Showing posts with label Lea Salonga. Show all posts
Showing posts with label Lea Salonga. Show all posts

Monday, December 15, 2025

Broadway Quiz: Diva Digs

We love our Leading Ladies, don't we? We know their famous roles. We know their signature songs. We know their awards. But do we know where they had their biggest Broadway moments?

Broadway Quiz:
Diva Digs

DIRECTIONS: Answer each question about where these amazing women have played on Broadway. Good luck!

1. Angela Lansbury opened in Mame in which TWO theaters?
    A. Gershwin Theatre    B. Mark Hellinger Theatre    
    C. Winter Garden Theatre    D. Shubert Theatre

2. Patti LuPone has won three Tony Awards. She gave her award-winning performances in each of these theaters EXCEPT:
    A. The Vivian Beaumont Theater    B. The Broadway Theatre
    C. The Bernard B. Jacobs Theatre    D. The St. James Theatre


3. Caissie Levy is best known as a musical actress, but which theater did she open in a play on Broadway?
    A. Al Hirschfeld Theatre    B. St. James Theatre
    C. Longacre Theatre    D. Vivian Beaumont Theater

4. Betty Buckley made her Broadway debut singing "He Plays the Violin: in 1776. Which theater was that in?
    A. Lunt-Fontanne    B. Majestic Theatre
    C. Royale Theatre    D. 46th Street Theatre

5. Judy Kuhn was nominated for Best Actress in a Leading Role in a Musical three times. Which three theaters did these musical open in?
    A. Criterion Center Stage Right    B. Circle in the Square Theatre
    C. Broadway Theatre    D. Imperial Theatre


6. Audra McDonald won her first Tony Award for a show that played in which theatre?
    A. John Golden Theatre    B. Vivian Beaumont Theater
    C. Ford Center for the Performing Arts    D. Royale Theatre

7. Bernadette Peters opened in shows that played in all of the theaters EXCEPT:
    A. Samuel Friedman Theatre    B. Palace Theatre
    C. Royale Theatre    D. St. James Theatre

8. Rebecca Luker played Mrs. Banks in Mary Poppins, which played which Broadway house?
    A. New Amsterdam Theatre    B. The Lyric Theatre
    C. Gershwin Theatre    D. Lunt-Fontanne Theatre


9. Lea Salonga most recently appeared in Stephen Sondheim's Old Friends which played which theater?
    A. Circle in the Square Theater    B. Lena Horne Theatre
    C. Eugene O'Neill Theatre    D. Samuel J. Friedman Theatre

10. Sutton Foster has appeared in 14 Broadway shows (not including benefit performances). Which is the only Broadway theater that she played in more than once?
    A. Broadway Theatre    B. Minskoff Theatre
    C. Marquis Theatre    D. Stephen Sondheim Theatre    


STOP HERE
IF YOU DON'T WANT TO SEE THE ANSWERS!!
Continue if you are ready
to check your answers.

1. Angela Lansbury opened in Mame in which TWO theaters?
    A. Gershwin Theatre (1983)  C. Winter Garden Theatre (1966)

2. Patti LuPone has won three Tony Awards. She gave her award-winning performances in each of these theaters EXCEPT:
    A. The Vivian Beaumont Theater 
    (She was nominated for her role as Reno Sweeney in Anything Goes at the Beaumont.)

3. Caissie Levy is best known as a musical actress, but which theater did she open in a play on Broadway?
    C. Longacre Theatre
    (She opened there in Leopoldstadt.)

4. Betty Buckley made her Broadway debut singing "He Plays the Violin: in 1776. Which theater was that in?
    D. 46th Street Theatre

5. Judy Kuhn was nominated for Best Actress in a Leading Role in a Musical three times. Which three theaters did these musicals open in?
    A. Criterion Center Stage Right (She Loves Me)
    B. Circle in the Square Theatre (Fun Home)
    D. Imperial Theatre (Chess)

6. Audra McDonald won her first Tony Award for a show that played in which theatre?
    B. Vivian Beaumont Theater (Carousel)

7. Bernadette Peters opened in shows that played in all of the theaters EXCEPT:
    D. St. James Theatre

8. Rebecca Luker played Mrs. Banks in Mary Poppins, which played which Broadway house?
    A. New Amsterdam Theatre

9. Lea Salonga most recently appeared in Stephen Sondheim's Old Friends which played which theater?
    D. Samuel J. Friedman Theatre

10. Sutton Foster has appeared in 14 Broadway shows (not including benefit performances). Which is the only Broadway theater that she played in more than once?
    A. Broadway Theatre
    (Les Miserables and Shrek: The Musical)   

Thursday, May 8, 2025

Review: Stephen Sondheim's Old Friends

Review of the evening performance on Saturday, April 26, 2025 at the Samuel J. Friedman Theatre in New York City. Starring Bernadette Peters and Lea Salonga, with Jacob Dickey, Kevin Earley, Jasmine Forsberg, Kate Jennings Grant, Bonnie Langford, Beth Leavel, Gavin Lee, Jason Pennycooke, Joanna Riding, Jeremy Secomb, Kyle Selig, Maria Wirries and Daniel Yearwood. Music and lyrics by Stephen Sondheim. Conceived by Cameron Mackintosh. Scenic Design by Matt Kinley. Costume design by Jill Parker. Lighting design by Warren Letton. Sound design by Mick Potter. Projection design by George Reeve. Choreography by Stephen Mear. Artistic consultant Julia McKenzie. Direction and musical staging by Matthew Bourne. 2 hours 45 minutes including one intermission.

By now, I'm sure many of his most ardent fans have already made their way to Stephen Sondheim's Old Friends. If you are one and you haven't, what are you waiting for? The self-described "Great Big Broadway Show" delivers in all the ways that matter; it's a greatest hits review, beautifully played and gorgeously sung. Have a friend who doesn't get why you love Sondheim's works? This may be the perfect show to introduce them to the best of the canon.

One of the many things that make this so winning is that it doesn't fall into the trap that many of such shows do: it doesn't try to connect the songs with any through-line. Save for a brief spoken introduction from our hostesses, there is no talking. Just song after gorgeous song.  And so rich is the material, even taken by themselves, no real context is necessary. A good portion of the numbers are simply interpreted versus being staged in any way. 
Each number speaks for itself. The choreography (by Stephen Mear) and the well-focused, often clever direction/musical staging by Matthew Bourne keep things moving briskly and with due reverence.

Still, there are several groups of numbers that are semi-staged. Matt Kinley's concert stage setting has some clever surprises, and designer Jill Parker's use of costume pieces (a red hood here, a bridal veil there) augment her stylish formal wear outfits. The whole piece is elevated by Warren Letton's pretty lighting and George Reeve's touching projections. 

You couldn't ask for a better band than The Sondheim Orchestra, a gifted ensemble with a huge, full sound under the careful guidance of Annbrit duChateau. Their gifts are particularly brilliant with their overture from Merrily We Roll Along, and their thrilling scoring of the West Side Story and Sweeney Todd suites of songs.

Of course, the success of any professional gathering of this type of revue surely rests on the shoulders of the casting - and this one is a tour de force from top to bottom, most with several Sondheim credits. Anyone worried that there isn't a new generation of his interpreters, need look no further than the youthful ensemble here. Standouts include Kyle Selig (a terrific Tony), Maria Wirries (gorgeous soprano) and Jasmine Forsberg (versatile character actress). Jacob Dickey fairly oozes suave charm and sex appeal in roles as varied as the Wolf, Judge Turpin, and George. 


Then there is the singular pleasure of seeing several actors known primarily for their West End credits, including the comic beauty of both Joanna Riding (a riot in the tongue twister number that is "Getting Married Today") and Bonnie Langford ( an impish delight in "I'm Still Here). Gavin Lee returns to Broadway tapping his way into our hearts with his rapid fire style that calls to mind Dick Van Dyke, and Jason Pennycooke is a devilish burst of energy each time he takes the stage, and Jeremy Secomb makes a chilling Sweeney Todd. One hopes that these British treasures will be back sooner rather than later.


Three Tony-winning ladies, though, make the entire evening worth it. Beth Leavel gives Elaine and Patti a run for their money with her droll take on "The Little Things You Do Together," and a blistering "Ladies Who Lunch." The first lady of Sondheim, Bernadette Peters, delivers with a poignant "Send In the Clowns" and a bittersweet "Sunday." While her voice is starting to show its age, her interpretation of "Losing My Mind" remains the gold standard, and her comic chops are razor sharp as evidenced by her hilarious take on Tessie Tura ("Gotta Get a Gimmick") and Little Red ("I Know Things Now/Bounce"). For my money, though, the star of the evening was Lea Salonga, who surprised me each time she took center stage. A solid, belty "Everything's Coming Up Roses," a rangy comic turn in both "The Worst Pies in London" and  "A Little Priest," and a deep, rich "Loving You," are but three of several brilliant moments she creates. Someone please get this woman a big vehicle for her take Broadway by storm all over again!

The double meaning of the show's title really sums up what this experience encompasses: the friends of Mr. Sondheim have gathered to pay tribute to the man's genius by singing the songs that for both composer and adoring audiences are indeed old friends. It is a perfect evening of musical theater heaven.

And, as always, thank you, Mr. Sondheim.

📸: M. Murphy 

Wednesday, March 26, 2025

2024 - 2025 Broadway Musical Logos: Sondheim's Old Friends

It all started with a one night only concert in London, which turned into a West End run. And now it is a Broadway musical. Of course, given its subject - the songs of the late, great Stephen Sondheim - how could it not make it on the Main Stem? And add two iconic, Tony Award-winning actresses above the title, a 6th (!) Broadway revue seems a sure thing!

2024 - 2025 Broadway Musical Logos:
Sondheim's Old Friends


Yesterday, the show played its first preview, and announced a two week extension, so perhaps the logo and marketing is besides the point. But I have to say I like it for several reasons.

I love the font and style of the main title and tagline. Mounted on what looks like an electrical sign hanging above a stage (and also like the lighted signs above many theaters in the theater district), the letters are Broadway-show bizzy-neon style, topped by Sondheim's famous signature also in neon light style. Could it be more theatrical? The title, of course, refers to the song from his Merrily We Roll Along, while the tagline, "A Great Big Broadway Show" refers to a like from his Follies classic, "Broadway Baby." Could it be more Sondheim?


The full logo design encompasses all of the above against an elegant, almost royal blue background. A smiling, joking Stephen Sondheim in his prime appears among the heavenly theater light beams, as if he's a part of the show. He begrudgingly approves, hands up in surrender. "Ok, celebrate me!" he seems to signal. 


In terms of advertising, it is smart to include images of the stars of the show, which let's us know at once that indeed, Broadway's best "old friends" will elevate the whole thing. It also lets Broadway fans who may not blindly adore all things Sondheim, that the great Bernadette Peters will be on hand, as will Miss Saigon fan favorite Lea Salonga. I suspect that as the show runs, other stars will be featured including Tony-winner (and big fan favorite) Beth Leavel.

Part of a long legacy of Sondheim revues and tributes, this one looks to stand out and its logo surely supports that notion.

Grade: A+


Wednesday, September 5, 2012

JKTS CHAT: An Interview with TELLY LEUNG (Part 1)

He's a winning combination: talented in a variety of ways, with an always surprising depth, plus dashing good looks and that undefinable "it" thing.  He does it all - solo shows, ensemble acting, and dramatic turns in lead and supporting roles.  You've probably seen him as a Dalton Academy Warbler on Glee, or maybe you caught him in the final Broadway Company (and the DVD) of RENT, or as Angel in the same show at the Hollywood Bowl.  Maybe it was on Broadway recently as the "All Good Gifts" track in the revival of Godspell.  I'm speaking, of course, of Telly Leung, who recently took time out of his busy schedule to answer a full dozen of my questions and 10 of yours!

In this first of two parts of his interview, Telly talks about that VERY busy schedule, opening a new one-man show, opening a star-studded Broadway-bound brand new musical (Allegiance), and the ups and downs of Godspell.




JEFF: So, in the midst of rehearsals for Allegiance, you are preparing a concert!  Do you always do this kind of heavy-duty multi-tasking?  What goes into creating this kind of evening?  What can audiences expect to see when they go?  Do you think you’ll do the same show in NYC?

TELLY: HAHA! I often get made fun of by my friends and family for my mutli-tasking. I’m never just doing one thing. It ends up being somewhat stressful –but at the end of the day, very fulfilling. I think all of my different projects inspire me differently – and fulfill a different passion of mine. For example, I love acting and becoming someone else. I like the distance I get from playing big houses (like The Hollywood Bowl, or a Broadway theater). But, I also love performing in an intimate cabaret setting – and NOT “acting.” There’s no character to hide behind. I’m just “Telly… as TELLY” sharing my own stories and songs that resonate with me personally. My new one-man show is called Playlist, and it’s based on the idea that we are all defined by our music collection. You could be a total stranger to me, but if I picked up your ipod and put it on random shuffle, I’d learn a lot about you from your taste in music. It’s a fun night of songs (and personal anecdotes that go along with the songs) and I love that at the end of the night, they audience has really gotten to know me – Telly, the person – and not just Telly, the actor, playing a part. I performed a version of Playlist at Birdland this last spring. I am taking a refined version of the show to San Diego’s Diversionary Theatre (Oct. 8) and also Hollywood’s The Coterie (Nov. 9 and 10). I am releasing an album on the Yellow Sound label (featuring many songs from Playlist – and other one-man shows I’ve done) and the album will be officially released on Dec. 4 (Amazon, itunes, etc) – with a CD-release gig sometime in December right before the album drops officially.  I can’t officially announce the CD release show – but it will be in NY (in a venue I’m so excited to play), featuring a full trio and a string quartet, and it will be BIG. Stay tuned for venue and date / time info!

The Cover Art for Telly's new CD


If folks want to hear the CD earlier, I will be selling advanced copies exclusively at the Old Globe gift shop during the run of Allegiance, and I will also make them available at the my cabaret gigs (Diversionary in San Diego on 10/8, and The Coterie in Hollywood on 11/9 and 10).

JEFF: I read about Allegiance on the Old Globe website.  It sounds epic, yet personal, bold and emotional.  What can you tell us about the show and your role in it?  Over the years of development, you’ve been involved in it quite a bit – has the evolving of the show been difficult or challenging?

TELLY: I’ve been attached to Allegiance (in various developmental workshops and readings) for the last two years, and it’s such an amazing feeling to FINALLY show a paying audience what we’ve been working on for all these years. I play Sammy – a young, patriotic Japanese-American boy who finds himself torn between his allegiance to his family and his country in the midst of the Japanese internment during World War 2 after the bombing of Pearl Harbor. The show has changed so much over the years – songs cut, lines re-written, character intentions revised – and it’s always a challenge to make changes to the show - but it’s always for the better – so the challenge is well worth it. What audiences will see in San Diego this upcoming fall is a result of years of revision.


The Principal Cast of Allegiance:
George Takei, Lea Salonga, Paolo Montalban,
Allie Trimm and Telly Leung

JEFF: It looks like, as a young actor, you’ve really hit the “co-star” jackpot!  I mean your name is right up there with Tony-winner Lea Salonga and TV legend George Takei.  Is that kind of star power daunting in rehearsals?  How have rehearsals been in the collaborative sense?

TELLY: You would think it would be daunting – but those two are class acts! They are incredibly gracious, generous, and approachable. First of all, Lea is a dear friend. She’s always been a big sister to me, ever since I made my Broadway debut in Flower Drum Song. It’s sort of ironic that now, in Allegiance, she’s actually playing my sister! George is also such a pleasure to be with on and off the stage. After years of working on this show, we are family – and it’s not daunting at all.

JEFF: Flower Drum Song… What a way to start!  What do you remember of the whole experience?  Was it everything you dreamed it would be?  That revival had a bit of a rocky run, too.  Is it difficult to deal with a troubled show?  Were you too “new” to get what was going on critically?

TELLY: Flower Drum Song had a very rocky run. So sad it didn’t run longer – because it was a beautiful show that our audiences really loved. There were terrible blizzards that year that was very bad for business on Broadway. Also, the musicians’ strike really hurt our show as well. . It was hard to be in a show that struggled to stay open – especially when we were across the street from a mammoth hit (Hairspray, at the Neil Simon Theater). But, I learned a lot from doing that show in the 4 short months that we ran on Broadway – and I owe a lot of that to my cast mates (like Lea) that took me under their wing and taught me the ropes. That show was such a family – and I’m still very close with my Flower Drum cast mates today, 10 years later!


Recording the Godspell Cast recording with Hunter Parrish



JEFF: Let’s talk Godspell.  Are you surprised (I was) at the practical dismissal of the show by the awards committees and many of the critics?  I saw the show and the audience seemed REALLY into it.  Was that generally the reaction by audiences?  How about on nights when the seats weren’t too full?  I know it is your job to give 100% no matter what, but did lack of audience, and overall failure at the box office, take its toll on you and the rest of the cast?

TELLY: Godspell was a very interactive show, and because we interact with the audience so much and the audience is always different every night, of course the smaller houses affect the way we do the show. But, we never gave less. If anything, we had to overcompensate, and make sure we gave an extra special show to those folks who DID make the effort to come to the show.  I loved Godspell, and I could see, for myself, how much our audiences loved the show, too. Godspell is all about love and joy – and there was a noticeable difference in the audience by the time they left the theater. They left the theater lighter and happier. It would have been nice to have been recognized by the awards, but at the end of the day, it doesn’t matter. We did our jobs. We spread joy.



JEFF: I was amazed at the strength of the cast in terms of unity and improvisation.  It seems like it would be really easy for egos to get in the way, but that doesn’t seem to be the case with Godspell.  How did the director, Daniel Goldstein, create an atmosphere in rehearsals that fostered that unity and lack of ego?  How did all of you maintain it?

TELLY: I worked with Danny (and fellow cast mate, Uzo Aduba) on the Paper Mill production of Godspell in 2006, so I knew what I was getting myself into. Improvisation is a BIG part of how Godspell should be performed. It should be contemporary. It should be relevant. It should be topical. That means, the show should be a living, breathing organism every night – and I think we accomplished that. You’re right – in a highly creative and improvisational environment like that, there’s no room for ego – and I think Danny was very careful in his casting of the show. He found 10 of the most generous, giving, selfless energies on stage who also had unique gifts that made them unique story tellers. He and [Stephen] Schwartz will tell you what a long and difficult casting process it was – but all that hard work was worth it. It was a perfect ensemble.

Here are a few of YOUR questions for Telly:



1. Pre-show meal?

TELLY: Anything that won’t give me acid reflux before I sing! Anything light. I usually eat after a show. Not healthy – but as a show person – what can ya’ do?!


2. Mounds or Almond Joy?  Peanut or Plain M & Ms?

TELLY: Almond Joy! Love almonds. Peanut M&M’s please!

3. If you were asked to voice an M & M which one would you want to be and why?

TELLY: Ummm… Green? No specific reason why.

M. Butterfly: Telly (left) with Christopher Innvar

4. Dream role in any show?  

TELLY: I’ve already gotten to do a few of my dream roles (Song in M. Butterfly, Angel in RENT, and now, creating my own in Allegiance) – but I’ve always wanted to play Judas in Jesus Christ Superstar. The first time I did the show, I played Simon at Sacramento Music Circus (small world: Stafford Arima directed)… and ever since then, I’ve always wanted to play Judas.

5. Role you’d like to play if you were female?

TELLY: Mama Rose. Who HASN’T wanted to play Mama Rose!?

CLICK HERE for Part 2 of this interview.  Telly talks about RENT , working with Neil Patrick Harris, non-traditional casting, and being on Glee.

(Photos courtesy of Telly Leung.  Visit tellyonline.net for more on Telly.  Also, visit allegiancemusical.com for more on the show.)

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