Maybe Love                                         

12           Corn (Reprise)                                     

13           Entr'acte                               

14           We Love Jesus                                   

15           OK                                                         

16           I Do                       

17           Friends                                                 

18           Best Man Wins                                    

19           Corn Mix                                               

20           Maybe Love (Reprise)                       

21           Friends (Acoustic Worktape - Bonus Track) | Brandy Clark y Shane McAnally

22           Maybe Love (Bonus Track) | Brandy Clark y Shane McAnally

 Fotos de producción del reparto de Broadway disponibles AQUÍ (fotos de Matthew Murphy & Evan Zimmerman) y fotos promocionales del reparto AQUÍ  (fotos de Emilio Madrid) con autorización para uso de prensa y redes sociales.  

¿Qué se consigue al emparejar a un escritor de comedias semineurótico de Nueva York con dos superestrellas de la música de Nashville? Un divertidísimo y audaz musical sobre la única cosa de la que los estadounidenses de todo el mundo no se sacian: el maíz. Shucked es la nueva comedia musical que demuestra que a veces derribar algunos muros, en lugar de hacerlos crecer, es la única forma de preservar nuestro modo de vida. Shucked está a punto de dar la vuelta a Broadway y ofrecer un grano de esperanza a nuestra dividida nación.

Con coreografía de Sarah O’Gleby, y supervisión musical, dirección musical, orquestación y arreglos del nominado al Premio Tony Jason Howland, el equipo de diseño de Shucked incluye al ganador del Premio Tony Scott Pask (diseño escénico), la nominada al Premio Drama Desk®Tilly Grimes (diseño de vestuario), el nominado al Premio Tony Japhy Weideman (diseño de iluminación), el ganador del Premio Tony John Shivers (diseño de sonido), la ganadora del Premio de la Academia® y del Premio Emmy®Mia Neal (diseño de pelucas), y Stephen Kopel, C12 Casting (dirección de casting).

Las entradas ya están a la venta en www.shuckedmusical.com y www.ticketmaster.com.

Shucked cuenta con la producción de Mike Bosner, Jason Owen, AEG Presents/Jay Marciano/Gary Gersh, Jeffrey A. Sine, Richard Smith, Silvia Schmid, Bob Boyett, Jeremiah J. Harris, James L. Nederlander, EST/Emily Tisch, Sony Music Entertainment, DudaAllen, David W. Busch, Karen Fairchild, Horipro Inc., Gordon-Helfner, John Gore Organization, Madison Wells Live, S&Co., Terry Schnuck, Jimi Westbrook, y ZKM Media.

ELOGIOS DE LA CRÍTICA

"una banda sonora  rica en melodías y llena de vida, compuesta por las estrellas de la música  country  Brandy Clark and Shane McAnally”

-WALL STREET JOURNAL

"Las canciones de Brandy Clark y Shane McAnally son inmediatamente pegadizas..."

-DAILY BEAST

"melodías  inolvidables y letras ingeniosas"

-THE NEW YORKER

Sony Music Masterworks es una empresa global de entretenimiento especializada en música grabada y experiencias en directo. Las producciones teatrales y álbumes de reparto publicados a través de su sello Masterworks Broadway incluyen Back to the Future, KPOP, Almost Famous, The Old Man and the Pool, Sing Street, Lempicka, POTUS, Macbeth (Daniel Craig), Flying Over Sunset, The Prom, SpongeBob, Harry Potter, Hello, Dolly! (Bette Midler), Kinky Boots y Once, además de las bandas sonoras de los filmes musicales The Prom, Tick, Tick…Boom!, y Matilda. Para actualizaciones por email y más información, visita www.sonymusicmasterworks.com.

 www.shuckedmusical.com

www.facebook.com/shuckedmusical

www.instagram.com/shuckedmusical

www.tiktok.com/@shuckedmusical

 www.masterworksbroadway.com

www.facebook.com/masterworksbroadway

www.instagram.com/sonybroadway

www.twitter.com/sonybroadway

https://www.tiktok.com/@sonybroadway

https://www.youtube.com/user/masterworksbwayVEVO

[larryland]

REVIEW: "Working: A Musical" at the Berkshire Theatre Group

REVIEW: “Working: A Musical” at the Berkshire Theatre Group

[carlos-penavega]

secretaustinman: Happy Opening to The Boys in the Band from all of us at #SoftPowerCTG @ctga !!! 👏🏼👏🏼🎉🎉

[dailyconradricamora]

pinaynyc: Loved the past two days! Worlds colliding- Shea & Mark visit @sormusical. Visiting Carol & Billy @misssaigonus. Conrad comes back to NYC for a visit. Making duck faces with Ruthie! #familyreunion #filipinosonbroadway #herelieslove

[theatregraphics]

First Look at Here Lies Love at Seattle Rep

[d-criss-news]

Via Jaygee Macapugay's Instagram Story (June 10th, 2023)

[ourladyofwaysandmeans]

Here's a Youtube playlist of the Suffs cast recording

[citylifeorg]

The Public Theater Announces Casting For World Premiere Musical Suffs

The Public Theater Announces Casting For World Premiere Musical Suffs

Book, Music, and Lyrics by Shaina Taub Choreography by Raja Feather Kelly Directed by Leigh Silverman Ensemble Cast Includes Jenna Bainbridge, Ally Bonino, Tsilala Brock, Jenn Colella, Hannah Cruz, Nadia Dandashi, Aisha de Haas, Stephanie Everett, Amina Faye, Holly Gould, Cassondra James, Nikki M. James, Jaygee Macapugay, Grace McLean, Susan Oliveras, Mia Pak, Monica Tulia Ramirez, J. Riley Jr.,…

[today4utomorrow4netflix]

Hello! Thank you so much for your wonderful audio gifts. Is there any chance you could gift a School of Rock audio with kids mainly not from the obc (Like Rachel Katzke, Amadi Chapata, Olivia Chun)? Thank you so again!

Hey there!I’ll do a double and gift out my master of Alex Brightman’s final show of his limited run back (from a previous request). There’s a bunch of non OBC kids in it.  A friend of mine took the master sitting next to a group of friends so it’s a little loud at times. 

Here’s the link - https://www.mediafire.com/folder/7ptlc34b1a4kw/School_of_Rock_-_4-30-17_E_Today4UTomorrow4Netflix%26%2339%3Bs_Master

and info for traders: School of Rock - Broadway - April 30, 2017 - M4a (Untracked) - Today4UTomorrow4Netflix’s Master   cast: Alex Brightman (Dewey), Jenn Gambatese (Rosalie), Steven Booth (Ned), Becky Gulsvig (Patty), Jersey Sullivan (u/s Zach), Olivia Chun (Summer), Amadi Chapata (Tomika), Rachel Katzke (Katie), Raghav Mehrotra (Freddy), Walden Sullivan (Lawrence), Sammy Ramirez (Billy), Gianna Harris (Shonelle), Chloe Bryan (Madison), Annabelle Wachtel (Marcy), Ruth Righi (Sophie), Terrance Bell Jr. (Mason), Jason Kisare (u/s James), Emily Cramer (Mrs. Sheinkopf),  Emily Borromeo (Mrs. Hathaway), Jaygee Macapugay (Ensemble), Cassie Okenka (Ensemble), Jesse Swimm (u/s Bob/Mr Hamilton/Cop), JJosh Waggoner (Stanley/Mr. Williams/Ensemble), Josh Tower (Snake/Mr. Mooneyham/Ensemble), J. Michael Zygo (Doug/Mr. Spencer/Ensemble), Nehal Joshi (Gabe Brown/Mr. Sanford/Jeff Sanderson/Ensemble), John Arthur Greene (Theo/Ensemble),     notes: This is Alex Brightman’s last show during his limited run back.

[balitang-kutsero]

After kicking off a national book tour in historic Delano, CA and Seattle, WA, Journey for Justice: The Life of Larry Itliong will make its next stop in New York City on Saturday, May 18.

As the first nonfiction illustrated children’s book about the forgotten United Farm Workers (UFW) co-founder Larry Itliong, the book gives a glimpse of Filipin@/x American history and the solidarity between Filipino and Latino farm workers.

This family-friendly event will feature:

- A tribute to Dr. Dawn Mabalon

- Keynote speech from Dr. Kevin Nadal

- Q&A and book signing with co-author and publisher Gayle Romasanta

- Remarks from FANHS Metro NY President Isabella Villacampa

- Performances by Filipin@/x artists and students including Broadway Singer Jaygee Macapugay

Contributing food/drinks for community potluck is encouraged. Filipino snacks will be served.

RSVP: https://www.eventbrite.com/e/journey-for-justice-the-life-of-larry-itliong-book-tour-tribute-to-dr-dawn-mabalon-tickets-60829011210

“As one of the largest immigrant groups in the country, we want our history to be recognized and our stories to be told. We’re happy to honor the legacies of both Larry Itliong and Dr. Dawn Mabalon here on the East Coast with the NYC community.” -Dr. Kevin Nadal, FANHS National Trustee and Professor of Psychology at John Jay College of Criminal Justice

[larryland]

by Fred Baumgarten

At the risk of stating the extremely obvious: it’s 2019.

American goods are manufactured in Mexico, Vietnam, and China. Something called “Democratic Socialists” are making a political stir. The wealth gap continues to grow to obscene proportions.

I mention this not to start an argument, but because “Working,” the musical adaptation of Studs Terkel’s eponymous book, which is on stage at the Berkshire Theatre Group, sits uneasily with a current audience, or at least with this reviewer. Seeing BTG’s very energetic and appealing performance was enjoyable, and also felt at times like looking at a 3D movie without 3D glasses—you know, where the images don’t line up.

Terkel interviewed dozens of laborers of all kinds for his great tome to find out, as the subtitle put it, “What People Do All Day and How They Feel About What They Do.” In the musical, which was adapted by Stephen Schwartz (“Wicked,” “Pippin”) and Nina Faso (“Godspell,” “The Rocky Horror Picture Show”), the subjects, from waiters to firefighters, press agents to receptionists, present Terkel’s words in monologues and songs.

The songs and lyrics are from Schwartz, Gordon Greenberg, and numerous other luminaries including Lin-Manuel Miranda, Mary Rodgers (“Once Upon a Mattress” and daughter of Richard Rodgers) and Susan Birkenhead, and James Taylor.

Terkel’s book is from 1974; the musical premiered in 1977. Revisions and presumably additions were made in 2012, the version presented here. (Miranda was not yet born in 1977.) Other attempts to modernize may have been made in 2012 or by this production’s director, James Barry. For example, a hedge fund manager carries a smart phone and wrestles with e-mail; a South Asian-accented call center attendant is introduced alongside a receptionist, one of several pairings of characters. These updates help refresh the material and generate some needed laughs. But they cannot paper over the odd juxtapositions and anachronisms of the book.

The most awkward of these pairings, which exemplified the problems, placed a prostitute with a socialite/philanthropist. They both use their charms and looks to separate people from their money, I suppose, although one suspects Terkel sided with the hooker with a “heart of gold.”

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Like other characters, such as the fireman, factory worker, teacher, stewardess, and stonemason, they are one-dimensional cutouts, props for Terkel’s sanctification of the working class hero or vilification of the heedless capitalist. It’s a man’s world for sure, where what you build is “Something To Point To,” as the last number goes.

The thing is, we don’t have firemen in 2019; we have firefighters. We don’t lament the miserable lot of the “Just Housewife” (even if we try to substitute “stay-at-home mom”), we go to work and fight for equal rights and equal pay, or we (men, too) make a conscious and affirmative choice to raise children; we don’t work in factories (in the number “Millwork”)—Chinese workers and robots do; UPS drivers don’t publicly fantasize about women, or at least I don’t want to know about it (“Delivery”).

And I’m not sure stonemasons still see themselves as the salt of the earth, the most satisfied laborers in the world. But hey, I could be wrong.

The evening’s most disturbing moment came in a monologue by a recently fired journalist (Deven Kolluri) who imagines taking a gun to his office. If I’m director, I cut that scene out, period. It’s 2019, folks. Have I mentioned that?

There are, thankfully, numerous exceptions in which the characters are more nuanced and individual. In the rousing number “It’s An Art,” a waitress (Katie Birenboim) gleefully embraces her exhibitionist side. Joe, a retiree superbly played by Miles Wilkie, reminisces; his caretaker and a child care worker team up for a beautiful duo, “A Very Good Day.” In “Cleanin’ Women,” domestic workers with mops do a lively song and dance tinged with sadness, as one of them (the amazing Erica Dorfler) wishes to see her daughter escape the life she leads.

Other numbers, even if not quite as believable, are merely enjoyable, such as “Millwork,” which uses the motions of the workers manufacturing luggage to create an intricate dance. “Brother Trucker” is, predictably, a celebration of the open road, performed vivaciously with Tim Jones in the lead.

The top-notch cast brought its A game. Doffler, who has been on Broadway in “Natasha, Pierre and the Great Comet of 1812,” among others, scored a knockout. Farah Alvin, who portrayed a teacher and the housewife, had a memorably strong and rich voice. Birenboim glittered as the waitress. Kolluri gave depth to his portrayals. After a bit of a rough start, Barry kept the show moving briskly, and the musical accompaniment led by Casey Reed was on point.

At nearly two hours, the show needed an intermission. I would humbly suggest the company consider having one. With a show that is essentially plotless, the pacing of characters, musical numbers, and monologues starts to get a bit monotonous. Breaking it up would do it good.

Working: A Musical, from the book by Studs Terkel, adapted by Stephen Schwartz and Nina Faso, runs in the Unicorn Theatre at Berkshire Theatre Group in Stockbridge, Mass., through August 24. Running time: one hour and fifty minutes.

Additional contributions by Gordon Greenberg. Songs by Craig Carnelia, Micki Grant, Lin-Manuel Miranda, Mary Rodgers and Susan Birkenhead, Stephan Schwartz, and James Taylor. Directed by James Barry. Musical direction by Casey Reed. Choreography by Ashley DeLane Burger. Orchestrations by Alex Lacamoire.

Cast: Farah Alvin, Katie Birenboim, Erica Dorfler, Julie Foldesi, Tim Jones, Deven Kolluri, Denis Lambert, Jaygee Macapugay, Rob Morrison, and Miles Wilkie.

REVIEW: “Working: A Musical” at the Berkshire Theatre Group by Fred Baumgarten At the risk of stating the extremely obvious: it’s 2019. American goods are manufactured in Mexico, Vietnam, and China.