Results tagged “dance” from Blogway Baby

Go, go, go see JOSEPH!

My daughter Trinity is in the children's choir for JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT at The 5th Avenue Theatre. She has been rehearsing since August, so it was quite a thrill to finally see opening night on October 15!

JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, with music by Andrew Lloyd Weber and Lyrics by Time Rice, is playing at The 5th Avenue Theatre from October 10 to November 1. Directed by James Rocco, choreographed by Jayme McDaniel and musical directed and conducted by R. J. Tancioco, JOSEPH stars American Idol's Anthony Fedorov as Joseph and Jennifer Paz as The Narrator.

Oh yeah, and fifty two kids!

And these kids don't just sit cross legged on the stage. They are woven into the show and megamix, acting, singing, dancing, carrying corn, candles, and coats!

This has been (so far, since there are still 21 performances to go!) an incredible experience for Trinity, working with professional actors, directors, musicians, design and production crew, hanging out with old friends and making new ones. Luckily for me, Trinity had a few friends who got into the show with her who live close by, so I've been able to carpool -- shout out to the carpool moms!

Everything in this show is original except for the costumes, which I believe are the same design as the ones used in the Donny Osmond DVD. That includes a totally rockin' megamix created by Ian Eisendrath, Albert Evans, RJ Tancioco, Dave Pascal and Davee C. And did I mention Billy Joe Huels (The Pharoah) and his flaming trumpet?

This show is so much fun from beginning to end and features some of the best Seattle talent around, including Rich Gray as Potiphar, Troy Wageman as Levi, Mo Brady as Zebulun, Dane Stokinger as Rueben, Shanna Palmer, Brittany Jamieson, and Charissa Bertels (just to name a few of the extremely talented cast!)

I left the theatre smiling, singing and ponying (of course, that's how I usually leave The 5th Avenue...).

I'll catch up if I can!

I apologize for not blogging more over the summer. It's just that it was hot, hot, hot in my office and when the house temperature reaches my internal body temperature (98 degrees), my brain ceases to function. That means my fingers won't type. Hence, no posts.

But looking back over those lazy, hazy, crazy days of summer, I seem to recall that lots of fun theatre-going was had by the Conns.

For example:

CATCH ME IF YOU CAN at The 5th Avenue Theatre!

DAS BARBECU at ACT!

Highlights:

1. Getting to see Anne Allgood and Billie Wildrick and Rich Gray in the same show! (Oh wait, I already did that with SUNDAY IN THE PARK WITH GEORGE)

2. Love that country music!

3. Now I can talk intelligently about the plot of THE RING with my opera-loving sister :)

4. Becoming members of ACT for only $25! Now I can go see shows as many times as I want for free!

WINNIE THE POOH at YOUTH THEATRE NORTHWEST!

SHOWBOAT at THE VILLAGE THEATRE!

Highlights:

1. Listening to the fabulous voice of Richard Todd Adams as Gaylord Ravenal.

2. Finally seeing this magnificent show in its entirety on stage, and not just the clips from THAT'S ENTERTAINMENT!

3. Getting to meet Maria and baby Nate!

ORANGE FLOWER WATER at ACT

1,000 CLOWNS at INTIMAN

GILBERT AND SULLIVAN at THE SEATTLE REP!

My oldest daughter is looking forward to the last few weeks of summer vacation. Why? because when August arrives, so does The 5th Avenue Theatre's Summer Musical Theater Camp! This will be Myrna's 3rd year at The 5th Avenue's Summer Musical Theater Camp.

This is such a great camp for a number of reasons. First off, this is a skills based camp, where the kids are taught all facets of musical theater (singing, dancing, acting, etc.) and is not just focused on getting a show up. They are exposed to material from everything from golden age musicals to the current shows on Broadway. The parents don't see the final showcase, because the kids perform for each other. This means they can spend the full two weeks learning new material, new skills and then perform for their peers and the staff. Secondly, they are taught by working professionals both from the Seattle area, and from New York. I can't tell you how many times we've seen shows at The 5th Avenue where Myrna has pointed out people on stage who taught her in camp! That kind of access is invaluable. Finally, they create a really supportive environment and she has made really great friends there.

Here is Myrna singing at last year's final showcase!

From the 5th Avenue Website:

Summer Musical Theater Camp

For Aspiring Performers in Grades 7-12
Student Workshop

Do you love to sing dance and act? The 5th Avenue Theatre is proud to offer a unique professional training experience designed for the aspiring middle or high school musical theater performer. This camp offers young performers the special opportunity to gain insight into the life of the professional musical theater artist as well as build the skills necessary to be a successful performer. During this two-week immersion experience students will train like professionals and develop the skills and techniques used by Broadway performers. All classes, studio workshops and master classes are taught by working theater artists with extensive professional credits on Broadway, at nationally recognized musical theatre companies, and at The 5th Avenue Theatre.

Dates: August 10-22, 2009
Week one: Monday-Friday
Week two: Monday-Saturday

We are excited to offer two wonderful opportunities for ages 12-18: a Junior Camp and a Senior Camp. Both camps offer classes in dance, voice and acting and the final day will culminate in an informal presentation where students share their work with one another.

    * Junior Camp for ages 12 -13: This year we have two sessions of Junior Camp to choose from: 10:00am-2:00pm or 2:00pm-6:00pm. Students will take classes in dance, voice and acting for musical theater.
    * Senior Camp for ages 14-18: 10:00am-6:00pm. Students will take classes in dance, voice and acting for musical theater and participate in afternoon master classes and studio workshops.
      *The 5th Avenue Theatre does not provide housing for camp participants

For information, contact Anya Rudnick at 206 625-1418 ext 234 or arudnick@5thavenue.org.

  

Television Gold! (or is that Television Yellow?)

I first saw Mitzi Gaynor in the movie musical Anything Goes with Bing Crosby and Donald O'Connor. One viewing of Mitzi doing "Blow Gabriel Blow", "Anything Goes" and "It's Delovely" and I was a huge fan! Such a fan, in fact, that the name "Mitzi" was on the short list of names for my second daughter (as was "Velma" and "Gladys"...I stopped short of "Daisy Mae").

My wonderful husband of 22 years bought me "MITZI GAYNOR RAZZLE DAZZLE! THE SPECIAL YEARS" for my birthday. Wow! This is an amazing must-see DVD.

From the DVD cover:

In honor of the 50th anniversary of Mitzi Gaynor's blockbuster film, Rodgers & Hammerstein's SOUTH PACIFIC and the 40th anniversary of her first televised special, MITZI GAYNOR: RAZZLE DAZZLE! THE SPECIAL YEARS is an all new documentary that captures the creative excellence, the briliant fusion of song and dance, the glamorous Bob Mackie costumes and the non-stop excitement that were the hallmark of her glittering annual television events. For 10 years, Mitzi Gaynor's annual specials captured the imagination of audiences the world over. Now, for the first time in three decades, experience the groundbreaking Emmy winning performances choreographed by some of the most inflential forces in the world of dance: Peter Gennaro (ANNIE, WEST SIDE STORY), Danny Daniels (THE TAP DANCE KID), Robert Sidney (THE DEAN MARTIN SHOW) and Tony Charmoli (WOMAN OF THE YEAR). Including newly taped interview with Miss Gaynor, Bob Mackie, Kristin Chenoweth, Carl Reiner, Kelli O'Hara, Rex Reed and rare photos and footage from Gaynor's personal archive that illuminate the behind-the scenes stories and impact of her landmark television events.

The present day chats between Bob Mackie and Mitzi Gaynor are worth the price of the DVD on their own! It's so nice to see genuine affection between two artists, and to hear the stories behind the costumes. And what costumes! Mitzi wears sequins, beads, beads and more beads, short dresses, long dresses, dresses that zip up and zip down. As they were always in gorgeous, bright colors! It's like my dream wardrobe! (I can't help it, I like shiny stuff). And the guys costumes are just as amazing!

Speaking of guys, the specials are always just Mitzi and "her dancing boys". No other women in sight! And I recognized on of those guys as a dancer on the Carol Burnett show! I don't know his name but he played the Yankee soldier in the Went With The Wind skit! My favorite special is Mitzi and 100 Guys -- it seemed she had literally every male 1970s tv star on that show! From Captain Stubing to Mannix! Two of my favorite dances are EVERYBODY LOVES MY BABY and PRETTY FOR ME from her first 1968 special Mitzi (watched by 33 million viewers!).

Mitzi seems like such a level-headed woman, someone who really enjoyed her career, and appreciated the good fortune she had, and laughs a lot. There's none of that bitterness or regret, or exploitation/substance abuse stories you so often see in stars when they look back at the "good old days". Not only that, but she was happily married to Jack Bean for over fifty years! I would love to go out to lunch with Mitzi Gaynor and hear more cool stories!

Mitzi Gaynor is currently touring with a one woman show (of course!) called MITZI GAYNOR RAZZLE DAZZLE - MY LIFE BEHIND THE SEQUINS. Here's hoping she comes to Seattle!

One singular sensation of a movie!

Last night I went to the Landmark Harvard Exit movie theatre in Capitol Hill to see EVERY LITTLE STEP, the documentary about casting the revival of A CHORUS LINE.

FIrst of all, the Landmark Harvard Exit is one cool movie theatre! I'd never been before, and I almost drove right by it. The Landmark Harvard Exit is an old woman's club turned movie theatre.

From the theatre's website:

The theatre is located on a quaint, tree-lined street at the north end of Broadway, at Harvard and Roy on Seattle's Capitol Hill. The building in which The Harvard Exit currently resides was originally constructed as a clubhouse for The Woman's Century Club in 1925. The club continues to hold meetings in the lobby, although the building was sold in 1968 for conversion to a movie theatre. In the 1980s, a second auditorium was added in an unused ballroom space on the third floor of the building. One of the very first "art" theatres in Seattle, the Harvard Exit set the standard for the exhibition of independent film and foreign language cinema. Its large and glorious lobby retains a 1920s atmosphere, adorned with a fireplace, a grand piano and chandelier. A recent remodel adds a fully wheelchair accessible restroom on the main floor, expanded concession stand and an inside box office for those rainy Seattle nights.

I had seen the revival of A CHORUS LINE, so I was really excited to see the film. Also, a friend of a friend of ours, Natascia Diaz was figured prominently in the movie since it had come down to her and Charlotte D'Amboise for Cassie. I absolutely loved Natascia in JASQUES BREL at The Zipper.

What I didn't realize is how much footage we would get to see from the original 1975 production of A CHORUS LINE! As a "Hello 12, Hello 13" teenager I had lived and breathed that cast album (as a record of course) and sheet music when it was released, but had never seen the show until the revival in 2006.

Seeing Donna Mckechnie do The Music and The Mirror dance was unbelievable. She was other-worldly. Don't get me wrong, Charlotte D'Amboise was fantastic, but Donna Mckechnie defied description. You just have to see it. And she was just a wisp of a thing!

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 laughed, I cried, I sang along!

I am embarrassed to say that I had never seen SHOW BOAT on stage before! Yes, I'd seen scenes from the movie (thanks to THAT'S ENTERTAINMENT!) several times, and yes, I knew a lot of the songs, but no, I'd never actually seen that seminal musical. SHOW BOAT with music by Jerome Kern, and book and lyrics by Oscar Hammerstein II, is based on the novel SHOW BOAT by Edna Ferber. The Village Theatre production is directed by Jerry Dixon, choreographed by Stanley Wesley Perryman and is music directed by Bruce Monroe and Tim Symons.

I was excited to see this production of SHOW BOAT because a friend of mine, the extremely talented Richard Todd Adams (who starred as Brett Mansford in my musical PLANE CRAZY in New York, and most recently played the Phantom in the national tour of THE PHANTOM OF THE OPERA) is playing Gaylord Ravenal. Rick is a great leading man because not only does he have an incredible voice, but he also has a wonderful sense of comic timing!

I was also looking forward to seeing Kathryn Van Meter in the role of Ellie May Chipley. I worked with Kathryn on the Village Theatre KIDSTAGE production of SAVE AS..., so I was really looking forward to seeing her onstage.

From the SHOW BOAT program:
Climb aboard for the story of SHOW BOAT, a show that spans 47 years in the lives of Cap’n Andy Hawks and his troupe of entertainers. The curtain opens aboard the Cotton Blossom, a showboat docked in Natchez Mississippi. A handsome riverboat gambler, Gaylor Ravenal, is charmed by Magnolia Hawks, an aspiring performer and the daughter of Cap’n Andy. Meanwhile, the company’s leading lady, Julie, and her husband Steve are struggling against persecution by the law as an interracial couple, which was considered a crime at the time. One of the most majestic scores in musical theatre buoys this vivid chronicle of changing lives in changing times and the passion, pride, love, and betrayal of the period.

I loved this show! I was so surprised at show contemporary and fresh and alive the whole show felt. I can only imagine what the audience reaction must have been like in 1927 when it originally opened on Broadway!

The whole cast was amazing. I could listen to Rick’s voice all night long, and together with Megan Chenovick as Magnolia, it was a perfect duet. I didn’t realize Old Man River came so early in the show. It was beautifully sung by Ekello Harrid Jr. And Kathryn was simply delightful alongside Greg Allen as Frank Schultz! And the whole show skipped along nicely at 2 hours and 45 minutes. The sets and costumes and orchestra are terrific as well. All in all, a thoroughly delightful evening.

Fish gotta swim, birds gotta fly, and I gotta go see SHOW BOAT again!

  

Now this is why I miss New York!

The Astaire Awards, presented by Ava Astaire in tribute to her Father and Aunt, will be held this year on June 1^st at 7:30pm in The Haft Auditorium at the Fashion Institute of Technology in New York City.

Wow. What a night! Alan Cumming will host the evening, with Liza Minnelli presenting Stanley Donen with The Douglas Watt 2009 Lifetime Acheivement Award, Georfffrey Rush presenting The Best Choreography in Film Award and Bebe Neuwirth presenting the Best Male Dancer Award!

Here are the nominees from Broadwayworld.com:

BEST BROADWAY CHOREOGRAPHER NOMINEES:

9 to 5: Andy Blankenbuehler

Hair: Karole Armitage

Billy Elliot: Peter Darling

Guys and Dolls: Sergio Trujillo

Pal Joey: Graciela Daniele


BEST FILM CHOREOGRAPHER NOMINEES:

Mamma Mia: Anthony Van Laast

Slumdog Millionaire: Longines Fernandes

Center Stage Turn It Up: Aakomon "AJ" Jones

Make It Happen: Tracy Phillips

Fados: Patrick De Bana and Pedro Gomes

High School Musical 3: Kenny Ortega

Were the World Mine: Todd Underwood



BEST FEMALE DANCER NOMINEES: 

West Side Story: Karen Olivo

Rock Of Ages: Angel Reed, Katherine Tokarz, Savannah Wise

Guys and Dolls: Kearran Giovanni

You're Welcome America. A Final Night with George W Bush: Pia Glenn



BEST MALE DANCER NOMINEES:

Billy Elliot - role of Billy: David Alvarez, Trent Kowalik and Kiril Kulish

Billy Elliot - role of Michael: David Bologna, Frank Dolce

White Christmas: Jeffry Denman

Pal Joey: Matthew Risch



The Astaire Awards, established 26 years ago by the Anglo-American Contemporary Dance Foundation, recognize outstanding achievement in dance on Broadway each season. The awards were established with the cooperation of Fred Astaire to honor him and his sister, Adele, who starred with her brother in 10 Broadway musicals between 1917 and 1931. In 2008 the Awards were expanded to include dance in choreography for film as this was the métier that brought Fred Astaire to international fame and a permanent slot on every list of the top movie stars of the century.



In addition to the Awards Ceremony, the show will include some of the best live Broadway and Hollywood dance numbers! Holy Top Hat Batman! Not only that, but a friend of mine and extremely talented playwright, Randall David Cook, is writing the show (you know, the stuff that is said between numbers and awards, and creating the order of events!) So that means I am one degree of separation from Liza...just sayin’!

i have a sudden urge to put on my tap shoes!

My walk-on role in HELLO DOLLY at the 5^th Avenue Theatre!

The critics agree -- I was a hit!

At last year’s 5^th Avenue Theatre Gala, I bid for and won a walk on role in HELLO DOLLY. I was really excited, but it seemed like it was so far away for so long. Finally HELLO DOLLY opened on March 12 and my walk on was imminent!

The whole walk-on experience is amazing and so professionally handled. First, you pick your date and then you have to send them your measurements (gulp). Then as you get closer, you have your costume fitting! I tried on a petticoat, a day coat, a collar ruffle and some wonderful Mary Poppinesque lace up boots.

The evening of March 27 had arrived. At 7pm I was greeted at the stage door by a photographer and Lonnie Angle, who is the Special Projects Managaer at the 5^th Avenue Theatre (and trust me, I’m a special project!). The photographer started snapping shots and didn’t stop until I was in full costume!

First Lonnie showed me the show bricks! Every show that has played at the 5th Avenue Theatre has a personalized brick in the wall! It’s really amazing to see these artistic, amazing bricks (Sweeney Todd was my favorite). Then it was off to my dressing room – it even had a gold star with my name on it on the door! Yes, I had my own dressing room while Cornelius, Barnaby and Ambrose all had to share one, not to mention all the female interns squished into one dressing room! C’est la vie!

My dressing room was adorned with flowers, copies of my bio, a HELLO DOLLY poster signed by the cast, and a 5^th Avenue chocolate bar! I was joined by my daughter Myrna, who was a performance intern for the show (squished into the aforementioned intern dressing room!).

First I got into my costume, and chose a hat. I chose the beige gloves and the beige hat with the feathers to go with my beige costume (don’t pull focus!). Then it was off for tech talk! This was really, really fun and interesting. Not only did I get more pics take of me onstage, but I got to see how “the magic” happens backstage. The whole backstage is like a puzzle. To move a set piece, another set piece has to move first. And then there’s the stuff hanging from the celing. And by “stuff” I mean Irene Malloy’s hat shop! Large set pieces are dangling securely and have to be lowered and raised as needed. I saw the train on which I (and many others) would be riding for “Put on Your Sunday Clothes”. The train would be pulled and pushed by the stage crew – ouch!.The people who work backstage are truly the hardest working people in showbiz!

A quick rehearsal with  my wrangler (cast member Karen Skrinde) and I was done with my tech talk!

Just before the show started I was lucky enough to have my picture taken with lots of cast members – Pat Cashman (Horace Vandergelder), Krystle Armstrong (Ermengarde), Mo Brady (Barnaby Tucker), Rich Gray (Rudolph), just to name a few! Then it was off to make up and wig! I even have pictures of me in my flattering wig cap! I wore an auburn wig, and my hat. I was ready for my grand entrance.

The walk on role occurred in the reprise of the “Put On Your Sunday Clothes” number, as the train arrives. I waited in the wing during the first part of that number, which was thrilling. I was so close to the cast who were singing their hearts out! Then it was time! Cast members Ty Willis and Karen Skrinde guided me across the stage and onto the train where I proceeded to wave my arm off, and throw a thousand kisses as the train made its way across the stage! The lights! The music! It was thrilling!

Then it was back to my dressing room to de-costume and de-wig! Before you could say “holy cabooses” I was seated next to my husband and daughter Trinity in the theatre watching the rest of the show, which included my daughter Myrna who performed in a blonde wig in “Before The Parade Passes By”!

Thanks to Lonnie, cast and crew of HELLO DOLLY for giving me a magical night I’ll never forget!

Next year’s walk on roles were auctioned off at the 5^th Avenue Gala on April 18, 2009. Up next? Another starring walk-on role in ON THE TOWN!

BROADWAY FIT at the 5^th Avenue Theatre

(aka “this BROAD found a WAY to get FIT”)

Well, after months of intense sitting and typing, I thought I need to get the old circulation going again! But I needed some motivation, so I signed up for the 5th Avenue Theatre’s Broadway Fit spring class. For $150 I get class once a week from April 8 – June 10. That’s right every Wednesday from 6:30pm  - 7:45pm I’ll be rocking it out to Broadway tunes with class instructor Troy Wageman (who played Gaston in BEAUTY AND THE BEAST at Village Theatre and who appeared in CABARET and HELLO DOLLY at the 5^th Avenue Theatre).

This class is perfect! We do warm ups and then learn a dance combination to a Broadway song. Just the right amount of sweat and fun! The first class we learned a JERSEY BOYS combination to “Oh What A Night”. It’s really fun because I recognize the choreography from the show (mixed in with a litte Troy-ography) and I’m doing it!

I can’t wait to see what we do this week. The class takes place at DAT5 (Downstairs at the 5^th) and it is still full of SUNDAY IN THE PARK WITH GEORGE rehearsal props and such, so we had a little less room than we would normally. Once SUNDAY is on stage we’ll really be able to travel with our combination! Woot! Woot!

I’m pretty good at picking up the combinations, but I really need to work on my abs!

This year (in addition to doing Urinetown =S) I had the pleasure of doing the 5th Avenue Theatre's Musical Theatre Camp. It ran from August 11-23 at the Theatre Puget Sound facilities in the Seattle Center... which was quite convenient because Urinetown was just downstairs! There were 4 groups of "Seniors," and then one group of "Juniors." The Seniors had class from 10-6, while the Juniors had class from 10-3. It was SOO MUCH FUN!

The camp consisted of 5 classes every day (for the Seniors) with an hour break for lunch =) Some of the classes were Song Interpretation, Vocal Technique, Text Analysis, Fundamentals of Dance, and Broadway Dance! In addition to these classes, we were cast in four production numbers (with all the Juniors doing their own). I was in Paris Original (from How to Succeed in Business Without Really Trying), but the other three numbers were The Three Bs from Best Foot Forward, The Ballad of Sweeney Todd from Sweeney Todd, and Jellicle Songs for Jellicle Cats from Cats!

I really love this camp because the final performance isn't open to parents or those who aren't involved in the camp. Unlike other theatre camps that I've been involved in, the pressure of the last performance isn't really there, making the process of putting these numbers together much more fun!

I definitely recommend the 5th Ave classes and workshops to anyone who is interested in musical theatre or even wants to make it their career, because they have amazing instructors and valuable information for anyone who loves to perform!

One Singular Sensation! (lol tis a bit overused but WHATEVS)

Last week I saw the Saturday matinee performance of A CHORUS LINE's national tour at the Paramount Theatre. It was CRAMAZING! Oh my goodness, I think this was the best production of CHORUS LINE that I've ever seen. This tour opened in Denver, CO at the Buell Theatre on May 4, 2008. Seattle is the 5th stop on the tour.

The cast was stellar. Of course, my favorite was Hollie Howard as Maggie - see her bio here (scroll down). Notice how under "Favorites" there's the one, the only PLANE CRAZY! She was also fantastic as Holly Banks in the NYMF 2005 production of PLANE CRAZY. Other favorites included Jessica Latshaw as Kristine, Colt Prattes as Al and u/s Mike, Clyde Alves as Mike, Gabrielle Ruiz as Diana, and Kevin Santos as Paul! However, everyone was really good and brought a new dimension to their character that I had never seen in any A CHORUS LINE production before.

The set was the same as the Broadway revival that I saw in New York (which closes today... tear). Simple yet powerful. The choreography was old school CHORUS LINE (well of course) and... everything was just fabola. Paul's speech moved me (and my dad, the fantastic Microsoft employee and avid theatre fan Grad Conn) more than ever before, and What I Did For Love was even more poignant with Gabrielle Ruiz's spectacular performance as Diana Morales... who coincidentally sings my favorite song in the show, Nothing.

In conclusion, WOW. I would definitely count this show as one of my favorite theatre experiences ever, and you should definitely check it out if it's coming to a theatre near you! Check out the tour schedule here.

From an article on Playbill.com:

Complete casting has been announced for the Broadway production of Billy Elliot—The Musical, which will begin previews at the Imperial Theatre Oct. 1 with an official opening scheduled for Nov. 13.

As previously announced, young actors David Alvarez, Kiril Kulish and Trent Kowalik will alternate in the musical's title role.

Haydn Gwynne, who created the role of dance teacher Mrs. Wilkinson in the show's original London cast, will repeat her work for Broadway audiences. Also cast are Gregory Jbara as Dad, Tony winner Carole Shelley as Grandma and Santino Fontana as Tony. David Bologna and Frank Dolce will alternate in the role of Billy's friend Michael with Stephen Hanna as Billy's Older Self, Joel Hatch as George, Leah Hocking as Mum, Thommie Retter as Mr. Braithwaite and Erin Whyland as Debbie.

The ensemble will comprise Juliette Allen Angelo, Tommy Batchelor, Kevin Bernard, Grady McLeod Bowman, Heather Burns, Maria Connelly, Samantha Czulada, Kyle DesChamps, Eboni Edwards, Brianna Fragomeni, Greg Graham, Darrell Grand Moultrie, Eric Gunhus, Meg Guzulescu, Izzy Hanson-Johnston, Keean Johnson, Aaron Kaburick, Donnie Kehr, Cara Kjellman, Kara Klein, David Koch, Jeff Kready, Stephanie Kurtzuba, David Larsen, Caroline London, Merle Louise, Marina Micalizzi, Mitch Michaliszyn, Matthew Mindler, Tessa Netting, Daniel Oreskes, Jayne Paterson, Liz Pearce, Corrieanne Stein, Jamie Torcellini, Grant Turner and Casey Whyland.

I saw Gregory Jbara originate the role of Andre Thibault in Dirty Rotten Scoundrels on Broadway (with John Lithgow, Norbert Leo Butz, Sherie Rene Scott, and Joanna Gleason). He was quite fantastic. I haven't listened to the Billy Elliot soundtrack yet, but I am interested in seeing the show. I mean, they don't even have to put the name on the poster.......

From the E-mail Advertisement Sent Out:

DON'T MISS EXCERPTS FROM THE SOUL OF A WOMAN

EXPERIENCE AN ARTISTIC EVENING WITH WONDERFUL TALENTS SUCH AS FELICIA LOUD, MARION NESBY, MELISSA NOELLE GREEN, CHERI PAVI DAWSON, DONALD BYRD AND MORE. TICKETS ARE AVAILABLE AND MOVING :-) PURCHASE YOUR TICKETS TODAY AT http://www.brownpapertickets.com/event/35678.

Dancer and choreographer, Vania C. Bynum debuts her 2nd major production, Excerpts from the Soul of a Woman on July 11th and 12th at 7 pm in the Broadway Performance Hall. Her first production, sponsored by the Allied Arts Foundation and Microsoft, raised over $13,000 for victims of hurricanes Katrina and Rita.

Excerpts from the Soul of a Woman showcases a diverse array of Seattle's best talent including Spectrum Dance Theater's Donald Byrd, Jerboa Dance, Northwest Tap Connection, Felicia Loud, Melissa Noelle Green, Roy Warren, Marion Nesby; and Cheri "Pavi" Dawson's Dance Inspired Art Installation. The show is highlighted by a new work entitled We All Suffer, inspired by Female Faces of War, a powerful documentary produced by Moni T. Law, Esq. and directed by independent film maker Kiya Bodding, We All Suffer explores how the effects of war are shared by women across the globe. Purchase your tickets now at http://www.brownpapertickets.com/event/35678

"As women of this world, we are unique individuals with similar stories in life" -- Vania C Bynum

The production of Excerpts from the Soul of a Woman offers an opportunity to educate, encourage, and empower women of all backgrounds while celebrating their existence. It is made possible with support from 4Culture - King County, the Mayor's Office of Arts & Cultural Affairs, Bossak Heilbron Foundation of New York, Langston Hughes Performing Arts Center, the Central District Forum CREATION PROJECT Grant, Shunpike, and individual contributions.

Bynum is dedicated to a vision of serving others through art. She imparts this awesome vision through Arts for the Greater Good, a non-profit organization she founded in 2005 dedicated to utilizing artistic gifts to serve others. In addition to serving the community through Arts for the Greater Good, Bynum also serves through Liturgical Dance Ministry at New Beginnings Christian Fellowship. In April 2008, she offered the inaugural Liturgical Dance Workshop at Spectrum Dance Theatre in Seattle.

See Excerpts from the Soul of A Woman - PRESS RELEASE

Roy Scheider, who starred as Bob Fosse in one of my most favorite movies ever, All That Jazz, has died. I know he wasn't a musical theatre performer but he did such an amazing job in that film. Whenever I'm tired, I still look in the mirror and say "It's showtime!"

Roy Scheider, a character actor who in the 1970s found an unlikely career as a leading man, died on Sunday afternoon in Little Rock, AR, the New York Times reported. He was 75 and lived in Sag Harbor, N.Y.

Mr. Scheider, who was born in Orange, NJ, in 1932, was imbued with a naturalistic, rough-hewn intensity, and a lean, masculine face which suited the film industry of the 1970s, when experimental directors were searching for actors with greater street authenticity. His breakthrough came in 1971 when he played a pimp in "Klute," and, the same year, was Det. Buddy Russo, Gene Hackman's partner in the brutal police thriller "The French Connection." The latter part earned him an Oscar nomination for Best Supporting Actor.

He won international stardom as the police chief of a small harbor town trying to grapple with the arrival of a killer shark in the blockbuster "Jaws." Playing opposite Robert Shaw's deranged seaman and Richard Dreyfuss' excitable scientist, Mr. Scheider's realistic performance anchored the horror thriller in a humane reality. He also appeared in "Jaws II" three years later.

His second and last Oscar nomination came for Bob Fosse's autobiographical movie musical "All That Jazz," in which Mr. Scheider, lean, bearded and clad in black, played an onscreen version of the self-destructive choreographer-director as he veered toward professional and personal disaster. The film called upon Mr. Scheider to sing and dance, as well as act; his success in acquitting himself in these fields surprised many critics.

Following youthful forays into the military and sports (his broken nose was the result of the New Jersey Diamond Gloves Competition), he moved to New York to try acting. His professional debut was at Joe Papp's New York Shakespeare Festival, playing Mercutio in a production of Romeo and Juliet. He won an Obie Award for his appearance in the play Stephen D in 1967, and made his Broadway debut in 1965 in a William Ball-directed production of Tartuffe at the ANTA Washington Square. Other theatre credits include The Alchemist and The Year Boston Won the Pennant.

Mr. Scheider returned to the theatre in 1980, appearing with Blythe Danner and Raul Julia in Harold Pinter's backwards-traveling play about infidelity, Betrayal. It was directed by Peter Hall and played 170 performances.

In 2003, he starred in the title role in Christopher Trumbo's work Trumbo at the Westside Theatre.

He continued to work in films into the 1980s and 1990s, but his opportunities were not as memorable as his landmark '70s movies. Among his credits of this time were "Blue Thunder," "2010," "52 Pick-Up," "The Fourth War" and "Romeo Is Bleeding."

A composer friend of mine told me he is going to Miami to shoot some video of a dancer he knows there.

"Oh really," I said, "and who would that be?"

"Cuban Pete" he said.

Wow! Cuban Pete! That guy is super famous! I mean, Desi Arnaz gave him the nickname Cuban Pete! Apparently my friend is really good friends with Pete -- he's his personal videographer. So how cool is that!

Here's a great link from the Planet Salsa Web site on the Mambo craze that gripped North America in the 1950s, and the role that Cuban Pete and his dance partner Millie Donay played.

And of course that got me thinking of Mambo Kings, the movie (with Armand Assante andAntonio Banderas, the latter who starred in the Nine revival on Broadway with Jane Krakowski who I mentioned briefly in a previous post!) which showcased Cuban Pete and Millie Donay on the dance floor.

Which got me thinking of Mambo Kings the Musical (produced by Daryl and Jordan Roth) which is coming to the Broadway Theater in NYC this summer.

Which made me think about writing this post.

Mamma love Mambo!

Or...don't try this at home kids!

All through high school, when I was stuck in the chorus, my opening night celebrations tended to include rushing home to catch the last 15 minutes of Love Boat or Fantasy Island.

So at university, when I finally landed a major role as Gladys Hotchkiss in Queen's Musical Theatre's production of The Pajama Game(directed by Mike Stotts who now works as Managing Director of the Long Wharf Theatre in Connecticut) I wanted to do opening night a little differently.

We opened at the Grand Theatre in Kingston on a February Friday night in 1984 so of course Kingston was cold and very snowy. (And of course I wore a Laura Ashley shirt with shoulder pads to the opening night party).

I was taking a Commerce degree at Queen's University so when I joined Queen's Musical Theatre, I had finally found a place where I fit in and felt like me (even though I was the only Commerce student in the production!). Mike Stotts had been worried about my performance as Gladys and I had to have some extra rehearsals. I tended to be a performer who (not on purpose) holds back in rehearsal and really comes alive in front of a live audience. So on opening night (according to audience members) I had really done a bang-up job as Gladys and landed my funny lines and created some good onstage business. Needless to say I was flying high, even before the party started.

I don't...umm...remember much of the party...umm...but I do remember walking home through the snowbanks with a couple of cast members, still wearing my character shoes (hey, they were black and went with my party outfit!). I also remember arriving at Chown Hall residence with only one shoe on. I had lost my shoe in a snowbank! Worse than that I had lost one of my dancing character shoes in a snowbank! Part of my costume was gone! And I had a show the next night, which my parents would be attending!

Now, back in the 1980s in Kingston, character shoes were hard to come by. I had bought my size 9s at Malabar in Toronto. I was totally freaked out (as only a hung over university student can be...). How was I going to do "Steam Heat" without my trusty character shoes?

So I screwed up my courage and called my mother first thing Saturday morning. I told her I was missing one shoe, so she just had to rush down to Malabar and get a pair of size 9 black character shoes before she and my father hit the highway to drive to see me that night. "How did you lose your shoe," she asked.

I believe my answer was sufficiently vague and guilty sounding that somehow she understood. She couldn't guarantee anything but she would try. So I waited in agony all day -- would I have shoes to dance in? Would my theatrical career end before it had even started? And worse, how was I going to break it to Mike Stotts? He would be none too pleased...

Well, the theater Gods smiled upon me that day and my parents showed up just in time at the stage door with a brand new shiny pair of size 9 black character shoes and I sang and danced my way to a standing ovation (well, at least my mom and dad were standing!). I even got a smile out of Mike. But I never found the missing shoe.

As for the closing night party...let's just say, I remember it well.

Well, now I really understand that scene inWhite Christmas where the cast is rehearsing the dance number "Choreography" with Danny Kaye andVera-Ellen, up at the chalet. As you know, all the women dancers are barefoot, dressed in dull grey dresses and instead of "chicks doing kicks" they are doing modern choreography while DK sings "through the air they'll be flying, like a duck that is dying, instead of dance it's choreography!"

Last night my husband and I went out to see Dream Machine at Theatre Passe Muraille. We hadn't seen a show there since The Drowsy Chaperone! It really is a nice, small space. It had received four "N"s in NOW magazine. Written by Blake Brooker and David Rhymer, and featuring Denise Clarke, Andy Curtis, Michael Green, Onalea Gilbertson and Brad Payne, it is billed a "The spirit of the Beats conjured in a hallucinogenic, genre-defying musical".

What is a Dream Machine I hear you ask? In the program they describe it as follows:

"The Dream Machine was a light/flicker-producing device invented by Biron Gysin and Ian Sommerville in 1960. It was meant to transport the user into a waking dream state. The inventors knew that it was capable of producing a drugless high and hoped that it would become a common household appliance. It never caught on."

Instead, we got the cappuccino machine.

The program goes on to say:

"The Beat Movement and its activities were many and varied: proponents advocated experimentation in all forms -- faith, food, sex, travel, art and work and through this, formed their own strange orthodoxy. Dream Machine started off as a musical investigation of the lives os some of the Beat luminaries (William Burroughs, Allen Ginsberg and Brion Gysin) then it became something else. Fittingly, perhaps, and under the sway of the furious experimentation and playfulness the Beats were famous for, we began to experiment ourselves. Could we create a musical without characters or plot? Could we musically induce in the audience the emotions of these courageous, idiosyncratic, and frustrated minds?"

Yes and no. The evening was nicely sustained on one "slice of Beat life" after another, as the songs explored the angst, the drugs, the sex etc. And the rear projection added to the whole effect. I'm not sure whether it was the piece , or the Beat movement itself, but the whole thing felt empty, sort of soulless. I didn't feel any connection to the actors, it was very egocentric, like one big navel gazing party. Maybe that was the point?

Maybe too much time has passed. The continuous drug fuelled angst and sex orgies on stage seemed less controversial and shocking and new, and more tired and annoying.

Although the lyrics were fun to follow, the music was a bit wallpapery and not very engaging or fun (or God forbid, catchy) as opposed to the memorable drug songs from the musical Hair.

Also, I couldn't help thinking of the Mike Myers movie So I Married An Axe Murderer as the actors recited some jumbled verse. And I half expected Vera-Ellen to descend from the rafters, ready to relieve us with some good ol' fashioned tapping.

However, it was fun live theater. The actors were great to watch in such a small space. Denise Clarke was especially captivating. The way her body moved was compelling -- strong,flowing, freakish at times. She was so deep into this piece that she no longer appeared to be acting.

I had a good time, but I wouldn't see it again and I probably wouldn't recommend it. But hey, I'm still thinking about it...

I started up dance/aerobics classes again with the great Sarina Condello on Friday! I took a session last year at this time and it was sooooo amazing.

Unfortunately any strength and flexibility I may have built up last year is gone and I'm starting from zero again (sigh). The class participants were assembled by Elaine Overholt, singer and vocal coach extraordinaire (she vocal coached Richard Gere, Rene Zellweger and Catherine Zeta-Jones during the filming of the movie musicalChicago). I used to take vocal lessons with Elaine many moons ago, but now my oldest daughter Myrna has that honor.

Anyway, the people in the class are all singers/writers/musical theatre performers so it is a great group. Meredith Shaw and Giovanni Amenta who played Janet and Brett in the Plane Crazy workshop last March are back for this session too. Actually Sarina's class was how I met them and eventually cast them in the workshop. BTW, Meredith will be appearing inLittle Shop of Horrors as Chiffon from March 23 through 26 at the Isabel Bader Theatrehere in Toronto. (All proceeds donated to the Toronto People With Aids Foundation). And there were a couple of newbies in class today too.

Sarina's teachings focus on the African origins of dance and rhthym, with Latin, Arabic and modern dance thrown in too. I'm not usually the type of person who gets spiritual and in touch with the earth, but Sarina's enthusiasm and lack of pretense are so wonderfully inclusive and infectious that I can't help but discover my inner warrior!

By the end of the eight weeks I'm fully expecting to be a lean, mean dancing machine (and maybe touch my toes if I'm lucky!)