Steve On Broadway (SOB)

The Pitmen Painters (The SOB Review)

The Pitmen Painters (The SOB Review) - Samuel J. Friedman Theatre, Manhattan Theatre Club, New York City, New York

**1/2 (out of ****)

The slogan "All for one and one for all" may have originated with the Three Musketeers. But it could just as easily have been derived from The Pitmen Painters -- an actual team of English coal miners-cum-artists from Newcastle -- who define the word selfless as they eschew personal gain for the overarching cohesion of their group.

Playwright Lee Hall mines familiar territory he first broached through his triumph in Billy Elliot by centering on the democratization of the arts. In The Pitmen Painters, Lee once again marks a collision of working class coal miners with the revelation that art is not solely the bastion of the affluent. As in Billy Elliot, the potential empowerment and liberation offered by artistic expression is often at odds with a deeply ingrained and dogmatic Socialistic philosophy espoused among these workers.

While often riveting, humorous and particularly stimulating during the superb and far superior first act, the play becomes increasingly didactic during the more muddled second.

Set in the 1930s, The Pitmen Painters -- Oliver Kilbourne (an excellent Christopher Connell), Harry Wilson (Michael Hodgson), Young Lad (Brian Lonsdale), George Brown (Deka Walmsley) and Jimmy Floyd (David Whitaker) -- are coal miners determined to become better enlightened as a unit. They've selected art appreciation as their collective means of further enriching their lives. Together, they tap the knowledge of teacher Robert Lyon (Ian Kelly), who quickly dispenses with his birds-eye view of Renaissance art history in favor of challenging these men to put their own paint brushes to canvas.

Much to Robert's surprise and delight, his painters place enormous thought and care into their individual works, demonstrating a real knack for it. As a team, they critique each other's assignments and argue over whether art is in the eye of the beholder or the artist himself. Near the end of act one as the five men are eagerly learning more as they view renowned paintings, they together reach their epiphany that art is meant to be viewed with each other to be fully appreciated. Think "art as a democracy."

As the first act concluded, I was in complete awe of Lee's own work, Max Roberts' stunning direction and his exceptional ensemble. Even more so, I was struck by the penetrating implication that as an audience member, I was sharing this truly communal experience with a theatre full of strangers of all races, colors, creeds and lots in life as we watched The Pitmen Painters together.

Such would have been a perfect place for the show to end -- especially given the far less satisfying second act. Lee should have quit while he was ahead.

Inspired with the accumulated potential among his pupils, Robert enlists Helen Sutherland (Phillippa Wilson), a wealthy patron of the arts, to view the paintings. So impressed is Helen with Oliver's promising talent that she offers to pay him a weekly stipend to further develop his skills as a true artist. Oliver is faced with a dilemma of whether to pursue this opportunity of a lifetime or decline for the the good of the group.

I won't divulge what transpires. But allow me to say that whether intentionally or not, Lee's second act seems to imply that Socialist ideals of worker cooperation can come at the expense of artistic expression and individuality -- or does it?

Given how Lee's Billy Elliot celebrated the latter, his own conclusion in The Pitmen Painters is conflicted, if not a bit confounding. Is Lee celebrating Socialism or warning of its perils? It's far from clear.

But like works of art that challenge precepts and convention, this mostly entertaining work certainly makes one think and appreciate, regardless of socio-economic status.

This is Steve On Broadway (SOB).

In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.

Labels: Billy Elliot The Musical, Broadway, Christopher Connell, Ian Kelly, Lee Hall, Max Roberts, Play, The Pitmen Painters, The SOB Review

posted by Steve On Broadway (SOB) @ Friday, October 01, 2010 2 comments

SOB's Theatrical Firsts Of The Noughties: My First Tonys

SOB's Theatrical Firsts Of The Noughties: My First Tonys

Over the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.

If you’ve ever looked at that little photo of me on the right hand side of this page, you’ll know that my eyes are peeking out from above one of those lovely little awards that American Theatre Wing' and Broadway League jointly use to honor Broadway’s best each year.

It is an Antoinette Perry or Tony Award, and I first came face to face with one when my dear friend and exceptional photographer Stephen Mosher offered an impromptu photo shoot as part of a much larger series of images he created with Tony Awards in his custody. After the death of celebrated costume designer Florence Klotz, her Tonys -- including the one I’m holding -- were placed in his care. With Klotz’s Tony for her work on Pacific Overtures and a few clicks of Stephen’s camera, he helped me live up to the moniker Steve On Broadway.

Attending the Tonys was another story. I’ll never forget the thrill of attending the 2008 ceremony at Radio City Music Hall since it was the year Tracy Letts’ August: Osage County was the major contender among straight plays. Hosted by the wonderful and appropriately funny Whoopi Goldberg, the Tony experience gave me many insights that I would never have known from watching it at home.

I learned so much, not only about all the behind-the-scenes work that goes into this production, but also just how much more fun actually being there can be. It's not just seeing the nominees and presenters in person, but the chance to see those amazing performances live on stage yet again, including Patti LuPone’s “Everything’s Coming Up Roses.” It's also the nonstop buzz you feel from the moment you step onto the red carpet right up until you receive your Tony swag bag upon departure from the Gala.

Among all the new plays, August: Osage County was the big winner, not only as Best Play, but also for director Anna D. Shapiro, scenic designer Todd Rosenthal and actresses Deanna Dunagan and Rondi Reed. My Love Of My Life (LOML) and I were up on our feet for each of those wins, and curiously, upon a later viewing of a recording of the televised ceremony, we were pleasantly surprised to see us right over the top of Reed’s shoulder offering her our standing ovation just after she had been named Best Featured Actress in a Play.

Among the new musicals, we may have been cheering for Passing Strange, but our seats were immediately behind the contingent from In The Heights. So when their wins were announced from the stage, it was hard not to get caught up in the excitement of the moment for them.

While I didn’t enjoy a repeat appearance at this year’s Tony Awards, my LOML and I were absolutely delighted to receive an invitation to attend the 75th Annual Drama League Awards, which honor the best on Broadway as well as off and off-off.

If the Tony Awards are Broadway's equivalent to the Academy Awards, then the Drama League Awards are, as Shrek The Musical star Christopher Sieber quipped to me, “like the Golden Globes for theatre!" Sieber, by the way, was one of the 71 nominees for distinguished performance from New York theatre. And so it was with nearly all of the nominees assembled for a wine-filled luncheon on a three-tiered dais that reminded one nominee of a large "Match Game" set (it looked more to me like a celebrity telethon minus the telephones).

The glory of the Drama League Awards is that while there are all those nominees ranging from the famous Oscar-winning stars to the actors who've just experienced their first major breaks Off-Off-Broadway, they all have an equal opportunity to say a few words. And many do it with such a welcome flourish.Despite the fact they were all vying for one award, the sense of community they shared as actors was palpable. It was truly incredible and one of the best celebrations of the theatrical art form I've ever enjoyed.

Just as my LOML and I mingled with the stars at the Tony Awards and the ensuing Tony Gala and August: Osage County party that followed, we found ourselves in the midst of a galaxy of stars at the Drama League reception immediately prior to the lunch. At one point, we found ourselves surrounded by Angela Lansbury, Cynthia Nixon, Jeremy Irons and the three Billys from Billy Elliot. With so many actors packed into one tight space, it was no wonder we were asked more than once if we were among the nominees.

Would I go back to the Tony and Drama League Awards? Are you kidding? Absolutely.

This is Steve On Broadway (SOB).

In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for both awards shows and my friend Stephen Mosher graciously took a photo for me out of the goodness of his own heart.

Labels: August Osage County, Awards, Billy Elliot The Musical, Drama League, Patti LuPone, Rondi Reed, Tony Awards

posted by Steve On Broadway (SOB) @ Monday, December 21, 2009 1 comments

SOB's Theatrical Firsts Of The Noughties: My First Time On A Broadway Stage

SOB's Theatrical Firsts Of The Noughties: My First Time On A Broadway Stage

Over the course of the last decade, I’ve been truly fortunate to enjoy a number of enlightening firsts in my personal theatergoing that have only served to increase my deep and abiding love for the art form known as live theatre. What follows is one of my ten favorite experiences of the last ten years.

Although I have never had any designs on being an actor, I always wondered what the theatre looked like from on stage. If you read this previous post, you'll know that my first time on the Gershwin stage was compliments of one of Wicked’s cast members.

But my first time ever to set foot on a Broadway stage came about in 2006. Two of my best friends in the entire world happen to be friends with lyricist Chad Beguelin, whom I met when he was putting the finishing touches on the book and score for his first Rialto effort, The Wedding Singer.

After the musical debuted on Broadway, we went to see the show at the Al Hirschfeld Theatre. Chad offered to meet us immediately after the performance. Although the show received mixed reviews, we all had a great time, which was a bit of a relief as I’m not particularly good at lying about whether I’ve enjoyed a show. Fortunately, I didn’t need to.

So when we met up with Chad, we gave him our thumbs-up. In turn, he gave us a backstage tour, introducing us to the show’s star: Stephen Lynch, as well as taking us onto the stage itself.

I couldn’t get over how much smaller everything seemed up close and personal. I found myself thinking, “Ah, the magic of theatre.” Perhaps even more thrilling than being backstage was being greeted by the throngs of fans lined up at the stage door. They certainly had no clue who I was, but it was fun seeing them try to guess.

Since then, I’ve been invited backstage at three other Broadway venues.

As noted earlier, I have been on Wicked’s stage at the Gershwin.

Additionally, just one year ago as Harvey Fierstein was reprising his turn as Edna Turnblad in Hairspray at the Neil Simon, he personally provided me a rare opportunity to join him backstage. When he escorted us through the stage door into the theatre, little did I know I would be stepping directly onto the Neil Simon stage.

Then, this past summer, one of Billy Elliot’s Tony winning actors graciously invited us to join him for a wonderful backstage tour in which he divulged many of the shows design secrets. That tour was capped off with an introduction to the musical’s Tony-winning director, Stephen Daldry.

How many other Broadway stages will I someday find myself on? To be honest, what’s more important to me is cherishing each of my once-in-a-lifetime experiences I've already enjoyed in “treading the boards” of Broadway. Speaking of which, I made an unanticipated return to that Al Hirschfeld stage earlier this year, but that return deserves a post all its own.

This is Steve On Broadway (SOB).

In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. I paid my own way for all performances above.

Labels: Al Hirschfeld Theatre, Billy Elliot The Musical, Broadway, Chad Beguelin, Gershwin Theatre, Hairspray, Harvey Fierstein, Imperial Theatre, Neil Simon Theatre, Stephen Daldry, The Wedding Singer, Wicked

posted by Steve On Broadway (SOB) @ Thursday, December 17, 2009 4 comments

The Play That Changed My Life

The Play That Changed My Life

Over the past week, the theatre blogosphere has been buzzing as members of the Independent Theatre Bloggers Association (to which I belong) have been sharing fascinating stories from an array of theatre world luminaries on the plays that forever changed their lives.

Today, I'm proud to add to the ongoing discussion in sharing stories from two of this year's Tony-nominated actors, Gregory Jbara (who went on to win a Tony) and Gavin Creel. I've had the good fortune to meet both of these extraordinary actors, so it's a thrill for me to provide their anecdotes exclusively on Steve On Broadway (SOB). Additionally, I'll also tell you a little bit about the inspiration behind these stories and an associated contest, along with the play that indeed changed my life.

First, about that inspiration. Proving yet again that it is so much more to the international theatrical community than simply "the Tony Award organization," The American Theatre Wing is celebrating the December 1 launch of its new book, The Play That Changed My Life. In it, 19 of the foremost American playwrights talk about the works that first captured their imaginations and inspired them in their careers and thus transformed their lives.

So what were the impetuses that propelled Jbara and Creel to Broadway's boards? Here are their stories.

Gregory Jbara

As one of Broadway's most beloved contemporary actors, Gregory Jbara has seven Main Stem shows among his stage and screen credits, including Serious Money, Born Yesterday, Damn Yankees, Victor/Victoria, Chicago and Dirty Rotten Scoundrels. Jbara can still be seen in his first Tony-winning role as Dad in Billy Elliot - The Musical.

This Michigan native first came to my attention as Mr. Bernstein in Victor/Victoria, and he's even graciously provided yours truly with a backstage tour of his current show.

When asked to name the play that changed his life, Jbara said:

I don’t know that there was any one specific play that I had that experience.

I’d have to say it was being an altar boy in church. It was High Mass, which is, you know, a lot of theatre. In third grade, that was my experience in front of people that I really think gave me the bug for speaking in front of large groups.

Crazy, crazy as it is, I have to attribute the Catholic Church for me being an actor. It was either that or a nun. So I’m glad it was being an actor.

Gavin Creel

As one of today's fastest-rising stars, Gavin Creel not only has three Broadway shows among his credits, including Thoroughly Modern Millie, La Cage aux Folles and the current revival of Hair, but he's already been nominated for two Tony Awards.

I've had the pleasure of seeing this Ohio native in all three Rialto productions, as well as in the Chicago incarnation of the Stephen Sondheim musical known as Bounce. I had the pleasure of catching up with Creel at this year's Drama League Awards and was surprised a couple days later at a performance of Hair when this gifted actor tried something new out on me in my second row seat.

When asked to name the play that changed his life, Creel said:

Mine was The Most Happy Fella.

I saw a musical production of it at the University of Michigan that the university put on there and I thought I was watching a movie on stage. I thought it was the most beautiful thing, the music was stunning, the performances were incredible.

Totally The Most Happy Fella.

Edited by Ben Hodges, The American Theatre Wing's new book features an introduction from Paula Vogel. The Play That Changed My Life features distinguished contributors, who have a combined total of some 40 Tony Awards, Pulitzer Prizes and Obies. They include Edward Albee, David Auburn, Jon Robin Baitz, Nilo Cruz, Christopher Durang, Charles Fuller, A.R. Gurney, Beth Henley, David Henry Hwang, Tina Howe, David Ives, Donald Margulies, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, John Patrick Shanley, Diana Son, Regina Taylor and Doug Wright.

In further celebrating the launch of the original book, The American Theatre Wing has also kicked-off an online essay contest. Here is your official invitation to participate:

[W]hether you work in theatre, hope to make your life in the theatre or just enjoy being in the audience, surely you’ve had that same experience: a single play (or musical) that you saw at some point in your life that had a profound effect on you, be it a childhood production of Cinderella in a school auditorium featuring an older sibling, a parent’s appearance at the local community theatre, a Broadway spectacle like Les Misérables or The Phantom of the Opera, a journey to a small out-of-the-way theatre that told its story with a minimum of technical tools.

Frankly, it could be any production, and that’s what ATW wants to hear about: what show had the greatest impact upon you, when you saw it in the course of your life, and most importantly why it meant so much to you. Entries (limited to 350 words) will be judged based on their creativity, their clarity and perhaps most importantly, for how they convey your passion for the theatre.

So tell ATW about the play that changed your life – those few hours in the theatre, at any age, in any theatre, that had the greatest impact on your life and your perception of theatre — and have the opportunity to share your story with the thousands of visitors to americantheatrewing.org while getting the chance to win an autographed copy of The Play That Changed My Life and other theatrical books from Applause Publishing. Enter by clicking here.

The contest entry period runs through Sunday, November 29. The final expert panel judging the contest includes ATW Board of Directors Chairman and President of the Rodgers & Hammerstein Organization, Ted Chapin; Applause Books’ Editorial Director Carol Flannery; award-winning playwright David Henry Hwang; and former Time Magazine arts editor and Broadway & Me blogger (as well as dear SOB friend) Janice Simpson. Additional prizes will be given based on voting by the general public, which will continue through December 11.

As for the play that changed my life? Regular readers will recall that earlier this year, I waxed nostalgic regarding the thirty years that have passed since I first took in a Broadway show, albeit on the London stage. That show was the British mounting of Annie.

In that post, I mused:

[M]y view of the world and all its possibilities was forever and inalterably changed.

Little did I know upon entering London's Victoria Palace Theatre (current home to Billy Elliot - The Musical) how swept away I could become by just one show. From my front row center mezzanine seat, I witnessed nothing short of pure magic.

I was absolutely riveted by the legendary Stratford Johns as Daddy Warbucks and the glorious Sheila Hancock as Miss Hannigan -- she simply blew me away with a sublime performance I can still vividly recall even today.

I marveled at Charnin's ingenious direction, Peter Gennaro's breathtaking choreography and Theoni V. Aldredge's dazzling costume design. But it was David Mitchell's sliding set designs that completely floored me as they transported Annie's array of characters across the stage without them even having to take a step.

To say it transported me as well would be a major understatement. I was wowed. Big time. [T]he exhilaration I felt in seeing Annie was a life-changer of a different order.

With a strange new tingling sensation down my spine, I was replete with goosebumps from head to toe. This live performance would forever change my expectations of entertainment. I now saw just how brilliant stagecraft could be. Entertainment became art. And I was forever hooked on live theatre.

For those of you who may quibble that a musical doesn't count as a play, you may be interested in knowing that later in 1979 when I was a freshman in college -- with memories of Annie still dancing in my head -- I decided to take in a Broadway tour during its Milwaukee swing at the Pabst Theatre.

That play was The Belle of Amherst starring none other than the legendary, 5-time Tony winner Julie Harris, who also was honored with a Tony for this show.

Seeing Harris was like striking theatrical gold. Directed by Charles Nelson Reilly, Harris completely mesmerized in this solo performance with her brilliant portrayals of poet Emily Dickinson and her contemporaries, including Charles Wadsworth. I had no idea that an actor could take on so many diverse roles and make each and every one of them seem so believable and immensely credible.

In learning how potent the power of the spoken word could be when delivered so passionately by Harris that one evening 30 years ago, I was spellbound. Thus, The Belle Of Amherst truly was the play that changed my life.

What play changed yours?

This is Steve On Broadway (SOB).

Labels: Annie, Billy Elliot The Musical, Broadway, Charles Nelson Reilly, Gavin Creel, Gregory Jbara, Hair, Julie Harris, Milwaukee, Musical, Play, The Belle Of Amherst

posted by Steve On Broadway (SOB) @ Thursday, November 05, 2009 9 comments

Billy Elliot - The Musical (The SOB Revisit)

Billy Elliot - The Musical (The SOB Revisit) - Imperial Theatre, New York, New York

***1/2 (out of ****)

Third time was most definitely the charm for me in seeing Billy Elliot - The Musical, this time (finally) on Broadway.

For the third time in four years and across three continents, I've seen how the miles on a show can either infuse electricity or take it away. In the case of Stephen Daldry's soaring Broadway mounting, he's achieved a breathtaking kinetic wattage to behold.

Triple threat Kiril Kulish, who portrayed Billy during my performance, offers the most electrifying take on the eponymous role I've now seen. He's not only born to boogie, but he also possesses a star quality I've rarely seen in someone so young. His talent is pure joy to witness

During my performance, I was disappointed to learn that the key role of Michael would be played by understudy Keean Johnson. But once he expressed himself with his natural-born stage presence, I was left wondering why he doesn't perform the role on a regular basis. He is exceptional and has a great future ahead of him.

As pivotal as Billy and Michael are, the supporting cast is every bit as vital in ensuring the requisite electricity. In the role of his lifetime, the incredibly talented Gregory Jbara is spot-on as Billy's father, whose eleventh hour epiphany is powerfully moving without being overly sentimental. The wonderful Haydn Gwynne reprises the role I saw her brilliantly create in London. And the lovely Carole Shelley offers one of the year's top scene-stealing performances as Billy's Grandma.

Thanks to Daldry's invigoratingly taut direction and Peter Darling's inventive choreography, the cast abounds in endless energy. They infuse Lee Hall and Elton John's score -- which strikes a deeper and infinitely more poignant chord with each listen -- with all possibility that individuality really represents, particularly during these financially troubled times.

If you're going to see Billy Elliot anywhere, make this the one.

This is Steve On Broadway (SOB).

Labels: Billy Elliot The Musical, Broadway, Carole Shelley, Elton John, Gregory Jbara, Haydn Gwynne, Keean Johnson, Kiril Kulish, Lee Hall, Musical, Peter Darling, Stephen Daldry, The SOB Review

posted by Steve On Broadway (SOB) @ Saturday, August 15, 2009 1 comments

Twittering The Tonys

Twittering The Tonys

By now, you already know that Billy Elliot - The Musical won the most Tonys during last evening's ceremony (click here to view a full list of all of this year's Tony Award winners).

Billy Elliot earned 10 Tonys in all ... or 12 if you count David Alvarez, Trent Kowalik and Kiril Kulish individually for the joint Tony they received as "Best Performance by a Leading Actor in a Musical" -- a topic I'll circle back to shortly.

The evening started out surprisingly enough as Martin Koch (Billy Elliot - The Musical) and Michael Starobin and Tom Kitt (next to normal) were both declared winners in a tie for Best Orchestrations.

But it all ended up seeming so, well, mostly predictable. While I accurately predicted 19 out of 27 categories, I was dead-on in almost every one of the major categories.

The predictabity was OK, not just because I liked most of the shows and performances that won, but also given the wonderfully witty 11:00 number offered up by host Neil Patrick Harris, which only needed a few last-minute changes from Marc Shaiman and Scott Wittman. The only things completely unpredictable were the excrutiatingly painful headbanging poor Bret Michaels endured or the embarrassing mics that seemed to not work more often than they did.

Unlike last year, when I enjoyed the Tony Awards from a great orchestra seat at Radio City Music Hall, I was in the comfort of my own living room offering up my Tony tweets via Twitter. It was a totally unique experience for me, but one that I have to admit enjoying primarily because of the banter with other theatre Twitters.

The only downside was that during the first hour of the televised awards, I hit Twitter's limit on the number of tweets any one individual can post in any given hour. Who knew? I certainly didn't! Fortunately, after being sidelined for over a half hour, I was able to get back on, although I ended up being a bit more judicious in what I posted.

Now, coming back full circle on the awards, the only winner I still can't wrap my head around is giving all three Billys the Tony for Best Performance by a Leading Actor in a Musical. Don't get me wrong, I am sure they are each very talented. Yet, how can the four other nominees who give 8 performances each week compete with three actors who perform 3 times tops per week? And to say that they are all equally worthy? Well that thinking's akin to the way they give away soccer trophies just so no one's feelings will get hurt.

Yes, I know about the bizarre Tony precedents.

In 1960, all of the young actors portraying the von Trapp family children in the original production of The Sound Of Music -- Lauri Peters, Kathy Dunn, Evanna Lien, Mary Susan Locke, Marilyn Rogers, William Snowden , and Joseph Stewart -- were nominated together in the category of Best Featured Actress in a Musical. Wonder if Snowden and Stewart ever fully recovered from that!

This year's Tony winning Best Performance by a Leading Actress Alice Ripley had to share a joint nomination for the same award with Emily Skinner for Side Show back in 1998 simply because they were portraying conjoined twins Violet and Daisy, respectively. I always thought conjoined twins had their own individual personalities.

There used to be a rule that whoever opened in the show was eligible for the Tony. Just ask Frank Dolce, who alternates with Tony nominee David Bologna as Michael in Billy Elliot - The Musical. Same show, different rules apparently apply. Maybe it was their rousing ode to individuality called "Expressing Yourself" that did them in.

I'll get off my soapbox long enough to admit how pleased I was with the rest of the results overall -- in fact, I plan to finally see both Billy Elliot and God Of Carnage on Broadway after having first seen them in London.

I was downright thrilled (sorry David Bologna) when Gregory Jbara -- one of Broadway's nicest actors -- won for his role in Billy Elliot. I got goosebumps when Angela Lansbury earned her fifth acting Tony. And I was giddy with delight that The Norman Conquests rightfully won Best Revival of a Play during prime time where it belonged (although I thought director Matthew Warchus deserved to win for that effort over his other God Of Carnage).

So, dear readers. What did you think of this year's Tony Awards? And how many of the winners did you get right?

This is Steve On Broadway (SOB).

Labels: Alice Ripley, Angela Lansbury, Billy Elliot The Musical, Broadway, David Alvarez, God Of Carnage, Gregory Jbara, Kiril Kulish, The Norman Conquests, Tony Awards, Trent Kowalik, Twitter

posted by Steve On Broadway (SOB) @ Monday, June 08, 2009 2 comments

And The Tony Goes To...

And The Tony Goes To...

Moments ago, the American Theatre Wing and Broadway League's 63rd Annual Tony Awards hosted by Neil Patrick Harris became history!

Billy Elliot - The Musical was the evening's biggest winner, including for Best Musical, but God Of Carnage had a great night among new dramatic works, winning Best Play. And my personal favorite show of the year The Norman Conquests earned Best Revival of a Play ... in prime time! And Hair won Best Revival of a Musical as it should have.


Here are all the nominees and winners:

Best Play
Dividing The Estate - Horton Foote, Author
God Of Carnage - Yasmine Reza, Author **Winner**
reasons to be pretty - Neil LaBute, Author
33 Variations - Moises Kaufman, Author

Best Musical
Billy Elliot - The Musical **Winner**
next to normal
Rock Of Ages
Shrek The Musical

Best Book of a Musical
Billy Elliot - The Musical - Lee Hall **Winner**
next to normal - Brian Yorkey
Shrek The Musical - David Lindsay-Abaire
[title of show] - Hunter Bell

Best Original Score (Music and/or Lyrics) Written for the Theatre
Billy Elliot - The Musical - Music: Elton John, Lyrics: Lee Hall
next to normal - Music: Tom Kitt, Lyrics: Brian Yorkey ** Winner**
9 To 5 -The Musical - Music & Lyrics: Dolly Parton
Shrek The Musical - Music: Jeanine Tesori, Lyrics: David Lindsay-Abaire

Best Revival of a Play
Joe Turner's Come And Gone
Mary Stuart
The Norman Conquests **Winner**
Waiting For Godot

Best Revival of a Musical
Guys And Dolls
Hair **Winner**
Pal Joey
West Side Story

Best Special Theatrical Event
Liza's At The Palace **Winner**
Slava's Snowshow
Soul Of Shaolin
You're Welcome America. A Final Night With George W Bush

Best Performance by a Leading Actor in a Play
Jeff Daniels - God Of Carnage
Raúl Esparza - Speed-The-Plow
James Gandolfini - God Of Carnage
Geoffrey Rush - Exit The King **Winner**
Thomas Sadoski - reasons to be pretty

Best Performance by a Leading Actress in a Play
Hope Davis - God Of Carnage
Jane Fonda - 33 Variations
Marcia Gay Harden - God Of Carnage **Winner**
Janet McTeer - Mary Stuart
Harriet Walter - Mary Stuart

Best Performance by a Leading Actor in a Musical
David Alvarez, Trent Kowalik, and Kiril Kulish - Billy Elliot - The Musical **Winners**
Gavin Creel - Hair
Brian d'Arcy James - Shrek The Musical
Constantine Maroulis - Rock Of Ages
J. Robert Spencer - next to normal

Best Performance by a Leading Actress in a Musical
Stockard Channing - Pal Joey
Sutton Foster - Shrek The Musical
Allison Janney - 9 To 5 - The Musical
Alice Ripley - next to normal **Winner**
Josefina Scaglione - West Side Story

Best Performance by a Featured Actor in a Play
John Glover - Waiting For Godot
Zach Grenier - 33 Variations
Stephen Mangan - The Norman Conquests
Paul Ritter - The Norman Conquests
Roger Robinson - Joe Turner's Come And Gone **Winner**

Best Performance by a Featured Actress in a Play
Hallie Foote - Dividing The Estate
Jessica Hynes - The Norman Conquests
Marin Ireland - reasons to be pretty
Angela Lansbury - Blithe Spirit **Winner**
Amanda Root - The Norman Conquests

Best Performance by a Featured Actor in a Musical
David Bologna - Billy Elliot - The Musical
Gregory Jbara - Billy Elliot - The Musical **Winner**
Marc Kudisch - 9 To 5 - The Musical
Christopher Sieber - Shrek The Musical
Will Swenson - Hair

Best Performance by a Featured Actress in a Musical
Jennifer Damiano - next to normal
Haydn Gwynne - Billy Elliot - The Musical
Karen Olivo - West Side Story **Winner**
Martha Plimpton- Pal Joey
Carole Shelley - Billy Elliot - The Musical

Best Scenic Design of a Musical
Robert Brill - Guys And Dolls
Ian MacNeil - Billy Elliot - The Musical **Winner**
Scott Pask - Pal Joey
Mark Wendland - next to normal

Best Scenic Design of a Play
Dale Ferguson - Exit The King
Rob Howell - The Norman Conquests
Derek McLane - 33 Variations **Winner**
Michael Yeargan - Joe Turner's Come And Gone

Best Costume Design of a Play
Dale Ferguson - Exit The King
Jane Greenwood - Waiting For Godot
Martin Pakledinaz - Blithe Spirit
Anthony Ward - Mary Stuart **Winner**

Best Costume Design of a Musical
Gregory Gale - Rock Of Ages
Nicky Gillibrand - Billy Elliot - The Musical
Tim Hatley - Shrek The Musical **Winner**
Michael McDonald - Hair

Best Lighting Design of a Play
David Hersey - Equus
David Lander - 33 Variations
Brian MacDevitt - Joe Turner's Come And Gone **Winner**
Hugh Vanstone - Mary Stuart

Best Lighting Design of a Musical
Kevin Adams - Hair
Kevin Adams - next to normal
Howell Binkley - West Side Story
Rick Fisher - Billy Elliot - The Musical **Winner**

Best Sound Design of a Play
Paul Arditti - Mary Stuart
Gregory Clarke - Equus **Winner**
Russell Goldsmith - Exit The King
Scott Lehrer and Leon Rothenberg - Joe Turner's Come And Gone

Best Sound Design of a Musical
Acme Sound Partners - Hair
Paul Arditti - Billy Elliot - The Musical **Winner**
Peter Hylenski - Rock Of Ages
Brian Ronan - next to normal

Best Direction of a Play
Phyllida Lloyd - Mary Stuart
Bartlett Sher - Joe Turner's Come And Gone
Matthew Warchus - God Of Carnage **Winner**
Matthew Warchus - The Norman Conquests

Best Direction of a Musical
Stephen Daldry - Billy Elliot - The Musical **Winner**
Michael Greif - next to normal
Kristin Hanggi - Rock Of Ages
Diane Paulus - Hair

Best Choreography
Karole Armitage - Hair
Andy Blankenbuehler - 9 To 5 - The Musical
Peter Darling - Billy Elliot - The Musical **Winner**
Randy Skinner - Irving Berlin's White Christmas

Best Orchestrations
Larry Blank- Irving Berlin's White Christmas
Martin Koch - Billy Elliot - The Musical **TIE Winner**
Michael Starobin and Tom Kitt - next to normal **TIE Winner**
Danny Troob and John Clancy - Shrek The Musical

So, dear readers, are you happy with the results? I'll provide my own perspective on the winners and the overlooked tomorrow.

This is Steve On Broadway (SOB).

Labels: Billy Elliot The Musical, God Of Carnage, Hair, The Norman Conquests, Tony Awards, Tony Nominations

posted by Steve On Broadway (SOB) @ Sunday, June 07, 2009 1 comments

"It's Like The Golden Globes For Theatre!"

"It's Like The Golden Globes For Theatre!"

Last Friday, the 75th Annual Drama League Awards were presented to honor the best on Broadway and off.

Award winners included:

Distinguished Revival of a Play: Blithe Spirit
Distinguished Revival of a Musical: Hair
Distinguished Production of a Play: God Of Carnage
Distinguished Production of a Musical: Billy Elliot - The Musical
Distinguished Performance: Geoffrey Rush - Exit The King
Unique Contribution to the Theatre Award: Angela Lansbury
Distinguished Achievement in Musical Theatre: Sir Elton John
The Julia Hansen Award for Excellence in Directing: Arthur Laurents

After attending last year's Tony Awards -- certainly Broadway's equivalent to the Academy Awards -- I was thrilled to attend the Drama League Awards. Shrek The Musical star Christopher Sieber, one of the 71 nominees for distinguished performance, quipped to me, "It's like the Golden Globes for theatre!"

And so it was with nearly all of the nominees assembled for a wine-filled luncheon on a three-tiered dais that reminded one nominee of a large "Match Game" set (it looked more to me like a celebrity telethon minus the telephones).

The glory of the Drama League Awards is that while there are all those nominees ranging from the famous Oscar-winning stars to the actors who've just experienced their first major breaks Off-Broadway, they all have an equal opportunity to say a few words. And they do it with such a welcome flourish.

Despite the fact they were all vying for one award, the sense of community they shared as actors was palpable. It was truly incredible and one of the best celebrations of the theatrical art form I've ever enjoyed.

Founded in 1916, the Drama League bills itself as "America's best-kept secret for theatre lovers." Click here for more information on how you, too, can become a Drama League member.

This is Steve On Broadway (SOB).

Labels: Angela Lansbury, Arthur Laurents, Awards, Billy Elliot The Musical, Blithe Spirit, Drama League, Elton John, Geoffrey Rush, God Of Carnage, Hair

posted by Steve On Broadway (SOB) @ Tuesday, May 19, 2009 0 comments

Time Picks Billy Elliot As Year's Best

Time Picks Billy Elliot As Year's Best

Labels: All My Sons, Best Of Lists, Billy Elliot The Musical, Black Watch, Blasted, Farragut North, Hair, Reasons To Be Pretty, South Pacific, The Little Mermaid, The Visit, Time

posted by Steve On Broadway (SOB) @ Thursday, December 11, 2008 4 comments

Billy Elliot Dances Way Into Critics' Hearts

Billy Elliot Dances Way Into Critics' Hearts

Last evening, Billy Elliot The Musical opened at Broadway's Imperial Theatre.

Directed by the same man who directed the 2000 film, Stephen Daldry, and with a book and lyrics written by the same man who wrote the original screenplay, Lee Hall, this tuner's music is by Sir Elton John.

David Alvarez, Trent Kowalik and Kiril Kulish are alternating as Billy, while David Bologna and Frank Dolce alternate as Michael. The musical also stars Haydn Gwynne, Gregory Jbara, Carole Shelley and Santino Fontana.

Most critics have showered the show with praise. It's been ages since I've seen this type of swooning over a new tuner.

Declaring that "Broadway's long, dark, dry spell of big, smart, smash musicals is officially over," now that the "seriously thrilling" and "deeply lovable" Billy Elliot has opened, Newsday's Linda Winer heaps on the huzzahs all around: "The show is crawling -- not to mention tapping and leaping -- with dauntingly talented children, presented with a blissful lack of preciosity and lots of blazing intelligence and theatricality by director Stephen Daldry and choreographer Peter Darling.... On the basis of Tuesday's Billy, David Alvarez, the massive demands of this star role have not been overstated. Alvarez is terrific - with a grave-kid undercurrent, lots of unforced charm, finely sculpted long muscles and the ability to unspool ballet wizardry without losing the remarkable elegance of his line. His singing is simple and direct, with a musicality more important than show-biz salesmanship. About those songs. Elton John has written an ambitious, varied, altogether satisfying grown-up score."

Concluding by thanking "Maggie Thatcher, for giving us something to sing about," New York Post's Barbara Hoffman awards four out of four stars: "proving itself the best gift from Britain since 'Harry Potter.'... But unlike so many shows that plod from screen to stage, Billy Elliot: The Musical makes the leap from reheated adaptation to reimagined creation. For that we can thank not only director Stephen Daldry, writer Lee Hall and a wonderful cast -- but also Elton John, whose idea it was to make it a musical in the first place.... Whether it's ballet, modern or tap -- or, in one case, tap-dancing while jumping rope -- dance is the show's single best special effect."

Proclaiming that the tuner "really does have something for everyone, and that something is, gloriously, art," Bloomberg's John Simon is laudatory: "The story unfolds with drama and humor, exciting and tender moments. Expertly staged by Stephen Daldry, it is dazzlingly choreographed by Peter Darling in some breathtaking dance sequences of various genres, from classical ballet to contemporary forms.... There are mostly rousing but occasionally jolly Elton John songs, with simple but apposite lyrics by Lee Hall.... And then, amazingly, there is Billy.... I caught David Alvarez, a riveting prodigy: actor, singer, fabulous ballet and tap dancer (note his double tours) and spectacular acrobat. He combines skills few adults could match, and sustains them throughout a long and demanding evening."

Praising Billy Elliot as "that rare production -- one that brings all the elements together and creates a fresh emotional experience," Joe Dziemianowicz of New York's Daily News is also similarly enthusiastic: "The show's creative forces -- Stephen Daldry, Lee Hall and Peter Darling -- who repeat duties as director, writer and choreographer, and who are joined by composer Elton John -- are to be commended for bringing Billy to the theater with smarts, clarity (yes, Americans will 'get' the across-the-pond references, including the expletives), imagination and tender loving care.... Even more than the terrific 2000 movie, the musical amplifies Billy's place in his community.... David Alvarez, who was on at my performance, is a dazzling dancer, strong actor and capable singer. As his brassy ballet teacher in shocking pink (and purple) tights, Haydn Gwynne, who originated the role in London in 2005, is a sublime mix of bark, bite and big-heartedness."

Postulating that the "show both artfully anatomizes and brazenly exploits the most fundamental and enduring appeal of musicals themselves," The New York Times' Ben Brantley is surprisingly smitten: "Mr. Daldry and company turn tripe into triumph by making us understand the depth of the appeal of its classic show-business fairy tale, not only to us but also to the people whose dreary daily existences touch on Billy’s.... The performances, for the most part, are broader than they were in London, with more mugging and heart-tugging stickiness. But the two most essential portrayals -- that of Ms. Gwynne and Mr. Alvarez -- were spot-on the night I saw the show.... Billy Elliot never doubts that it’s the sobriety that endures in life. Which makes those intoxicating, fleet-footed flashes of art, where leaden bodies fly and discord turns into harmony, all the more to be cherished."

Asking, "Who would have guessed that a musical in which conservative economic policies deal a death blow to the working class could be such an uplifting experience?" Variety's David Rooney offers praise: "American audiences would have no trouble connecting with the universal sentiment of this bittersweet dual celebration of community and individuality.... The basic plot skeleton of an underdog rescued from adversity by the purity of his artistic pursuit is a familiar one, but it's given integrity here by the rich, melancholy textures of Hall's cultural and political backdrop.... Elton John's songs are more often serviceable than memorable, and the ballads are treacle, but there's a nice, brass-heavy Brit sound to the orchestrations that adds to the show's strong sense of place. Regardless of their quality as showtunes, almost all the significant numbers are elevated by Daldry's propulsive staging into buoyant setpieces."

Citing the show's "unapologetically sentimental score" and "characters ... drawn in broad strokes ... but little nuance," USA Today's Elysa Gardner still offers up a three-star review: "Billy Elliot shines brightest when its younger cast members are center stage, particularly when they're on their toes. A few production numbers lean too heavily on cute shtick -- there are dancing dresses and an enormous Thatcher puppet that may scare the kids -- but Peter Darling's choreography makes the raw, restless exuberance of youth accessible to all. In one sequence, Billy imagines and shadows an older version of himself, and both leap across the stage as the rapturous strains of Tchaikovsky's Swan Lake swell around them. And for a few moments -- no matter where you're from -- it's impossible to not be transported by this kid's amazing grace."

So with Wall Street in continued meltdown, could Billy Elliot - The Musical be exactly the right salve at the right time? We'll find out as our next stop is the box office.

This is Steve On Broadway (SOB).

Labels: Billy Elliot The Musical, Broadway, Carole Shelley, Critics' Capsule, David Alvarez, Elton John, Film, Gregory Jbara, Haydn Gwynne, Lee Hall, Musical, Peter Darling, Stephen Daldry

posted by Steve On Broadway (SOB) @ Friday, November 14, 2008 0 comments

Billy Elliot Ready To Shine On Opening Night

Billy Elliot Ready To Shine On Opening Night

This evening, after 40 preview performances, what is arguably the Broadway Season's most anticipated new tuner finally opens at the Imperial Theatre. Based on the 2000 film, Billy Elliot The Musical lands on the Great White Way after packing them in across the pond in London for over three years, along with another year of success Down Under.

If the musical seems true to the original movie, it's because of the artistry behind it. Not only does Academy Award nominated director Stephen Daldry recreate the electricity on stage, but the film's Oscar nominated screenwriter Lee Hall has also written the tuner's book, as well as the lyrics that accompany the music written by Sir Elton John.

Actress Haydn Gwynne is the only transfer from the original West End production. She will recreate the role of Billy's dance teacher Mrs. Wilkinson. Three young actors will alternate as the eponymous character: David Alvarez this evening, and then Trent Kowalik and Kiril Kulish on successive nights. Likewise, the role of Billy's young friend Michael will alternate between David Bologna and Frank Dolce.

Other cast members include Broadway veterans Gregory Jbara as Billy's Dad and Carole Shelley as Grandma, along with Santino Fontana as Billy's brother Tony.

Personally, I have not yet purchased my tickets for the Broadway incarnation having already seen both the original London production three years ago this month and the Australian production in Sydney just over three months ago. But you can bet that I'll be providing my critics' capsule of all the major reviews tomorrow.

This is Steve On Broadway (SOB).

Labels: Billy Elliot The Musical, Broadway, Carole Shelley, David Alvarez, Elton John, Film, Gregory Jbara, Kiril Kulish, Lee Hall, Musical, Stephen Daldry, Trent Kowalik

posted by Steve On Broadway (SOB) @ Thursday, November 13, 2008 0 comments

Billy Elliot - The Musical (The SOB Revisit)

Billy Elliot - The Musical (The SOB Revisit) - Capitol Theatre, Sydney, New South Wales, Australia

**1/2 (out of ****)

I can't really explain it,
I haven't got the words.
It's a feeling that you can't control
I suppose it's like forgetting just how good Billy Elliot - The Musical was in London,
not losing who you are within this inertia
And at the same time something like intermission makes you whole
It's like that there's a music playing in your ear
And I'm listening, and I'm listening and then I disappear from lack of energy.

And then I feel a change
Like a jetlag deep inside
Something boring me closing my eyes, impossible to hide
And suddenly I'm dozing, dozing like five bulls
Like no electricity, no electricity
Lack of sparks inside of me
And I'm free, I'm free when the curtain finally falls.

This is Steve On Broadway (SOB).

Labels: Billy Elliot The Musical, Musical, Sydney, The SOB Revisit

posted by Steve On Broadway (SOB) @ Saturday, July 26, 2008 0 comments

Getting My Theatre On

Getting My Theatre On

Ever go through withdrawals when you don't take in your favorite activities? Such is the case whenever I go too long without two essential passions: travel and theatre.

Fortunately, this week and next, I'm most certainly taking care of the first by virtue of my journey to Australia. This island nation/continent certainly ranks among my personal favorite places to visit, not only because of its sheer natural beauty, but especially because of its amazing people.

I even had a funny anti-American moment two days ago when a small group of U.S. youth, which had clearly gathered here for World Youth Day, was embarrassing itself with an impromptu dance on the street. A woman standing next to me at the street corner said derisively, "Must be an American thing," to which I replied, "Oh trust me, we're not laying claim to that." When she realized I was a Yank, the two of us had a great laugh. No worries, mate, we get that we're no longer admired quite the way we used to be, but more and more of us are in on the joke, too.

As for that other passion desperately in need of a fix, last evening, I had a chance to take in the Sydney production of Billy Elliot - The Musical at the stunningly over-the-top Capitol Theatre. After seeing it in London nearly three years ago, I was glad to be able to see a performance again prior to it opening in New York, particularly since this mounting includes the immensely talented Genevieve Lemon as Mrs. Wilkinson. She did not disappoint.

While I'll have my SOB Revisit sometime relatively soon, let's just say that this incarnation that's already been around Sydney since December, and will be mounted soon in Melbourne, didn't exactly "Shine, shine, shine" or seem filled with quite the requisite amount of "Electricity" I experienced in London. But it was entertaining, nonetheless, and gave me an opportunity to get my theatre on.

William Shakespeare's As You Like It introduced the phrase, "All the world's a stage." I realize how extremely fortunate I am to experience that in every sense of the world.

Post script: If you find no further postings through the rest of this week, it's because I'll be driving along the Australian coast for the next three days en route to Melbourne.

This is Steve On Broadway (SOB).

Labels: Australia, Billy Elliot The Musical, Genevieve Lemon, Sydney, Travels

posted by Steve On Broadway (SOB) @ Wednesday, July 23, 2008 4 comments

Broadway Preview: Billy Elliot - The Musical

Broadway Preview: Billy Elliot - The Musical

After first taking London's West End by storm just over three years ago, the Lee Hall/Elton John tuner Billy Elliot - The Musical is set for its Great White Way debut.

(Interestingly enough, I was supposed to see the show three years ago tonight, but the performance was canceled due to the 7/7 terrorist bombings that brought London to a standstill. It wasn't until that November when I was finally able to see the musical.)

Based on the highly successful worldwide smash film from 2000, the stage incarnation begins previews at Broadway's Imperial Theatre on October 1, with opening night set for November 13. Stephen Daldry, who directed the movie also helms this musical. It should also be noted that Lee Hall, who is credited with writing the original screenplay, not only wrote the stage show's lyrics, but he also serves as its librettist.

While most casting is yet to be named as they dig deep beneath the Imperial Theatre to properly house Ian MacNeil's enormous corkscrew stage design, the three alternating Billys have been announced. They include David Alvarez, Trent Kowalik and Kiril Kulish.

Longtime readers will recall that Billy Elliot - The Musical ranked eighth on my list of the best shows I saw during the 2005-06 Theatrical Season. You may also recall that I previously worried that the Broadway producers might find it necessary to dumb down this intrinsically British show for American audiences. Yet, by all accounts (including Michael Riedel's), this will essentially be the same production I enjoyed in London in late 2005. Riedel noted:

There's been a lot of talk that Billy Elliot -- which is set in a mining town in the north of England and pulls no punches in its left-wing politics - would have to be watered down for Broadway. The working-class British accents would be too hard to understand; the brutal anti-Thatcher, anti-Reagan, anti-capitalism stance might offend Americans; the overall grittiness might be too intense for Broadway audiences doped out on feel-good stage cartoons.

I'm happy to report that John, Daldry and producer Eric Fellner said they decided not to mainstream the musical for Broadway.

The show New York is going to get is the one that's been playing to packed houses in London for the past three years.

Taboo it ain't. That, plus the exceptional score by Hall and John, should help ensure a giant leap in advance ticket sales.

This is Steve On Broadway (SOB).

Click here for tickets.
Related Stories:
Broadway Preview: Godspell (July 6, 2008)
Broadway Preview: All My Sons (July 5, 2008)
Broadway Preview: A Man For All Seasons (July 3, 2008)
Broadway Preview: To Be Or Not To Be (July 2, 2008)
Broadway Preview: The Seagull (July 1, 2008)
Broadway Preview: Equus (June 30, 2008)
Broadway Preview: A Tale Of Two Cities (June 28, 2008)
Broadway Preview: for colored girls who have considered suicide when the rainbow is enuf (June 25, 2008)
Broadway Preview: [title of show] (June 24, 2008)
Broadway: What's Next (June 20, 2008)
Billy Elliot Set To Make Imperial Leap Across Pond (August 21, 2007)
Billy Elliot Leaps One Step Closer To Broadway Bow (October 20, 2006)
Which British Hits Will Be Broadway-Bound? (September 20, 2006)
Billy Elliot Set for 2008 Broadway Bow? (September 6, 2006)
Remembrances of London’s 7/7 (July 7, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)

Labels: Billy Elliot The Musical, Broadway, David Alvarez, Elton John, Kiril Kulish, Lee Hall, Michael Riedel, Musical, Stephen Daldry, Trent Kowalik

posted by Steve On Broadway (SOB) @ Monday, July 07, 2008 4 comments

Billy Elliot Set To Make Imperial Leap Across Pond

Billy Elliot Set To Make Imperial Leap Across Pond

One of the West End's top tuners, Billy Elliot, will play Broadway's Imperial Theatre beginning September 17, 2008, as posters in the storied Shubert Alley have revealed.

It seems like ages ago since I last reported on the Lee Hall/Elton John musical. In fact, it was last October 20 when I noted that a casting notice was finally posted. At that time, February 2008 was the anticipated date for commencement of rehearsals.

As longtime readers may recall, Billy Elliot - The Musical ranked eighth on my list of the best shows I saw during the 2005-06 Theatrical Season. But you also may recall that I'm worried that the Broadway producers will find it necessary to tinker with this intrinsically British show.

Casting has yet to be announced, but expect that announcement to make a huge splash no matter which side of the pond you're on.

This is Steve On Broadway (SOB).

Click here for London tickets.
Related Stories:
Billy Elliot Leaps One Step Closer To Broadway Bow (October 20, 2006)
Which British Hits Will Be Broadway-Bound? (September 20, 2006)
Billy Elliot Set for 2008 Broadway Bow? (September 6, 2006)
Remembrances of London’s 7/7 (July 7, 2006)
SOB's Best of 2005-06: #8 - Billy Elliot The Musical (May 18, 2006)

Labels: Billy Elliot The Musical, Broadway, Film, First Word On New Show, London, Musical

posted by Steve On Broadway (SOB) @ Tuesday, August 21, 2007 6 comments

Tony Award Nominations Announced

Labels: Billy Elliot The Musical, Grey Gardens, Play, Revival, SOB Poll, Spring Awakening, The Coast Of Utopia, Tony Awards, Tony Nominations

posted by Steve On Broadway (SOB) @ Tuesday, May 15, 2007 2 comments