TheatreScene: January 31 - February 6

LIKE WHAT YOU ARE SEEING?  BECOME A "FOLLOWER"!

DON'T FORGET TO VOTE IN THIS MONTH'S POLL!  NOTE: THIS POLL IS "CLASSIC" BROADWAY.  THE NEXT POLL WILL FEATURE "CONTEMPORARY" SONGS TO VOTE FOR. AND IF YOU CHOOSE "OTHER" PLEASE EMAIL ME YOUR TITLE SO YOUR VOTE COUNTS!

WHAT YOU MIGHT HAVE MISSED THIS WEEK!
POLL RESULTS: Saying Goodbye to January
Mr. Broadway February 2011: Lombardi's Packers
ON THE RADAR: Bring It On: The Musical
Guest Blogger: American Idiot: Van Hughes x3 and a New St. Jimmy
CASTING: Priscilla: Queen of the Desert
Broadway Crossword by Blog #5: Original vs Revival, Clue Set #2

January 31

HISTORY:

• Harrigan n' Hart, 1985's "guaranteed Broadway hit" (the ads and press said so) opened at the Longacre Theatre, starring Christine Ebersole, Harry Groener and Luke Skywalker Mark Hamill.  The guarantee lasted 4 performances.

NEWS:

• Quick rewind:  Yesterday, Chicago held Broadway's first free performance for Facebook Fans!  And fans got to see Roxies, Velmas, Billys and Mamas galore, as cast members past and present, including Chita Rivera, came out to meet the fans and see the show!
• Here we go again... Catch Me If You Can announces that the show's first preview will be delayed until March 11.  So far the opening night date of April 10 is still in place.  The delay, they say, is because of the weather and the departure of RAIN.  Did the faux-Beatles trash their dressing rooms or something?

• Oscar co-host James Franco let it out of the bag that he will be co-starring with Nicole Kidman in  Broadway's Sweet Bird of Youth.  That is good news - he's a talented guy.  Even better news would be the long awaited Broadway debut of the other Oscar co-host, Ann Hathaway.

TOPS AND BOTTOMS: (01/24 - 01/30/2011)

• Top Gross: Wicked ($1.3M)
• Top Attendance: Spider-Man: Turn Off the Dark (92.2%)
• Bottom Gross: Colin Quinn: Long Story Short ($162K)
• Bottom Attendance: Colin Quinn: long Story Short (60.1%)
• SRO Club: No members this week!
• $M Club: The Lion King, Spider-Man: Turn Off the Dark, Wicked

HAPPY BIRTHDAY to Anthony LaPaglia, Actor (Lend Me a Tenor, A View from the Bridge)

February 1

HISTORY:

• The Longest Time Since a Broadway Opening: 42 years ago, in 1969: The Booth Theatre played host to Mother Lover.  It opened and closed on February 1, 1969.

NEWS:

• After a brief hiatus and a few minor cast changes, The Merchant of Venice returned for its final weeks, through February 20.
• Melissa Etheridge took to the St. James Theatre stage as St. Jimmy in American Idiot.  Her reign will last for one week, but the memory will last forever.  See article at top of this blog for full details.
• Praise the Lord!  The entire cast of Sister Act was announced today, including Victoria Clark as the Mother Superior.  Now THAT is good news!

• The Las Vegas version of The Phantom of the Opera, Phantom: The Vegas Spectacular had its 2,000 performance today.  No Raoul I've ever seen looked that, um, spectacular...

HAPPY BIRTHDAY to Michael C. Hall, Actor (Chicago, Cabaret)

February 2

HISTORY:

• Oldest Opening of the Week: 1822: King Henry IV, Part II opened at the Park Theatre for an undetermined length of run.

• 2005: Good Vibrations opened at the Eugene O'Neill and ran for a weak 94 performances.  But it did introduce the Broadway world to Sebastian Arcelus, Janet Decal, Tituss Burgess and Chad Kimball, all of whom have gone on to much bigger successes.

NEWS:

• Andrew B. Hamingson stepped down from his post as Executive Director of the Public Theater after 2 and a half years.  He cited personal reasons for his departure.  During his time at the Public, he oversaw the $35M renovation of the theatre, and the Broadway transfers of Hair, The Merchant of Venice and Bloody Bloody Andrew Jackson.

HAPPY BIRTHDAY to Cady Huffman, Actor (The Producers, The Will Rogers Follies)

February 3

HISTORY:

• 1969: The Canterbury Tales, a musical version of the Chaucer book, opened at the O'Neill Theatre, where it ran 121 performances.  The show starred George Rose and Sandy Duncan in her Broadway debut.

NEWS:

• Roundabout Theatre Company announced a workshop of the Broadway-bound musical Yank!, which will explore changes made to the script since its 2010 off-Broadway production.  The workshop will be directed by David Cromer, who is attached to the Fall 2011 Broadway production, and features original star (also attached for Broadway) Bobby Steggert, plus Santino Fontanna, Michael Berresse, Tally Sessions and Tyler Maynard.  The workshop will culminate in industry presentations of the show on February 25 and 26.
• Arcadia will delay its Broadway previews by a day.
• The complete cast for The People in the Picture was announced today.  Joining Donna Murphy will be Chip Zien, Christopher Innvar, Alexander Gemignani and Nicole Parker as the principals.  The complete cast features 19 actors.

• Memphis was home to the first "Inspire Change" initiative, that had 1,000 NYC students participating in the finale, "Steal Your Rock n' Roll," including singing along and doing choreography from their seats and in the aisles.  The performance was followed by a talk back with the full cast, including Chad Kimball and Montego Glover.

HAPPY BIRTHDAY to Nathan Lane, Actor (The Addams Family, The Producers, The Odd Couple)

February 4

HISTORY:

• In 1938, the very first performance ever of Our Town was held at the Henry Miller's Theatre.  It changed American drama forever.  The original production ran 336 performances.
• In 1946, Judy Holliday opened in Born Yesterday at the Lyceum Theatre.  The show, now a classic and soon to be revived, ran 1,642 performances.
• In 1999, the revival of You're a Good Man, Charlie Brown that would win Roger Bart and Kristin Chenoweth their Tony Awards, opened at the Ambassador Theatre. It ran 149 performances.

NEWS:

• Christie Brinkley will be Roxie in Chicago, starting April 4.  Enough said.
• Sister Act will perform on The View February 9th, it was announced today.  The show is co-produced by Whoopi Goldberg, who also co-hosts The View.
• The second generation of The Addams Family was announced today. Joining Bebe Neuwirth, Jackie Hoffman, Zachary James and Adam Riegler, who will stay with the show, are Roger Rees, Brad Oscar, Heidi Blickenstaff, Adam, Grupper, Jesse Swenson and Rachel Potter.  Rees had been previously announced.  The new family moves in March 8th.

HAPPY BIRTHDAY to Jonathan Larson, Late Composer/Lyricist (RENT)

February 5

HISTORY:

• 1959: Redhead, starring Gwen Verdon and Richard Kiley, and directed/choreographed by Bob Fosse, opened on this date at the 46th Street Theatre, where it ran 452 performances.

NEWS:

• Does anything happen on a Saturday?

HAPPY BIRTHDAY to Violet and Daisy Hilton, late Actors/Performers (the subject of Side Show)

February 6 - GO PACKERS!

HISTORY:

• 1969 was a lousy week on Broadway.  Three flops opened this week, including today's Dear World, starring Angela Lansbury, who still won the Tony.  Jerry Herman's follow-up to Mame opened at the Mark Hellinger Theatre and lasted only 132 performances.

NEWS:

• The big news of the day, of course, isn't happening on the Broadway stage.  It is on TV.  That's right!  Glee returns tonight after some football game.

HAPPY BIRTHDAY to Kathy Najimy, Actor (Dirty Blonde)

Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me.
Jeff
2.159

Broadway Crossword by Blog #5: Original vs Revival, Clue Set #2

The most recent Broadway crossword puzzle was inspired by the fact that the season's two scheduled revivals are revivals of shows I saw the first time they were revivals: Anything Goes and How to Succeed in Business without Really Trying.

I decided in CLUE SET #1 to mix things up a little bit and not give the clues out in order.  The first set revealed the 9 plays and musicals and their revivals that the rest of the clues are about.  That clue set also includes instructions for setting up your grid, which lines contain no new clues, and other details about the way shows were picked.  Unless you only try to figure out the answers (which is fizzy, funny and fine, too), I'd suggest going back to CLUE SET #1 before starting here.

Here are the new clues:

Clue Pairs - Both clues have to do with the same show/character/etc.

6 Across: Row 3, Block 12.  16 Letters: 1987's Witch
21 Down: Row 13, Block 12.  15 Letters: 2002's Witch and former Spider Woman

36 Across: Row 26, Block 26.  10 Letters: Producing the 2011 revival
42 Across: Row 30, Block 3.  13 Letters: Produced the 1987 revival

17 Across: Row 12, Block 4.  15 Letters: 2011's Finch and former Equus star
5 Down: Row 3, Block 10.  16 Letters: 1995's J. Pierrepont Finch

43 Across: Row 30, Block 29.  9 Letters: 2011's Smitty, she's a former Kate Monster and American Idiot
4 Down: Row 2, Block 28.  13 Letters: 1995's Smitty, she is Sister Act's Mother Superior

53 Across: Row 38, Block 15.  10 Letters: The original "Send in the Clowns" singer
2 Down: Row 1, Block 24.  18 Letters: 2010's Desiree

8 Across: Row 4, Block 33.  6 Letters: Theatrical home to the 1984 original production
24 Across: Row 16, Block 1.  8 Letters:  Theatrical home to the current revival

46 Across: Row 32, Block 26.  10 Letters: 2009's Claude, and a former La Cage Jean-Michel
16 Down: Row 10, Block 20.  9 Letters: 1968's Claude; he also co-wrote the show


The Clues, Crossword-style:

Across:

6  1987's Witch
8  Theatrical home to the 1984 original production
17  2011's Finch and former Equus star
24  Theatrical home to the current revival
36  Producing the 2011 revival
42  Produced the 1987 revival
43  2011's Smitty, she's a former Kate Monster and American Idiot
46  2009's Claude, and a former La Cage Jean-Michel
53  The original "Send in the Clowns" singer

Down:

2  2010's Desiree
4  1995's Smitty, she is Sister Act's Mother Superior
5  1995's J. Pierrepont Finch
16  1968's Claude; he also co-wrote the show
21  2002's Witch and former Spider Woman



Find a mistake?  Have an idea for another game or puzzle?  Leave it here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.158

CASTING: Priscilla: Queen of the Desert

I have never seen the film Priscilla: Queen of the Desert, despite the fact that every single one of my friends have told me to see it - even my parents have seen and loved it!  And what's not for me to love - great music, heart-warming, funny story, and a nice dose of its OK to be gay.  Still, I somehow missed it.  And somehow I have the film soundtrack.  Then I heard that it was coming to London as a full stage musical, with aspirations for Broadway.  I decided right then and there that I was going wait to see the movie until after I saw the show.  I wanted to go in cold!

So for years now, I've been following the show's trek from West End sensation to Toronto sell out sensation to the naming of the Broadway Company.  And I am thrilled and excited!  And I'm really excited that these drag queens, based on the photos I've seen, LOOK like drag queens.  In fact the pictures - of the cast, the costumes and the sets have me super ready to see this show!

The casting looks great: 1 London star ready to take Manhattan, and two Broadway favorites, one newly established, the other a true Broadway star on the rise.  Add to that a colorful variety of stage experience ranging from the play Enron to Memphis on the part of the supporting and ensemble cast, as well as a nice chunk of excited and exciting Broadway debutantes, and I don't see how this cast can lose!

Swenson, Sheldon and Adams

Olivier Award nominee Tony Sheldon (as Bernadette) - making his Broadway debut, 110 in the Shade/Hair (Tony Award nominee)'s Will Swenson (as Tick/Mitzi) and Chicago/Guys and Dolls/A Chorus Line/La Cage aux Folles babe Nick Adams (as Adam/Felicia) head the cast of this movie-turned-disco extravaganza musical. Based on the film by the same name, Priscilla tells the story of three friends who get on an old bus and travel the countryside in search of love and friendship, and end up “finding more than they could ever have dreamed.”

The Divas beckon you to the Palace Theatre

Supplying much of the commentary and super singing are the three Divas who figure so prominently in the Broadway ads: Jacqueline Arnold, Anastacia McCleskey (both making their debut) and Ashley Spencer (Grease, Hairspray). The rest of the supporting cast includes: James Brown III (Wicked, The Color Purple, Memphis), Nathan Lee Graham (The Wild Party), C. David Johnson (debut), J. Elaine Marcos (A Chorus Line, The Wedding Singer, Sweet Charity), Mike McGowan (Ragtime, The Apple Tree, The Producers), Jessica Phillips (next to normal), Steve Schepis (Finian's Rainbow) and Keala Settle (Hairspray, National Tour).

The Priscilla Company

The ensemble and understudy cast includes: Thom Allison (debut), Kyle Brown (debut), Joshua Buscher (West Side Story, Broadway Bares 20), Susan Dunstan (debut), Gavin Lodge (42nd Street, Spamalot), David Lopez (debut), Ellyn Marie Marsh (Enron), Jeff Metzler (Mary Poppins), Eric Sciotto (A Chorus Line, 42nd Street, Cry Baby), Bryan West (Hairspray) and Tad Wilson (Rock of Ages).

Like I said, I am so excited!  I'll let you know what I think when my review posts after the show opens in March!  What do you think?  Will it be a hit or a miss?  Are you looking forward to it?


Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.157

Guest Blogger: American Idiot: Van Hughes x 3 and a New St. Jimmy

Regular readers of this blog know that every once in awhile my best friend Mike puts his two-cents worth in when I need an opinion outside of my own, or in the case of American Idiot, a devotion and love much like my own for next to normal.  Mind you, I don't dislike Idiot, and I listen to the cast recording regularly, but Mike LOVES this show.

Previously, he blogged about the three St. Jimmys he saw: original Tony Vincent, understudy Andrew C. Call, and Green Day front man Billie Joe Armstrong.  Within minutes of the announcement that Melissa Etheridge was confirmed to play the role for a week, he got a ticket - for last night's performance.  In that time, he discovered that as John Gallagher. Jr. was also on vacation this week, Van Hughes would be playing the angst-filled lead.  We talked about all the different people he's seen in different roles, and figured out that he will have seen Mr. Hughes in all three leading male roles - Johnny, Tunny and Will!

The 4 St. Jimmys: Tony, Andrew, Billie Joe and Melissa

So I figured he just had to blog about that experience, especially in light of my recent "Ask Jeff" blog.  And so, without further blabbing from me... here's Mike...and Van and Melissa!

Last night at the St. James Theatre

(Photo by Mike)

Melissa and Van on the Boulevard of Broken Dreams


Jeff has once again been so kind as to publish my latest report from Jingletown. That’s right, last night (Feb. 2, 2011) was my sixth trip to American Idiot, currently playing at the St. James Theatre on Broadway. Trip number five was actually only a couple of weeks ago, but when I found out that Melissa Etheridge would be performing as St. Jimmy this week, I knew a quick return visit would be in my future. As a special bonus, it also came to pass that standby extraordinaire Van Hughes would be playing the lead role of Johnny this week; having seen him previously in the roles of Will and Tunny, I was very excited to have the opportunity to complete the trifecta. (Or hat trick, or whatever sports analogy makes sense.) Those two performers will be the subject of my entry today.

In my last set of musings on American Idiot, I compared the three St. Jimmys I had seen at the time (Tony Vincent, Andrew Call, and Billie Joe Armstrong). Compared to all of them, Melissa Etheridge gave the most accomplished vocal performance but was the least compelling as an actor. Regarding her voice, I am indeed suggesting that (in the theater, at least) she outshines even Billie Joe Armstrong, who has sung these songs hundreds of times. Her angry rasp in songs like “St. Jimmy” and “Know Your Enemy” (which all the others do well, too) make a satisfying contrast with a very full, rich, romantic delivery of “Last Night On Earth” (which the others don’t attempt in quite that way). When she sings in unison or in harmony with Johnny or Whatsername, the results are gorgeous, and I noticed little details of harmony I’ve never noticed before. Her lyrical delivery was also the clearest, without sacrificing the stridency that the part calls for: for the first time, I understood every word of “The Death of St. Jimmy.” If I could have an audio recording of any of the six performances I’ve seen, this would surely be the one.

The not so good news is that the non-vocal aspects of Etheridge’s performance lacked a consistent sense of characterization. Each of the three other actors I’ve seen in the role took things in their own direction, but all of them controlled the stage when they were on it, seducing the audience just like St. Jimmy seduces Johnny. Of course, all eyes were on Melissa Etheridge last night, too, but that’s because she’s a rock star and most of the audience came specifically to see her. That might do for a one-week engagement, but if (as I suspect) the producers intend to bring her back for a longer stint, Broadway audiences will expect to see a top-notch performance in its own right. Etheridge sang beautifully but did not give much of a sense of what St. Jimmy is about and why Johnny would be so immediately taken in by her (him?). That’s a problem that needs to be fixed, especially since the character of St. Jimmy is so inherently enigmatic to begin with.

I feel like I’m being a little too negative, because the fact is that I enjoyed her performance a lot and the audience went wild for her. But, as something of a St. Jimmy connoisseur, I can’t help but note the ways she comes up short alongside the ways in which she excels. And, to find some good news within the bad news, note that this was only her second performance, and she did have all the blocking and choreography down pretty well. Most importantly, I did see a glimpse of what could evolve into a unique take on the role; at a couple of points, her St. Jimmy seemed vulnerable and confused, something which could work very well if carefully coordinated with the ebb and flow of Johnny’s own psyche.

Van Hughes, whose previous credits include Hairspray, 9 to 5: The Musical, and Saved (a show Jeff loved and which I regret missing), is the standby for all three of American Idiot’s wayward boys: sedentary stoner/dad Will, vulnerable slacker/soldier Tunny, and all-over-the-map Johnny. I’ve now had the pleasure of seeing him in all three of these roles, so I’ll make a few comments about each of them in turn, in the order in which I saw them.

I saw Hughes’s take on the character of Will back on September 18, 2010 (evening performance) . While this looks to me like the most straightforward of these three roles, it’s also true that the actor playing Will is on stage almost the whole time and has to create some kind of character arc out of a small amount of material. Van Hughes’ take on the role was just as compelling as – and, to be honest, very similar to – that of Michael Esper, the regular performer. The main difference that I noticed was their vocal delivery in “Novacaine” and “Nobody Likes You,” for which Hughes gave a more traditional reading alongside Esper’s deliberately strained thinness. They’re both great in the part, and they even look a little bit alike.

On January 16, 2011 (matinee), Hughes substituted for Stark Sands in the part of Tunny, who runs away with Johnny to the big city but quickly finds himself being seduced into the army. Once again, Hughes pretty much nailed it, but in this case I must admit that Sands has the edge. Some of this is a bit superficial: Stark Sands simply looks the part of someone who has it in him to be both a trouble-making slacker and a clean-cut soldier, whereas Van Hughes’ vaguely edgier look doesn’t fit so well here. The “Extraordinary Girl” flying sequence was noticeably less tight when Hughes was in the role, especially the speed of some of the rotations (but this is something that I’m sure would be corrected if he was in the part long term). And, although I don’t know exactly what the ranges are for the parts, it seemed like Hughes’ voice was not quite as well-suited to the relatively high tessitura of a song like “City of the Dead.” But these are largely quibbles from someone who’s seen this show too many times. Hughes gave a convincing performance as Tunny, wringing out every bit of the heartache and uplift to be found in the journey of Tunny, whose story is somehow both the most tragic and ultimately the most joyous in the show.

Doing what she does best: rocking out at the

curtain call with Michael Esper and Van Hughes!

All-American Boys: St. Jimmy, Will, Johnny and Tunny

Did I just mention quibbles? Don’t look for any in the next few paragraphs, because Van Hughes was absolutely stunning last night in the part of Johnny, a character so hard to describe that I won’t even try (if you’re reading this, I imagine you’ve seen the show anyhow). It would be impossible to give a ranking of his performance with respect to that of regular star John Gallagher, Jr.; it doesn’t even feel quite right to compare them, although I realize that’s what’s called for here. While both performances are finely tuned to the role, their choices are utterly, categorically different, with very different benefits and rewards proceeding from these choices.

If you’ve seen Gallagher in the role of Johnny, you know that he’s created a unique, fascinating character that he plays with amazing discipline and precision. His Johnny is also, I think, rather stylized, a creation perfectly suited to the world of American Idiot but perhaps, I must admit, not very much like any person I’ve met in the real world. (This is not a criticism, and I’ll just leave it at that, since the topic is really Van Hughes.) Anyhow, all of this discipline and precision also means that Gallagher’s performance is tightly constrained – and that’s something that is not at all true of Hughes’s performance, with very affecting results. Hughes attempts to be nothing more than a regular guy, slightly bored and resentful of his home situation, who decides to go on what he thinks will be an exciting journey but which will really end up dragging him down to hell and back. This may not be as tightly wrought or ambitious a characterization as Gallagher’s, but the rewards are just as potent, because Hughes is very convincing in his vivid highs and exquisitely painful lows.

And so Hughes’s Johnny jumps up and down like a little boy on Christmas morning when he’s about to leave with his best buddy on a cross-country trip; when he gets there, he swings his guitar playfully as he delights in the prospect of conquering his new city. (Gallagher’s Johnny, so tightly wound from start to finish, would never do these things, and we wouldn’t want him to). Having established this, Hughes has enabled himself to really bring out the horror of Johnny’s steady descent. And it is a nuanced, incremental one: although the effects of his drug use are starting to change him, Johnny is still basically a happy and optimistic guy when he first makes love with Whatsername; much less so the second time, as St. Jimmy’s influence grows and the drugs become as important as the sex; and still less so by the time he sings “When It’s Time” to her as she sleeps. By the time he’s threatening her with a knife (“Know Your Enemy”), the descent is complete, but much more shocking under Van Hughes’s performance, because this is something we could never have imagined of the young man at the start of the show.

So, to wrap things up, don’t stress if you go to see American Idiot and find a slip of paper in your Playbill with Van Hughes’ name on it. You’re in good hands. And many thanks to Jeff for giving me the opportunity once again to talk about one of my favorite shows.

The Principal Cast of American Idiot

As always, thanks, Mike!

(Photos by Paul Kolnik and Joseph Marzullo)

Comments?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.156

ON THE RADAR: Bring It On: The Musical

It is the possibilities and potential that make me really interested in Bring It On: The Musical.  Based in the same "cheer world" as the popular movie starring Kirsten Dunst (and a few straight to DVD sequels), but not taking the same story, the show is exciting for that if nothing else.  Can a movie-turned-musical really turn its back on the story?  We shall see.  But that is part of where the "possibilities" come in for me.  If they maintain the film's sharp critical comic eye and good spirit, it might just do fine.  And given the show's creative team, aka "potential," I'm willing to give this one more than the average glance and benefit of the doubt.

Unlike other shows this season, all of the team has had its share of set backs, and gambles with unsure, safe material.  When, arguably, the least known member of the team is Amanda Green, of High Fidelity on Broadway and a little ditty called "The Rose" fame, you can bet the potential is quite high.  Then there is Tony winning book writer Jeff Whitty (Avenue Q - sharp, critical comic eye, check!), Tony winner Lin-Manuel Miranda (In the Heights) providing the hip-hop, Tony and Pulitzer winner Tom Kitt (next to normal) proving the rest of the score, and Tony winner Andy Blankenbeuhler (In the Heights) at the helm, directing and choreographing.  Each are synonymous with "modern, cutting-edge Broadway."  Each has taken chances - some failures - 13, High Fidelity, neither a shameful mess - and each has taken huge risks in pushing the limits, bringing minority culture to the masses and introducing the world to full puppet nudity and found great success - 2 Tony winning Best Musicals and only the 8th musical to win the Pulitzer Prize.  In short, if you are going to take a risk with changing a tried and true formula, bring it fully into the 21st century and make it move like no other show before it, they are your dream team.

The show opened this past week at Atlanta's Alliance Theatre to strong and constructive reviews, with most predicting a long life on Broadway.  Comparisons, not to the movie, but to A Chorus Line, All About Eve and even West Side Story seem to bode well for the piece as well.  (For some fun and interesting background on the making of the show, look up Alliance Theatre Bring It On the musical on YouTube.

I hope the show does make it.  And without too much hoopla - just before previews the lead actress had to be replaced due to injury, and last Wednesday's performance had to be cancelled due to an actor's strained muscle and a minor sprain.  Let's hope calmer heads prevail with this show, despite its teen angst story and injury potential - and there are even professional cheerleaders in cast who also get injured.  Bring It On: The Musical will definitely have the actors flying about the stage - not a wire in sight - which should be exciting and thrilling to watch.  Like I said, please let calmer heads prevail, and let's cheer this one on!

THE ATLANTA TV COMMERCIAL:



(Photos by Greg Mooney)

What do you think?  Potentially good stuff?  Leave your thoughts here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.155

Mr. Broadway February 2011: Lombardi's Packers

Mr. Broadway February 2011:
The Packers of Lombardi:

Bill Dawes, Robert Christopher Riley
and Chris Sullivan

WHY THEY ARE MR. BROADWAY: Fate, I think, has brought us to this moment.  Lombardi wasn't the play I was supposed to see that fateful Sunday.  And for the first time in years, the Green Bay Packers are headed for the Super Bowl.  How appropriate, then, that the guys who play real-life Packers in the show are my pick for Mr. Broadway February 2011!  Bill Dawes plays Paul Hornung, Robert Christopher Riley plays Dave Robinson, and Chris Sullivan plays Jim Taylor; all three "Packers" of course play for the great Vince Lombardi, played by Dan Lauria.

Riley, Sullivan and Dawes in Lombardi

Currently appearing in: Lombardi at the Circle in the Square Theatre
Other Credits: Dawes: Stage: Sex and Longing; Gross Indecency: The Three Trials of Oscar Wilde, several off-Broadway credits; TV: Law and Order, Oz, Sex and the City; Stand up comic.  Riley: Stage: Cat on a Hot tin Roof; TV: Royal Pains, Law and Order.  Sullivan: Stage: National Tour: Defending the Caveman, Chicago: The Illusionist, The Mystery of Irma Vep.
Education: Dawes: BSE in Aerospace Engineering (yes, he's a rocket scientist!) from Princeton, MFA in acting from NYU.  Riley: MFA from Ohio University.  Sullivan: MFA from Loyola Marymount, L.A., graduate work at Oxford School of Drama, Oxford, England.  These are no "dumb jocks!"
Websites: http://www.lombardibroadway.com/; http://www.billdawes.com/, http://www.billdawes.net/; http://www.robrileyonline.com/

BILL DAWES

Lombardi Football Card

Headshots

Doing Stand up

In off-Broadway's The Beebo Brinker Chronicles

Riley, right, in promo art for Burning Blue

With Kathryn Lang in Open House

Dawes with the real Paul Hornung

A Lombardi Candid

ROBERT CHRISTOPHER RILEY

Lombardi Football Card

Headshot

Riley was in the cast of 2008's Cat on a Hot Tin Roof;

he also understudied for and went on as Brick.

Riley and the real life Dave Robinson

Riley, left, with the guys and Paul Hornung

The Cast of Lombardi

CHRIS SULLIVAN

Defending the Caveman

Sullivan, front right, with the cast and crew of

2008 Sundance Festival film finalist, North Star

In Chicago's The Illusion

And as the title character in The Mystery of Irma Vep

The "Coach and his players" meet the press.

The Cast of Lombardi

BILL DAWES TALKS LOMBARDI  (from TheaterMania.com)



THE LOMBARDI COMMERCIAL






Comments?  Ideas for next month's Mr. Broadway?  Leave one here, email me at jkstheatrescene@yahoo.com or Tweet me!
Jeff
2.154