If you've been following theatre news for the past 24-hours, there is quite the mess going down at Natasha, Pierre & The Great Comet of 1812. It was announced that current Pierre, Okieriete "Oak" Onaodowan, will end his limited engagement on Augst 13th and that Broadway legend Mandy Patinkin will step in the role until September 3rd. 

While many theatre fans rejoiced at the news of Patinkin making a short-lived return to Broadway, many were left wondering, "What happened with Oak?"

This morning, fans of the new musical Natasha, Pierre, and the Great Comet of 1812 were shocked to see that Mandy Patinkin will replace Hamilton’s Okieriete “Oak” Onaodowan in the lead role of Pierre on August 15th. Oak had just recently joined the production on July 11th, and many of us were wondering why he is leaving so soon?

If I were to ask most people what they think of when they see the color ‘pink,’ I believe the answer would most likely be femininity. Now, with changing times, I find that ‘femininity’ has a varied meaning from person to person. Although the term has generally been associated with qualities and behaviors traditionally expected to only be embodied by girls and women, people have started to widen their scope and have begun to define femininity in a more individualized manner and associate it with anyone who chooses to personify it (of course, society still has a long way to go before it fully widens its scope, but that’s a different discussion).

Summer definitely seems to be the time when local companies dust off their Shakespeare texts and a wide range of the Bard's work is performed in public places. This is also a time when directors get a bit creative with their takes on these classics. Some of the work really well, others don't. 

But one such company, the Striving Artists Theatre Company is doing something quite interesting. Not only is the Boston based theatre doing Shakespeare's "The Henriad", a funny, action-packed blend of four of the bard's most popular histories, but they are doing it with a cast assembled from a gender-blind audition process. 

Growing up and going to school in the South, I spent most of my life in an environment where those around me shared my basic spiritual ideologies and religious faith. While no one’s journey in faith is identical to anyone else’s, I rarely found myself in circumstances in which my beliefs were overtly questioned.

A while ago, I was working on a production starring one of my favorite all-time performers. Not only did I feel fortunate enough to work alongside this person but also that it was occurring early in my career. From everything I had heard about this woman, she was a joy to work with, told amazing stories and would often lend advice to up and coming performers. As rehearsals began I realized, this was far from the truth. 

Hamilton took over the world last year, from a mixtape to the Tony Awards. With all the hype, I have been waiting anxiously to see Hamilton and was finally surprised for my birthday to see the show in Chicago. Part of me wondered if the anticipation would live up to seeing it, but Hamilton not only met my expectations, but exceeded them. There are few modern musicals that have won a pedestal in American pop culture, like The Lion King and Wicked, and I believe Hamilton has earned that spot.

The production staff and the actors are the ones who are known to bring the show to life. They are usually involved with the show from the start. But theater is so much more than that. Theater and shows are also about the little people that you meet along the way. The ones who help out your production in small ways and have no idea that they have helped. In part 2 of the series of those who help bring a show to life, I am going to introduce you to them. They are the people who work at the thrift store, the library, or at another community theater.  

I've always rejected the notion that musicals are somehow "dumb versions of plays". I've heard this more than once. But what many people might not know, is that their favorite musicals were actually based on plays. 

For instance, "Oklahoma!" was based on a play titled "Green Grow the Lilacs".  "Cabaret" is actually based on the play "I Am a Camera". 

So I started to wonder what more recent plays could become incredible musical adaptations. Here are some of them, along with composers who might be perfect for the job. 

Last night at about 3:00AM, my director stood before me, her hair in a messy ponytail, bags under her eyes, her paint clothes splattered with all kinds of interesting colors, and she said, “Sometimes directing is like having a baby. You’re in the worst pain of your life. You want nothing more than for it to be over and for to have never conceived at all. All you can think of is the stress and the pain that your body is going through. But then, you’re holding your baby in your arms, and she’s so beautiful that you cry.”