Category Archives: Theater

Tony Award nominations announced

Read the full list of Tony nominees on the official tonys site. Click here

The 66th annual Tony Award nominations are out this morning, with a movie remake, Once, topping the list. But another film takeoff, the just-opened Leap of Faith, also got one in the Best Musical category.

There’s lots of other news to report, including the snubbing of big stars Bernadette Peters and Ricky Martin and the revamped Spider-Man, but we’ll leave that to other reports.

The full list is here.

New York Daily News theater critic Joe Dziemianowicz‘s report is here.

New York Times ArtsBeat blog report here.

Billboard’s take here.

Playbill.com offers coverage here and reaction here.

We told you Condola Rashad was great! Now the Tony Awards panel backs us up by nominating her as best featured actor in a play

Condola Rashad outside the Cort Theatre after a performance of Stick Fly. (Photo © 2011, Steven P. Marsh)

The Alicia Keys-produced play Stick Fly hung on at Broadway’s Cort Theatre for just 93 performances last winter. The play may have fallen a bit flat, despite every promotional effort. But one member of the cast made a big impression that has lasted well beyond that last performance on Feb. 26.

Condola Rashad (yes, the daughter of The Cosby Show alum Phylicia Rashad and former NFL wide receiver Ahmad Rashad) was that show’s secret weapon, as Will You Miss Me When I’m Gone? told you back in December.

On Tuesday morning, she was nominated as Best Featured Actor in a Play.

So she’s crossed the first hurdle. The Tony nominators have joined with WYMMWIG? in recognizing this young superstar. Now, Tony judges, it’s time to vote for her and give her the award she earned and so richly deserved.

Her reaction was sweet and humble, as you’d expect from the sassy-smart young actress. She took to Twitter to tell her fans:

Funny fact about Condola: She never watched The Cosby Show when she was growing up. “I was on the set!” she says in this interview with The Associated Press:

Daniel Breaker and special guests played Joe’s Pub

Daniel Breaker and his crew at Joe's Pub. (Photos 2012, Steven P. Marsh)

Broadway star spices up his elegant cabaret set with help from fab up-and-comer Jo Lampert and Broadway vet Morgan James

The inimitable Daniel Breaker at Joe's Pub.

We’re hoping Daniel Breaker is going to be a regular on the Joe’s Pub stage. His performance there Sunday night, April 22 — his second cabaret show there — showcase the winning singer/actor even better than the first. He seemed more comfortable in his role as a front man, and less like an actor putting on a show.

Jo Lampert kills it at Joe's Pub, with drummer Christian Cassan in the background.

With the help of a dozen or so musical compatriots — including drummer Christian Cassan and music director/guitarist Jon Spurney from his time in the hit musical “Passing Strange” — Breaker put on a great show.

He sang original and classic cabaret numbers, and even dipped into rock with Nirvana’s “Smells Like Teen Spirit,” charming the crowd all evening.

Breaker’s special guest vocalists once again gave him a run for his money. In Breaker’s last show at Joe’s, guest Condola Rashad  threatened to steal the spotlight altogether with her amazing power and charming stage persona.

Breaker clearly didn’t feel threatened. He chose equally intense guests for this show. Jo Lampert, who not long ago was a production assistant at Joe’s Pub and who was involved in the Public Theater’s incarnation of “Passing Strange,” blew the doors off with her rendition of Beyonce‘s “Halo,” and also filled in superbly on backing vocals.

Morgan James, currently in the cast of "Godspell" on Broadway, at Joe's Pub.

Morgan James, who’s in the ensemble with “Godspell” on Broadway, also did a great job.

Kelvin Dinkins Jr. and William Jackson Harper (a must-see in our book after his amazing work “The Total Bent” at the Public Theater) helped out on backing vocals.

New World Stages responds to talk that The Scottsboro Boys will make a New York comeback there

New World Stages marquee, 340 West 50th Street, Manhattan. (Photo courtesy New World Stages)

‘No conversations’ about staging the Kander and Ebb musical, says NWS managing director

When we reported the news that one of the producers of The Scottsboro Boys publicly proclaimed the show was returning soon to an NYC stage, Will You Miss Me When I’m Gone? offered it with a grain of salt.

It’s a good thing, because the the people at New World Stages, the house specifically named by the producer, are denying shooting down the idea — at least for now.

Michael Coco, NWS managing director, got back to us with this response:

Currently, all five theaters at NWS are filled with successful productions all with open ended contracts.  We do not anticipate any changes in our programming in the near future.

We followed up with Coco on this to clarify further. Continue reading

The Public Theater announces its promising new season

How can any theater lineup featuring the talents of David Byrne, Fatboy Slim, Colman Domingo, Michael John LaChiusa, Edna Ferber and more go wrong?

New York’s Public Theater has just announced its schedule for the 2012-2013 theater season.

We’re particularly excited to see the world premiere of  David Byrne and Fatboy Slim’s musical Here Lies Love on the bill and are looking forward to the New York premiere of the musical Giant, based on Edna (Show Boat) Ferber’s novel with lyrics and music by Michael John LaChiusa.

But then there’s Colman Domingo‘s play Wild With Happy getting its world premiere, too!

See for yourself, after the jump.

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UPDATED: Provocative musical ‘The Scottsboro Boys’ returning soon to the New York stage?

The cast of The Scottsboro Boys.

BREAKING NEWS: New World Stages reacts. Click HERE.

UPDATED: An earlier version of this post conflated the Broadway show where this news was overheard with the source’s current Broadway credits. This update clarifies the source’s credits and reflects that Will You Miss Me When I’m Gone? has now reached out to New World Stages and the producer for comment.

Will You Miss Me When I’m Gone? has heard an interesting bit of theater gossip. We’re not generally given to reporting gossip, but the source of this one seems impeccable.

At intermission during the matinee performance of Leap of Faith on Broadway Saturday, April 7, a man greeted some friends near the bar. We couldn’t help but hear him reveal to his friend that he’s a Broadway producer. We didn’t immediately recognize him, but he mentioned that he’s producing Clybourne Park, a straight play now on Broadway, as well as a current Broadway musical comedy.

As the conversation went on, the subject of the short-lived Kander and Ebb musical The Scottsboro Boys,came up. It turns out the guy also was a producer of that provocative, somewhat unsettling minstrel-style musical about an infamous racist incident involving accusations of rape by a white girl against nine black teenage boys in 1931.

“It’s coming back, soon, to New World Stages,” he said with obvious pride. Lately, New World is where Broadway shows that, for one reason or another are no longer viable in a Broadway house, take on new life. Rent was revived there, Avenue Q and Million Dollar Quartet live on there. And soon, it seems, The Scottsboro Boys will find new life there, too.

We didn’t recognize the producer who was doing all the talking. T-+here are only one or two producers whose images who are seared in our memory, including Elizabeth McCann and Steve Klein, both of whom were involved with Passing Strange. But a few minutes of research on IBDB.com and Google Images helped us figure out that the guy was, indeed, a producer of the shows in question. So we’re guessing he knows what he’s talking about.

Scottsboro got good reviews in its off-Broadway run at the Vineyard Theatre. (Full disclosure: Will You Miss Me When I’m Gone? is friend and huge fan of Colman Domingo, one of its stars.) It took us a bit of time to get past our feeling that it was somehow wrong to laugh at such a serious true story from the sad history of race relations in the United States. But once we set that aside and got into the spirit of the show, we really enjoyed it. But others in our audience, including a black couple we encountered nearby after the show, left feeling more uncomfortable than entertained.

The show fell flat when it moved to Broadway, running for just 29 previews and 49 regular  performances in the fall of 2010. The feelings of discomfort dogged it from the beginning of its run, and the show drew protesters who claimed it was racist. It also earned 12 Tony Award nominations and gained some rabid fans who continue to beat the drum for its return.

The Scottsboro Boys hasn’t disappeared. It got an extended run in Philadelphia earlier this year, and is set to begin performances April 29 at the Old Globe Theatre in San Diego, Calif. And it’s scheduled to play at the American Conservatory Theater in San Francisco starting June 21.

Continue reading

Have you seen The Total Bent yet?

Stew, Heidi and members of The Loser's Lounge at Barbés in Park Slope, Brooklyn. (Photos © Steven P. Marsh)

Will You Miss Me When I’m Gone? was supposed to see The Total Bent, the new show by Stew and Heidi Rodewald of Passing Strange fame, in one of its very first Public Lab performances at The Public Theater in downtown Manhattan last month. But then construction delays at the theater — the Public is undergoing a massive, and much-needed, facelift — got in the way.

That created some pretty massive chaos, forcing The Total Bent‘s schedule to push back. Some shows, including ours, were canceled and rebooked.

So we haven’t seen the show yet. We’ll be there for the penultimate performance on Sunday afternoon, March 18.

All the changes also forced the scuttling of interviews and press access to the creative team.

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This Strange Freak’s name is fog

The Englert Theatre, one of the University of Iowa's performing arts venues in Iowa City. (Photo courtesy Jacob Yarrow, Unversity of Iowa)

Weather scuttles Stew & The Negro Problem’s Iowa Omnibus show — for now

What does Mother Nature have against Iowa City, Ia.?

Stew at Joe's Pub on Jan. 23, 2012. (Photo © 2012, Steven P. Marsh)

In 2008, the Iowa River overran its banks and devastated the city, destroying much property in the city, including the notable Max Abramovitz-designed Hancher Auditorium on the University of Iowa campus.

The flood-ravaged Hancher Auditorium, designed by Max Abramovitz, the architect of Avery Fisher Hall in New York City.

The latest natural disaster didn’t cause physical damage that we know of, but the psychic damage is certainly huge. A “freak fog” closed the local airport and kept Stew and Heidi Rodewald and their band, The Negro Problem, from making it to Iowa City in time for their Feb. 2 gig.

As we reported the other day, Stew & The Negro Problem were to present Iowa Omnibus as the centerpiece of a Feb. 2 show at the Englert Theatre, a civic auditorium that is housing some of UI’s performing arts productions. It was commissioned by UI’s Hancher Auditorium, the campus performing arts presenter, inspired by Stew and Heidi’s 2010 Brooklyn Omnibus shows, as well as their hit musical, Passing Strange.

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How Stew and Heidi took on Iowa City

Stew & Heidi Rodewald at Joe's Pub in New York City. (Photos © 2012, Steven P. Marsh)

Remember Stew & Heidi Rodewald of The Negro Problem‘s theatrical show, Brooklyn Omnibus at the Brooklyn Academy of Music in 2010? It made a lot of sense. Both of these creative people had spent time living in the County of Kings and knew it pretty well. And the songs reflected their experiences there.

Jacob Yarrow (Photo by Tom Jorgensen)

It was a bit of a surprise when Stew, in the middle of a Jan. 23 CD-release show at Joe’s Pub in Manhattan, asked the audience: “Remember Brooklyn Omnibus? We’re doing an Iowa City Omnibus.”

The Englert Theater, one of the University of Iowa's performing arts venues in Iowa City. (Photo courtesy Jacob Yarrow, Unversity of Iowa)

Thanks to the magic of Twitter, we quickly found out who was behind this Iowa City venture, and took some time to get the lowdown for you.

It turns out that Jacob Yarrow, programming director of the University of Iowa’s Hancher Auditorium in Iowa City, saw the Spike Lee film version of Stew and Heidi’s Broadway show, Passing Strange. That was enough to give him a real hankering to bring some of Stew and Heidi’s music in the Midwest, tailored to the flood-ravaged city. So he got in touch and commissioned the duo to do an Omnibus for them.

It takes the stage on Thursday, Feb. 2. As of last week, Yarrow hadn’t heard a note of Stew and Heidi’s work, but was looking forward to hearing it. As he explains after the jump, the Iowa City commission pretty much gave the duo free rein.

My guess is that Iowa City and the University of Iowa will never be quite the same again after Stew and Heidi’s visit.

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Stew just can’t shed his Negro Problem

Stew in his breakup show, "Making It," at St. Ann's Warehouse in February 2010. (Copyright 2010, Steven P. Marsh)

Three shows at Joe’s Pub mark Tuesday’s release of Stew & The Negro Problem’s new album, Making It

The cover of Making It features a photo by Stew's daughter, Bibi.

First of all, let’s say “welcome black” to Stew & The Negro Problem.

It’s been 10 long years since Stew (born Mark Stewart in 1961) and his band The Negro Problem made a proper, official album: 2002′s Welcome Black. But on Tuesday, Jan. 24, the wait is officially over when Making It gets its official release.

Thank goodness. It’s long overdue. But you’ll surely find it worth the wait.

It’s a crazy, creative look at the breakup of Stew’s relationship with his longtime girlfriend and musical collaborator Heidi Rodewald. The breakup came in the run-up to the pair’s amazing theater project,  Passing Strange, which briefly thumbed its nose at the Broadway establishment from the Belasco Theatre over six months in 2008. (It also lives on in a Spike Lee film of the show’s final performances.)

Heidi Rodewald and Stew. (Copyright 2009, Steven P. Marsh)

Stew and Heidi managed to survive the breakup and continue their artistic relationship, albeit not without some problems. This album documents the breakup, and in some ways, the promise of their continued collaboration.

This is Stew’s fourth album under the rather provocative name of The Negro Problem, though on  this release on TNP records, the band is billed as “Stew & The Negro Problem.” And even though Stew seemed to abandon the band name in favor of his own moniker, Stew and Heidi haven’t released a rock album since 2003′s Something Deeper Than These Changes, billed simply to Stew. (Yes, there was a Passing Strange soundtrack in 2008, but that wasn’t a Stew record, let alone a Negro Problem record!)

Let’s just say it’s about time! It’s always seemed to me that Stew needs The Negro Problem to fuel his angry-not-as-young-as-he-used-to-be-man persona. (Truth be told, he’s used The Negro Problem name occasionally in recent years, but this seems to be a definitive return home.) Continue reading

All New York City Opera tickets for shows at BAM are $25 to celebrate settlement

20120120-181251.jpgGreat news: Not only has City Opera averted a strike, it’s found some angels to allow it to offer all tickets for its operas at the Brooklyn Academy of Music for just $25.

George Steel, the general manager and artistic director made the announcement in an email blast late Friday afternoon:

I am also delighted to report that as a gift to the City of New York, The Reed Foundation and The Peter Jay Sharp Foundation have bought the remaining seats for all performances at BAM, allowing us to offer these seats at a special price of $25 to celebrate our new beginning. I invite you to purchase tickets today to take advantage of this incredibly generous and thoughtful gift.

That means you can see Rufus Wainwright’s Prima Donna and Giuseppe Verdi’s  La Traviata for a song. Go here to get your tickets now.

While the three-year deal struck by the struggling opera company with its singers and instrumentalists keeps things going, it’s not a happy ending it means less money for an already hard-hit group of musicians. But without the deal, it appeared NYCO would have vanished forever.