A Tale As Old As Time That Has No Plans to Let It Go When it Comes to Broadway

     Greetings, readers, and welcome to another Monday from the mind of Mike. If you've happened to make the trek to the Great White Way in the past two decades on Broadway, you may seem to have noticed that the Theater District has seemed a bit more, shall we say. magical. This may be attributed to one of the world's biggest corporations establishing, and maintaining a foothold in the world of Broadway. I speak, of course, of the Walt Disney Company's theatrical division, Disney Theatrical Productions.
     Disney first emerged on Broadway with its stage adaptation of Beauty and the Beast. Opening at the Palace in 1994, the show would garner 9 Tony nominations and enjoy a lengthy run on Broadway before closing at the Lunt-Fontanne Theatre in 2007, amassing 5,461 performances. Disney moved the show from its original home at the Palace in 1999 to make room for their adaptation of Aida, which would enjoy a four year run at the Palace as well, before closing on Broadway after 1,852 performances. However, it would be another stage adaptation of a hit Disney film that would create a lasting legacy for the Mouse House on Broadway.
      Opening in 1997 after Disney revitalized the New Amsterdam Theatre (as well as so much of the Times Square area we've come to know today), under the direction of Julie Taymor, The Lion King would prove to be Disney's best adaptation for the stage yet. The show would win six Tony Awards, including Best Musical. In a move similar to the one made with Beauty and the Beast, Disney would move The Lion King from its original home at the New Amsterdam to the Minskoff Theatre in order to bring a stage adaptation of Mary Poppins to Broadway. The Lion King has continued its reign of Broadway at the Minskoff ever since, becoming the third longest running musical in Broadway history, as well as the highest-earning title in box office history in both stage and film production.
        Disney would enjoy moderate to less success in the new millennium with new stage productions. As mentioned, Aida would play a respectable run on Broadway, winning five Tony Awards. as well as Mary Poppins, which would enjoy a lengthy run on Broadway, opening in 2006 and then closing in 2013, after 2,619 performances at the New Amsterdam. Mary Poppins would only win one Tony Award. A stage production of Tarzan would be, arguably, Disney's biggest misfire, running at Broadway's Richard Rogers Theater for only a year and 286 performances on Broadway. A stage adaptation of The Little Mermaid would follow Beauty and the Beast into the Lunt-Fontanne in 2007, though would not replicate the success of its predecessor, closing in 2009 after 685 performances.
        This decade, however, perhaps may welcome new beginning for the folks at Disney Theatrical. Though a box office failure at the cinema, a stage adaptation of Newsies would open on Broadway in 2012 to great success, garnering two Tony Award wins, and playing over 1,000 performances at the Nederlander Theatre. Disney would also have a hand in bringing the play Peter and the Starcatcher to the stage, where it would enjoy a brief run on Broadway, earning three Tony wins, before moving Off Broadway. Following Mary Poppins into the New Amsterdam would be Aladdin, which currently enjoys a sold out run at the New Amsterdam. The show earned five Tony nominations, including Best Musical, and would see James Monroe Iglehart win a Tony for his portrayal of the Genie. However, it may be Disney's next theatrical adaptation that has the biggest buzz on the Great White Way, despite it being projected to not reach Broadway for another two years.
          This month came reports of Disney's next projected Broadway musical adaptation. A recent workshop was held of Frozen, directed by Alex Timbers, who helped craft Peter and the Starcatcher for the stage. Numerous reports indicate that the show will debut on Broadway in the summer of 2018, after a 2017 tryout in Denver. This would be a quick turnaround for Disney Theatrical, which only saw the film premiere in 2013. The one show that Disney did a quick turnaround on was its first, with the stage production of Beauty and the Beast opening on Broadway only three years after premiering on the silver screen. With the film attaining worldwide acclaim, however, it was only a matter of time before Disney brought the film to production.
        It is difficult to say what the next stage endeavor will be for Disney after Frozen. This is not due to the shortage of material that Disney possesses, but rather the plethora of product currently in possession of the Walt Disney Company. There are even some shows that have yet to reach Broadway, one in particular that fans hope will make its way eventually to the Great White Way. Perhaps, with a certain live action film set to be released next year, Broadway could see Disney produce its first musical revival?? Who can say. What can be said is that Disney, for the past two decades, has established a (mostly) successful foothold on Broadway with no end in sight. That just about does it for this week's post. Feel free to follow me on Twitter at @mfhallinan for first looks into future posts. Until the next time, this is Mike signing off, ghost light lighting on.

The Great (White Way) Escape & What We Should Do To Keep It That Way

      Greetings, readers, and welcome to yet another Monday post from Mike! Folks, whenever I encounter bad times, or heck just want to celebrate some great times, it is frequently common to find me enjoying live theater. For many years, live theater has offered me an escape from life while enjoying a story told on stage, whether it be actual or fictional, comedic or dramatic. However, lately it has come to the forefront that perhaps some patrons do not view theater the way I do. Such recent behaviors have garnered reactions from performers and patrons alike. Here is three simple ways in which we can help make the theater return to its glorious form of escapism.

1) Follow the Law and Turn Off Your Cell Phone

      Let's start with the obvious. Yes, using your cell phone in the theater is illegal in New York City. Making calls, texting, browsing the Internet, and other activities you can now do on your cell phone may result in you getting fined and ejected from the theater with no refund. Cell phones disruptions have been, perhaps, the most common disruption in the theater. Now, believe it or not, both audience and performers have noticed this, often times tweeting (Part 1) it (Part 2), making a video on etiquette, or just taking the offending device. The bottom line is simple in regards to cell phones on Broadway. When at the theater, make like Elder McKinley from The Book of Mormon and turn it off.

2) Keep Conversations at a Minimum During the Show, If You Need to Speak At All

     I cannot emphasize this enough. It may be difficult to grasp what is going on on stage, but if you find that the show is too difficult to understand, reserve your points of clarification for an appropriate time to talk, whether it be at the intermission or after the show. That is not to say that you shouldn't avoid theater you fear you may not understand. I often times will attend a show that I do not know anything about. It's fun to explore the unknown. That being said, there are avenues where you can do some research on the show before seeing it, whether it's listening to the cast album, looking up the show on the show's official site, or watching a film adaptation before attending. Also, with Broadway being a haven for theater fans around the world, there are ways that Broadway shows become accessible to those for whom English is a second language. Popular shows such as Wicked, The Lion King, and The Phantom of the Opera offer devices called ShowTrans, which translate the show into several languages, giving the user an idea of what is going on on stage. There are innumerable ways to allow one to understand the show, without the running commentary that perhaps may be distracting others around you.

3) Keep Theater Live! That Means No Recording or Pictures

      Suppose the kids at home just couldn't make it to the show, or you know your friend Betty Ann would just love to see her favorite Broadway star perform. That great. Brimng the kids back to see the show and tell your friend Betty Ann how awesome her favorite star is and how she needs to go see him/hr. Do not take a picture or record the show. You are endangering performers, and also stealing. Yes, you heard that eighth commandment violation. Whether you may not know it, a performance contains properties, the property of the set designer, costume designer, even composer, book writer and director have intellectual property that is protected under the law. So, even if you snap that selfie with the stage in the background at show, you are stealing in that you have created this unlicensed replica of a thought someone had and made it to the stage. Also, it's incredibly disrespectful to the performer in that that performer is giving a performance for your eyes only, as you have something your friend may not have yet: a ticket. Instead, encourage others to go have the experience that you just ahd, while reserving that mometn you had with the people who were in the room while it happened.

      There is no better escape then the escape that is live theater. Audiences around the world shall contin ue to leave their troubles outside the theater, and insetad enjoy a show. being aware of your fellow theatergoer will help create a fun filled atmosphere that has no distractions from a truly remarkable performance. So, enjoy a show and feel no hassle from life. Care to learn more insights from the mind of Mike? Follow me on Twitter at @mfhallinan. Until the next time, this is Mike signing off, ghost light lighting on!

On Broadway, It's a Lin-Manuel World (Or An Opinion on The Hamilton Phenomenon)

     Readers, welcome to yet another post featuring musings from my musical mind. When one thinks of the one word that can sum up the highest form of success on Broadway today, one can presume the name that comes to mind: Hamilton. Theatergoers find themselves in this pursuit of the social standard that when one asks, "Have you seen Hamilton?", they can answer in the affirmative. The show has gripped the nation in such a way that so few have done before it. But how exactly did this story of the first Secretary of the Treasury, one who so many knew so little about, come to grasp the nation? The answer comes down to the man who re-found one of the Founding Fathers.
    This man, who crafted and currently stars in the Broadway mega-hit, is Lin-Manuel Miranda. Miranda took Broadway by storm in 2008 when his first Broadway musical, In the Heights, would debut on Broadway following a highly successful Off Broadway run. The show would go to critical acclaim, winning the Tony for Best Musical as well as Best Score for Miranda, who would star in the show, receiving a Tony nomination for his portrayal of Usnavi. A Grammy as well being a nominee for the Pulitzer Prize for Drama would also follow for the show. Following his success with ...Heights, Miranda would be asked by Stephen Sondheim to translate lyrics for the revival of the iconic musical West Side Story. Miranda would also collaborate for with Tom Kitt and Amanda Green on Bring It On: The Musical, which would also enjoy a successful limited engagement on Broadway following a national tour. It would appear Miranda had hit upon this Midas effect on Broadway shows. His next project  would prove that this story is less about the show currently enrapturing Broadway, and more about the man who has created such a legacy in an impressive amount of time.
      Miranda, a former high school English teacher, would be vacationing from In the Heights when he read Ron Chernow's biography of Alexander Hamilton, Miranda would realize the potential for a project. Miranda envisioned a concept album in which he could tell the story of Alexander Hamilton. Miranda would consult In the Heights director Thomas Kail. Then, Miranda would asked by the White House to come perform at their Evening of Poetry, Music, and Spoken Word. Originally planning to perform from In The Heights, Miranda then decided to give his newest passion project the national spotlight in a big way. Being the Internet age, footage of this performance would reach the Web, captivating audiences and spurring Miranda to rethink in what form. Some years later, Miranda would be asked to perform again, this time at New York's Ars Nova venue. Miranda would perform the song "My Shot" from the project still titled The Hamilton Mixtape. More enthusiasm would be received from this performance, leading Miranda to making his upcoming American Songbook concert at Lincoln Center prominently feature songs from The Hamilton Mixtape. Among the attendees at the sold out concert was Jeffrey Seller, who convinced Miranda to scrap the concept album and instead bring the story of Alexander Hamilton directly to the stage. This is how Hamilton came to be born and how the legend of Lin-Manuel Miranda just continues to grow in a way many haven't seen.
        What's remarkable about Miranda's journey to his status on Broadway right now is that in the public eye, the man has yet to make an egregious folly. He has seen now his three Broadway musicals get nominated for Best Musical, with one win in the category and a second possibly on the way. His current venture is perhaps the brightest highlight of his career. Hamilton has seen wins for Drama Desk (including for Miranda's take in the title role, which he currently reprises on Broadway), Lortel, a Grammy, and, most recently the Pulitzer Prize for Drama. The show has also earned 16 Tony nominations, a new record. A sweep at the Tonys would give Hamilton another record, the most Tony wins ever. Also, a clean sweep could have another outcome in which no performer has ever won a Tony for Best Score, Best Book, Best Leading Actor for a single show, a feat that Miranda has a shot at. Many, including this author, can only get a peek into this musical phenomenon with its cast recording as well as a book that Miranda co-authored with Jeremy McCarter as any indication of just how strong a case it has to do so. The journey of Hamilton is a journey that has witnessed its inception in perhaps the greatest audience in the nation can ever have to its current home on Broadway, with so many eyes peering into what could happen in what is now being described as "the Hamilton effect" on the Great White Way.
        The ending to the story of Hamilton  and its creator is, as yet, unwritten, both in regards to June's Tony Awards and, perhaps most importantly, what comes next for the man who has taken the nation by storm. There is no denying that the contributions that Lin-Manuel Miranda has made to not just the stage, but the entertainment world as a whole, has led him to attain a position at such a young age among a class of elite. One cannot hope that the world has only just briefly caught a glimpse as the bright future awaiting Lin-Manuel Miranda. Can this man who made an impact at the mere age of 28 continue this remarkable legacy? The world can only hope so. Right now all we can do is sit back and marvel at all that Lin-Manuel Miranda has accomplished and only hope for the best.
         There is no question that, despite Hamilton being Broadway's latest phenomenon, the real phenomenon being explored on Broadway is  Lin-Manuel Miranda. Hamilton is just one example of how this man has come to thrive recently. One can imagine, what his next stage project shall be. All in all, it is an early, but impressive, start for one man who took his one shot at Broadway and has continued to make the most of it. Until next time, this is Mike signing off, ghost light lighting on.
     
   

Top Ten...Replacements in a Broadway Musical

     Greetings, readers, and welcome to yet another post celebrating the business of show. As one may believe, so much work goes into creating a Broadway musical. However, just as much, if not more, work goes into ensuring that Broadway show enjoys a nice healthy run. Often times the work in preserving the show's success involves providing fresh faces to the cast. Today, we return to selecting some exemplary performances I have had the pleasure of witnessing in person.

1) James Barbour (The Phantom of the Opera in The Phantom of the Opera)

     Barbour, Broadway's fifteenth and current Phantom, Barbour proves why he is the master of telling a story through song in Andrew Lloyd Webber's mostly sung through masterpiece. Barbour can go from terrifying tormentor of the Opera Populaire to emotionally tortured teacher of Christine Daae from scene to scene with flair. Barbour's performance, to me, is immensely evocative of the first Phantom to terrify audiences across the nation to resounding success, that of the late, great Lon Chaney Sr. It is Chaney's iconic performance that drew me to see the Broadway show in the first place and Barbour comes the closest, if not a direct hit, to the Phantom that Chaney portrayed.

2) Billie Joe Armstrong (St Jimmy in American Idiot)

      I had the pleasure of seeing Billie Joe Armstrong in his first of many stints as the foil of the Green Day rock opera. Armstrong was perhaps the most electric performance I have ever seen in a rock opera. The Green Day front man gave life to this mischievous sidekick to the protagonist, Johnny. His twisted Peter Pan-like allure to the role provided a foil to the budding romance between Johnny and Whatsername.  A film version is planned, with Armstrong possibly reprising his performance on the screen.

3) John Owen-Jones (Jean Valjean in Les Miserables)

      Though he can seen in the current revival on Broadway through September 4th, I had the pleasure of seeing John Owen-Jones' perform Valjean in the first revival of the Boublil-Schonberg classic. What struck me the most about Owen-Jones' portrayal of the convict looking for redemption in the eyes of God was his voice. He is a vocal powerhouse, with phenomenal acting chops to boot.

4) Sierra Boggess (Christine Daae in The Phantom of the Opera)

      Boggess, who would star as the vocally gifted ingenue Vegas production of Phantom, Boggess would play Christine in Lloyd Webber's follow up to Phantom, Love Never Dies. In her Christine, the audience can find the ingenue with the chops to rise to stardom as well as the vulnerability of a woman unsure of what path to take, Boggess would also play Christine in the Royal Albert Hall 25th anniversary production of Phantom, and be the Christine later when the show celebrated 25 years on Broadway, a performance I was fortunate enough to catch. Boggess would later be brought back to play Christine in Phantom when Phantom made history with....

5) Norm Lewis (The Phantom of the Opera in The Phantom of the Opera)

     Lewis, the first black actor to play the title role in either the Broadway or London production of Phantom, could not have been a better choice. Lewis brought a soothing baritone to the role, while also acting this tortured soul, with a commanding presence to enthrall audiences on Broadway. Current Phans hope that Lewis' departure of the role in February of 2015 won't be the last time he dons the mask.

6) Chilina Kennedy (Carole King in Beautiful: The Carole King Musical)

     It is rare for anybody stepping into a role when their predecessor won the Tony in a hard fought battle and completely nailing a role, but Chilina Kennedy is doing just that at the Stephen Sondheim Theater. Ever since succeeding Tony winner Jessie Mueller as the legendary Carole King, Kennedy takes only her second role on the Great White Way and delivers a high level of justice to the music icon. Kennedy is a vocal doppelganger for King's unmistakable sound and a terrific actress to boot, chronicling King's rise in the Brill Building while battling a turbulent personal life.

7) Christopher Sieber  (Miss Trunchbull in Matilda The Musical)

     I had the pleasure of seeing both Bertie Carvel and Christopher Sieber in the role of the villainous Miss Trunchbull in Matilda. It is still difficult to figure out who has, or in the case of Mr Sieber, is still doing the role best. Sieber would eventually take on the role that earned Mr Carvel a Tony nomination and play to perfection the sinister bully of a headmistress in Agatha Trunchbull. Sieber brilliantly delivers in acting and also has this chilling British voice down to a tee. Be sure not to miss his frightfully genius performance at the Shubert.

8) Jeremy Woodard (Stacee Jaxx in Rock of Ages)

    Broadway shows that have enjoyed long runs often utilize the talent they already have when it comes to finding replacements for the leads. Woodard's take on the rock icon that falls from grace in the '80s farce rock musical is one textbook example. Having understudied the role since the show's Off Broadway run, Woodard would take on his first principal role on Broadway with ease. He exuded charisma as well as the ego of Jaxx, a foil to the on-stage romance between Drew and Sherrie. Woodard also had a killer rock voice, currently on display at School of Rock on Broadway, that simply enthralled audiences at the Helen Hayes.

9) Stephanie J Block (Elphaba in Wicked)

      Originating Elphaba in the early workshop stages and the show's national tour, Block's Elphaba was perhaps on of the best acted Elphabas I have ever seen on stage. While also possessing the powerful voice that so many associate with the green woman on her way to become the Wicked Witch of the West, Block also acted the role charmingly well, giving Elphaba the pathos that she deserves and enables audiences to connect with her.

10) Justin Matthew Sargent (Peter Parker/Spider Man in Spider-Man Turn Off the Dark)  

     While many of the performances I have mentioned above occurred in shows that enjoyed, or are still enjoying, long runs on Broadway, the final performance I mention occurred in a show that did not do so well. Regardless, it was a performance for the ages. In fact, there is some chatter that Sargent, Broadway's final full-time Spidey, was only slated to play the famed web-slinger for matinee performances only but upon starting rehearsals realized that Sargent possessed unbelievable talent to play the role for six performances in lieu of the two contracted for. Sargent also possessed an amazing rock tenor that did Bono & the Edge's score immense justice. Sadly, it would be a performance only seen for a short time on Broadway

     Replacements often find themselves with big shoes to fill, yet, as only given a small sample of the performances above, Broadway performers continue to do that. Many then find themselves creating roles in Broadway productions and achieving great fame, if they haven't already. Much talk has been given to eventually giving replacements the credit they deserve. until then, go see a Broadway show, even if an acclaimed performer is no longer playing a role. You may never know who you may discover and just how they accomplish the assignment at hand. Have some favorite replacements you've seeen?? Feel free to use the Comments section below to share them!! Until the next time, this is Mike signing off, ghost light lighting on.

The Newest Cleanse of Times Square and How It Affects Broadway

     Hey theater folk!! Hope you guys are ready for spring and summer on Broadway because it looks like it just may finally be here for good. Speaking of, I had an interesting thought recently. As many of you know, I work in Times Square promoting various Broadway shows. As a self proclaimed "flyering veteran," I have had many experiences, both good and bad, that have left me with a certain perspective of the area that I work with. I must admit that yesterday I finally realized that I have a negative perspective of my surroundings. The reason is quite simple and, due to recent legislation, looks like its going to change in the not too distant future.
     When I often mention that I work in Times Square, I often get the response from people that they absolutely loathe walking through New York City's famed Crossroads of the World. When I've asked, it's usually due to the same reason. In years past, a haven for theater professionals and tourists alike have become a new home, people who dress as costumed characters and actively look for photo opportunities with tourists. Often times, after taking a photo with a tourists, these characters would ask, and at times demand, payment. This practice has gone on for a while, with instances of such encounters becoming negative rising to the point where the city has decided to take action. Similar to the clean up of Times Square in the late 1980s/early 1990s, where businesses of an adult nature were relocated far from that family demographic that provide the lifeblood for so many Broadway shows, the Times Square Alliance, in a partnership with city councilmen, have enacted a law that shall be going in effect in the coming months. Under the bill, those looking to make a profit in Times Square shall be regulated to specific zones, allowing tourists to roam in the heart of the theater district unperturbed.
       This leads us to the big question with implications on Broadway shows, what about those, such as your truly, that are not seeking profit, but simply seeking to assist the average theatergoer, whether it be tourist or New Yorker? To evaluate this question, let us look at those that this new law. It is meant to target those who are openly seeking money. Broadway promoters aren't seeking that. What we merely seek is to assist theatergoers with information that they can then utilize should they choose. Taking a simple flyer from us does not mean you're going to spend that money. We are not asking for your money right then and there. What we merely seek is to provide one with information that, should one choose to purchase, then go to an authorized place (whether it be in person at the theater, online, or via telephone) and make a purchase. Thankfully, it has come to my knowledge that the Times Square Alliance, who shall be regulating this law when enacted, is cooperating with companies such as the one that I am employed by, to ensure that come summer, those such as myself looking to help are allowed to go about the Times Square area with no worries.
    In short, dear readers, Broadway shall always be subject to change, mostly through laws whether it be city, state, or federal. However, these laws shall, presumably, be those looking to help the theatergoer and all involved in this lovely business of show. So, when visiting this summer, leave your hassles to their respective zones and get some help from those solely to help serve you. Until the next time, this is Mike signing off, ghost light lighting on.

Overtime Fun: Broadway Performers in Concert

      Hello again, readers, and welcome to another Monday post. For those of us with jobs, we are often asked if we can stay after or come in on the weekend to do a little more work or participate in a company function. The same goes for Broadway performers. Even when these immensely talented individuals have performed eight shows a week (or more!!), often times they find themselves working for the public a little longer. This often comes in the form of a concert. I have had the pleasure of seeing Broadway performers in concert for some time now. I cannot begin to tell you the work that I've seen.
       There are two categories in which I place Broadway performers in concert: concerts done in an effort to promote their show and concerts done just for the thrill of performing work they don't normally have the opportunity of performing. The former greatly differs from the latter. Concerts held to promote their shows usually happens in a public setting, often times for free. A good example of this is the popular summer concert Stars in the Alley. At this event held in Shubert Alley in the heart of the Theater District, performers from Broadway shows give a glimpse of their shows to a massive outdoor audience. Shows may also do smaller offerings, usually coinciding with a CD release for new shows, or also appearing on television shows such as The View, The Today Show, The Late Show, among others. These performances may come with a catch, for example having to register for free tickets or purchase a CD at the store the event is held. These concerts, however, provide an amazing opportunity to entice the theatergoer to check out the whole show in person.
       Concerts done strictly for the thrill of performance, as one can imagine, offer a much more intriguing environment. This venue allows performers to showcase material, usually with some sort of theme, that they may not have the chance to do anywhere else. These concerts usually require a ticket, with a minimum amount of drinks or money should the venue be a bar or restaurant. New York offers countless venues for these concerts, with a couple of prominent venues being Birdland Jazz Club, home to Jim Caruso's Broadway at Birdland series as well as Cast Party every Monday night. Feinstein's/54 Below, the Cafe Carlyle, and Lincoln Center's American Songbook series. Also, audiences can expect a wide range of performers, whether it be well known Broadway stars to performers audiences rarely see go on. I often find myself enthralled equally with the entire range of talent that I have seen perform. These concerts, while requiring some extra work on the part of the performers, often providing a phenomenal reward for performer and audience alike.
         I cannot emphasize of attending as many concerts as possible. One can't begin to know who they may see perform and be able to say they knew someone when they were just a special guest this one time at a concert they saw. You can check for upcoming concerts at the web sites of the venues mentioned above, as well as other theater news sites. Have any memorable concert experiences? Share them in the Comments section below. Until the next time, this is Mike signing off, ghost light lighting on.

The Community of Broadway

        Hello again, dear readers, and welcome to yet another blog post. As I have addressed in previous posts, at the heart of Broadway is a community that allows for interactions among all, including the fans. Working in the heart of the theater district, that idea is at its acme in everything that I see. From seeing stagehands load in or load sets as productions start up or finish, respectively, to sitting at a bar next to one of the greatest composers in musical theater history, I have never felt so surrounded by a community of theater professionals and fans alike, often one in the same. Broadway, for all intents and purposes, can easily be thought of one large community that outsiders and professionals alike interact and support great causes.
       An experience comes to mind that illustrates my point in Broadway being this community of support. I was distributing flyers in Times Square on a nice summer day. It, for the most part that day, had been business as usual. I was promoting The Phantom of  the Opera, when an elderly gentleman caught my eye, walking towards me. I chuckled as, with my young eyes, I saw that this gentleman resembled Harold, aka "Hal," Prince. Prince is perhaps one the greatest directors and producers on Broadway, contributing his immense vision to such shows as Cabaret, Sweeney Todd,  Fiddler on the Roof, and, of course, the very show I was promoting that day. I dismissed the fact that such a genius could just be walking through Time Square and instead I resolved to offer a discount flyer to The Phantom of the Opera to this Hal Prince doppelganger. So, I looked this gentleman straight in the eye, extended my hand out that held a flyer, and said, "Discount to Phantom?" This gentleman smiled, grabbed the flyer out of my hand, and then laughed. That, dear readers, was the day that I gave a discount flyer for The Phantom of the Opera to Hal Prince. I wish I had realized that that was Hal Prince, and afterwards had not been in such a state of shock. If I had, I would have said two simple words I have always wanted to say to this legend, "Thank you." It is because of such visionaries that I work in such a wonderful community. Did Mr Prince need to take that flyer from me? Absolutely not. I have heard stories of other theater professionals either politely or, on rare occasion, impolitely, declining a flyer in such scenarios. That such a positive scenario happened to me still has me in awe to this day, yet goes to show just how many people are involved in making Broadway the community it is.
         Such interactions among so many people at different levels in the theater world isn't the only way that Broadway is a community. A good amount of support is also given for others in need by Broadway. Often this takes the form in donations made to such noble causes as Broadway Cares/ Equity Fights AIDS as well as other causes. Did you know that it's possible to see a Broadway show and afterward  get a cool memento for a donation? Well, that very thing is happening now, as some Broadway shows have starting participating in fundraising drives for Broadway Cares/Equity Fights AIDS. in exchange for donations of cash, with credit cards also accepted, theatergoers can purchase a rare treat of theater memorabilia such as a signed poster or program, prop, or other merchandise at participating shows. Proceeds from these events then go to the remarkable work done by Broadway Cares. It is also common for performers to participate in concerts with proceeds benefiting this charity, as well as others. Just recently, a return performance of the Broadway musical Shuffle Along from a hiatus saw $40 tickets sold, with proceeds donated to The Actor's Fund. In all, Broadway continues to be a community of those who love what they do and look to spread that love to as many people as possible.
       In all, dear readers, the next time you visit the Theater District, whether to see a Broadway show or some other purpose, take a look around. You are standing in a community not to dissimilar to ones we interact with every day. Broadway is a loving community that allows for the outsider the occasional glance on the inside, usually for the price of a ticket. Yet, there is still that community upon exiting the theater. taking a look around easily reminds you of that. Until the next time, this is Mike signing off, ghost light lighting on.
      

How To Succeed in Seeing a Broadway Show (No. It's Not Hard. At All.)

        Hello, dear readers, and welcome to yet another blog post. Readers, when I often tell people I work on Broadway, I am often asked, "Oh. How do I get tickets to (Insert Show Title Here)?" At times, I am happily able to assist in doing so, mainly by offering a discount code for that person. Other times, however, I am only able to impart some info I know, especially with the show I shall refer to as the Fast-Selling Five: Aladdin, The Lion King, Wicked, The Book of Mormon, and, this season's newest entry, Hamilton. The thing is, even for these widely popular shows, there are ways to obtain tickets for shows directly from the shows themselves. I should know, I am one of the people who have helped countless patrons, as well as having been a patron, for many years.
       I start this common tutorial with a metaphor. Suppose you were going to buy a new car. Now, as you can imagine, that takes a lot of research. What type of car is best for you? Is that car affordable? What features make this car a perfect fit? Are there any local deals being offered by the local dealer? Upon gathering such info, you make a decision and go purchase that car from the dealer, hopefully. Same goes with a Broadway show. Presumably, before purchasing theater tickets, similar research is done. You want that best, official deal. Usually, that deal occurs at the box office, or online via Telecharge or Ticketmaster, or over the phone. But what happens if you cannot find that deal? What are you to do now? Believe it or not, the answer may be found in a couple of different places. Several of those answers often result in going to the same place.

1) Go to the official source (but maybe keep an eye open along the way)
         Going to the show web site often provides multiple answers to attending the show of your dreams. Two of these options can be rush tickets or a lottery. Many shows offer one, the other, or both. You can find more info right here. Depending on the show, you may not even have to leave your home to sign up for these tickets. Shows have been doing digital lotteries, where you enter online and are emailed or texted with the results. Another method of getting tickets at the theater is standing room, when if a show is sold out, spots are sold where patrons can stand and watch. Standing room, much like rush and lotteries, isn't something offered by all theaters, so check with the box office. Another way to get tickets for the box office are cancellation tickets. Much like dinner reservations, sometimes, patrons are unable to attend the show and must cancel their tickets for that evening. When the happens, in order to make some dough, the box office itself will resell those tickets at face value. Sure these seats could be in areas of the theater that are expensively priced, but there may be a chance that more affordable tickets are released. It certainly doesn't hurt to check. In fact, on your way to the theater, be on the lookout for street teams for Broadway shows. Often times street teams can be found in the Times Square area distributing flyers that contain discount codes to shows you want to see. Some may be in costume (i.e. women in black bowlers, tops, shorts, with red stockings passing out discounts to Chicago) or wearing show merchandise (i.e. people with show t-shirts, hats, jackets, and/or bags promoting shows such as The Phantom of the Opera or The King and I). These individuals will also be more than willing to provide information, just in case you are looking to see a show purely on impulse.

2) The Theater Development Fund's TKTS Booths (Yes. There's More Than One)
        Perhaps synonymous with discounts on Broadway, the TKTS booth has been providing theatergoers with tickets for over 40 years. The Times Square location, which sells tickets at a discount anywhere between 20% to 50% off its face value, constantly serves as a welcome haven to theatergoers from near and far who wish  to see a show on that same day. Its location is open every day with tickets for evening performances going on sale at 3pm, excluding Tuesdays when tickets are sold starting at 2, and for matinee performances at 10am, except Sundays when matinee tickets are sold beginning at 11am. However did you know that the Times Square location is not the only TKTS booth? Locations also exist at South Street Seaport (at the corner of Front & John Street) and in Downtown Brooklyn (1 MetroTech Center). These booths open a little earlier for evening performances, except the Brooklyn location which is closed Mondays and Sundays, at 11am and also enable theatergoers to purchase tickets for a show that has a matinee the next day. While it is extremely unlikely to purchase tickets for the aforementioned Fast-Selling Five. there are many shows, both Broadway and Off Broadway, that offer tickets. There is an added 4.50 fee, but that money goes to assisting TDF with its various initiatives to assist audience members. Now, the common conception is that these seats are only in the orchestra and front mezzanine.. However, this is not the whole story. Some shows may even offer seats in the more reasonably priced locations. While this is not the norm, it isn't incredibly unlikely either. It certainly doesn't hurt to go a check for a show at the TKTS booths. Also, there is a free app if you find yourself in a time crunch that puts the lists of what booth is offering what. Download it to our smartphone and/or tablet.

3) The Today Tix App
       New to the Broadway discounting scene the past two years, the Today Tix app enables smartphone and tablet users to legally obtain Broadway tickets as well. Having established a relationship with some shows, the app utilizes discount offers and serves as a personal shopper of sorts for the theatergoer, sending people to theaters to purchase tickets and then having them held by one of their concierge agents at the theater prior to the performance. The app offers also offers lotteries and, in a couple of cases, rush for certain shows. One caveat of using the Today Tix app is that, unlike the box office or TKTS, you do not know where your seat will be prior to purchase. Today Tix also alies a $10 fee per order. There is also a possibility that the theater is sold out of the ticket you require, though Today Tix states it will inform the customer if such a scenario occurs.

And Now A Word On Buying Tickets From Scalpers/Brokers
      Referring back to the car analogy, suppose you were on your way to buying that dream car when you come across an ad for that exact car you want. Some individual is selling his car, which they say is in mint condition and heck, they'll even offer you a deal. They may even tell you that the car just sold out at the lot and there is no way you can get your dream car except through them. Chances are you're still going to check with the dealer because if it sounds too good to be true, it usually is. The same should go with purchasing third party tickets on Broadway. It is entirely possible that a scalper may have legit tickets and is offering you at a price that you may be willing to pay, but shouldn't you also check with the source? Tickets, especially recently on Broadway, have been found to be counterfeit, or drastically overcharged. You don't want to pay $65 for a ticket to a show and sit next to some person that only paid $29.  Or, such as the case with these people, not even get into the theater after shelling out hundreds of dollars. Scalpers come in all shapes in sizes. Sure it just may be one man offering you tickets to The Book of Mormon, but I have noticed a growing trend, especially in the Times Square area. Some individuals have been utilizing street teams, similar to the ones utilized by Broadway productions, to attract unsuspecting tourists to an office or storefront they may have with the promise of discounted deals. These street teams can usually be spotted wearing uniforms of some sort advertising their company and holding clipboards, likely with show logos on them. Often times, this may not be the case and tourists find themselves drastically overpaying. In fact, in a recent report by the New York State Attorney General's office, it was found that the scalping may be getting too out of hand You wouldn't buy your car on the say so of some person without at least checking with the source, so why would you pay for your Broadway tickets? The decision is yours, but please do the research. Chances are a simple online search can find the truth in regards to these organizations and what it is the show has to offer.

     All being said, I cannot encourage you enough to use this information and go experience the joy of live theater. As I've stated, anything is possible, it's just a matter of looking into it with the official source, that being the show, and take it from there. Hopefully sometime soon this blog will also be offering discount codes, so if you have a show you want to see, feel free to comment and I will personally look into it. Also, should you have any questions regarding anything I posted, or even didn't post, don't hesitate to use the Comments section as well. I look forward to seeing many of you guys seeing Broadway shows, That about does it for this post. Until the next time, this is Mike signing off, ghost light lighting on!
       

Pop Songs on Broadway: Familiarity Breeds Cash

       Hello, dear readers, and welcome to yet another Big On Broadway post. For this post, I shall discuss a growing trend on Broadway, that of the jukebox musical. For some time now, musicals have reverted to fusing two art worlds: pop music and the stage. There are some cases where this has been successful, as well as others that have proved not be as successful. There are also times when pop music writers have composed strictly for the stage, another prevalent trend in the last decade or so. There is a simple reason for this, one that, having promoted such jukebox musicals. That brings me to my theory.
        Tourists love familiarity. It is as simple as that. If someone is going to spend a substantial amount of money on seeing a Broadway show, they want to know that that show is going to offer something that is worth their money. Often times, when they come to Broadway and hear that their favorite songs  are now being performed on stage, they'll tend to drift toward that show. Hence shows such as Mamma Mia, Beautiful: The Carole King Musical, Jersey Boys, Rock of Ages, American Idiot, Disaster and more have enjoyed success on Broadway. These shows arrive with a fan base already intact, and often, when everything works on stage, they enjoy a multi-year run on Broadway. However, for every Mamma Mia & Beautiful, there's a Lennon, the short lived bio-musical of Beatle John Lennon, and Good Vibrations, the Beach Boys jukebox musical which played on Broadway for only 49 and 94 performances, respectively. However, this has not deterred pop writers from bringing their talents to the stage.
           Broadway, whether we like it or not, has come back to the forefront. It is now "in," thought if you ask me it shouldn't have ever been out. Much like the Great White Way was host to legendary performers who then took their talents to stage in writing songs, from Duke Ellington to Burt Bacharach, during its earlier heyday, we have seen that trend return.  Recent years on Broadway have found the likes of Paul Simon (The Capeman), Harry Connick Jr (Thou Shalt Not), Sir Elton John (Aida, Lestat), Bon Jovi's David Bryan (Memphis, The Toxic Avenger Musical) compose for the stage. The past 3 years on Broadway, we have seen Sting get nominated for a Tony Award for The Last Ship, Duncan Sheik win for his score to Spring Awakening and Cyndi Lauper become the first woman to win the Tony for Best Score for her work on Kinky Boots. This season also has had its share of crossover writers with Sheik returning to Broadway with American Psycho and Sara Bareilles composing the tunes for Waitress. Next season will bring a host of pop icons with The SpongeBob Musical (At press time, those contributing to the score are David Bowie, Aerosmith's Steve Tyler & Joe Perry, Lady Antebellum, John Legend, Lauper and more. Pop stars will continue to write for the stage, and hopefully, audiences will flock to cheer them on.
      The resurgence of pop stars returning to Broadway, whether it be their stories in song, their hits set to a story, or completely original work,will only contribute to the growing awareness and survival of the Broadway musical, an art form many thought at one point was dying. With new artists joining, fresh faces will stroll into Broadway theaters, eager to witness something remarkable.  With these new audiences, Broadway should enjoy a thriving reign in the entertainment world for years to come. Until the next time, this is Mike signing off, ghost light lighting on.

Bringing The Show Experience to a Broader Audience

     Hello, again, dear readers and welcome to yet another post.  As discussed in a previous post, shows often go to great lengths to leave audiences with a personal memento of the experience that they have had at their shows. This post now looks into new lengths into which shows cater to those who may not be able to go to the theater. Throughout the years, in regards to distance and, today especially, price, there are those who find going to a Broadway show to be extremely difficult. Fortunately, producers have become aware of this and now are looking for ways of bringing the show to audiences across the States and/or globe. There have been two prominent ways of doing this: the live cast recording as well as filming performances for widespread distribution.
      The live cast album has become more prominent in the 21st century. In this essence, sound engineers will be brought into the theater, equipment installed, and a performance, or in many cases a couple of performances, will be recorded legally and include elements that cannot be captured in a recording studio, such as audience reaction, some dialogue, and such. Shows that have done this include the Broadway productions of Brooklyn and, very recently, On Your Feet: The Gloria & Emilio Estefan Musical, as well as the 2014 West End revival of Miss Saigon, the 25th Anniversary tour of Les Miserables, Oliver, and The Phantom of the Opera at the Royal Albert Hall across the pond. Through these recordings, actors have been less confined to the studio, and more susceptible to giving a performance of the character on stage. This way, through listening to the CD, audiences can picture witnessing the performance. There is, however, a more literal way of broadcasting the performance.

   As seen above, as early as the 1970s, producers have looked to bring at least a small piece of the action on stage to audiences around the globe. Lately though, audiences have gotten more than a small glimpse of what they're missing on stage. Through film and television, a more broader audience has been given access to live performances. Notable means of doing this on television have included PBS' Great Performances (Billy Elliot, Cats, A Tale of Two Cities, Memphis, Cyrano de Bergerac, Macbeth etc) and Live From Lincoln Center (South Pacific, Contact, Act One, A Light in the Piazza etc) as well as pay-per-view and cable (Jekyll & Hyde & MTV's presentation of Legally Blonde The Musical). In most cases, the exclusion being the Live from Lincoln Center series, these programs have been preserved on home video & DVD. However, for those that have become more the fan of the big screen than the small screen, producers have also shown an intrigue in bringing live performances to cinemas. This has been the case mostly with performances from abroad with the 25th anniversary concert of Les Miserables at the O2 Arena as well as the performance of The Phantom of the Opera at the Royal Albert Hall,  the Australian production of Love Never Dies, as well as the UK's National Theater Live also joining in showcasing live performances. In an intriguing twist, Cameron Mackintosh has announced that the 2014 gala performance of Miss Saigon will also be playing in cinemas in the US prior to the production coming to Broadway. This would prove a risky move had it not been for producer Ken Davenport who offered a free performance via the Internet of the Off Broadway production of Daddy Long Legs. The live stream would prove successful, boosting sales for the show still running Off Broadway) as well as the cast album. Perhaps broadcasting their show should be something more theater producers consider doing.

     Theater should continue to be accessible to those that may not be able to make the trip to Broadway every year. There is no proven fact stating that broadcasting shows legally hinders a show's ability to recoup an investment or lose some luster. In fact, it just may help out the show in the long haul. As the theater world becomes more open to this idea, it shall be interesting to see just how broadcasting of performances evolves. Until the next time, readers, this is Mike signing off, ghost light lighting on.

The Night That I Met Sondheim and The Epiphany That I Had

          Okay, readers, I have an admission to make, two weeks from tomorrow...I turn 28 years old. Now, you may be thinking that 28 is the age where still anything is possible and that you can still change your life. The thing with me is I have had so many incredible experiences for someone who has yet tor each their 30s; experiences that continue to reaffirm that Broadway is the place for me. Now, I have yet to reach that ultimate moment, but let me tell you about one such moment that reaffirmed that Broadway is my true home. It happened two months ago....
        It was a day of bitter cold, the type reserved for a typical January day, which that Tuesday was. I had just busted my you-know-what for five hours at TKTS. Having lost the digital lottery for Hamilton (It was the first day that the hit Broadway musical offered one and their web site crashed) , I resolved to go to my favorite local Irish bar for a nice hot bowl of chili. So, after completing the work day, I headed on over The Mean Fiddler for a beer and, most importantly, a nice bowl of chili that would certainly warm my frigid insides. There was a decent crowd in the Fiddler, filled with people like myself having completed their work day, tourists from nearby hotels, and the pre-theater crowd as the bar was located in the heart of the Theater District. I was just sitting by myself, sipping on my beer, waiting for my chili, when I sense someone standing next to me. I look to my left, and standing there at the bar is Mr Stephen Sondheim.
       Readers, have you ever had one of those moments where you are thinking one thousand thoughts in one instant? That is what I felt when I realized I was right next to Stephen Sondheim. Here was a man whose work I had respected from a very young age, who is widely regarded as one of the greatest composers in Broadway history, and he is standing right next to me at a bar. I was torn between bothering someone who may not want to be bothered and just saying something to him. Eventually, I decided to lean over and, very subtly, state, "I am sure you get this often, but I am a huge fan of your work." Mr Sondheim then turned and thanked me. He asked if I was an actor, and I replied that I wasn't and that I was a marketer and promoter for theater. I further mentioned the fact that it was my buddy Jim who had given me m break (more on that story in a later post) and how Jim has a fun story about messing up a line while in rehearsal for the Broadway production of Assassins and Sondheim had said something to the sense of Jim saying the line better than Sondheim wrote it. Mr Sondheim laughed at this brief, interpreted anecdote and said that he loves sitting in on the rehearsal process to encourage the actors as they make mistakes as that is what the rehearsal is there for. I then asked Mr Sondheim what his favorite adaptation of his work was. He quickly referred to the Roundabout production of Assassins, as well as the more recent revival of Sunday in the Park With George at Roundabout as well as his collaborations with Hal Prince. I told him of my desire to watch Assassins at the Lincoln Center Archives, which Mr. Sondheim greatly encouraged me to, if I could.
     Mr Sondheim and myself then discussed shows we have seen recently and shows I hoped to see soon. I mentioned that the two I really wanted to see next were Hamilton and the recent revival of A View From the Bridge. Sondheim encouraged me to sees A View From the Bridge, which he called "the definition of catharsis." In fact, I learned that Mr. Sondheim was more a fan of dramas then musicals. He bemoaned the fact that both Broadway and London seemed to be dominated by musicals as opposed to plays. In regards to Hamilton, I told Sondheim that I hoped to see the show soon and that, despite my friends' encouragement, planned on listening to the cast album for the show after seeing it. Mr Sondheim then told me there was a reason that my friends were encouraging me to listen to the album prior to seeing Hamilton. He referenced giving Lin Manuel Miranda advice in getting his lyrics and rhythms in a place where audiences could grasp the important information. By this point, Mr Sondheim's husband had joined him and he proceeded to exit the bar as he and his husband was seeing Spring Awakening, playing at the Brooks Atkinson next door. I thanked him for his words of wisdom and asked for a photo with him, which he obliged. Thus ended easily the most remarkable encounter I have ever had in my life.
        Readers. the chance meeting I had with Stephen Sondheim made me come to a realization. As a young professional, it is vital to learn from others who have succeeded in this business and, often times, there will be people, even idols, to assist us in coming to grips with the businesses that we are involved with. It may be hard to believe, but even theatrical legends such as Stephen Sondheim, in regards to Oscar Hammerstein, and Hal Prince, in regards to George Abbott,  looked for wisdom from those that had succeeded when they were starting off their careers. We should honor these idols, but not treat them as some Mount Rushmore that we dare not approach for wisdom, but to look for that right opportunity for them to impart their valuable knowledge to us. It may just even leave us with a great story to tell our friends and family for years to come. I encourage you to look for that right opportunity and simply learn. There is no greater search than the search for knowledge, as I've come to realize. That about does it for my latest blog post. until the next time, this is Mike signing off, ghost light lighting on.

The Magic of Cast Recordings + Top 10 Personal Favorites

       Hello again!! Mike here to dispense some more musings on the beautiful world of musical theater. Readers, we often have many cherished memories of the magical feats we have seen on stage. Often times, we have retain memorabilia from our experiences on stage, whether it be a program, ticket stub, t-shirt, souvenir booklet, or otherwise. However, it is my opinion that nothing quite comes close to memorable keepsakes quite like a good cast recording. Barring the rare circumstance that a show is recorded for DVD distribution, the closest piece of memorabilia that captures the performance we witnessed, or wished we had witnessed, is a cast recording. It is this cast recording that preserves the show for audiences that have seen it, as well as for others that have may have missed out on the show or are currently unable to see it. I have so many cast albums, some from Broadway, some Off Broadway, some direct from the studio whether it be a concept recording or celebrating previously performed works. Here is a Top 10 of those I've listened to and own.

1. The Hunchback of Notre Dame (Studio Cast Recording)

Whether one is a fan of the 1996 Disney animated film or just a beautiful cast recording in general, this album is a must have. Having had the pleasure of seeing the stage production staged at Paper Mill Playhouse in New Jersey, I can attest that this album is the perfect representation of what I witnessed on the Paper Mill stage, combining Alan Menken & Stephen Schwartz's reverent score with the narration of the show that made this show so spectacular. The leads are sensational, whether it be Michael Arden's heartbreaking title character, Patrick Page's villainous Claude Frollo, Andrew Samonsky's dashing Phoebus, Ciara Renee's enchanting Esmeralda, Erik Liberman's comic Clopin, and an ensemble that exudes excellence.

2) The Phantom of the Opera (25th Anniversary Royal Albert Hall Recording)

In order to celebrate one of the most successful musicals in the world, Andrew Lloyd Webber & Cameron Mackintosh assembled an incredible cast to celebrate the 25th anniversary of the show's world premiere in London. Ramin Karimloo and Sierra Boggess are simply astounding in their takes of the tragic title role and the ingenue Christine Daae, respectively. The album does not require the DVD (though one was released as well) as the entire show, as well as a star studded Grand Finale, is recorded on disc. This is a recording that has been, and continue to, enchant Phans throughout time.

3) Frankenstein - A New Musical (World Premiere Cast Recording)

This is, admittedly, an obscure choice. A short-lived Off Broadway musical, this subsequent cast recording is for the fan of the underdog. This recording really is a testament to the fan, in taking something that established, but loyal, fan base in that it perfectly captures the cast. What perhaps has contributed to the creation of such a recording is the sensational cast. Hunter Foster is astounding as the title role, with the vocal powerhouse that is Christiane Noll as Elizabeth, Steve Blanchard as the sinister Creature, Mandy Bruno as the innocent Justine, Richard White as  the patriarchal Alphonse, Jim Stanek as the reverent Henry, Struan Erlenborn as young, but curious, William, Becky Barta as the inspirational Mother, and an extraordinary ensemble of Aaron Serotsky, Nick Cartell, Casey Erin Clark, Leslie Henstock, and Patrick Mellon . For those that are fans of Frank Wildhorn and dark musicals, definite check out this album on iTunes.

4) Assassins (The Broadway Cast Recording)

The 1st cast album to make the list from a show I unfortunately I did not have the pleasure to see. Perhaps one of Stephen Sondheim's lesser favorable works, this cast album is not just a treasure due to content, but also cast. Tony winner Michael Cerveris showcase a genuinely slimy John Wilkes Booth. James Barbour makes a convincing case for being able to convey a role by being a master storyteller through song as the chilling Czolgosz. Neil Patrick Harris' & Denis O'Hare's Balladeer/Lee Harvey Oswald & Charles Guiteau, respectively, are the devilishly charming types television audiences come now to recognize from turns on How I Met Your Mother (Harris) and True Blood (O'Hare). Marc Kudisch as the perfect introduction to Sondheim's superb score as the Proprietor. Mix in the phenomenal Becky Ann Baker, remarkable Mario Cantone, youthfully exuberant Alexander Gemignani, and charismatic Mary Catherine Garrison, and you have one talented cast to perform an under-appreciated Sondheim masterpiece.

5) School of Rock The Musical (Original Broadway Cast Recording)

The latest from Lord Andrew Lloyd Webber probably ranks among his best in terms of a rock score. Alex Brightman takes a role many associate with Jack Black, who originated the mischievous Dewey Finn in the 2003 film, and completely makes the role his own in brilliant fashion. Sierra Boggess continues to make her case as the lead interpreter of Lloyd Webber's work. Special mention to the kids of School of Rock, most making their Broadway debut. These kids display the poise of Broadway veterans, while also accompanying themselves with an amazing skill set of musicianship. It should also be pointed out that the album is produced by Lloyd Webber and Rob Cavallo, a veteran rock music producer, thus giving this extraordinary album the rock edge it so desperately needs.

6) How to Succeed in Business Without Really Trying (2011 Broadway Cast Recording)

Okay, readers, I have a confession to make. I am not a huge fan of star casting.  for those not familiar with the term, star casting is when the producers of a show decide to put an A-,B-,or C-lister in a role of their Broadway show. This is a very hit or miss move. That said, Daniel Radcliffe's taker on J Pierrepont Finch is perhaps one of the biggest hits in the history of star casting, exemplified beautifully on this album. The rest of the cast, led by John Larroquette, Rose Hemingway, Christopher J Hanke,  Rob Bartlett, Tammy Blanchard, Michael Park, plus an excellent ensemble make this recording of How to Succeed... the ultimate one for any fan of the Pulitzer Prize winning musical comedy.

7) Man of La Mancha (2002 Broadway Revival Cast)

Another show that I had wished I had seen on Broadway because of incredible performance, evident by this cast album. Brian Stokes Mitchell's Cervantes/Don Quixote defines this cast album. Mr. Stokes Mitchell takes the frequently interpreted "Impossible Dream" and inspires the listener to dream along. His "Dulcinea" has the power to make both man and woman simply melt. Fans of the Broadway leading man should definitely grab this cast album to get the pleasure of enjoying perhaps Brian Stokes Mitchell's greatest performance yet.

8) Bonnie & Clyde (Original Broadway Cast Recording)

It is my firm belief that some time from now, someone will stumble across the cast album of Bonnie & Clyde and, after researching the show's history, be shocked the show had such a brief run on the Great White Way. Frank Wildhorn would be Tony nominated for his rockabilly score with leads Jeremy Jordan and Laura Osnes in roles just before skyrocketing to stardom. In fact the Broadway run of Bonnie & Clyde would be so brief, the two would go on to star in new shows and both become Tony nominated, Osnes for her work in Bonnie & Clyde and Jordan for his work in his next show, Disney's Newsies. Following the 2011-12 season, the two would go to great success. Listening to this album is the ultimate example of the greatness that these two achieve.The Bonnie & Clyde Original Broadway Cast Recording succeeds in taking a Broadway musical that could easily be forgotten, and perfectly preserving a remarkable score with an incredible cast.

9) Sunday in the Park with George (Original Broadway Cast Recording)

Another cast album that makes one wish they had a time machine to travel back to the Booth Theater in 1984. Widely regarded as Stephen Sondheim's best work, and the work that won Sondheim and James Lapine the Pulitzer Prize for Drama, this album once again remains a cut above many due to its two leads. Mandy Patinkin's George and Bernadette Peter's Marie/Dot remain as one of the best on-stage couplings in Broadway history, as evident by this album. Combining both dialogue and song excels remarkably well, especially considering the relationship on stage. One could easily argue that this cast album serves as the closest thing to a time machine, as the listener can perhaps envision the performances on the stage of the Booth, if not a DVD of the original Broadway cast, again a rarity for a Broadway show, is in print.

10) In the Heights (Original Broadway Cast Recording)

This is the show that put Lin Manuel Miranda on the map, and rightfully so. This album takes the innovation that won Miranda his first Tony Award for  Best Musical. The album is just sheer brilliance as well, delivering Miranda's clever lyrics as delivered by a stellar cast. The album was also a rarity for me. I entered the show having little knowledge of the show, after having experienced the first act alone, I went to the lobby of the Richard Rodgers and purchased the album. Such was the testament to which I was impressed and, years later, the album still does no disappoint.

    In closing, readers, cast albums create, or recreate, experiences that we may or may not have seen on stage. The cast albums I have mentioned are easily ten albums that have that power for me. Check them out on iTunes and/or Spotify. Feel free to comment below on some cast albums that resonate with you. One general rule of thumb I have is that I do not listen to the cast album of a show currently out that I have not seen, hence why some of you may wonder why a show like Hamilton is not on the list. In fcat, bringing that up gives me a great idea of what my next blog post is going to be. I just may write up on that right now. ;) Until next time, this is Mike signing off, ghost light lighting on.

Theater Message Boards

        Hello all! Welcome to the inaugural post of Big on Broadway! I am so excited to be able to share with you guys all of my musings on the past, current, and future of Broadway. There'll also be some fun stories, most with lessons I hope to impart to you so that you can develop, or retain, a love for Broadway, and live entertainment in general, as well as, hopefully, some pretty nifty offerings. Anyways, thanks for reading and now let's go on to my first official blog topic!!

        I love my job!! I, for those of you that don't know, have been promoting live entertainment for many years and, next week, will mark my 2nd anniversary working for the awesome folks at Street Meet Promotions. Working for Street Meet, I get the opportunity to interact with tourists every day in Times Square where I distribute discount flyers to shows as well as assist patrons at the famous TKTS booth in Times Square. The company I work for has, and currently represents some incredible shows including Beautiful: The Carole King Musical, Fun Home, Disaster the Musical, The King and I, Wicked, On Your Feet, Wicked, and, my personal favorite,  The Phantom of the Opera. At the end of the day, I usually go home and catch up on what people are saying about the shows my company represents as well as what is being said about shows that may be in the future that I'd love my company to represent. Often times, I go on theater message boards to read the opinions of others. There are times I read some stories about people having great experiences in regards to the shows we currently represent. It's when I look at comments on other shows that have yet to see the curtain rise on Broadway that I am often bothered.

         Let me preface this by saying that I believe in people having their own opinions. I have my thoughts, you have yours. However, there is a time and a place to share your opinions. I feel that one should express their opinion after having seen the final product. Unfortunately, their are others that don't share this viewpoint. I cannot tell you how many times someone will use some screen name to go on a theater message board, hide behind some fictitious screen name, and just trash a show that they, nor anybody, has even sen yet. 

      As those of us familiar with the world of theater know, creating theater is a process, the same as creating any other art form.  This is a process that requires work on the material, whether it be music, lyrics, dialogue, or all three, then selecting those to interpret that work via casting, then directing the actors and finally putting everything together, with scenery, costumes, and lighting, on a stage in front of an audience. The end product to this process often undergoes changes in the firm of rewrites to the material, changes in direction, and such. in fact, Broadway shows still undergo changes even after the show has been put before an audience during the preview period. 

      I am fine during the preview process with people going on a message board and offering an opinion of the show they witnessed in regards to what they felt worked and didn't work. That is fine. Perhaps, the creative team are reading those insights and implementing changes. What isn't cool is when some anonymous user goes on a message board and just states that "Show A" will close before it opens. There are even times when such a comment is made based on footage we see from the rehearsal room, or even who is cast in the show. Just recently, I saw someone take pity on the actors for being employed by a show. Theater message boards are meant to be a place for theater fans to congregate and share their findings about shows that they see. It is not supposed to be a place to just rip everything we may not like the sound of before actually seeing that product. There are those that may read comments and become disheartened that already the hard work they are putting, or plan to put into a show, is being dismissed based solely on whimsy. Is that fair to anybody??? I think not.

      What I love most about working on Broadway is that there is a sense of community. There is such a great camaraderie among others to make a truly wonderful product. Let's support this, not hinder it. We all are entitled to our opinions. Let us, however, reserve those opinions until we have seen the final product. That does it for my 1st blog post. I will do my best to regularly post here. Feel free to leave comments, but please, people, keep it constructive. Until the next time, this is Mike signing off, ghost light lighting on!