#Christopher Sieber

[thegirl20]

Death Becomes Her: The Musical

[danverssawyer]

Jennifer Simard as Helen Sharp and Christopher Sieber as Ernest Menville singing "Let's Run Away Together" from Death Becomes Her The Musical.

[ohwowthats-awesome]

Does anyone have the bootleg of Spamalot (2005) and I’m also looking for The Prom thats not the 2016 version I really want the closing night version but any one you have is great!

[amphibifish]

a story in 3 pictures

[erstwhile-punk-guerito]

[tilos-tagebuch]

...aus 2005: Wahrheit oder Comedy?

Wie man Menschen kontrolliert und in Angst und Schrecken hält.

[haraldbulling]

Armut, Christoph Sieber

[bestmusicalworldcup]

Death Becomes Her opens at the Lunt-Fontanne Theatre on November 21st with previews beginning October 23rd.

Megan Hilty and Jennifer Simard star as Madeline Ashton and Helen Sharp. Also confirmed for the Broadway production are Christopher Sieber and Michelle Williams as Ernest Menville and Viola Van Horn.

Directed and choreographed by Tony winner Christopher Gattelli, Death Becomes Her features a book by Marco Pennette and an original score by Julia Mattison and Noel Carey. The Chicago production will officially open May 19 for a limited engagement through June 2.

[fetchmearum420]

1776 to return to Broadway this fall!

The Tony award winning best musical will return to broadway for a limited engagement starting September 15th through November 22nd at the Circle In the Square theater.

Christopher Sieber will star as John Hancock, and Rhiannon Loua will make her Broadway debut as Charles Thomson. Other Casting will be announced at a future date.

Tickets go on sale April 21st.

April fools!

[hoodoo12]

Two show Wednesday

"Two show Tuesday" sounds better, but the travel plans didn't work out that way.

I saw a play and a musical. Dracula: A Comedy of Terrors and Spamalot. Mild spoilers under the cut (mostly for Spamalot).

Dracula was in an off Broadway production in a theater of ~250 seats. It was nice to be in such an intimate theater; even though we were fourth row the stage was so much closer because there was no pit. I loved the set design! They did a lot with a little. The show was a tight 90 minutes so there was no lag time or dragging out the plot. Out of the five actors, four of them played multiple roles, sometimes in the same scene!

Because the show was short and a comedy, I'd call it Dracula-lite or Cliffs Notes Dracula lol. There were changes to some backstories and genderswapping, and Dracula had a change of heart at the end. There were puppets, a bat on a stick, lots of black lace well-cut men, and every actor did an absolutely bangup job with the comedy.

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A post shared by Dracula, A Comedy Of Terrors (@draculacomedy)

Before it was a stage show, it was a radio drama -- oops, podcast. The podcast starred a ton of stars: Christopher Sieber, John Stamos, Annaleigh Ashford, Laura Benanti, Alex Brightman, James Monroe Iglehart, Richard Kind, Rob McClure, Ashley Park, Alan Tudyk, Kathy Fitzgerald, Jeff Kready, and Orville Mendoza.

Listen to it here: Apple Podcasts, Spotify, or Broadway Podcast Network.

Second show was Spamalot! I was excited to see the differences between the Kennedy Center and Broadway.

The sets were slightly different: bigger, flashier, with an expensive looking forest. If you know, you know, lol. Some lines were changed but nothing drastic. God was Steve Martin, which is apropos. It was Leslie Kritzer's first night back after being sick; she made reference to that and her improv game is top notch.

Ethan Slater was great. The person I went with said they could hear his Spongebob voice when he sang as Prince Herbert but I didn't hear that (I laugh too hard at those scenes because they're my favorite). The person sitting to my other side had never seen the show or knew much about Monty Python (apparently) and he was INTO IT. I loved that he enjoyed it so much and some of it took him by surprise.

I really enjoyed Taran Killan. He made Sir Lancelot his own versus aping was Alex Brightman did and it worked. His French Taunter also got huge laughs because he dragged some of it out to an awkward amount of time but got the audience into it, which brought it back around to funny again. You know Justin Collette's outrageously long scream when Lydia heads into the Netherworld? Increase that time by about two minutes and that's what Killan did during one specific part of the scene. His costume for "His Name is Lancelot" was also different with many more bedazzled flames, lol

Good quick trip with good shows!

ps: We stopped at a random cafe before Spamalot and David Josefsburg was there! I tagged him on my IG and he dmed me back, lol

[danverssawyer]

Audio from Death Becomes Her The Musical of Megan Hilty as Madeline Ashton, Jennifer Simard as Helen Sharp, and Christopher Sieber as Ernest Menville singing "Tell Me Ernest"

[droughtofapathy]

DEATH BECOMES HER Theatre: Lunt-Fontanne Theatre First Preview: October 23, 2024 Opening: November 21, 2024 Starring: Megan Hilty, Jennifer Simard, Christopher Sieber, Michelle Williams

[simplegenius042]

Very Late Song Shuffle Tag

Tagged by @inafieldofdaisies

Tagging @socially-awkward-skeleton @shallow-gravy @minilev @titiagls @carlosoliveiraa @josephseedismyfather @wrathfulrook @thewanderer-000 and @lulu2992

The Game: Put your on repeat playlist on shuffle and list the first 10 songs.

Love Thy Neighbor - Christopher Sieber ft. The Prom ensemble (from The Prom) "Time to make some better choices / Drop the hate, and raise your voices / Love Thy Neighbor is the one that trumps them all / (Love Thy Neighbor) / Love Thy Neighbor!"

Hell's Greatest Dad - Jeremy Jordan & Amir Talai ft. Hazbin Hotel ensemble (from Hazbin Hotel Season 1) "They say when you're looking for assistance / It's smart to pick the path of least resistance / Others say that in your needy hour / There's no substitute for pure angelic power! / Who just so happens to also be your blood!"

It's A Joy [2021 REMASTER] by The Stupendium ft. Dan Bull "The fact is you can't react knowing what REDACTED / No need to grieve if you can't see diseases we've REDACTED / Happiness and truth, we simply view them through a lens, REDACTED / Life's a breeze when you can leave uneasy deeds REDACTED / I'm happy (I'm happy), I'm happy (I'm happy), I'm happy!"

Art Of Darkness by The Stupendium "Hop on the ink machine and ride those pipes down / So, you're on the path of the starving artist / But at the heart, well, the art is heartless / Ever seen a masterpiece get discarded? / Start and depart for the art of darkness."

Fragments by The Stupendium ft. Freeced & oo oxygen "It's your turn to revolt in every turn of the bolt / Take the world on your shoulders, then turn it to gold / When you've crashed into fragments of all that you know / Well you're far from alone / We're just a rift apart."

Shooting Stars by Bag Raiders "I'm chasing / I'm in love with a shooting star / But she moves so fast / When she falls / Then I'll be waiting."

Rise by Jonas Blue ft. Jack & Jack "We're gonna ri-ri-ri-ri-rise 'til we fall / We're gonna ri-ri-ri-ri-rise 'til we fall / No, they don't speak our language / They say we're too savage, ya / No, no, we don't give a- anymore."

1950 by King Princess "I hate it when dudes try to chase me / I love it when you try to save me / 'Cause I'm just a lady / So tell me why my gods look like you / And tell me why it's wrong."

Shameless by Camila Cabello "Right now, I'm shameless / Screaming my lungs out for ya / Not afraid to face it / I need you more than I want to / Need you more than I want to."

Counting Stars by OneRepublic "Take that money watch it burn / Sink in the river the lessons I've learned / Take that money, watch it burn / Sink in the river the lessons I've learned / Everything that kills me makes me feel alive."

[fearsmagazine]

DRACULA, A COMEDY OF TERRORS, performances begin Sept. 4th, on at the New World Stages in NYC.

Drew & Dane Productions presents Dracula, A Comedy of Terrors by Gordon Greenberg and Steve Rosen in a limited 18-week engagement, September 4 – January 7, at New World Stages (340 West 50th Street). Opening night is September 18. Directed by Gordon Greenberg (Who’s Afraid of Virginia Woolf, Geffen), Dracula, A Comedy of Terrors features a company of fearless actors including Jordan Boatman (Medea at BAM, The Niceties), Arnie Burton (The 39 Steps, Peter and The Starcatcher), James Daly (Shaw Festival, Stratford Festival, Hulu’s “Letterkenny”), Ellen Harvey (How To Succeed, Present Laughter) and Andrew Keenan-Bolger (Disney’s Newsies, Tuck Everlasting). Tickets are now on sale at Telecharge.com, (212) 239-6200.

(L-R) ARNIE BURTON, JORDAN BOATMAN,, ELLEN HARVEY, ANDREW KEENAN-BOLGER, JAMES DALY. Dracula, A Comedy of Terrors. photo by Maria Baranova

Bram Stoker’s horror classic gets a riotous makeover in this lightning-fast comedic reimagining that celebrates goth, camp, sexuality, and the magic of live theatre. This 90-minute, gender-bending, quick-change romp features a pansexual GenZ Count Dracula in the midst of an existential crisis. When he sets his sights on the brilliant young earth scientist Lucy Westfeldt, he meets his match for the first time – as well as a slew of other colorful characters including vampire hunter Jean Van Helsing, insect connoisseur Percy Renfield and behavioral psychiatrist Wallace Westfeldt, whose British country estate doubles as a free-range mental asylum. With a cast of brilliant quick take comedians, this Dracula will make you scream… with laughter.

(Back, L-R) KAITLYN BOYER, ARNIE BURTON, JAMES DALY, ANDREW KEENAN-BOLGER, SEAN-MICHAEL WILKINSON. (front, l-r) JORDAN BOATMAN, ELLEN HARVEY. Dracula, A Comedy of Terrors. photo by Maria Barano

“In re-reading Dracula, we were surprised and intrigued by the boldness with which Stoker, a closeted gay man in Victorian England, plays with sexuality and gender norms,” says director/co-writer Gordon Greenberg. Co-writer Steve Rosen adds “we wanted to celebrate him and, at the same time, send up his moody, broody melodrama in the spirit of some of our comedic heroes like Charles Ludlam, Monty Python and Mel Brooks.” In regards to the New World Stages production, Greenberg continues, “We are so fortunate to have assembled an extraordinary company of top-notch comedic actors whose fearlessness and hilarity make the whole experience feel like a party. We hope our Dracula gives audiences of all ages the chance to forget about their troubles and just laugh their heads off for a while.”

Playwrights STEVE ROSEN and GORDON GREENBERG. Dracula, A Comedy of Terrors. photo by Maria Baranova

Dracula, A Comedy of Terrors features scenic design by Tijana Bjelajac, costume design by Tristan Raines, lighting design by Rob Denton, original music and sound design by Victoria Deiorio, and wig and hair design by Ashley Rae Callahan. General Management is by Live Wire Theatrical. The company understudies are Kaitlyn Boyer and Sean-Michael Wilkinson. Production management is by Intuitive Production Management, and production stage management is by Morgan Holbrook. Casting is by JZ Casting. Dori Berinstein (The Prom) is Executive Producer.

JAMES DALY. Dracula, A Comedy of Terrors. photo by Maria Baranova

Dracula, A Comedy of Terrors was commissioned and originally produced by Maltz Jupiter Theatre (Andrew Kato, Producing Artistic Director/Chief Executive) in 2019. In 2020, it was adapted as a radio play for The Broadway Podcast Network with an all-star cast including Annaleigh Ashford, Laura Benanti, Alex Brightman, James Monroe Iglehart, Richard Kind, Rob McClure, Ashley Park, Christopher Sieber, and John Stamos. Productions followed at Capital Repertory Theatre in Albany and Segal Centre for Performing Arts in Montreal. A hit with critics and audiences alike, Dracula, A Comedy of Terrors has been praised by the Albany Times Union as “a raucous comedy, done with impeccable adroitness …stuffed with sight gags, wordplay and lightning-fast costume changes,” and described as “a delicious comedic romp” by Berkshire Edge. McGill Daily calls the play “a sexy retelling of the classic 1897 novel that leans into contemporary gender roles with an unprecedented comedic angle. … not to be missed.” BroadwayWorld calls it a “lightning-fast, laugh-out-loud comedy.”

Dracula, A Comedy of Terrors will play a 18-week limited engagement September 4 – January 7, at New World Stages, Stage 5 (340 West 50th Street.) Opening night is September 18. Performances are Sunday, Monday, Wednesday and Thursday at 7PM, Friday and Saturday at 8PM, with matinees Saturday and Sunday at 2PM. Tickets are $99 - $119. Premium seating is available. Tickets are now on sale at Telecharge.com, (212) 239-6200. For more information, visit www.DraculaComedy.com.

[trulyinspiringmovies]

Shrek The Musical

“Shrek The Musical” was a little hard to watch.

Shrek has always been told that everyone gets a happily ever after, except for him. He grows up not wanting it and pushing everyone in his life away. When his swamp gets littered with stray fairy tale creatures, he’s forced to confront the man who did this, Lord Farquaad. In order to get there, he needs the directions of one of the fairy tale strays, Donkey.

I’m usually a fan of musicals. I think it’s full of extremely talented people who put their all into a performance that requires everyone to be perfect. I’ve actually been in a couple of plays myself. “Shrek The Musical” is no doubt full of talented people. Everyone has stellar singing voices and there were fun ideas sprinkled throughout. Brian d’Arcy James was a fine lead, although some of his line deliveries were a bit weird to me. Chester Gregory as Donkey looked like he was having a lot of fun and it was hard for me to not laugh at some of his jokes. Sutton Foster has a different approach when playing Fiona, but I genuinely enjoyed her performance. I think the stand-out performances were Christopher Sieber as Lord Farquaad and John Tartaglia as Pinocchio. I was amazed at how Christopher Sieber was able to perform on his knees throughout the whole show. I also enjoyed the bits of subtle sight gags he did with his fake legs. John Tartaglia’s voice was a bit shrill for my liking in the beginning, but then it became indistinguishable from the movie’s Pinocchio. Plus he had a phenomenal singing voice, which was only more impressive with the fact that he was using his shrill Pinocchio voice to sing. Also, I wanted to highlight Haven Burton’s singing voice as Gingy. She definitely slips into her normal singing voice, but I’m not complaining since it’s so damn good. So if I have so much praise for the cast, then why is my rating so low? Well, it’s because I had a fundamental problem with the play itself. I felt that they should’ve gone with an original story. Why would I want to watch a live-performance musical of a movie that I already know by heart? The movie is full of original jokes and mindful of its pacing. “Shrek The Musical” rehashes the jokes of the movie and bloats its pacing. To differentiate their jokes from the movie’s jokes, the actors would deliver their lines differently, oftentimes altering the comedic timing of those jokes. It felt as if they were going at a breakneck pace to finish the show before the two-hour mark. The play also adds scenes and removes scenes, ultimately making some parts feels way too long and other parts feel too short. Shrek and Fiona don’t meet until almost an hour into the story. There’s also a reveal that works against the musical number they added to the end of the story. The musical number I’m talking about is when the fairy tale creatures gather at Fiona’s wedding to confront Farquaad. The song is called “Freak Flag” and it’s about the celebration of being different. Then it’s revealed that Farquaad’s father is one of the seven dwarves from “Sleeping Beauty”. They basically establish that we should be proud of being different, but it’s fine to laugh at Farquaad because he’s short. All in all, I wish I could’ve enjoyed this musical a lot more, but it just seems like it was hindered by the restrictions that were placed from the start.

★★

Watched on January 7th, 2023