Showing posts with label musicals. Show all posts
Showing posts with label musicals. Show all posts
Monday, August 25, 2008
Wednesday, July 16, 2008
PRESS RELEASE HAIR opens August 15th at the Carousel on the Boardwalk in Asbury Park, NJ
July 16, 2008
FOR IMMEDIATE RELEASE
Tickets on Sale Now!
HAIR
The American Tribal Love-Rock Musical
At the CAROUSEL on the Boardwalk in Asbury Park
Andy Goldberg (The Bomb-itty of Errors) Directs
Asbury Park, NJ – The newly restored historic Carousel House on the Boardwalk in Asbury Park comes alive again with the American Tribal Love-Rock Musical, HAIR. David Leidholdt, one of the producing artistic directors reminds us “The ReVision Theatre is known for its ‘not-what you-expect’ productions and our HAIR will do the same. While at the same time it promises to retain all the vibrancy, excitement, and immediacy that made the original Broadway production a hit. This will be the first time that the Carousel Building will be utilized since its restoration and we will use its unique characteristics to the fullest. Our plans include creating a very unconventional performance space that will envelop the audience.” The cast will include professionals from both New York and the local area. “This will be an event not to be missed,” adds Mr. Leidholdt.
Tickets on sale now! Performances begin Friday, August 15 and runs through August 31 (Thursdays (8:00 pm), Fridays (8:00 pm), 2 show Saturdays (7:00 pm & 10:30 pm), and Sunday (7:00 pm)). Tickets are available online now at www.ReVisionTheatre.org or by calling 732-455-3059. All tickets are $35.00. Seating is limited.
Hair, The American Tribal Love-Rock Musical is a rock musical with book and lyrics by James Rado and Gerome Ragni and music by Galt MacDermot. A product of the hippie counter-culture and sexual revolution of the 1960s, several of its songs became anthems of the anti-Vietnam War peace movement which include: “Aquarius,” the title song “Hair,” “Easy To Be Hard,” “Good Morning Starshine,” and “Let The Sunshine In”. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy. The musical broke new ground in musical theatre by defining the genre of the "rock musical", utilizing a racially-integrated cast and inviting the audience onstage for a "Be-in" finale.
Hair tells the story of the "tribe", a group of politically active, long-haired "Hippies of the Age of Aquarius" fighting against conscription to the Vietnam War and living a bohemian life together in New York City. They struggle to balance their young lives, loves and the sexual revolution with their pacifist rebellion against the war and the conservative impulses of their parents and society.
After an Off-Broadway debut in October 1967 at Joseph Papp's Public Theater and another run in a midtown discothèque space, the show opened on Broadway in April 1968 and ran for 1,750 performances, followed by a successful London production, which ran for 1,997 performances. Numerous productions have been staged around the world since then, and numerous recordings of the musical have been released. Several of the songs from its score became Top 40 hits, and a successful movie adaptation was released in 1979.
The Revision Theatre’s production will be directed by Andy Goldberg. Mr. Goldberg’s credits include the critically acclaimed The Bomb-itty of Errors (Off-Broadway), Love Sucks (NYMF), Nerds (NYMF), and Romeo and Juliet (American Stage). Russ Schramm (Scenic Designer), Dawn von Suskil (Associate Scenic Designer), and George Hansel (Lighting Designer) round out the creative team.
ReVision Theatre is a non-profit 501(c)3 professional regional theatre company dedicated to producing invigorating theatre with a fresh new perspective reaching the diverse community of Asbury Park and Monmouth County. ReVision Theatre produces reinventions of previously produced classics, overlooked or forgotten work in a new way, and new work with a fresh voice. The company serves as a home for local artists and writers. ReVision Theatre also believes in the importance of theatre education and teaches children and adult theatre classes. ReVision Theatre produces readings, workshops, cabarets, concerts, and mainstage productions.
Visit www.RevisionTheatre.org or call 732-455-3059 for tickets or for more information.
CONTACT: Stephen Bishop Seely
Stephen@ReVisionTheatre.org 732-455-3059
Fast Facts:
Who:
ReVision Theatre
David E. Leidholdt, Thomas Morrissey, and Stephen Bishop Seely
Producing Artistic Directors
PO BOX 973
Asbury Park, New Jersey 07712
What:
HAIR, The American Tribal Love-Rock Musical
Book and Lyrics by James Rado and Gerome Ragni
Music by Galt MacDermot.
Directed by Andy Goldberg
Scenic Design by Russ Schramm
Associate Scenic Design by Dawn von Suskil
Lighting Design by George Hansel
Where:
The Carousel on the Boardwalk in Asbury Park, NJ
700 Ocean Avenue at Asbury Avenue
Asbury Park, New Jersey 07712
When:
Opens Friday, August 15
Thru Sunday, August 31
Performances Thursdays & Fridays at 8 pm
Saturdays at 7 & 10:30pm
Sundays at 7 pm
How:
All tickets are $35.
Buy tickets online at www.ReVisionTheatre.org
Or call 732-455-3059.
Limited seating is available.
FOR IMMEDIATE RELEASE
Tickets on Sale Now!
HAIR
The American Tribal Love-Rock Musical
At the CAROUSEL on the Boardwalk in Asbury Park
Andy Goldberg (The Bomb-itty of Errors) Directs
Asbury Park, NJ – The newly restored historic Carousel House on the Boardwalk in Asbury Park comes alive again with the American Tribal Love-Rock Musical, HAIR. David Leidholdt, one of the producing artistic directors reminds us “The ReVision Theatre is known for its ‘not-what you-expect’ productions and our HAIR will do the same. While at the same time it promises to retain all the vibrancy, excitement, and immediacy that made the original Broadway production a hit. This will be the first time that the Carousel Building will be utilized since its restoration and we will use its unique characteristics to the fullest. Our plans include creating a very unconventional performance space that will envelop the audience.” The cast will include professionals from both New York and the local area. “This will be an event not to be missed,” adds Mr. Leidholdt.
Tickets on sale now! Performances begin Friday, August 15 and runs through August 31 (Thursdays (8:00 pm), Fridays (8:00 pm), 2 show Saturdays (7:00 pm & 10:30 pm), and Sunday (7:00 pm)). Tickets are available online now at www.ReVisionTheatre.org or by calling 732-455-3059. All tickets are $35.00. Seating is limited.
Hair, The American Tribal Love-Rock Musical is a rock musical with book and lyrics by James Rado and Gerome Ragni and music by Galt MacDermot. A product of the hippie counter-culture and sexual revolution of the 1960s, several of its songs became anthems of the anti-Vietnam War peace movement which include: “Aquarius,” the title song “Hair,” “Easy To Be Hard,” “Good Morning Starshine,” and “Let The Sunshine In”. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy. The musical broke new ground in musical theatre by defining the genre of the "rock musical", utilizing a racially-integrated cast and inviting the audience onstage for a "Be-in" finale.
Hair tells the story of the "tribe", a group of politically active, long-haired "Hippies of the Age of Aquarius" fighting against conscription to the Vietnam War and living a bohemian life together in New York City. They struggle to balance their young lives, loves and the sexual revolution with their pacifist rebellion against the war and the conservative impulses of their parents and society.
After an Off-Broadway debut in October 1967 at Joseph Papp's Public Theater and another run in a midtown discothèque space, the show opened on Broadway in April 1968 and ran for 1,750 performances, followed by a successful London production, which ran for 1,997 performances. Numerous productions have been staged around the world since then, and numerous recordings of the musical have been released. Several of the songs from its score became Top 40 hits, and a successful movie adaptation was released in 1979.
The Revision Theatre’s production will be directed by Andy Goldberg. Mr. Goldberg’s credits include the critically acclaimed The Bomb-itty of Errors (Off-Broadway), Love Sucks (NYMF), Nerds (NYMF), and Romeo and Juliet (American Stage). Russ Schramm (Scenic Designer), Dawn von Suskil (Associate Scenic Designer), and George Hansel (Lighting Designer) round out the creative team.
ReVision Theatre is a non-profit 501(c)3 professional regional theatre company dedicated to producing invigorating theatre with a fresh new perspective reaching the diverse community of Asbury Park and Monmouth County. ReVision Theatre produces reinventions of previously produced classics, overlooked or forgotten work in a new way, and new work with a fresh voice. The company serves as a home for local artists and writers. ReVision Theatre also believes in the importance of theatre education and teaches children and adult theatre classes. ReVision Theatre produces readings, workshops, cabarets, concerts, and mainstage productions.
Visit www.RevisionTheatre.org or call 732-455-3059 for tickets or for more information.
CONTACT: Stephen Bishop Seely
Stephen@ReVisionTheatre.org 732-455-3059
Fast Facts:
Who:
ReVision Theatre
David E. Leidholdt, Thomas Morrissey, and Stephen Bishop Seely
Producing Artistic Directors
PO BOX 973
Asbury Park, New Jersey 07712
What:
HAIR, The American Tribal Love-Rock Musical
Book and Lyrics by James Rado and Gerome Ragni
Music by Galt MacDermot.
Directed by Andy Goldberg
Scenic Design by Russ Schramm
Associate Scenic Design by Dawn von Suskil
Lighting Design by George Hansel
Where:
The Carousel on the Boardwalk in Asbury Park, NJ
700 Ocean Avenue at Asbury Avenue
Asbury Park, New Jersey 07712
When:
Opens Friday, August 15
Thru Sunday, August 31
Performances Thursdays & Fridays at 8 pm
Saturdays at 7 & 10:30pm
Sundays at 7 pm
How:
All tickets are $35.
Buy tickets online at www.ReVisionTheatre.org
Or call 732-455-3059.
Limited seating is available.
Saturday, May 17, 2008
Friday, June 1, 2007
VARIETY / Mainstream embracing musicals
Mainstream embracing musicals Tuners invading films, TV, Internet
By DAVID ROONEY, GORDON COX
Variety.com Posted: Fri., Jun. 1, 2007, 1:13pm PT
What is it with musicals lately?
One week on "The Sopranos," someone dies of a stroke after seeing "Jersey Boys." The next week, Meadow's boyfriend has front-row mezzanine tickets for "Grey Gardens." On "Brothers & Sisters," a character is about to ship out to Iraq, planning to spend his last night in town seeing "Wicked."
Throughout the season, "Ugly Betty" has featured homages to "Dreamgirls," "Hairspray" and "West Side Story," while "Scrubs" aired a tuner episode with original songs by the Tony-winning "Avenue Q" team.
Musicals are once again becoming part of the pop-culture consciousness, exerting an influence on advertising, chart-topping songs and, of course, movies.
"There's a new chic to the concept of the musical that wasn't there before," says Michael Mayer, director of Broadway's "Spring Awakening" and the Atlantic Theater Company's "10 Million Miles," a road romance that uses songs by Patty Griffin.
After regularly yielding chart hits through the first half of the 20th century, tuners slipped out of vogue from the late '60s onward, exiled into nerd-dom. Yes, a few blockbusters had cultural impact beyond Broadway, such as "A Chorus Line" in the 1970s or the British megamusical invasion of the '80s. But otherwise, tuners have barely registered on the hipness radar for decades.
"Musicals are thought of as mainstream culture again, as they used to be," says David Stone, lead producer of "Wicked" and "The 25th Annual Putnam County Spelling Bee."
In advertising, Claire Danes and Patrick Wilson danced for Gap khakis to Ethel Merman singing "Anything You Can Do I Can Do Better."
In pop music, Gwen Stefani has been lacing her hits with showtune samples, from "The Sound of Music" and "Fiddler on the Roof," while Beyonce's video for "Get Me Bodied" appropriated Bob Fosse's "Rich Man's Frug" moves from "Sweet Charity," also throwing in a nod to "Funny Face."
Mayer credits the flamboyant, realism-flouting aesthetic of Baz Luhrmann films like "Strictly Ballroom," "Romeo + Juliet" and "Moulin Rouge" for helping to open the minds of a new generation to the language of musicals. "There was a kitschiness to them that I think a lot of young people responded to," he suggests.
Pop shows like "Wicked," "Legally Blonde" and "Hairspray" have helped shake the dust off the image of the old-fashioned Broadway musical. Those and similar shows haven't always earned a unanimous critical embrace but have broadened the traditional tuner audience to a new generation, particularly -- but not exclusively -- teen and tweener girls.
"'Wicked' now is part of the vernacular," observes Stone.
Mayer agrees that the "Wizard of Oz" backstory tuner helped alter perceptions of the potential for musicals to achieve massive commercial popularity. "'Wicked' is kind of the model for a real shift in the paradigm," he says.
The age of irony also has been good for the Broadway demographic, with self-satirizing shows like "The Producers" and "Monty Python's Spamalot," or irreverent comedies like "Avenue Q" contributing to make musicals more guy-friendly. It's far easier to imagine frat boys singing along to "The Internet Is for Porn" than to "I Feel Pretty."
Shows that poke affectionate fun at the musical form, such as "Curtains" and "The Drowsy Chaperone," have the double benefit of appealing to die-hard tunerphiles while making other folks feel they are in on the joke.
The audience expansion into new demographics has contributed to the steady climb in Broadway figures for the past few years, hitting $938.5 million during the just-concluded 2006-07 season. As always, musicals represent the lion's share of grosses, with 90% of box office.
Many pundits point to pop-culture phenomena like YouTube, with its saturation of music clips, for helping to consolidate the resurgence of interest in tuners. One of the year's most popular entries on the video-sharing site (and winner of one of the inaugural YouTube Awards) was groover-geek ensemble OK Go doing a precision-choreographed routine on treadmills to "Here It Goes Again," which would be right at home in any contempo pop musical (and could serve as a companion piece to the jump-rope workout number that opens the second act of "Legally Blonde").
An entire generation has grown up on music videos that pair song and narrative.
"There's a real story there in a lot of videos," offers Mayer. "They have a claim on the imagination of young people who didn't really have a connection to the old MGM movie-musicals."
A rock musical that marries timeless teen angst and sexual confusion to songs by Duncan Sheik, "Spring Awakening" in particular has benefited from a direct connection to youth culture, getting marketing leverage from its use of YouTube, iTunes and other Web music sources.
"We're on people's iPods, and not just theater people," says Mayer.
No one underestimates the influence of "American Idol." That behemoth and its many imitators have repopularized vocal performances, which had been virtually absent from the primetime TV landscape since the passing of the network variety show. Then there are "Dancing With the Stars" and its terpsichorean brethren, making hoofers hot again.
And let's not forget the surprise success of Disney Channel's 2006 telepic "High School Musical."
"People gave 'High School Musical' a chance because it was on basic cable, so it was essentially free," says Mark Kaufman, exec VP of production and theater at New Line, the studio behind the '88 John Waters film "Hairspray," the stage tuner and the bigscreen version with John Travolta. "That helped open the door, because people thought, 'Wait a minute, musicals are OK.'"
Aside from "Hairspray," upcoming bigscreen tuners include "Sweeney Todd" and "Mamma Mia!" as well as Julie Taymor's long-delayed "Across the Universe," woven around songs by the Beatles.
Deals also seem inevitable for film adaptations of "Jersey Boys," "Spring Awakening" and, further down the track, "Wicked."
And "American Idol" can reflect some of the spotlight onto Broadway. "The Color Purple" and "Hairspray" are among the Rialto tuners to reap box office benefits from casting "Idol" alums.
"People want to see them," New Line's Kaufman says. "To take them and plug them into shows is a no-brainer."
"I think the obsession with talent, like with 'American Idol,' all contributes back and forth between Broadway and television," says Stone. "We don't realize it now, but we're living in -- if not another golden age -- another explosion of activity on Broadway."
© 2007 Reed Business Information
By DAVID ROONEY, GORDON COX
Variety.com Posted: Fri., Jun. 1, 2007, 1:13pm PT
What is it with musicals lately?
One week on "The Sopranos," someone dies of a stroke after seeing "Jersey Boys." The next week, Meadow's boyfriend has front-row mezzanine tickets for "Grey Gardens." On "Brothers & Sisters," a character is about to ship out to Iraq, planning to spend his last night in town seeing "Wicked."
Throughout the season, "Ugly Betty" has featured homages to "Dreamgirls," "Hairspray" and "West Side Story," while "Scrubs" aired a tuner episode with original songs by the Tony-winning "Avenue Q" team.
Musicals are once again becoming part of the pop-culture consciousness, exerting an influence on advertising, chart-topping songs and, of course, movies.
"There's a new chic to the concept of the musical that wasn't there before," says Michael Mayer, director of Broadway's "Spring Awakening" and the Atlantic Theater Company's "10 Million Miles," a road romance that uses songs by Patty Griffin.
After regularly yielding chart hits through the first half of the 20th century, tuners slipped out of vogue from the late '60s onward, exiled into nerd-dom. Yes, a few blockbusters had cultural impact beyond Broadway, such as "A Chorus Line" in the 1970s or the British megamusical invasion of the '80s. But otherwise, tuners have barely registered on the hipness radar for decades.
"Musicals are thought of as mainstream culture again, as they used to be," says David Stone, lead producer of "Wicked" and "The 25th Annual Putnam County Spelling Bee."
In advertising, Claire Danes and Patrick Wilson danced for Gap khakis to Ethel Merman singing "Anything You Can Do I Can Do Better."
In pop music, Gwen Stefani has been lacing her hits with showtune samples, from "The Sound of Music" and "Fiddler on the Roof," while Beyonce's video for "Get Me Bodied" appropriated Bob Fosse's "Rich Man's Frug" moves from "Sweet Charity," also throwing in a nod to "Funny Face."
Mayer credits the flamboyant, realism-flouting aesthetic of Baz Luhrmann films like "Strictly Ballroom," "Romeo + Juliet" and "Moulin Rouge" for helping to open the minds of a new generation to the language of musicals. "There was a kitschiness to them that I think a lot of young people responded to," he suggests.
Pop shows like "Wicked," "Legally Blonde" and "Hairspray" have helped shake the dust off the image of the old-fashioned Broadway musical. Those and similar shows haven't always earned a unanimous critical embrace but have broadened the traditional tuner audience to a new generation, particularly -- but not exclusively -- teen and tweener girls.
"'Wicked' now is part of the vernacular," observes Stone.
Mayer agrees that the "Wizard of Oz" backstory tuner helped alter perceptions of the potential for musicals to achieve massive commercial popularity. "'Wicked' is kind of the model for a real shift in the paradigm," he says.
The age of irony also has been good for the Broadway demographic, with self-satirizing shows like "The Producers" and "Monty Python's Spamalot," or irreverent comedies like "Avenue Q" contributing to make musicals more guy-friendly. It's far easier to imagine frat boys singing along to "The Internet Is for Porn" than to "I Feel Pretty."
Shows that poke affectionate fun at the musical form, such as "Curtains" and "The Drowsy Chaperone," have the double benefit of appealing to die-hard tunerphiles while making other folks feel they are in on the joke.
The audience expansion into new demographics has contributed to the steady climb in Broadway figures for the past few years, hitting $938.5 million during the just-concluded 2006-07 season. As always, musicals represent the lion's share of grosses, with 90% of box office.
Many pundits point to pop-culture phenomena like YouTube, with its saturation of music clips, for helping to consolidate the resurgence of interest in tuners. One of the year's most popular entries on the video-sharing site (and winner of one of the inaugural YouTube Awards) was groover-geek ensemble OK Go doing a precision-choreographed routine on treadmills to "Here It Goes Again," which would be right at home in any contempo pop musical (and could serve as a companion piece to the jump-rope workout number that opens the second act of "Legally Blonde").
An entire generation has grown up on music videos that pair song and narrative.
"There's a real story there in a lot of videos," offers Mayer. "They have a claim on the imagination of young people who didn't really have a connection to the old MGM movie-musicals."
A rock musical that marries timeless teen angst and sexual confusion to songs by Duncan Sheik, "Spring Awakening" in particular has benefited from a direct connection to youth culture, getting marketing leverage from its use of YouTube, iTunes and other Web music sources.
"We're on people's iPods, and not just theater people," says Mayer.
No one underestimates the influence of "American Idol." That behemoth and its many imitators have repopularized vocal performances, which had been virtually absent from the primetime TV landscape since the passing of the network variety show. Then there are "Dancing With the Stars" and its terpsichorean brethren, making hoofers hot again.
And let's not forget the surprise success of Disney Channel's 2006 telepic "High School Musical."
"People gave 'High School Musical' a chance because it was on basic cable, so it was essentially free," says Mark Kaufman, exec VP of production and theater at New Line, the studio behind the '88 John Waters film "Hairspray," the stage tuner and the bigscreen version with John Travolta. "That helped open the door, because people thought, 'Wait a minute, musicals are OK.'"
Aside from "Hairspray," upcoming bigscreen tuners include "Sweeney Todd" and "Mamma Mia!" as well as Julie Taymor's long-delayed "Across the Universe," woven around songs by the Beatles.
Deals also seem inevitable for film adaptations of "Jersey Boys," "Spring Awakening" and, further down the track, "Wicked."
And "American Idol" can reflect some of the spotlight onto Broadway. "The Color Purple" and "Hairspray" are among the Rialto tuners to reap box office benefits from casting "Idol" alums.
"People want to see them," New Line's Kaufman says. "To take them and plug them into shows is a no-brainer."
"I think the obsession with talent, like with 'American Idol,' all contributes back and forth between Broadway and television," says Stone. "We don't realize it now, but we're living in -- if not another golden age -- another explosion of activity on Broadway."
© 2007 Reed Business Information
Subscribe to:
Posts (Atom)
Posts
