#michele pawk

[jgroffdaily]

Photos from the reading of ‘Just in Time’ at Signature Theatre on Monday posted by Broadway World. Photos by DJ Corey.

[heatherslovelythoughts]

Vgyvfsbsuhshegsvs!!!!!!!! GUYS!! GUESS WHO GOT TO GO TO WICKED's 7,486th SHOW!!! On Tuesday, April 11th, Wicked performed its 7,486th show, making it the 4th longest running show in Broadway history. IT WAS SO GOOD!! THE CAST WAS AWESOME AND IT WAS JUST ONE OF THE BEST THINGS IN MY LIFE

[mygrowingcollection]

Michele Pawk

[droughtofapathy]

Cabaret's Shifting Lead Placement

Welcome to another rambling theatre history lesson with DroughtofApathy. Today we're going to examining the fascinating history of Cabaret's ever-changing lead roles.

Ground rule: Tony eligibility for Lead Actor/Actress is first determined by "above-the-title" billing in the show's opening night Playbill. It was a far stricter guideline in the past, as you'll see. These days, many lead roles aren't put above the title (ex. Hadestown, Kimberly Akimbo, etc.) but will be placed in lead categories either because it's obviously a lead, or because producers lobby for it. Conversely, actors can have "above-the-title" billing and be in featured roles, usually because they're major names like Angela Lansbury and Elaine Stritch, who were both Madame Armfeldt in the 2009/2011 revival of A Little Night Music. In which case, producers will usually submit them as featured.

When Cabaret opened on Broadway in 1966, Jill Haworth (Sally), Jack Gilford (Herr Schultz), and Bert Convey (Cliff) got top billing with Lotte Lenya (Fraulein Schneider) in the coveted "and" slot just below. Note who's missing. That's right. When the show premiered, Joel Grey (Emcee) was just a regular old featured role.

Left: opening night playbill billing. Right: post-Tony rebilling with Joel Grey's ascension.

At the 1967 Tonys, Jack Gilford (Herr Schultz) and Lotte Lenya (Fraulein Schneider) were nominated as Leading Actor/Actress, respectively, while Joel Grey and Edward Winter (Ernst Ludwig) were both in Featured. Jill Haworth (Sally) was not nominated, but would have been eligible for Lead as she had "above-the-title" billing. At the time, Joel Grey was just another working actor. Not so after Cabaret. His performance elevated both the role and his billing, thus transforming the Emcee into a Leading Role from then on.

Subsequent productions would focus more on Sally and the Emcee, while Schultz and Schneider (and the non-singing Cliff) would become featured roles. However, the "above the title" Tony ruling was far stricter back in the day, leading Sally (this time Alyson Reed) to once more be featured in the 1987 revival.

Left: opening night Playbill billing. Right: poster billing

In 1987, Joel Grey was given the sole "above-the-title" billing with Alyson Reed in the next featured spot. Though Sally was, like 1966, technically a lead role, she was nominated in featured at the Tonys that season. (Grey was not eligible as he was reprising his role.) In this production, Regina Resnik (Schneider) and Werner Klemperer (Schultz) both got fancy featured billing and nominations in their respective categories. As Cliff, Gregg Edelman got the "and" billing, but in this case it was less elevated than either Resnik or Klemperer (note the boxes). Edelman was still early-career at this point, and not yet a "name" but Cliff was still considered an elevated role in the company.

By 1998, however, the roles as we currently think of them had finally slotted into place. Alan Cumming (Emcee) won for Best Actor, Natasha Richardson (Sally) for Best Actress and Ron Rifkin (Schultz) for Featured Actor. Mary Louise Wilson (Schneider) was nominated in Featured Actress. Richardson also received left-side billing, as she was a larger name (arguably) than Cumming at the time.

Left: opening night Playbill billing. Right: lobby poster billing

But though nominations seemed to make sense, it still didn't jive with billing placement. In the 1998 production, Richardson, Cumming, and Rifkin all had "above-the-title" with Wilson in the featured "and" slot. Despite this placement, Rifkin went in for Featured. Producers can lobby the Tony committee for actor placement if they think it fitting, and these days we're a lot more fast-and-loose with the definitions. Note however, how Wilson has "above-the-title" billing in the lobby board. This was presumably a contractual renegotiation that happened post-Tonys. Note how Denis O'Hare (Ernst) and Michele Pawk (Kost) have their own line below John Benjamin Hickey (Cliff). All three were/are modest, but known, names in the theatre world, about equal to one another, at least at the time.

By 2014, the old couple (Schultz and Schneider) no longer would get top billing. Alan Cumming only built upon Joel Grey's foundation to fully elevate the Emcee role into the undisputed leading man, with Sally the star-vehicle leading lady. Between the 1998 and up until the recent revival, the older couple's story--and Cliff's importance--had taken a backseat.

Left: opening night Playbill billing. Right: poster billing.

In 2014, the revival won no Tonys, but was nominated for both Featured Actor and Actress (Danny Burstein and Linda Emond, respectively). Cumming was not eligible as, like Joel Grey before him, he was reprising his role. This time, with a Tony in his pocket, and a much bigger name than 16 years prior, he got left-side billing. Emond and Burstein received equal line billing below the title, with Emond getting the left. Though they were roughly equal in the theatre world, and Burstein had a slight edge in terms of Tony noms, I'd guess Emond got the left owing to her larger screen presence/notoriety. In the poster, Bill Heck (Cliff) is left out of featured billing entirely, as are Aaron Krohn (Ernst) and Gayle Rankin (Kost).

Now we come to our latest revival, number four. Though it's still too early for nominations, we can assume Eddie Redmayne (Emcee) and Gayle Rankin (Sally) will be leads with all others featured. Historically, Schultz and Schneider are roles that receive nominations, and the Emcee a role that wins. Will that hold in a wildly over-crowded season?

Left: first preview Playbill insert. Right: billing poster outside the theater.

Once more deviating from past productions, the roles of Cliff (Ato Blankson-Wood), Ernst (Henry Gottfried), and Kost (Natascia Diaz) are plucked back out of the company to be given featured billing. This time, Steven Skybell (Schultz) is on even footing with Cliff, even slightly under with his right-side billing. This would be the least "elevated" billing any Schultz has ever gotten. Skybell is a respected theatre veteran but not quite a household name, even in theatre circles. Blankson-Wood, meanwhile, is a recent Tony nominee. It's all politics when it comes to billing.

Here, Bebe Neuwirth (Schneider) is given the coveted "and" poster billing, no surprise. Of the featured roles, she's inarguably the biggest name. A few decades ago, that might have been enough to get her above the title, but these days it's less common that a solidly featured role would get that (unless you're Patti LuPone in Company, and Bebe doesn't have quite the same sway or ego).

This, to me, seems like the most obvious case of industry politics and agent negotiation at play, and usually actors (and egos) aren't even involved in the conversation. Skybell and Neuwirth aren't on the same level, though their characters are. My guess here is that producers want to bill their sole two-time Tony winner separately, and Skybell's agents know he isn't big enough to dispute that.

Now, let's take a look at this marketing design. Redmayne's name is left-billed despite being above Rankin's head. While annoying for those of us audience members who might just see this as a design flaw, this is all contractual, negotiated to death. Redmayne also gets front-and-center positioning, while Rankin is in the background, off-center, but she gets left-side position, which isn't as minimizing as right-side would. Left-billing is given to the bigger name because English reads left to right. These are the kinds of things I think about when I see marketing ads and playbills.

[onehandonmycamera]

Wicked (Broadway) February 20, 2023

Notes: MK’s second performance as Elphaba s/b on Broadway

Mary Kate Morrissey (s/b Elphaba), McKenzie Kurtz (Glinda), James D. Gish (Fiyero), Michele Pawk (Madame Morrible), Cleavant Derricks (The Wizard), Michael Wartella (Boq), Mikayla Renfrow (Nessarose), Clifton Davis (Dr. Dillamond)

Release Info & Screenshots

[oldbaton]

people hated michelle pawk in wicked but i thought she was really good :(

[medium-observation]

April Release!

Beetlejuice - First US National Tour

March 5, 2023 - Medium Observation

Video | Matinée

Cast:

Matthew Michael Janisse (u/s Beetlejuice), Isabella Esler (Lydia Deetz), Britney Coleman (Barbara Maitland), Will Burton (Adam Maitland), Jesse Sharp (Charles Deetz), Kate Marilley (Delia Deetz), Lexie Sharp (u/s Miss Argentina), Abe Goldfarb (Otho), Brian Vaughn (Maxie Dean), Karmine Alers (Maxine Dean/Juno), Jackera Davis (Girl Scout), Morgan Cane Harrison (s/w Ensemble)

Notes:

Matthew's Beetlejuice Debut! great video from the orchestra, with some obstructions on the sides but always worked around. Great color and sound.

NFT Date: October 1, 2023

Screenshots: https://flic.kr/s/aHBqjAuG6i

Video is $20

Wicked - Broadway

January 15, 2023 - Medium Observation

Video | Matinée

Cast:

Talia Suskauker (Elphaba), Brittney Johnson (Glinda), Dan Gleason (u/s Fiyero), Cleavant Derricks (The Wizard), Michele Pawk (Madame Morrible), Mikayla Renfrow (Nessarose), Michael Wartella (Boq), Clifton Davis (Doctor Dillamond), Nicky Venditti (u/s Chistery), Mattie Love (u/s Witch's Mother)

Notes:

Absolutely Perfect video with no obstruction, and very little washout.

NFT Date: October 1, 2023

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

Video is $20

Beetlejuice - Broadway Remount

December 13, 2022 - Medium Observation

Video

Cast:

Alex Brightman (Beetlejuice), Dana Steingold (u/s Lydia Deetz), Kerry Butler (Barbara Maitland), David Josefsberg (Adam Maitland), Adam Dannheisser (Charles Deetz), Natalie Charle Ellis (u/s Delia Deetz), Michelle Aravena (Miss Argentina), Kelvin Moon Loh (Otho), Danny Rutigliano (Maxie Dean), Zonya Love (Maxine Dean/Juno), Brooke Leigh Engen (u/s Girl Scout)

Notes:

Nice 4K video of Dana from the orchestra, starts halfway through invisible. The video is on a slight angle and has some shakiness and blackouts but for less than a couple seconds at a time. Overall a nice video and definitely worth a watch due to the book falling into the hole.

NFT Date: October 1, 2023

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

Video is $20

All videos can be purchased through me.

Email to purchase: mediumobservationtrading@gmail.com

[woodsteingirl]

the judy kuhn, rebecca luker, michael cerveris, michele pawk, john dossett, hugh panero weekend in the country should fight to the death with the patti lupone, brian stokes mitchell, norm lewis, sutton foster, sierra boggess, skylar astin one for “being full of people i know”… phantom of the opera does this btw. you will know a lot of people

[sondheims-hat]

March 11, 2003: City Opera's revival of A Little Night Music opens. Above: Marc Kudisch and Michelle Pawk.

[andersonvision]

MVD Entertainment Group is thrilled to announce the acquisition of the North American rights to "My Love Affair With Marriage," an award-winning animated feature by the renowned writer-director Signe Baumane. Set for a multi-platform release including digital, video on demand, and physical media in September 2024, this film features the voices of Dagmara Dominczyk, Matthew Modine, Michele Pawk, Stephen Lang, and Cameron Monaghan. "My Love Affair With Marriage" weaves the captivating tale of Zelma, voiced by Dominczyk, as she explores her evolving understanding of love and marriage through a succession of romantic encounters. Set against the backdrop of significant historical events in Eastern Europe, the film delves deep into Zelma's personal battles with passion, disillusionment, and self-discovery. Through a unique blend of humor, musical numbers, and stark honesty, the film tackles profound themes such as gender norms, domestic violence, and the pursuit of independence. After its premiere at the Tribeca Festival in June 2022, the film has been showcased at over 110 film festivals globally, winning 25 awards. Baumane, alongside her life partner and producer Sturgis Warner, embarked on a 24-city U.S. tour, engaging with audiences through Q&As and sharing original drawings from the film. The making of this Latvian / USA / Luxembourg co-production spanned seven years, supported by nearly 1,700 individual donors and various cultural grants. Eric D. Wilkinson, Director of Acquisitions at MVD Entertainment Group, expressed his enthusiasm for the film: "The moment I saw the film, I immediately fell in love with it. The groundbreaking animation, story, music, humor, and universal themes all resonated with me. This is an important and critically acclaimed movie that film lovers need to see, and I’m proud to be bringing this to audiences this fall." Critics have lauded "My Love Affair With Marriage" for its innovative approach and emotional depth, with accolades such as a New York Times "Critic’s Pick" and high praise from The Hollywood Reporter and RogerEbert.com. As we anticipate the release, "My Love Affair With Marriage" promises to offer a universal story that resonates across cultures and genders, exploring the eternal quest for love and happiness amidst personal and societal challenges.

[tctmp]

My Love Affair with Marriage: Directed by Signe Baumane. With Dagmara Dominczyk, Michele Pawk, Matthew Modine, Cameron Monaghan. A young spirited woman, Zelma, is determined to conform to the pressures of singing Mythology Sirens in order to be loved, but the more she conforms, the more her body resists. A story of inner female rebellion.

[little-whats-her-name]

Thanks for the tag, this was fun

@amyadams @post-m0dem @windshield-patent @ythaenagor

Not me having some kinda type... Who shall I tag? I think I wanna tagggggg... @mybugsmybugsmybugs @mexicangela @lunar-years @biscuitboxpink but no pressure!! I just thought it would be fun!

[tumblblabber]

My Love Affair With Marriage Gets Theatrical Premiere

Signe Baumane’s long-awaited My Love Affair With Marriage is finally getting a theatrical release premiere courtesy of 8 Above! The NYC premiere of the adult animation film starring Dagmara Dominczyk (Succession), Cameron Monaghan (Shameless, Gotham), Stephen Lang (Avatar), Michele Pawk, Trio Limonāde, Storm Large and Matthew Modine (Stranger Things) is slated to happen on October 6th with the…

[droughtofapathy]

"Welcome to the Theatre": Diary of a Broadway Baby

Follies in Concert

June 20, 2024 | Transport Group Theatre | Carnegie Hall | Evening | Concert | Series | 2H 20M

FOLLIES FOLLIES FOLLIES. THE HIGHLIGHT OF MY YEAR. THE HIGHLIGHT OF MY LIFE(?)

Last night, Carnegie Hall was New York's hottest gay club as every one of us turned up to weep over Sondheim's breathtaking score, played by a divine 30-piece orchestra. Fifty Broadway actors shared the roles and songs of this wonderful show, culminating in a lineup straight out of our wildest dreams.

Though we were robbed of a Donna Murphy triumph with "Could I Leave You?" due to filming schedule changes, we received the impromptu comedy show of the year as Beth Leavel grappled with a broken mic stand and brought the house down anyway.

Kate Baldwin as another eleventh-hour addition proved to be the best moment of the night. Her "Losing My Mind" will go down in history as one of the most divine we will ever hear. Not since Marin Mazzie has a theatre been so rapt, so silent, so in awe. She's always struck me as a Phyllis, but now proves she has the range.

Jennifer Holliday does what she wants, and what she wants was a smooth and seductive "I'm Still Here" full of gravitas even as she meandered far from the written notes and rhythms. She turned a five-minute showstopper into a nine-minute showstopper complete with a standing ovation to open up act two.

Karen Ziemba led six of our finest dancing Broads over sixty (or even seventy)(Mamie Duncan-Gibbs, Ruth Gottschall, JoaAnn M. Hunter, Dana Moore, Michele Pawk, and Margo Sappington) in a "Who's That Woman" original choreography to a standing ovation.

So many thrilling performances, one after the other. I am deeply in love with Barbara Walsh now, and it's honestly a crime she and Carolee Carmello were so underutilized by only having "Waiting for the Girls Upstairs" (Phyllis and Sally don't get much singing in that number, and it's a tragedy). I need to seriously contemplate the Barbara-Phyllis/Carolee-Sally dynamic immediately.

I am now dead. I have ascended. I will never come back to earth again. But the final tributes broke me. The reveal that Sondheim said in a private zoom reunion that Follies was his very favorite original score. The late Harvey Evans' epitaph. Original cast member Kurt Peterson ending the concert with "hey up there, way up there, what'd'ya say up there..." All of it underscored by Sondheim's brilliant work. I am in tears all over again.

Verdict: My Soul Transcended Space and Time

A Note on Ratings

Full set list below cut:

Opening Weissmann Monologue: Hal Linden Beautiful Girls: Christian Mark Gibbs Don't Look at Me: Katie Finneran and Marc Kudisch Waiting for the Girls Upstairs: Thom Sesma, Stephen Bogardus, Barbara Walsh, Carolee Carmello, Grey Henson, Ryan McCartan, Julie Benko, Hannah Elless Rain on the Roof: Klea Blackhurst and Jim Caruso Ah, Paris: Isabel Keating Broadway Baby: Adriane Lenox The Road You Didn't Take: Alexander Gemignani In Buddy's Eyes: Christine Ebersole Who's that Woman?: Karen Ziemba with Mamie Duncan-Gibbs, Ruth Gottschall, JoaAnn M. Hunter, Dana Moore, Michele Pawk, and Margo Sappington I'm Still Here: Jennifer Holliday Too Many Mornings: Norm Lewis and Nikki Renee Daniels The Right Girls: Michael Berresse One More Kiss: Harolyn Blackwell and Mikaela Bennett Could I Leave You?: Beth Leavel Loveland: Chorus You're Gonna Love Tomorrow/Love Will See Us Through: Fernell Hogan, Olivia Elease Hardy, Nina White, Miguel Gil Buddy's Blues: Santino Fontana with Lauren Blackman and Sarah King Losing My Mind: Kate Baldwin The Story of Lucy and Jessie: Alexandra Billings Live, Laugh, Love: Kurt Peterson (ft. John McMartin's original cane)

[oldbaton]

Mary Kate Morrisey was so good as Elphaba. And I don't even cre about vocals as much anymore because they always get good singers and that's a given. At this point in any show a lot of leads have an issue where they feel like they're in a template and MKM was so GOOD. She really understood her. She had distinct mannerisms, speaking patterns, and really found a lot in Elphaba's stubbornness. When Elphaba opened up it felt significant. And that usually isn't the case, it always feels inevitable. But with MKM you always felt like she could just storm off before opening up. She wasn't afraid to make Elphaba harsh or jarring. Which is the point of the character! She is a deeply defensive and closed off person! And most people are only really interested in her defiance but don't invest in grounding Elphaba in her struggle to interact with the world around her. It felt like I was seeing an actual take on the character and it was lovely. Adored her.

McKenzie Kurtz was as broad as any Glinda but the issue is most Glinda's don't know how to do it without making you want to tear your hair out and she has the talent for doing it correctly! She was fantastic. I don't have as many nuanced takes about her other than she nailed it and got tons of laughs out of me while still being grounded enough to keep the narrative moving! Which is really something most Glinda's fail at. She's really great I think once she leaves Wicked that she will get some more great parts. Loved her!

And omg? Seeing the original Doctor Dillamond at the 20th anniversary was really cool. Just hearing that voice I listened to on the cast recording since middle school! It was so special to have William Youmans there it was just so cool. Ah. He was first rate. Michele Pawk and John Dossett were brilliant as always. Both had very distinct takes love that.

And in general I always get mid Wicked casts. It's always a great Morrible + one other good cast member. This is the first time I've seen the show where EVERYONE nailed it. Sobbed my eyes out at the end. Like puffy red. Wicked is always great because it's Wicked but I am so happy to FINALLY see a cast where everyone is digging in!