Results tagged “Writing” from Blogway Baby

Look Ma, I'm on Playbill!

How exciting -- only 9 days until the 10th Annual Festival of New Musicals at Village Theatre begins in Issaquah! And only 11 days until PLANE CRAZY takes off on August 14 at 2:00pm! And only 11 days until you can see my daughter Myrna Conn in the Brian Yorkey/Tom Kitt musical IN YOUR EYES at 7:30pm!

Oh, and did you happen to catch this fabulous article on Playbill:

By Adam Hetrick
02 Aug 2010

In Your Eyes, the 2002 high school-set musical by Tony Award and Pulitzer Prize-winning writers Brian Yorkey and Tom Kitt, will be developed during the Village Theatre's Festival of New Musicals in Issaquah, WA.

Running Aug. 12-15, the 10th annual private showcase will develop six new musicals as part of the Village Originals series. Yorkey and Kitt previously developed their hit musical Next to Normal at the Village under the working title Feeling Electric. Yorkey previously served as associate artistic director of the Village Theatre and will also direct Jesus Christ Superstar there in June 2011.

Here's a look at the 2010 Village Originals works:

In Your Eyes
Book and lyrics by Yorkey; music by Kitt
"The students of Lakeshore high school are sent into a full-blown lock down (not to mention a flood of animosity, fear, and insecurity) when a plot of gun violence is suspected. As a group of unsupervised students attempts to make sense of the chaos, they end up learning more about themselves and their classmates—from the troubled rocker spitting lyrics, to the sarcastic fashionista pointing fingers from her pedestal."

Buddy's Tavern
Book by Raymond De Felitta; music by Kim Oler; lyrics by Alison Hubbard
Based on the movie "Two Family House," written and directed by Raymond De Felitta
"Despite a pattern of failed professional endeavors, ambitious Buddy Visalo refuses to accept defeat. The year is 1956, and much to the chagrin of his wife, Buddy is setting out to open a flourishing bar where he can pursue his true passion: singing. Unfortunately, nothing ever seems to go quite as planned for Buddy, whose dreams are smothered by financial woes, his wife’s doubts, and, to add to the chaos, an Irish American tenant with a mixed race child. Torn between his conscience and the pressure of his peers, Buddy is transported onto a road of twists and turns that just might lead to everything he’s ever wanted."

Plane Crazy
Book, music and lyrics by Suzy Conn
"Attention, attention please. Now boarding is Faith Hope, winner of the Miss Teen Toledo pageant and recent graduate of the Venus Airlines Stewardess Academy. It’s 1965, and Faith is about to learn that being a stewardess is more about girdles and groping hands than onboard meals and emergency exits. Just as Faith enters the fray, Venus Airlines takes on a bold, new advertising symbol of the living breathing example of blossoming female sexuality…the stewardess. Little do they know that their chosen 'Miss Venus,' the once naïve Faith Hope, will soon become their worst nightmare: empowered. This quirky and upbeat new musical is an uplifting and hilarious story about fighting back and demanding respect."

Cloaked
Book by Michelle Elliott, music by Danny Larsen; lyrics by Michelle Elliott and Danny Larsen
"In this potent new musical, a young girl and a heroic knight venture into the woods in search of love and identity…but who are they, really? In the online world, you never know. This tantalizing tale will lead you deep into the dangerous, yet extraordinarily alluring landscape of the internet, where you can escape from reality and create a different life…but what happens when right and wrong become blurred and you lose yourself in the fantasy? With a modern, innovative score that blends computerized tones and haunting melodies, this intriguing story explores the reality of what the internet has become: a wilderness that can be your best friend or your worst nightmare."

Lincoln In Love
Book and lyrics by Peter Kellogg; music by David Friedman
"Step into history and watch as the young Abraham Lincoln dips in and out of trouble and makes his way as a future political leader. In the year 1842, young Abe is found slipping into the shoes of an aspiring lawyer, not to mention serving as a comedian among the townspeople. Enter the fervent and beautiful Ms. Mary Todd, who sends the young men of Springfield into a romantic flutter. This whirlwind new musical will take you through a witty and inspirational adventure as this future President grapples with his everyday ways and takes on his first real defense trial—while fumbling with the temptations of love and marriage."

Click here for information on how to see these shows at the Festival by becoming a Village Originals Member!

Saturday night I went to see the 8pm show of the first weekend of 14/48. This was my first time, so I didn't know quite what to expect. What I did know was that Kathryn Van Meter would be directing one of the plays, and Jon Lutyens would be performing in one of the plays!

14/48 is the world's quickest theater festival. By that they mean they write, cast, direct and perform 14 plays in 48 hours. Which breaks down to 7 plays in 24 hours. Oh, and there's a totally cool band. 14/48 is produced by Three-Card Monty and One World Theatre.

The theme for the seven plays I saw Saturday night was "Pop Goes The Weasel". This theme was picked at random from audience suggestions on Friday night around 9:30pm. Then the seven writers scurried off to write the seven plays, and the next day they were rehearsed and then performed with costumes and props for us at 8pm, and again at 10:30pm.

It was a blast! 14/48 was held at Theatre Off Jackson and the place was packed. The plays were varied in style and in how they interpreted the theme, but they were all great. Kathryn directed "A Cock and a Carnation", and Jon performed in "And Nothing Too". Too much fun!

Next weekend will be all new directors and actors and themes. Get your tickets for next weekend now!

From the press release:

Tapestry Opera is pleased to announce the composers and librettists participating in the 2010 Composer-Librettist Laboratory, which will run from August 23rd to September 2nd at Toronto’s Rosedale United Church. The writers chosen for the 2010 Composer- Librettist Laboratory (affectionately called the LibLab) are Hannah Moscovitch, Anusree Roy, Michael Pollard, and Maja Ardal. Joining them will be composers Norbert Palej, Anna Höstman, Iman Habibi, and Gareth Williams. Also joining Tapestry in 2010-2011 is multi-talented theatre and opera artist Marjorie Chan, as the company’s new Writer in Residence, a role most recently assumed by Governor General’s Award Winner Colleen Murphy. Marjorie is a graduate of the LibLab (2003 and 2009) and librettist for the Dora Award-winning new opera Sanctuary Song which premiered with Tapestry and Theatre Direct for the 2008 Luminato Festival.

Here’s how it works: 4 composers and 4 writers are brought together for a 10-day period

of collaborative discovery through the creation of sixteen 5-minute scenes, each of which

are written, composed and performed within a 48 hour cycle that is repeated four times,

enabling each writer to work with each composer. Guiding the composers and librettists

throughout the process are dramaturg Michael Albano and musical dramaturg Wayne

Strongman (Tapestry’s Managing Artistic Director). At the disposal of the creative teams

will be some of Canada’s most respected performers, including soprano Carla Huhtanen,

mezzo soprano Kimberly Barber, tenor Keith Klassen, baritone Peter McGillivray, as

well collaborative pianist Christopher Foley.

For more information check out Tapestry New Opera website.

The latest episode I saw, entitled "Fathers and Sons" was written by John Whedon (Joss Whedon's grandfather!) and guest starred an extremely young Bob Balaban (Waiting For Guffman, A Mighty Wind, Seinfeld) with lots of hair as an angry young highschooler "Grady" who doesn't get a long well with his father (played by William Schallert)and mother (played by Anne Morgan Guilbert, the actress who played Millie on The Dick Van Dyke Show; John Whedon also wrote for that show).

I also caught a very young Ed Begley Jr. in the "Alice in Blunderland" episode.

I can't wait for more "guest star goodness"!

Yes, it says "musicals" not "musical". Of course I'm very excited that PLANE CRAZY is in the 10th Annual Festival of New Musicals at Village Theatre in Issaqauh, but it turns out PLANE CRAZY isn't the only musical in the festival - who knew?

In fact, there will be six new musicals! And more importantly, five parties!

Here's the festival line up from the Village Theatre website:

Thursday, August 12, 2010 6:00 PM – FESTIVAL PREVIEW

Thursday, August 12, 2010 7:30 PM - IT SHOULDA BEEN YOU
Book & Lyrics: Brian Hargrove
Music: Barbara Anselmi

Friday, August 13, 2010 7:30 PM - BUDDY’S TAVERN
Book: Raymond De Felitta
Music: Kim Oler
Lyrics: Alison Hubbard
Based on the movie TWO FAMILY HOUSE, written and directed by Raymond De Felitta

Saturday, August 14, 2010 2:00 PM - PLANE CRAZY
Books, Music & Lyrics: Suzy Conn

Saturday, August 14, 2010 7:30 PM - IN YOUR EYES
Book & Lyrics: Brian Yorkey
Music: Tom Kitt

Sunday, August 15, 2010 2:00 PM - CLOAKED
Book: Michelle Elliott
Music: Danny Larsen
Lyrics: Michelle Elliott and Danny Larsen

Sunday, August 15, 2010 7:30 PM - LINCOLN IN LOVE
Book & Lyrics: Peter Kellogg
Music: David Friedman

Pretty cool bunch o' musicals, huh?

To partake of this musical-palooza all you have to do is buy a Village Originals membership.

Stay "tuned"...

I am thrilled to announce that my musical PLANE CRAZY will be in the Village Theatre 10th Annual Festival of New Musicals!

That's right, on Saturday August 14, 2010 at 2:00 pm at Village Theatre in Issaquah, PLANE CRAZY will fly again.

PLANE CRAZY will be directed by David Ira Goldstein (Artistic Director of Arizona Theatre Company), with musical direction by Kim Douglass!

I've been reworking the show over the past couple of months, and I had a "test run" reading of it on Monday. First of all, thank you to everyone involved, you guys were amazing! Secondly, it was so incredibly helpful and I've been madly rewriting ever since. I'm so excited to see the show up again, since the show has changed immensely since it first premiered off-Broadway in New York at NYMF in 2005. New scenes, new music, new lyrics, new structure!

PLANE CRAZY is a musical comedy about the emergence of the modern women's movement in the swinging ‘60s Jet Age. A time when the stews were sexy and the world was sexist. PLANE CRAZY is the story of three stewardesses who go on a journey to find their own voice and is set during an explosive time in history: The intersection between the dawn of the Jet Age, the introduction of the Pill, the genesis of the modern Feminist Movement, and the Golden Age of Advertising.

For more information, check out the Village Theatre website.

Stay tuned, and fasten your seatbelts!

As I continue to work on rewriting PLANE CRAZY, I tend to muse about all things PLANE CRAZY not specifically related to the script. (I believe that is also known as "procrastination").

What would be a super cool venue for PLANE CRAZY? Aside from "the Broadway" of course. Well, wouldn't it be a kick to stage it at Boeing Field, perhaps in Seattle's Museum of Flight? Or maybe up in Everett at The Future of Flight Aviation Center & Boeing Tour...there are huge half-built planes that would be perfect for those airplane scenes! Of course getting to your seat would require a one-third mile walk, 21 steep stairs and an an elevator ride.

And what about PLANE CRAZY merchandise...oh wait, you can buy that here.

Or a PLANE CRAZY board game? Sort of a "Careers " meets "Wide World" meets "Mystery Date"...

Maybe I should get back to work...

It is hard to believe it has been 5 years since PLANE CRAZY appeared at the New York Musical Theatre Festival on 42nd Street in the Beckett Theatre on Theatre Row. What a great, crazy experience that was! I'm still in touch with, and working with people who worked on that production, like Hollie Howard and Seth Weinstein. Since then PLANE CRAZY has had productions in Oklahoma City, Toronto and a reading in New York.

After moving to the great Pacific Northwest, I got involved writing for The 5th Avenue Theatre's Adventure Musical Theatre Program, and acting as the writing mentor/lyricist for the Village Theatre Kidstage Company Originals program and working on other new projects. So I put PLANE CRAZY on the back burner (or in the hangar, to use a more appropriate metaphor.)

But recently I read about British retailer Primark selling padded bikini tops to 7 year olds and t-shirts for young girls that say "So Many Boys, So Little Time", and it reminded me of a passage from Betty Friedan's The Feminine Mystique (first published in 1963) - " Manufacturers put out brassieres with false bosoms or foam rubber for little girls of ten. And an advertisement for a child's dress, size 3-6s, in the New York Times in the fall of 1960, said: "She Too Can Join the Man-Trap Set."" . Hmmm, the more things change...

So I got to thinking about PLANE CRAZY. Perhaps it was time to dust off the script, say hello to those characters again and get PLANE CRAZY flying again! To be honest, I missed the characters!

So now I'm go-go boot deep in rewriting. New scenes, new songs, new takes on old songs...it's good to be back in 1965!

That's all for now...

Last night I went to see the play EASTERN STANDARD by Richard Greenberg at the Seattle Center House Theatre Black Box space. In case you didn't know, Richard Greenberg won a Tony for his play TAKE ME OUT. EASTERN STANDARD is a member project of The Sandbox Artists Collective, a part of the Lab at Freehold. Directed by Kathryn Van Meter, EASTERN STANDARD stars Nick Garrison, CT Doescher, Ashley FitzSimmons, Gretchen Krich, Alexandra Tavares and Jadd Davis.

EASTERN STANDARD takes place in 1987 in the bustling metropolis of New York City. In a trendy Manhattan restaurant, Stephen (CT Doescher*), a very successful architect, is having lunch with his best friend, Drew (Nick Garrison*), a rising avant-garde artist. At an adjacent table sits the unrequited object of Stephen's affection, Phoebe (Alexandra Tavares*), who is herself a shrewd and successful stock broker. As they watch Phoebe, her television executive brother Peter (Jadd Davis*) joins her, bringing with him some disturbing news. After several raucous episodes involving a schizophrenic bag lady, May (Gretchen Krich*) and a long-suffering actress/waitress, Ellen (Ashley FitzSimmons) the four characters meet and strike up an unlikely friendship.

A month later, all six assemble at Stephen's beach house, determined to get away from the craziness of the city and make some sense out of their relationships and careers. Inevitably, this leads to a series of very funny yet compelling incidents in which various relationships, non-relationships, mistaken motives, and often shaky alliances are cleverly set forth and examined.

I thoroughly enjoyed this production - funny and moving, brilliantly directed and beautifully acted! And shout out to Orlando Morales for the sound design!

Here's the note from the Producers that was in the program:

We all know theatre is a wonderful, and competitive, business. In an economic recession, even more so; survival of theatres becomes more and more dependent on smaller casts and co-productions. Work can be scarce. The questions arises: is it possible for us as theatre artists, between the last job and the next one, to have a place where we can work on a full process, where we can set new creative goals and then rehearse challenging material -- not just for a day or two, for a reading; but for several weeks, culminating in few workshop performances -- allowing us to continue clarifying and expanding how we work?

Financially, the answer can feel like "no": rehearsal space, performance space, props, design elements, advertising, even photocopying -- the debits can add up so quickly that the seedling barely sprouts out of the ground. But if we truly commit to some simple basics of theatre -- live performance, conflict, risk -- maybe we can figure out how to keep creating on a (relative) shoestring. We're glad to be here. And we thank you for coming.

===================
Remaining performances:

SUN May 2 7:30pm
MON May 3 7:30pm
TUE May 4 7:30pm

at the Center House Theatre Black Box space, which shares a lobby with the Center House Theatre (where Seattle Shakespeare Company and Book-It Repertory Theatre perform) on the first floor of Center House in Seattle Center. Donations suggested! You can reserve tickets here. Walk-ins welcome!

And they sell Top Pot donuts at intermission!

Don't miss it!

A new musical in six months... What were we thinking?

As we head into the final week of rehearsal I'm taking a moment to catch my breath and reflect back on the craziness that has been the last six months.

This is my second year as writing mentor/lyricist for VIllage Theatre's Kidstage Company Originals program. Last year we wrote SAVE AS... and did a full production at the soon-to-be-renovated First Stage. This year we are focusing on doing readings, partly because of space issues, but also because when you are writing a new musical, quite frankly, it makes a lot more sense to do readings first!

I started with the writing team, which consisted of four teens, in October 2009. We worked on the principles of dramatic writing, and developed the themes,

storyline and characters before the actors auditioned in December. Then our cast of fourteen actors joined the process in January and we held our first reading of Act I in February, our second reading in March of the whole show (the first time it had been read all the way through!) and on Monday April 12 we'll be doing our third and final reading of the whole show. We've been getting feedback from the audiences along the way, which has been very instructive.

Kathryn Van Meter is directing, and Orlando Morales is the musical director/composer and Helen Voelker is the stage manager. Luckily for me, they've been with the process since the beginning, so the addition of the actors and the evolution of the piece has been seamless. We also got some wonderful help from Eric Jensen who stepped in to direct for a couple of weeks in March while Kathryn was busy. I have to say, working with those guys has been a blast!

THE LAST SHOT explores how the healing power of art can help people overcome fears and find strength and peace, while telling the story of a high school senior/aspiring filmmaker who takes a cast of fellow students to shoot a movie over Memorial Day weekend. When the filmmaker's best friend screws-up, the group has to relocate to an old, abandoned, and possibly haunted hotel. The students are forced to confront their worst fears about the future, while still trying to complete the film.

THE LAST SHOT is a full length musical with brand new storyline, intriguing characters and 15 new songs plus reprises! The readings have been very helpful in cutting the show down to a respectable two and a half hours of tasty musical goodness. It is playing one night only at the Village Theatre mainstage, so get your $10 tickets now before they sell out and help us make musical theatre history!

Here's a super cool article about THE LAST SHOT on Broadwayworld.com

We're Pigs!

A production of the musical THE TALE OF PIGLING BLAND (book and lyrics by moi, Suzy Conn, and music by Mitchell Kitz) just finished at State Fair Community College in Sedalia, Missouri. They performed for over 4,600 during their week of productions for the public and area elementrary schools.

THE TALE OF PIGLING BLAND, adapted from the Beatrix Potter book, tells the story of a young pig who is forced to find his way in the world - a classic coming of age pig story! And remember: Always cross that bridge when you come to it!

Eric Yazell, the director of the show (he is also the Speech & Theatre Instructor at The Stauffacher Center for the Fine Arts at State Fair Community College) sent me some wonderful pictures of the production:

The Door Song!

If

Little Patch of Potatoes/Wide Open Spaces

Thanks to a great cast for another successful production of THE TALE OF PIGLING BLAND!

If you are interested in doing a production of THE TALE OF PIGLING BLAND, please send an email to suzy@blogwaybaby.com.

I went to see the first preview of EQUIVOCATION at the Seattle Rep last week, (thanks Kathryn!). I loved it!

EQUIVOCATION, written by Bill Cain and directed by Bill Rauch, had its world premiere at The Oregon Shakespeare Festival and will be running at The Seattle Repertory Theatre until December 13.

The Seattle Rep has put together a fabulous "know before you go" pamphlet also available on line which gives you some background on the plot, the times, historical figures and the plots of MACBETH and KING LEAR in 30 seconds:

What's EQUIVOCATION about?

It's London, 1605. William Shakespeare (in the play spelled Shagspeare, or Shag) has just been made an offer he can't refuse: King James I wants him to write a play about the recently foiled Gunpowder Plot. Shagspeare is leery: it's dangerous for playwrights to write about current events. Robert Cecil, the king's ruthless chief advisor, gives Shag the sanitized version of events, telling him to just add some dialogue -- and witches. The king wants witches. The rest of Equivocation is about Shagspeare's struggle to write a play that will please -- or at least not offend -- the king.

EQUIVOCATION stars Anthony Heald as Shag, Richard Elmore as Richard, Jonathan Haugen as Nate, John Tufts as Sharpe, Gregory Linington as Armin and Christine Albright as Judith, Shag's daughter. They are a brilliant.

The actors play different roles in the play, as well as characters in the play within the play. But fear not, Bill Cain's writing is so clear that the intricacies of the play flow seamlessly. Bill Cain's contemporary writing is brilliantly woven with threads of KING LEAR and MACBETH. And EQUIVOCATION manages to be incredibly humorous, despite the hanging, drawing and quartering.

Despite EQUIVOCATION clocking in at 2 hours and 55 minutes, I'm not equivocating when I say I want to go see this play again!

Road trip to London! Yeah, baby!

BIBA THE MUSICAL sounds ultra cool, I wish I could go to the London Showcase on October 25!

BIBA THE MUSICAL was written by Anthony Barry, David Foster-Smith and John Renoir, with set design and styling by Andrea Dunne.

Here's the 411 on the show from the website:

It’s the story of a fantasy that became a fantastic reality. It’s the story of fashion, of the Swinging Sixties, of beautiful people, of a musical and cultural coming of age. London 1964. Biba started as a tiny boutique in a Kensington sidestreet and grew to become a huge department store – unlike any that had been seen before or ever will again. Biba’s ethos was to be affordable but chic, to be so very very cool it almost hurt. All who were so very cool hung out there, from Brigitte Bardot to the Rolling Stones. Flamingoes strutted their stuff on the Roof Garden, while the louche and glamorous sipped exotic and often illegal cocktails in the Rainbow Room.

By the mid-seventies, Biba, by now an icon in its own time, found itself struggling to survive in a world that had turned cold and grey, a world of strikes, power cuts and recession. Glam was gone, and the angry voice of punk was on the streets. Suddenly it was all over, almost as suddenly as it had started. But the memories lingered in the minds of the tens of thousands who had been touched by the style, the music, the hedonism and the beautiful decadence that was Biba.

Someone give that man a microphone!

Seattle favorite RIchard Gray will be hosting COCKTAIL NUTS at ACT Theatre on Monday September 28.

What would a cabaret or variety show be without a host?

A great host wraps a show up in a big hug and presents it to the audience. A great host is excited by the talent he is hosting and gets a kick out of sharing that talent and enthusiasm with the audience. A great host is charismatic, funny, and a natural performer who is quick on his feet.

Ladies and gentlemen, may I present tonight's host...Richard Gray!

I first met Rich when I worked with him on The 5th Avenue Theatre's Adventure Musical Theatre program production of Northwest Bookshelf 2. I had two musicals in that show (Larry Gets Lost in Seattle, and Daisy the Firecow) and Rich was the director. He was such a pleasure to work with, so funny, so good with the actors and a real respect for the intelligence of his audience. So I thought, hey he's a great director.

Then I found out he had written a bunch of the musicals in that show, so I thought, hey, he's a great writer.

And then I would hear him play and sing stuff at rehearsals, and I thought, hey he's a great piano player and singer.

Then I started seeing Rich perform at ACT (A Marvelous Party) and The 5th Avenue Theatre (The Buddy Holly Story, Hello Dolly, Sunday In The Park With George), and I thought, hey he's a great actor.

And then I thought, hey, who is this guy?

From an article in Seattle magazine:

WHEN RICHARD GRAY SPEAKS, it's as if he is composing a song on the spot; he starts, stops and edits his word choice until he says precisely what he means. If you don't already know when you meet him that he is Seattle's very own Renaissance man—actor, writer, director, composer, pianist, lyricist, librettist—this running wordplay is your first clue.

And it's come in handy in his work. Many recognize Gray from Forbidden Xmas, the popular cabaret-style, 15-year-on-and-off holiday parody of local events and icons that he writes and performs in with other local singer/actors. Initially a scheme to cheer up a friend in mourning, Xmas, with its snappy, leave-you-humming songs such as "Starbucks Coffee Grinder Suite" and "The Bon Star Blues," became one of the key works of Gray's career—and also one that helped him define his own unique skill. After many years of production, however, Gray grew tired of simply parodying other songs. So he started composing his own works, both for Xmas and for other musical theater projects. "I said, 'Well, I’ll just write the whole song,' ' he says, "and I realized I was good at it."

He's so good at it, in fact, that the 42-year-old Gray has decided to sell his skills to the masses with Song Portraits, his custom songwriting service for special occasions. Think This is Your Life meets a pop ballad, musical theater number or country-western song—whatever your inner tune happens to be, Gray will find it.

"You have to trust me as you would a painter," Gray says about writing for a client. "I want my songs to be like the songs on the radio, when you're listening and you think, 'Oh my God! That's my life!'

Before the Song Portraits launch last July, he had already ventured out, writing songs as gifts for his father and his partner {Seattle magazine Flash Talk columnist Ernie Pino), as well as for his brother's wedding and for a tribute to Jack and Becky Benaroya in 2005. But the real success of his idea came when his Song Portrait package went to not one but two of the highest bidders—at $8,000 a pop—at the 5th Avenue Theatre auction this year.

This "musical genius," as Linda Hartzell of Seattle Children's Theatre calls him, has an unstoppable passion for the local arts scene. In the late '80s, when he moved to Seattle from his native Portland, where he also studied acting in college, he began arranging music in his first job for the now-defunct Bathhouse Theater Company in Green Lake. A lifelong pianist and self-professed ham, his combined talent made music arranging and composing easy.

In 1989, he became a frequent performer (as a pianist and singer) at the Rainier Tower's dinner theater restaurant Crepe de Paris, where he created Forbidden Xmas. His nonstop work since then includes serving as composer of the Seattle Children's Theatre musicals Little Rock in ’95 and Time Again in Oz in ‘99; composer and director of The Donk Sisters in '95 at Crepe de Paris; composer and performer of Gray Matter, a revue of his own career and just this year, conductor and musical director for 5th Avenue's The Buddy Holly Story.

And then I thought, hey, he'd be a perfect host for COCKTAIL NUTS!

The Bullitt Cabaret at ACT is a wonderfully intimate cabaret space, and tickets are going fast so I would recommend getting your tickets now!

Here's all you need to know about COCKTAIL NUTS with your host Rich Gray:

For an unforgettable evening of music, comedy, gourmet snacks and cocktails, come join our host Rich Gray as he celebrates "Landing The Gig" with:

Anthony Fedorov (from The 5th Avenue Theatre's upcoming JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, and AMERICAN IDOL)

Anne Allgood (from ACT Theatre's upcoming ROCK 'N' ROLL)

Jessica Skerritt (from Village Theatre's upcoming CHASING NICOLETTE)

The NightClub Gentlemen (the "almost" Rat Packers)

Also featuring appearances by Bill Robison and Myrna Conn

Tickets for this incredible night of entertainment are only $35.00 which includes complimentary gourmet snacks. And there will be a cash bar featuring an original COCKTAIL NUTS cocktail -- all cocktail and food service is by VESSEL, our neighborhood nightspot that Esquire magazine calls one of the “Best Bars in America.”

WHEN

Monday September 28, 2009

Door: 7pm for cocktails and complimentary gourmet snacks

Show: 8pm to 10pm

WHERE

ACT Theatre

Bullitt Cabaret

Union and 7th, downtown Seattle

TICKETS

For tickets, call the ACT box office at (206) 292-7676 or visit the COCKTAIL NUTS ticket page at acttheatre.org

My new favorite movie!

Every once in a while I totally fall in love with a movie and it occupies a special place in my heart. I can watch them over and over and over again. Movies in the past that have done this: White Christmas, Holiday Inn, The Pajama Game, My Best Friend's Wedding, Family Stone, When Harry Met Sally, Love Actually, any Fred Astaire/Ginger Rogers movie...

Now Paris 36 have entered that exclusive (or not so exclusive) list!

I watched the movie in French with English Subtitles, but after a while it felt as though they were speaking English. Maybe it's all that French I got growing up in Canada (Ou est Pitou?), but I was completely engaged.

From the description on Fandango:

A star is born in a time of both celebration and instability in this historical drama with music from director Christophe Barratier. In the spring of 1936, Paris is in a state of uncertainty; while the rise of the Third Reich in Germany worries many, a leftist union-oriented candidate, Léon Blum, has been voted into power, and organized labor is feeling its new power by standing up to management. While such matters might normally seem unimportant to Germain Pigoil (Gérard Jugnot), who runs a small vaudeville house in the Faubourg district, the chaos of the city seems to be impacting his life and his work -- his wife, Viviane (Elisabeth Vitali), has run off with her lover, she demands custody of their son, Jojo (Maxence Perrin), and unscrupulous local entrepreneur Galapiat (Bernard-Pierre Donnadieu) threatens to put Germain's theater out of business. With the help of a local political organizer, Milou (Clovis Cornillac), and veteran entertainer Jacky Jacquet (Kad Merad), Germain strikes a deal with Galapiat to reopen the theater, but business is slow until a lovely young woman with a remarkable voice, Douce (Nora Arnezeder), comes looking for a spot in Germain's show. Faubourg 36 (aka Paris 36) received its North American premiere at the 2008 Montreal World Film Festival.

I absolutely love the slightly larger than life feeling of this movie. And j'adore the songs! The original music and lyrics are by Reinhardt Wagner and Frank Thomas and wonderfully evoke shades of Piaf and mid century France.

Paris, Paris!

Elizabeth Lucas, a friend of mine in New York, sent me this email.

Sounds like a super cool movie! Don't miss it at the New York Musical Theatre Festival!

From the email:

Three years ago I began a project that has grown into the most extraordinary experience of my professional life, the rock movie musical CLEAR BLUE TUESDAY.

CLEAR BLUE TUESDAY is a movie of and about New York City, developed by a community of actor/singer/songwriters from the rock clubs, comedy clubs and Broadway theatres of New York. We rehearsed for nine months, developing fictional narrative out of improvisation and conversation about what it means to be a New Yorker and an American post-9/11. The actors wrote the songs they sing. The spirit of the movie is such that donations have been generous and have given us production value well above and beyond our budgetary means. We shot for free inside 7 World Trade Center, the Ritz Carlton andRockefeller Center. Dozens of artists contributed their paintings. Our extensive special effects were entirely donated. The movie is thoroughly unconventional and independent in the truest sense of the word, neither political nor treacly, made with humor, humanity and craft.

I am so proud of what we came up with and would love to share it with you. We are premiering the results next Thursday, September 10^th. Please join us.

We’ll be screening at the SVA, a newly renovated facility with top of the line High Def projector and sound equipment, and the second largest screen in New York City. This presentation is the movie in its best possible form.

You can view the trailer on our website at www.clearbluetuesday.com. Edited by Alex Hammer, the trailer is a beautiful representation of the movie. If it moves you at all, don’t miss this screening.

You are invited to the World Premiere of the musical movie CLEAR BLUE TUESDAY, premiering as part of the New York Musical Theatre Festival!

WHERE: SVA Theatre, 333 West 23rd Street

WHEN: Thursday, September 10
7:00pm and 9:15pm

TICKETS: $20 (includes post-screening Q&A)

FOR TICKETS:www.nymf.org/clearbluetuesday

VIEW THE TRAILER:www.clearbluetuesday.com

We're back!

Yes, following last year's smash hit SAVE AS... (I get so many comments on that darn sweatshirt!) The Village Theatre's KIDSTAGE Company Originals program will be back for another exciting year of writing and performing an original musical! And I am pleased to announce that I will be back as Writing Mentor/Lyricist!

Here is the 411 from Suzie Bixler at The Village Theatre:

We are currently seeking writers and composers (ages 16-20) for our Company Originals program.

Company Originals is a program functioning out of Village’s KIDSTAGE division that produces theatre for young people by young people. For more than six years, Company Originals has produced shows using the best young talent in the area as writers and performers. Company Originals is also seen as a breeding ground for tomorrow’s top talents. In the last few years, Company Originals participants have gone on to college at Boston Conservatory, University of Washington, Tisch School of the Arts, University of Southern California Writing Program, Biola Film School, Cornish College of the Arts, Carnegie Mellon, Penn State, University of Arizona, College of Sante Fe, Occidental, Point Park, and many more, several on performing scholarships. Past participants have also performed locally at venues such as Village Theatre Mainstage, Seattle Children’s Theatre, 5th Avenue Theatre, Showtunes, The Paramount Theatre, Civic Light Opera, Seattle Public Theatre, and ACT.

KIDSTAGE Company Original productions are original musicals written by a student writing team, advanced performers, and emerging theatre artists. After a competitive audition process, students will create and perform their own original musical material under the mentorship and guidance of a professional writing, composing, and directing team. The program will culminate in a one night workshop to be performed on the Village Theatre Francis J. Gaudette Theatre. The process will also include additional workshop readings with musical theatre professionals and a Seattle school. The Company Originals production is written by, for, and about teens, and it addresses some of the most important issues facing teens today. Past original teen works include: trust me., Last Exit, In Your Eyes, A Perfect Fall, and Save As.

We are specifically looking for very committed writers and composers or those that are interested in learning more about these disciplines.

Writers will meet twice weekly (Mondays & Fridays) after school starting in October. Actors will join the process in January and a series of workshop readings starting with Seattle musical theatre professionals and a Seattle school will occur in February and March. The project will culminate with a staged reading of the musical on the Francis J. Gaudette Stage on Monday, April, 2010.

Tuition for the program is $500 (scholarships and work-exchange available for those who qualify.)

The application is due on September 18 and can be found on our website.

If you are interested in being an actor in the program, auditions will be in late November. Information will be posted on our web-site soon.

Thank-you!

Suzie Bixler

KIDSTAGE Programs Manager

Village Theatre

303 Front Street North

Issaquah, WA 98027

Office: (425) 392-1942 x147

Wake Up and Smell the Bacon in Missouri! Or is that show me the bacon....

I am please to announce the production of THE TALE OF PIGLING BLAND at the State Fair Community College in Sedalia, Missouri! Yes, this November 2009 will see the return of Pigling Bland, Aunt Pettitoes and the whole crazy gang! This will be the third production of the musical that I (I being me, Suzy Conn) wrote (book/lyrics) with Mitchell Kitz (music), following a debut in Toronto (at the Toronto Fringe Festival), and a second production in Chicago at Theatre Building Chicago last summer.

THE TALE OF PIGLING BLAND, based on the book by Beatrix Potter (no relation to Harry Potter), tells the story of the adventures of a young pig (Pigling Bland) who sets off to market with his younger brother, is interrogated by a policeman, pignapped by a farmer, teased and tormented by a cat and dog and eventually falls in love with a beautiful female pig . The two escape and....well... I can't give away the ending, now can I?

THE TALE OF PIGLING BLAND will be directed by Eric Yazell, and is scheduled to run from November 16 to November 21, 2009 at the Stauffacher Center for the Fine Arts in Sedalia, MO!

And here's a bit of trivia -- turns out Sedalia, MO hosts the annual Scott Joplin Ragtime Festival!

More posts to come... oink!

Lucky number seven!

If you are wondering what to do the evening of Monday August 3 to celebrate Canada's civic holiday, (or you just want to rock out on a balmy August eve), look no further than NEW VOICES 7 brought to you by Contemporary Classics. Yes, this is the same concert series that Myrna rocked last December!

From the Facebook event page:

Its back! Don't miss the seventh edition of the popular NEW VOICES series. This edition is part of the CENTRAL HEATING LAB at ACT Theatre.

NEW VOICES is a concert series showcasing the best of today's most promising young musical theatre composers. An exciting blend of Sondheim and pop/rock, this next generation of composers is turning Broadway on its ear with musicals about grunge bands, electroshock therapy, road trips, and Anna Nicole Smith. Performed by some of Seattle's hottest talent, joins us for a break from the summer heat with an evening of brand new musical theatre songs.

August 3 at 8pm
Allen Theatre at ACT
700 Union Street in Downtown Seattle
$20 general admission, $15 student (with ID)
Purchase tickets at https://www.acttheatre.org/TicketsPlays/Play.aspx?prod=2340 (tickets on the right by the calendar)

**Some material may not be suitable for younger audiences**

STARRING
Krystle Armstrong (5th Ave's HELLO, DOLLY!)
Mo Brady (5th Ave's CATCH ME IF YOU CAN, SEVEN BRIDES)
Sarah Davis (ZANNA, DON'T!)
Nick DeSantis (5th Ave's SUNDAY IN THE PARK...)
Beth DeVries (SCT's WIZARD OF OZ)
Christian Duhamel (5th Ave's SEVEN BRIDES...)
Ashley FitzSimmons (Village's SHOW BOAT, BEAUTY & THE BEAST)
Nick Garrison (HEDWIG..., 5th Ave's CABARET)
Diana Huey (ZANNA, DON'T!)
Cayman Ilika (Village's SHOW BOAT)
Kate Jaeger (REEFER MADNESS)
Naomi Morgan (5th Ave's WEST SIDE STORY)
Brandon O'Neill (Village's TOMMY)
Kat Ramsburg (5th Ave's MAME)
Don Darryl Rivera (SCT's I WAS A RAT!, BUSYTOWN)
Tanesha Ross (Village's SAINT HEAVEN)
Jenny Shotwell (Seattle Musical Theatre's JANE EYRE)
Troy Wageman (Village's BEAUTY & THE BEAST)
Billie Wildrick (5th Ave's SUNDAY IN THE PARK...)
and Justin Huertas on cello

With R.J. Tancioco on piano
Hosted by Brandon Ivie

WITH SEXY SONGS BY
Jeff Blumenkrantz
Bobby Cronin
Adam Gwon
Joe Iconis
Michael Kooman & Christopher Dimond
Brian Lowdermilk & Kait Kerrigan
Michael Mahler
Dan Martin & Michael Biello
Peter Mills
Ryan Scott Oliver
Benj Pasek & Justin Paul
Jeff Thomason & Jordan Mann

You've got to be carefully taught...

If you need a good laugh, check this out.

Happy long weekend!

Here's to Canada, eh!

And a special shout out to musicals (not an exhaustive list by any means) written by Canadians - TWO PIANO FOUR HANDS, ANNE OF GREEN GABLES, BILLY BISHOP GOES TO WAR, THE DROWSY CHAPERONE and of course, PLANE CRAZY!

Okay, and a special shout out to one of my favorite Canadians -- Wolverine!

Believe it or not!

I just found out that one of my fav songs, Indiana Wants Me,was written and performed by a Canadian songwriter R. Dean Taylor. According to the Summer 2009 edition of SOCAN's Words and Music magazine, R. Dean Taylor was the Motown Records first white artist to score a No. 1 hit!

From Words and Music:

In the early 1960s Canadian songwriter R. Dean Taylor found himself at the right place at the right time: in Detroit working for Motown Records. He quickly earned a reputation as one of the label's best writers and producer, co-penning smash hits such as All I Need (for the Temptations) and Love Child (for The Supremes).

Who knew?

Indiana Wants Me is one of those songs that always gives me chills when I hear it. I mean, when those sirens start at the end of the song, and the gunshots....Someone should make a made-for-tv movie musical out of that song! Hmmmm....

For the record, songs that also give me chills are: In the Ghetto, Cats in the Cradle, and thought I hate to say it, Teen Angel (which was written as a gag and turned into a hit!) I guess I'm a sucker for the melodrama!

"...And if not this festival then somewhere out west..."

The DIE VAMPIRE DIE WORKSHOP is coming West To Seattle! So take that novel out of that sock drawer and sign up!

For those of you who don't know, Die Vampire Die is my favorite song from the amazing Broadway show [title of show]. For me, this song was always the heart of the show, and always made me tear up (as in cry, not rip something).

The only other time I've cried while watching a Broadway show was in LES MIZ, when Fantine is dying and she thinks she is talking to Cossette. Sheesh, I just got a lump in my throat again....

As they say in Die Vampire Die, a Vampire is any person, thought or feeling that stands between you and your creative self-expression.

Hasn't everyone had those moments of self doubt that try to kill our creative output? Heaven knows I have!

This is an amazing once-in-a-lifetime opportunity and I encourage everybody (musicians, artists, writers, songwriters, directors, Microsoft employees, politicians, accountants, nurses etc.) to sign up for this workshop. Seriously, whether or not you are in "entertainment", this workshop will be of value...I mean, isn't public speaking of any kind like performing?

So I only have two questions for Susan and Hunter:

1. When will the sheet music for Die Vampire Die be available?

2. Will you be serving Babaganoush at break time?

From the Facebook event page:

The ‘DIE VAMPIRE, DIE’ WORKSHOP

A writing/performance workshop lead by Broadway’s Susan Blackwell and Hunter Bell FEATURING YOU.

Are you a performer who wants to write your own material?

Are you a writer who wants to perform your own material?
Are you a creative challenge-seeker looking for a fun, safe environment to try something new?
Are you rocking creativity for your New Year's resolution?
Just want to kill some Vampires*?

Join Susan Blackwell and Hunter Bell on July 20 ^th from 2 pm to 8pm for the ‘Die Vampire, Die’ workshop!
Susan and Hunter will lead you through a series of exercises to get your creative juices flowing and your thoughts up on their feet!
Cost - $125 per person (to cover Susan and Hunter’s fees, flights and hotel)

Please bring yourself, a positive attitude, a lined notebook and a pen.
Some performance experience is helpful, but not necessary.
An open, constructive attitude is mandatory!

Themes of this workshop include:

• Creative Writing
• Performance
• Identifying and taking creative risks
• Tapping into brave artistic freedom and self-expression
• Establishing a creative safe space
• Contributing to a collaborative process

Target participant:

• Performers who want to write their own material.
• Writers who want to perform their own material.
• Creative challenge-seekers looking for a fun, safe environment to try something new.
• Groups looking to foster a safe collaboration.

*From [title of show]’s Vampire Hunting Guide: A Vampire is any person, thought or feeling that stands between you and your creative self-expression.

To RSVP for this event, please email Kat Ramsburg at katramsburg@yahoo.com for further instructions.

BELOW THE BELT at ACT, A Contemporary Theatre!

We used the first of our “Year of Theatre” tickets last Saturday night at ACT to see BELOW THE BELT by Richard Dresser. BELOW THE BELT is directed by Pam Mackinnon, featuring Judd Hirsch, John Procaccino and R. Hamilton Wright.

BELOW THE BELT is being performed in the Allen Theatre, the same “in-the-round” theatre where I saw Sean Griffin as Scrooge in A CHRISTMAS CAROL last December. Normally, I'm a bit wary of in-the-round theaters because I usually feel, no matter where I sit, that I'm missing something. But both BELOW THE BELT and A CHRISTMAS CAROL worked really well in-the-round, and I never got the feeling I wasn't "seeing" what was going on.

From the ACT website:

Below The Belt is a farcical skewering of globalized corporate culture. Somewhere, in an anonymous factory cranking out units of some unnamed product, three men try to maintain some semblance of humanity and self despite a crushingly conformist and hypermasculine bureaucracy. Cross the sitcom The Office with Samuel Beckett, and the results might look like something like this—darkly funny, and disconcertingly familiar.

To be honest, I was originally interested in this play because Judd Hirsch was in it. My hubbie and I are big Judd Hirsch fans, and loyal followers of his tv shows, Taxi, Dear John and George and Leo. But we loved the play, and having spent a few years of my own in a large corporate setting, can say that it rang hilariously true! And it sounds like a case of art reflecting real life for the playwright:

(From an interview with Richard Dresser in the Encore Program)

Q: In an interview about why you became a playwright, you addressed your time working as a plastic molder at a plant. Did that experience shape the characters of the factory workers?

RD: My own experience working in factories - I worked at a lot of factories in New England - certainly shaped my conception of the industrial compound and the workers. One of my first factory jobs involved making the thighs of G.I. action figures. In another factory I found myself operating a plastics molding machine which produced white cones in twenty second intervals. The foreman came over the first day to see if I had any questions. My first question involved the procedure for turning off the machine, and he made it clear that was never to happen under any circumstances, even if no one came to relieve me on the next shift. My follow-up question was, "What are we making in this factory?" He stared at me and cautioned me not to be a wiseass.

You just can't make that stuff up!

Judd Hirsch was wonderful, as were R. Hamilton Wright and John Procaccino. I really enjoyed John Procaccino as Willie Stark in ALL THE KINGS MEN (at Intiman) where he was directed by Pamela MacKinnon. He just has a way of owning the stage when he enters. As the boss, Merkin, he is able to utter riduculous things, and make them honest.

BELOW THE BELT is totally worth a second viewing for us before it closes. Next up in our "Year of Theatre" odyssey, A THOUSAND CLOWNS at Intiman.

Broadway royalty right here in Seattle!

It was a little surreal to be honest. Seriously. I was only a few rows away from Bob Mackie.

Last night I went to The 5th Avenue Theatre's Spotlight Night for CATCH ME IF YOU CAN, the new musical premiering in Seattle starting July 23.

The theatre was packed, and there was a palpable electricity. Forget the fact that the event was free (yes, you heard me, free!), it was one of the most enjoyable, exciting nights in theatre I've had!

Spotlight nights are hosted by David Armstrong, the Producing Artistic Director of The 5th Avenue Theatre and are a great way to familiarize yourself with upcoming shows - hearing songs performed, learning the history behind the show, meeting the creative team, as well as gaining new, interesting perspective on shows you already know. The CATCH ME IF YOU CAN spotlight gave insight on the creation of an exciting, new musical!

The evening was divided into three acts:

Act I

The Incredible True Story!

David recounted Frank Abagnale's true crime adventures on both sides of the law and discussed this with special guest, Ken Kirkpatrick, President of US BANK, Washington State. Ken had actually hired Frank not so long ago to consult on bank security and fraud so he had lots of interesting anecdotes about this incredibly charismatic man (everyone throughout the evening commented on how charismatic Frank Abagnale is, and how he can walk into a room and suddenly command all attention!) and tips on how to avoid bank fraud - micro shredder and the uni-ball pen (it can't be erased from a cheque with acetone unlike other pens.) When Ken asked Frank whether it would be harder to pull of his fraud nowadays versus in the 60s, he said that today it would be far easier to do everything! Downloading logos, lifting signatures, wiring money...but I digress!

Act II

Meet The Dream Team

Songwriters Marc Shaiman and Scott Wittman (HAIRSPRAY), playwright Terrence McNally (THE FULL MONTY), director Jack O'Brien (HAIRSPRAY), choreographer Jerry Mitchell (HAIRSPRAY, LEGALLY BLONDE), musical director John McDaniel , and legendary costume designer Bob Mackie gave an inside look into how a Broadway musical is conceived and created. Marc Shaiman and Scott Wittman told the story of how they were looking around a bookstore and Scott saw a CATCH ME IF YOU CAN movie book on display and said, Hey how about that? So they bought it, and called Steven Spielberg the next day and they were on their way! I was most intrigued by the description of how they were taking the film and putting it on stage. They weren't going to compete with the movie's ability to show Frank's narrow escapes from the law or just put the movie on stage. Instead, The songs/scenes would be how Frank would view the characters as if they were in a big tv show spectacular. The mid 60s was the time of tv variety shows and specials, with a variety of musical styles from Frank Sinatra to The Rolling Stones. So, Marc and Scott went for a sort of Ed Sullivan Show soundtrack! It sounds very, very cool. We saw Bob Mackie's sketches for the costumes and they look absolutely fabulous. It was so special to be able to listen to this team talk about putting this show together.

The whole team agreed that four weeks of rehearsal might seem like a long time, but they have a lot of work to do so it will fly by!

Act III

Meet The Stars

Norbert Leo Butz, who plays the Tom Hanks FBI agent character Hanratty, Aaron Tveit, who plays Frank Jr., and Tom Wopat, who plays Frank Sr. all performed songs from the show (Fifty Cheques, I'm Good At What I Do, Happy Ending, Making Butter Out of Cheese, Seven Wonders). Wow, all three of these guys were amazing. I got chills!l And they also announced that Kerry Butler, and Felicia Finley (who played Linda in THE WEDDING SINGER) will be in the show. dThis is going to be an amazing cast!

Oh, and one more piece of trivia - the song that Neil Patrick Harris sang at the end of the Tony Awards night was actually written that night, over the course of the awards, by Marc Shaiman and Scott Wittman! They said it was like putting together a puzzle, and they had lots of options to go with depending on who won the awards (the Fonda/Honda rhyme never made it into the song!)

Hurry and get tickets to see CATCH ME IF YOU CAN live and in living color!

Those were the days!

I was out browsing in Easy Street Records while my daughter Myrna was tapping away at Kristin Culp's Advanced Tap 3-Day Event and I happened upon

this CD in the Children's section, filed under comedy! What a gem!

Is it a coincidence that the name of the store is the same as one of the songs that Carol Burnett sang in the film version of ANNIE? I think not! But I digress...

Carol Burnett, Featuring If I could Write A Song is a combination of a record released in 1971 plus three bonus tracks that were originally released as singles -The Christmas Song, Love's The Only Game in Tow, and You're My Reason.

Other tracks include:

If I Could Write A Song, It's Too Late, Those Were The Days, Rainy Days and Mondays, Who's Sorry Now, Saturday Morning Confusion, For All We Know, Rose Garden, Try To Remember, Sunrise, Sunset and Guess Who/Turn Around, Look At Me

The Carpenters, FIDDLER ON THE ROOF, THE FANTASTICKS, Carol King...sheesh, what a great collection. Boy, I do so miss the early 70s.

And what a great singer she is. I've always associated her voice with her comedy, but listening to an entire of Carol Burnett just singing? I loved it! It's called easy listening, because it is so darn easy to listen to! Duh!

From the original liner notes by Morgan Ames:

It was not until about four years ago that I realized what a lovely singer Carol Burnett is. It took that long because she doesn't make a big deal out of her singing. She doesn't hurl her voice at us dramatically, insisting on its impact. Instead, she comes over with natural sweetness and simplicity, as if to say, "Here is a song; would you like to hear it?

And as only liner notes from the seventies can say:

But the first thing this lady is...is just that: a lady - warm, real and in full flower.

One of my favorite tracks on the CD is Saturday Morning Confusion, written by Robert Russell. It reminds me of Saturday mornings when I was a kid!

From the re-release liner notes:

Saturday Morning Confusion is a charming evocation of parenting woes that Burnett, the mother of three daughter, delivers with knowing wisdom. The tune was written by Robert Russell, whose best known composition, The Nights The Lights Went Out In Georgia, was a #1 hit for Vicki Lawrence in 1973 (at the time, Lawrence was both Russell's wife and a featured performer on The Carol Burnett Show.

I’ve got cabaret fever!

It seems every time I turn around (which is often) someone is thinking about, planning, or doing a cabaret night, or one man/woman show! Krystle Armstrong did a one woman show, Thoroughly New York, Christian Duhamel is doing a Songbook Release party, and I've heard Billie Wildrick is thinking about doing a one woman show in the fall (just to name a few). Wouldn't it be neat to have a regular place for artists to perform, for audiences to have a drink or two, to get to know a congenial host, perhaps something along the lines of Jim Caruso's Cast Party in NYC? Or how about Feinstein's at Loews Regency?

Meanwhile, self-starting Thaddeus Wilson is hosting his own one man evening of song at Amore! Thaddeus is a friend of my daughter Myrna, and also a very talented musical theatre triple threat currently appearing in SHOW BOAT at The Village Theatre (He appeared in HELLO DOLLY with Myrna at The 5th Avenue Theatre). His featured special guest, Cayman Jacobs, is playing Julie in SHOW BOAT. This sounds like an evening not to be missed!

From the facebook page:

"A Night Of Musical Theatre", is a show featuring me with songs by Oscar Hammerstein, Richard Rodgers and Lorenz Hart, with accompaniment by Kyle Clark.

The music of the "Golden Age" is my favorite music. With that in mind I decided to dedicate every Tuesday in June to my favorite composers and lyricist. The show will range with songs from shows like South Pacific, Babes in Arms, Higher and Higher and many more!

It's at this incredible little Italian restaurant that carries amazing food, drinks, great service and a wonderful atmosphere. Musical Theatre is my passion, so I am very excited to share my talent and knowledge of musical theatre to Seattle. Shows are at 7 and 9 with a little 10 min break in the middle of the show.

Opening Night is June 23rd. There is a cover charge of 8 dollars at the door. (Soon it will be dinner and a show, all for one price) So come join me for some musical theatre fun until the end of July! For reservations visit www.tasteofamore.com.

Featured Guest: Cayman Jacobs