Archive for the ‘Show Folk’ Category

Theater Buff: ‘Miss Saigon”s Christopher Vo

May 25th, 2017 Comments off

Every month, a fabulous actor/singer/dancer fills out editor Matthew Wexler’s questionnaire and offers a glimpse of what he looks like from a bit closer than the mezzanine. “The heat is on in Saigon” — especially with Christopher Vo in the cast of the Tony-nominated revival of Miss Saigon.

Christopher dishes with The Broadway Blog about what it means to be part of this critically-acclaimed revival, where he grabs a post-show cocktail, and his secret saltwater crush.

Christopher Vo (Billy B. Photogrpahy via The Broadway Blog.)

Christopher Vo (Billy B. Photogrpahy via The Broadway Blog.)

Christopher Vo

Dallas, TX

Can you describe what the audition process was like for Miss Saigon?
Pretty standard. What I remember most from my auditions was how proud I was of our Asian American theater community absolutely killing it at the auditions. #AsianPride

You mention your parents’ immigration to the U.S.  in your Playbill bio — how has their journey impacted your experience with this show?
Hearing stories about the Vietnam War firsthand from my parents’ point of view has really helped color my perspective as a Vietnamese American in the show. “I’d give my life for you” is a sentiment that I can connect with deeply. My parents sacrificed a lot to come to America, and I feel I have a tremendous duty to represent my people and the Vietnamese language with the utmost integrity and honesty.

'Miss Saigon' (Photo: Michael Le Poer Trench and Matthew Murphy via The Broadway Blog.)

‘Miss Saigon’ (Photo: Michael Le Poer Trench and Matthew Murphy via The Broadway Blog.)

You’ve had a successful few years! On The Town (The Lyric), The King and I (Vivian Beaumont Theatre at Lincoln Center), and now Miss Saigon (The Broadway)… how would you describe the difference in the physical space of these three legendary theatres?
The Broadway feels like it is the most vintage space out of the three, having last been renovated in 1986 with a seating capacity of 1761.

Lincoln Center’s Vivian Beaumont is unique in that the stage feels at the same time both small/intimate and vast/grand. This is because there is a thrust stage with stadium seating in conjunction with a traditional stage and proscenium arch. Its seating capacity is 1,200.

The Lyric was rebuilt in 1998, feels like the most updated and has the second largest seating capacity of all Broadway theaters accommodating 1,938 seats.

Christopher Vo (Billy B. Photography via The Broadway Blog.)

Christopher Vo (Billy B. Photography via The Broadway Blog.)

Eight show a week – that’s a lot! You’re also a fitness professional. How do you take care of yourself for such a demanding schedule?
I try to get a healthy amount of sleep and staying hydrated is key!

If I weren’t a performer, I would be: 
Some kind other of artist. I’m an artist through and through.

Places, Intermission or Curtain Call?
I love places! I get to wish everyone a wonderful show and look forward to all my favorite moments in the show. Also, my dog Kobi knows “places” to mean, “run to your crate!”

The best post-show cocktail in New York City is at:
Ericka Hunter hosts a Broadway industry night at The Dream in midtown (210 West 55th Street).

After you’ve hit all the traditional sites of New York City, you should totally:
Bike through Manhattan to connect the dots between the subway stops. It took me years to mentally fill-in the gaps between subway stops. There are so many cool buildings and streets you don’t normally see just walking from station to destination.

Christopher Vo (Photo: Dirty Sugar via The Broadway Blog.)

Christopher Vo (Photo: Dirty Sugar via The Broadway Blog.)

If I could live anywhere else in the world it would be:
Anywhere I can have access to good scuba diving and good food.

When I’m looking for a date, nothing attracts me more than:
A great communicator with a gorgeous smile.

My favorite website to visit that you may not have heard of is: where you can learn all about saltwater creatures!

People would be surprised to learn that I . . .
Have a beautiful 50-gallon saltwater reef tank. #obsessed

When I was 10, I wanted to be just like:
I’m pretty sure at 10 I wanted to be a Mighty Morphin Power Ranger

Ten years from now I’d like to be:
Still involved in the arts. If not performing, creating.

Miss Saigon is playing at the Broadway Theatre through January 14, 2018.
Read our exclusive interview with Miss Saigon star and Tony nominee Eva Noblezada.

Actors’ Equity Says Save the National Endowment for the Arts

May 24th, 2017 Comments off

Kate Shindle, President of Actors’ Equity Association, the national labor union representing professional actors and stage managers, released the following statement in reaction to President Trump’s proposed budget for 2018. The new budget plan again proposes to close the National Endowment for the Arts. The new budget includes just enough funding for “necessary expenses to carry out the closure of the National Endowment for the Arts.”

Kate Shindle (Photo: Sam Aronov /

Kate Shindle (Photo: Sam Aronov /

“The last thing we need to do is slash a program that creates and sustains jobs in small and regional theaters all over America. Thousands of our members have already spoken up about how the NEA is an economic lifeline in so many places. Members of Congress heard us loud and clear when they decided to maintain the NEA’s funding for the rest of 2017. As Congress takes up the new budget, Actors’ Equity will continue our fight to protect the NEA’s critical seed funding that helps productions get off the ground in small and regional theaters.”

Equity has historically fought for increased funding and recognition of the NEA. Over the last few months, Equity launched an aggressive campaign to preserve the NEA after media reports emerged that President Trump might slash funding for the program.

Shindle passionately demanded that Congress fund the NEA in a press conference at the National Press Club in Washington, D.C., the very same day President Trump announced his proposed budget. The following week, Equity councilors and rank and file members lobbied on the hill during National Arts Advocacy Day.

Equity members across the country gathered to support the NEA, from rallies in New York to community discussions in Minneapolis. Equity gathered thousands of petitions from members and supporters of the arts asking Congress to fund the NEA. Equity also joined with a coalition that included 11 other national unions representing 4 million workers demanding that Congress fund the NEA.

15 Minutes with Justin Sayre

May 12th, 2017 Comments off
Justin Sayre (Photo: Kevin Yatarola via The Broadway Blog.)

Justin Sayre (Photo: Kevin Yatarola via The Broadway Blog.)

The Meeting* hosted by Justin Sayre — the monthly gathering of the International Order of Sodomites, the centuries-old organization which sets the mythic Gay Agenda — will conclude its acclaimed eight year run this Sunday, May 14 with two performances at 7 p.m. and 9:30 p.m. at Joe’s Pub at The Public Theater. Both shows are sold-out but will be broadcast globally online for the first time with Joe’s Pub Livestream, which is available at

The acclaimed comedy/variety show is known for its audacious humor, trailblazing political discourse and button-pushing cultural exploration. Special guests will be announced soon. Lance Horne serves as the evening’s music director. The Broadway Blog had a chance to catch up with Sayre before his final soiree — this is what he had to say…

Justin Sayre (Photo: Ricardo Nelson via The Broadway Blog.)

Justin Sayre (Photo: Ricardo Nelson via The Broadway Blog.)

How did The International Oder of Sodomites come to fruition? And are there any charter members besides yourself? 
The original organization was founded in 1205 as part of the medieval guild system and since then we’ve been behind the scenes manipulating and maneuvering the lives and legacies of the LGBTQIA community.

Back then we were just all sodomites, which seemed easier to say but had perhaps harsh consequences. For many years, I worked with the organization in private and then in November of 2009 we had our first public meeting at The Duplex. We celebrated my patron saint, Edie Bouvier Beale. The membership is wide and extensive, celebrities, people who work with cheese, garbage men, real and figurative, we’re not choosey. Once you say the magic words, “I’m ****something besides straight****” you’re in.

Has honoring a celebrity always been part of the line-up?
Always. It’s a way to get people talking. If you were told you’re going to an event about gay culture and politics, snoozeville. But if you’re told you’re going to a night celebrating Diana Ross, and there will be discussions of politics and culture, I’d say sign me up. It was a way to reach out to the membership and celebrate that which has touched us, moved us, given us strength to be ourselves. That brings all sorts of people together, and that is at the heart of what The Meeting* is, a community event.

What is your inspiration for choosing the season of notables?
We have an extensive list, and we rack our collective brains. We try to mix it up a great deal, selecting artists from all over the map. It’s all about inclusion, so we try to vary the lineup from month to month. The final shows was a grouping of people we’ve loved and always wanted to do. The last show will be my favorites. I think it’s only write after 7 years, don’t you.

In one of your recent shows, which paid tribute to Michael Bennett, there were some terrific guest appearances, including his famous “Turkey Lurkey Time” choreography from Promises, Promises. Have you ever attempted this dance in the privacy of your own home? If so, what might you compare it to?
I’m more of a drunken Fosse girl myself. I love a kitchen into bathroom Rich Man’s Frugue.

It’s the last season of The Meeting*. How else are we to get our fix of hilarity draped in a sensible shawl?
I will still be making shows and still making work at Joe’s Pub. It was simply time to end this side of it. Being the Chairman of The Board has been a rare and unbelievable joy in my life for sometime, but I think it’s time to try new things.

You’re very funny. But you also have a sense of gravitas when it comes to our current political climate. Has this recently influenced your work or have you always drawn inspiration from the end of the world as we know it?
I have always been talking about politics and the way we treat each other as a community. It’s the guts of the show for me.

Can we expect to see you at the Equality March in Washington this June? Do you have some tips for creative signage? Because, as you know, any protest is all about the accessories. 
I will certainly be. But I’m very bad with signs. Just look for the bellowing floor length pashmina and you’ll find me.

Justin Sayre

The Lamentable Tale of a Dog; as told by Beppo, formerly of the Castaglioni company of Padua — Sayre’s new solo work — will debut on Thursday, May 18 at 9 p.m. as part of the High Line “Out of Line” event series. The show, which features sets by Sully Ross, costumes by Allan Herrara and artwork by Adam Michael, will take place on the High Line at 14th Street. Melody Berger is featured on violin. The event is free but reservations are suggested. Visit for tickets and information.



Recap: The New York Pops 34th Birthday Gala

May 4th, 2017 Comments off
The New York Pops 34 Birthday Gala at Carnegie Hall. (Photo: Richard Termine via The Broadway Blog.)

The New York Pops 34 Birthday Gala at Carnegie Hall. (Photo: Richard Termine via The Broadway Blog.)

The New York Pops celebrated its 34th birthday on Monday night with a star-studded Carnegie Hall concert honoring actress Kelli O’Hara, director Barlett Sher, and Karen van Bergen (CEO, Omnicom PR Group). It was the first time The Pops paid tribute to an artist/director collaboration. O’Hara and Sher’s longtime creative partnership dates back to 2005’s The Light in the Piazza and also includes South Pacific, The Bridges of Madison County, and The King and I.

The evening, helmed by music director and conductor Steven Reineke, featured works from the pair’s creative endeavors as well as tributes to their solo efforts. The evening began with a sweeping orchestration of music from The Bridges of Madison County, arranged and orchestrated by the show’s composer/lyricist Jason Robert Brown.

Next on the roster was Brian D’Arcy James singing “At the Fountain” from Sweet Smell of Success, in which he co-starred with O’Hara. James — always in terrific voice — overcame what has become a common issue with Pops concerts at Carnegie Hall: poor sound design. Muffled and flat, the mix was eventually fine-tuned by mid-evening, but it’s a continuing frustration at one of the world’s most notable concert venues.

Other highlights included opera star Gioachino Rossini (appearing courtesy of The Metropolitan Opera), singing “Una voce poco fa” from Il barbiere di Siviglia; Steven Pasquale’s stunning rendition of “It All Fades Away” from The Bridges of Madison County (so powerful that it actually brought the audience member sitting in front of me to tears); Marin Mazzie’s luminescent rendition of “Hello, Young Lovers” from The King and I; and a trio of Mazzie, Judy Kuhn and Rebecca Luker singing “Make Someone Happy.”

Kelli O'Hara and Steven Reineke. (Photo: Richard Termine via The Broadway Blog.)

Kelli O’Hara and Steven Reineke. (Photo: Richard Termine via The Broadway Blog.)

In an unusual turn, the honoree took to the stage. For the finale, O’Hara sang “Fable” from The Light in the Piazza for a captivating conclusion. Visibly touched by the evening’s outpouring, O’Hara truly has one of the most magnificent voices on Broadway and beyond.

With the mission to broaden public awareness and enjoyment of America’s rich musical heritage through a presentation of concerts of the highest quality in traditional and non-traditional settings, The New York Pops is also a big proponent of arts in education. More than 60,000 students have participated in the orchestra’s free education programs since 1990, and there were more than 800 of them in the balcony for this year’s birthday celebration.

The New York Pops returns to Forest Hills Stadium on June 8 for a concert featuring the music of John Williams, including selections from Star Wars, E.T. The Extra-Terrestrial, Indiana Jones, and more.

15 Minutes with Tony Nominee Eva Noblezada

May 3rd, 2017 Comments off
Eva Noblezada

Eva Noblezada

The Broadway Blog continues our partnership with, one of the best online resources for choosing, purchasing, and saving on the most popular shows nationwide. We’ve combined creative forces to bring you exclusive interviews with some of Broadway’s biggest stars.

This month we bring you Tony-nominated actress Eva Noblezada, who is currently starring as Kim in the critically acclaimed revival of Miss Saigon. Eva reveals how Broadway differs from London’s West End, what she loves most about her co-stars, and how she takes care of her voice for such a demanding role.

Click here for the full interview.

Benefit Reading: Keri Russell in ‘An American Daughter’

April 24th, 2017 Comments off
KeriRussell (Photo: Tinseltown/Shutterstock.com_

KeriRussell (Photo: Tinseltown/Shutterstock.com_

Tony Award and Pulitzer Prize-winner Wendy Wasserstein’s prescient play An American Daughter returns to New York on May 8, 2017 at 7 p.m. for a one-night-only benefit reading at the Tony Kiser Theatre (305 West 43rd Street) directed by Emmy, Golden Globe, and Academy Award winner Christine Lahti.

All proceeds will benefit She Should Run, a nonprofit organization “working to create a culture that inspires women and girls to aspire towards public leadership.” Tickets are available now.

“The reading of An American Daughter is an exciting opportunity for She Should Run to join forces with the Indigo Theatre Project as they elevate the story of one woman’s political journey,” said Erin Loos Cutraro, Co-Founder & CEO of She Should Run. “We are truly grateful for the support of our mission to encourage and inspire more women and girls to consider public office.”

The reading will star Golden Globe winner Keri Russell as “Dr. Lyssa Hughes” with Emmy Award nominee Hugh Dancy as “Walter Abrahmson”, two-time Tony Award nominee Jonathan Groff as “Morrow McCarthy”, four-time Tony Award nominee Victor Garber as “Senator Alan Hughes,” Tony Award winner Julie White as “Charlotte ‘Chubby’ Hughes,” Emmy Award nominee Zoe Kazan as “Quincy Quince”, Tony Award nominee Raúl Esparza as “Timber Tucker” and Obie Award winner Quincy Tyler Bernstine as “Judith B. Kaufman.”  Additional casting will be announced shortly.

A prophetic reflection of the modern political era, Wendy Wasserstein’s An American Daughter follows Lyssa Dent Hughes (Keri Russell), an accomplished doctor and the President’s newly-named nominee for Surgeon General. While her confirmation at first seems inevitable, Lyssa is stunned when the vetting of her past leads to a scandal that threatens to derail her future.

The evening is produced in arrangement with Dramatists Play Service, Inc. by The Indigo Theatre Project (Nick Gereffi, Artistic Director; Rachel Sussman, Executive Producer), a theater company that strives to unite passion with purpose by producing high-profile readings to benefit thematically relevant charitable organizations.

For more information, visit


California Dreaming: Audra McDonald to Perform in Beverly Hills

April 20th, 2017 Comments off
Audra McDonald (Photo: Autumn de Wilde via The Broadway Blog.)

Audra McDonald (Photo: Autumn de Wilde via The Broadway Blog.)

Audra McDonald heads west! The record-breaking, six-time Tony Award-winner makes her anticipated debut, as part of the acclaimed Broadway @ series, at the Wallis Annenberg Center for the Performing Arts in Beverly Hills, a one-night-only event featuring two intimate concerts at 7 p.m. and 9:30 p.m. on Thursday, May 11. Produced by Mark Cortale, the Broadway legend will be joined on stage by Broadway @ series host and pianist Seth Rudetsky, who recently starred in the London premiere of his Broadway musical Disaster!

“Audra is a true Broadway legend, and we are thrilled to welcome her, along with Seth, to The Wallis in May,” said The Wallis’ Artistic Director Paul Crewes. “Our audiences are in for an unforgettable evening seeing these renowned performers in our beautiful and intimate Bram Goldsmith Theater.”

Seth Rudetsky (Photo provided by The Wallis Annenberg Center for the Performing Arts.)

Seth Rudetsky (Photo provided by The Wallis Annenberg Center for the Performing Arts.)

The evening features a seamless mix of intimate behind-the-scenes stories from one of Broadway’s biggest stars—prompted by Rudetsky’s probing, funny, revealing questions—and McDonald singing some of the biggest hits from her musical theater repertoire. This spontaneous evening of hilarity and show-stopping songs is not to be missed.

Since opening its doors in October 2013, The Wallis has produced or presented more than 100 dance, theater, opera, classical music and family programs to an ever-expanding audience. Located in the heart of Beverly Hills, California, The Wallis brings audiences world-class theater, dance and music, performed by many of the world’s most talented and sought-after artists.



He’s Back! Brian d’Arcy James Returns to ‘Hamilton’ 4/14

April 13th, 2017 Comments off
Brian d'Arcy James in 'Hamilton.' (Photo: Joan Marcus via The Broadway Blog.)

Brian d’Arcy James in ‘Hamilton.’ (Photo: Joan Marcus via The Broadway Blog.)

The musical Hamilton’s very first King George III, three-time Tony nominee Brian d’Arcy James, returns to the role for a limited engagement on Broadway starting April 14. James created the role of King George when Hamilton debuted at the Public Theater in 2015.

Brian d’Arcy James was the first in a distinguished line of actors to portray George III in Hamilton in the New York production.Hamilton opened on Broadway with Jonathan Groff in the role, followed by Andrew Rannells, Rory O’Malley and Taran Killam.  Killam will play his final performance tonight.

James was awarded the 2016 SAG Award, Critics Choice Award, Gotham Award and the Independent Spirit’s Robert Altman Award for Best Ensemble for his portrayal of Matt Carroll, one of the four critical members of the Boston Globe’s Spotlight team opposite Michael Keaton, Mark Ruffalo and Rachel McAdams in the 2016 Best Picture Oscar-winning film Spotlight.

James is a celebrated stage actor who has received three Tony nominations for his work on Broadway: Nick Bottom in the hit musical Something Rotten, Shrek in Shrek the Musical, and Sidney Falco in Sweet Smell of Success. Additional Broadway credits include: the role of Banquo opposite Ethan Hawke in the Lincoln Center production of Macbeth, starring alongside Laura Linney, Christina Ricci and Eric Bogosian in the hit play Time Stands Still, and starring in the Pulitzer Prize-winning musical Next to Normal. Television fans know him most noticeably for his roles on NBC’s “Smash,” Showtime’s “The Big C,” and the award-winning HBO movie Game Change. He also appeared in the 2015 film Sisters with Tina Fey and Amy Poehler. He has multiple projects in the works including Netflix’s new TV show, “13 Reasons Why,” and the feature films Felt, Molly’s Game, Song of Back and Neck, 1922 and Trouble.

15 Rockin’ Minutes with Sheri Sanders

April 10th, 2017 Comments off

by Ryan Leeds

Sheri Sanders (Photo: Dirty Sugar Photography via The Broadway Blog.)

Sheri Sanders (Photo: Dirty Sugar Photography via The Broadway Blog.)

Life is full of choices but for Sheri Sanders, there’s no reason to choose. When it comes to performing, Sanders believes that you can combine legit trained musical theater styles with rock and pop genres. After a stage career, Sanders decided to start a program called ‘Rock the Audition.’ which has expanded from a book to classroom instruction.

On April 17 at downtown’s SubCulture, Sanders will perform a one-night concert, “Sheri Sanders is Legit,” which will celebrate the launch of her new ‘Rock the Audition’ online class. Many of her students have landed Broadway and national tours and, through her endless passion and energy, she’s managed to open brand new pathways that many never knew existed.

Sanders recently took time from her frenetic schedule to have a phone conversation with the Broadway Blog where she discussed her role as a coach and educator to countless teachers and budding performers.

Sheri Sanders (Photo: Michael Buonicontro via The Broadway Blog.)

Sheri Sanders (Photo: Michael Buonicontro via The Broadway Blog.)

This has become your primary source of income. How did you transfer from being a full-time performer to being a teacher? 
I have a musical theater background and I noticed a crisis in the musical theater community so I cornered the market where pop/rock music was concerned.  I combined my legit techniques with pop music because I always understood pop music. There are actually a lot of similarities between pop and musical theater and there is so much crossover. The way shows are written today is such that pop/rock is the new legit.  I now work with both teachers and students. I work with 16 different universities and have 30 private students.

You mentioned in one of you online classes that singers need to approach auditions in the mood or state that they are in. Isn’t it a performer’s job to ‘act’ in whatever way the role calls for? Can you elaborate? 
It is contrary in theory, but what is cool is that most pop music is not exclusively from shows. So if you choose a happy party song like “I Wanna Dance with Somebody,” you can use that energy for the better if you’ve had a really bad day and sing the song as though you are ready to have fun. You have to use your current emotional and mental state to change your mind or attitude.

What happens if people come to you and obviously do not have a talent for singing? 
I never audition anyone for my classes.  Sometimes people who have desk jobs and have never pursued singing as a career but who can express themselves through song are the most valuable players in the room. In terms of talent, it’s never my job to tell people whether or not they have talent. It is more important to ask them what they believe in and to pursue that. My goal is to get people as connected to their mind, body, and spirit as I can. We all just root for each other because then, everybody grows.

Rock music is more than just a style. It’s a look and an attitude. You wouldn’t give a bookish librarian a Janis Joplin song, right? Is it right to approach music that fits the singer’s natural personality or can the singer manufacture that? 
You never want to give a song from a singer like Joplin to someone with a small voice. But, you want them to listen to her music, so they can grow more emotional and wild when they sing. That librarian could become a gutsy librarian. It’s important to listen to singers who have the same quality as you, but as important to listen to other singers. That way, your voice is more textured and interesting. You want to create a palate to paint with so that your voice has more variety.

What is the biggest misconception young performers have about the theater industry right now in terms of knowledge and preparation? 
If they are not properly educated, they often think that yelling and putting riffs in a song where it doesn’t belong makes them competitive. You have to look at the show and ask what the show requires and sing something that fits the aesthetic of the show.

How are you able to actually protect your voice when you are grunting and yelling, as many performers often do? 
Very few shows call for grunting and yelling and there is a way to sing emotionally without yelling. One of the things I’m most proud of is that people trust me because I’m never going to tell anyone that they are wrong. Instead, I’ll show them what they do know and take them over to this magical place that is really cool. That way, they take the experience I’ve taught them back to musical theater and they can live comfortably in both worlds.

“Sheri Sanders is Legit!  An Evening of Legit Musical Theatre”
45 Bleecker Street, NYC
April 17, 8 p.m.

Advance Tickets are $20, $25 at the door.
Tickets are available at  or by calling 212-533-5470.

Ryan Leeds is a freelance theater journalist who lives in Manhattan. He is the Chief Theater Critic for Manhattan Digest and a frequent contributor to Dramatics Magazine. Follow him on Twitter @Ry_Runner or on Facebook.





It Only Takes a Moment: Bette Midler’s Gracious Gesture

March 30th, 2017 Comments off
Bette Midler in 'Hello, Dolly!' (Photo: Julieta Cervantes via The Broadway Blog.)

Bette Midler in ‘Hello, Dolly!’ (Photo: Julieta Cervantes via The Broadway Blog.)

It’s no surprise that Bette Midler’s Broadway arrival is generating big buzz. Hello, Dolly! producers reported a record-breaking $9 million in first-day sales. But what happened during last night’s preview—though small news for some—shows just how classy this diva is.

Christian Dante White (Photo: via The Broadway Blog.)

Christian Dante White (Photo: via The Broadway Blog.)

Merely two weeks into previews, actor Gavin Creel, who plays Cornelius Hackl, was unable to perform, catapulting understudy Christian Dante White (Shuffle Along…, The Scottsboro Boys, The Book of Mormon) into the exhilarating opportunity to take on the role. They say the show must go on, and so it did… flawlessly.

Anyone who has worked in the theater knows that understudies are notoriously under-rehearsed, often left to watch from the wings and move through the action during separate rehearsals with the stage manager. A “put-in” usually happens the day that the understudy is to go on, or is often the case, mere hours before the performance.

Without going into great detail as Hello, Dolly! is still in previews, let’s just say that White was a charmer and a consummate professional. And it wasn’t only the audience that took notice. The Grammy Award-winning Midler, who herself received a standing ovation mid-show and thunderous applause at the curtain call, took a step to the side and ushered forth White to take the final bow. The sense of support among the cast was palpable.

Midler is a class act, and if you can snag a ticket, Hello, Dolly! promises to be a revival for the record books.

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