Results tagged “books” from Blogway Baby

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!

Eeyore is going to steal the show!

I'm very excited to see WINNIE THE POOH at Youth Theatre Northwest because my youngest daughter Trinity will be playing Eeyore!

Opening night is next Friday July 10, so get your tickets now!

From the Youth Theatre Northwest Press release:

Youth Theatre Northwest (YTN) commences it’s 26^th Season and Summerstock program with a magical adventure into the lush 100 acre woods with a stage adaptation of the beloved story Winnie-the-Pooh.  

Winnie-the-Pooh is a fat little bear who would like to drift peacefully through life, humming tunes and stopping frequently to eat “a little something.” However, he finds himself involved in all sorts of franctic adventures with his friends Eeyore, Piglet, and Rabbit. Pooh’s intentions are always the best, but his passion for honey and condensed milk keeps getting him into trouble. When friend Piglet gets roped into Kanga’s house and Kanga starts bathing him (with soap!), Pooh wants to fly to the rescue, but he’s had so many snacks he gets stuck in the door. Can his dear friend Christopher Robin help him now?

Adapted by Kristen Sergel from the popular children’s book by A.A. Milne, Winnie-the-Pooh’s wit and special understanding of young people make this one of the most successful and endearing plays for children.

Winnie-the-Pooh is the first production in Youth Theatre Northwest’s Summer Stock 2009 lineup. Paying tribute to classic stories, YTN will also produce Annie (July 31 – Aug. 9) and Pajama Game (Aug. 21 – 30).

Performance Schedule: Winnie-the-Pooh performs July 10^th through 19^th, Friday and Saturday evenings at 7:00 pm with Matinee performances on Saturdays and Sundays at 2:00 pm. Weekday matinee performances will also be held July 14, 15, and 16 (Tuesday, Wednesday and Thursday) at 2:00 pm. Youth Theatre Northwest is located at 8805 SE 40^thStreet, Mercer Island, WA 98040.

Details:            Friday, July 10^th at 7pm

                        Saturday, July 11^th at 2pm and 7pm

                        Sunday, July 12^th at 2pm

                        Tuesday, Wednesday and Thursday (July 14, 15 and 16) at 2pm

                        Friday, July 17^th at 7pm

                        Saturday, July 18^th at 2pm and 7pm

                        Sunday, July 19^th at 2pm

Tickets for Winnie-the-Pooh are $17 for Adults and $15 for Seniors and Youth (under 18) for the July 10th opening night Gala (which includes an intermission dessert). Tickets for the remaining performances are $15 for Adults and $13 for Seniors and Youth. Discounted group rates are available. For tickets or information, call (206) 232-4145, ext. 109, or visit YTN online at www.youththeatre.org.

Production: 18 students, ages 8 to 13, from Mercer Island, Bellevue, Redmond, Issaquah, Newcastle, Medina, Kirkland and Seattle.

Direction and Design: Adapted by Kristen Sergel and based on the book by A.A. Milne. Directed by Meghan Arnette, set design by Brian Jackson, costume design by Kim Tepe, lighting design by Rob Ward, and props by Stephanie Merrow.

Celebrating it’s 26^thyear, Youth Theatre Northwest “nurtures the intellectual, artistic and personal development of children and youth through drama, education, performing opportunities and live theatre experiences.” YTN is both theatre and school, providing a wide range of classes and programs designed to further theatrical learning, initiate creative play and stimulate intrapersonal development for children and young adults age 3-18. At it’s 200 seat theatre home on Mercer Island, YTN produces 10 annual plays. Additionally, YTN offered 109 classes to Puget Sound students and offers outreach programs to schools and libraries throughout the region.

"...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.

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!

I am so excited for this year’s Tony Awards!

First of all, I’m glad they are done with that whole “we don’t need a host” thing that they did last year. Every awards show needs a host! Thankfully, Neil Patrick Harris will be hosting this year! My oldest daughter Myrna is currently watching old Doogie Howser episodes, and Neil Patrick Harris looks about 6 years old on that show! He didn’t look that young when I watched it!

And that electric keyboard musical theme! But I digress..

Most of all I am thrilled that Hunter Bell is nominated for best book for TITLE OF SHOW! I still remember my “first time” at the 2004 New York Musical Theatre Festival (NYMF), sitting on wooden bench, looking down at Hunter, Jeff, Heidi and Susan perform a show I felt they wrote just for me! I also remember laughing so hard I actually fell off that wooden bench. I’ve been following them (no, not stalking, just following) ever since, reading the TITLE OF SHOW blog, watching THE TITLE OF SHOW SHOW, and even watching Hunter compete in LEGALLY BROWN: THE SEARCH FOR THE NEXT PIRAGUA GUY.

So today as I was casually checking out their site, I noticed there is a “TONY VOTERS CLICK HERE” button on the site. I clicked through, only to be met with a login/password request. Foiled again! So it got me wondering – what marvels lie beyond that login page? What treats? Is it a portal into some kind of musical theatre wonderland?

Sadly, I may never know! All I know is that I’ll be tuned in to The 63^rd Annual Tony Awards on CBS at 8pm on Sunday June 7, with a glass of champagne in my hand, toasting all the wonderfully talented nominees!

Will the real Frank Abagnale please stand up!

It’s funny how something you haven’t seen or thought of in years comes right back to you. During The 5^th Avenue Theatre’s Gala and live auction in April,  the men sang the opening song from the new musical CATCH ME IF YOU CAN by Marc Shaiman (music), Scott Wittman (lyrics) and Terrence McNally (book). As soon as I heard “My name is Frank Abagnale...my name is Frank Abagnale...My name is Frank Abagnale”, the show To Tell The Truth instantly popped into my mind! (I’m guessing they start the show there and flashback...)

I hadn’t thought of that show in years! It was one of my absolute favorite shows (a list that included Beat the Clock and the Watergate Hearings...). I still remember the tune to “Do you know how to tell the truth?”. I loved the trying to figure out who the real celebrity was. And I loved the ending when the host said will the real so and so please stand up. Then the two imposters and the one real celeb would do this shuffle of almost standing up, but then sitting down again, until the real celebrity stood all the way up.

When I saw this clip of Frank Abagnale on To Tell The Truth, I wondered to myself, was it always this easy to tell who the real guy was? I mean, really! And for that matter, could a show like that still work in this day of “everyone’s face everywhere all the time”? It seems a bit weird that people didn’t know who these people were. I guess the internet has changed all that...

To tell the truth, I’m excited to see Frank Abagnale tell his story live and in living color in CATCH ME IF YOU CAN at The 5th Avenue Theatre this summer!

THE CHRISTIAN DUHAMEL SONGBOOK RELEASE PARTY!

Well, I know where I’m going to be on Monday June 8 at 11pm! No, not happily sleeping in bed, but at Martin’s Off Madison in Seattle, happily listening to local artists singing the music from Christian Duhamel’s new songbook, HERE WITH ME. Yes, I know I need my beauty sleep, but this is more important!

Christian Duhamel is an extremely talented Seattle-based actor, singer, dancer, writer, musician, director, musical director and teacher. I’ve been lucky enough to work with Christian on my Adventure Musical Theatre musical THE MERCER GIRLS – Christian was involved in the very first workshop and is now touring with THE MERCER GIRLS cast as “the man of many hats” (and voices), piano player and musical director.  Christian also appeared in The 5th Avenue’s production of SEVEN BRIDES FOR SEVEN BROTHERS as one of the high-kicking and high-jumping suitors!

I was first aware of Christian’s great songwriting talent when I went to see his musical A BEAUTIFUL END at the Freehold Theatre in Seattle this past January.

From the Release Party facebook page:

Join us to celebrate the release of "Here With Me - A Collection of Songs By Christian Duhamel". A concert of local artists singing the music of Christian Duhamel will begin at 11:00 p.m. Tickets will be sold in advance for $5 and a $5 bar/food minimum is required. Martin's Off Madison's Happy Hour will be in effect so come join us for food and drinks prior to and during the concert. Songbooks (including an accompaniment CD) will be available at the concert and can also be purchased in advance for $25. Contact Charissa Bertels at charissa.bertels@gmail.com to purchase tickets and/or songbooks.

Get your tickets now. I hear they are going like “hotcakes”!

Dear Mister Mercer...

The 5^th Avenue Theatre’s Adventure Musical Theatre (AMT) program put on a performance of my musical THE MERCER GIRLS for donors at Downstairs at the 5^th on Tuesday May 12. Very, very exciting! The 5th Avenue Theatre commissioned me (Suzy Conn) to write the book, lyrics and music for a new musical based on the true story of The Mercer Girls, eleven women who travelled from the east coast to Seattle in 1864.

THE MERCER GIRLS is still on tour around Washington state schools, but the cast (Charissa Bertels, Jason Kappus, Christian Duhamel, Jon Lutyens, Anne Kennedy, Sara Parish, Elise Campello, and stage manager Jen Geisler) made a pit stop at DAT5 to do their 95^th performance of the show!

We started with a lovely wine and cheese reception beforehand, and then David Armstrong and Bill Berry introduced the show, talking a bit about the AMT program in general, and THE MERCER GIRLS specifically. This is the 15^th year of AMT, and in their first year they only performed at 20 schools!

It was great to see the amazing set again, and marvel at how the cast sets it up and packs it away after every performance and stuffs it into a van with all the costumes and props!

The show was awesome! The last time I saw THE MERCER GIRLS performed was back in the first week of the tour, and the show has gotten so much tighter and everything is humming along like a well-oiled musical machine! It was extremely rewarding to see the show so beautifully performed. They only have two more weeks of shows before the run is over. I’m going to miss this cast, so I’m definitely going to catch another school performance!

Thanks to the cast, crew and everyone involved at The 5^th Avenue Theatre for making THE MERCER GIRLS a success!

Next year AMT will be touring JOURNEY WEST (the Lewis and Clark story) in rep with BEST OF NORTHWEST BOOKSHELF. I am proud to say that my musical version of LARRY GOT LOST IN SEATTLE made the cut and will be part of BEST OF NORTHWEST BOOKSHELF!

For more information and to book an AMT show at your school, contact Anya Rudnick at The 5th Avenue Theatre.

ROBERT MCKEE Story Seminar in New York City!

Aka “Shut up and listen!”

When I realized I hadn’t been back east for almost two years since I moved to Seattle, I decided a trip to New York was in order. And what better reason to fly 5 hours than to attend Robert Mckee’s famous “Story” seminar. Yes, I had read his book, aptly named “STORY”, but I wanted to experience it first hand since I had heard so many great things about his seminars. So my husband and I signed up,  and started packing!

From the website:

Over three intense days, McKee's Story Seminar effectively demonstrates the relationship between story design and character. Quality story structure demands creativity; It cannot be reduced to simple formulas that impose a rigid number of mandatory story elements. Robert McKee's course teaches you the principles involved in the art and craft of screenwriting and story design, and proves the essence of good story is unchanging and universal. Whether on the big screen, on television, in novels, on stage and in ALL creative work, everything works in the shadow of classic story design.

The seminar ran Friday, Saturday, and Sunday from 9am -8:30pm. Yikes! I haven’t sat for that long in a long time. And it didn’t leave much time to see any shows! I did manage to squeeze in a matinee of EXIT THE KING (Geoffrey Rush is amazing!) and the last 30 minutes of TOXIC AVENGER!

I thoroughly enjoyed the seminar, and having Robert Mckee basically talk us through the book really helped solidify the concepts and ideas in my mind. And he runs these workshops with a iron (and grumpy) fist. No questions allowed except at break time (by then, you’re too scared to ask!) and no cell phones at all. If your cell phone rings by mistake, you have to pay him ten dollars. If it happens again, he kicks you out. And he loves to go off on tangents (aka rants) on the current sad state of movies, and various political topics. Perhaps his grumpiness had something to do with the fact that he had just badly hurt his back playing golf and had to sit the entire time.

One of my favorite parts of the seminar was the screening and anaylsis of CASABLANCA (the seminar really is geared towards the cinema, but the fundamentals of story apply to other mediums as well, such as musical theatre). Plots, subplots, text, subtext all unfolded before us. Interestingly, I don’t remember CASABLANCA being so funny! I chuckled constantly throughout the film. That is until the iconic farewell scene as the last plane out is about to take off. It was then that I realized, to my  horror, that I had left my cell phone on from the last break! Oh no! What to do, what to do? And my cell phone sounds like a jet engine when you turn it on or off!

I thought about making a run for the door, but then in a moment of pure genius, I waited until the screen was full of loud, rotating airplane propellers and I pressed the off button. The jet engine sound of my phone was muffled by the movie! Robert Mckee remained blissfully unawared of my cell phone situation, and I watched the last few minutes of the film peacefully (ignoring the disgusted glare from my husband who couldn’t believe what had just happened!).

Mckee does this story seminar around the world, as well as single days devoted to genres (love, comedy etc.) .I would highly recommend his seminar to anyone who is in the business of telling stories.

The end.

When I read the words "children's jazz puppet show", I just had to post this press release that I got!

Culture Project Presents The Cat Who Went To Heaven,

Captivating Jazz Puppet Show at The Harlem School of The Arts

with Music And Lyrics By Nancy Harrow

Based On The Newbery Award-Winning  Book By Elizabeth Coatsworth

Directed By Will Pomerantz

Six Special Performances Begin Wednesday, May 13, 2009 (suggested donation $10)

New York, NY, April 13, 2009 —  Culture Project  (Allan Buchman, Artistic Director), who brought to the stage the successful, seven season run of the children’s show Maya the Bee, has announced a special, six-performance run of the acclaimed children’s jazz puppet show The Cat Who Went to Heaven at The Harlem School of the Arts Theater (647 St. Nicholas Avenue @141^st Street). Directed by Will Pomerantz, with music and lyrics by Nancy Harrow (creator of the Maya the Bee production), this delightful show is based on the 1931 Newbery Award-winning children’s book by Elizabeth Coatsworth.

The Cat Who Went to Heaven features notable instrumentalists Clark Terry, Kenny Barron, Frank Wess and the voice of Grady Tate.  The delightful tale is about the intertwined fates of a struggling Japanese artist, his housekeeper, a Buddhist priest from the local temple and an inspirational cat named Good Fortune. The story’s timeless message of compassion for all beings resonates with people of all ages.

The Cat Who Went to Heaven brings together contemporary jazz and the traditional Japanese art of “Bunraku” puppetry. The full cast includes the singing voices of Ms. Harrow (as the title cat), Grady Tate (as the Artist), Anton Krukowski and Daryl Sherman, with Kameron Steele as the narrator. The puppeteers include Matt Brooks (as the Artist), Melissa Creighton (as the Cat), with Anna Sobel, Lara MacLean, Kate Katz and Eric Wright.

The full design team includes Jane Catherine Shaw and Amanda Maddock (puppet design and construction), Amanda Maddock (costume design) and Joseph Silovsky (set design).

“The show is a perfect introduction to jazz for children,” said Allan Buchman, Artistic Director, Culture Project. “For more seasoned jazz lovers, the show is an opportunity to enjoy Harrow’s beautiful score while soaking in the visual feast of Japanese Bunraku Puppetry.”

The six performances will take place at The Harlem School of the Arts Theater, 647 St. Nicholas Avenue between West 145th and 141st Streets, New York, NY 10030 as follows:

Suggested donation is $10.  Reservations can be made at 212-479-0829.

Today I had the pleasure of seeing my second Village Theatre Kidstage summer show (see my previous post) - THE SECRET GARDEN. Unlike THE SPITFIRE GRILL, this production was held at the Mainstage, and featured a larger cast of amazingly talented young performers. The costumes blew me AWAY. Plus, the sets were fantastic. They were the same quality that I would expect of a professional show. Flying in and sliding everywhere -- craziness.

The show is based on the novel, The Secret Garden, by Frances Hodgson Burnett, telling the story of a young girl orphaned by a cholera epidemic in India and is sent to live with her uncle who is still haunted by the death of his wife.

From the Director's Notes by Suzie Cameron Bixler in the program:

The Secret Garden is about the power and strength within each of us to deal with life's unexpected challenges. We can be faced with situations that require tremendous strength of spirit. It is not what is thrown at us but how we respond to it.

The Secret Garden is also a story of hope. It is about moving on and finding new life in the face of loss and tragedy. Happiness will come again.

I had never seen this show before, and I had only ever heard one song from it, so this was a brand new show to me. My favorite songs would have to be Winter's on the Wing; Come Spirit, Come Charm; and How Could I Ever Know. The cast was enormous, but I'd like to give a special shout-out to my friends who were in the show - Payton Barronian, Amy Gottlieb, Lindsey Hedberg, Emily Johnson, Alton Lind, Tyler Lord, Kenta Murakami, Emma O'Melia, Connor Russell, Tyler Sawers, Emili Scherrer, Sarah Uptagrafft, and Joell Weil. =D

This show was really amazing. I totally recommend this to anyone who has the ability to come see this show. It runs until the 10th of August and will be totally worth your $14!!!! =) For tickets call the Issaquah box office at (425) 392-2202.

Everybody loves [title of show]! I wish I had been at Borders when the [tos] gang was there singing and signing up a storm! However, here is some photo coverage on BroadwayWorld that I think captures the event well... Check it out =)

From the article on Playbill:

La Jolla Playhouse, by special arrangement with Disney Theatrical Productions, will present a developmental run of Peter and the Starcatchers, billed as a prequel to the story of Peter Pan, in winter 2009.

The new play by Rick Elice, directed by Roger Rees and co-directed by Alex Timbers, will be part of La Jolla Playhouse's Page to Stage program, the same program that launched The Farnsworth Invention, Zhivago, the Tony Award-winning 700 Sundays and I Am My Own Wife, which went on to receive a Pulitzer Prize for Drama.

Based on the popular novel by Dave Barry and Ridley Pearson, Peter and the Starcatchers will play La Jolla Playhouse's Sheila and Hughes Potiker Theatre, in California, from Feb. 13-March 8, 2009. No cast has been announced.

I remember reading and loving Peter and the Starcatchers. It's a really good book, you all should pick it up today. So, I am pretty psyched to hear about this. I wouldn't mind seeing it. Tickets go on sale in September. To buy tickets, we're going to have to probably click here or call (858) 550-1010.

A pig, a spider and a lamb walk into a barn…

I’m so excited to see the play CHARLOTTE'S WEB at Youth Theatre Northwest on Mercer Island, running August 1 to August 10.

Based on the classic book by E. B. White about a little pig named Wilbur with a strong will to live, and a very talented spider, it is a perfect summer play for the whole family.

Of course, I'm a wee bit biased, since my daughter Trinity is in the play! She's the Lamb, as well as a Spectator and a Fair-Goer. They're in pretty seriously intense rehearsals right now and they open next Friday.

CHARLOTTE'S WEB is the second show in YTN's summer series. Next up is Rodgers and Hammerstein's musical CINDERELLA running August 22- 31.

On a special note, this is Youth Theatre Northwest's 25th Anniversary and they have quite the line up planned for the season including INTO THE WOODS, WIZARD OF OZ and FIDDLER ON THE ROOF!

For tickets to CHARLOTTE'S WEB call 206-232-4145, or visit their website.

What a party!

I took my oldest daughter Myrna to see the Seattle Men's Chorus "Funniest Songs" concert with special guest star Leslie Jordan (better known as Beverley Leslie, the hilarious nemesis of Karen Walker on Will & Grace). His Seattle Men's Chorus appearance is one of the first stops on his book tour for "My Life on the Pink Carpet" (we bought a signed copy of course!).

Seattle Men's Chorus is a wonderfully large choir complete with upper first tenors, lower first tenors, upper second tenors, lower second tenors, upper baritones, lower baritones, upper basses and lower basses! Whew! Talk about trying to find your note!

Dennis Coleman is the artistic director, Eric Lane Barnes is the assistant artistic director and Evan Stults is the accompanist of the Seattle Men's Chorus. This concert was choreographed by Kathryn Van Meter, who directed Myrna in LAST EXIT at the Village Theatre. Before I go any further I have to mention Kevin Gallgaher, the ASL interpreter for the Seattle Men's Chorus. While all ASL theatre interpreters do a great job, Kevin is in a class by himself. Not only was he signing, but he did it in a very uniquely rhythmic, theatrical way. We found ourselves listening to the choir, but watching Kevin! He was aweseome.

The evening was fantastic. They started with "Comedy Tonight" and ended with an encore of "Dancing Queen" and Leslie Jordan dressed in gold, go-go dancing on a pedestal. How they got there resulted from a combination of wonderfully funny renditions of wonderfully funny songs like "He Vas My Boyfriend", "Deep Love", "Every Sperm is Sacred", "Be a Clown" and "Sordid Lives", and the hilarious, sometimes touching anecdotes of Leslie Jordan -- growing up in Tennessee with a penchant for bridal dolls and football captains ( along with a father in the military)! He even had a funny story about Debbie Reynolds.

And speaking of Debbie Reynolds, she will be the guest star at the Seattle Men's Chorus "Singing in the Rain" concert in March 2009.

I'm going to get my tickets for that now!

On The Road Again…

Well, they got their act together and now they are taking it on the road! That's right, I saw the first public performance of Northwest Bookshelf 2 at Maple Elementary a couple of days ago. I think that the word "adventure" in the title "Adventure Musical Theatre" actually refers to the adventure that the actors are on! Every school is a different adventure. Sometimes they perform in a big gym, where there is lots of room, but the sound is really boomy. Sometimes they perform in a multipurpose room where the space is a lot smaller and there are stairs to contend with -- there goes the original blocking! Sometimes the musical director (Danny Sullivan) doesn't always have a clear view of the actors. I like to call it "guerrilla musical theatre". Either way, the actors, musical director and stage manager are up for it, and quickly adapt.

The performance at Maple Elementary was great. The whole student body (K-5) was there. It's fun to watch both the students' and the teachers' reactions to the shows. Kids especially love the visual gags, and outrageous costumes. The shows are written as real musicals with lots of word play, but are based on simple stories, so they appeal to both the teachers and the kids. The next performance I saw was at Sanislo Elementary. It was a much smaller school, in a smaller space, so it felt like a more intimate performance. These kids really liked it and like the Maple Elementary kids, asked lots of questions (there's always a question about costume changes!).

This is such an amazing program that the 5th Avenue runs. Watching the kids' reactions is so rewarding as a writer because you know you have made a positive difference in a child's day. And hats off to the troupe -- not only do they give 100% at each performance, they have to set up and break down the set themselves (with the help of Sara Barnes the stage manager) before and after every performance and load it back in to the van!

I've just had the pleasure of meeting (well not quite face-to-face yet) actress Leslie Becker.

Actually she's more like a quintuple threat -- writer, actress, singer, dancer, life coach...

Speaking with Leslie on the phone, I wasn't surprised to learn she wrote The Organized Actor, a best selling day/life planner for working actors. As Leslie says on her Web site:

It's hard to believe 10 years have passed since I pioneered the idea of a day planner for an actor. Little did I know back then, that my book would remain the #1 selling organizational tool for actors for all these years. As a working actress myself, It's been a dream of mine to have a site where actors can come to get resources, products and services for their acting career. OrganizedActor.com is the fulfillment of that vision!

Acting may be what I do. But inspiring others, and empowering them to achieve their dreams really pumps me up! It's never been enough for me to learn something for myself. I LOVE sharing what I've learned with others so that they can learn from the mistakes and pave their own path to success. I hope you'll use my products and services. I use them all myself to keep me organized and on top of my game. They can do the same for you while also inspiring and empowering you to take control of your career and to guide you on a path of career and life fulfillment! I hope you enjoy the site. Be sure to check back periodically as the site will continue to grow and grow. And don't forget to sign up for my FREE monthly newsletter Work IT! It's packed with great tips for workin' your acting career and your life!

Impressively, Leslie has been seen most recently on Broadway in Nine and she received critical acclaim for originating the role of The Queen in the new Broadway tour of Cinderella starring Eartha Kitt. She has also recently appeared as Mary Canty in the off-Broadway production of The Prince and the Pauper and as Meredith Parker in Bat Boy. She also starred in Private Lawrence, a one-woman play inspired by the life of Gertrude Lawrence in NYC. She’s also been featured in Hal Prince's Show Boat, Disney's Beauty and the Beast and as Mrs. Claus in the Radio City Christmas Show.

Now that's an organized actor!

A loyal Blogway Baby reader asked me to suggest some books on writing and producing musicals. There are a million books out there and lots of ways of going about writing new musicals, but I thought I'd give a sampler of some of the books I've read along the way.

First off, listen to as many cast recordings, read as many librettos, and see as many shows on stage as you possibly can. I am a firm believer in learning through osmosis. Learn what you like and what you don't like and why. That will help guide you when start writing.

Secondly, if possible, find someone with whom you can collaborate. I know I wrote the book/music/lyrics to Plane Crazy, but every book you pick up will tell you to avoid that at all costs. I agree. Musicals are collaborative by nature so you can't avoid it, so get a good relationship going early. Even if its just someone to give you pep talks now and then and talk you down off the ledge!

Thirdly, find a topic/story/idea (preferably original or in the public domain!) that you really care about and have a great depth of interest in. This is a long, long process and you can't afford to get sick of your own material early on!

Fourthly (fourthly?) get into a musical theater writing program. BMI holds one in New York, Theatre Building Chicago holds one in Chicago, and more and more colleges and universities are offering workshop writing programs. Educate yourself.

Finally, be prepared to write, write, and rewrite. 'Nuff said.

Here are some of my fav books (inspiring and educational) that I've read (and re-read) along the way:

The Making of Series: The Great Broadway Musicals (My Fair Lady, Gypsy,West Side Story, Cabaret, Guys and Dolls). These books by Keith Garebian are golden. Not only are they full of great insider anecdotes and hilarious stories, they also show you firsthand that musicals are an evolutionary art and "classics" don't happen overnight. As they say, plays with music go into rehearsal and musicals come out of rehearsal.

Everything Was Possible: The Birth of the Musical Follies by Ted Chain. This is about the making of Sondheim's Follies and is considered a must-read.

Making Musicals: An Informal Introduction to the World of Musical Theatreby Tom Jones. This is by the lyricist/librettist of The Fantasticks, and is charming, funny, and very accessible for a beginner.

Also, Lehman Engel has a few on both writing and producing. Browse bookstores (Theatrebooks in Toronto is fab!), go online and just start reading! I always like to read as many as I can so I can start to see the similarities and universalities and weed out the personal biases or angles.

Most of all, enjoy what you are doing! Remember, "there ain't nothin' like a musical...nothin' in the world!"

According to this article in Playbill:

All but two cast members have been announced for the Maureen McGovern-led national tour of Little Women The Musical, which will launch Aug. 30 at San Diego's Civic Theatre.

The Civil War-era sisters of feisty heroine Jo March will be Renee Brna as Meg; Autumn Hurlbert as Beth; and Gwen Hollander as Amy.

Michael Minarik will be romantic John Brooke; Andrew Varela, a Little Women Broadway understudy, will graduate to the role of Prof. Bhaer; and Robert Stattel will reprise his Broadway role of gruff neighbor Mr. Laurence.

Aunt March will be played by Louisa Flaningan.

Casting for the roles of Jo and boy-next-door Laurie have not be announced.

Maureen McGovern will reprise her Broadway role of New England matriarch Marmee on tour. She was nominated for the Drama Desk Award for Best Featured Actress in a Musical for her steely yet warm performance as a mother raising daughters in a time of uncertainty.

A 30-city tour is planned, with San Jose, Columbus, Chicago, Atlanta, Birmingham, Ft. Lauderdale and at Washington D.C.'s Kennedy Center among announced dates.

I believe the casting of Jo will be key. Not only does she have to have the pipes of Sutton Foster, but also the comic timing and charm. Not easy shoes to fill.

I've said it before and I'll say it again -- a cross promotion with American Girlis meant to be. After all, they are stopping in Chicago...

Here's a neat post for all you lyricists and other wordsmiths out there...from this article in Merriam-Webster Online:

What a lovely bunch of vocabularians (persons who make up new words) you are! Lasterday (refers to any day before today) we squinched (action required to fit something into a space that is slightly too small) a schmiglet (a small unit of measurement) of your awesomtastic (so wonderful the words just meld in your mouth) one-of-a-kind entries into this space in preparation for our Top Ten reveal. With so many chizzy (awesome, super, happening) creations to choose from, we admit to becoming a bit flusterpated (a state of being flustered that's so intense, one's actions and words become bound up) and fahoodled (confused, esp. when trying to think of too many things at once). We craughed (to cry and laugh simultaneously), we troddled (to wander around without knowing of doing so), and finally decided to use the schwack (a large amount) of multiple entries received as the basis for the Top Ten -- this is, let's not forget, all about favoritism.

From the thousands of submissions we received, here, then, are the ten words (not in the dictionary) entered the most often:

Top Ten Favorite Words (Not in the Dictionary)

1. ginormous (adj): bigger than gigantic and bigger than enormous

2. confuzzled (adj): confused and puzzled at the same time

3. woot (interj): an exclamation of joy or excitement

4. chillax (v): chill out/relax, hang out with friends

5. cognitive displaysia (n): the feeling you have before you even leave the house that you are going to forget something and not remember it until you're on the highway

6. gription (n): the purchase gained by friction: "My car needs new tires because the old ones have lost their gription."

7. phonecrastinate (v): to put off answering the phone until caller ID displays the incoming name and number

8. slickery (adj): having a surface that is wet and icy

9. snirt (n): snow that is dirty, often seen by the side of roads and parking lots that have been plowed

10. lingweenie (n): a person incapable of producing neologisms

(via BoingBoing)

The best book EVAR!

My fabulous husband gave me a copy of The Theatermania Guide to Musical Theater Recordings, which on the surface may sound a bit like a phone book.

But it is so much fun!

The back cover says:

Reviews of more than 1,000 recordings of more than 600 shows, including information on composers, lyricists, and principal cast members, plot outlines, notes on outstanding songs, record labels, and individual ratings from five stars (superlative) to zero stars (not recommended).

They include all the cast recordings made for a particular show, usually pointing out which is the best one. From famous shows to not-so-famous shows (i.e. ones I had never heard of before, such as Juno) are listed, including lots of interesting details -- for example, whether there is dialogue recorded, who did the orchestrations, if there were changes versus the production. It's like catnip for a cast recording fan!

Plus scattered through the alphabetical listings are "Top Ten All-time Favorite Lists" -- of playwrights, singers, composers (such as Barbara Cook, John Raitt, Kristin Chenoweth, Fred Ebb, and many more)

For example the book lists playwright/librettist (he wrote the book for Kiss Of The Spider Woman) Terrence McNally's Top Ten choices as follows:

1. The Pajama Game (good choice!)
2. A Funny Thing Happened On the Way To The Forum
3. Gypsy
4. My Fair Lady
5. Show Boat
6. Annie Get Your Gun
7. The King and I
8. Guys and Dolls
9. The Music Man
10. Porgy and Bess

I had bought the cast recording of I Had A Ball, a 1962 musical comedy starring Richard Kiley, Karen Morrow, and Buddy Hackett purely on spec -- it looked intriguing.

Listening to Karen Morrow belt out "Almost" and "I Had A Ball" was amazing so I was wondering if she had done anything recently. A quick glance at my new book and I discovered that Karen Morrow is on the Miss Spectacular cast recording, Jerry Herman's latest piece.

I had seen it in stores but didn't pick it up. After reading, "...there's also a love song, 'No Other Music,' that's one of Herman's finest ballads; happily, it gets a perfect reading by the great Karen Morrow." I decided I’m definitely going to go out and pick it up!

While I was in TheatreBooks picking up a copy (finally!) of Reading Lyrics by Robert Gottlieb and Robert Kimball (a collection of more than a thousand of the finest lyrics from 1900 to 1975), I picked up a flyer for"The Song Is You": The Life and Lyrics of Oscar Hammerstein II.

On May 19, for one night only at the Hummingbird Centre, Richard Ouzounian will narrate and direct a show dedicated to the memorable classics penned byHammerstein. With musical direction by David Warrackof the Canada Pops and soloists Elizabeth Beeler, Fred Love, Charlotte Moore (whose CD Friends of Mine I have raved about in a previous post) and Marcus Nance. Also featured will be conductor Noel Edison and the 60 voices of the Toronto Mendelssohn Singers.

Go to www.ticketmaster.ca for tickets.

What a wonderful way to nourish your spirit, while helping to nourish thousands of children and adults struggling with hunger in Toronto!

About a month ago I published this post about the musicalLittle Women which told the story of Alison Hubbard and Kim Oler who won the Rogers Award for Little Women, and were then KICKED OFF THE PROJECT when it went to Broadway.

Well, here's a different, more positive spin on the Little Women story.

I got this message from Kaliya Hamlin:

Hey Suzy, I was noticing your Blog about Broadway. Great Material. I am based in California but I have been working with Little Women the Musical to get their Show Blog up and running. We have been live for over a month and the Cast is about to start posting. This may be a first for a broadway show -- cast blogging. The first posts will be up within the next few days. http://littlewomen.typepad.com is the blog address. Feel free to contact me if you have any questions and I would be happy to put you in touch with folks inside the show to talk about this development.

Cast blogging? I LOVE IT! What a great way to get an inside look at the show...but the cast has to be honest. If it's going to be interesting, it's got to be real. Let's hear about those Broadway rats...

Maybe we can get them to do a guest blog on Blogway Baby!

David Spencer wrote the lyrics to the 1987 musical version of The Apprenticeship of Duddy Kravitz withAlan Menken...how's that for weird synchronicity? Hang onto your hats folks: It's Duddy Kravitz week at Blogway Baby!

From Broadwayworld.com:

David Spencer's The Musical Theatre Writer's Survival Guide, a comprehensive reference book like none ever published before, about creating musical theatre, will be released by Heinemann Publishing on July 25, 2005.

The Musical Theatre Writer's Survival Guide is a wholly unique "guide-to-the-game" filled with never-before-published information ranging from indispensable principles of art and craft to practical considerations of politics and presentation. From the pen of award-winning composer, lyricist, librettist and teacher David Spencer, The Musical Theatre Writer's Survival Guide offers a bracing refresher for industry veterans, an invaluable sourcebook for aspiring musical dramatists, and a lively and accessible look at the form for all musical theatre enthusiasts.

Tony Award-winning composer-lyricists Robert Lopez and Jeff Marx, who shepherded Avenue Q from the BMI-Lehman Engel Musical Theatre Workshop (where they first encountered Spencer as teacher and colleague) to staged readings to Broadway, share their journey and endorsement of Spencer's trade techniques in the foreword.

Spencer's comprehensive guide navigates the complex landscape of developing a musical from the page to the stage, with invaluable, time saving and tried-and-true techniques that can save the beginner years of shooting blindly; and that can likewise rescue the struggling veteran from career-stalling traps, bad habits and false assumptions. Among the topics included in The Musical Theatre Writer's Survival Guide are:

1. What it takes to get your name and project to interested and effective producers.
2. The ten (open) "secrets" of successful musical book construction.
3. The overt and hidden elements of successful musical theatre songwriting.
4. The keys to healthy, effective and fruitful collaboration.
5. Writing musicals for young audiences.
6. Choosing the right director for your project.
7. Assessing and developing relationships with agents, directors and producers.
8. Proper play script formatting.
9. Conceiving, producing and presenting the most effective demo recording of a new score.

DAVID SPENCER is currently writing the music and lyrics for The Fabulist, a 2002 Richard Rodgers Development Award-winning musical for which he also received a 2000 Kleban Lyrics Award and two Gilman & Gonzalez-Falla Theatre Foundation grants. He has been lyricist-librettist for two musicals composed by Alan Menken: Weird Romance (WPA, 1992; York Theatre Mufti, 2004) and, upcoming, The Apprenticeship of Duddy Kravitz. Spencer made his professional debut in 1984 with the English adaptation of La Boheme at The Public Theatre and has since written music and lyrics for Theatreworks/USA's award winning TYA versions of The Phantom of the Opera (cast recording, 1996 world premiere and seven national tours), and 1999's Les Miserables. Books include the original Alien Nation tie-in novel Passing Fancy (Pocket, 1994) and the published libretto of Weird Romance (Samuel French, 1993). Spencer is on faculty at the BMI-Lehman Engel Musical Theatre Workshop and is the Webmaster and principal NY drama critic of the theatrical website Aisle Say (www.aislesay.com). Contact David at ScriptConsult@aol.com for script consultation services, readings, public appearances or lectures.

I get a great weekly newsletter from the ACLCL that has all sorts of great tidbits on Canadian musical theater.

In this week's issue they talk about DUDDY, a musical based on Mordecai Richler's The Apprenticeship of Duddy Kravitz, which was abook (1959), then the movie (1974) that launched the career ofRichard Dreyfuss, and then the Canadian musical in 1984. Or, was it the off-Broadway musical by Alan Menken in 1987? Or is it this onefrom 1997 with lyrics by Edward Gallardo? Or is it this one, also from 1997, with lyrics by Eyal Bitton? How many musical versions of The Apprenticeship of Duddy Kravitz are there?!?

From the ACLCL Newsletter:

DUDDY was a musical based on the book and the movie The Apprenticeship of Duddy Kravitz. April 7, 2005 marked the 21st anniversary of the opening night of DUDDY at the Citadel Theatre in Edmonton in 1984. This past Monday night, many of the cast members had a wonderful reunion party at Grano's Ristorante on Yonge St. in Toronto. And a wonderful time was had by all.

DUDDY was a unique experience mostly because the cast became a family on the first day of rehearsal as we went around the room introducing each and every member of the company. And stellar company it was, starting with writer Mordecai Richler, and working through the cast to David Gale who introduced himself as playing "3rd Jew from the left". They came from all across Canada plus a few from New York. The family survived the loss of its original director, a de-moralizing re-rehearsal period, cancellations of the promised major tour, and an early closing in Ottawa. We bonded on that first day and the love and friendship continues.

Many attended the reunion party and those who couldn't, sent greetings or phoned because they couldn't make it in person. No one forgot. Our special surprise was the presence of Lonny Price, the star of the show (and the heart and soul of it too), who took the time to fly up from New York for the event.

Sadly we have lost some of our family*, but I would like to remember everyone here, because it's important to remember our history. This seemed an appropriate place since everyone on this e-list cares about musical theatre. La Chaim!

The company/family of DUDDY included: Wendy Abbott, B. J. (Judy) Armstrong, Ted Beniades, Jim Betts, Sal Bienstock, Marshall Borden, Jay Brazeau, Howard Cable, Faye Cohen, Ed Connell, Louise Currie, Diane Fabian, Jan Filips, Donald Finlayson, Dom Fiore, Robert Fox*, David Gale, Sam Gesser, Marcy Anne Goldman & Benjy Gutkin, Rosanne Hopkins, Don Horsburgh, Scott A. Hurst, Howard Jerome, Reid Jones*, Judith Lee, Jerry Lieber, Brian Macdonald, Sam Malkin, Larry Mannell, J. Gordon Masten, Clarice McCord, Suzanne Mess, Peter Messaline, Jack Northmore*, Marlane O'Brien, Ted Pearson*, Marshall Perlmuter*, Lonny Price, Max Reimer, Nicholas Rice, Mordecai Richler*, Jason Ross, Stephen Ross, Joey Shulman, Philip Silver, Anna Starnino, Mike Stoller, Vinetta Strombergs, Anne Wootten and "Broadway Joe" Shoctor*.

DUDDY -- The great Canadian musical experience that never made it to Broadway. But those who went through the experience just refuse to forget what a wonderful time it was. May you all have the good fortune of being a part of something so special.

A great big thank you to Cory Doctorow and Boing Boingwho blogged the launch of the Plane Crazy Web site. Thanks guys: Much appreciated.

Cory had some really nice things to say about the workshop he attended last year:

A year ago, I got to see the musical performed at a workshop at Toronto's Poor Alex Theatre and it was fantastic: funny, catchy, engrossing, with a really authentic sixties-kitsch feel: like Hair at 30,000 feet, with seasonings of Jesus Christ, Superstar and Germaine Greer.

I've been a Boing Boing reader since Cory started working on it in 2000, and it's been amazing to see it grow in reach and popularity. I've also known Cory since Down and Out in the Magic Kingdomwas just a glimmer in his eye, and I listened to my husband describe this cool story that Cory was writing as they took the train to a client in Kingston, ON. Cory is a great example of how to succeed in this brutal creative business, and his focus, discipline, and work ethic is something to which all creators should aspire.

Maybe one day someone will write an original musical or a revue about Clinton's presidency. Or perhaps they will just take existing songs and work his story around them.

Well I just found the perfect song (title).

I've been reading a new book called The Rise And Fall Of The Broadway Musical (by Mark N. Grant), given to me by my fabulous husband. I've just started it and the author is still discussing the First Age of Musicals, and in particular the composer Victor Herbert, who wrote "March of the Toys" (from Babes In Toyland), "Gypsy Love Song", and "Kiss Me Again". Well apparently he had another well-remembered song entitled "A Woman Is Only A Woman, But A Good Cigar Is A Smoke".

I kid you not!

These pre-1920 compositions include many hair-raisingly politically incorrect titles that make me cringe.

However, I only feel qualified to report on the ones that are degrading to women, being a woman myself. I'll leave you to read the book to discover the others...

I'm not usually a big SF fan (except for the fabulous works of Cory Doctorow, of course), and I was shocked when I read The Golden Globe by John Varley. From the jacket:

"All the universe is a stage...and Sparky Valentine is its itinerant thespian. He makes his way from planet to planet as part of a motley theater troupe, bringing Shakespeare--a version of it anyway--to the outer reaches of Earth's solar system. Sparky can transform himself from young to old, fat to thin, even male to female, by altering magnetic implants beneath his skin. Indespensible hardware for a career actor--and an interstellar con man wanted for murder..."