Get caught up with what’s on stage with our review round-up. And that vaguely hollow, clinking sound you hear at the end of each segment? That’s me tossing in my two cents…

Aaron J. Albano & Jess LeProtto in "Newsies". Photo by Deen van Meer.

NEWSIES

Like the story’s paperboys on strike, the film flop turned Broadway musical rises up to seize the day in a dance-filled adaptation from Harvey Fierstein, Alan Menkin & Jack Feldman and directed by Jeff Calhoun.

“Disney has unveiled its finest fairy tale in over a decade…Newsies will be many young fans’ first Broadway experience. They’ll emerge knowing they’re not alone, and that there’s not just strength in numbers, but rhythm and harmony, too.” New York Magazine

“…it’s the attractive young cast and the high-energy physicality of Jeff Calhoun’s production that make the show so engaging.” The Hollywood Reporter

“…Disney’s happiest outing since The Lion King.” Variety

“…all set in extra-large type, all goal-posted with exclamation points and all proclaiming essentially the same thing.” New York Times

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Sneak Peek at the Broadway Bares XXII Poster. Photo by Andrew Eccles.

It’s official: the 22nd edition of Broadway Bares is all about Happy Endings, with all of your favorite Fairy Tails…I mean, Fairy Tales…represented. Tickets are already on sale for the June 17 burlesque fundraiser of the year, so don’t miss the chance to see your favorite Prince Charming in person and contribute to Broadway Cares/Equity Fights AIDS. It should be anything but Grimm.

Want a preview? Check out this very saucy behind the scenes look at the Happy Endings photo shoot.

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Every fourth Wednesday of the month, the “VIP Access” column will serve up advice on how to make your theater-going experiences cheaper, easier and more fulfilling with inside scoop from the experts. This month, we’re introducing you to the coolest new kid on the block…

54 Below Cabaret. Sketch by John Lee Beatty.

You know the scene. It’s a black and white film set in New York City. The impossibly urbane leading couple finds their way to the swankiest club in town for some delicious banter–all to the latest Broadway chanteuse singing from the stage. Heaven. Too bad a place like that doesn’t exist today, right?

Well, the glamor and pizzazz of a real Manhattan night club might be back–with a hip, young Broadway twist–at the June opening of 54 Below. Designed by Tony-winner John Lee Beatty and architect Richard Lewis, lit by Tony-winner Ken Billington, and with sound by Tony-nominee Peter Hylenski, the new lounge (tucked under the legendary Studio 54) promises to combine fine dining with a star-studded selection of performers.

54 Below Booths. Sketch by John Lee Beatty.

They’re kicking things off with the one and only Patti LuPone, and the rest of their current bookings are a who’s who of music theater and cabaret ranging from class acts like Liz Callawy, Jenifer Lewis and Rebecca Luker; to a sprinkling of Smash with Megan Hilty and Brian d’Arcy James; and on to artistically adventurous types the old fashioned supper clubs wouldn’t normally feature like songwriter Joe Iconis, downtown icon Mx Justin Bond and Lea DeLaria.

The Bottom Line: I know what you’re saying; cover charge and drink minimums make these places a money pit. I won’t lie, if you want to see Patti, you’re going to be paying upwards of $100 a person, however the cover/food charges for other artists come down significantly to a respectable special night out at $55 a seat for top-line entertainment. If you want to sample the atmosphere without breaking your budget, “The Green Room” offers after hours seating and live music with no cover or minimum.

Pick Hits: Glancing through the schedule, you can’t go wrong with almost any night you’re in town. But, if I had to create a package, I’d make a tour of next generation Broadway divas and catch:

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Liza Minnelli Live a the Winter Garden. Image via Google.

Drugs. Bad hips. Worse husbands. You just can’t keep Liza Minnelli down. Even her long lost albums have a way of making comebacks.

After almost 40 years out of circulation, Liza Minnelli Live at the Winter Garden will be available next week on April 3 (and via pre-order now, exclusively through Masterworks Broadway) for the first time on CD and digital download. The remastered recordings capture her January 1974 Broadway concerts and include classic songs like “I Can See Clearly Now” and “A Quiet Thing”. According to the press release, the album “was quickly released by Columbia Records in April [1974], but had to be withdrawn from the market due to contractual conflicts over her performance of songs from the Cabaret film score, which were available on the then-current soundtrack album.”

Whatever else may be said about Liza, she’s a born entertainer, a talent that blazes through in her live recordings. Until you can get the album, want to see Liza in all her triple threat glory? Sit back and enjoy “Bye Bye Blackbird” from Liza with a Z. How many movie stars today could handle the complexity of this Bob Fosse choreography and do it with such joyful flair?

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Finnerty Steeves, Matthew Gumley & Russel Posner in "Lost in Yonkers". Photo by Stephen Kunken.

You can’t choose your family.

The old cliche rang insistently through my mind as I watched Lost in Yonkers, Neil Simon’s Pulitzer Prize-winning comedy/drama currently receiving its first New York City revival courtesy of The Actors Company Theatre. (Read the lovely New York Times review.) The story of two teenage boys left to live with their tyrannical Grandmother Kurnitz and mentally challenged Aunt Bella after their mother’s death, the play is often sited as comic master Simon’s deepest work–with its atypical dramatic climax and its parade of siblings emotionally and physically damaged by the sins of their parents.

Though it does get plenty of laughs (many thanks to stage newcomer Russell Posner as the youngest boy Arty), this intimate production directed admirably by Jenn Thompson focuses on the real pain that underlies the play. This more dramatic approach (down to an almost Arthur Miller-esque unfinished set with brooding cloudscape) highlights that the script is indeed worthy of serious consideration– it is tightly, almost unbearably, wound in its theme of familial scars–and it makes the climatic turns feel well prepared for and emotionally cathartic. However, there are times that the focus on subtlety leaves the unmistakeable Simonized set-ups and punchlines uncomfortably incomplete, ghost jokes lingering in the air. The play’s heart shines through, though, in an inspired performance by Finnerty Steves as Aunt Bella, beautifully walking a very delicate line between the truth and comedy in Bella’s confusion. She fills then breaks our hearts.

If I sound particularly engaged (code for “running on and on”) about this play, it’s because the Kurnitz’s are family to me. In ye olden days when I was an actor, I ended up playing both boys in Lost in Yonkers–in two productions that were important in my life.  (If you’re interested in some true backstage tales & personal reflections from my tour of duty in Yonkers, please do keep reading after the jump…)

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Paul Nolan & Chilina Kennedy in "Jesus Christ Superstar". Photo by Joan Marcus.

JESUS CHRIST SUPERSTAR

After acclaimed runs at the Stratford Festival and La Jolla, Director Des McAnuff (Jersey Boys) brings his signature quick-cut, pop flash to a Broadway revival of the quintessential 70′s rock musical by Andrew Lloyd Weber and Tim Rice–about the final days of a certain boy from Bethlehem.

“I have to confess to finding the show alternately hilarious and preposterous — if often infectiously melodic — during the two hours’ busy traffic of Mr. McAnuff’s brisk and lucid staging.” New York Times

“Hearing excellent singers deliver these tunes through powerful, crisp amplification is a primal thrill.” New York Post

“If this rock-opera reimagining of the ‘Greatest Story Ever Told’ is far from ageless and seems unlikely to spark major new insights for believers or non-believers, as a time-travel experience it offers plenty to enjoy.” The Hollywood Reporter

“This may be Jesus’ story, but the stars of the production are Lloyd Webber’s psychedelic melodies and Tim Rice’s beautifully unfussy lyrics. And they sound sensational.” Entertainment Weekly

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Justin Chambers, Chandra Wilson, James Pickens, Jr, Sara Ramirez and Kevin McKiddat "Grey's Anatomy: The Songs Beneath the Show". Photo by Scott Appel.

Our casting cup runneth over this week with theater news featuring big doings from big casts:

• The blockbuster gang at The Book of Mormon is ignoring their Momma’s advice and giving it away for free again. To celebrate the show’s first year anniversary, the show will offer its second Free Fan Performance on June 6 at 2pm. To be eligible for a seat, just sign up for one of their nightly ticket lotteries through Sunday, May 20 and hope your name is picked.

• 

  Image via BBB.

  Prince of Broadway is getting a cast fit for a king. Check out just some of the names set to star in the Broadway bound tribute to Director/Producer Hal Prince: the suddenly ubiquitous Linda Lavin, LaChanze (The Color Purple), Sierra Boggess (Master Class), Josh Grisetti (Enter Laughing), Shuler Hensley (Oklahoma), Richard Kind (The Producers), Caroline O’Connor (Moulin Rouge!!!), and Emily Skinner (Side Show).

• The gals of Steel Magnolias sure do love a makeover, so it’s no surprise that the southern fried, beauty parlor chestnut is getting remade as a Lifetime movie. The not-so-French twist this time is that it has been reset (and blowdried?) in Louisiana and features a who’s who of African-American screen stars including Queen Latifah (playing the Sally Field role), Alfre Woodard (taking over for Shirley MacLaine) and Phylicia Rashad (sitting in Olympia Dukakis’ chair).

• The day someone performs the epic flop musical Via Galactica is the day someone will revive Carrie off-Broadway. What is that you say? Really? Well, it seems pigs are flying all over town because that infamous 70′s sci-fi tuner with a score by Galt MacDermot (Hair) is getting a concert reboot March 23-25 at the Kraine Theater in NYC. I don’t know anything about the company presenting this new Via Galactica but I do know it’s a benefit for the Embrace Kids Foundation  and features an updated script by Erik Ludwig. Tickets are $15 and can be reserved by writing vgreservations@gmail.com.

• If you were in LA this past weekend, I hope you caught Grey’s Anatomy: The Songs Beneath the Show, a benefit for the Actors Fund featuring the cast of the hit drama showing off their pipes–instead of surgically removing someone else’s. Watch a clip of the fabulous Tony-winning Sara Ramirez after the jump and you’ll want to plead for her to come back to Broadway. Stat!

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Every third Wednesday, a fabulous actor/singer/dancer will fill out my nosey little questionnaire and offer a glimpse of what they look like from a bit closer than the mezzanine. For March, we’re getting meta by showcasing a performer who plays a Broadway performer on TV. But don’t worry, he’s got plenty of experience on the boards as well…

Photo by John Ganun.

Name: Keith Kühl

Hometown: Albuquerque, New Mexico

Current Show/Role: Recurring dancer in the Marilyn Musical on Smash, NBC Monday nights.

The best part about working on Smash is: Working with the extremely talented cast and crew and having the opportunity to dance a new production number choreographed by the amazing Josh Bergasse every week.

The most challenging job in show business I ever had was: Dancing for Twyla Tharp on Broadway. She demands you to work to and past your limit every second. There is no holding back and no excuses. You have to ‘step up’ and ‘serve’ or you will be eaten alive by her.

If I wasn’t a dancer, I would: Have loved to have gone to school to be an Architect.

Performing on camera or on stage? I love the experience of performing on Broadway with a live audience. It is special to be a part of the Broadway community and the ‘family’ of the show you are in and providing a unique experience to a different audience every night. But I also love working in front of the camera for Film or Television. It’s exhilarating knowing your work is being captured on film and there is so much pressure to get it right because of the amount of money involved. They both feed my soul though and are satisfying in their own way.

The best post-show cocktail in town is at: Sosa Borrella on 8th Ave. and 50th St. My post show/filming drink varies from a glass of red wine to a nice draft beer. But you can never go wrong with a Margarita on the rocks with salt.

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It’s the vernal equinox. If I’m going to post something, (as Oscar Hammerstein once wrote) it might as well be Spring.

Get caught up with what’s on stage with our review round-up. And that vaguely hollow, clinking sound you hear at the end of each segment? That’s me tossing in my two cents…

Steve Kazee & Company in "Once". Photo by Joan Marcus.

ONCE

The Oscar-winning indie romance, about a Dublin busker and a Czech immigrant making sweet music together, strums its way onto Broadway in a musical adaptation from edgy theater artists Enda Walsh (Penelope), John Tiffany (Black Watch) and Steven Hoggett (Peter and the Starcatcher).

“…feels as vital and surprising as the early spring that has crept up on Manhattan.” New York Times

“The show wins its standing ovations the old-fashioned way: with a love story, great songs, compelling characters and inventive stagecraft.” New York Post

“Once is a small-scale but warmly affecting show, crafted with profound respect for the power of music.” Hollywood Reporter

“The only major problem with the show…is that it overstretches its material.” Los Angeles Times

“In many ways, in fact, this Once is better than the original Once.” Associated Press

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