Of the performances I’ve watched so far, Billy Elliot is one that I’ve enjoyed more than many of the others. Strange, perhaps, as this song has never been one of my absolute favourites in the score and I only really appreciate it when I see the staging, which makes it work despite any inconsistencies that might be found in the number itself. In this clip, it’s sold by the cast in terms of energy, which is all you can really ask for from one of these Thanksgiving Day performances can get. Polished in spite of the difficulties inherent to performing the number in this kind of setting; all it’s lacking is the dynamic of seeing it live in the theatre – and since that’s an impossibility, this is absolutely fine.

Van sommige films krijg je nooit genoeg. Zo kan ik Billy Elliot wel honderd keer zien. Ik weet niet wat ik zo leuk, mooi of onroerend aan de film vind, maar elke keer weet Jamie Bell me weer in te pakken.

Vaak kan ik een film maar 1x zien en bij een tweede keer ga ik mezelf vertellen hoe de film ook al weer ging. Daarna heb ik geen zin meer om de film te kijken, omdat ik toch al weet hoe hij afloopt. Billy Elliot is, samen met Pearl Harbor en Twilight, een van de weinige films die ik wel vaker kan kijken.

Gelukkig is de film vanavond op tv en zit ik hem te kijken, terwijl ik deze blog creëer. En weer zwijmel ik weg als ik de jonge Jamie Bell in zijn balletpakje zie en hem vol overgave een plié zie doen. En dat terwijl ik níets met ballet of enig ander soort dansen heb.

‘It’s Billy. Billy Elliot.’

Donna Lynn Champlin speaks to a group on 11.23.09 – singing the audition piece that landed her on Broadway’s Billy Elliot.

83rd Annual Macy’s Thanksgiving Day Parade in 2009 has a new route! For the first time ever, the parade route will bypass Broadway and travel down 7th and 6th Avenue’s to Macy’s in Herald Square.

Stars joining the line-up include Bello, Grandma and the cast of the Big Apple Circus, Andrea Bocelli, Boys Like Girls, Alan Cumming, Billy Currington, DJ Lance Rock and the cast of Yo Gabba Gabba!, Jimmy Fallon and The Roots, Gloria Gaynor, Sarah Hughes, Kermit the Frog and Tiffany Thornton, Jane Krakowski, Cyndi Lauper, Ziggy Marley with Judah Marley, Katharine McPhee, Miss America 2009 – Katie Stam, the cast and Muppets of Sesame Street, Mitchel Musso, Keke Palmer, The Pizzarelli Quartet, Jay Sean and Carly Simon.

Enchantment returns this November as Macy’s magical procession of pomp and pageantry ushers in the holiday season at the 83rd Annual Macy’s Thanksgiving Day Parade. From the trumpeting of the time-honored phrase Let’s Have a Parade. to the first glimpse of one of Macy’s signature giant helium balloons, the march of whimsy will delight more than 3.5 million spectators lining the streets of Manhattan and more than 50 million viewers nationwide. America’s Parade steps to the beat of its own drums on Thursday, November 26th at 9:00 AM bringing with it 8,000 participants including the nation’s best marching bands, jaw-dropping performance groups, cheerleaders, clowns, giant balloons, fanciful floats and the biggest star of them all, the one-and-only Santa Claus.

From a small band of Macy’s employees gathered in 1924 to commemorate the holiday season to a tradition that has delighted millions for generations, Macy’s Thanksgiving Day Parade is truly an icon of American popular culture. Changing with the times from a Parade of floats, zoo animals, clowns and bands that marched down a more than 5- mile route to a Parade filled with giant helium balloon characters, celebrities, and more; the Macy’s Parade this year will mark yet another milestone moment. Having marched down parts of Broadway for 82 years, the 2009 procession will be the first to bypass Broadway in the history of the Parade. Over the years, the Macy’s Parade route has changed five times as it traveled through Manhattan. From the initial Harlem step-off site in the mid 1920s to its current 77th Street starting line, the Parade route has evolved with the city.

The 2009 Macy’s Parade will begin at 77th Street and Central Park West, travel down to Columbus Circle where it will turn onto Central Park South. Once the Parade reaches 7th Avenue it will turn once more and march down 7th Avenue through Times Square to 42nd Street. At the famed intersection, it will turn east to 6th Avenue and begin its final march down the Avenue of the Americas to 34th Street, where it will turn towards Macy’s famed flagship and end at 7th Avenue marking a 2.65-mile march.

“This is a milestone year for the Macy’s Thanksgiving Day Parade,” said Robin Hall, executive producer of Macy’s National Events. “Dramatic changes in the mid-town landscape will divert us for the first time from the fabled Broadway route we have followed since our first Parade in 1924. However, our course will remain true and the Parade will continue to entertain millions as Spider-Man returns to the sky and the first new Santa Float in almost half a century makes its debut.”

The 83rd Annual Macy’s Parade will be an unparalleled crowd-pleasing spectacle that features 1,500 cheerleaders, dancers, singers and performers; 800 clowns; 15 giant character helium balloons; 35 novelty/ornament balloons, balloonheads and balloonicles; 10 marching bands; 24 floats; and a host of celebrity performers.

Rise of the Giants
The sky above the streets of Manhattan will be alive once more filled with colorful friends as the Parade’s signature giant helium character balloons soar on Thanksgiving morning. The line-up of giants features a who’s who of children’s classic characters from comic book superheroes to the stars of television, films and American pop culture. New arrivals to the Thanksgiving Day balloonfest are everyone’s favorite neighborhood super-hero™, the web slinger himself, Spider-Man®; the ever cute and cuddly Pillsbury Doughboy®; America’s favorite clown Ronald McDonald®; and the top mouse on deck, Sailor Mickey Mouse.

Making a vaunted return to the Parade to complete the 15 giant balloon line-up are some of the nation’s most favorite characters including Abby Cadabby, Buzz Lightyear, Dora the Explorer™, Flying Ace Snoopy, Horton, Kermit the Frog™, Pikachu™, Shrek®, Smurf, SpongeBob SquarePants™ and Supercute Hello Kitty®. These giant balloons are only one portion of the buoyant procession; the Macy’s Parade also boasts 35 novelty/ornament balloons and balloonicles, which can range in size from 12 to 25 feet tall and give the line of march a tiered perspective. The Macy’s Parade features a team of Balloonatics – balloon experts who create, maintain and inflate the Parade’s balloon line up. A fun bunch, the Parade Balloonatics are known to give lessons in balloon speak to spectators every year. Two very important facts should be known when referring to the Parade’s giant helium characters. One is that although the Parade’s signature balloons seem to float in the air, they are indeed balloons – not floats. The second and most important is that Macy’s does not blow up the balloons – that would be very disappointing to millions who would not get to see them fly on Parade day…that’s why they are inflated!

Floating Scenes of Wonder
Riding down the street on Thanksgiving Day will be the Parade’s magical lineup of floats that feature landscapes of fantasy. These moving stages transport millions of spectators on unexpected journeys. The new float line-up includes a salute to the heroes in our everyday lives on the Local Heroes Helping Everyday float; a magical land where friends come to life to play and dance on the There’s A Party in My City float, and the first new Santa’s Sleigh in more than 40 years.

The dazzling stages that ride down the streets of New York City each year take months of painstaking work by the skilled artisans of the Macy’s Parade Studio. The gifted Studio team design and build each float from the ground up. Wood, foam and other materials are the skeleton that gives life to this fleet of fantasy. In addition to the three new stages, 21 floats will make a return appearance to the line up this Thanksgiving.

The returning float roster includes 123 Sesame Street, Big Apple, Bridge To The Future, Bountiful Harvest Cornucopia, The Care Bears™ Winter Fun-derland, Castle of Dreams, Cele-bear-ate Hugs Worldwide, Doodlebug, Jolly Polly Pirate Ship, M&M’s® Chocolate Candies on Broadway, Marion-Carol Showboat, Musical Innovation Bigger Than Life, Pep Squad, Shine On, The Smurfs™, Snoopy’s Doghouse, Spirit of Liberty, Tom Turkey, The True Spirit of Thanksgiving, Winter Wonderland in Central Park and Woodland Family Gathering. In addition, the famed Speed Racer Mach 5 will be making a special appearance in the line of march this year.

Drum Roll Please
Strike up the band and pump up the volume, as the Parade’s signature marching bands hit the perfect rhythm this Thanksgiving. The musical heartbeat of the Parade, the marching bands and students representing their home states in this year’s holiday spectacular are the nation’s highest caliber musical and marching talents. Ready to step to the beat are Adair County High School from Columbia, Kentucky; Frank W. Ballou Senior High School from Washington, DC; Choctawhatchee High School from Fort Walton Beach, FL; Franklin Regional High School from Murrysville, PA; Harrison High School from Kennesaw, GA; Morgantown High School from Morgantown, WV; Pickerington Central High School from Pickerington, OH; Pittsburg High School from Pittsburg, CA; Towson University from Towson, MD; and Macy’s Great American Marching Band featuring students from all fifty states.

Taking Center Stage
Adding pomp, cheer, spins, flips and dips to the holiday revelry are some of the nation’s best performance groups. From the cheerleaders to a one-of-a kind group of peddlers, the Parade features a host of unique performers. Set to wow the crowds are performers from the Big Apple Circus, Chinese American Community Center Folk Dance Troupe, Mike Miller Dance Team, NETSational Seniors & NETS Kids Dance Team, The Purple Peddlers, Varsity Spirit, Spirit of Long Island Mounted Drill Team, Stagedoor Manor, and USA Jump Rope.

Stars on 34th Street
Celebrating the start of the holiday season will be performers from stage, screen and music riding down the streets of New York City to Macy’s famed home on 34th Street. The stars joining the line-up include Bello, Grandma and the cast of the Big Apple Circus, Andrea Bocelli, Boys Like Girls, Alan Cumming, Billy Currington, DJ Lance Rock and the cast of Yo Gabba Gabba!, Jimmy Fallon and The Roots, Gloria Gaynor, Sarah Hughes, Kermit the Frog and Tiffany Thornton, Jane Krakowski, Cyndi Lauper, Ziggy Marley with Judah Marley, Katharine McPhee, Miss America 2009 – Katie Stam, the cast and Muppets of Sesame Street, Mitchel Musso, Keke Palmer, The Pizzarelli Quartet, Jay Sean and Carly Simon.

Nationwide Star
From coast to coast, Americans will gather around the television to share in the magic of the Parade via the national broadcast on NBC-TV. One of the nation’s most viewed events, NBC’s Emmy® Award winning telecast of Macy’s Thanksgiving Day Parade will be hosted by TODAY’s Matt Lauer, Meredith Viera and Al Roker. The telecast will air from 9:00 AM to 12 Noon in each of the four time zones in the continental United States. Star power on Thanksgiving morning will include performances from some of the hottest Broadway shows including Billy Elliot, Bye Bye Birdie, Hair, and Shrek. In addition, the world-famous Radio City Rockettes® will return to kick in the start of the holiday season.

A Holiday Treat for Children Everywhere, the Macy’s Thanksgiving Day Parade’s finale features the biggest star of all, the one-and-only Santa Claus. As his sleigh comes into view, Macy’s will wish everyone “Happy Holidays” and a “Merry Christmas.”

Source and Photos: Macy’s

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Dia 13 de Novembro o musical da Broadway Billy Elliot completa 1 ano de vida desde sua estréia em 2008.

Na comemoração estavam presentes todos os Billiy’s inclusive os ganhadores do Tony, David Alvarez e Trent Kowalik. Pra quem não teve a oportunidade de conferir a trama nos cinemas, o musical conta a história de um menino pobre que descobre a sua paixão pelo ballet, enquanto sua familia o desencoraja pra desistir desse sonho de se tornar um grande bailarino.

A música é de ninguém menos de Elton John e no papel título alternam 4 meninos: Tommy Batchelor, Alex Ko, Trent Kowalik, David Alvarez

Clique aqui pra assistir o trailer do musical.

The problem we face:

Every year a growing number of movies are adapted into musicals against their will, and often for little or no profit.  With more and more Broadway producers scouring the pages of IMDB in the hopes of creating something that will stand up to the least common standard of critical and commercial success, one can’t help but wonder if Whoopi Goldberg will reprise her role in the musical version of Jumpin’ Jack Flash.

It is not a new idea, or even a bad one, to assume that a successful film could be turned into a successful musical.  That crafty producer’s trick of avoiding originality until it is absolutely necessary is as old as commerce itself, and even the earliest Hollywood blockbusters were subsequently put up on Broadway and visa versa, but hasn’t the standard fallen too low when theatre goers are being subjected to Xanadu all over again?  It’s true that a few gems have emerged from the reductive formula.  The Billy Elliot musical was good.  Of course, it was adapted from a great movie, and one that was made up largely of dance sequences.  If the stage versions of Saturday Night Fever, Big, and The Toxic Avenger weren’t enough to convince you of the seriousness of the problem, there has been talk of a Pretty Woman musical.

The musical form has a long tradition of adapting from source material, but there was a time, not too long ago, that producers looked to great works of literature and classical drama instead of John Travolta films and children’s cartoons. If nothing is done to stop this trend, we face the possibility of revealing the musical form for the hollow spectacle it has always pretended not to be, while simultaneously ruining all of our favorite B-movies.  Do something before it’s too late.  Incidentally, you’ll know it’s too late when Speed 2: Cruise Control: The Musical hits the stage.  Don’t think it can’t happen.

What you can do to help:

Step 1.  Make your voice heard by signing the comments section of this petition and sharing it with everyone you know.

Step 2.  Avoid all movie-to-musical adaptations in favor of original musicals, and while you’re at it, you may want to avoid any production that requires the additional phrase “:The Musical” be affixed to its title to differentiate it from its original incarnation.  This will prevent the unfortunate viewing of any musical based on a video game, TV series, or comic book.

Step 3.  Let the memories be.  If it’s nostalgia that draws you to the Broadway box office, try to remember that the movie wasn’t nearly as good as you’re remembering it.

Step 4.  If you must reminisce, you can 1) go rent the DVD for roughly 1/30th of what you would pay to see the show, or 2) find a friend who also fondly remembers the film and perform bad reenactments of your favorite scenes.

Step 5.  Finally, for those of you brave enough to subject yourselves to truly original ideas, keep an eye out for a rare breed of music-less theatrical productions, known simply as “plays.”

Clare Morgan Arts editor
Sydney Morning Herald
Photo: Angela Wylie
November 9, 2009

It was a case of art imitating life for Dayton Tavares, a schoolboy about to take a star role in Billy Elliot the Musical on Broadway.

Dayton, 13, of Penrith, left for New York last week with his mother Sharon to begin rehearsals before his debut next month.

But in an echo of the musical – in which Billy takes ballet classes instead of the boxing lessons demanded by his coal miner father – Dayton spent six months learning ballet before spilling the beans to his father, Elvis. Kylie Vassallo, Dayton’s dance teacher at Studio 11, Penrith, said he came to a hip-hop class when he was nine after being persuaded by his sisters, Aeysha and Tenille.

Straight away, Ms Vassallo saw her new student had talent and suggested he take up dance. ”He had so much ability, which was obvious right away. He was doing soccer at the time but he fell in love with dance. I suggested he take up jazz and tap, but his father didn’t want him to do ballet. We snuck him into ballet class behind his father’s back and he did it for six months before his dad found out. Dayton was winning competitions after only six months, so his father could see there was something there,” Ms Vassallo said.

Dayton joined the Sydney production of Billy Elliot halfway through its run and starred on the opening night in Melbourne earlier this year. His proud father spent much of that performance in tears.

The youngster could not believe he had scored a role in the Broadway production, which won 10 Tony Awards this year. ”I had my last show in Melbourne and I thought that was it for Billy and then all of a sudden we got this big call saying, ‘We want you to go to New York,’ and it all just went from there,” he said.

He was ”a bit nervous” but was sure he would be fine for the demanding role.

Dayton is one of two new faces for the part, a 14-year-old from Canada also getting the call. Because of the role’s physical demands, with Billy on stage for most of the performance, four boys play him during a season.

Ms Vassallo said she had a very close relationship with Dayton – another echo of the Billy Elliot story, in which Billy forms a bond with his teacher. ”Dayton and I have a rare bond. I have closeness with all my students but with him, I don’t know – it’s just a respect that goes both ways.”

So much so that she has booked her flight to see him perform in January. ”I’m so excited. I really can’t believe it.”

Copyright 2009 Sydney Morning Herald

Just as I wrote out my “Five Shows You Should See on Broadway” there happens to be five shows you shouldn’t see as well. Let me qualify that by saying that most shows that get produced on Broadway are worth seeing for one reason or another — they wouldn’t have landed on Broadway if there wasn’t something unique/special about them. But there’s some shows that you should probably just stay away from, especially if you are in NYC for only a limited time. I always think, “Will I regret it if I miss this show?” If the answer is yes, than I make sure that I go. Unfortunately, there are a few shows that you might just regret actually going to and spending all that money on.

Here’s a list of shows that I’ve regretted going to:

1. Bye Bye Birdie at Henry Miller’s Theatre – Oh, what can I say? It’s a mess. After sitting through this, my friend and I coined the phrase, “The best high school production of Bye Bye Birdie I’ve ever seen.” But then I digress, I’ve actually never seen Bye Bye Birdie performed at a high school. From the color-coordinated costumes to the lack of choreography, this show is just wrong. Oh, and did we mention that the teenagers are actually teenagers? So, if you are willing to shell out between $86.50 – $136.50 to see high schoolers perform, than more power to you. But I left, severely disappointed. The moment when you really want to walk out is during Gina Gershon’s mess of a dance, “Spanish Rose” — if you actually can call a “half-fan kick” dancing. It’s not scheduled to close till April 25, 2010. April can’t come any sooner.

2. Billy Eillot at Imperial Theatre – I’ll probably get some flack for this one, considering it won the Tony Award for Best Musical this year. The first time I saw this, I actually almost walked out during intermission. I hated it that much. I wanted it to be so much more than it actually was considering that I loved the movie SO much. My biggest beef with this show, is that somewhere along the way, it lost its “heart”. The show changes so much with what Billy you see. The first time, I saw the “angry” Billy. Th second time was the “confused” Billy. These kids have to be a triple threats and both of the ones I saw were incredible dancers, but lacked in the acting department. Maybe the two new Billys will be better? Also, I have to talk about the set: it neither gives a clue of where we are or what time period we’re in. And for a show that specifically needs to identify both, I was sorely disappointed. (And that damn circular bed just drove me crazy.) The show is incredible in regards to the dancing, so if you are a dance enthusiast than you should check this one out. I say: pass. Wait for it to come on tour (or don’t). More info, here.

3. West Side Story at Palace Theatre - This is another show that I should have loved, but instead really felt nothing for. I saw a matinee, which might have influenced my overall feelings, but I really thought I would like it and I didn’t. It has the makings for something incredible. Obviously, the show is incredible, yet I felt that this revival didn’t have anything new to offer, except for the genius performance by Karen Olivo playing Anita (who won the Tony Award). Olivo was the only one to give a fresh perspective to her character. Finally, they are replacing Matt Cavenaugh, who plays Tony, on December 13th. Frankly, they never should have cast him in the role in the first place. Riedel, of the NY Post gives some advice to the next Tony, “Don’t miss any performances, don’t get old, and don’t get married.” Apparently, Ms. Olivo has been missing performances as well, so your best bet is just to miss this one altogether. More info, here.

4. The Phantom of the Opera at Majestic Theatre - I solely write Phantom of the Opera on this list because you are better off seeing it in Las Vegas than in NYC. I’ve actually never seen the Broadway production because there is always something else that is more important. Always. The Vegas version is quite thrilling, especially since they cut all the nonsense to 90 minutes. Besides, the sound design is the best I’ve ever heard from any show, anywhere. See something else on Broadway and take a trip to Vegas to see Phantom. You won’t regret it. Besides, it’s been running on Broadway since 1988. Maybe with the sequel, Love Never Dies, coming out next November on Broadway it will finally die away…. maybe. More info, here.

5. Mamma Mia at Winter Garden Theatre – Really, I mean really. This show should close so something else worth seeing can take its spot. Immediately. The show opened back in 2001. We are at eight years now. Playbill.com says, “The infectious music of ABBA provides the framework for a romp through the preparations of an unusual wedding.” Romp. Now I’m for sure not going.

Seriously, people. Stop. Going. To. This. Show.

More info, here.

HONORABLE MENTION:

Memphis at Sam S. Shubert Theatre – I actually hate putting Memphis on the “shows you should skip” list. I really don’t want to because the performers are kind of amazing — it’s the show that just doesn’t work. All of the sudden the show ended and I didn’t know why? That’s how convoluted the story gets to be at the end. You can’t deny the comparisons between Hairspray and Dreamgirls; it feels awfully similar to both of those shows and not in a good way. My friend and I decided that all of the performers in Memphis should be in Bye Bye Birdie and than, we would have something to write home about. Though Chad Kimball gives a unique and note-worthy performance, we unknowingly ended up hating him and his ridiculous Memphis accent. Montego Glover’s vocal range is impressive throughout, she’s just not given the songs to truly shine and show off her magnificent instrument. Bay Area local, James Monroe Iglehart, stole the show with his Act II performance. The audience couldn’t get enough of him. All in all, it’s a talented cast, just not a great show. More info here.

BroadwayWorld recently published an interview with Michael Kunze about his musical adaptation of Rebecca, which is aiming for an English language transfer to the a major commercial centre like the West End or Broadway. Kunze takes great pains to try and distinguish his work from traditional Broadway fare, so let’s take what he says, put it under a microscope and see if it holds up. The boxed sections below are all quotations from the interview.

The dramamusical is a tool to make clear that this is not a typical Broadway-type musical, which is more a musical-comedy. In what I do, we do drama with music. The way I write the shows is that I basically write the drama, of course with the music in mind, but the music is something that comes next, like a movie. The music is a very important element, but the most important element of the drama is the story, so the music really serves the story, and the music doesn’t really have a right in its own beside the story, like a number that is just made for the music and the dance.

Huh? It seems that Mr Kunze hasn’t seen any musical since 1926. He doesn’t seem to be aware of – for example – Show Boat, South Pacific, Sweeney Todd, Marie Christine, The Light in the Piazza. He doesn’t seem to be aware that musical theatre in the American tradition extends beyond the tradition of musical comedy that was dominant until the 1940s, but which made way for the Rodgers and Hammerstein musical play, in which music is most certainly in the service of the drama and for the various forms of the concept musical, in which the music is often related most clearly to the ideas that are being communicated in the show from the very moment of its inception. Even if we look at the musical comedies that have appeared after the Rodgers and Hammerstein revolution, many are far more integrated than their counterparts in the 1920s and 1930s. So I’m left to wonder whether this is a case of ignorance or self-importance.

It really isn’t something that I’ve invented. Jesus Christ Superstar [and] the other Andrew Lloyd Webber stuff, if you exclude Cats, follows the same kind of basic idea. Well, Andrew would never say that the music only serves the story, but that’s what it really is. He uses the music to tell the story, and that’s what all dramamusicals do.

All right, so he seems to know something about British musical theatre and deems it of a high enough standard to rank alongside his “dramamusicals”. But is it true of Andrew Lloyd Webber’s musicals that the music serves the story? Without engaging in an elaborate discussion on the matter, I’d be willing to bet that there is at least one example in each of the Lloyd Webber musicals where the music does not serve the drama fully. Off the top of my head – and to keep in line with the example Kunze himself cites – there’s “King Herod’s Song” in Jesus Christ Superstar, although the newer, rock-flavoured arrangement does help its cause somewhat. So it seems that perhaps the music does not need a particularly profound dramatic agency for it to serve the drama in these “dramamusicals”, which of course contradicts Kunze’s original thesis, that ‘the music doesn’t really have a right in its own beside the story’. What other purpose does a song like “You Can Get Away With Anything” in The Woman in White, for example, have if it doesn’t really serve the character and the humour comes not from the lyrics but from a pair of rats that clamber in and out of the actor’s costume? Or is Kunze saying that the music in a case like this still serves a dramatic purpose, even though the song as a whole is a failure because of the lyrics?

I think all the shows that concentrate on a dramatic story are dramamusicals. Billy Elliot is a dramamusical. Wicked is a dramamusical. I just want to distinguish where theatre is more theatrical than in a classical Broadway musical which is based on the vaudeville tradition, on dance, on spectacular things happening, and this is not what I look for…. I think (Wicked is) a milestone in the development of the musical, because in the history of the musical, this show will be regarded as the first one that really combines the European tradition with the Broadway tradition.

Now I’m just beginning to chuckle. Wicked being taken as a prime example where the music exists in service of the drama? The book of Wicked was forced to fit in with Stephen Schwartz’s ideas regarding the way the story should be told. The book in its best moments is competent, but completely falls to pieces in the second act, completely ignoring the very concept that Maguire had in the first place: to fill in the gaps of the story behind The Wonderful Wizard of Oz without contradicting the basic mythology in that particular book in the series and its iconic movie musical adaptation and thereby offer a different perspective on the story. Winnie Holzman, spurred on by Schwartz, creates a story that prides itself in tying itself all up very neatly, but it does so with little sense of logic and the songs that punctuate the book become less and less credible as dramatic building blocks as we speed towards the final curtain. This doesn’t even begin to engage with ideas around the way the music is orchestrated, which separates it out even further from the given circumstances of the show. It doesn’t even work to access the show from the perspective of post-modern deconstruction, which is surely the very point of creating a musical of this nature, because the choices are so inconsistent – and in contradiction to Kunze’s view on the show, constructed around “spectacular things happening” rather than on any firm set of dramaturgical principles. Perhaps Wicked is a milestone, but it’s not one that develops musical theatre as an art form. In what is commercial, yes; in what is popular, sure. In what artistically successful and dramatically compelling; most certainly not. And I’m still not clear on what specifically European musical theatre traditions are incorporated into this hybrid form, but based on what Kunze has said about the “dramamusical”, I’m convinced they do more harm than good.

I believe in drama as the key entertainment in theatre, and I think I’m not the only one who does. I didn’t even invent the name dramamusical, that was invented by a journalist. I just think it’s more European because I think the tradition of opera with the highly dramatic stories lent more to that kind of art-form, and I think that also our audiences in Europe, and I really include here in England, are more interested in going to theatre and have a real theatrical experience, a real emotional experience at last, not just an entertaining evening, but something they can discuss after the show.

Well, at least Kunze displays some humility by admitting that he did not come up with the idea of a dramatically integrated musical. I wonder who the journalist who coined the term is; I’d love to have a look at what he has to say about this potent new musical theatre form he has identified….

The comparison with opera that follows is not one that works for Kunze’s argument either. Opera by its nature is led by the music; it is music theatre rather than musical theatre and, as long as it is technically well-performed, opera often manages to be excused in its shortcomings as drama. This is, of course, a generalisation as there are operas, particularly those that are more contemporary that do integrate dramatic aspects more successfully into the theatrical whole and certainly even many traditional operas have a strong narrative and thematic thrust – but they are still led first and foremost by the music, hence the prominence of the composer and the conductor in any discussion of any opera.

Then we get to what effect Kunze believes a musical should have on its audience. In his eyes, musicals like Wicked, The Phantom of the Opera and his own shows offer a rare, real emotional experience that delivers a sense of enlightenment hitherto unseen in the musical theatre canon and one to which the American musical theatre tradition holds no claim. Clearly, he’s never heard of Carousel, Cabaret or Pacific Overtures. Obviously, there is no such experience to be had in Camelot, Follies, Fiddler on the Roof.

I’ve never really engaged with Kunze’s musicals, but his work must be truly phenomenal if it is what he implies they are: impeccable examples of musicals in which all other elements are in service to the drama. I must get my hands on Elisabeth, Tanz der Vampire or this impending masterpiece of the musical stage, Rebecca, and see for myself – but they had better live up to the high expectations that Kunze has created for them….

Billy Elliot The Musical will welcome two new boys into the rotation of the title role! The lucky two are Dayton Tavare, who played Billy in Sydney and Melbourne, and Liam Redhead, straight out of Canada’s National Ballet School. Both boys were chosen from more than 1, 500 who auditioned for the role. They will become the 6th and 7th Billys to join the cast.

Tommy Batchelor will play his final performance as Billy on Broadway on Friday, December 11th. As previously announced, he will be staring as Billy in the Chicago production, which begins performances on March 18 at Chicago’s Ford Center for the Performing Arts before embarking on a multi-city tour.

Woke up late on the third day, but just in time to have a sumptuous brunch – after that, we did more touristy stuff that made me totally fall for NYC…

Today's cuisine... French! Though it's damn cold outside, we chose to dine al fresco still!

Appetizing appetizer!!! White cheese, potato, vinigrette, less the olives and lettuce...

Lau's pick! Yum!

My choice... More cholesterol, but yummier!

To conclude the meal - strawberry and mango sorbet... Sarap!

One of the best restaurants in Manhattan: Pastis! It's located in the Meat Packing District which is currently being developed to be one of the top spots to explore in the city...

After that hefty brunch, we toured Meat Packing District and explored the newly built attraction called "High Line" - previously a railway now turned to an urban park.

High Line boasts with its serene atmosphere...

...its amazing view from above

...and its enigmatic over-all feel,

making it a great getaway destination to escape the busy and crazy streets of Manhattan!

Time to hit the streets again to board the subway leading to our next destination... While walking around, I was just struck by this path - a typical apartment lane that I just used to see in Hollywood movies.

Next stop, Madison Square Garden!

While walking towards Empire State Building, Lau pointed to me the first ever Macy's... Such a classic!

Then we reached this other monumental pit stop... Here at the first floor...

...then at the view deck on the 84th floor - seeing the whole of Manhattan in 360 degrees perspective!

The other side...

And there goes the mandatory shot!

Spotting the famous "flat iron" building...

...and my favorite, "Chrysler Building"!

Just a dramatic shot...

Ending the Empire State experience with a this photo, followed by a trip to the souvenir store to buy the mandatory ref magnet for mom and Aids, plus the shot glasses promised to Kandi!

Prior to walking some more, we grabbed a quick bite here. So amazed to find a caffeine-free Diet Coke!

Then the walkathon continued... A few more steps, we reached NYC's Public Library (trivia: this was the setting of that supposedly wedding of Carrie and Big in "Sex and the City: The Movie").

We did not enter though - just sat down in that only table outside the library...

Not very far from the library (just one corner away) is another park called, "Bryant Park". Since its right at the smack of the city, people flock to this place after work and watch special shows for free...

That afternoon, we witnessed an opera... feeling cultured!

After a quick rest at the park, we walked again and passed by the Philippine Embassy... Just want to pay homage by stopping and "almost" singing "Lupang Hinirang"...

A picture of the thickly populated and truly busy NYC in Penn Station...

Where to go? How about Harlem? Hmmmm...

Everyone's busy... except me!

This time, going to the opposite view of the Empire State Building... Didn't go up though, it's the same skyline anyway!

Another NYC landmark - that famous rink and the huge Christmas tree during the yuletide season...

Not to forget the flags of various nations...

Quick stop for Chai Latte...

Dean & Deluca's velvet cupcake is sooooo good!

Just across is NBC Studios - this is where "The Today Show" is aired daily...

More of NBC, then we also passed by FOX studio...

Then we proceeded to Broadway... still had the hangover of "Wicked" the night before, so we decided to check out 2009 Tony's Best Musical - "Billy Elliot"! True enough, it deserved the award!

While debriefing about "Billy Elliot", we went to Times Square again, just to see it once more and simply do nothing before having a late dinner...

Saw 2 out of3 of those shows... Wish I could have seen all!

Dinner time!!!! Huge burger that I failed to finish - yes, believe it or not!

Now time to go home... how?????

Meeting my new found friends in the Subway!

The Antony Tudor Ballet Trust Blog will be launching, along with our website: www.antonytudor.org

Boyzone band member Stephen Gately passed away this Saturday, October 10 while vacationing on the Spanish Island of Majorca with is partner Andrew Cowles. Boyzone was one of Ireland’s best-selling bands with six No.1 singles in the UK and four No. 1 albums. The band separated in 2000 to pursue solo projects, but reunited in 2008 and released a greatest hits album, “Back Again…No Matter What.” One of my personal favorite Stephen Gately songs was “I Believe” from the motion picture soundtrack “Billy Elliot.” Below is that video…for “I Believe” Stephen will continue singing where ever he is and his music and legacy will continue to live on….R.I.P. Stephen.

“I Believe”:

I haven’t been SO focused on self-improvement lately that food has slipped *entirely* through the cracks.

I have been meaning, for example, to blog about the Great Pizza Fiasco of K’s recent(-ish) trip. You see, she had never been to Grimaldi’s before…and if you’re someone who comes to New York from time to time — as K is (or was) known to do — it seems like the kind of place you need to go once. I took my oldest childhood friend on, like, a Tuesday in the middle of the afternoon and we were able to walk right in. So…I thought maybe if we got there *right* when it opened the line wouldn’t be too bad.

So…we arrived at 11:30. There was a *bit* of a line, but the restaurant was empty and I figured we’d be okay as long as we got in during the first wave (we had tickets to Billy Elliot at 2:00!). So…we waited. There were some folks carrying in boxes and whatnot…and I thought maybe they were running behind. And then a guy came out with a clipboard and walked down the line, asking how many people were in each party. I assumed that maybe the info on the Web site was wrong or that I had misread it and the place didn’t open until 12:00. We waited patiently — it was, after all, almost noon by then — and then, what do you know? A giant tour bus pulled up right in front…and I thought, “No! This isn’t happening!” And yet it did. An entire tour bus full of people walked right in. And that was it…we only had an hour until we had to leave…so instead, on our way back to the trusty F train, we stopped in the Dumbo General Store (which I was later told is Hecho en Dumbo at night…and is totally a restaurant I have been meaning to try FOREVER).

So, it all worked out in the end and everything, but…I don’t know, Grimaldi’s. Seems like maybe we’re getting a little big for our britches, no? Especially since it isn’t exactly the ONLY place you can get good pizza in this town. So…trying to prove that very point, I tried to take K to Lucali the following night…but, dammit, there was a power outage and they were closed. So. K did not get pizza in New York. We *did*, however, have hot dogs outside the West Side Story theater, appetizers and mojitos with orange girlie doodads at Havana Central (also a tiny little nod to our mutual alma mater…), burritos at my favorite burrito place IN THE WORLD (I can’t believe some of those Yelp reviews. I love this place and I *hate* California Taqueria…so clearly Abigail S. and I find ourselves on opposite sides of the Burrito Fence…in fact, I think the guacamole there is maybe the best part…and the Gourmet burrito makes me pretty much happier than anything else. And why do you *have* to have rice and beans in your burrito, Daniel G.? I don’t get it. If I was a braver person, I’d register and write my own review. Perhaps that will come later in my quest for Sandra Bullock Clarity), and, finally — one of the places K actually wanted to go! — Tom Colicchio’s ‘wichcraft. (Another food connection? She bought me a lewd apron for my birthday. How about that?)

The following weekend I made my way to — gasp! — New Jersey to visit another K. And I was actually pretty shocked that I only had to ride New Jersey Transit for 70 minutes, but felt like I was leaving the city far, far behind. (I was also a little bit in love with the child sitting in front of me who kept calling every body of water he saw “the ocean.”) K II lives in a very bright and airy apartment on the Princeton campus (or pretty darn close) and there are lots of trees and birds and bugs. And we went apple-picking! I was not able to get my standard pie apples, but I’m not so much of a stickler that I wasn’t willing to branch out with three new varieties. I *wish* I could remember all three, but one was definitely Macoun. And…as K II took me to a charming kitchen store in the heart of Princeton (that had a revolving cake platter that plays “Happy Birthday!”) and bought mini tart pans (that’s the difference between the two of us — my tart pan is HUGE), I was totally inspired to make an apple tart of my own. (The recipe I like most on Epicurious, however, calls for cardamom and I did not see any at my local grocery store…but Trader Joe’s in the middle of the day in the middle of the week has sort of become my new favorite place to be…and Joe should have cardamom, right?) She was *also* talking about how much she likes donuts…and she was searching for a baked good to claim as her “thing” and I really, really wanted to be able to find a recipe for baked donuts that would blow her away (she was reluctant to embrace donuts because of all the frying)…but, sadly, I didn’t see anything good in any of my cookbooks (Martha has an interesting one for pumpkin cornmeal donuts…but they, like virtually every other donut in creation, are fried)…although a quick Google search pulled up *these* baked donuts…although they are also quick to note that it’s an entirely different taste sensation. If I was a more industrious blogger, I’d try these recipes out and come back with some original reporting. Which I suppose is *maybe* still a possibility, but…

…the traveling doesn’t stop there! My mother is flying in tomorrow…and we have big plans to eat a lot: Mesa Grill, Grand Central Oyster Bar, The Spotted Pig, Buttermilk Channel…and I don’t know what else. Shake Shack? Blue Smoke? Artichoke? I am sort of the proverbial kid in a candy store here as I pick out all these amazing places I would never go if it was just me.

But, wait! There’s more! Big J and I booked our tickets to Costa Rica today! We leave on November 12. And my guidebook is patiently waiting for me at the Red Hook post office. And surely there will be *something* food-related for me to blog about between now and then. (I am tempted to sign this, “Besos! LL.” But shall refrain.)

Can’t wait to see it!!

Une playlist qui rejoindra une liste des meilleures B.O…

1.The Boat That Rocked: merci à Richard Curtis qui nous aura fait re-voyager dans la meilleure période pour le rock bien sur les 60s.

The Kinks - All Day and All of the Night

2. Juno: non seulement ce film est une petite perle (Micheal Sera plus qu’y contribue) mais sa musique suit.

Moldy Peaches – Anyone Else But You

3. Nick and Nora Infinite Playlist: du Vampire Weekend, du We Are Scientists, du Micheal Cera ….

The Dead 60’s – Riot Radio

4. Billy Elliot

T-Rex – Cosmic Dancer

5. Rocky IV: aucune mauvaise remarque car beaucoup critiquent ce film, mais sa musique demeure collector

Robert Tepper – No easy Way Out

_________________________

Clip: Leave before the lights come on (Arctic Monkeys), réalisé par John Hardwick.

Ce clip est une merveille de part son scénario: une jeune femme sus le point de se jeter du toit d’un immeuble est sauvé par un inconnu. Un Syndrome de Stockholm en résulte mais on se rend bien compte au final que le tout était fait délibérément.  Tourné dans la zone industrielle de Sheffield, la ville du groupe, l’on y retrouve deux personnages dont la rencontre et plus qu’inhabituelle.

En guest star on reconnaitra Kate Ashfield (Liz dans Shaun of the dead) et Paddie Considine sans oublier Matt Helders, batteur des Arctic Monkeys arborant fièrement son t.shirt Bang-Bang -label du groupe- qu’on ne s’est pas du tout empressé d’acheter

It’s been a busy week. This is the first opportunity I’ve to post the story of our trip to New York City last weekend.

Mrs. Poolman and I were both “Big Apple Virgins.” Neither of us had visited NYC. There is a story behind this, so bear with me.

Our hostess on this trip was a good friend who I’ve known since high school. Randi has stayed in touch with us and we have visited back and forth, but never to New York.

Also along was another couple. Marcia and Greg. Marcia and Randi have been best friends since grade school and we were all part of the same group of friends in high school. Marcia and I have stayed loosely in touch since then, mostly on a Christmas card exchange basis.

Several years ago, Marcia’s husband, Greg, an artist and art teacher, was diagnosed with ALS. At this point, he is confined to a motorized wheelchair with limited use of a thumb to control it. They took a southern vacation last spring and spent several days with us. Despite some initial trepidation, we had a great time. Marcia is the same fantastic person she was 35 years ago. Greg is simply a superman. For a guy who has a terribly crippling disease, his attitude is incredible. To talk to him, you would think he had nothing more serious than a sprained ankle. They are absolutely amazing!

We flew up on Thursday and stayed until Sunday evening. Marcia and Greg drove up from Philadelphia on Friday afternoon.

Randi is absolutely the “hostess with the mostest.” She had darn near every waking minute crammed with some activity. Our HQ was her apartment two blocks south of Central Park. We were unabashed tourists and loved it.

We rode the Staten Island Ferry.

We even saw President Obama leave Manhattan after his UN visit.

We went to Grand Central Station.

We ate incredible meals.

We visited Central Park.

We went to Time Square.

We walked the Brooklyn Bridge.

We went to a Broadway play.

We watched the lights come on from the Top of the Rock.

With just an hour left before we had to leave to the airport, we even squeezed in a street fair.

And we walked, and we walked, and we walked, even in the rain. .

Great time had by all. Thank you Randi, Marcia and Greg for making it a fantastic weekend. We’ll be back!

David Bologna leaves Billy Elliot

David Bologna, whose performance as Michael earned him a nomination for a Tony Award in Billy Elliot the Musical, plays his final performance on Sept. 27.

Laura Michelle Kelly and Christian Borle join the cast Mary Poppins

Laura Michelle Kelly, who originated the title role in Mary Poppins on the West End, and Christian Borle (Legally Blonde, Spamalot, Footloose) will join the cast of Broadway’s Mary Poppins on Oct. 12 as Mary and Bert.

Six new tribe members for Broadway’s Hair

The Tony-winning revival of Hair welcomed six new cast members to the tribe: Rachel Bay Jones and Ryan Watkinson (Xanadu), Krystal Joy Brown (High School Musical), Heath Calvert (Good Vibrations), Matt DeAngelis (Altar Boyz), Hannah Shankman (Kaspar Hauser) and Ryan Watkinson (Xanadu).

Two new Nalas and two new Simbas for The Lion King

Alphonso Romera Jones II and Marquis Kofi Rodriguez will be stepping into the role of Young Simba, and Shereen Pimentel and Shannon Skye Tavarez into that of Young Nala in Broadway’s The Lion King during the next couple performances.

At this very point in time, I am sitting on the Eurostar on my way to Paris! I thought I should take the time to review the London shows that I was able to see during the time I was there.

I was lucky enough to make it to three London musicals, namely The Lion King, Billy Elliot and Oliver! Each of which was fantastic, whilst showing three unique styles of theatre.

The first show we saw, The Lion King, was the one we had purposely picked out as the one we had to see if by chance we were only able to make it to one. Whilst I don’t think I ever watched the Lion King film completely from start to finish, the play almost followed the film script and soundtrack verbatim in parts. The costumes were very innovative, with the performers integrated into the animals they were portraying almost seamlessly.

The style of dance in Billy Elliot was much similar to that in the Lion King, very precise, more concerned with getting even the littlest of movements right. The acting was what you would expect from a drama, matching the original film performance. It was much more intense than either the Lion King or Oliver, particularly towards the close of the first Act when riot police took the stage. It was very powerful.

[Edit: Having watched the film  version of Billy Elliot on the plane from London to Tokyo, I am lead to conclude that the play was much better, in terms of delivering the plot and the power of the performances from the actors and dancers, Billy Elliot the stage musical is much an improvement on the film. Un-needed side-plots were ignored and the side stories that had a real emotional effect, such as Billy’s visions of his mother were emphasised].

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Both Billy Elliot and the Lion King worked well with the space they had on the stage, whilst I think they both had a lot of area to work with, it always felt like they were close to the audience. However, that is where Oliver differed. Oliver had a huge, deep stage, which they filled with a huge number of actors and dancers. Where Billy Elliot and the Lion King may have had a maximum of 20 or so actors/dancers on stage at any one time, Oliver would have had what seemed like 50+ at some points, on a stage setup like a massive streetscape.

All three of the plays used an amazing variety of sets and settings, the choreography of the set changes was almost impressive as the actors themselves.

I can’t see how anyone could ever be bored in London, regardless of all the touristy sights around the city, there are so many high quality theatrical shows, I think it would be impossible not to find something entertaining to do on any given night.

Broadway star David Alvarez plans his life post-‘Billy Elliot’
 

 
By Sandra Guzman
New York Post
Photograph by Eilon Paz
September 16, 2009

Tony-winner David Alvarez can sing, play classical piano, speak three languages and he doesn’t just dance ballet, he is often referred to at the next Mikhail Baryshnikov. 

And despite the fact that several times a week, he makes audiences swoon with his outstanding portrayal of Billy Elliot in the award-winning Broadway show, the 15-year-old hasn’t a clue why he was cast in the musical. “No, I still don’t understand why,” says a modest Alvarez.

It’s not that the teen lacks confidence, far from it. He is a modern-day Renaissance manchild and he knows it.

For this interview, he has chosen to speak Spanish but he switches back and forth between that and English, fluidly and with eloquence. (He also speaks French.)

“A bunch of people [from American Ballet Theater] have said that I can be the next Baryshnikov and when they say that, I know that there’s much work ahead of me. To be that good, you have work very hard,” he says.

It’s this kind of focus, discipline and maturity that got Alvarez, who grew up in San Diego with his two sisters and a stay-a-home mom and biochemist-professor dad from central Cuba, noticed by casting directors.

Show insiders say that he is a perfectionist, wanting to get everything just right. And when, every once in a blue moon, he doesn’t, he turns his anger inward. “I just can’t help it— but I am trying to get better at not being so hard on myself,” says the soft-spoken young star.

Alvarez was a four-foot tall cherubic boy when he first started playing Billy, a little English boy from a working-class mining town who has dreams of dancing ballet. Today, he is in full-blown adolescence and those awkward growth spurts are happening on the set and behind the scenes. “I grew 5 inches from the first day I started playing him,” he says. “One morning I woke up and said ‘Whoa, what happened?’” he says, chuckling.

Every so often, he admits, his voice cracks on stage.”I have learned to work my way around that, it’s a little embarrassing,” he admits.

Young Alvarez says he’s already planning his future, post-”Billy.” “I will go to ABT full-time to study ballet,” he says. He now studies at the prestigious school on scholarship while not performing.

He’s also studying classical piano on full scholarship at the 92 Street Y. “The piano helps me tremendously with the musicality of ballet.”

But Alvarez’s plans don’t end there. “I also want to do films, something very Hollywood.” In fact, he says he auditioned for a couple of movies that he’s excited about, but not ready to reveal.

And if all this doesn’t work out, Alvarez — who is a voracious reader of war books and films — says he wouldn’t mind enlisting in the army. “There is something that I really love about the military — maybe it’s the discipline.”

Catch David Alvarez in “Billy Elliot” currently on Broadway.

 
Copyright 2009 NYP Holdings, Inc.

Recent-premiered play staring Daniel Craig and Hugh Jackman, “A Steady Rain”, has grossed up a total of $1,167,954 to come third this week in the weekly box office report published by The Broadway League.

It is rare to see that a non-musical play breaks into the Top 10 in Broadway. “A steady Rain”  has even display “Jersey Boys” from the Top 3 and is catching up with smashing-hits plays such as Wicked and Billy Elliot.

The Top 5 comprised ”Wicked” with $1,441,683, “Billy Elliot” ($1,342,233), “A Steady Rain”, “Jersey Boys” ($1,126,009) and “The Lion King” ($1,123,205).

Great Broadway hits such as West Side Story, Mamma Mia! and The Phantom of the Opera follow the above list in the top 10.

Great work for Daniel Craig and Hugh Jackman! Watch out Broadway, this two guys come to crack everything up!