#workshop: broadway evolved

[derekklenadaily]

broadwayevolved: TONIGHT!!!! 8PM ET! 2025 SUMMER LAUNCH PARTY!

Join Betsy Wolfe in our private zoom room as we share all the exciting details about summer 2025! SURPRISE SPECIAL GUEST and BE favorite Derek Klena will be jumping into the party too!

See you tonight!

[droughtofapathy]

Curious to know who you would cast as Mother if Ragtime transfers and Caissie wasn't available?

I personally think Jessie Mueller and Kate Baldwin have the range.

I have put a lot of thought into this one, and yeah, Kate Baldwin is at the top of my list. She absolutely has the range, and the vocal training to pull off Mother's musical development. Now, she's done "Back to Before" in the past, and I think her voice has only matured and evolved since then, so I'd be frothing at the mouth to see her take in a fully-realized production. And with a full orchestra soaring behind her? Oh my... Her "Losing My Mind" at the Follies concert this summer was one of the most divine moments in theatre I've ever experienced.

And look, my pipe dream ideal would be Kelli. Yes, yes, I know Kelli O'Hara stepped in for Marin at the reunion concert (and they keep robbing us of this proshot), but I'd kill to see her in a full production. It would be just one more iconic Marin Mazzie role she could do on Broadway. That being said, I don't know if Kelli would do a true ensemble piece like this eight shows a week. Not to say I think she thinks she's too good for it, but she's only done true leading lady roles over the last ten-fifteen years. Mother is iconic, but not especially big in this kind of show. It's the closest the show has to leading actress, but even then... I think she might go for it on the artistic merit alone, especially if it's at Lincoln Center. But I'm not holding out hope.

I don't really think too much about Jessie Mueller, but I wouldn't be mad about it. She's a great musical theatre performer. Also, having seen her in Into the Woods, I think Sara Bareillis might have it. I don't consider her a top choice because she doesn't (as far as I know) have that classically trained soprano tone, but it would still be lovely. Another unrealistic take would be Donna Murphy, who originated the role in the first workshop way back when but then dropped it to do King and I (and that's how we got Marin and it all worked out perfectly). Donna's got a wild range, but she's too old and there's no way she'd go for it. She's also not a legit soprano.

And we have so few true sopranos left, especially ones that can also belt proper (screlting does not count).

[danielpoussart]

The Alluring World of Broadway: Where Dreams Take Center Stage

Broadway, the legendary theater district in New York City, has long been the epitome of artistic excellence and a beacon of hope for performers and audiences alike. With its dazzling lights, iconic marquees, and an endless parade of groundbreaking productions, Broadway represents the pinnacle of live theater. This article explores the enchanting world of Broadway, delving into its historical significance, the intricate process of producing a Broadway show, the cultural influence it wields, and the future prospects of this beloved institution.

A Historical Tapestry: The Evolution of Broadway

The history of Broadway is a rich and colorful tapestry that mirrors the cultural evolution of the United States. The origins of Broadway date back to the early 19th century when New York City was emerging as a cultural hub. The first purpose-built theater, the Park Theatre, opened in 1798, setting the stage for what would become a flourishing theater district.

By the mid-1800s, Broadway was beginning to distinguish itself as a center for live performances, and it wasn’t long before musicals became a defining feature. "The Black Crook," which debuted in 1866, is often credited as the first American musical, combining elements of drama, dance, and music. This production set the stage for what would become the most iconic and enduring genre on Broadway.

The early 20th century brought about the Golden Age of Broadway, a period marked by the creation of timeless classics such as "Show Boat," "Oklahoma!," and "My Fair Lady." These productions not only captivated audiences but also helped to shape the cultural landscape of America, addressing social issues and influencing public discourse. Today, Broadway remains a testament to the power of live theater and its ability to evolve with the times while preserving its rich heritage.

The Craft of Creating a Broadway Show

The magic of Broadway lies not only in the performances but also in the meticulous craft of producing a show. The journey from concept to curtain call is a complex process that requires collaboration, creativity, and a deep commitment to the art of storytelling.

Concept Development and Scriptwriting: Every Broadway show begins with an idea—a story that needs to be told. This idea may be an original work or an adaptation of a novel, film, or historical event. The script, or "book," is crafted by playwrights who work closely with composers and lyricists to create a cohesive narrative interwoven with music. This stage often involves extensive revisions, workshops, and readings to fine-tune the material.

Casting and Rehearsals: Once the script and score are in place, the casting process begins. This is a critical phase where the characters are brought to life through the selection of talented actors. Rehearsals are intensive and can last several weeks or even months, during which the cast and crew work tirelessly to perfect every aspect of the performance. This includes not only the acting and singing but also the choreography, timing, and overall staging.

Design and Technical Production: The visual elements of a Broadway show are essential to creating an immersive experience for the audience. Set designers, costume designers, and lighting and sound engineers collaborate to build the world of the play. Each element is meticulously crafted to enhance the story being told, from the intricate details of the set to the dynamic lighting that sets the mood for each scene.

Previews and Adjustments: Before a show officially opens, it typically goes through a series of preview performances. These previews allow the creative team to observe audience reactions and make necessary adjustments. Whether it’s tweaking a line, refining a scene, or adjusting the pacing, these changes are made to ensure that the show is as polished and impactful as possible by opening night.

The Cultural Influence of Broadway

Broadway is more than just a place where stories are told; it is a cultural institution that has a profound impact on society. The themes and narratives explored in Broadway productions often resonate deeply with audiences, reflecting societal issues, inspiring change, and fostering a sense of community.

One of the most significant cultural contributions of Broadway is its role in advancing social justice and representation. Productions such as "Rent," which addressed issues of LGBTQ+ rights and the AIDS epidemic, and "The Color Purple," which explored themes of race and gender, have brought important social issues to the forefront. These shows do more than entertain; they challenge audiences to confront difficult topics and consider different perspectives.

Broadway’s influence extends beyond the stage, shaping fashion, music, and even language. Iconic shows like "West Side Story" and "The Phantom of the Opera" have left an indelible mark on popular culture, with their songs becoming part of the American musical canon and their stories being retold in various forms, from film adaptations to high school productions.

Additionally, Broadway plays a vital role in the economy of New York City. The theater district attracts millions of visitors each year, contributing significantly to the city’s tourism industry. The success of Broadway also supports a wide range of ancillary businesses, from restaurants and hotels to costume shops and set construction companies.

The Future of Broadway: Challenges and Innovations

As Broadway looks to the future, it faces both challenges and exciting opportunities. The COVID-19 pandemic brought the industry to a standstill, with theaters going dark for over a year. However, the resilience of Broadway is evident in its comeback, with shows reopening and new productions being developed.

One of the most promising trends in Broadway’s future is the increasing emphasis on diversity and inclusion. The call for more representation on stage and behind the scenes is being heard, with more productions featuring stories from underrepresented communities and casting actors of diverse backgrounds. This shift is not only making Broadway more inclusive but also enriching the storytelling by bringing new voices and perspectives to the stage.

Technological advancements are also poised to play a significant role in the evolution of Broadway. From enhanced set designs that incorporate virtual reality to digital streaming platforms that bring Broadway shows to global audiences, technology is expanding the reach and impact of live theater. These innovations have the potential to make Broadway more accessible while preserving the unique magic of a live performance.

However, Broadway must also navigate the challenges of an increasingly digital world. With the rise of streaming services and other forms of digital entertainment, Broadway must continue to innovate and find ways to attract and engage audiences in a competitive entertainment landscape.

The Enduring Magic of Broadway

Broadway is a place where dreams come true, where stories come to life, and where audiences are transported to different worlds. Its enduring appeal lies in its ability to evolve with the times while staying true to its roots as a platform for creativity, expression, and connection.

The magic of Broadway is not just in the performances but in the collective experience of live theater—the shared emotions, the anticipation of the curtain rising, and the sense of wonder that fills the air. As Broadway continues to evolve and adapt to new challenges and opportunities, it remains a vital part of our cultural fabric, a place where the human experience is celebrated in all its complexity and beauty.

Whether you’re a seasoned theatergoer or experiencing Broadway for the first time, the allure of the Great White Way is undeniable. It’s a place where history is made, where the future is imagined, and where the magic of live theater continues to captivate hearts and minds.

[terencelewisinstitute]

Jazz Funk: India's Spicy Spin on a Global Groove

Forget your rigid ballet slippers and dusty tap shoes. The future of dance in India is sizzling hot, laced with sass, and pulsating with the infectious energy of Jazz Funk. This hybrid style, a cross between the smooth sensuality of jazz and the funky swagger of hip-hop, is setting stages ablaze across the country, captivating audiences and challenging the very definition of dance. So, loosen your inhibitions, put on your dancing shoes, and get ready to delve into the electrifying world of Jazz Funk, desi style.

Though new, this dance style is being taught in many Bollywood dance institute in Mumbai.

From Broadway to Bharatnatyam:

Jazz Funk isn't just a random amalgamation of dance styles. Its roots lie in the rich tapestries of jazz and funk, genres born in the streets and clubs of America. From the sultry swing of Josephine Baker to the electrifying grooves of James Brown, jazz imbued movement with storytelling, while funk added a layer of raw, rebellious energy. These influences crossed continents, finding fertile ground in India, where they intertwined with the graceful fluidity of Kathak and the explosive power of Bhangra. This cultural fusion birthed an entirely new expression – Jazz Funk, with its unique Indian flavor. Many Bollywood dance academy in Mumbai has caught upon this trend and added their own twist.

The Evolution of Sass:

The early days of Jazz Funk in India were marked by experimentation. Renowned choreographers like Shiamak Davar and Terence Lewis, who trained under international masters, pioneered the style, blending jazz isolations with hip-hop footwork and infusing Kathak's elegance into funky sequences. Bollywood embraced the trend, with films like "Dilwale Dulhania Le Jayenge" and "Dil To Pagal Hai" setting the stage for Jazz Funk's cinematic ascension. Madhuri Dixit's spunky "Ek Do Teen" and Karisma Kapoor's sassy "Chhaiyya Chhaiyya" became iconic, showcasing the genre's potential to tell stories through movement and attitude.

Beyond Bollywood Bluster:

But Jazz Funk wasn't just a Bollywood fad. It resonated with the spirit of a new generation, eager to express themselves beyond traditional boundaries. Dance academies across India started offering dedicated Jazz Funk classes, attracting not just aspiring actors but also fitness enthusiasts and anyone seeking a fun, liberating way to move. Workshops by international artists like Mia Michaels and Marty Kudelka fuelled the movement, sharing global trends and pushing the boundaries of Indian Jazz Funk. Thus, many dance enthusiasts are keen on learning this dance style.

Spicing Up the Stage:

Today, Indian Jazz Funk is a dynamic entity, constantly evolving. Choreographers like Bosco-Caesar and Remo D'Souza are infusing contemporary elements, incorporating aerial silks and acrobatic feats into their routines. Bollywood itself is experimenting, with films like "Bajirao Mastani" and "Padmaavat" showcasing intricate, story-driven Jazz Funk sequences. But the essence remains – that unique blend of sass, sensuality, and raw energy that sets Indian Jazz Funk apart.

From Studio to Spotlight:

The opportunities for Jazz Funk dancers in India are as diverse as the style itself. Bollywood films and music videos continue to be lucrative avenues, while the rise of web series and digital platforms offer new platforms for talent. Dance crews like Kings United and Desi Hoppers are proving their mettle on international stages, putting Indian Jazz Funk on the global map. And of course, there's the ever-growing world of brand activations and corporate events, where high-energy Jazz Funk performances can electrify any audience.

Beyond the Glittering Stage:

Jazz Funk isn't just about sequins and high kicks. It's a dance form that empowers. Its focus on self-expression and individuality encourages dancers to break free from societal constraints and embrace their unique voices. It fosters a sense of community, where studios become sanctuaries for self-discovery and fellow dancers become a supportive network. This empowering aspect transcends age and background, making Jazz Funk accessible to anyone with a fire in their heart and a rhythm in their soul.

So, Are You Ready to Funk?:

Whether you're a seasoned dancer seeking a new challenge or a curious observer captivated by the rhythm, Indian Jazz Funk welcomes you with open arms (and funky footwork). It's a genre that defies labels, celebrates individuality, and keeps the beat of innovation alive. So, find your nearest studio, put on your dancing shoes, and let the contagious energy of Jazz Funk guide you. You can learn this dance form in many Bollywood dance classes in Mumbai. Remember, in this world, the only rule is to move with confidence, own your sass, and let your inner funk shine through. Because in the vibrant tapestry of Indian dance, Jazz Funk is the thread that's weaving the future, one shimmy and slide at a time.

For more information, visit our website: https://www.terencelewis.com/dance-courses.php

[dancingnotes]

Dance Classes near me | dancingnotes.com.au

Dance classes are an excellent form of cardio exercise. They can also improve flexibility and strength, as well as help you maintain a healthy weight. In addition, regular cardio dance classes can also boost your mood.

DivaDance lets you burn calories, celebrate your curves and let your hair down in a body positive environment. Their all-levels classes include new choreography in every class, so you never feel left behind or out of place.

Steps on Broadway

Located in the heart of Broadway, Steps on Broadway offers dance classes near me for students of all ages. They offer a wide range of styles, including ballet, jazz, hip hop, and theater dance. In addition, they also have summer intensives for students who wish to train with a professional teacher. The studio also offers a variety of other programs, including workshops and performances.

Steps on Broadway has partnered with the American Dance Machine for the 21st Century (ADM21) to bring two one-of-a-kind classes to their repertoire. These classes, Ballet for Broadway and ADM21 Repertory, are available to intermediate and advanced dancers.

If you want to learn how to tap dance, sign up for a 75-minute Absolute Beginner Tap class. This class will teach you the basics of tapping with the beat of live drums. It will also help you build your core and leg strength. The class is available to people of all ages and experience levels, but you must register online.

Alvin Ailey

Whether you’ve danced for 20 years or never set foot in a studio, Alvin Ailey believes that everyone should be able to experience the power of dancing. The nonprofit organization offers more than 80 classes each week for people of all ages and skill levels, both online and in the stunning glass-encased Ailey Studios.

Founded in 1958, the company carries on Mr. Ailey’s original vision of bringing dance to all people. Its community outreach program, AileyDance for Active Aging, brings dance to older adults in their homes and communities.

The company’s newest work, Revelations, exemplifies that commitment. Its six dancers converge, disperse, splay, and twirl as the filaments of a glistening, muscular flower. The music, from Thom Willem’s percussive tone clusters to innocent open sixths, is a symphony of energy and tension. The result is a powerful and moving performance that celebrates the power of the human body. The dancers deserved the standing ovation they received.

Peridance

If you're looking to learn the basics of ballet and want to feel stronger in your body, this studio offers a wide variety of classes for students of all levels. Classes are donation-based, and no prior dance experience is required for opening-level classes.

The studio also teaches Qi Gong and dynamic stretch to strengthen the body and improve posture.

Peridance Capezio Center is a mecca for dancers and non-dancers alike, offering more than 250 weekly open classes in various styles. Its world-renowned faculty prepares dancers for the continually evolving dance arena through an International F-1 Student Visa Program and 2-year Certificate Program. The center is home to the acclaimed Peridance Contemporary Dance Company and its affiliated School at

Peridance. It also features spacious sprung and column-free studios, The Salvatore Capezio Theater and the Peridance Coffee Shop and Capezio Dance-wear Boutique.

The New York City based company is dedicated to expansive public programming, educational partnerships and inclusive and equitable processes for all collaborating artists. The company's performances are renowned for their strength, beauty and voice.

Gibney

Gibney dance is a multi-hyphenate hub that offers drop-in classes and hosts performances, workshops, and talks. Its two locations host a diverse range of classes, from Simonson Technique to Gaga, the barefoot dance style developed by Batsheva Dance Company choreographer Ohad Naharin. Its classes are designed for people of all ages and levels, with a particular focus on inclusivity.

Gibney Dance has a robust community outreach program that provides space and support to non-profit companies and individual dance artists through POP and a Digital Media Initiative. It also offers free dance classes to the public through its Studio 1 rental program.

The Bard College Dance Program has a long-standing partnership with Gibney, which provides students with opportunities to take classes and participate in workshops with the company’s Artistic Associates. The program is an excellent option for students who want to explore dance as a form of activism. In addition, the program offers students an internship with Gibney.

[machine-without-feelings]

i don’t know if this will make much sense as i haven’t had many coherent thoughts in my 18 years of living and i doubt that this will be an anomaly but i just need to do a lil rambly rant. 

so. about hadestown. i keep seeing comments about the original epic iii, or at least the live album version, in that it’s better than the final song that made it to broadway. allow me to preface this by saying there is absolutely nothing wrong with having preferences. i myself adore each version of persephone’s ultimately cut verse in chant ii/reprise. however, i understand the decision to cut it, for timing. i also particularly love the live album, just because the raw instruments and untouched vocals scritch my brain in the best way, but that doesn’t mean i shit on the broadway album.

hadestown isn’t just a musical. it’s anaïs’ now fifteen+ year passion project. she has built this show up from the ground, starting with (to my knowledge) 4 workshops and 2 professional runs before it even hit broadway. she has made this amazing piece of art and we have the privilege of her sharing it with us. we get to watch or listen to her masterpiece. furthermore, i’ve heard that anaïs dealt with a lot of anxiety in writing epic iii as she felt the pressure of writing a song that would literally change the world of hadestown (i’ve just bought myself the lyrics of hadestown book so will update once i’ve read it). she deserves WAY more slack than people shitting on the current-final version of epic iii. you can appreciate the old lyrics, or damon as orpheus, or WHATEVER but that does not mean you can hate the broadway album version. that may not even be the final version, it’s just the most current version we have, but as the last fifteen years have shown, hadestown is constantly evolving, and every version is a gift. 

also, i don’t know if this is just me (whenever i talk about anything like this my internalised misogyny makes me feel like AngryIrrationalFeminist) but i don’t see lin manuel-miranda getting nearly as much hate for hamilton’s cut songs (as it shouldn’t). it just makes me so upset to see how toxic the theatre community can be. it’s bad enough seeing all the gatekeeping of OBCs as of late but the epic iii issue is something that’s been weighing on my mind. don’t forget that theatre is art. art is personal to the artist. sharing your art can be one of the scariest things an artist can do. anaïs has shared her art with us. have your preferences, sure, but 

thank you all for coming to my tedtalk *curtain falls on rant*

[elenamegan14]

Twisted Wonderland: Headcanons for Dorm Haunted Houses Pt.5 - Octavinelle

MASTERLIST

Part 4

Probably the longest headcanon one I had so far. LOL.

TW: Slight dubcon elements and submechanophobia. 

THE ATTRACTION: 

This dorm’s haunted house is quite unique because it’s a mish-mash between a cruise ship and the jazz lounge hall from the Roaring 1920s. For some reason, after thorough research, Azul wanted to include ‘submechanophobia’ (fear of animatronics submerged in water) into the haunted dorm concept himself. 

Azul went crazy with all the merchandise - there were T-Shirts, posters, the most adorable set of acrylic keychains! And the piece of resistance is a two-song single that he and the twins have recorded. It has a physical and digital release, of which the latter had 1,300,000 downloads in just one day. 

The promos are crazy too. The way the staff had shot the commercial for the dorm’s haunted house is so cinematically professional that many were taught it was a real movie itself. Luckily, Azul also recorded the dorm’s theme. PS: They also did Pomefiore’s promo video too for a cut share of 15%.

Azul wanted to increase his clients on Monstro Lounge, but he cannot go easy on the student participants as well. He wanted to hear BOTH screams - so the treatment for the students in the survival game and the guests is going to be very different from another. 

Regular guests will be scared in a standard manner: jumpscares from animatronics, a bit of gas blowing on their necks - NO TOUCHING AT ALL.

As for the students… well, they’re most likely to get attacked ALL THE TIME. Your name it: physical touches, animatronics dragging them to their ‘doom’, etc. That’s why the dorm made a contract clause to the participants warning them that there will be physical touching and a safe word is provided. Most participants did not read this except for a few. Like MC and Jack. Unless they purchased his charms. 

Yes, the octopus capitalist had created their own charms that worked only for this haunted house ONLY. It protects students from the monsters, well MOSTLY. 

Perhaps because he was attached to the band he, Floyd, and Jade once made back in middle school, he wanted to include the entertainment aspect as well, perhaps for nostalgic sake. Plus, he did it because he knew people would pay money to see hot idol guys singing jazz songs. Of course, he did, why do you doubt him so?

“Do instruments of torture count?” Floyd asked during the first band meeting. Azul quickly dismissed it. And no, mayonnaise is definitely NOT a musical instrument. 

When guests and student participants arrived in the dorm’s haunted house, they were lured into an abandoned pier. During the walk in the eerie, fog-infested docks, guests could see some posters of missing people, old posters of a cruise ship trip promotion, a poster featuring the Octavinelle band in old-timey fashion and old news articles about a tragic malfunctioning animatronic accident. 

As they approached closer, they could hear several jazz songs, including electro swings coming from somewhere. Guests also noticed some abandoned, dilapidated animatronics that was missing some parts, giving it a frightening outlook. What really unsettles them most are writings on the wall that are written either in blood or blacks markers: “TURN BACK!” “WATCH OUT!” “STAY AWAY FROM THE CRUISE SHIP!”

They arrived at their destination: a large cruise ship was waiting on them. On the entrance, the dorm staff sold their merchandise and charms to the students themselves. Already traumatized by the two previous haunted houses, most students hurriedly buy the charm itself. Grimm wanted one because there is no way he would want to be “attacked” again, but Deuce managed to stop him from buying an ‘unnecessary’ object (“Unnecessary my foot! We’re talking about the benefit of humanity here!”).

Ace secretly buys one. “There’s not wrong with being prepared!” He whispered to himself.

Entering the den of the beast, they went inside a lavish foyer area that is reminiscent of a scene in titanic. Chandeliers, art deco furniture, and art, as well as posters of the animatronic bands, were shown in meticulous detail. 

They were then seated at a wide, spacious restaurant theater area. The staff hyped the audience by asking them to sing a few lines from Azul’s song, before introducing Azul’s band like in a jazz concert. 

They began the pre-show in a unique way. Azul is a showstopper mysterious owner and headline singer for “Monstro Lounge”, the cruise ship that is rumored to have a multitude of people missing. Floyd and Jade are his lackeys with the same headline as well. 

Azul charms the audience with a siren-like voice, putting the audience into his trance. For some reason, the Octavinelle trio tends to direct their gazes, winks, and fanservice towards MC the most. It then evolved into a Broadway show-stopping number.

The way Azul plays his piano is started off slow, increasing his tempo and so does his seduction and flamboyance. He makes an expression that one could mistake as a man experienced in the bedroom. 

Floyd goes crazy with his drums. Meanwhile, Jade plays his contrabass with grace and elegance, fingers touching it lightly but spicy. 

Many female clientele almost had a nosebleed... or this close to fainting. 

AZUL UNBUTTONED HIS SHIRT TEASINGLY DURING HIS NUMBER. They’re starting to lose it. 

Oh, the fan’s screams actually racked up their scream counter. There’s no cheating here - who says that happy screams can’t count? 

Yes, Azul does sing on top of the piano. 

After they finished their show, Azul then unleashed one of his proudest creations, an animatronic of a lovely mermaid doll that began to sing like an angel. Then, with a snap of fingers, he unleashed a multitude of doll-like merpeople animatronics that looked strangely alive as her accompanying orchestra, playing a haunting, eerie song. 

During the middle of the show, one of Octavinelle’s actors came to the stage, shouting about his “long-lost daughter”, followed by a couple more people. Despite the actor playing as security told him to go back to his seat, the father ignored him and embraced the mermaid doll animatronic - his daughter. 

In his “rant”, he cursed the Octavinelle trio of deliberately hiding his daughter for three years and turned her into this “monstrosity”. He then declared that he will rescue his daughter from this “vile place‘, unaware that the Octavinelle trio had placed knowing smirks and grins on their face. Begging for his “daughter” to recognize him, the mermaid doll slowly gazed upon her “father”...

...and “tore” his neck apart. Fake blood spewing everywhere, his screams reverberated through the dance hall. 

All of the animatronics came alive and started to gruesomely murdered the intruders as well. 

“Well, this escalated quickly.” Ace muttered at the disturbing sight. 

A guest suddenly screamed - the area is suddenly filled with water, causing the guests and student participants to hurriedly run to the prepared exit. 

The students have enchanted some parts of the aquarium walls where merpeople students could appear in and out of the aquarium water on the wall without spilling the water everywhere. So guests and students participants were often surprised by sudden appearances of the tweels, Azul, animatronics, and staff splashing out of the wall from nowhere. There had been many who claimed to have a heart attack from these encounters. 

As they run through the aquarium walls, the guests and students are spooked with various animatronics of mutated sea creatures, merpeople, and even a FREAKING shark animatronic that chases them around persistently. They appear at random times, and their designs would surely put submechanophobia (fear of underwater animatronics) into their very souls. 

As they moved on further, they entered Azul’s office and workshop - where gory remains of the missing people experimented into animatronics were seen. Horrid screams and desperate shrieks rang all the way - some were even trapped halfway into the animatronic itself. 

Azul had two forms for this haunted house dorm: the first is his regular jazz-lounge entertainer animatronic suit with art deco and aquatic elements. The next form is almost the same except his animatronic parts are more revealed, some parts of his clothes tattered and his tentacles are fully shown. Some guests and students secretly yearned to be trapped inside his “tentacles”.

“Fu, fu, fu… come. Let me squeeze you, let me touch your flesh...” “Yes, please.” A guest squeaked, face flushing red.

The tweels have the same elements as Azul did in their costume, except they’re identical and much more muted than Azul did. Their second forms are their merforms, but with faded mechanical parts and some fresh BLOOD on their teeth and torso...

The final stage and centerpiece of their haunted house is what Azul is most proud of. Thrown again into a twisted version of the animatronic warehouse with aquatic background, the now revealed “animatronic” Azul hypnotized the whole audience with his siren-like singing on a small stage, beckoning several guests into the sweet embrace of his tentacles. Fun fact: most students and guests could not resist the temptation and got ‘squished to death’ instead. Yep, no subcontext here at all. 

THE MISSION:

The students and the guests are separated into different groups, with a glass aquarium wall to divide them. 

The guide relayed the charm mission to them: this cruise ship is infamous for having animatronics and automatons to serve and entertain their guests. But many years ago, there was an incident where an animatronic, fed up with being abused by a spoiled heiress on her sweet sixteen birthday, mauled her and nearly drowned her in the aquarium. 

Their mission is quite simple: get the charm inside Azul’s office then get out of cruise ship “ALIVE”. They were told that they have three chances to find it inside the office itself, or else they would be “eliminated” and had to start all over again. 

But first, they must survive his “show” to get to his office. The students were a bit confused at this part until later.

During the show, they soon learn why they were separated from the guests with a glass wall.  

While the guest audience’s part is flooded with a small bit of water, the student's parts were unleashed with a torrential burst of water that they have to run to. Everyone (who is on the student side) by the end of this segment is wet from head to toe. 

“Damn you, Azul! Once I get out of here, I’ll fry your tentacles!” Grimm growled, drying his soppy fur using his fire magic. 

Octavinelle’s challenge is 90% of Patrick Star’s “WEE WOO WEE WOO” moments. 10% of it is just trying to survive.

The animatronics hissed, jumped, and even grabbed them at random times, which puts the NRC students into a looooot of stress since it attacked them more than once!

Oh, yes, and the mechanical shark will burst out of the “wall” when you least expect it. 

“WHAT THE HECK IS WITH THIS HAUNTED HOUSE?! THIS IS VERY UNREASONABLE!” Cried one student before a mechanical shark got him. 

But the ones who purchased Octavinelle’s charm walked in smoothly - the animatronics did not attack them directly, the staff stayed out of their way - all is good and right in the world...

Spoiler alert: Did they say that the charm protects them? Of course, it did… EXCEPT AGAINST AZUL AND THE TWEELS. 

Yup, Ace learned the hard way when Jade came out of nowhere and tried to drag him inside the aquarium water. The screams that Ace had bellowed does not do justice to how fast he runs. 

“YOU SAID THIS CHARM WOULD PROTECT US!”

Epel read the terms and agreement again, “Oh, whoops. It also says here, that the charm doesn’t guarantee to protect you against Azul, Floyd, and Jade. Should have read it thoroughly.”

“I can’t read while I’m getting chased!”

FLOYD DOES MOST OF THE DAMAGES. Physically and emotionally. 

He first started by licking Ace’s face. Who knew that eel’s tongue is long.(“Nooooo! I feel so physically violated!” Ace ran to the corner and sobbed.)

Epel had a heart attack when he felt someone smacked his ass. As does Deuce. Then Jack (his tail got roughly grabbed as well). 

Jack screamed out all the safe words. Deuce and Epel shouted all kinds of colorful swear words they could ever know, even the foreign ones. 

MC’s ass received the same treatment, but they also received an additional playful grope. And then Floyd licked them. MC was screaming and flustered at the same time. 

“Shrimp-chan is cute when startled!” He cooed before he splashed back to the water. 

There were a LOT of complaints after this event this over, particularly threats of suing Azul for inappropriate sexual harassment. But then the staff asked if they all read the terms and agreements. They all went silent and got on with the next haunted house challenge. 

MC’s group tried to murder Floyd by chasing him down underwater, but they realized that getting inside the water would actually disqualify them. They all promised DEATH upon the Octavinelle trio for putting them into this mess and extorting them out of their money. 

Now there was one this brutal and competitive student who wanted to get the charms himself. So he kinda lures MC using the infamous “Wounded Gazelle Gambit” trick. In MC’s defense, the act was kinda convincing for a student.

They were not prepared to be chained up and kicked outside to the water, leaving them to drown after they got frisked by that said student for the charms. “In this world, only the mighty wins!” 

For a while, MC is left trying to hold their breath while desperately trying to free themselves from the heavy chains. Just as their oxygen almost ran out, Jade managed to see MC struggling underwater. He managed to get Houdini MC out of the water, asking if they’re okay and who actually did this to them. While MC struggled to answer, refusing special treatment, MC decided to get back into the game and get the charms back.

Jade also decided to deal with the violent troublemaker as well, and he just knew what to do with the mechanical shark that he controlled. 

To get to the office, the students went to another path, carrying them to a room filled with water and several large pieces of ice. They had to carefully cross through the thin layers of ice amongst the water. There was a mechanical shark circling around, sniffing for its late-night snack. 

Already five students fell victim to it. 

The ice is slippery, MC’s group is struggling to stay afloat and they do not see MC anywhere. 

Epel does spot a student cackling as he carries two familiar charms. 

“What have you done to them?!” Ace growled. 

“Oh, I guess I made them sleep with the fishes.”

Deuce’s inner delinquent is awakened. He roared and attacked that said student, attempting to avenge poor MC. There was pulling, tugging and pinching. 

Just as that competitive student got the upper-hand to Deuce… well, surprise, surprise, guess who’s back, back again. 

“HISASHIBURI-DANNA, BITCH. BET YOU’D THOUGHT YOU’VE SEEN THE LAST OF ME.” MC, wet from head to toe, raised their fist, punching that said student and causing that student to release the charms. Deuce quickly grabbed them both before they lost it again, then gave an additional uppercut to that said student. The competitive student staggered backward...

...and then the mechanical shark jumped out of nowhere from the water and dragged the student into their watery doom (kidding: that jerk student got thrown out of the cruise instead. INTO THE TRASH BIN). 

The remaining students reached the front of the office, but they could not open the door. Turns out, Azul had enchanted the door so that it can only be opened by using one, particular, embarrassing pose. Oh, and they have to cry out the written words as well. 

“The complete flame in our chests shall not be extinguished by anyone! We are… THE PHOENIX!” They all pose like a phoenix. Once it’s done, there isn't any student that collapses out of sheer humiliation. 

The Octavinelle Trio secretly recorded it. Either for blackmail or marketing purposes, take your pick. 

Once they were inside the office, they were given a riddle and three chances to find it: I am violet, I sing in a limited voice and I am trapped. Find the key inside me. 

At first, they thought it was a musical instrument - but there aren’t any musical instruments that colored purple - unless someone dyes it. Also, they cannot find anything remotely similar to a musical instrument. They finally narrowed down to a purple scorebook, a purple-colored radio and… a music box. 

They decided to select a music box... and voila! The charm is found! It’s a good thing they got enough to share on their brain cells, eh? 

The last challenge after getting the charm is to escape from the cruise itself - but they have to go through Azul to do exactly that! Yup, they have to resist Azul’s hypnotic singing, struggling to escape straight to the exit. Because of Jack’s sensitive ears, he had repeatedly tried to walk straight to Azul, only for Epel to knock him out for a good measure and carried Jack around like he was nothing but a potato sack. 

MC nearly succumbed to hypnotism but Grimm managed to snap them out of it by slapping them repeatedly. 

Azul sighed, “And here I was thinking I could get a chance to get close to you than Floyd did.” 

Yep, they definitely did not waste any chances of getting out of here before Azul starts singing again. 

The Octavinelle Dorm staff is considerate enough to give the students wet towels and a warm drink to keep the students from getting cold. Meanwhile, Ace, Epel, and Deuce joined in the protest about the inappropriate misconduct before they unleashed their rage on the nearby prepared dummies after being told that their contract’s terms and conditions had warned them that there will be touching and the staff is not responsible for it. 

Perhaps getting wet is a good thing because the fiery presence of Scarabia’s haunted house might be able to keep the cold away...

Part 6

[wearenotasfarwest]

hey Katie! hope this isn’t too much of a bother but if you feel like answering - how did the LA Tigers characterizations most differ from the off-broadway portrayals? I know pretty much nothing about the earlier productions and wondered how certain facets of the characters changed/evolved (and I hope you’re doing well!!)

Hi, nonny! Sorry for the late response, I really wanted time to sit with the question until I felt confident that I was answering it in the most honest way I could. So let’s jump into it!

1. RIley

Callandra Olivia seemed more aware of everything than Lauren Zakrin. Like when Annleigh says “He came to propose!”, she still had the “Congratulations!”, and she started it almost as enthusiastically as Lauren, but midway through trailed off when she remembered Clark’s dead. It also felt a lot less pre-meditated. I continue to hold that she came up with the idea during Before the Breakdown to kill them, because you could just see it in her eyes. Also, Callandra was lovely and kind and passionate and... never got all of the words right. For example, in Wallflower one night she said “The type of high school girl who is rarely seen at parties with her pants off”. Also, she didn’t have a knife in the breakdown. 

2. Cairo

Wonu is wonderful, but Jade really seemed like she just... cared more? Which is interesting, because the script had more Cairo quips, but she just seemed to care more about the other girls. What comes to mind is the “God, I have done nothing with my life!” “You won a lot of dressage medals!” “I did!”. The way that line was delivered was very comforting. In my memory, Cairo even has an arm around Annleigh as she delivers it, and it wasn’t snarky at all. Cairo didn’t become the captain in LA, but it would have made so much sense with her characterization if she had. In LA, Annleigh also brought her the phone and she made the call to the police herself, which I really liked because it showed her stepping up and actively playing a part in getting things right.

3. Kate

Kate was not queercoded in LA. She wasn’t explicitly straight, but the idea that was in love with Chess didn’t even cross my mind until I saw Jenny in the role. I don’t have any specific examples of this, it just seemed less like she didn’t want Chess to leave because she was in love with her and more that she didn’t want her to leave because she had spent so long as her best friend that she didn’t know how to be herself without her.

4. Annleigh

Rachel King took things much more seriously than Kaitlyn Frank. The gesture of good will never killed anyone line was added into the workshop, so after LA but before Off-Broadway, which Rachel swooped in to save the day in, and where Kaitlyn is just so bright and sunny and whatnot, that is not the case with Rachel. Rachel said it with a completely straight face, and slowly nodded while she said ‘Jesus’, like she just really seemed to take her beliefs a lot more seriously than Kaitlyn.

5. Reese

The word that comes to mind for Gabi’s Reese is exhausted. Like, in Worst Team Ever, when Cairo stops her from entering, the line “I’m part of the team” wasn’t said with her head held high and drawing on some source of inner strength, or at least pretending to, it was more of a “We’re still going over this?”, like she actually said “C’mon, I’m part of the team.” Like she still desperately wanted to belong and fit in, but she had long since given up hope that she ever would. But also her Captain of the Team was just 10/10 god tier.

6. Eva

Eva did not make an appearance in act one of LA, which gave her a lot more distance from the events. She wasn’t a suspect, more just a bystander, which made her just 100% done with all of this nonsense. There were two lines that I felt describe this best that were cut- after Riley said “Do you really think I couldn’t replace you all with another ‘diversity scholarship’ in two seconds?” she interrupted to be like “I’m maaaaaybe a quarter Puerto Rican?” and after she plays back the confession, she was asked how long she was recording and she said “This whole time. Y’all are crazy.”

7. Chess

I actually was lucky enough to see two Chesses, Cait Fairbanks and swing Katie DeShan, and they had very different takes. Cait’s was closer to Celeste, but Katie. Oh, Katie. I could write an essay on Katie’s Chess. In all the different productions and casts I’ve seen, Katie isn’t just my favorite Chess, she’s my favorite performer from the show. She played Chess as very playful, and she smiled a lot... until Before the Breakdown, which was made so, so much sadder by the way her facade broke apart and you saw how truly deeply miserable she was and how she felt like there was nothing she could control. I had already seen the show twice by the time I saw her, and she just broken my heart so, so much even though you’d think I would be worn out because it was the third time I was seeing it in as many days,

8. Farrah

I was also lucky enough to see a second Farrah, but her characterization didn’t differ much so we don’t need to focus in one that. But up above, where I said Cairo was a lot more empathetic? Farrah was way less. I think the biggest thing for her was that the failed stunt didn’t exist, so there was no explanation for why she felt like the team wasn’t supporting her or that she would always be linked to what she already was and would never be anything better. Also, Cairo’s line Off-Broadway of “Is [Farrah] raiding Riley’s parents’ liquor cabinet again?” would actually have been based in truth if the line was there in LA because that was exactly what she was doing, she had found the alcohol in the house and was sitting on the kitchen floor, drinking it straight from the bottle.

9 & 10. Clark and Mattie

Did technically exist and that’s about all I can tell you about them because there wasn’t anything they did that stood out enough to stay with me still.

[gayfrasier]

Brothers in Flimflammery on a Continental Sojourn

It’s raining greenbacks in “Road Show,” the latest version of Stephen Sondheim and John Weidman’s long-aborning, ever-evolving and eternally slender musical about curdled American dreams, which opened on Tuesday night at the Public Theater. Throughout this short and sardonic production, directed by John Doyle and starring the marvelous team of Michael Cerveris and Alexander Gemignani, fistfuls of dollars are flung into the air with such enthusiastic frequency that by evening’s end they carpet the stage floor.

But if that falling money at first suggests confetti, the more appropriate image turns out to be that of autumn leaves, of the hopeful green of spring turned sere. And with those ominous rumbles of thunder punctuating the show, you don’t have to look hard to see a timely metaphor for an economic boom gone bust.

Murmur a world-weary greeting, if you will, to the trimmed-down, toughened-up and seriously darkened new edition of the musical formerly known as “Bounce” (in 2003) and “Wise Guys” (1999) and somewhere along the way, “Gold.” And, yes, its current version could be said to hold a mirror to a nation in a recessionary hangover after years of overindulgence.

But the show’s greatest interest for fans of Mr. Sondheim lies in seeing how what was once meant to be light and buoyant fare has been reshaped into something more somber. The great living master of the American musical has returned to the shadows where, artistically at least, he has always felt most at home.

This picaresque work clearly has a lot in common with its central characters, inspired by two real entrepreneurial brothers who demonstrated a tireless gift for reinventing themselves. Their names were Addison and Wilson Mizner, and they made and lost a bundle or two in a variety of fields in the late 19th and early 20th centuries.

Mr. Sondheim has said he wanted to write a show about them since the early 1950s, and you can see their attraction for a man who has always been fascinated by stories of breakdowns and flameouts on the road to fame and fortune. Many Sondheim works — particularly “Follies,” “Merrily We Roll Along,” “Assassins” and the second half of “Sunday in the Park With George” — have brooded over the penalties exacted by the American hunger for celebrity and success.

Working on his Mizner musical with Mr. Weidman (his collaborator on “Assassins” and “Pacific Overtures”), Mr. Sondheim seemed to regard the show as a welcome side trip to something breezier, saying he had in mind a latter-day variation on the Bob Hope and Bing Crosby “Road” movies.

I didn’t catch the workshop production in New York called “Wise Guys” in 1999, but I did see “Bounce” at the Kennedy Center in Washington five years ago. Staged by Harold Prince — Mr. Sondheim’s director of choice from 1970 into the early ’80s — “Bounce” had color, crispness and the panoramic sweep you associate with Mr. Prince. But it felt oddly remote, and the sourness of its story seemed at odds with the blitheness of its tone.

“Road Show” has decisively stepped over to the shadier side of the street. Mr. Doyle, a resourceful director out of Britain, has made a reputation for himself on Broadway with physically scaled-down, emotionally intensified productions of the Sondheim classics “Sweeney Todd” and “Company,” in which the performers doubled as musicians.

His “Road Show” has a separate and highly accomplished mini-orchestra of its own, which does full justice to melodies that often evoke Sondheim standards past. But otherwise, it bears the expected hallmarks of a Doyle production: a single, elegant, multipurpose set (designed by Mr. Doyle as a sepia-toned wall of trunks, crates and suitcases, with costumes to match) and a sense of people trapped claustrophobically within their own minds.

But the rethinking that has turned “Bounce” into “Road Show” has also involved condensation and rewriting. It is telling that while the first musical number in “Bounce” was “Bounce,” the opener in “Road Show” is “Waste.”

And in following the winding careers of Addison (Mr. Gemignani) and Wilson (Mr. Cerveris) — from their start as gold-prospecting partners in Alaska to their disastrous venture as land speculators in Florida — “Road Show” has pared away a major supporting character from “Bounce” (a lively, gold-digging girlfriend for Wilson) to tighten the focus on the brothers’ relationship with each other.

True, the Mizners’ mother (a very good Alma Cuervo, looking like a Walker Evans photograph), and father (William Parry), who haunts them as a disapproving ghost, are still around. So are Hollis Bessemer (Claybourne Elder), an aesthete and heir whom the gay Addison both adores and exploits, and an assortment of fleeting peripheral figures enjoyably embodied by a flexible supporting cast.

But ultimately “Road Show” is all about the brothers, who here come to seem like flip sides of the same personality. Addison, who became a designer of extravagant pleasure palaces in Florida, is the manipulable, wistful artist; Wilson, whose many ventures included backing prizefighters and plays, is the manipulative, hedonistic gambler. Try though they might to break away, they are hopelessly and destructively held together by elements that, in the production, daringly include incestuous tensions. By the show’s end, they are wrung-out, red-eyed, cocaine-snorting wrecks.

Mr. Cerveris (who was Sweeney Todd for Mr. Doyle) and Mr. Gemignani (who appeared in recent revivals of “Sweeney” and “Assassins”) are a pleasure to watch throughout. Mr. Cerveris brings a dangerous, feral charm to Wilson, who comes across as part weasel, part vaudevillian huckster, while Mr. Gemignani has a sweet transparency of mien and voice here that makes Addison as affecting as the show allows.

Unfortunately, that isn’t all that affecting. The bulk of “Road Show” continues to be extended expository musical numbers that trace the brothers’ travels, schemes and metamorphoses. These are often brisk, forward-moving songs — with unusually simple and straightforward lyrics by Sondheim standards — that essentially iterate “And then they did this.”

While they’re cleverly shaped and staged, they do grow repetitive, and they tend both to shrink and enlarge the brothers in ways that keep us from really knowing them. Despite the creepier Freudian accents provided in this version, the Mizners mostly come across as emblematic figures in a pageant of American ambition and folly.

In “Assassins” Mr. Sondheim and Mr. Weidman created a gallery of historical figures who existed as American archetypes and also as frustrated, lonely individuals of piercing emotional resonance. Clearly, the creators of “Road Show” are trying to realize that gleaming double edge once again. The problem is that this musical’s travelogue structure precludes its digging deep. It hints at dark and shimmering glories beneath the surface that it never fully mines. Like its leading characters, “Road Show” doesn’t quite know what to do with the riches at its disposal. 

Ben Brantley, Nov. 19 2008

[orianagportfolio]

A Chorus Line, ballerini senza nome raccontano storie, cicatrici, speranze. E a teatro va in scena la vita vera. / Il Bullone - OrianaG e Isabella Marino

Pubblicato su Il Bullone n°34, aprile 2019.

È tornato in Italia "A Chorus Line", con la regia di Chiara Noschese e la produzione di Stage Entertainment Italia, in scena al Teatro Nazionale dal 14 febbraio al 7 aprile. È un atteso ritorno, dopo 11 anni dall'ultima versione italiana, con la regia di Saverio Marconi, la produzione della Compagnia della Rancia e le traduzioni di Michele Renzullo.

«A Chorus line» è un musical strano, semplice, ma mai uguale. Se sei del mestiere è difficile che non ti parli diretto, guardandoti dritto negli occhi. Debutta a Broadway nel 1975, rimane in scena fino al 1990, 15 anni, 6137 repliche, 9 Tony awards (gli Oscar del musical) e Premio Pulitzer alla Drammaturgia. La trama è semplice: 17 ballerini affrontano le audizioni per la «Chorus line», la linea del coro. Nessun ruolo principale, solo corpo di ballo, ballerini di fila, quelli senza il nome in locandina. Ottenere «la linea» significherebbe riuscire a pagare le bollette, in un bisogno a metà tra passione viscerale e istinto di sopravvivenza. 

Il cast italiano, diretto come già anticipato da Chiara Noschese, che ha riunito diverse generazioni di interpreti, è bello, unito e convinto. E convince. Gli addetti ai lavori sanno bene cosa si provi a stare su quella linea, su un palco vuoto, da dove il regista che ha in mano il tuo futuro a breve termine, è solo una voce amplificata che dà ordini, un mezzo viso appena illuminato da un punto luce da scrivania, nel buio della platea. 

Il bello del gruppo sta nella sua realtà. Personaggi semplici, ben interpretati da professionisti che ti coinvolgono con sincerità, fino a farti sentire uno di loro. Viene voglia di salire sul palco e mettersi a ballare insieme a loro! L'orchestra dal vivo regala classe e magia, sulla scenografia semplicissima ma d'effetto. Un gioco di specchi che moltiplica le vite, le storie dei ballerini in scena.Il valore aggiunto di «A Chorus line» - e probabilmente il motivo che lo ha reso mitico negli anni - è che di quei ballerini senza nome racconta le storie, le cicatrici, le speranze, le paure. Quella linea per la prima volta nella storia del musical diventa tridimensionale, l'importanza di ottenere quel lavoro supera la smania di avere il proprio nome in evidenza. 

Le storie raccontate nello spettacolo sono tutte vere, registrate in diversi workshop a Broadway tenuti dallo stesso Michael Bennet, ideatore, coreografo e regista originario. Otto dei protagonisti di quelle storie vere entrano a far parte del primo cast nel 1975. Una di loro, Baayork Lee, ispiratrice del ruolo di Connie, ha seguito e curato molti allestimenti, anche in Italia. Questo passaggio diretto dell'eredità storica dello spettacolo, vive stavolta in Fabrizio Angelini, coreografo, presente in tutte le edizioni italiane precedenti, che non inventa nulla da zero, ma regala la propria storia ed esperienza ai nuovi interpreti. Il cast di questa nuova produzione è variegato, per età, esperienza, attitudine. E non solo funziona, ma rispecchia perfettamente la natura dello spettacolo, che cresce e si evolve negli anni grazie alla trasmissione diretta degli interpreti storici ai nuovi, in un'infinita eredità.

[jgroffdaily]

Jonathan Groff sticks close to Lancaster roots while branching out in film, stage and TV

Conestoga Valley grad will move from off-Broadway musical to new 'Matrix' sequel on film.

When he is on stage at the 270-seat Westside Theatre in New York, Jonathan Groff says he often thinks about the Ephrata Performing Arts Center.

He is playing Seymour in an off-Broadway production of “Little Shop of Horrors,” which is being directed by Michael Mayer, of “Spring Awakening” fame, with Broadway veterans Christian Borle and Tammy Blanchard at Westside.

“Everyone is doing this for the fun of it,” Groff says. “It reminds me of EPAC. Nobody is trying to gain anything from it. There are no ulterior motives.”

The show is largely sold out, and reviews have been strong. Ben Brantley, of the New York Times, wrote that Groff “is generating major nerd charisma.”

For Groff, 34, being onstage is his “ultimate existence.” “That’s when I’m happiest,” he says. “ ‘Honk’ and ‘Bat Boy’ (shows he performed in at EPAC), it doesn’t get much better than that. And that’s how I feel with ‘Little Shop.’ ”

Hometown plans

Home is never far from Groff’s mind. He returns to Lancaster frequently, though sometimes just for a day.

“He was here for less than 24 hours on Thanksgiving,” says his mother, Julie Groff.

And he recently purchased a house and property next to his father’s farm in Christiana. It’s a place to live when he’s home, but also, Groff has plans for it.

“I want to turn the barns into creative spaces — a recording studio, an editing suite, a place to write, or a place to have small workshops,” Groff says. “I want it to be inspiring, quiet and peaceful.”

It’s in the future — Groff says it is a 10-year plan — but he is excited about the possibilities. He got the idea while he was playing Melchior Gabor in the cast of “Spring Awakening,” which he did off and then on Broadway from 2006 to 2008.

“Gideon Glick (who played Ernst and will be replacing Groff next month in ‘Little Shop’) was the first to leave the show, and my mother got a school bus and brought everyone in the cast to Lancaster,” he recalls.

“We hung out in the barn and had a bonfire outside. Gideon said how rejuvenating and inspiring it felt, and that got me thinking. It’s close to New York. Someone could come and spend a couple days here. My dad (Jim Groff) loves the idea, and I love the farm,” Groff says. “So as the years go by, we’ll make it a creative place.”

“When I bought the horse farm in 1987, the Realtor bought the frontage (of the property) and built eight houses. Jonathan bought one of those houses,” says Jim Groff, who is a horse trainer and a jockey. “The view out back is, well, you can’t beat it.”

Both Groffs note that their son won’t be tearing any of the barns down and won’t be changing the house much. As a creative spot, it will not have concerts or performances, but will be a quiet place.

“He wants to keep it all natural,” Julie Groff says. “It’s going to look sharp.”

Big movies

Groff’s career is going at hyperspeed these days.

He had to take time away from the “Little Shop” run for an intense press junket for “Frozen II,” the animated musical film that was released last month and is turning into another massive hit for Disney.

And it was announced recently that Groff will be appearing in “Matrix 4,” a film sequel scheduled for theatrical release in May 2021.

“He’s working with a personal trainer. The ‘Matrix’ people are getting him in shape,” says Jim Groff. “He’s working out every day, and he’s on a really strict diet. What gets me is he had to take a picture of everything he ate for a while.”

“He basically barely has enough time to eat,” says Julie Groff. “He is loving this, but I am sure it will catch up with him.”

There is no rest for the weary. Groff is set to leave “Little Shop” on Jan. 19.

The next day, he starts working on “Matrix 4,” which is being filmed partially in Chicago.

“He’s always wanted to appear in a big action movie,” Julie Groff says. “But he’s really a Disney fan. He always wanted to be in a Disney movie, and that turned out well.”

Indeed. “Frozen,” in which Groff voices mountain man Kristoff, was a global phenomenon and the largest-grossing animated film in history. The sequel is breaking records, too.

“I find it so easy to talk about ‘Frozen II,’” Groff says. “It’s so good, and the relationships with the directors and the the cast have been so positive.

“A lot of my interviews have been with Josh Gad (who voices Olaf the snowman),” he says. “We had such good time. It’s almost like a vacation.”

Groff says that when the first “Frozen” film came out in 2013, nobody expected it to be as huge as it was.

“We had all scattered after the film and didn’t really have a chance to do a lot of publicity,” he says. “So this was like a celebration for us.”

Anybody with children of a certain age will tell you how powerful “Frozen” was for their kids, particularly their daughters. Groff thinks part of the success of the movie was how it empowered the female characters.

“Kristoff is an evolved mountain man,” he says. “I love that he is there to serve the women — a man letting women take the spotlight. That flips convention.”

For a few weeks, Groff was all over TV, appearing on just about every talk show out there, from Jimmy Fallon’s “Tonight Show” to Stephen Colbert’s “The Late Show.”

During his most recent appearance with Colbert, Julie Andrews was another guest.

“Can you believe I met Julie Andrews!” Groff says.

On the show, Groff showed footage of his 3-year-old self dressed as Mary Poppins for Halloween, and noted that his older brother, David, was dressed as The Entertainer, complete with top hat and cane. In the family video, David Groff says of his brother, “He has lipstick on — oooooh!”

“He was trying to upstage me,” Groff says, laughing.

“You’ve got a great mom (to let you do that),” Colbert said.

“I do have a great mom,” Groff replied.

“ ‘Mary Poppins’ was Jonathan’s first real movie. He watched it every single day,” says Julie Groff. “It was my two-and-a-half hours to get things done. He became obsessed with the movie and acted out all the parts.”

His father says that he has always studied movies and other actors onstage.

“When he did stuff at the Fulton or at EPAC, smaller stuff, he would sneak around the corner and watch them every night — watch the changes the actors made,” Jim Groff says.

“Even today he does that,” Julie Groff says. “He never stops learning.”

“I like to call him up and give him my notes after I see a show,” Jim Groff says. “We get a laugh out of that.”

Not easily recognized

You’d think Groff would get stopped by people all the time, especially because of appearances on Fox’s “Glee,” HBO’s “Looking” and the Netflix series “Mindhunter,” in which he plays FBI agent Holden Ford. (Groff says the show is on hiatus at the moment.) But he says he rarely gets recognized.

“I look like a generic white person,” he says. “And I’m mainly on my bike because that’s how I get around New York. I sign autographs if people ask.”

“He said he walked down the street in his King (George) outfit from ‘Hamilton’ once and nobody paid any attention to him,” says Jim Groff with a hearty laugh. “In New York, people don’t bother you much.”

“Things may change with ‘Matrix 4,’ though I hope not,” Julie Groff says.

But Groff hasn’t changed. He still visits with friends from home backstage during a show. He is still accessible and friendly to everyone he meets.

“With Jonathan, what you see is how he has always been,” Julie Groff says.

Right now, Groff says, life is very full. His career is going great, he’s in a relationship with New Zealand-born choreographer Corey Baker, who lives in London, and he’s closer than ever with his family.

“This is a sweet moment in time,” he says.

[derekklenadaily]

Broadway Evolved's Instagram Story (December 29, 2024)

[fantasticescapism]

Brothers in Everything but Blood - Chapter 2: Meeting Spider-man

Click here for Chapter 1.

Part 4 of the Never Truly Gone series

Also available at AO3.

Harley’s one time visit turned into an overnight, twice a month thing at Tony’s workshop ever since he met Peter. No complaints there; that only meant more time to play with awesome tech and work on the ASM with him. He liked Peter Parker. It's like having a younger, better behaved brother, unlike his sister and her celebrity obsessions.

Although, Harley had a feeling there’s more to him than a genius fellow intern. At first, he thought it was just the often expected jealousy he should feel when he had to share Tony’s time and attention but, he didn’t feel jealous at all. He’s already an older brother to an excitable little sister so, sharing wasn’t a big deal. In fact lately, he’d been feeling a little protective over his new friend in light of the recent things he observed.

There were times when Peter came in with bruises and Harley’s first reaction was anger. His memories of years being bullied at school - along with the fights he had with her sister’s bullies - were pushed to the forefront of his mind. He confronted Peter about it once but the guy’s adamant the bruises were just him being hopelessly clumsy. Harley doubted it though, the steady way Peter handled the dangerous chemicals at the workshop proved otherwise. No, those bruises were from bullies, or maybe New York’s really as dangerous as most folks back home would say.

Harley asked Tony about it once when it was just the two of them - Peter said he would be late - and all he said was, “He’s just clumsy.” Tony sucks at lying. They’ve known each other for years, he should know he couldn’t lie to Harley.

“Right, and I’m more of a saint than Mother Teresa.” Harley raised an eyebrow at his mentor.

“Kid,” Tony sighed before he faced him, “it’s Peter’s business.”

“You’re not the type that would leave things like this alone, especially if it involves someone you personally know.” He narrowed his eyes.

“I know.” A hesitant pause. “Okay, Peter does have a bully-”

“His school’s in Midtown, right?”

“Whoa, wait.” Tony placed his arm around his shoulders. “Are you really going to his school, potato boy?”

“That reminds me. I can test out my new potato gun.”

“New?!” Tony’s incredulous.

“It’s Mark 10.”

“Harley, you- you have to let Peter handle it.”

“I just,” he huffed, “just really hate bullies.”

“I know.” Tony smiled fondly at him. He seemed to be mulling over something before he spoke again. “Alright, those bruises aren’t from this bully. The dickwad never resort to physical harm so, it’s something else.”

“At home?” He scowled.

“Oh no! Aunt Hottie is scary when mad but he loves Peter with her whole life.”

“Okay then.” He’s still determined to find out what’s going on and it looked like Tony’s aware of that.

“It’s not my story to tell but, maybe in time, you’ll figure it out.” Tony’s eyes sparkled like those times he gave him puzzles, confident that he could solve them. Challenge accepted!

---

Peter came in later with a busted lip and a sheepish smile. Tony saw him first and he definitely didn’t like what he saw.

“Kid, what the hell?!” Tony blurted out.

“Sorry, sorry. I know I’m late. It won’t ha-”

“That’s not what he meant, dude! What happened to you?” Harley pointed at his friend’s face. Who the hell did that to him?!

“Oh, uuh… I-I bumped into a street lamp.” Peter blushed.

“Really now?” If Tony’s raised eyebrows could reach his hairline, it would.

“Y-yeah.” Peter let out an embarrassed chuckle. “I’m okay! Just didn’t pay attention.”

“If you say so, here.” Harley sighed and retrieved an ice pack from their mini-fridge and tossed it towards the guy. Harley swore Peter didn’t look at the tossed ice pack. He was about to apologize but Peter effortlessly caught it. It was impressive… and suspicious. “Whoa! Got a sixth sense or somethin’?”

“Just luck! Lucky.” Peter nervously chuckled then gave him a tight-lipped smile. At the corner of his eye, he saw Tony facepalm.

“You got luck in opposite extremes, dude.” Harley laughed when suddenly, he received a notification on his phone. As he pulled it out of his pocket, he absent-mindedly saw Tony walk towards Peter as they conversed in whispers. It was a Twitter notification. His sister often tagged him in memes.

@harhar spidey’s at it again! lmao! you met him yet?

It was a tweet from The Daily Bugle but the source wasn’t important. The picture attached was glorious! it's like the dark clouds parted, a ray of sun bathed him with light and a choir of angels sang Allelujah!

Huh.

Harley grinned like the devil. This would be fun.

---

Harley loved the comfortable silence in the workshop once all three started working. They worked together like a well-oiled machine; not much words needed, just looks and signals. This time though, Harley decided to disrupt the flow a bit.

“So Tony, when are you going to introduce me to Spider-man?” Harley almost snorted when he saw Peter freeze in the corner of his eye. Harley feigned ignorance, of course.

“That depends if he’s free. Why the sudden interest?” Harley looked up and saw Tony’s genuine question.

“Well, my little sister Faith - you remember, wanna be an actress, obnoxious - she’s a huge fan. Like real huge. She even got this life-size cut-out of Spider-man and lugged it around at a party back home.” He desperately reined in his amusement when he saw Peter’s red-as-a-tomato face.

“Really?” Tony narrowed his eyes at him.

“Yeah, here.” He pulled out the photo he took of Faith hugging her Spider-man cut-out from his phone and showed it to Tony. “See?”

“Huh.” Tony smirked. Harley then turned the phone to let Peter see too and he wasn’t disappointed at his reaction.

“Where-where did she-where did she get that?” Peter crossed his arms.

“She’s part of this fan club; said she won it at a raffle.” With wide eyes, Peter looked at Tony at the mention of a fan club. “That’s the internet for you. They have fandoms for pretty much anythin’. Did you guys know there are Spider-man fanfiction stories? She told me all about it.” He gave Tony a slight smirk and at that moment, he knew Tony knows he knew. He watched as Tony’s eyes sparkled with mischief for a second before he played along.

“Is that so? Is it as huge as mine’s.”

“Nah, Spidey's new so there's not that many, yet.” Harley saw Peter desperately trying to get back to work and feign nonchalance but his fidgety fingers won’t let him. “I scanned some of them. There’s action, angst, comedy and then, there’s a lot - and I mean a lot - of smut.”

“W-w-what?!” Oh, Peter. Harley’s delighted though.

“Yeah. One time, when I was really concerned, had to make sure Faith's internet searches are PG so I checked out some of the stories. Faith’s only eleven, by the way.”

“Yeah.” Tony said..

“Yeah, so I stumbled into one story about a risqué night between Spidey and this mugging victim he rescued. He was invited to the victim’s house as a thank you. Then he was offered coffee before they both went in the bedroom where they-”

“Mr. Stark," Peter jumped, "I-I-I have to make a call! Have to tell May I’ll be late. She’ll be mad if I don’t, ya know?”

“You can just use FRIDAY, kid.”

“No, it’s cool, cool, cool, cool. I’ll just-I’ll just step out of the workshop for a bit. Be right back.” Peter almost ran out of the workshop; his face in danger of being permanently red. As soon as the door closed behind him, Tony signalled for FRIDAY to soundproof the workshop before they both laughed their asses off.

“Oh god!” Tony wiped the tears off his eyes. “You’re a little shit, Harley!”

“Can’t help it!” Harley wheezed. “Just wanna confirm my suspicions but Peter just made it so easy!”

“How did you find out?” Harley pulled out the photo from the tweet and showed it to Tony. “Oh great, that's gonna trend."

"It is trending. Got it from a Daily Bugle tweet."

"His Spidey sense - he named it - is still evolving. So…" He gestured at the Harley's phone.

"Whoa! So he does have a sixth sense!"

"Among other things. Are you gonna tell him you know?"

"Nah, I'm just gonna see how long I can keep this goin’." Harley grinned.

---

Apparently, fate decided to speed things along. It was later that day, a few hours before Harley’s supposed to fly back home to Rose Hill, when he told Tony and Peter his plan to go to the city on his own and just experience it all. Oh and, Faith asked for a Spider-man merchandise and apparently, the compound didn’t have a gift shop.

”Seriously? Not even any official Spidey merch?” He was dubious.

”He didn’t accept the Avengers position so, no.” Was that a hint of sadness from Tony? Hmm...

He was tempted to ask Peter where he could buy them but decided to give the guy a break. Instead, he asked FRIDAY and she gave him a list of all possible places, most of them were in Chinatown. So, Chinatown it was. Happy dropped him off at the corner of Broadway and Canal St. with a stern warning.

“Kid, you have an hour. If you’re not in this exact spot later, you find yourself a way to the airport.”

“Awww Happy, your Grumpy is showin’.” He grinned and he earned a glare for that cheek. In true Happy fashion, the tires of the Audi screeched as he drove to get away. Harley chuckled as he walked along Canal St.

New York never failed to fascinate Harley what with all the diverse cultures and personalities he wouldn’t see in Tennessee. There are a lot of bootleg stuff too, perfect for his non-billionaire budget so he thought he could buy a purse for his mom along with the plush Spidey toy for Faith.

It only took him around thirty minutes to buy gifts then food - he got hungry - and walk around Canal St and thought he could go and venture out to smaller streets. Ever since he told his mom about the internship visits to New York, she’d been so worried for him. Can’t blame her though, most stories that came out of New York were of aliens, kidnappings and other crimes. So, before she agreed to the arrangement, she explicitly warned him to be cautious and to not be stupid. Harley knew he was being stupid as soon as he saw three men with baseball bats and metal pipes. They seemed to surround something on the ground and as Harley walked closer, the situation became clearer.

“Just give us the money or else!”

“P-p-please, I-I-I can’t!” A boy cowered in a corner, a backpack in his arms. “It’s m-money for my mom’s m-m-medicine.”

“You think we care ‘bout that?!” The mugger laughed and mocked the boy. “Give us the fucking money or you won’t go back home to your mom!”

Damnit! Harley looked around for something he could use but all he saw was half a brick and a brown broken leg of a table. Well, better than nothin’. He picked up both. He aimed at the leader’s head and threw the brick. Bullseye!The yelp from the guy made Harley smirk.

“Muggin’ a helpless boy,” he tutted, “ya’ll so pathetic.” Harley’s southern accent always got thicker in stressful situations. The guy he threw a brick at growled and stalked towards him.

“Look guys, a country bumpkin!” The others followed suit menacingly.

“Kid,” Harley looked at the cowering boy, “get outta here!” The boy didn’t need telling twice. He stood and ran away from the scene. The muggers continued to walk closer to Harley as they brandished their weapons.

“You shoulda just walked away, southern boy.” Harley clenched his jaw, both hands on the piece of wood he found and braced himself for a fight. One of the guys raised his bat but before he could do more, a web latched on to it and was pulled out of his hands. When the guy looked up, he was webbed and pulled towards the wall where he got stuck.

“What the fuck?!” The other two looked around in fear.

“Hey, guys!” Spider-man landed beside the head mugger then swept the guys leg off the floor. As soon as the guy landed on his ass, Spidey webbed him to the floor. “I’m Spider-man. Nice to meet you!”

Whoa! Harley was amazed! It was one thing to watch Spider-man from potato quality videos and it’s another to see him fight in person. When Spidey successfully webbed up the last guy, Harley just remembered then regretted not pulling out his camera to take a video of it. Damnit! Good job, me.

“Hey, you okay?” Spider-man asked him. Harley looked at the muggers and saw they’re all knocked out. “Are you hurt?”

“No, no, no. I’m good. I’m good. Thanks, Peter. Hoo boy! That was, that was scary! New York, huh?” Harley grinned at Spidey and lightly punched him on the arm but the guy just froze and stared at him, the eyes on his mask were wide open. “What? Whoa!” Spidey suddenly carried him and swung up a building’s empty rooftop.

“Oh my god!” Harley exclaimed as soon as they landed. “That was awesome! So that’s how it felt like! Faith’s not gonna believe this!”

“How did-When did-How-What the-” Spidey seemed like he was about to hyperventilate.

“Ok, calm down. Breathe.” They both took calming breaths and let the adrenaline rush ebb away.

“Did-did Mr. Stark tell you?” Spidey asked as soon as they’re both calm.

“Nah, I figured it out.” He smirked.

“How?” Harley pulled out his phone and showed him the picture from The Daily Bugle tweet. It’s a collage of burst mode photos of Spider-man as he successfully avoided a flying drone but then he swung face first to a street lamp. “Street lamp, huh?” He grinned.

“Wait, that could’ve been just a coincidence.”

“Yeah but your reaction when I told you guys about my sister’s Spidey obsession was hilarious and a dead giveaway. That and the freaky sixth sense you have.” Spidey groaned.

“Are you telling me that-that smut story was real?!”

“Nah, I made that up.” Harley chuckled as the other huffed in relief. Then again, Harley’s a little shit. “But there are Spidey smut fanfics. Loads of them.” He cackled when Spidey groaned.

“Can’t believe this.”

“Oh please, you’re a nerd. You’re in the Star Wars fandom. You should know these things.”

“Yeah but, I’m just-just Spider-man.” He shrugged.

“Hey, you’re doing great things. You save people so of course a lot of them would love you. Just umm,” Harley side hugged Spidey, “if you don’t want to be scarred, don’t google yourself without SafeSearch on.”

“Harley!” He gasped. Harley couldn’t help but let out an evil laugh.

“Come on, that’s solid advice.”

“Oh my god!”

“Ok, seriously, what else can you do? Those webs aren’t organic, right?”

“No, I made them.”

“That explains the huge bottles of chemicals in the workshop.”

“I have umm, enhanced strength, senses, really fast healing and I stick to everything.”

“Everything? Even a sheer surface like glass?”

“Yeah.”

“Hmm, interesting. Even a non-stick pan?”

“I umm… I actually don’t know. I’ll test it out later.”

“Let me know, okay?” Harley grinned.

“Yeah, sure.”

“Oh, before I forget, do you mind if I take a selfie with you?” Someone in Tennessee’s gonna flip.

“No, it’s okay.” After they took a selfie, Harley sent it over to his sister and, as he expected, he received a Facetime request. “Oh umm. Brace your ears.” He warned before he accepted. A piercing squeal - the pigeons perched at the rooftop flew to get away from the noise - came from Harley’s phone as Faith’s image appeared.

“HARLEY!!!!!!!!”

“Hey sis, meet my friend.”

“Hi, Faith!” Spidey waved and Faith let out another squeal. Harley could feel Spidey freeze by his side.

“Jeez Faith, stop screeching! You’re hurting his ears. He’s got enhanced senses.”

“Sorry, sorry…” Faith whispered. “Oh my god, you know my name. Hi Spidey, I love you!” She used her hands to form a heart shape.

“Umm…” Harley could tell he didn’t know how to respond to that.

“Faith...” Harley warned.

“Okay, okay… Sorry. It’s just, I’m a big fan! Hi!”

“Sis, you get one question then Spidey needs to go fight crime and save people, alright?”

“Okay, umm… Do you have a girlfriend?” Harley rolled his eyes. Of all the- He should’ve seen this coming.

“Umm, no. No, I don’t.” Bless his heart. He bravely answered. Faith screamed again.

“Alright, that’s enough. Bye, Faith!”

“No, wait! Wai-” Harley ended the call and sighed.

“Sorry about that.”

“No, no, no, it’s fine.”

“Don’t let that get in your head.”

“No, of course not!”

“Good. Oh, shit!” Harley looked at his watch. “Happy’s gonna kill me.”

“Come on, I’ll get you there faster.” Spidey, with his arm around Harley’s waist, lifted him before he jumped off the building. Harley loved the feeling of swinging. It was like being on a rollercoaster. It gave him an idea though. What if one day he could fly too?

---

Before going to bed that night, Harley grinned as he received a message from Peter. It’s a photo of a pan stuck on his hand with a message, “Yup, I can.”

[writerchickmarie]

John Lloyd Young - The Spy Who Takes Cafe Carlyle By Storm

John Lloyd Young is back at Cafe Carlyle with an intriguing new show - filled with old favorites and wonderful surprises.

He enters the room mysteriously in shades as he makes his way to the stage, removing them to begin the show with “Can’t Take My Eyes Off You”, to the delight of all of us in attendance.  This song is a JLY classic, and only gets better with time.

He then moves into a stripped down “Bang Bang (My Baby Shot Me Down)”, with the spotlight on his voice and his full range of emotions.  I have never heard this song done with so much raw vulnerability, and JLY tears at your heart as you witness his performance.

JLY brings on more intrigue with “The Spy” and “You Only Live Twice” displaying a bit of retro cool combined with present day charm. It’s clear that he loves this kind of music, and is having fun presenting it to his audience. I can picture him as James Bond - and this 007 can sing!

Next is a mini-tribute to Roy Orbison. JLY says “Only The Lonely” is a perfect song to perform at Cafe Carlyle, dedicating it to those of us who are attending the show by ourselves.  He then tells the story of how he and his musical director Tommy Faragher discovered an unreleased tune called “Say No More”.  And he definitely does Mr. Orbison proud on both songs, showing off his incredible range and powerful vocals.  JLY teased during the show that there was a little bit of a rasp in his voice due to doing an interview earlier in the day, and that we would get “John Lloyd Young channeling Joe Cocker”.  It was only noticeable during some songs, and only added to the pure emotion of each one.  He then showed his Broadway chops on a smooth, beautiful arrangement of “I Have Dreamed” from The King and I.

The two selections that follow are performed in Mandarin.  He brought back a favorite, “Ming Ri Tian Ya (If Tomorrow Comes)”, from a very popular Taiwanese movie.  You don’t have to understand the language to feel the heartbreak in this one - about a dying man apologizing to his lover for leaving her, promising that they would be together again in eternity.  JLY then moved to a lighter selection,  “Wo Yao Ni De Ai”, which is featured in the movie Crazy Rich Asians. He chose to do this one as a call and response, so the audience could participate along with him.  It was a fun way to move into the next part of the show!

JLY then left the stage to join us at the bar (and get a refill on his tea) while the band got a chance to shine. Tommy Faragher (piano and vocals) performed “Bring It On Home To Me”, accompanied by Paul Socolow (Bass), Eric Kalb (Drums), and Stew Cutler (Guitar). They rocked this number, and their stellar musicianship on every song added to the quality of the entire evening.

The next song, “You Keep Me Hangin’ On”, is one I remember from the first workshop that JLY did in LA in June. It was already amazing back then - and getting to hear how it has evolved into something even more powerful now takes your breath away.  It’s a fun tune when presented as a lighter pop song - but when JLY performs it, it packs so much gut-wrenching emotion that you won’t want to hear it any way but his way in the future.  It’s that good.

JLY has been writing original material with Tommy Faragher as well.  Those of us who have been to other shows already love “Slow Dawn Calling”, and as I have mentioned before, this song really belongs on present day radio.  In addition to this one, JLY performed “Almost There”, written by Tommy and Adam Zelkind. This is a particular favorite of mine, and has become a favorite of many other fans as well.  I see a bright future ahead with this original music - and can’t wait for even more people to hear these songs!

JLY told some stories between songs, including how he got the chance to perform in Finland for the President and First Lady back in December.  The Italian Ambassador was also there, and he performed “Parla Piu Piano (theme from The Godfather)” for him. He brought this one back to The Carlyle for us, and it was so good to hear it again.  This one has only gotten better with time as well.

One of the most emotional songs that JLY performs is “Wicked Game” - and this version at The Carlyle with the new arrangement is even more haunting than before.  It truly leaves you breathless by the end of the song, once again showing his raw vulnerability.

Next up is a fan favorite, “Show and Tell”, followed by a new selection.  When I heard JLY begin “A Song For You”, I started to tear up, because I have loved this song ever since hearing the Donny Hathaway version in the 70′s.  JLY did this one justice as well, and I hope it stays in his set for future shows.  There is something special about the way he performs it.

The evening ended with “Working My Way Back To You” and “Sherry”, leaving everyone on a high note.  I have to add here that the lady sitting next to me at the bar is a regular at Cafe Carlyle, and the staff recommend that she see JLY’s show as well.  Afterward, she told me how she was blown away by how powerful his voice is and the depth of his range - and how glad she was that she came to the show.  The word is spreading and more people are starting to take notice - that JLY can perform any genre he chooses and do each one well.  If you have the chance to see him at Cafe Carlyle or anywhere else he is performing, take the opportunity to go.  You will be entertained and intrigued - and you will be back for more.

[theatremarketinginsights]

Dear Playwrights, Producing is Hell.

Here’s a warning to all playwrights.

Producing Theatre is Hell. Don’t let anyone tell you otherwise.

It’s a great thing to hear motivational, “you-can-do-it” speeches, videos, and workshops as they pump you into believing you have what it takes to produce theatre, but let me be the first to tell you that it’s mostly salesy bullshit. Don’t hate me for saying that, I am just trying to save you some of the biggest headaches of your life. So, before you jump in with great enthusiasm and an overflowing dose of positivity, allow me to set the record straight.

First, theatre producing is not what you think it is. In fact, it never was. Whatever fantasy you have about submitting it to some theatre company and seeing it produced while you sit at home and tweak your scenes and dialogue is nonsense. Sure, it may happen… but don’t bet on it.

Second, the chances of going to some mixer, meeting a producer who believes in you and will run with your play straight to Broadway (or even an off-off-off-off Broadway production) is just as fantastical. Prospective producers, investors, and artistic directors will usually NOT come to your reading or festival production and develop it from there. But, sure, keep your hopes up.

Third, the idea that anyone who has never produced a legitimate production can read some books, join some mastermind facebook group, raise money, and evolve into a producer in a few months is the purest bull of all the bull in the bull universe! You could be talking years.

Producing theatre is not for everyone. Producing theatre is hard. Producing theatre is HELL!

And you may actually suck at it because you set out to write plays and are only now realizing that most playwrights self-produce.

Okay, by now you are hating me even though I said not to. Join the club.

Now that we’ve taken off the rose-colored glasses, I am not saying give up. I am not saying that every once in a while some theatre magic doesn’t happen and suddenly a play is on Broadway. The history of entertainment is filled with such magical moments; the actor discovered in a diner, the big-wig producer who goes to see an actor friend at a reading and offers to bank-roll the whole production. What I am saying is to be realistic, be strategic, don’t blow your life savings (or your friends, family, and parents money) on short-cut-themed pipe dreams. For the most part, here is how it works.

Write a great play. Don’t be the one to define your own greatness. Do readings. Be smart about the writing. Always be building a team of collaborators. Test your play in festivals. Do more readings. Teach yourself as much as you can about all the elements of producing (lighting, costumes, marketing, direction, acting, house management, union vs non-union, casting, budgeting, set design…you get the picture.) Then do another reading or two. Set a realistic budget. Now double it. Do another reading and listen to how people react. Define your target audience not once, but often. Read books. Keep talking to people. Perfect your play because a play that sucks will not sell tickets.

The point I am making is that much of your learning happens along the way, trial and error. You are never going to be an expert in all those things, but pick up as much as you can early in the game.

The other thing I can’t emphasize enough is talk to everyone in the business. Talk to theatrical lawyers, to general managers, directors, and anyone who will share their experience. Oh, and know that even when talking to one or more in any of these given fields, you will get opposing opinions on just about everything.

Producing theatre is hard, it’s collaborative, it’s time consuming, and expensive.

Which brings us to the workshops, the presentations, videos, Facebook mastermind groups, and all those wonderful places where we meet and greet. They are great only if you approach them with a focused, learning attitude and not some blind hope that you will find that magical someone who will champion your great play. If it so happens that mythical beast, then great! But know that all the hard work, the financing, the development of the material will be primarily in your universe and under your passionate lead. If you do manage to get past all of the pain of producing, producing can be quite rewarding. That’s why there are producers in the first place. But you do have to suffer for your art, so prepare yourself.

Now go become a producer, or at least think like one…because it may be the only way you’ll see your play produced.

Want to start thinking about producing your play? Call me or email with your thoughts and questions, I’ll be happy to answer some questions at 646-285-3033. And by all means, post and share your response.

RG

(photo: Mel Brooks, The Producers)

Please follow us on Instagram: @TheatreMarketing2019

[davewakeman]

20 Takeaways From the 2020 INTIX Conference In NYC

I’m back from INTIX 2020 and everything is bigger and better in NYC!

I’m not sure of the final numbers, but I think over 1,400 people attended this year’s conference in midtown Manhattan and I met hundreds of folks on the trade show floor, in sessions, and wandering around.

In fact, I’m still a little dazed from all the connecting and networking.

But I wanted to share with y’all a few takeaways from this year’s conference. In fact, being 2020…why not 20?

1. There was a large international presence: 

I know that making sure all the world’s ticket folks have a home has been the goal of INTIX’s board and CEO, Maureen Andersen, for the last few years and this year’s conference really delivered a much greater international flavor.

I met folks from Iceland, Denmark, England, Central Europe, Canada, and 6 Australians!

2. Leading panels of all international guests helped stimulate new conversations:

I never mentioned this during my trip to INTIX, but I managed to create two panels that had almost all voices that brought an international flavor and it really brought a great dynamic to our conversations.

I never mentioned it to the panelists that the prerequisite was having an international background but Simon, Angela, Martin, Gabe, Guislaine, and Frederic…surprise, you were part of my desire to bring a more diverse and international perspective to my conversations!

3. Danny Frank can throw a party! 

Many people came up to me to talk about the Wednesday night celebration. One person exclaimed, “Danny Frank can throw a party!”

Maybe the Anaheim committee can top Wednesday’s performance?

4. Venue tours were a big hit:

The tour of Radio City Musical Hall was especially popular with folks.

Having been in Radio City and around Radio City a lot of times over the years, hearing how special the experience was for folks reminded me that this is a good lesson for all of us to remain conscious that something that is old hat to us could be a once in a lifetime or first time thing for someone else.

5. Strategy passed many people’s lips:

Strategy and the impact of having the right strategy and communicating it up and down the organization came up at more points than I’d ever heard before.

I was happy because I think making sure that you have a strong strategy that is communicated up and down the organization is likely a real key to success.

6. The keynotes were both big hits:

I’m not sure if it was the first time someone sang to open INTIX, but if it was…it shouldn’t be the last time.

And, after Jimmy Roberts, several people mentioned to me that, “I’m not even a golfer and I can use…”

Which I think is the highlight of a good speaker.

7. The backdrop of NYC added a sense of excitement that people really enjoyed:

Opening night on Broadway was great!

Having the chance to hang out on Broadway with the lights and action of Broadway below everyone was a really great way to open the show and for many people another once in a lifetime experience.

8. Presenting in Manhattan gave folks a thrill:

On more than one occasion, I saw folks tweet or post to social media about their “opening” or “playing” Broadway for the first time.

9. The conversations between the primary and the secondary market are continuing to become more productive:

Nothing happens in a straight line, but I saw a lot more productive conversations taking place between and about the primary market and their relationship with the secondary market than I have before.

That can only benefit the customer because I think both sides of the market can learn from each other.

10. People really have listened and learned from “The Business of Fun”: 

Allow me to plug myself, but I am always amazed and grateful at the response that people give me about listening to my podcast and learning from it.

Over the last several days, I had people reference my conversation with Stephen Glicken from Project Admission, Tony Knopp from Ticketmanager, and many others. And, the fact that people listen and learn from all these great people is

I also had one person have a friend of mine asked if he could get her on the podcast! The answer was, “yes!” Duh!

11. Never forget people:

I was chatting with my friend, Michael L from the New Amsterdam and we got to talking about old school ticket selling.

(Spoiler: he’s one of the folks that taught me about Broadway and Broadway box offices many years ago.)

Our conversation reminded me how important people are and to try and quote Michael, “we are just around to make a little magic.”

12. There were a lot of new faces and voices:

I know that my friend Jacob from FC Copenhagen made his debut. Samuel Biscoe from the UK was there and speaking for the first time, I think. And, I had Frederic Auoad from Stay 22 on my panel.

And, scrolling through the agenda, I think newer voices were a theme.

Which is great.

The more voices, the more diverse the industry and the ideas that have a chance to take hold.

13. So many great tools and technologies are available:

To piggyback and the conversation with Michael L, the technology is a tool to help us do more of the human stuff, but the technology has shot forward and gives us greater freedom than ever before.

I can’t highlight everyone or everything, but Sean Kelly and his team at Vatic have produced some really strong results using dynamic pricing in the arts.

I love the work that Einar and Martin are doing with Activity Stream and talking about the “total marketing” concept.

The things that Rob Walters was sharing with me about Patron Base struck me as cool and exciting, especially as he works to penetrate new markets that they’ve never entered before.

14. Catching up with old friends and learning about their new projects was always great:

I never get to see the full Audience View team at once, but as they were rolling out their rebrand it was fun to catch all of them at once.

The rebrand looks good and finding out that those are light beams and not rock fingers was slightly disappointing, but I still enjoyed learning more about what they are working on now.

It was also great catching up with the team at Today Tix. They were awesome to me when I was going to Australia for the Ticketing Professionals Conference in Sydney in November. And, learning more about how they are expanding their services was great because I see how impactful their work with Harry Potter has been in Australia.

15. If you go, participate:

This is less an observation about this year’s INTIX than it is a general suggestion about the industry. But take the opportunity to be a part of a committee or take action.

I can say without a doubt that my participation has been rewarding both personally and professionally.

I’ve been a part of the technology committee at INTIX.

My good friend, Cat Spencer, is on the board.

I asked Derek Palmer about this while we were in Sydney together…

Everyone agreed, giving back is amazing and makes the value of membership and connection more powerful.

16. There was plenty of bacon at this year’s annual breakfast:

This joke only hits if you were at the 2019 conference in Texas, but there was no bacon in Dallas.

So having the right amount of bacon was one of the NYC committee’s top priorities.

17. INTIX is focused on being a year-round organization: 

From my conversation with members of the board, I know that a priority is to continue to work to be wherever tickets are being talked about.

One big thing that I would encourage all of you to look at is to check out your local chapters and find ways to connect with and get involved in your community.

18. If you are at a conference and you get a chance to see Tessitura’s Erin Koppel present, do it:

In back to back years, she’s put together workshops that keep me engaged. And, she does a fantastic job titling her presentations…which is tough!

So if you see her speaking at a conference, check her out. Helping folks take action and be proactive is a key skill that she has. So check her out.

19. Overall, the content at INTIX continues to add value and reflect the changes that are taking place in the industry:

I noticed a much broader content profile this year from career development, onto helping ensure that all guests are accommodated, to time management, customer service, and much more.

It is great to see the content continue to evolve and adapt to the changing demands of people at all stages of their careers.

20. INTIX is a love letter to the industry: 

The biggest thing I took away from this year’s INTIX was that it is a love letter to the industry and the positive thing is that the conference continues to evolve and reflect that no matter where you are coming from in the industry, there is a place for you and that the power of people creating powerful experiences for other people carries a lot of weight in a world where we are continually pulled apart and in many different directions.

P.S. I have one beef with the swag bag! Where’s my Mets’ t-shirt?!

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20 Takeaways From the 2020 INTIX Conference In NYC was originally published on Wakeman Consulting Group