In Fields Where They Lay

You can’t throw a stone, in this city, and not find a great theatrical treat!  The holidays are especially packed with goodies and In Fields Where They Lay, with music by Ricardo Pérez González and directed by Brad Raimondo, is getting strong buzz!

The play playing at the  New Ohio Theatre, (154 Christopher St) opened on 12/5 and runs until 12/27.

In Fields Where They Lay  commemorates the 100th anniversary of the Christmas Truce, the spontaneous ceasefire that occurred all along the Western Front, during the first year of the war.  

The casting is the result of director, Brad Raimondo’s keen vision.  

That included selecting British born, Nigerian actor Equiano Mosieri, who we profiled last week.  

In regard to the casting choices, Raimondo shared this: “In Fields Where They Lay has always been a very tricky play to cast because it's an epic story told on a very human scale. So we need an ensemble that can bring the intimacy and immediacy, while capturing a sense of the period and the grandeur of this incredible moment in time,” he says. “That's why I'm so pleased that we've assembled a cast with so much Shakespearean experience -- veterans from Hudson Valley Shakespeare Festival (Jeff Gonzalez), Shakespeare Theatre of New Jersey (Jeff Gonzalez), and Alabama Shakespeare (Joe Kolbow). Because although this play is very contemporary, it also asks a lot of the same things of an actor that Shakespeare does.”

The bright cast also includes Stephen James Anthony, who rose from puppeteer to assume the role of Billy Narracott, in the Tony-winning production of War Horse, playing Private Thomas Pfeiffer.  

His character is loosely based on Harry Patch, Britain’s last surviving WWI soldier who passed away in 2009 at the ripe old age of 111.  Spencer Davis Milford, who played Ronnie Winslow in the critically acclaimed Roundabout Theater revival of the Old Vic Production of The Winslow Boy, opposite Elizabeth Mastrantonio and Michael Rees, plays Private Theodore “Teddy” Jones, a 16-year-old who enlists for battle by falsifying his age.

The Christmas Truce, according to those who witnessed it, began with a spontaneous outbreak of Christmas Carols across “No Man’s Land”, five months into the War to End All Wars, on Christmas Eve 1914.  Playwright Ricardo Pérez González has beautifully captured this singular moment in time, when the sounds of war were silenced.  

In Fields Where They Lay will be presented as part of New Ohio Hosts, New Ohio Theatre’s curated rental program, which provides subsidized theatre space to innovative, not-for-profit theatre companies and independent theatre artists.

Tickets for In Fields Where They Lay are now on sale at www.dreamscapetheatre.org  or by calling, 888-596-1027.

“ F U N  H O M E ” 

Fun Home, the acclaimed Broadway is coming this Spring!

It’s time for fun with the new musical Fun Home coming to Broadway this Spring.  The performances begin at Circle in the Square on March 27, 2015 and the big opening day, with all it’s bells and whistles is April 19th.

The savvy producers, Fox Theatricals (Kristin Caskey, Mike Isaacson) and Barbara Whitman know the value of having a Tony® Award-winnesr on board, so they cast a few to make Fun Home — fun!  

Tony® Award-winning Michael Cerveris (‘Bruce Bechdel’), three time Tony® Award nominee Judy Kuhn(‘Helen Bechdel’), join Beth Malone (‘Alison’), Obie Award-winner Sydney Lucas (‘Small Alison’),and Emily Skeggs (‘Medium Alison’)

Returning to the cast is Joel Perez and Roberta Colindrez  with Zell Morrow and Oscar Williams joining the production as Alison’s brothers John and Christian respectively. With music by four-time Tony® Award nominee Jeanine Tesori, a book and lyrics by Tony® Award nominee Lisa Kron and direction by Drama Desk nominee Sam Gold.

Pronounced “a beautiful, heartbreaker of a musical” by the New York TimesFun Home is the groundbreaking new Broadway musical based on Alison Bechdel’s best-selling graphic memoir.  

Rummaging through a box of her father’s stuff, the memories of Alison’s uniquely dysfunctional family – her mother, brothers, and her volatile, brilliant, enigmatic father – connect with her in surprising, powerful and revealing new ways. Named “Best Musical of the Year” by the New York TimesNew York MagazineDaily News and more, Fun Home is a refreshingly honest coming-of-age story about seeing your parents through grown-up eyes.

Fun Home opened to rave reviews at The Public Theater in October 2013, and was quickly extended four times due to popular demand. It was named Best Musical by the New York Drama Critics Circle, and received the OBIE, Lucille Lortel, Outer Critics Circle and Off Broadway Alliance Awards in the 2013-2014 season; the musical was also a finalist for the Pulitzer Prize for Drama.

The creative team of Fun Home also includes Danny Mefford (Choreography), David Zinn (Set and Costume Design), Ben Stanton (Lighting Design), Kai Harada (Sound Design) and Chris Fenwick (Music Direction).

Fun Home will be produced on Broadway by Fox Theatricals (Kristin Caskey, Mike Isaacson) and Barbara Whitman, along with Carole Shorenstein Hays, Tom Casserly, Paula Marie Black, Latitude Link, Terry Schnuck/Jack Lane, Nathan Vernon, Elizabeth Armstrong, JAM Theatricals and Scott M. Delman.

The Original Cast Recording of Fun Home is now available on PS Classics. 

 Critics’ Pick!

“A beautiful heartbreaker of a musical.  Fun Home finds a shining clarity that lights up the night!

-- The New York Times 

“Warm, Funny, Heartbreaking!”
-- Variety

“A collaboration to cherish! Lisa Kron knows precisely how to mix the demands of a musical and the brilliance of Bechdel’s memoir. Jeanine Tesori finds just the right voices.”

-- Newsday

THEATER TIP: “Can’t We All Try to Get Along?”

New York.  Here is a head’s up!  You can thank me later.  If enjoy and invest your time into seeing great theater, then I highly recommend that you mark your digital calendar and insert an alert for ’s playing at the BRIC House Ballroom - Wednesday-Sunday, December 3- 7, various times

Tickets: $18 Adv | $22 Door

Mr. Lee’s work has been well reviewed and a simple google search will pull up many reviews to support my previous statement and sincere sentiment.

He’s a brilliant actor. A brilliant writer and a very, very, very complex soul.  

A long time ago, I tried my hand at producing theater.  My one-and-only attempt was a success because I worked with Roger Guenveur Smith. The play (that I produced) was FREDERICK DOUGLASS NOW and the venue was La MaMa ETC and it was at the soulful and positive urging of the late  Ellen Stewart.

The budget  for the multimedia play was modest, so I did my own pubic relations and marketing.  

That effort lead me to a position, in pr, at the Brooklyn Academy of Music which lead me to personal publicity for John Leguizamo ("Mambo Mouth" and "Spic-O-Rama" years) which opened the doors to working with producers Martin Bregman ("Carlito's Way") and Martin Bregman ("Scarface" - "Dog Day Afternoon).

I've said "all that" to share that Mr. Smith is back in the city with a controversial piece and its an affordable price. 

If your into reviews, I can share that the New York Times called Roger Guenveur Smith's RODNEY KING:  "“Sinuous, complicated, deeply moving.”

ABOUT

Roger Guenveur Smith's RODNEY KING

History, poetry and tragedy collide when Roger Guenveur Smith tackles the thorny odyssey of Rodney King.

WHEN & HOW MUCH

Wednesday-Sunday, December 3- 7, various times

Tickets: $18 Adv | $22 Door 

WHERE AKA LOCATION

BRIC House Ballroom

647 Fulton Street

(Enter on Rockwell Place)

Broadway is calling for the Youth! Make your billion dollar mark!

Do you have what it takes to make it on Broadway?  Then sync up your calendar and twitter the news because the fourth annual TEDxBroadway is returningMonday, February 23, 2015to New World Stages in New York City, and will include some very special attendees in The Loft.

The good news is that the organizers, of the one-day event, asks a very big question: What is the Best Broadway Can Be?are then invites the next generation to participate in shaping the future of Broadway with the TEDxBroadway Young Professional and Student Programs.

"Some of today's most influential people in the Broadway ecosystem come to TEDxBroadway, but we want to make sure that some of tomorrow's most influential are there too,says Damian Bazadona, founder of Situation Interactive and TEDxBroadway Co-organizer.

From investors points-of-view Broadway continues to be a prudent investment with musicals being the favorite spot to invest their hard earned money. 

Disney's "The Lion King" has produced a global yield of 6.2 billion, and 1 billion is from it's Broadway run.  That clearly made Thomas Schumacher, President and Producer of Disney Theatrical smile deeply.

Next generation please pay attention, opportunity is textinganswer.

The TEDxBroadway Loft is a space for the 54 members of the Young Professional and Student Programs to exchange ideas and information with their peers.

The Loft creates an environment in which the young professionals and students can network, voice their opinions, insights, and build relationships for later initiatives. It's underwritten by The Nederlander Organization and The Shubert Foundation.

"It might get a little raucous up there, but in a good way,adds Jim McCarthy, CEO, Goldstar and Co-organizer, TEDxBroadway. "Don't worry though. Just because you're not in the Young Professional Program or a Student, that doesn't mean you're not allowed to go up there."

TEDxBroadway Young Professionals:

Applications are now being accepted for the program.  Each selected participant gets one free ticket to TEDxBroadway.

They will also be invited into a private social group with opportunities to engage with other young professionals, as well as opportunities to interact with professionals and leaders in the Broadway community before, during, and after the conference.

To apply to attend TEDxBroadway 2015 as a Young Professional:

  • Submit an application by Wednesday, December 31st, 2014. http://www.tedxbroadway.com/young-professionals-opportunity-tedxbroadway-2015/
  • Be under 30-years-old as of February 23, 2015.
  • Work in a field that touches the Broadway ecosystem.

TEDxBroadway Student Program:

Select graduate students from area schools including Yale, Brooklyn College, Columbia and NYU will be nominated by their professors to receive a free ticket to TEDxBroadway. They will be invited to also attend meeting and events with the Young Professionals, industry professionals and established leaders in the community surrounding the conference. Their tickets have been underwritten by Disney Theatricals.

Previously announced speakers at this years event include (additional speakers will be announced later):  Benj Pasek and Justin Paul (Tony-nominated songwriters), Sree Sreenivasan (Chief Digital Officer at the Metropolitan Museum of Art), Dr. Laurie Santos (Associate Professor of Psychology at Yale University), Kirsten Sabia  (Vice President of Marketing Services for the PGA TOUR), Osh Ghanimah, (Founder and CEO of Broadway For All), Elliott Masie (expert in learning), and Emily Simoness (Executive Director of SPACE on Ryder Farm).

Additional details are available at: http://TEDxBroadway.com

Interested attendees can purchase tickets at: http://www.eventbrite.com/e/tedxbroadway-tickets-12624455085

Follow TEDxBroadway on Twitter: @TEDxBroadway

The conference will begin at 11AM on February 23rd, 2015. Tickets are $100.

Remembering Theater's Grand Dame Marian Seldes

Marian Seldes, who passed away after a three-year slide into darkness, told me once: "One of the most enthralling moments for me in every play I do, is crossing from Stage Left to Stage Right, or vice versa, depending on where the stage door is, and ravishing a moment there - just me and the ghost light."

For anyone who knew Miss Seldes, and for hundreds of you who may have just run into her on the street or in a supermarket aisle and said, "Hello," you can hear her dulcet whisper as she spoke, not at a distance, but really up-close- and-personal as if you were one of her beloved friends.

One evening in November, 2005, Miss Seldes was walking across West 12th Street, on her way to dinner at a friend's apartment. On my way there, I ran into her on the corner of Sixth Avenue as she was embroiled in a lengthy conversation with a tall, elegantly clothed woman in colorful tribal African fabrics and the most amazing turban. I stood aside to escort Miss Seldes the rest of the way. The woman had seen her that summer opposite Nathan Lane in Primary Stages' production of Terrence McNally's Dedication or the Stuff of Dreams at 59E59.

The conversation didn't seem to be winding down. I gently nudged Miss Seldes who greeted me, as often was the case with anyone she met, even total strangers, effusively. I told her that we were going to be late. They exchanged long goodbyes and Miss Seldes gave one of her customary curtesies. As we walked away, Miss Seldes said, "Darling, I'm sorry I didn't introduce you, but I don't know her." I replied, "You don't?" "No," she replied, "but she knew me." [BTW, this play was the one in which Miss Seldes famously uttered the F-word.]

Miss Seldes was so fond of Lane that she very much wanted to see him in TheAddams Family. It was November 2010, during a period when Miss Seldes wasn't always having an easy time getting about. Tickets were arranged and a note was left for Lane, who was known to frequently sneak out the lobby doors. As we left Miss Seldes' building on Central Park South, I ran ahead to hail a cab. No luck there. Miss Seldes tapped me on shoulder and said, "Darling, here comes the Number Seven bus." We boarded, and then I found there was no stop at 46th Street.

While Miss Seldes animatedly chatted away with people on the bus, a number of whom recognized her, I asked the driver if there was a way he'd left us off there. He wasn't sure who she was, but said she was a Number Seven regular. He let us exit at the 46th Street corner, but it wasn't so easy to get Miss Seldes off, as she was in the midst of entertaining her fans.

We were greeted warmly by the Lunt-Fontanne house manager, who escorted us to the seats, even brought refreshments at intermission. She told us she'd have us escorted backstage. As the curtain calls ended, we were being taken to the far right exit door, where the BC/EFA bucket brigade was collecting. I pulled out my wallet to donate. Not to embarrass myself in Miss Seldes presence, I went to donate a fiver. Miss Seldes turned to me aghast, handed me her purse. "Darling, grab a twenty. I'm on the board!"

The ensemble member collecting was so excited to meet Miss Seldes, who joined her in rapturous conversation, that she forgot she was colleting. Finally, out the door, where the stage doorman was waiting for her, Miss Seldes was recognized by a number of people in the line. In a New York minute, it was like Miss Seldes was the star of the show. She was being photographed and signing autographs. We finally were able to get her into the Green Room, where she was seated in quite the regal chair that befitted her. Members of the cast came by to visit.

Marian Seldes, Nathan LaneIt was explained that Lane was taking a shower and would be down soon. When he arrived, it was a love feast. As he embraced Miss Seldes and knelt before her, she appraised his performance, actually one of the saving graces of the show, as if he was Olivier/Gielgud/Lunt reincarnated. Lane was unabashedly moved and seemed in no hurry to run.

Afterward, Miss Seldes announced she was hungry. The reservation I made was scratched in favor of going to Sardi's, where, when we entered, it was like one of Miss Seldes' opening nights.

In his appraisal of her career, Ben Brantley wrote inThe New York Times: "When Marian Seldes served ham, it always tasted like caviar. More than any stage performer of her generation, this enduringly vital actress ... made overacting feel like a deeply elegant craft, wrought in carefully carved flourishes and filigree."

I have a feeling Miss Seldes would have thought that to be a supreme compliment.

~ ~ ~ ~ ~

Marian Seldes: Career Highlights

Studied acting under renowned acting instructor Sanford Meisner, New York's Neighborhood Playhouse;
1949, Featured in TV production, Macbeth;
1954, Film debut, The Lonely Night, a TV docudrama produced by the U. S. Public Health Service on mental health;
1963, Obie Award, The Ginger Man;
1967 to 1991, faculty member, Juilliard School of Drama, where her students included Christine Baranski, Kelsey Grammer, Kevin Kline, Laura Linney, Patti LuPone, Kevin Spacey, Robin Williams;
1967 Tony Award, Best Featured Actress, Edward Albee's A Delicate Balance;
1970s, Recurring guest on CBS Radio's Mystery Theater;
1971, Tony Award and Drama Desk Award nominations, Actress (Play), Father's Day;
1974, Equus;
1977, Obie Award, Isadora Duncan Sleeps with the Russian Navy;
1978, Co-starred in Deathtrap, never missing a performance over five years - an achievement that won her entry into the Guinness Book of World Records;
1978, Tony Award nomination, Best Featured Actress, Play, Deathtrap;
1978, Published autobiography, The Bright Lights;
1983, Outer Critics Circle Award, Painting Churches;
1994, Co-starred in Albee's Three Tall Women, Outer Critics Circle Award;
1996, Inducted into the Theater Hall of Fame;
1998, Drama Desk nomination, Outstanding Featured Actress, Ivanov;
1999, Tony Award nomination, Best Actress, Play, for the revival of Ring Round the Moon;
2001, Drama Desk nomination, Outstanding Actress (Play), Albee's The Play About the Baby;
2000, The Madge Evans & Sidney Kingsley Award for Excellence in Theater;
2001, Obie Award for Sustained Achievement.
2001 and 2005, Fordham University faculty;
2003, Nominated for her fifth Tony Award, Best Featured Actress, Play, for LCT's
 Dinner at Eight [2002; a last-minute replacement for ailing Dorothy Loudon in the role of Carlotta Vance];
2003, Beckett/Albee, opposite Brian Murray;
2003, Edwin Booth Award;
2004, The first annual Seldes-Kanin Fellowship Awards;
2005-2007, Honorary Chair, Theater Hall of Fame;
2005, Dedication or The Stuff of Dreams, opposite Nathan Lane
2006, Co-chair, 35th Anniversary, Theater Hall of Fame benefit.
2007, Duece, opposite Angela Lansbury

Film highlights: Mona Lisa Smile, The Haunting, Celebrity, Town and Country, Home Alone 3, Affliction, Tom and Huck, The Gun in Betty Lou's Handbag, Digging to China, The Greatest Story Ever Told [a memorable Herodias], The Big Fisherman, The Light in the Forest, Crime and Punishment U.S.A. and The True Story of Jesse James.

TV roles include: Club House, If These Walls Could Talk 2, Truman, Gertrude Stein and a Companion. Guest appearances: Remember WENN, Cosby, Wings, Murphy Brown, Murder She Wrote, Law & Order, Othello [Emilia to Walter Matthau's Iago], General Electric Theater, Hallmark Hall of Fame, Alfred Hitchcock Presents, Perry Mason and Gunsmoke.

Music as weaponry! Performance as protest! "Finding Fela" opens August 1

"Finding Fela—" a look inside the mesmerizing life of steadfast activist/musician/ Fela Kuti under Award-winning director Alex Gibney’s keen cinematic eye is a joyful adventure that's creatively supported by hypnotic music and skillfully coupled with heart wrenching politics and personal insight into the life of the man that became legend—Fela.

"Finding Fela" is executive produced by New York businessman Stephen Hendel and his wife Ruth Hendel who also produced the 2009 Tony Award winning play, FELA! directed by McArthur Fellowship-winning choreographer and director Bill T. Jones.

Gibney’s pairing with the footage of the "making of the Broadway musical" (FElA!) is a artistic stroke of genius.

"Finding Fela" is just as the film title suggests, a journey of discovery and an appreciation of just how difficult it is to put this man’s life on stage, while witnessing an authentic jumble of characters all of whom share their poignant views and personal stories.

One of the most riveting and contemporary parts in the film is provided by Seun Kuti (31) the youngest son who inherited his father’s extraordinary Egypt 80 orchestra after his death.

Gibney doesn't romance Fela's life nor flinch from sharing the documented facts surrounding his uncontrollable womanizing in the name of free love, his indifference towards his children and his irresponsibility with sexual health. He died of AIDS- related illness in 2007.

Gibney achieves that alchemic balance choosing to use the music to highlight the bravery and conscience of a man who risked his life (daily) in the face of a brutal Nigerian military who would constantly beat and harass him.

Fela is not deified in any way and no critic could argue that this is a classics biopic. It isn't like Kevin Macdonald’s "Marley" or Martin Scorsese's "The Last Waltz"—it's better—and I wouldn't be surprised if it earns a 2015 Oscar like Morgan Neville’s euphoric "20 Feet From Stardom."

Gibney’s "Finding Fela" speaks eloquently to his constant search for identity. The film handpicks key moments in Fela’s life: his decision to reject medicine and study music, listening to James Brown, witnessing the Black Panthers – all of which crystallized his views which enriched his music and, stone-by-stone, helped paved his path to iconic status.

Music is everywhere and Afrobeat and Jazz fans will not walk away unserved!

Yes, the politics is raw and urgent and the storytelling immensely thoughtful but it's the sound that will make "Finding Fela" successful.

Music as weaponry and an uniting force that cruelty can't extinguish.

Protest as performance. The struggle continues and the message—like music—keeps hope alive!

"Finding Fela" opens in theaters on August 1, 2014.

"Can you achieve your goals? Yes or yes!"— Luis Salgado. "Song of Solomon" to be directed by Luis Salgado

The very first words that I heard from Broadway star/theatrical producer/stage director Luis Salgado were aimed at a group of sweaty kids, stuffed like happy sardines inside a smelly rehearsal studio"Can you achieve your life's goals?," Salgado shouted, bouncing around the Broadway space like a live fire cracker. "Can you make your dreams come true? Yes or Yes!" 

The question, poignantly constructed around  the subject of achieving growth and putting faith in action, in his creative mind, only had one answer: yes or yes! 

Yes.

 Luis Salgadowho is a recent Harlem resident and first time father is one of my creative inspirations.  I'm tickled "the full color of the rainbow" to add that we're becoming creative friends.

Four years ago, when I  stumbled into that crammed rehearsal space, I didn't realize that I would leave with a vigor and a new mantra"yes or yes!"

The brainchild and force behind the assembly was Luis Salgado's "Dare to Go Beyond" Children's Performing Arts Camp, which just completed their 7th year.

It's  presented by  Salgado's R.Evolución Latina (RL), an organization that's affiliated with Broadway Cares.  Their mission is to empower the artistic community, and inspire growth within the Latino community through educational programs, productions and partnerships. 

The news about the closing of the musical "Rocky," in which he appeared, was sad news, for many, but as that curtain dropped another one was raised and that project was the world premiere of  "Song of Solomon," which Salgado directed. 

Created by Andrew Beall & Neil Van Leeuwen, "Song of Solomon" is a tragic, epic romance, based on the Biblical Song of Songs. 

Set in ancient Israel, the musical follows the secret romance between King Solomon and a brilliant young vineyard girl, Almah, who inspires the most famous love poetry of all time. The stakes are Solomon's life, the woman he loves, and the fate of Israel. 

"It's a great challenge" says Luis Salgado, "This show is an epic music journey from beginning to end and as part of the festival we are challenged to take away over an hour of the script and still allow the audience to experience the deep catharsis that these great writers are seeking. I am thrilled to be collaborating with such a smart group of creative minds who are very passionate about these piece" 

This will be his directing debut for the NYC Thespis Festival. Salgado's other directing credits include successful shows in Peru such as" Candela Fuerza y Pasion" and "Aniversario Sin Cuenta."  He made his directorial debut in NYC with the family musical "Amigo Duende." 

"Song of Solomon" opened  at The Actor's Temple (339 West 47th Street) in August.  A Broadway run is expected, in 2015!

The cast includes Evan McCormack, Ann McCormack, Danicah Waldo, Casey Manning, Levin Valayil, Jonathan D. Morales, Rocio Lopez, Shannen Rae, Alessandra Baldacchino in leading roles as well as key ensemble members Lindsay Bayer, Anthony Logan Cole, Aaron Dalla Villa, Dylna C. Digel, Tim Fitzsimons, Leslie Kyle Hudson, Andrea Nevil, Jennifer O'Neill, Tony Paterniti, Hannah Rable, Megan Tischhauser, & Greg Uliasz

For more information visit www.salgadoproductions.com

For tickets: http://www.brownpapertickets.com/event/782981

"I challenge you not to leave the film singing!"

Clint Eastwood: "I challenge you not to leave the film singing!"

The great film-maker Clint Eastwood has a habit of delivering pleasurable movies, filled with strong actors and wrapped up neatly in a satisfying cinematic experience. He's so gosh, darn great at delivering the quality goods, it's hard for most to single out one of their favourites Eastwood film.

His newest, "Jersey Boys," isn't his best but all-in-all it's not a bad film.  It just isn't Clint Eastwood great.

The film lifts a page directly from the Tony awarding winning play (Jersey Boys) which is the compelling story of the rise and rocky road to success of Frankie Valli and the Four Seasons.

Eastwood employed a trick Broadway producers often forgot, no doubt influenced by the high produced by triple digit ticket prices: Leave them "hungry" and wanting more.

No stranger to exploring street tough characters, burdened by their machismo pride, he anchors those early scenes of street crime and bar life with welcome weight.

Their misadventures are scrappy and these young men of a era were desperate.  It was a crap shootfameand when the band starts racking up No. 1s fights over girls and money despite being woefully predictable, does feel momentous.

Two of the Four Seasons were serious musicians, GOD gifted and dedicated to pop-music craftsmanship; two were regular "right place at the right time" guys from a mobbed up neighbourhood who made every effort to stay feeling outclassed.

There are many moments where the music saves the movie, much like it saved the men singing under a city street-light.

It's especially fine when John Lloyd Young (the Tony-winner who originated the Valli role on Broadway) uncorks that falsetto, and the sound of his voice washes away the film's minor infelicities.

In the third act, when the original Four Seasons reunite at the Rock and Roll Hall of Fame, the sentiments that Frankie Valli shared, about the moment that meant most to his chart topping career he stated for history: "Four guys under a street lamp, when it was all still ahead of us, the first time we made that sound — our sound."

That's also one of the best moments in "Jersey Boys" and I challenge you not to leave the film singing and walking "like a man" because frankly " big girls don't cry."

Directed by Clint Eastwood. Written by Marshall Brickman and Rich Elice. Starring John Lloyd Young, Erich Bergen, Michael Lomenda, Vincent Piazza, Christopher Walken, Mike Doyle, and Renee Marino.

STORY TELLERS IN THE CITY

New York City has long been the source of fascination existing as both a physical space and a space of imagination---limitless.

Every street in Gotham holds tremendous stories----and fascinating story tellers. 

On Sunday, June 8th the city was in a festive frame of mind, starting with the Puerto Rican Parade which filled the streets with thousands of Patriotic sons and daughters from the island of PR.

Maneuvering the flag waving, salsa dancing crowd, I made my way to the press conference for the new musical film "Jersey Boys," directed by legend Clint Eastwood, held at the Waldorf Astoria Hotel.

Then the myNewYorkeye crew was off to cover the annual celebration of the best of Broadway.  Here are a few snapshots and sound bites from our lush day in the city we love, New York. 

TONY nominated and granting wishes!

Photo credit: Lapacazo Sandoval, Paramount Hotel.

Dust off your tap shoes, polish your tiara and send your best tuxedo to the fancy dry cleaners; it's the annual Tony Awards celebration, also affectingly coined the "gayest award show in earth."  The word "gay" being open to your own definition and persuasion. 

The continued creative contributions of African, Hispanic and African-American artists help shape the high standard that marks a Broadway experience. 

Despite whatever stylized or contextual means "our" people appear on stage, we shine and audiences savor and bask in that special, nay magical, illumination. 

Above, that is the handsome face that had been granting wishes, singing and dancing and along the way, earning his first Tony nod (Best Performance by an Actor in a Featured Role). 

His name is James Monroe Iglehart and he's nominated for his work in the Musical "Aladdin" which racked up five nominations:  Best Musical, Best Book of a Musical - Chad Beguelin; Best Original Score (Music and/or Lyrics) Written for the Theatre - Alan Menken, Howard Ashman, Tim Rice and Chad Beguelin including

 Iglehart aforementioned nod.

We connected at the Tony nominee event (hosted at the Paramount hotel) where the impressively tall Iglehart keeping bending down to shake hands and soak up the heart felt congratulations---coming at him with the speed of a looney tunes' Tommy gun---with ease and a comforting grace.

He's a man with a strong presence no doubt why he was originally cast in the role.  When he smiled at me, well, I felt like I was was being hugged by a cool teddy bear.

"I'm sorry that I don't have time to sit down and really chat," said the smiling Iglehart. "The pre-Tony days are buzzing by so quickly. When my wife and I heard my name called, wow, it was one of those moments right out of a movie.Time stood still and then ... well...she and I were just beaming." 

"Judging by your fans in this room," I offered and continued. " Mr. James Monroe Iglehart you might want to start crafting a speech at the very least, brother, your a genie, grant yourself a wish!"

"Too kind.," quipped Iglehart. "I started watching the Tony Awards at 17," shared the towering nominee.  "As the years passed, I grew to know many nominees and performers.  My wife and I have been together since high school.  We met at show choir.  She turned to me and said 'you know, aside from saying our vows and I do, this is the best moments of our lives.' And you know what is.  It really is." 

The Tony Awards will be broadcast live on June 8, on CBS, at Radio City Musical Hall. www.TonyAwards.xom

Sheldon Best is the "best thing " about "The Long Distance Runner" at Atlantic Theater Company.

Even if, God forbid, you were deaf, mute and blind you could still identify that Sheldon Best is a superlative artist and will, if duplicating a marathon runners pace and steely determination, achieve a career that will richly reward him.

He's got that magical "something" that turns a first glance turn into a serious gaze. 

Currently, Best is starring in the Atlantic Theater Company's new stage adaptation of The Loneliness of the Long Distance Runner. 

As re-imagined by British playwright Roy Williams (based on Alan Sillitoe's original 1959 short story and adapted for film in 1962), the Atlantic Theater company does what they do best, take risks and spring board new and exciting talent.

The taunt drama (set in the early 70's) centers on racial tension in class-obsessed London.  A world where young Colin, an angry and aimless youth with a yearning for long-distance running, reluctantly calls home.

He's short on ambition and long on seething resentment. That aimless energy finds him imprisoned and therefore more confined but everything bad falls away when Colin is running.  Coerced by the prison warden to enter a race , against a posh school, Colin is allowed free time to train outside the prison walls.

He pushes his body to go forward funneling his jagged disappointment into each stride.

If Colin could switch heaven for an unending running path he would contemplate bliss while in eternal, perpetual motion.

There's a hibernating intellect brewing in Best. Paradoxically his performance scared me and comforted me.

Closing on Feb 9th, I strongly suggest you witness Best's eye opening performance.

Some of his credits include Classical Theater of Harlem: A Midsummer Nights Dream (Puck) and Ma-Yi & Vampire Cowboys: Geek!

Here's what Sheldon Best had to share about his spot on London accent and why he loves Brooklyn.

myNewYorkeye: Sheldon where is that dangerously sexy Brit accent?  OMG your not British?!

Sheldon Best: (Slipping into the missing accent) I'm not?  My parents are from the islands (Jamaica and Barbados). I was raised in Brooklyn.  The Brit accent is loosely formed from all of the cultural influences that have shaped London.  I also get to speak patois in the play. My Spanish is decent along with my French.

myNewYorkeye: Wicked: How did you convince director, Leach C. Gardiner, to trust (and pardon me for this) "a Yankee" for this essentially British role?

Sheldon Best: I went on a campaign to acquire the role which drove my agent nuts.  I'm a fan of the Atlantic Theater Company so I immersed myself.   When the audition finally materialized I was ready to accept the challenge.

myNewYorkeye: You are running for most of the play.  How long have you been a long distance runner?

Sheldon Best: I'm not a marathoner runner. 

myNewYorkeye: Not British and not a runner.  Your body is ripped and slender:  nike said "just do it" and you obeyed.

Sheldon Best: (laughing) I enjoy roles that demand key physical acts from my character(s).  I've played a boxer on stage and now I'm a long-distance runner.  Next, I hope will be an action/adventure film that pushes me even more.

myNewYorkeye: What do you love about our city?

Sheldon Best: The diversity that changes from subway stop to subway stop.  Each borough has its own sound, smell and other world feeling.  Brooklyn is home to me.

myNewYorkeye: Brooklyn rocks.  Where's your favorite place to eat and re-charge?

Sheldon Best: Definitely inside my mothers' kitchen.  All of my big decisions have been made over her home made Jamaican stew peas with dumplings.

THE LONELINESS OF THE LONG DISTANCE RUNNER by Alan Sillitoe. Stage adaptation by Roy Williams, directed by Leach C. Gardiner.  US Premiere.  Atlantic Stage 2, 330 W 16th St. Closing 2/9. 80 mins.

Black Woman Of Soul Shaped Joplin

A Night With Janis Joplin," currently knocking audiences side-ways with nuclear fueled rock-n-roll at the Lyceum Theater, is much more than the title suggests. 

The poster and other marketing elements give the illusion that its more of a concert than a musical.  It's neither and it's both.

Nostalgia seems to be the unifying cord of Randy Johnson's musical time capsule.  The time machine lever is firmly locked on the psychedelic haze of the 1970's; exploring the inner workings of the rock icon whose husky, whiskey soaked wails cut through the noise of the rock & roll boys club –forever earning her a distinctive–yet tragic –place in rock history.

It's remarkable to witness the transformation of Mary Bridget Davies into Janis Joplin (who died of an overdose of heroin and alcohol at 27).

Phoenix rising, ashes scattering, the metamorphous by Ms. Davies begins with the small details: Joplin's impatient walk, her rebel stance and most endearing, how she absentmindedly rubs her forehead when confronting uncomfortable truths.

Then Davies opens her mouth to sing and the spot on vocal impersonation of the legendary belter are, dare I write this, better than most recording that I've heard of the immortal, tragic diva. 

Mary Bridget Davies out sings Janis Joplin.

The spell is woven and it's powerfully backed by the Joplinaire's, four African-American women

with sweeping voices that support and captivate: Taprena Michelle Augustine (Joplinaire/Chantel/Bessie Smith/Blues Singer), De’Adre Aziza (Joplinaire/Chantel/Nina Simone/Odetta), Allison Blackwell (Joplinaire/Blues Woman/Aretha Franklin) and Nikki Kimbrough (Joplinaire/Etta James/Chantel.

Janis's life and signature sound was infused by the blues and inspired by women who are as much a legend as Joplin herself.

The hunger for love and the fight for equality, which are so much a part of the African-American sound that erupted in the 1930's is why Janis Joplin sounded like Janis Joplin.

Little Janis wanted to be black and to share the stages with the women that made her feel alive: Bessie Smith,  Odetta, Chantel, Nina Simone, Etta James and Aretha Franklin all of

which have solid stage time.

Carrying the spirit of Odetta and Nina is the shimmering De'Adre Aziza (Tony and Audelco nominated) whose performance brings such a welcome and unexpected jolt you're reminded

that theater equals power either that or the mischievous house technicians ran live electric wires under the seats.

You can't get sincere soul without the queen of soul, Aretha Franklin, who takes center stage sporting feathers, glitz and star power — effortless performed by Allison Blackwell.

Staying in your seat will be a challenge because the live house band, under musical director Ross Seligman, take hazy memories and sets the theater ablaze note-by-note.  You will shake, rattle-and-roll, scream-and-shout, feel the blues and boogaloo.

The artist soul, immortal, and re-examined is what makes the book by Randy Johnson, who also directed, such an original.

Economically the producers really deliver two shows for the price of one.

It's Broadway with a soulful twist and Odetta, Bessie, Etta, Nina and the late Janis Joplin would not only approve but jump on stage to keep the party going at the Lyceum Theater.

WITH: Mary Bridget Davies (Janis Joplin), Taprena Michelle Augustine (Joplinaire/Chantel/Bessie Smith/Blues Singer), De’Adre Aziza (Joplinaire/Chantel/Nina Simone/Odetta), Allison Blackwell (Joplinaire/Blues Woman/Aretha Franklin) and Nikki Kimbrough (Joplinaire/Etta James/Chantel).

 

Written and directed by Randy Johnson; choreography by Patricia Wilcox; music director/ conductor, Ross Seligman; original music arrangement and direction, Len Rhodes.

The album and the CD is currently available at the Lyceum Theatre,  Amazon.com and the official show website