Showing posts with label Broadway. Show all posts
Showing posts with label Broadway. Show all posts

September 11, 2017

Michael Friedman Actor, Composer (Andrew Jackson), Dead at 41

We're sad to report tonight that Obie Award-winning BLOODY BLOODY Andrew Jackson composer and lyricist Michael Friedman has died at the young age of 41 due to HIV/AIDS related complications.

"Michael brought so much joy and beauty and humor to our lives," said his sister Marion Friedman Young in a statement. "To lose him so soon is devastating. We are so grateful to the people who loved him, made art with him, and were so supportive of his work, and made it possible for Michael's extraordinary gifts to reach so many people."

[So much life to live so much more to do and at the end, honesty is his trade mark by having his estate announce he died of AIDs because we are still dying]adamfoxie*

Public Theater Artistic Director Oskar in a statement said "Michael Friedman was one of the most brilliant, multitalented theater artists of our time. He was also a miracle of a human being: loving, kind, generous, hilarious, thrilling. His loss leaves a hole in the theater world that cannot be filled, and a hole in the hearts of those who loved him that will last forever."

Friedman is survived by his parents Carolyn and John Friedman, his sister Marion Friedman Young, and his nephew John Henry Young.

Alongside his writing, he served as Encores! Off-Center Artistic Director at New York City Center, co-founder of The Civilians and artist-in-residence and director of Public Forum at The Public Theater.

Michael Friedman's recent credits include the musicals Unknown Soldier, Pretty Filthy, The Fortress of Solitude, Love's Labour's Lost, and Bloody Bloody Andrew Jackson, the last of which premiered at Center Theatre Group's Kirk Douglas Theatre before arriving at The Public Theater and transferring to Broadway.

With the acclaimed company The Civilians, he has also written music and lyrics for Canard Canard Goose, Gone Missing, Nobody's Lunch, This Beautiful City, In the Footprint, and The Great Immensity, and music for Anne Washburn's Mr. Burns.

With Steve Cosson, he is the co-author of Paris Commune (BAM Next Wave Festival). Friedman has been a MacDowell Fellow, a Princeton Hodder Fellow, a Meet The Composer Fellow and a Barron Visiting Professor at The Princeton Environmental Institute. His Tedx talk, "The Song Makes a Space," can be seen on YouTube. An evening of his songs was featured at Lincoln Center's American Songbook, and "The New Yorker Radio Hour" on WNYC features his songs about the 2016 election.

He was an in residence and director of the Public Forum at The Public Theater and received an Obie Award for sustained achievement.

Broadway world

June 4, 2014

‘Cat on Hot Tin Roof' Closes After Main Actor goes after anti gay heckler



 An actor in a Santa Clarita, Calif. production of "Cat on a Hot Tin Roof" was fired Saturday after physically removing a heckler in the audience who lobbed anti-gay slurs at the cast for nearly half of the show.
John Lacy, who played Big Daddy in Tennessee Williams' classic play that tackles homophobia among other themes, was fired after jumping off stage and physically confronting an audience member who repeatedly made noise and yelled "fag" during emotionally tense scenes, according to audience members' accounts of the incident onFacebook.
The show apparently continued following the confrontation and concluded to a standing ovation. Lacy was apparently not let go until after the performance.
Lead actor Anton Troy resigned in solidarity with Lacy, writing on the social networking site that the show's producers should have handled the unruly patron, who had apparently been drinking before the show and returned to the audience after consuming more alcohol during intermission.
"I will not support homophobia or an establishment that doesn't support its talent," Troy wrote. "Hate in any form is not something I choose to subscribe to. John is a seasoned professional and an honorable man. It should never escalate to a point where the talent has to handle an unruly drunk in the audience themselves regardless of the outcome. Producers dropped the ball, the fish stinks from the head on down."
Troy resigned to show support for his castmate, but not all of Lacy's fellow actors agreed with his decision to confront the heckler.
"I, unlike most of you, am NOT proud to be an actor today," cast member Missy Kaye wrote on Facebook in response to Troy's resignation.
"By you jumping off the stage and putting your hands on this guy put the whole theatre in jeopardy, cast and audience, and to me that is unforgivable," Kaye added.
"What if this guy had a weapon? Did that cross your mind?"
Fellow actress Emily E. Low, who plays the female lead, agreed that violence should not have been the answer, adding that part of acting is accepting criticism from the audience.
"As actors we must take the positive audience responses with the negative. It's not always about cheers and standing ovations," she wrote in the same Facebook thread.
Low added that Troy's character, Brick, is gay, suggesting that the heckler's anti-gay slurs may have been appropriate.
"And, the truth is, Brick is, after all, a gay man," she wrote. "The material is strong, and it elicits strong responses from an audience, different every night."
The Repertory East Playhouse in Newhall said Monday that its managers had not been made aware of the situation at the time, or else they would have intervened.
"The management of the REP regrets that this situation was not brought to their attention sooner and would like to assure future audiences that disruptive behavior, including disparaging remarks from the audience, incidents of bullying or hate speech, and racial, discriminatory or homophobic utterances, will not be tolerated and offending parties will be asked to leave the theater," REP said in a statement.
The run of "Cat on a Hot Tin Roof" had been suspended Monday and the original performance schedule would not be completed due to cast loss from "an incident during the May 31 performance." Because the play was slated to run for just two more weeks, the theater said, there was insufficient time to recast the two vacated roles.

June 11, 2012

Telly Leung from Godspell } Interview

Telly Leung: Interview

Telly Leung is a force of nature.
In Godspell, now playing at the Circle in the Square Theater on Broadway (see review), Leung has turned his role into an opportunity to showcase what seems to be almost too many talents. He acts, sings, dances, does impressions, and even when people are coming in after intermission, he's at the piano playing riffs from A Chorus Line, Wicked, Rent, and others, before launching into an Elton Johnesque reprise of "Learn Your Lessons Well" from Act One to get act two started.
When I recently ran into Stephen Schwartz, the composer of Godspell and Wicked, he had nothing but praise for Leung.
"His performance has become sort of famous. He's unbelievable, and the nice thing is he gets to show, in this particular production, the range of talents that he has," Schwartz said. "People who have seen him do one thing or another before, but here he gets to sing beautifully, he gets to be really funny, he gets to do amazing imitations, he gets to play the piano, you see a real range of just how much this guy can do. He's extraordinary in the show."
For how long Leung has been on my radar, it's amazing I'm just seeing him now. I originally planned to see him in Godspell years ago, but then the production was delayed. I planned to see him in an early version of Lysistrata Jones in Dallas, but I got delayed in Vegas instead. When the Rent tour came through the Bay Area, he had left the tour already.
So, for a while, I figured there was clearly some conspiracy at work here and I just wasn't meant to see Leung onstage. But once I moved to New York City, and he's in a show eight times a week, the odds greatly shifted in my favor, so we recently sat down in his dressing room before show time to chat about Godspell and his amazing path to Broadway 
It's been a long time coming...
I'm glad we're finally doing it.
When we first started talking online, back when you were still in Rent, we said that in a few months, I'd probably see you in Godspell, and that's been how many years now?!
Six years... no, it was supposed to happen in the fall of 2008. That's when Godspell was supposed to happen the first time. But I've been with the show since 2006.
I never saw Godspell performed until seeing your production of it, and there's obviously a lot of energy, but it also has a bit of that same quality as Hair, where at a lot of times, it seems like it's about to go off the rails, but then it gets right back on track, and there's a lot of wiggle room, seemingly, from the audience perspective...
With Godspell, there's no way to approach the piece without being free. Free to express one's self. And free to try things. And free to have the courage to be bold and make bold choices. So, that's what Godspell and Hair have in common.
Nick Blaemire, my dressing roommate, loves to say that they both came at a time when it was subversive theater. It was early in the 70s, and that post-Vietnam idea that theater should really stir and inspire an audience, and make them feel different when they walk out than when they walked in.
With Godspell, the idea that we need to be reconnected to religion, or community, whatever that is... we need to be reconnected to each other as a people, as a nation, as a world, I think that's what Godspell was trying to achieve. And Hair was also trying to achieve that. We're all part of this giant human tribe.
Those two things are so similar because they were so reactionary to the times. And the theater was created for that purpose. Nowadays, I don't know if all theater is created with that purpose anymore, to really wake up an audience and make them think about the world in a different way.
Certainly I've been very lucky to be part of shows that have done that. Rent certainly does that, but there are certain shows that do not, which I will not name. But I think that's why Godspell and Hair have such a cult following, as well. Because the theater is meant to reach you as an audience member.
And it seems what you bring to this role is so specific to you as a person.
It's interesting, because the way Godspell's always been put together is that the cast members are named their actual name. So, when you look at the 1971 script of Godspell, Jeff is actually named Jeff. Gilmer, who sings Learn Your Lessons Well, her name is Gilmer. And the show was built around their specific talents and energies.
Same thing with our cast. You look at the Playbill and it says "All Good Gifts" sung by Telly and company. There is no real facade I'm putting on. It's just the heightened more clown version of myself. It's the most playful, innocent version of me, but it's still very much me.
And Stephen Schwartz has always said, whenever the show is put up, that's how it should be done. You have to find the right combination of people that all play well together, but are different enough to really bring something new, and exciting, and individual to the table, and then create the show around them.
Because there is no real show. Stephen wrote these songs, which are great, catchy pop-rock tunes, and then there are the parables from the Bible, and they go in a certain order. And how you tell it is completely up to that company.
By Jeff Walsh

May 20, 2012

Love to Love Your Spider Meat Baby


Matthew Wilkas

GAYBY star Matt Wilkas — currently starring on Broadway in “Spider-Man” as Flash Thompson (and understudy for Peter Parker) got a nice little profile last week on The Broadway Blog. Here’s a tiny excerpt, click thru to read the rest at The Broadway Blog.
Current Show/Role: Spider-Man: Turn Off the Dark/ “Flash Thompson” Also understudy for “Peter Parker/Spidey”. [Matthew is also starring in the film festival hit Gayby watch the preview below, coming to a theater near you this year.]
The most challenging job in show business I ever had was: I have to say—by far—learning the Peter Parker/Spider-Man track has been unbelievably challenging in all respects—vocally, acting-wise, and especially FLYING! It’s pushed me so far beyond my limits and I’m so grateful for that. I’m loving every second of it.

May 14, 2012

Broadway BaresIt All for AIDS } Happy Endings

It’s that time of year again where New York and Broadway are a buzz with the anticipation of one of the sexiest nights of the year – the annual Broadway Bares show and gala in support of Broadway Cares: Equity Fight AIDS. This year, the hottest men and women Broadway has to offer will pay tribute to our favorite fairy tales as only the modern-day burlesque show could when this year’s edition of the immensely popular event becomes Broadway Bares XXII: Happy Endings.
Broadway Bares was created by Tony Award-winner Jerry Mitchell, who also serves as executive producer, and is produced by Broadway Cares/Equity Fights AIDS, led by Producing Director Michael Graziano. This year’s edition is directed by Lee Wilkins.
Broadway Bares started as seven Broadway players, stripping on top of a bar at a club and raising $8,000. Last year, the even titled Broadway Bares XXI: Masterpiece raised a record breaking $1,103,072 – the highest in any edition of the Bares. In total, the burlesque-style show has raised over $8.6 million in 21 editions. This gala is the definition of the phrase, “sex sells.” This year, the event will throw down on June 17 at the Roseland Ballroom. Make sure you think ahead and purchase your tickets. There is a 9:30 and a midnight show so you can either see one, or see them both. It’s up to you. To wet your whistle, check out a few of the teaser photos and a behind-the-scenes look at the sexy photo shoot with photographerAndrew Eccles below.
Nick Kenkel
Robb Sherman & Adam Perry
Eddie Rabon with Armando Farfan, Jr., Michael Blatt and Mike Russo
Andy Mills & Ian Paget
Reed Kelly

“Broadway Bares XXII: Happy Endings” Behind-The-Scenes


    January 23, 2012

    Jeremy Jordan a Success Story } Hollywood, Broadway, Porno( Servicing vid Incl)

    Jeremy has appeared in 16 movies since he first started acting in 1972. Jeremy Jordan has acted in movies including Leaving Las Vegas, Julian Po and Sexy Evil Genius.

    Jeremy Jordan returns to 'Newsies' for Broadway photo
    Associated Press
    Jeremy Jordan returns to 'Newsies' for Broadway

     For Jeremy Jordan, bad news for "Bonnie & Clyde" means good news for "Newsies."
    The actor whose role as the bank-robbing male lead in the musical "Bonnie & Clyde" was cut short last month by poor ticket sales, has jumped aboard the Broadway-bound "Newsies," a musical based on the 1992 film.
    Producers announced Jordan will play rebellious newsboy leader Jack Kelly, the role he created at the Paper Mill Playhouse in New Jersey last fall. "Newsies" will open its doors at Broadway's Nederlander Theatre on March 15.
    Jordan, who stars opposite Queen Latifah and Dolly Parton in the movie "Joyful Noise," was also on Broadway in "Rock of Ages."
    Alan Menken and lyricist Jack Feldman have transformed Disney's "Newsies" into a musical with new story writer, Harvey Fierstein.

    adamfoxie* says:

    A word of warning about the site below. First, it is not an adamfoxie* site. It is outside of the safety of this blog.  This is a porno(‘sex' for the indernational readers)) site found in the regular searchers to find articles on people we write about or post about.  If readers of this site are uncomfortable with link provided please let me know. These sites (porno) change pages, that is why  adamfoxie* is offering an embedded link. Before the link was embedded here it was taking us to an old video of Jeremy performing. 

    Jeremy Sex Video ) This link is outside of this blog. This blog does not endorse porn sites. It will take you to the page describe and it will be the viewers choice to click there.

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