‘ELF: THE MUSICAL’: Grey Henson & cast. Photo: Evan Zimmerman for MurphyMade.

ELF: THE MUSICAL
Book by Thomas Meehan & Bob Martin
Music by Matthew Sklar
Lyrics by Chad Beguelin
Choreographed by Liam Steel
Directed by Philip Wm. McKinley
Through January 4, 2025
Marquis Theatre
210 W. 46^th Street
https://elfonbroadway.com/

By Scott Harrah

Breaking holiday news: Elf: The Musical has finally been revived after 14 years, and this production is glossier and more gleeful than ever. It has been slightly updated for a 2024 audience with jokes about TikTok and other things that are topical in the 2020s. Based on the hit 2003 film starring Will Ferrell, the musical stage adaptation of Elf was originally produced on Broadway in 2010, directed and choreographed by Casey Nicholaw.

Those who have seen the movie Elf might remember the plot. Buddy (Grey Henson) is an overgrown 30-year-old innocent from the North Pole who travels to New York City to find his father, Walter Hobbs (Michael Hayden). Upon finding his father at the office, a hard-nosed workaholic, with no time for his family, Buddy discovers he has a stepmother, Emily (Ashley Brown) and a half-brother, Michael (Kai Edgar). While working at Macy’s, he also finds a girlfriend, Jovie (Kayla Davion). Complications arise as Buddy tries to adjust to his new life in New York, and that’s what makes it so much fun. Buddy discovers that New Yorkers have lost their belief in Santa and have little Christmas cheer, and it is his obligation to bring it all back.

Great book & score

Elf: The Musical has a great book by Thomas Meehan and Bob Martin. What’s more, the score by Matthew Sklar and Chad Beguelin (both wrote the musical adaptation of The Wedding Singer) is joyful and bubbly. Two songs are standouts. “The Story of Buddy the Elf” is an old-fashioned showstopper, and “A Christmas Song” (featured in both act one and act two) should be a holiday classic by now.

A gifted cast

First, Grey Henson (Shucked) is consistently charming as Buddy. He has great comic timing and genuinely seems to be having fun throughout the show. In addition, Kayla Davion (Tina: The Tina Turner Musical) shines as his girlfriend Jovie. She is the woman he meets while working at Macy’s. Ms. Davion is sassy and has great chemistry with Mr. Henson, and her powerful voice is a total crowd-pleaser when she belts out her solo song “Never Fall in Love (With an Elf).”

Furthermore, Sean Astin (known for Lord of the Rings and Netflix’s “Stranger Things) is sublime in dual roles as both Santa Claus and publishing executive Mr. Greenway. Newcomer Kalen Allen is spunky and quick-witted as a store manager at Macy’s and also as a hot dog street vendor.

Fine supporting performances are also given by Ashley Brown (Mary Poppins) as Emily Hobbs, Buddy’s stepmother; Kai Edgar as Buddy’s little half-brother, Michael Hobbs; and Tony Award nominee Michael Hayden (Judgment at Nuremberg) as Walter Hobbs, Buddy’s biological father.

More festive

On the whole, this revival of Elf: The Musical is actually much more festive the original 2010 production, thanks to razor-sharp direction by Philip Wm. McKinley, Liam Steel’s energetic choreography and clever scenic and costume design by Tim Goodchild, lighting design by Patrick Woodroffe, video design by Ian William Galloway and Mesmer Studios, and others responsible for the Yuletide visual effects. The show is full of holiday cheer and is winning family holiday fare. Spoiler alert: Watch out for Santa’s sleigh hovering above the audience and lots of snow during the grand finale.

Published November 17, 2024
Reviewed at press preview on November 16, 2024

‘ELF: THE MUSICAL’: Grey Henson & cast. Photo: Evan Zimmerman for MurphyMade.

‘ELF: THE MUSICAL’: Sean Astin. Photo: Evan Zimmerman for MurphyMade.

‘ELF: THE MUSICAL’: Kayla Davion & Grey Henson. Photo: Evan Zimmerman for MurphyMade.

‘ELF: THE MUSICAL’: Kai Edgar & Grey Henson. Photo: Evan Zimmerman for MurphyMade.

‘ELF: THE MUSICAL’: Michael Hayden (center) & cast. Photo: Evan Zimmerman for MurphyMade.

‘ELF: THE MUSICAL’: The cast. Photo: Evan Zimmerman for MurphyMade.

‘ELF: THE MUSICAL’: Michael Hayden, Ashley Brown, Kai Edgar, Grey Henson & Kayla Davion. Photo: Evan Zimmerman for MurphyMade.

‘ELF: THE MUSICAL’: Kalen Allen. Photo: Evan Zimmerman for MurphyMade.

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‘THE WIZ’: Wayne Brady (center) & cast. Photo: Jeremy Daniel.

THE WIZ
Book by William F. Brown
Additional material by Amber Ruffin
Score by Charlie Smalls
Directed by Schele Williams
Choreography by Jaquel Knight
Marquis Theatre
1535 Broadway at 45th Street
(877-250-2929), www.WizMusical.com

By David NouNou

Believe it or not, it was the original The Wiz that actually saved Broadway in the 1970s. Broadway was dangerous—from 42nd Street going northbound, there was a lot of crime and drugs. Geoffrey Holder, the great director and designer, reimagined The Wizard of Oz as an Afro-centric fantasy and turned it into one of the most exciting, original, and innovative musicals. It rescued the commercial New York theatre industry and started filling seats on Broadway.

This version is not as innovative or clever as the original production. Sure, it still has the classics of “Ease on Down the Road,” “Believe in Yourself,” “Home,” and “He’s The Wiz,” but now it uses more camp than genuine humor. The humor here, in most cases, seems a bit forced. However, this is still a fun show.

Dorothy (Nichelle Lewis) gets caught in a tornado, her house splits, and lands in Oz, killing the Wicked Witch of the East. There is no Toto nor any munchkins here. Glinda is the Good Witch of the South (played by the ever-gorgeous Deborah Cox). She warns Dorothy to put on the silver sneakers and never give them to the Wicked Witch of the West because they are the only thing that will keep her safe and get her back to Kansas. In order to do that, she has to go see the Wizard to grant her wish.

Along the way she meets the Strawman, who like to be called Dorothy (Avery Wilson, who needs a brain). Next is the Tinman (Philip Johnson Richardson), a rusty old tinman who wants a heart to feel.  Finally, the cowardly lion (Kyle Ramar Freeman) is seeking courage. They join forces to see the Wizard and are derailed by Evillene (Melody A. Betts), making them go through a poppy field.

They eventually wake up, end up in Oz and meet the Wizard (Wayne Brady), and what a handsome Wizard he makes. He asks them for proof that they killed Evillene. By now he has shown himself as a fraud and flees. With the help of Glinda, they all possessed what they wanted but had to find out for themselves.

Nichelle Lewis as Dorothy is a delight and has a lovely singing voice. Wayne Brady is dynamic and charming as The Wiz. R&B legend Deborah Cox is one of the show’s highlights, and her powerful vocals on such songs as “He’s the Wiz” with Addaperle (Allyson Kaye Daniel) and the townspeople are a bright spot in the first act. The direction by Schele Williams isn’t exactly crisp or original.  It relies mostly on cheap jokes, letting the actors do their thing with very loose discipline until it gets a laugh.  Jaquel Knight’s choreography is rhythmic and delightful. If you want to relive the fun of The Wiz, this is the time for it.

Editor’s note: This is the last review by David Nounou, written two days before he passed away on April 27, 2024. Everyone at StageZine remembers David fondly and we all miss him.

Edited by Scott Harrah
Published May 9, 2024
Reviewed at April 24, 2024 press performance

‘THE WIZ’: Deborah Cox & Nichelle Lewis. Photo: Jeremy Daniel.

‘THE WIZ’: Kyle Ramar Freeman, Nichelle Lewis, Phillip Johnson Richardson & Avery Wilson. Photo: Jeremy Daniel.

‘THE WIZ’: Deborah Cox. Photo: Jeremy Daniel.

‘THE WIZ’: The cast. Photo: Jeremy Daniel.

‘THE WIZ’: Nichelle Lewis & Melody A. Betts. Photo: Jeremy Daniel.

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THE GROUNDBREAKING MUSICAL

THE WIZ WILL OPEN ON BROADWAY ON WEDNESDAY, APRIL 17, 2024

 LIMITED ENGAGEMENT BEGINS PREVIEWS MARCH 29, 2024 AT MARQUIS THEATRE

New York, NY– Producers Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, Ambassador Theatre Group, Kandi Burruss and Todd Tucker announced that the all-new production of the Tony Award-winning hit musical The Wiz will open on Broadway on Wednesday, April 17, 2024, in a limited engagement at the Marquis Theatre (210 West 46th Street). Preview performances will begin on March 29, 2024.

To sign up to be the first to buy tickets to this highly anticipated Broadway musical, please sign up for first access at www.wizmusical.com. The Wiz will go on sale exclusively to fans on November 3, 2023 starting at 10 AM ET before going on sale to groups and the general public.

The Wiz launched its pre-Broadway national tour last month with a triumphant opening in Baltimore, where the musical had its original world premiere nearly 50 years ago. The Baltimore engagement is sold out.

The Broadway cast will feature Nichelle Lewis as Dorothy, Deborah Cox as Glinda and Melody A. Betts as Aunt Em and Evillene, Kyle Ramar Freeman as the Lion, Phillip Johnson Richardson as the Tinman, Avery Wilson as the Scarecrow, and Wayne Brady as The Wiz. The Wiz ensemble includes Maya Bowles, Shayla Alayre Caldwell, Jay Copeland, Allyson Kaye Daniel, Judith Franklin, Michael Samarie George, Collin Heyward, Amber Jackson, Olivia Jackson, Christina Jones,Polanco Jones, Kolby Kindle, Mariah Lyttle, Kareem Marsh, Anthony Murphy, Cristina Rae, Matthew Sims Jr, Avilon Trust Tate, Keenan D. Washington, and Timothy Wilson.

‘THE WIZ’: Funny man & ‘Let’s Make a Deal’ host Wayne Brady plays The Wiz & R&B icon Deborah Cox plays Glinda.Photo: Courtesy of OMDKC.

Featuring a book by William F. Brown and a Tony Award-winning score by Charlie Smalls (and others), director Schele Williams (The Notebook, revival of Disney’s Aida), award-winning choreographer JaQuel Knight (Beyoncé’s “Single Ladies,” Black is King), additional material by Tony-nominated and Emmy-nominated writer and TV host Amber Ruffin (“The Amber Ruffin Show,” “Late Night With Seth Meyers”), Joseph Joubert (music supervision, orchestrations, & music arrangements), Allen René Louis (vocal arrangements, music arrangements), and Emmy Award®-winning music director and Grammy Award® -winning writer, Adam Blackstone (Dance Music Arranger), are conjuring up an Oz unlike anything ever seen before. A dynamite infusion of ballet, jazz, and modern pop will bring a whole new groove to easing on down the road.

 The Wiz design team will include scenic design by Academy Award-winning Hannah Beachler (Black Panther, Beyoncé’s Black is King and Lemonade), costume design by Emmy Award-winning and two-time Academy Award-nominated Sharen Davis (Ray, Dreamgirls), lighting design by Barrymore Award-winning Ryan J. O’Gara (Thoughts of a Colored Man), sound design by Jon Weston (Parade), projection design by Daniel Brodie (Motown the Musical), wig design by Charles LaPointe (MJ the Musical) and make-up design by Kirk Cambridge-Del Pesche (The Piano Lesson).

The production will include ‘Everybody Rejoice’ music and lyrics by Luther Vandross, as well as the ‘Emerald City Ballet’ with music by Timothy Graphenreed.

Joining the producing team with Kristin Caskey, Mike Isaacson, Brian Anthony Moreland, Ambassador Theatre Group, Kandi Burruss and Todd Tucker are Elizabeth Armstrong, James L. Nederlander, Hudson/Mann, Cody Lassen/Matthew D’Arrigo, Independent Presenters Network, Amanda DuBois Productions/Ari Edelson, Dori Berinstein, Spencer Ross/Stephanie Cowan, Terry Schnuck/Gabrielle Palitz, Pippa Lambert/Alissa Norby, Gina Vernaci, Common, DECO Entertainment, MC Lyte, Patty Baker, Marlene & Gary Cohen, Concord Theatricals, The Fabulous Invalid, Fakston Productions, Brian & Nick Ginsberg, Gabrielle Glore, Grove Entertainment, Haffner-Wright Theatricals, House Woods Productions, John Gore Organization, Kawana Entertainment, Willette Klausner, MMC Productions, Lamar Richardson, Runyonland Productions, Erica Lynn Schwartz, The Shubert Organization, Lu-Shawn Thompson, Lana Williams-Woods, The Araca Group, Blakeman-Robinson Entm’t/Ricardo Marques, Robert Tichio/Score 3, Best Yet Entertainment/Branden Grimmett, Dkim Caldwell/Mickalene Thomas, DMQR Productions, Jason Turchin, Epic Theatricals/Jeffrey Grove, Joel Glassman/Westin Hicks, Jamrock Productions/Sonya Houston, Sally Johnston/Ann Scott, Judith

The Wiz launched a national tour in Baltimore, MD, home of the 1974 world premiere of the musical opening September 24, 2023, and performances are currently playing through September 30, 2023. Following its run at the Hippodrome Theatre, the tour will slide into Emerald cities across the country before it begins its limited engagement on
Broadway. Additional information on tour cities, venues, performance schedules and single ticket on sale dates are available at WizMusical.com. Fans can now sign up for an email newsletter with up-to-date information as well as follow The Wiz on social media
channels.

Based on L. Frank Baum’s children’s book, “The Wonderful Wizard of Oz,” The Wiz takes one of the world’s most enduring (and enduringly white) American fantasies, and transforms it into an all-Black musical extravaganza for the ages.
The Wiz premiered on Broadway in 1975 and became an instant sensation, going on to win seven Tony Awards including Best Musical, Best Original Score, Best Featured Actor in a Musical (Ted Ross), Best Featured Actress in a Musical (Dee Dee
Bridgewater), Best Choreography (George Faison), and in a Broadway first, Best Direction of a Musical and Best Costume Design (Geoffrey Holder). “Ease on Down the Road” became the show’s break-out single, and “Home” has since become a
bona fide classic. That original production ran for four years (first at The Majestic Theatre and later at The Broadway Theatre) – and 1,672 performances – on Broadway. A 1978 film adaptation starred Diana Ross, Ted Ross, Mabel King,
Richard Pryor and Lena Horne, and marked Quincy Jones’ first collaboration with Michael Jackson.

For more information, please visit the following:

www.wizmusical.com

www.facebook.com/thewizbway

www.instagram.com/thewizbway

www.twitter.com/thewizbway

The post ‘The Wiz’ opening on Broadway in April 2024 appeared first on StageZine.

‘ONCE UPON A ONE MORE TIME’: The cast. Photo: Matthew Murphy.

ONCE UPON A ONE MORE TIME
Book by Jon Hartmere
Based on music performed & recorded by Britney Spears
Creative Consultant David Leveaux
Directed & choreographed by Keone & Mari Madrid
Marquis Theatre
1535 Broadway at 45th Street
(877-250-2929), www.OneMoreTimeMusical.com

By David NouNou

The hubris in  Jon Hartmere’s book for Once Upon a One More Time is both silly and ludicrous—expecting most audience members attending this insipid show to know about Betty Friedan and her 1963 book The Feminine Mystique. It seems only my middle-aged partner and I attending Friday evening’s performance found the mention of the book hilarious. When Cinderella (Briga Heelan) meets fairy Godmother, O.F.G (Brooke Dillan), our heroine is given Friedan’s feminist manifesto  to read to understand women’s lib. She’s supposed to free herself of the fairy tale chains. When Cinderella marries the prince in the end for the requisite “happily ever after,” the joke about the mention of Friedan and her book landed like a thud. However, our raucous laughter at that line had nearby audience members looking at us and wondering what was so funny. The irony of the moment escaped all the tweens and the 40-something wannabe tweens. Britney Spears is indeed a pop icon, but what does she have to do with feminism? This is one of the many confusing notions tossed into this mess of a jukebox musical.

Cinderella had a very busy year this year. In the last 12 months, she’s been featured in no less than three musicals. She was first featured in Stephen Sondheim’s brilliant City Center revival of Into the Woods where she finds out that marrying the prince doesn’t necessarily mean it ended happily ever after. Her woes just began.

In the second incarnation was the dreadful Andrew Lloyd Webber musical Bad Cinderella which in comparison to this would be a masterpiece. In Webber’s version, she’s a bad girl who refuses to marry the prince because she discovers a whole new world out there.

In this third abysmal version, she is referred to as Cin. She and her sisters Snow White, Rapunzel, Sleeping Beauty, Little Mermaid are all dating the same Prince Charming (Justin Guarini);  Belle, Esmeralda, Goldilocks, Little Red Riding Hood are not dating him but are thrown in for good measure to complete the fairy tale characters. Cin helps teach all these young ladies to break the chains of the characters they portray and think outside the box. Now you will ask yourself what the heck does all this have to do with “Based on the Music Performed and Recorded by Britney Spears”? Absolutely nothing. The songs—including all the Britney classics from “Baby One More Time” and “Oops…I Did It Again” to “Toxic and “Stronger”— and the dance moves are wedged in to no effective advantage or advancing the narrative in this lame storyline, other than giving the tweens and the 40-something wannabe tweens an excuse to shriek, snap, holler, and whistle every time they hear one of her songs or recognize one of the dance steps. Truth be told, Ms. Spears’ songs were put to much better use in last fall’s excellent production of & Juliet.

Adding to the confusion, one wonders how much of the music and songs were on pre-recorded tracks because we never really see the musicians—other than a screenshot of musicians projected onto the stage at the end of the show.

I will end this review on a high note. Thank God for Jennifer Simard as the Stepmother. Her mere presence—whether in the musicals Disaster or Company—always manages to breathe oxygen into any part she plays.

Edited by Scott Harrah
Published July 10, 2023
Reviewed at July 7, 2023 press performance.

‘ONCE UPON A ONE MORE TIME’: Briga Heelan. Photo: Matthew Murphy.

‘ONCE UPON A ONE MORE TIME’: Brooke Dillman (center) & cast. Photo: Matthew Murphy.

‘ONCE UPON A ONE MORE TIME’: Justin Guarini & cast. Photo: Matthew Murphy.

The post ‘Once Upon a One More Time’ a jukebox mess appeared first on StageZine.

NEW YORK—In celebration of the musical’s first Broadway preview tonight, Tony Award-winning producers James L. Nederlander and Hunter Arnold have released a special sneak peek video clip of “Crazy” from rehearsals of Once Upon A One More Time. The new musical, powered by the music of Grammy Award-winning pop icon Britney Spears, begins performances tonight, Saturday, May 13, 2023 at the Marquis Theater in New York City.

Helmed by internally acclaimed, Drama Desk-nominated Director & Choreographers Keone & Mari Madrid (Beyond Babel, Karate Kid), Once Upon a One More Time is an electrifying and witty new musical comedy featuring an original story written by Jon Hartmere (bare, The Upside). Fully authorized and licensed by Britney Spears post-conservatorship, and inspired by an idea she proposed, the musical weaves the chart-topping hits of the undisputed Princess of Pop – including “Oops I Did It Again,” “Lucky,” “Circus,” “Toxic”, and more – into a brand-new kind of fairy tale. When Cinderella, Snow White, and other storybook heroines gather for book club, they always discuss the same book, Grimms’ Fairy Tales — because as far as they know, it’s the only book that’s ever been written. That is, until a rogue fairy godmother drops The Feminine Mystique into their corseted laps. From now on, “happily ever after” will never be the same.

Leading the Original Broadway Cast of the musical, which will celebrate its official opening night at the Marquis Theater on Thursday, June 22, 2023, are Briga Heelan (“Great News”, “Ground Floor”) will star as Cinderella, Justin Guarini (“American Idol”, Wicked) as Prince Charming, and Aisha Jackson (Frozen, Paradise Square) as Snow White, reprising the roles they originated in the world premiere production of Once Upon a One More Time, which played a sold-out, extended engagement at the Tony Award-winning Shakespeare Theatre Company (STC), in Washington, D.C, from November 29, 2021-January 9, 2022. Joining the cast for the Broadway premiere are two-time Tony Award nominee Jennifer Simard (Company, Mean Girls) as Stepmother, two-time Tony Award nominee Adam Godley (The Lehman Trilogy, Hulu’s “The Great”) as The Narrator, comedienne Brooke Dillman (“The Wayne Brady Show”, “The Office”) as The O.F.G. (Original Fairy Godmother), Ryann Redmond (Frozen, Bring It On) as Stepsister Belinda, and Tess Soltau (Wicked, “The Good Fight”) as Stepsister Betany.

Gabrielle Beckford (The Prom 1st Natl. Tour, Gloria: A Life at A.R.T.) will play Rapunzel, Ashley Chiu (KPOP at Ars Nova, She Said) is Sleeping Beauty, Nathan Levy (Dear Evan Hansen) is Clumsy, Ryan Steele (Newsies, Matilda the Musical) is Prince Erudite, Morgan Whitley (American Psycho, The Greatest Showman) is Princess Pea, and Lauren Zakrin (Harry Potter and the Cursed Child, Natasha, Pierre and the Great Comet of 1812) is Little Mermaid. Rounding out the cast are Matt Allen (Escape to Margaritaville, Something Rotten), Liv Battista (Billie Eilish Tour, Beyond Babel) as Belle, Jacob Burns (Hamilton Tour), Pauline Casiño (“Little Voice” on Apple TV+, Candace Brown’s The Soul Spot) as Esmeralda, Selene Haro (Beyond Babel) as Gretel, Joshua Daniel Johnson (Disney’s Sneakerella) as Prince Brawny, Amy Hillner Larsen (The Marvelous Wonderettes, Hairspray Tour) as Goldilocks, Justice Moore (Hamilton, “The Marvelous Mrs. Maisel”) as Red, Kevin Trinio Perdido (Almost Famous, Fire Island The Musical) as  Prince Mischievous, Mikey Ruiz (Beyond Babel) as Prince Gregarious, Salisha Thomas (Beautiful: The Carole King Musical), Josh Tolle (Kinky Boots 1st Natl. Tour, The Heart of Rock & Roll) as Prince Suave, Diana Vaden (Tootsie, Mack and Mabel at Encores!) as Swing, Mila Weir as Little Girl, Stephen Scott Wormley (The Lion King, “The Blacklist”) as Prince Affable, and Isabella Ye as Little Girl.

The world premiere production of Once Upon a One More Time played a sold-out, extended engagement at the Tony Award-winning Shakespeare Theatre Company (STC), in Washington, D.C, from November 29, 2021-January 9, 2022, and was praised as “ingenious, and improbably funny” (Washingtonian). The musical was described as “an evening of buoyant delight” by The Washington Post critic Peter Marks, who also wrote in a feature on the production, “Once Upon A One More Time is one of the most ambitious new musicals in a theater world awakening to a creative new day – a most unlikely cultural mash-up, reframing a bevy of storybook characters in an enlightened, modern context.”  NPR said the show, “combines fairytales, Betty Friedan and Britney Spears in a large-scale, Broadway way, resulting in clever, uproarious fun. Who couldn’t use a little more fun these days?”  DC Metro Theater Arts raved the show is, “inspiring! A full-fledged, Grade A, gold star success… and exactly the party we need right now. It is as thought-provoking as it is toe-tapping, as clever as it is hilarious, as bold as it is shiny. I predict it will be an intergenerational smash.”

Joining the Madrids and Hartmere on the musical’s creative team are five-time Tony Award nominee David Leveaux (Nine, Romeo and Juliet on Broadway, NBC’s “Jesus Christ Superstar LIVE”) as Creative Consultant, Tony Award-nominated Scenic Designer Anna Fleischle (Hangmen, Everybody’s Talking About Jamie), Costume Designer Loren Elstein (Rosencrantz and Guildenstern Are Dead), Tony Award-winning Lighting Designer Kenneth Posner (Wicked, Beetlejuice), Sound Designer Andrew Keister (KPOP, On Your Feet!), Tony-nominated Projection Designer Sven Ortel (Newsies) and Drama Desk nominated Wig Designer Nikiya Mathis (Death of a Salesman, Chicken & Biscuits). Casting is by Hardt Casting (West Side Story).

TICKETS AND SCHEDULE

Tickets are on sale at Ticketmaster.com, or in person at the Marquis Theatre Box Office (210 W 46th Street).  Groups of 10+ can call: 212-840-3890 or 800-714-8451. A limited number of $47 tickets will be available for each performance via digital lottery at https://lottery.broadwaydirect.com/show/omt-ny/. For performances through June 24, the playing schedule for Once Upon a One More Time is Monday–Saturday at 8:00PM, with matinees on Wednesdays and Saturdays at 2:00PM. Beginning June 27, the regular playing schedule is: Tuesdays and Thursdays at 7:00PM, Fridays at 8:00PM, Wednesdays and Saturdays at 2:00PM & 8:00PM, Sundays at 3:00PM. Holiday weeks may vary, and there are no matinees on May 17 or May 24. Beginning September 5, the Wednesday schedule is 7:00PM only, and the Sunday schedule is 2:00PM & 7:00PM. Visit the offical website at https://onemoretimemusical.com/

Sneak peek of  ‘Crazy’ rehearsal video for Once Upon a One More Time, new musical empowered by the hits of Britney Spears

Videos courtesy of Vivacity Media Group.

Animated logo for Once Upon a One More Time. Click below for video.

The post ‘Once Upon a One More Time’ starts Broadway previews appeared first on StageZine.

NEW YORK— Tony Award-winning producers James L. Nederlander and Hunter Arnold are pleased to announce the complete cast for the Broadway premiere of Once Upon A One More Time, the new musical comedy that flips the script on famous fairytales, powered by the music of Grammy Award-winning international pop icon Britney Spears. Helmed by internationally acclaimed, Drama Desk-nominated director & choreographers Keone & Mari Madrid (Beyond Babel, Karate Kid), the musical begins previews Saturday, May 13, 2023, at the Marquis Theatre in New York City, and celebrates its opening night on Thursday, June 22, 2023. Tickets are on sale at Ticketmaster.com/877-250-2929.

Briga Heelan. Photo: Courtesy of Vivacity Media.

Joining Briga Heelan (“Great News”, “Ground Floor”) as Cinderella, Justin Guarini (“American Idol”, Wicked) as Prince Charming, Aisha Jackson (Frozen, Paradise Square) as Snow White, two-time Tony Award nominee Jennifer Simard (Company, Mean Girls) as Stepmother, and two-time Tony Award nominee Adam Godley (The Lehman Trilogy, Hulu’s “The Great”) as The Narrator, are comedienne Brooke Dillman (“The Wayne Brady Show”, “The Office”) as The O.F.G. (Original Fairy Godmother), Ryann Redmond (Frozen, Bring It On) as Stepsister Belinda, and Tess Soltau (Wicked, “The Good Fight”) as Stepsister Betany.

Two-time Tony Award nominee Jennifer Simard. Photo: Sarah Jenkins.

Broadway veteran Ryann Redmond. Photo: Courtesy of Vivacity Media.

Justin Guarini as Prince Charming. Photo: Emilio Madrid.

For more information, please visit https://onemoretimemusical.com/

The post Show featuring Britney Spears’ hits starts previews 5-13-23 appeared first on StageZine.

‘TOOTSIE’: Santino Fontana & cast. Photo: Matthew Murphy

TOOTSIE
Book by Robert Horn
Music & lyrics by David Yazbek
Directed by Scott Ellis
Choreographed by Denis Jones
Marquis Theatre
1535 Broadway at 45th Street
(877-250-2929), www.TootsieMusical.com

By David NouNou

Based on the brilliant 1982 movie starring Dustin Hoffman, I have to say Tootsie is one of the better adaptations of movies in recent memory. Credit must be given to Robert Horn for an intelligent, bright and imaginative book. It is fresh and to its credit veers slightly from the movie to enable it to have a different slant.

Michael Dorsey (Santino Fontana) can’t land an acting job because of his exacting and infuriating difficulty of doing a part without having to question the parts motivation. He gets fired from every audition. His former girlfriend, Sandy (Sarah Stiles) comes over one night with a script entitled Juliet’s Nurse. Michael is supposed to help her get a better understanding of the part. It is a musical based on Romeo and Juliet; this takes place after Romeo dies but, in this version, Juliet is still alive and the nurse helps her recover. Michael decides to audition for the part of the nurse, and enters as Dorothy Michaels. Of course the show is awful, but Dorothy not only lands the part of the nurse but, with sheer determination, steers the show to a resounding success.

Michael is so desperate to land an acting job that he never considers any of the complications that will arise. For one thing, he falls in love with Julie Nichols, the young lady who plays Juliet (Lilli Cooper). Further complications arise when Romeo’s brother, Chris (John Behlmann) falls madly in love with the nurse/Dorothy Michaels. Dorothy turns a flop to a huge success and has to sign a two-year contract and has to continue being a woman. Michael gets the part and the stardom that he always wanted, but he also comes to a breaking point with all the conflicts he created.

What Mr. Horn has cleverly done is taken the TV setting out, in which Michael auditions for a part in a soap opera; now Michael auditions for a Broadway show which makes it more relatable to the audience who are seeing a Broadway musical. The rest stays true to form, more or less. The book is abetted by a bouncy score from David Yazbek. Last year, Mr. Yazbek won a Tony for the score of The Band’s Visit. While that show’s score was rich and haunting, this is upbeat standard Broadway fare.

The cast, although not dynamic, is effective. Santino Fontana as Michael/Dorothy doesn’t have the luxury to develop these two characters the way Dustin Hoffman did in the movie. In the theater it becomes more of a quick-change artist rather than morphing from one character to the other. Since the audience is already in on the joke, his transitioning becomes easier and less demanding.

Lilli Cooper is charming as Julie Nichols but lacks the vulnerability of the character that draws her to Dorothy/Michael. She is too independent to be taken in. Sarah Stiles, as the neurotic Sandy in desperate need of a part and validation, comes across a tad too shrill in the beginning but is quite effective in the end. John Behlmann as Dorothy’s ardent suitor is perfect as the narcissistic brain-dead actor. Julie Halston as the show’s producer is a delight.

Credit has to be given to director Scott Ellis, as this is his second show this season, the first being the brilliant revival of Kiss Me, Kate currently at Studio 54. The man has taste and knows how to keep things moving at a quick pace. He has taken a familiar story and presented it in new terms as a musical that is worth visiting and enjoying.

Edited by Scott Harrah
Published April 26, 2019
Reviewed at April 25, 2019 press performance.

‘TOOTSIE’: Santino Fontana & Lilli Cooper. Photo: Matthew Murphy

‘TOOTSIE’: Santino Fontana. Photo: Julieta Cervantes

‘TOOTSIE’: Santino Fontana & Lilli Cooper. Photo: Matthew Murphy

‘TOOTSIE’: Santino Fontana (right) & company. Photo: Matthew Murphy

‘TOOTSIE’: (left to right) Julie Halston, James Moye, Santino Fontana, Lilli Cooper & John Behlmann. Photo: Matthew Murphy

‘TOOTSIE’: (left to right) Leslie Donna Flesner, Shina Ann Morris, Santino Fontana & Julie Halston. Photo: Matthew Murphy

‘TOOTSIE’: Santino Fontana & Andy Grotelueschen. Photo: Matthew Murphy

‘TOOTSIE’: Lilli Cooper & cast. Photo: Matthew Murphy

‘TOOTSIE’: Reg Rogers (center) & cast. Photo: Matthew Murphy

‘TOOTSIE’: Lilli Cooper. Photo: Matthew Murphy

‘TOOTSIE’: Sarah Stiles & Andy Groteluesche. Photo: Matthew Murphy

‘TOOTSIE’: Santino Fontana (center) with (left to right) Drew King, Leslie Donna Flesner, Sissy Bell & John Arthur Greene. Photo: Julieta Cervantes

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‘BEETLEJUICE’: Alex Brightman & Sophia Anne Caruso. Photo: Matthew Murphy

BEETLEJUICE
Music & lyrics by Eddie Perfect
Book by Scott Brown & Anthony King
Based on the 1988 movie Beetlejuice
Directed by Alex Timbers
Winter Garden Theatre
1634 Broadway
(212-239-6200, https://beetlejuicebroadway.com/

Editor’s note: This review is from the 2019 production, starring Alex Brightman, Rob McClure and Sophia Anne Caruso.  The show has some new cast members and is now playing at the Marquis Theatre.

By Scott Harrah

Beetlejuice is a rare gem in the genre of Hollywood movie adaptations for the Broadway stage. While following the main narrative from the 1988 Tim Burton film, Beetlejuice expands on the story of Goth teen Lydia (played with panache by rising 17-year-old star Sophia Anne Caruso), making her the central female character. The musical is a theme park unto itself and a fun, offbeat roller-coaster ride from start to finish. It stands out as a superior adaptation for so many reasons, but mostly due to Scott Brown and Anthony King’s clever book and outrageously effervescent performances by Alex Brightman, Leslie Kritzer and Ms. Caruso, plus whimsical sets by David Korins and over-the-top costumes by William Ivey Long.

It’s hard to resist the incomparable Alex Brightman from the moment he enters the stage as Beetlejuice, the lovable poltergeist who is also the tale’s narrator, saying he hopes we’re ready for “a show about death” and starts into the razzle-dazzle opening number “The Whole ‘Being Dead’ Thing”.

Mr. Brightman is that rare entertainer who is so energetic, he commands the whole stage whenever he’s on it. He tosses off bon mots like “I’m powerless…like a gay Republican” with cavalier ease, in one of the season’s best performances. He’s the perfect guide through this gloriously re-imagined version of the hit film. Adam (Rob McClure) and Barbara (Kerry Butler) are the Maitlands, a happy couple in an old Victorian home (played by Alec Baldwin and Geena Davis in the film). When they tragically die in a freak accident, their spirits are left to haunt their house and live in its attic. Soon the obnoxious Deetz family buys the house. Charles (Adam Dannheisser) and his ditzy paramour/Lydia’s nanny Delia (Ms. Kritzer) want to totally redecorate the place and turn it into a modern art showcase, hoping to make it a model home and land a lucrative real estate development deal. Charles’ daughter Lydia (Ms. Caruso) is a black-wearing Goth and has no interest in the home, and certainly wants nothing to do with her dad and Delia. She runs into the ghosts of Adam and Barbara in the attic and strikes up an unusual friendship with them as they create a scheme to literally scare Charles and Delia out of the house.

In the movie, Lydia was portrayed by Winona Ryder as a dour, depressed teen mourning the death of her mother but there was little explanation as to why the girl was so grief-stricken and obsessed with the dark side of life. However, in Beetlejuice the musical, Lydia and all her quirks and pathos are front and center, tackling the issue of children grappling with grief in a lighthearted way, something one would never expect in a Broadway musical. Ms. Caruso’s voice is richly textured and particularly haunting when she sings the solo numbers “Dead Mom” and “Home.”

In 2014, I caught Sophia Anne Caruso in a revival of Ruthless! The Musical at an uptown cabaret. Ms. Caruso was just a child then, playing Tina Denmark, a parody of the demented girl Rhoda from The Bad Seed. She had a unique stage presence and one-of-a-kind voice I never forgot. I wrote in the review back then about her “wholesome looks, lush singing voice and over-the-top acting style,” noting that she was going to be quite famous someday. It is remarkable how far Ms. Caruso has come in just five years. With her distinctive voice and spunky performance in Beetlejuice, she’s indeed on her way to Broadway stardom.

The book has some minor flaws. A scene involving the “netherworld” and Ms. Kritzer in a secondary role as an otherworldly beauty pageant winner makes little sense. In addition, the songs by Eddie Perfect are bouncy and propel the plot wonderfully. Although the score is upbeat, it is not exactly memorable.

Regardless, director Alex Timbers holds everything together beautifully and gets noteworthy performances from the rest of the cast. Standouts include Ms. Kritzer, who is sensational as the gaudy, overbearing Delia. Rob McClure and Kerry Butler are a hilarious duo as the kooky spooks the Maitlands, and Broadway veteran Ms. Butler (last seen in Mean Girls) has never been funnier.

Musical adaptations of hit Hollywood films are standard fare on Broadway. Most are pedestrian or simply mediocre, but Beetlejuice is colorful, consistently lighthearted fun. It’s—dare I say it? —a musical “to die for.”

Edited by Scott Harrah
Published April 25, 2019
Reviewed at April 20, 2019 press performance.

‘BEETLEJUICE’: (left to right) Sophia Anne Caruso, Rob McClure & Kerry Butler. Photo: Matthew Murphy

‘BEETLEJUICE’: (left to right) Rob McClure, Kerry Butler, Sophia Anne Caruso & Alex Brightman. Photo: Matthew Murphy

‘BEETLEJUICE’: Alex Brightman. Photo: Matthew Murphy

‘BEETLEJUICE’: Leslie Kritzer & Adam Dannheisser. Photo: Matthew Murphy

‘BEETLEJUICE’: Alex Brightman & Sophia Anne Caruso. Photo: Matthew Murphy

‘BEETLEJUICE’: Alex Brightman. Photo; Matthew Murphy

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“THE ILLUSIONISTS—MAGIC OF THE HOLIDAYS’:(left to right) Colin Cloud, Chloe Crawford, Adam Trent, Darcy Oake & Shin Lim. Photo: Joan Marcus

THE ILLUSIONISTS—MAGIC OF THE HOLIDAYS
By Various Performers
Directed & choreographed by Neil Doward
Through December 30, 2018
Marquis Theatre
1535 Broadway
(877-250-2929), www.TheIllusionistsLive.com

By Scott Harrah

The Illusionists has arrived on Broadway for the fourth time since 2014 with their latest installment, Magic of the Holidays. This seasonal “magic” show is a cross between a Las Vegas-style spectacle and reality TV (since one of the stars, card-trick master Shin Lim, is the 2018 “America’s Got Talent” winner), featuring international performers from England, Scotland, Canada, the U.S. and Light Balance, a delightful hip-hop dance troupe from the Ukraine.

Like previous iterations of The Illusionists, this is a glitzy repackaging of yesteryear’s “magic,” from appearing and disappearing dove acts and card tricks to a “mentalist” extracting personal information from audience members in an attempt to appear clairvoyant. If you are old enough to remember “The Ed Sullivan Show” or have seen the “Magic Secrets Explained” TV documentaries, exposing the tricks of David Copperfield, David Blaine, Criss Angel and Penn and Teller, you know everything here is nothing new and truly more “illusion” and gimmickry than “magic.”

Five headlining performers are featured in the two-act show. “The Futurist,” Adam Trent, originally seen in the first 2014 show, returns, this time as the host and emcee. Mr. Trent is best known for his hit Netflix series “The Road Trick,” and his moniker “The Future” has nothing to do with ESP. He’s best at doing “futuristic” illusions by dancing with morphed, multiplied images of himself on a projected screen; he did the same thing four years ago on the Marquis stage. Fans of the late Michael Jackson might contend that Mr. Trent ripped off this high-tech trick from one of the Gloved One’s classic MTV videos, but it’s a visual treat nonetheless. One of the most fun segments with Mr. Trent involves him asking everyone to turn on their smartphones for some performer-crowd participation, and this was a big hit with the iPhone-obsessed millennial audience members.

The best-known performer is Shin Lim, the 2018 “America’s Got Talent” winner. He’s handsome, charming and strikes lots of elegant poses while doing “sleight of hand” card tricks. With the help of a cameraman onstage, we see many close-ups of his card tricks on various projections screens. This is lots of fun if one enjoys card tricks, and everything is seamlessly choreographed by director Neil Doward, but wears thin after awhile.

Equally winsome is Colin Cloud, “The Deductionist” from Scotland. With his lilting brogue, the Scottish sensation practices “mentalism” and invites folks onstage to extract personal details about them and guess their favorite celebrity. Due to audience participation and the lack of understanding his directions—perhaps this is part of the act—these foibles and stage snafus are often funnier than his purported mental telepathy.

The two most Vegas-style performers include Canadian Darcy Oake (“The Grand Illusionist”) and Englishwoman Chloe Crawford (“The Sorceress”).

Mr. Oake is a muscular, tattooed guy with a shaved head, and his pretty-boy looks soften his imposing presence. He appears and disappears a lot, and also does some magic-show standard tricks with doves.

“The Sorceress” Ms. Crawford, with her tight dress, stiletto heels, blonde-bombshell showgirl appearance, posh British accent and bubbly personality, looks and sounds remarkably like she could be Australian singer Kylie Minogue’s English cousin. However, Ms. Crawford is perhaps the least impressive of the acts. She asks a male to come onstage as her “dinner date” and devours razor blades and then pulls them out on a string. Her second feat is appearing to push a piece of what looks like dental floss into her neck. This is a trick some may remember from the 2014 show, when Dan Sperry, a Goth-punk “illusionist,” did a similar endeavor with a string to retrieve a Lifesaver candy from his throat.

One of the show’s highlights is Light Balance, a Ukrainian dance troupe. Grooving in sync in the dark to the funky sounds of Bruno Mars and other neo-funk artists, the dancers wear neon and Day-Glo suits with lights, creating two spectacular segments in both the first and second act. Like Mr. Trent’s “futuristic” video dances, Light Balance’s act also looks like something we may have seen before in a 1980s music video, but it is still visually appealing.

The Illusionists shows have never been exactly original, but they have mass appeal for tourists during the holidays and obviously have enough of an audience to keep returning to Broadway each December. The evening is simply mindless, entertaining fun and amusing enough to satisfy anyone hungry for seasonal family fare.

Edited by Scott Harrah
Published December 2, 2018
Reviewed at November 29, 2018 press performance.

“THE ILLUSIONISTS—MAGIC OF THE HOLIDAYS’: Light Balance. Photo: Joan Marcus

“THE ILLUSIONISTS—MAGIC OF THE HOLIDAYS’: Colin Cloud. Photo: Joan Marcus.

“THE ILLUSIONISTS—MAGIC OF THE HOLIDAYS’: Darcy Oake. Photo: Joan Marcus

“THE ILLUSIONISTS—MAGIC OF THE HOLIDAYS’: Chloe Crawford. Photo: Joan Marcus

“THE ILLUSIONISTS—MAGIC OF THE HOLIDAYS’: Light Balance. Photo: The Illusionists

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‘ESCAPE TO MARGARITAVILLE’: Paul Alexander Nolan & cast. Photo: Matthew Murphy

ESCAPE TO MARGARITAVILLE
Book by Greg Garcia & Mike O’Malley
Music & lyrics by Jimmy Buffett
Choreography by Kelly Devine
Directed by Christopher Ashley
Marquis Theatre
246 West 44th Street
(877-250-2929), http://escapetomargaritavillemusical.com/

By Scott Harrah

Jukebox musicals usually contain a paper-thin plot because they are simply an excuse to showcase and cash in on a pop star or group’s songbook. Granted, Jimmy Buffett doesn’t have a huge body of work as grand as that of ABBA or the Four Seasons, but he does have a dedicated following and more hit songs than one might think. That must be why Escape to Margaritaville, featuring Mr. Buffett’s songs, has been produced, and with some real pedigree behind it, namely director Christopher Ashley (best known for last year’s brilliant Come From Away). However, as colorful, festive and good-intentioned as this show is, it’s likely something only Parrotheads (as Buffett’s fans are known) will appreciate.

Think Mr. Buffett is only famous for his classic “Margaritaville”? Think again. His other hits include “Come Monday,” “Changes in Latitudes, Changes in Attitudes,” “Cheeseburger in Paradise” (also the name of a chain of restaurants Mr. Buffett owns), “It’s Five O’Clock Somewhere,” “Son of a Son of a Sailor,” and more. From the late 1970s onward, the songs were staples on pop and country music radio.

Greg Garcia and Mike O’Malley’s book is a pedestrian, by-the-numbers story that offers an excuse to weave Mr. Buffett’s songs into a narrative. The story revolves around singer/songwriter Tully (Paul Alexander Nolan), a man living on a Caribbean island and working as the on-site entertainer at a resort called—what else?—Margaritaville, run by sassy owner Marley (Rema Webb). Others at the resort include Tully’s buddy Brick (Eric Petersen), a chubby bartender who is scatterbrained but has a heart of gold.

Up in chilly Cincinnati, Rachel (Alison Luff), a no-nonsense environmental scientist, is preparing to head down to Margaritaville with her best friend Tammy (Lisa Howard), a bubbly overweight woman engaged to a guy who is both an overbearing slob and hypercritical of her. They are both ready to have a fun bachelorette week in the sun, and of course what happens next is totally predictable. Tammy meets Brick and Rachel meets Tully, and the sparks and clichés fly.

Mr. Garcia and Mr. O’Malley’s book is full of bad TV sitcom humor and jokes that are “groaners” indeed, and for good reason. Mr. Garcia is best known for creating the TV comedies “My Name is Earl,” “Yes, Dear” and “Raising Hope.”

Christopher Ashley certainly tries to direct this mess of musical, with the help of colorful costumes by Paul Tazewell, and energetic yet pointless choreography by Kelly Devine. Most of the actors’ performances are sincere and serviceable, but a few stand out. Rema Webb, for instance, is a total delight as the brassy, bossy Margaritaville owner Marley and often steals the show. Lisa Howard and Eric Petersen are lovable in all the right places. However, as the leading man, Tully, Paul Alexander Nolan has a pleasant voice but very little stage presence and zero chemistry with Ms. Luff as Rachel.

One of the show’s only saving graces is the razzle-dazzle finale. Not because it’s anything remarkable, but cast members toss out Margaritaville beach balls to the audience in case anyone wants a souvenir. Escape to Margaritaville could possibly do decent business on the road as a touring show since Mr. Buffet’s fan base is huge in the Midwest and South, but the musical’s time here on Broadway will likely be “wasting away” rather quickly.

Edited by Scott Harrah
Published March 23, 2018
Reviewed at March 22, 2018 press performance.

“ESCAPE TO MARGARITAVILLE’: Alison Luff & Paul Alexander Nolan. Photo: Matthew Murphy

‘ESCAPE TO MARGARITAVILLE’: (left to right) Lisa Howard, Alison Luff, Paul Alexander Nolan & Eric Petersen. Photo: Matthew Murphy

‘ESCAPE TO MARGARITAVILLE’: Andre Ward. Photo: Matthew Murphy

‘ESCAPE TO MARGARITAVILLE’: Lisa Howard. Photo: Matthew Murphy

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