Broadway in Your Backyard OR: My Realization After Seeing The National Tour of Wicked

        Hello, (Broadway) boys and girls, I'm back!!!! After a prolonged absense from this blog, I have happily returned to share more of the insights I have come to gain from the magical world of Broadway. The idea for my new blog post, readers, came to me from a recent experience I had and the realization that accompanied with it. This is a new realization as it dealt with something that, quite frankly, I seldom experience, but had the great fortune of realizing last weekend. This realization came from experiencing something audiences across the country have been experiencing for nearly a century if not more. I speak, dear readers, of national touring productions of Broadway shows.
       As stated, national tours have been a mainstay in helping audiences get the thrill of Broadway delivered to their cities. As I grew up, as a matter of fact, I'd see the national touring productions of such shows as Jekyll & Hyde, Chitty Chitty Bang Bang, The Phantom of the Opera, and, just this past weekend, Wicked. It wasn't until my last trip that I came to realize that national tours are an essential piece of Broadway, enabling audiences who do not have the means to go see a Broadway show in New York the feel of seeing as close to that Broadway production as possible. In respect to scenery, costumes, direction, elements of the Broadway production are at time included to give these audiences an incredible experience. There may be some distinct variations to the Broadway production (ie an entrance made by a character may be rendered useless as the theater doesn't have a particular trap door or a modification to the set so that it may fit the stage), but audiences continue to experience the feel of a big Broadway blockbuster.
     These touring shows, especially the first tours out, are also usually cast by the same folk who cast the show on Broadway, thereby enabling them to keep things fresh from both of their productions in the area of casting. With a show like Wicked, it is commonpace for a challenging roles such as Elphaba, Glinda, and Fiyero to find themselves reprising their portrayal on the touring stage after Broadway, and vice versa. The current Elphaba on the tour, Jessica Vosk, is purlely sensational in interpreting the iconic role for the first time, and it would not shock this author if at some point her portrayal makes its way to the Gershwin Theatre on Broadway, where Wicked continues to play to packed audiences. Amanda Jane Cooper's Glinda, which had previously ben seen in the show's first national tour (the show is currently on its second), is a bundle of joy that experiences a change in the second act to believable effect. Jeremy Woodard, whose Fiyero on the current tour has perfect chemistry with Vosk while also brilliant acting and singing a rather complex role, should also deserves a chane to take his portrayal to the Great White Way. National touring productions for shows such as Aladdin, Something Rotten, and Hamilton have recently announced that previous cast members of their Broadway productions would reprise their performances in their shows' national tours. Wicked currently features the incredible Fred Applegate, who previously played the Wizard on Broadway prior to taking his portrayal on the road. Fun fact, in the 1920s, a touring production of Hamilton Deane and John Balderston's play adaptation of Dracula would give national attention to its star, catapaulting him to portray the role of the bloodsucking count in a film adaptation, and thus, the legendary career of Bela Lugosi began!
      As a promoter for Broadway shows, I've found that the national tour is more help than harm in encouraging patrons to attend shows they may have seen in touring productions, usually by stating the obvious line that seeing a show on Broadway is an experience like no other. While this may be true, touring productions, especially the current touring production of Wicked, act as a perfect representation of their Broadway counterpart that for reasons of time or money, audiences don't get the opportunity to experience. Regardless, I encourage everyone to experience as much live theater as possible. There is, as you can see, an abundance of oppporutnities whether it be on the road or on the Great White Way. Until the next time, this is Mike signing off, ghost light lighting on!

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.