A couple of years ago, I wrote my first piece for OnStage, discussing the song cycles and concept albums that deserve staging. Inspired by Kate Bush’s concerts in 2014, her first in 30 years, which contained the vivid story of The Ninth Wave, state of the art effects, and stark choreography, I took a look at some other song cycles that deserved the same level of attention. In my search for material for a Part 2 over the last couple of years, many of my favourite artists have released their own stage shows from concept albums or otherwise: Shara Nova (formally Worden)/ My Brightest Diamond and her baroque opera YOU US WE ALL, David Bowie’s LAZARUS, to name a few. Broadway is no stranger to contemporary artists writing shows; Sara Bareilles is responsible for WAITRESS, Vienna Teng’s THE FOURTH MESSENGER has been well-received during its multiple tryouts, Sting gave us THE LAST SHIP, Tori Amos’ THE LIGHT PRINCESS did well in London, David Byrne gave us HERE LIES LOVE, and Cyndi Lauper wrote the fun KINKY BOOTS.

I will open this, as with many of my articles with a small disclaimer (because I know I am one Theatre Professional, I don’t know everything). I have recently been hired by an Off-Broadway show from behind the table as an ASM (Assistant Stage Manager if you’re a muggle). “The Show-Off” by George Kelly and starring the fabulous Annette O’Toole. It is by far one of the funniest shows I have seen in a long time by the way, so I highly recommend it, and it opens soon (shameless plug). But I have not worked with many big time names in the entertainment, just enough to write an article about the Do’s and Do Not’s of when working with a celebrity. Because there’s a pretty good chance you will if you work on Broadway – it’s one of the best ways to sell tickets; cast a star that people know.

When a piece of art is finished, it is easy to get hung up on the idea of that being exactly what is presented to the world. But, is this always for the best?

I was involved in a project earlier this year. We presented our project idea and were excited. However, as time went on, nothing was coming together. It got to two weeks before our showing and we didn’t have anything. So we started a brand new project. Which ended up miles better and engaging more people. Consequently, that is simultaneously the best and most stressful project I have ever been involved with.

For many, a theatre program, especially those that focus on students, we can feel a certain feeling of family with those people.   I know this first hand.  For about the last two and a half years, every time I enter my home theatre for an audition, rehearsal, or otherwise, I hear exclaims of “Mom!” from the younger members of our youth program.  I honestly don’t remember how or exactly when the nickname started, but now that it has, I am so glad that it did.  As I prepare for one of my final auditions with my theatre’s youth program, I have spent a lot of time reflecting on the last two years that I have spent as Muncie Civic Theatre’s youth “mom”. 

When it comes to the live action remake of Aladdin, Disney has had its ups and downs. While I didn't appreciate their portraying that it was difficult to cast actors of color for the lead roles (because it actually isn't), I was happy to see they cast the roles of Jasmine, Jafar and the title character with actors of color along with Will Smith as the Genie. They even knocked it out of the ball park by casting SNL-Alum, Nasim Pedrad who is Iranian. 

However, I'm sure there was a pocket of white Disney fans asking, "where are all the white people?!?!" 

Don't worry, your concerns have been heard and the issue appears to have been settled by the news of the casting of Billy Magnussen as a new character, Prince Anders.

On September 5th, 2017 North Shore Music Theatre announced the cast for its upcoming production of Evita. To no one’s surprise, the cast features all non-Latinx white leads that include Nick Adams as Magaldi, Briana Carlson-Goodman as Eva, John Cudia as Peron, and Tony Award Nominee Constantine Maroulis as Che. This casting announcement follows a tradition of whitewashing a musical that features real life Latinx political figures. The production is directed by Nick Kenkel who manages to find an authentic Latinx cast (of volunteers) for Broadway Bares’ annual Latino number.

Over the past couple of decades, it has become undeniable that climate change is happening, and is one of the most critical issues facing our planet. If bold actions aren’t taken to do something to reserve the current trends, scientists say that the long-term impact could be catastrophic. While our current political leaders are largely ignorant of these issues, that’s not stopping the artists working on the Climate Change Theatre Action initiative from doing what they can to increase awareness of what’s happening to our environment.

OnStage Blog is thrilled to announce our new staff of theatre critics for Connecticut. The staff consists of Tara Kennedy, Noah Golden, Maegan Clearwood and John P. McCarthy.

Look, I have many opinions about the Donald Trump Presidency. I have even more opinions about those who supported him and still support him to this day. However, what I won't do is try to generalize nor try to stereotype who they are. 

I wish I could say the same for others, such as singer John Legend. 

Anytime a Broadway show closes, there are a lot of emotions people connected with the show, go through. A performer friend of mine said they go through something similar to the "Five Stages of Grief"(denial, anger, bargaining, depression and acceptance). Anytime this happens, some people deal with it better than others. 

Over the past month, the situation involving Natasha, Pierre & the Great Comet of 1812 and its soon-to-be closing has been one of the biggest stories of the year. In my history, it's the first time where social media uproar played a huge role in killing the show. 

Now one would think that since news of the show's closing, the social media sniping would come to a halt. I was apparently wrong for thinking that.