#workshop: broadway evolved

[derekklenadaily]

Broadway Evolved's Instagram Story (February 26, 2024)

[danielpoussart]

The Alluring World of Broadway: Where Dreams Take Center Stage

Broadway, the legendary theater district in New York City, has long been the epitome of artistic excellence and a beacon of hope for performers and audiences alike. With its dazzling lights, iconic marquees, and an endless parade of groundbreaking productions, Broadway represents the pinnacle of live theater. This article explores the enchanting world of Broadway, delving into its historical significance, the intricate process of producing a Broadway show, the cultural influence it wields, and the future prospects of this beloved institution.

A Historical Tapestry: The Evolution of Broadway

The history of Broadway is a rich and colorful tapestry that mirrors the cultural evolution of the United States. The origins of Broadway date back to the early 19th century when New York City was emerging as a cultural hub. The first purpose-built theater, the Park Theatre, opened in 1798, setting the stage for what would become a flourishing theater district.

By the mid-1800s, Broadway was beginning to distinguish itself as a center for live performances, and it wasn’t long before musicals became a defining feature. "The Black Crook," which debuted in 1866, is often credited as the first American musical, combining elements of drama, dance, and music. This production set the stage for what would become the most iconic and enduring genre on Broadway.

The early 20th century brought about the Golden Age of Broadway, a period marked by the creation of timeless classics such as "Show Boat," "Oklahoma!," and "My Fair Lady." These productions not only captivated audiences but also helped to shape the cultural landscape of America, addressing social issues and influencing public discourse. Today, Broadway remains a testament to the power of live theater and its ability to evolve with the times while preserving its rich heritage.

The Craft of Creating a Broadway Show

The magic of Broadway lies not only in the performances but also in the meticulous craft of producing a show. The journey from concept to curtain call is a complex process that requires collaboration, creativity, and a deep commitment to the art of storytelling.

Concept Development and Scriptwriting: Every Broadway show begins with an idea—a story that needs to be told. This idea may be an original work or an adaptation of a novel, film, or historical event. The script, or "book," is crafted by playwrights who work closely with composers and lyricists to create a cohesive narrative interwoven with music. This stage often involves extensive revisions, workshops, and readings to fine-tune the material.

Casting and Rehearsals: Once the script and score are in place, the casting process begins. This is a critical phase where the characters are brought to life through the selection of talented actors. Rehearsals are intensive and can last several weeks or even months, during which the cast and crew work tirelessly to perfect every aspect of the performance. This includes not only the acting and singing but also the choreography, timing, and overall staging.

Design and Technical Production: The visual elements of a Broadway show are essential to creating an immersive experience for the audience. Set designers, costume designers, and lighting and sound engineers collaborate to build the world of the play. Each element is meticulously crafted to enhance the story being told, from the intricate details of the set to the dynamic lighting that sets the mood for each scene.

Previews and Adjustments: Before a show officially opens, it typically goes through a series of preview performances. These previews allow the creative team to observe audience reactions and make necessary adjustments. Whether it’s tweaking a line, refining a scene, or adjusting the pacing, these changes are made to ensure that the show is as polished and impactful as possible by opening night.

The Cultural Influence of Broadway

Broadway is more than just a place where stories are told; it is a cultural institution that has a profound impact on society. The themes and narratives explored in Broadway productions often resonate deeply with audiences, reflecting societal issues, inspiring change, and fostering a sense of community.

One of the most significant cultural contributions of Broadway is its role in advancing social justice and representation. Productions such as "Rent," which addressed issues of LGBTQ+ rights and the AIDS epidemic, and "The Color Purple," which explored themes of race and gender, have brought important social issues to the forefront. These shows do more than entertain; they challenge audiences to confront difficult topics and consider different perspectives.

Broadway’s influence extends beyond the stage, shaping fashion, music, and even language. Iconic shows like "West Side Story" and "The Phantom of the Opera" have left an indelible mark on popular culture, with their songs becoming part of the American musical canon and their stories being retold in various forms, from film adaptations to high school productions.

Additionally, Broadway plays a vital role in the economy of New York City. The theater district attracts millions of visitors each year, contributing significantly to the city’s tourism industry. The success of Broadway also supports a wide range of ancillary businesses, from restaurants and hotels to costume shops and set construction companies.

The Future of Broadway: Challenges and Innovations

As Broadway looks to the future, it faces both challenges and exciting opportunities. The COVID-19 pandemic brought the industry to a standstill, with theaters going dark for over a year. However, the resilience of Broadway is evident in its comeback, with shows reopening and new productions being developed.

One of the most promising trends in Broadway’s future is the increasing emphasis on diversity and inclusion. The call for more representation on stage and behind the scenes is being heard, with more productions featuring stories from underrepresented communities and casting actors of diverse backgrounds. This shift is not only making Broadway more inclusive but also enriching the storytelling by bringing new voices and perspectives to the stage.

Technological advancements are also poised to play a significant role in the evolution of Broadway. From enhanced set designs that incorporate virtual reality to digital streaming platforms that bring Broadway shows to global audiences, technology is expanding the reach and impact of live theater. These innovations have the potential to make Broadway more accessible while preserving the unique magic of a live performance.

However, Broadway must also navigate the challenges of an increasingly digital world. With the rise of streaming services and other forms of digital entertainment, Broadway must continue to innovate and find ways to attract and engage audiences in a competitive entertainment landscape.

The Enduring Magic of Broadway

Broadway is a place where dreams come true, where stories come to life, and where audiences are transported to different worlds. Its enduring appeal lies in its ability to evolve with the times while staying true to its roots as a platform for creativity, expression, and connection.

The magic of Broadway is not just in the performances but in the collective experience of live theater—the shared emotions, the anticipation of the curtain rising, and the sense of wonder that fills the air. As Broadway continues to evolve and adapt to new challenges and opportunities, it remains a vital part of our cultural fabric, a place where the human experience is celebrated in all its complexity and beauty.

Whether you’re a seasoned theatergoer or experiencing Broadway for the first time, the allure of the Great White Way is undeniable. It’s a place where history is made, where the future is imagined, and where the magic of live theater continues to captivate hearts and minds.

[terencelewisinstitute]

Jazz Funk: India's Spicy Spin on a Global Groove

Forget your rigid ballet slippers and dusty tap shoes. The future of dance in India is sizzling hot, laced with sass, and pulsating with the infectious energy of Jazz Funk. This hybrid style, a cross between the smooth sensuality of jazz and the funky swagger of hip-hop, is setting stages ablaze across the country, captivating audiences and challenging the very definition of dance. So, loosen your inhibitions, put on your dancing shoes, and get ready to delve into the electrifying world of Jazz Funk, desi style.

Though new, this dance style is being taught in many Bollywood dance institute in Mumbai.

From Broadway to Bharatnatyam:

Jazz Funk isn't just a random amalgamation of dance styles. Its roots lie in the rich tapestries of jazz and funk, genres born in the streets and clubs of America. From the sultry swing of Josephine Baker to the electrifying grooves of James Brown, jazz imbued movement with storytelling, while funk added a layer of raw, rebellious energy. These influences crossed continents, finding fertile ground in India, where they intertwined with the graceful fluidity of Kathak and the explosive power of Bhangra. This cultural fusion birthed an entirely new expression – Jazz Funk, with its unique Indian flavor. Many Bollywood dance academy in Mumbai has caught upon this trend and added their own twist.

The Evolution of Sass:

The early days of Jazz Funk in India were marked by experimentation. Renowned choreographers like Shiamak Davar and Terence Lewis, who trained under international masters, pioneered the style, blending jazz isolations with hip-hop footwork and infusing Kathak's elegance into funky sequences. Bollywood embraced the trend, with films like "Dilwale Dulhania Le Jayenge" and "Dil To Pagal Hai" setting the stage for Jazz Funk's cinematic ascension. Madhuri Dixit's spunky "Ek Do Teen" and Karisma Kapoor's sassy "Chhaiyya Chhaiyya" became iconic, showcasing the genre's potential to tell stories through movement and attitude.

Beyond Bollywood Bluster:

But Jazz Funk wasn't just a Bollywood fad. It resonated with the spirit of a new generation, eager to express themselves beyond traditional boundaries. Dance academies across India started offering dedicated Jazz Funk classes, attracting not just aspiring actors but also fitness enthusiasts and anyone seeking a fun, liberating way to move. Workshops by international artists like Mia Michaels and Marty Kudelka fuelled the movement, sharing global trends and pushing the boundaries of Indian Jazz Funk. Thus, many dance enthusiasts are keen on learning this dance style.

Spicing Up the Stage:

Today, Indian Jazz Funk is a dynamic entity, constantly evolving. Choreographers like Bosco-Caesar and Remo D'Souza are infusing contemporary elements, incorporating aerial silks and acrobatic feats into their routines. Bollywood itself is experimenting, with films like "Bajirao Mastani" and "Padmaavat" showcasing intricate, story-driven Jazz Funk sequences. But the essence remains – that unique blend of sass, sensuality, and raw energy that sets Indian Jazz Funk apart.

From Studio to Spotlight:

The opportunities for Jazz Funk dancers in India are as diverse as the style itself. Bollywood films and music videos continue to be lucrative avenues, while the rise of web series and digital platforms offer new platforms for talent. Dance crews like Kings United and Desi Hoppers are proving their mettle on international stages, putting Indian Jazz Funk on the global map. And of course, there's the ever-growing world of brand activations and corporate events, where high-energy Jazz Funk performances can electrify any audience.

Beyond the Glittering Stage:

Jazz Funk isn't just about sequins and high kicks. It's a dance form that empowers. Its focus on self-expression and individuality encourages dancers to break free from societal constraints and embrace their unique voices. It fosters a sense of community, where studios become sanctuaries for self-discovery and fellow dancers become a supportive network. This empowering aspect transcends age and background, making Jazz Funk accessible to anyone with a fire in their heart and a rhythm in their soul.

So, Are You Ready to Funk?:

Whether you're a seasoned dancer seeking a new challenge or a curious observer captivated by the rhythm, Indian Jazz Funk welcomes you with open arms (and funky footwork). It's a genre that defies labels, celebrates individuality, and keeps the beat of innovation alive. So, find your nearest studio, put on your dancing shoes, and let the contagious energy of Jazz Funk guide you. You can learn this dance form in many Bollywood dance classes in Mumbai. Remember, in this world, the only rule is to move with confidence, own your sass, and let your inner funk shine through. Because in the vibrant tapestry of Indian dance, Jazz Funk is the thread that's weaving the future, one shimmy and slide at a time.

For more information, visit our website: https://www.terencelewis.com/dance-courses.php

[dancingnotes]

Dance Classes near me | dancingnotes.com.au

Dance classes are an excellent form of cardio exercise. They can also improve flexibility and strength, as well as help you maintain a healthy weight. In addition, regular cardio dance classes can also boost your mood.

DivaDance lets you burn calories, celebrate your curves and let your hair down in a body positive environment. Their all-levels classes include new choreography in every class, so you never feel left behind or out of place.

Steps on Broadway

Located in the heart of Broadway, Steps on Broadway offers dance classes near me for students of all ages. They offer a wide range of styles, including ballet, jazz, hip hop, and theater dance. In addition, they also have summer intensives for students who wish to train with a professional teacher. The studio also offers a variety of other programs, including workshops and performances.

Steps on Broadway has partnered with the American Dance Machine for the 21st Century (ADM21) to bring two one-of-a-kind classes to their repertoire. These classes, Ballet for Broadway and ADM21 Repertory, are available to intermediate and advanced dancers.

If you want to learn how to tap dance, sign up for a 75-minute Absolute Beginner Tap class. This class will teach you the basics of tapping with the beat of live drums. It will also help you build your core and leg strength. The class is available to people of all ages and experience levels, but you must register online.

Alvin Ailey

Whether you’ve danced for 20 years or never set foot in a studio, Alvin Ailey believes that everyone should be able to experience the power of dancing. The nonprofit organization offers more than 80 classes each week for people of all ages and skill levels, both online and in the stunning glass-encased Ailey Studios.

Founded in 1958, the company carries on Mr. Ailey’s original vision of bringing dance to all people. Its community outreach program, AileyDance for Active Aging, brings dance to older adults in their homes and communities.

The company’s newest work, Revelations, exemplifies that commitment. Its six dancers converge, disperse, splay, and twirl as the filaments of a glistening, muscular flower. The music, from Thom Willem’s percussive tone clusters to innocent open sixths, is a symphony of energy and tension. The result is a powerful and moving performance that celebrates the power of the human body. The dancers deserved the standing ovation they received.

Peridance

If you're looking to learn the basics of ballet and want to feel stronger in your body, this studio offers a wide variety of classes for students of all levels. Classes are donation-based, and no prior dance experience is required for opening-level classes.

The studio also teaches Qi Gong and dynamic stretch to strengthen the body and improve posture.

Peridance Capezio Center is a mecca for dancers and non-dancers alike, offering more than 250 weekly open classes in various styles. Its world-renowned faculty prepares dancers for the continually evolving dance arena through an International F-1 Student Visa Program and 2-year Certificate Program. The center is home to the acclaimed Peridance Contemporary Dance Company and its affiliated School at

Peridance. It also features spacious sprung and column-free studios, The Salvatore Capezio Theater and the Peridance Coffee Shop and Capezio Dance-wear Boutique.

The New York City based company is dedicated to expansive public programming, educational partnerships and inclusive and equitable processes for all collaborating artists. The company's performances are renowned for their strength, beauty and voice.

Gibney

Gibney dance is a multi-hyphenate hub that offers drop-in classes and hosts performances, workshops, and talks. Its two locations host a diverse range of classes, from Simonson Technique to Gaga, the barefoot dance style developed by Batsheva Dance Company choreographer Ohad Naharin. Its classes are designed for people of all ages and levels, with a particular focus on inclusivity.

Gibney Dance has a robust community outreach program that provides space and support to non-profit companies and individual dance artists through POP and a Digital Media Initiative. It also offers free dance classes to the public through its Studio 1 rental program.

The Bard College Dance Program has a long-standing partnership with Gibney, which provides students with opportunities to take classes and participate in workshops with the company’s Artistic Associates. The program is an excellent option for students who want to explore dance as a form of activism. In addition, the program offers students an internship with Gibney.

[machine-without-feelings]

i don’t know if this will make much sense as i haven’t had many coherent thoughts in my 18 years of living and i doubt that this will be an anomaly but i just need to do a lil rambly rant. 

so. about hadestown. i keep seeing comments about the original epic iii, or at least the live album version, in that it’s better than the final song that made it to broadway. allow me to preface this by saying there is absolutely nothing wrong with having preferences. i myself adore each version of persephone’s ultimately cut verse in chant ii/reprise. however, i understand the decision to cut it, for timing. i also particularly love the live album, just because the raw instruments and untouched vocals scritch my brain in the best way, but that doesn’t mean i shit on the broadway album.

hadestown isn’t just a musical. it’s anaïs’ now fifteen+ year passion project. she has built this show up from the ground, starting with (to my knowledge) 4 workshops and 2 professional runs before it even hit broadway. she has made this amazing piece of art and we have the privilege of her sharing it with us. we get to watch or listen to her masterpiece. furthermore, i’ve heard that anaïs dealt with a lot of anxiety in writing epic iii as she felt the pressure of writing a song that would literally change the world of hadestown (i’ve just bought myself the lyrics of hadestown book so will update once i’ve read it). she deserves WAY more slack than people shitting on the current-final version of epic iii. you can appreciate the old lyrics, or damon as orpheus, or WHATEVER but that does not mean you can hate the broadway album version. that may not even be the final version, it’s just the most current version we have, but as the last fifteen years have shown, hadestown is constantly evolving, and every version is a gift. 

also, i don’t know if this is just me (whenever i talk about anything like this my internalised misogyny makes me feel like AngryIrrationalFeminist) but i don’t see lin manuel-miranda getting nearly as much hate for hamilton’s cut songs (as it shouldn’t). it just makes me so upset to see how toxic the theatre community can be. it’s bad enough seeing all the gatekeeping of OBCs as of late but the epic iii issue is something that’s been weighing on my mind. don’t forget that theatre is art. art is personal to the artist. sharing your art can be one of the scariest things an artist can do. anaïs has shared her art with us. have your preferences, sure, but 

thank you all for coming to my tedtalk *curtain falls on rant*

[elenamegan14]

Twisted Wonderland: Headcanons for Dorm Haunted Houses Pt.5 - Octavinelle

MASTERLIST

Part 4

Probably the longest headcanon one I had so far. LOL.

TW: Slight dubcon elements and submechanophobia. 

THE ATTRACTION: 

This dorm’s haunted house is quite unique because it’s a mish-mash between a cruise ship and the jazz lounge hall from the Roaring 1920s. For some reason, after thorough research, Azul wanted to include ‘submechanophobia’ (fear of animatronics submerged in water) into the haunted dorm concept himself. 

Azul went crazy with all the merchandise - there were T-Shirts, posters, the most adorable set of acrylic keychains! And the piece of resistance is a two-song single that he and the twins have recorded. It has a physical and digital release, of which the latter had 1,300,000 downloads in just one day. 

The promos are crazy too. The way the staff had shot the commercial for the dorm’s haunted house is so cinematically professional that many were taught it was a real movie itself. Luckily, Azul also recorded the dorm’s theme. PS: They also did Pomefiore’s promo video too for a cut share of 15%.

Azul wanted to increase his clients on Monstro Lounge, but he cannot go easy on the student participants as well. He wanted to hear BOTH screams - so the treatment for the students in the survival game and the guests is going to be very different from another. 

Regular guests will be scared in a standard manner: jumpscares from animatronics, a bit of gas blowing on their necks - NO TOUCHING AT ALL.

As for the students… well, they’re most likely to get attacked ALL THE TIME. Your name it: physical touches, animatronics dragging them to their ‘doom’, etc. That’s why the dorm made a contract clause to the participants warning them that there will be physical touching and a safe word is provided. Most participants did not read this except for a few. Like MC and Jack. Unless they purchased his charms. 

Yes, the octopus capitalist had created their own charms that worked only for this haunted house ONLY. It protects students from the monsters, well MOSTLY. 

Perhaps because he was attached to the band he, Floyd, and Jade once made back in middle school, he wanted to include the entertainment aspect as well, perhaps for nostalgic sake. Plus, he did it because he knew people would pay money to see hot idol guys singing jazz songs. Of course, he did, why do you doubt him so?

“Do instruments of torture count?” Floyd asked during the first band meeting. Azul quickly dismissed it. And no, mayonnaise is definitely NOT a musical instrument. 

When guests and student participants arrived in the dorm’s haunted house, they were lured into an abandoned pier. During the walk in the eerie, fog-infested docks, guests could see some posters of missing people, old posters of a cruise ship trip promotion, a poster featuring the Octavinelle band in old-timey fashion and old news articles about a tragic malfunctioning animatronic accident. 

As they approached closer, they could hear several jazz songs, including electro swings coming from somewhere. Guests also noticed some abandoned, dilapidated animatronics that was missing some parts, giving it a frightening outlook. What really unsettles them most are writings on the wall that are written either in blood or blacks markers: “TURN BACK!” “WATCH OUT!” “STAY AWAY FROM THE CRUISE SHIP!”

They arrived at their destination: a large cruise ship was waiting on them. On the entrance, the dorm staff sold their merchandise and charms to the students themselves. Already traumatized by the two previous haunted houses, most students hurriedly buy the charm itself. Grimm wanted one because there is no way he would want to be “attacked” again, but Deuce managed to stop him from buying an ‘unnecessary’ object (“Unnecessary my foot! We’re talking about the benefit of humanity here!”).

Ace secretly buys one. “There’s not wrong with being prepared!” He whispered to himself.

Entering the den of the beast, they went inside a lavish foyer area that is reminiscent of a scene in titanic. Chandeliers, art deco furniture, and art, as well as posters of the animatronic bands, were shown in meticulous detail. 

They were then seated at a wide, spacious restaurant theater area. The staff hyped the audience by asking them to sing a few lines from Azul’s song, before introducing Azul’s band like in a jazz concert. 

They began the pre-show in a unique way. Azul is a showstopper mysterious owner and headline singer for “Monstro Lounge”, the cruise ship that is rumored to have a multitude of people missing. Floyd and Jade are his lackeys with the same headline as well. 

Azul charms the audience with a siren-like voice, putting the audience into his trance. For some reason, the Octavinelle trio tends to direct their gazes, winks, and fanservice towards MC the most. It then evolved into a Broadway show-stopping number.

The way Azul plays his piano is started off slow, increasing his tempo and so does his seduction and flamboyance. He makes an expression that one could mistake as a man experienced in the bedroom. 

Floyd goes crazy with his drums. Meanwhile, Jade plays his contrabass with grace and elegance, fingers touching it lightly but spicy. 

Many female clientele almost had a nosebleed... or this close to fainting. 

AZUL UNBUTTONED HIS SHIRT TEASINGLY DURING HIS NUMBER. They’re starting to lose it. 

Oh, the fan’s screams actually racked up their scream counter. There’s no cheating here - who says that happy screams can’t count? 

Yes, Azul does sing on top of the piano. 

After they finished their show, Azul then unleashed one of his proudest creations, an animatronic of a lovely mermaid doll that began to sing like an angel. Then, with a snap of fingers, he unleashed a multitude of doll-like merpeople animatronics that looked strangely alive as her accompanying orchestra, playing a haunting, eerie song. 

During the middle of the show, one of Octavinelle’s actors came to the stage, shouting about his “long-lost daughter”, followed by a couple more people. Despite the actor playing as security told him to go back to his seat, the father ignored him and embraced the mermaid doll animatronic - his daughter. 

In his “rant”, he cursed the Octavinelle trio of deliberately hiding his daughter for three years and turned her into this “monstrosity”. He then declared that he will rescue his daughter from this “vile place‘, unaware that the Octavinelle trio had placed knowing smirks and grins on their face. Begging for his “daughter” to recognize him, the mermaid doll slowly gazed upon her “father”...

...and “tore” his neck apart. Fake blood spewing everywhere, his screams reverberated through the dance hall. 

All of the animatronics came alive and started to gruesomely murdered the intruders as well. 

“Well, this escalated quickly.” Ace muttered at the disturbing sight. 

A guest suddenly screamed - the area is suddenly filled with water, causing the guests and student participants to hurriedly run to the prepared exit. 

The students have enchanted some parts of the aquarium walls where merpeople students could appear in and out of the aquarium water on the wall without spilling the water everywhere. So guests and students participants were often surprised by sudden appearances of the tweels, Azul, animatronics, and staff splashing out of the wall from nowhere. There had been many who claimed to have a heart attack from these encounters. 

As they run through the aquarium walls, the guests and students are spooked with various animatronics of mutated sea creatures, merpeople, and even a FREAKING shark animatronic that chases them around persistently. They appear at random times, and their designs would surely put submechanophobia (fear of underwater animatronics) into their very souls. 

As they moved on further, they entered Azul’s office and workshop - where gory remains of the missing people experimented into animatronics were seen. Horrid screams and desperate shrieks rang all the way - some were even trapped halfway into the animatronic itself. 

Azul had two forms for this haunted house dorm: the first is his regular jazz-lounge entertainer animatronic suit with art deco and aquatic elements. The next form is almost the same except his animatronic parts are more revealed, some parts of his clothes tattered and his tentacles are fully shown. Some guests and students secretly yearned to be trapped inside his “tentacles”.

“Fu, fu, fu… come. Let me squeeze you, let me touch your flesh...” “Yes, please.” A guest squeaked, face flushing red.

The tweels have the same elements as Azul did in their costume, except they’re identical and much more muted than Azul did. Their second forms are their merforms, but with faded mechanical parts and some fresh BLOOD on their teeth and torso...

The final stage and centerpiece of their haunted house is what Azul is most proud of. Thrown again into a twisted version of the animatronic warehouse with aquatic background, the now revealed “animatronic” Azul hypnotized the whole audience with his siren-like singing on a small stage, beckoning several guests into the sweet embrace of his tentacles. Fun fact: most students and guests could not resist the temptation and got ‘squished to death’ instead. Yep, no subcontext here at all. 

THE MISSION:

The students and the guests are separated into different groups, with a glass aquarium wall to divide them. 

The guide relayed the charm mission to them: this cruise ship is infamous for having animatronics and automatons to serve and entertain their guests. But many years ago, there was an incident where an animatronic, fed up with being abused by a spoiled heiress on her sweet sixteen birthday, mauled her and nearly drowned her in the aquarium. 

Their mission is quite simple: get the charm inside Azul’s office then get out of cruise ship “ALIVE”. They were told that they have three chances to find it inside the office itself, or else they would be “eliminated” and had to start all over again. 

But first, they must survive his “show” to get to his office. The students were a bit confused at this part until later.

During the show, they soon learn why they were separated from the guests with a glass wall.  

While the guest audience’s part is flooded with a small bit of water, the student's parts were unleashed with a torrential burst of water that they have to run to. Everyone (who is on the student side) by the end of this segment is wet from head to toe. 

“Damn you, Azul! Once I get out of here, I’ll fry your tentacles!” Grimm growled, drying his soppy fur using his fire magic. 

Octavinelle’s challenge is 90% of Patrick Star’s “WEE WOO WEE WOO” moments. 10% of it is just trying to survive.

The animatronics hissed, jumped, and even grabbed them at random times, which puts the NRC students into a looooot of stress since it attacked them more than once!

Oh, yes, and the mechanical shark will burst out of the “wall” when you least expect it. 

“WHAT THE HECK IS WITH THIS HAUNTED HOUSE?! THIS IS VERY UNREASONABLE!” Cried one student before a mechanical shark got him. 

But the ones who purchased Octavinelle’s charm walked in smoothly - the animatronics did not attack them directly, the staff stayed out of their way - all is good and right in the world...

Spoiler alert: Did they say that the charm protects them? Of course, it did… EXCEPT AGAINST AZUL AND THE TWEELS. 

Yup, Ace learned the hard way when Jade came out of nowhere and tried to drag him inside the aquarium water. The screams that Ace had bellowed does not do justice to how fast he runs. 

“YOU SAID THIS CHARM WOULD PROTECT US!”

Epel read the terms and agreement again, “Oh, whoops. It also says here, that the charm doesn’t guarantee to protect you against Azul, Floyd, and Jade. Should have read it thoroughly.”

“I can’t read while I’m getting chased!”

FLOYD DOES MOST OF THE DAMAGES. Physically and emotionally. 

He first started by licking Ace’s face. Who knew that eel’s tongue is long.(“Nooooo! I feel so physically violated!” Ace ran to the corner and sobbed.)

Epel had a heart attack when he felt someone smacked his ass. As does Deuce. Then Jack (his tail got roughly grabbed as well). 

Jack screamed out all the safe words. Deuce and Epel shouted all kinds of colorful swear words they could ever know, even the foreign ones. 

MC’s ass received the same treatment, but they also received an additional playful grope. And then Floyd licked them. MC was screaming and flustered at the same time. 

“Shrimp-chan is cute when startled!” He cooed before he splashed back to the water. 

There were a LOT of complaints after this event this over, particularly threats of suing Azul for inappropriate sexual harassment. But then the staff asked if they all read the terms and agreements. They all went silent and got on with the next haunted house challenge. 

MC’s group tried to murder Floyd by chasing him down underwater, but they realized that getting inside the water would actually disqualify them. They all promised DEATH upon the Octavinelle trio for putting them into this mess and extorting them out of their money. 

Now there was one this brutal and competitive student who wanted to get the charms himself. So he kinda lures MC using the infamous “Wounded Gazelle Gambit” trick. In MC’s defense, the act was kinda convincing for a student.

They were not prepared to be chained up and kicked outside to the water, leaving them to drown after they got frisked by that said student for the charms. “In this world, only the mighty wins!” 

For a while, MC is left trying to hold their breath while desperately trying to free themselves from the heavy chains. Just as their oxygen almost ran out, Jade managed to see MC struggling underwater. He managed to get Houdini MC out of the water, asking if they’re okay and who actually did this to them. While MC struggled to answer, refusing special treatment, MC decided to get back into the game and get the charms back.

Jade also decided to deal with the violent troublemaker as well, and he just knew what to do with the mechanical shark that he controlled. 

To get to the office, the students went to another path, carrying them to a room filled with water and several large pieces of ice. They had to carefully cross through the thin layers of ice amongst the water. There was a mechanical shark circling around, sniffing for its late-night snack. 

Already five students fell victim to it. 

The ice is slippery, MC’s group is struggling to stay afloat and they do not see MC anywhere. 

Epel does spot a student cackling as he carries two familiar charms. 

“What have you done to them?!” Ace growled. 

“Oh, I guess I made them sleep with the fishes.”

Deuce’s inner delinquent is awakened. He roared and attacked that said student, attempting to avenge poor MC. There was pulling, tugging and pinching. 

Just as that competitive student got the upper-hand to Deuce… well, surprise, surprise, guess who’s back, back again. 

“HISASHIBURI-DANNA, BITCH. BET YOU’D THOUGHT YOU’VE SEEN THE LAST OF ME.” MC, wet from head to toe, raised their fist, punching that said student and causing that student to release the charms. Deuce quickly grabbed them both before they lost it again, then gave an additional uppercut to that said student. The competitive student staggered backward...

...and then the mechanical shark jumped out of nowhere from the water and dragged the student into their watery doom (kidding: that jerk student got thrown out of the cruise instead. INTO THE TRASH BIN). 

The remaining students reached the front of the office, but they could not open the door. Turns out, Azul had enchanted the door so that it can only be opened by using one, particular, embarrassing pose. Oh, and they have to cry out the written words as well. 

“The complete flame in our chests shall not be extinguished by anyone! We are… THE PHOENIX!” They all pose like a phoenix. Once it’s done, there isn't any student that collapses out of sheer humiliation. 

The Octavinelle Trio secretly recorded it. Either for blackmail or marketing purposes, take your pick. 

Once they were inside the office, they were given a riddle and three chances to find it: I am violet, I sing in a limited voice and I am trapped. Find the key inside me. 

At first, they thought it was a musical instrument - but there aren’t any musical instruments that colored purple - unless someone dyes it. Also, they cannot find anything remotely similar to a musical instrument. They finally narrowed down to a purple scorebook, a purple-colored radio and… a music box. 

They decided to select a music box... and voila! The charm is found! It’s a good thing they got enough to share on their brain cells, eh? 

The last challenge after getting the charm is to escape from the cruise itself - but they have to go through Azul to do exactly that! Yup, they have to resist Azul’s hypnotic singing, struggling to escape straight to the exit. Because of Jack’s sensitive ears, he had repeatedly tried to walk straight to Azul, only for Epel to knock him out for a good measure and carried Jack around like he was nothing but a potato sack. 

MC nearly succumbed to hypnotism but Grimm managed to snap them out of it by slapping them repeatedly. 

Azul sighed, “And here I was thinking I could get a chance to get close to you than Floyd did.” 

Yep, they definitely did not waste any chances of getting out of here before Azul starts singing again. 

The Octavinelle Dorm staff is considerate enough to give the students wet towels and a warm drink to keep the students from getting cold. Meanwhile, Ace, Epel, and Deuce joined in the protest about the inappropriate misconduct before they unleashed their rage on the nearby prepared dummies after being told that their contract’s terms and conditions had warned them that there will be touching and the staff is not responsible for it. 

Perhaps getting wet is a good thing because the fiery presence of Scarabia’s haunted house might be able to keep the cold away...

Part 6

[meandmypagancrew]

hey Katie! hope this isn’t too much of a bother but if you feel like answering - how did the LA Tigers characterizations most differ from the off-broadway portrayals? I know pretty much nothing about the earlier productions and wondered how certain facets of the characters changed/evolved (and I hope you’re doing well!!)

Hi, nonny! Sorry for the late response, I really wanted time to sit with the question until I felt confident that I was answering it in the most honest way I could. So let’s jump into it!

1. RIley

Callandra Olivia seemed more aware of everything than Lauren Zakrin. Like when Annleigh says “He came to propose!”, she still had the “Congratulations!”, and she started it almost as enthusiastically as Lauren, but midway through trailed off when she remembered Clark’s dead. It also felt a lot less pre-meditated. I continue to hold that she came up with the idea during Before the Breakdown to kill them, because you could just see it in her eyes. Also, Callandra was lovely and kind and passionate and... never got all of the words right. For example, in Wallflower one night she said “The type of high school girl who is rarely seen at parties with her pants off”. Also, she didn’t have a knife in the breakdown. 

2. Cairo

Wonu is wonderful, but Jade really seemed like she just... cared more? Which is interesting, because the script had more Cairo quips, but she just seemed to care more about the other girls. What comes to mind is the “God, I have done nothing with my life!” “You won a lot of dressage medals!” “I did!”. The way that line was delivered was very comforting. In my memory, Cairo even has an arm around Annleigh as she delivers it, and it wasn’t snarky at all. Cairo didn’t become the captain in LA, but it would have made so much sense with her characterization if she had. In LA, Annleigh also brought her the phone and she made the call to the police herself, which I really liked because it showed her stepping up and actively playing a part in getting things right.

3. Kate

Kate was not queercoded in LA. She wasn’t explicitly straight, but the idea that was in love with Chess didn’t even cross my mind until I saw Jenny in the role. I don’t have any specific examples of this, it just seemed less like she didn’t want Chess to leave because she was in love with her and more that she didn’t want her to leave because she had spent so long as her best friend that she didn’t know how to be herself without her.

4. Annleigh

Rachel King took things much more seriously than Kaitlyn Frank. The gesture of good will never killed anyone line was added into the workshop, so after LA but before Off-Broadway, which Rachel swooped in to save the day in, and where Kaitlyn is just so bright and sunny and whatnot, that is not the case with Rachel. Rachel said it with a completely straight face, and slowly nodded while she said ‘Jesus’, like she just really seemed to take her beliefs a lot more seriously than Kaitlyn.

5. Reese

The word that comes to mind for Gabi’s Reese is exhausted. Like, in Worst Team Ever, when Cairo stops her from entering, the line “I’m part of the team” wasn’t said with her head held high and drawing on some source of inner strength, or at least pretending to, it was more of a “We’re still going over this?”, like she actually said “C’mon, I’m part of the team.” Like she still desperately wanted to belong and fit in, but she had long since given up hope that she ever would. But also her Captain of the Team was just 10/10 god tier.

6. Eva

Eva did not make an appearance in act one of LA, which gave her a lot more distance from the events. She wasn’t a suspect, more just a bystander, which made her just 100% done with all of this nonsense. There were two lines that I felt describe this best that were cut- after Riley said “Do you really think I couldn’t replace you all with another ‘diversity scholarship’ in two seconds?” she interrupted to be like “I’m maaaaaybe a quarter Puerto Rican?” and after she plays back the confession, she was asked how long she was recording and she said “This whole time. Y’all are crazy.”

7. Chess

I actually was lucky enough to see two Chesses, Cait Fairbanks and swing Katie DeShan, and they had very different takes. Cait’s was closer to Celeste, but Katie. Oh, Katie. I could write an essay on Katie’s Chess. In all the different productions and casts I’ve seen, Katie isn’t just my favorite Chess, she’s my favorite performer from the show. She played Chess as very playful, and she smiled a lot... until Before the Breakdown, which was made so, so much sadder by the way her facade broke apart and you saw how truly deeply miserable she was and how she felt like there was nothing she could control. I had already seen the show twice by the time I saw her, and she just broken my heart so, so much even though you’d think I would be worn out because it was the third time I was seeing it in as many days,

8. Farrah

I was also lucky enough to see a second Farrah, but her characterization didn’t differ much so we don’t need to focus in one that. But up above, where I said Cairo was a lot more empathetic? Farrah was way less. I think the biggest thing for her was that the failed stunt didn’t exist, so there was no explanation for why she felt like the team wasn’t supporting her or that she would always be linked to what she already was and would never be anything better. Also, Cairo’s line Off-Broadway of “Is [Farrah] raiding Riley’s parents’ liquor cabinet again?” would actually have been based in truth if the line was there in LA because that was exactly what she was doing, she had found the alcohol in the house and was sitting on the kitchen floor, drinking it straight from the bottle.

9 & 10. Clark and Mattie

Did technically exist and that’s about all I can tell you about them because there wasn’t anything they did that stood out enough to stay with me still.

[gayfrasier]

Brothers in Flimflammery on a Continental Sojourn

It’s raining greenbacks in “Road Show,” the latest version of Stephen Sondheim and John Weidman’s long-aborning, ever-evolving and eternally slender musical about curdled American dreams, which opened on Tuesday night at the Public Theater. Throughout this short and sardonic production, directed by John Doyle and starring the marvelous team of Michael Cerveris and Alexander Gemignani, fistfuls of dollars are flung into the air with such enthusiastic frequency that by evening’s end they carpet the stage floor.

But if that falling money at first suggests confetti, the more appropriate image turns out to be that of autumn leaves, of the hopeful green of spring turned sere. And with those ominous rumbles of thunder punctuating the show, you don’t have to look hard to see a timely metaphor for an economic boom gone bust.

Murmur a world-weary greeting, if you will, to the trimmed-down, toughened-up and seriously darkened new edition of the musical formerly known as “Bounce” (in 2003) and “Wise Guys” (1999) and somewhere along the way, “Gold.” And, yes, its current version could be said to hold a mirror to a nation in a recessionary hangover after years of overindulgence.

But the show’s greatest interest for fans of Mr. Sondheim lies in seeing how what was once meant to be light and buoyant fare has been reshaped into something more somber. The great living master of the American musical has returned to the shadows where, artistically at least, he has always felt most at home.

This picaresque work clearly has a lot in common with its central characters, inspired by two real entrepreneurial brothers who demonstrated a tireless gift for reinventing themselves. Their names were Addison and Wilson Mizner, and they made and lost a bundle or two in a variety of fields in the late 19th and early 20th centuries.

Mr. Sondheim has said he wanted to write a show about them since the early 1950s, and you can see their attraction for a man who has always been fascinated by stories of breakdowns and flameouts on the road to fame and fortune. Many Sondheim works — particularly “Follies,” “Merrily We Roll Along,” “Assassins” and the second half of “Sunday in the Park With George” — have brooded over the penalties exacted by the American hunger for celebrity and success.

Working on his Mizner musical with Mr. Weidman (his collaborator on “Assassins” and “Pacific Overtures”), Mr. Sondheim seemed to regard the show as a welcome side trip to something breezier, saying he had in mind a latter-day variation on the Bob Hope and Bing Crosby “Road” movies.

I didn’t catch the workshop production in New York called “Wise Guys” in 1999, but I did see “Bounce” at the Kennedy Center in Washington five years ago. Staged by Harold Prince — Mr. Sondheim’s director of choice from 1970 into the early ’80s — “Bounce” had color, crispness and the panoramic sweep you associate with Mr. Prince. But it felt oddly remote, and the sourness of its story seemed at odds with the blitheness of its tone.

“Road Show” has decisively stepped over to the shadier side of the street. Mr. Doyle, a resourceful director out of Britain, has made a reputation for himself on Broadway with physically scaled-down, emotionally intensified productions of the Sondheim classics “Sweeney Todd” and “Company,” in which the performers doubled as musicians.

His “Road Show” has a separate and highly accomplished mini-orchestra of its own, which does full justice to melodies that often evoke Sondheim standards past. But otherwise, it bears the expected hallmarks of a Doyle production: a single, elegant, multipurpose set (designed by Mr. Doyle as a sepia-toned wall of trunks, crates and suitcases, with costumes to match) and a sense of people trapped claustrophobically within their own minds.

But the rethinking that has turned “Bounce” into “Road Show” has also involved condensation and rewriting. It is telling that while the first musical number in “Bounce” was “Bounce,” the opener in “Road Show” is “Waste.”

And in following the winding careers of Addison (Mr. Gemignani) and Wilson (Mr. Cerveris) — from their start as gold-prospecting partners in Alaska to their disastrous venture as land speculators in Florida — “Road Show” has pared away a major supporting character from “Bounce” (a lively, gold-digging girlfriend for Wilson) to tighten the focus on the brothers’ relationship with each other.

True, the Mizners’ mother (a very good Alma Cuervo, looking like a Walker Evans photograph), and father (William Parry), who haunts them as a disapproving ghost, are still around. So are Hollis Bessemer (Claybourne Elder), an aesthete and heir whom the gay Addison both adores and exploits, and an assortment of fleeting peripheral figures enjoyably embodied by a flexible supporting cast.

But ultimately “Road Show” is all about the brothers, who here come to seem like flip sides of the same personality. Addison, who became a designer of extravagant pleasure palaces in Florida, is the manipulable, wistful artist; Wilson, whose many ventures included backing prizefighters and plays, is the manipulative, hedonistic gambler. Try though they might to break away, they are hopelessly and destructively held together by elements that, in the production, daringly include incestuous tensions. By the show’s end, they are wrung-out, red-eyed, cocaine-snorting wrecks.

Mr. Cerveris (who was Sweeney Todd for Mr. Doyle) and Mr. Gemignani (who appeared in recent revivals of “Sweeney” and “Assassins”) are a pleasure to watch throughout. Mr. Cerveris brings a dangerous, feral charm to Wilson, who comes across as part weasel, part vaudevillian huckster, while Mr. Gemignani has a sweet transparency of mien and voice here that makes Addison as affecting as the show allows.

Unfortunately, that isn’t all that affecting. The bulk of “Road Show” continues to be extended expository musical numbers that trace the brothers’ travels, schemes and metamorphoses. These are often brisk, forward-moving songs — with unusually simple and straightforward lyrics by Sondheim standards — that essentially iterate “And then they did this.”

While they’re cleverly shaped and staged, they do grow repetitive, and they tend both to shrink and enlarge the brothers in ways that keep us from really knowing them. Despite the creepier Freudian accents provided in this version, the Mizners mostly come across as emblematic figures in a pageant of American ambition and folly.

In “Assassins” Mr. Sondheim and Mr. Weidman created a gallery of historical figures who existed as American archetypes and also as frustrated, lonely individuals of piercing emotional resonance. Clearly, the creators of “Road Show” are trying to realize that gleaming double edge once again. The problem is that this musical’s travelogue structure precludes its digging deep. It hints at dark and shimmering glories beneath the surface that it never fully mines. Like its leading characters, “Road Show” doesn’t quite know what to do with the riches at its disposal. 

Ben Brantley, Nov. 19 2008

[orianagportfolio]

A Chorus Line, ballerini senza nome raccontano storie, cicatrici, speranze. E a teatro va in scena la vita vera. / Il Bullone - OrianaG e Isabella Marino

Pubblicato su Il Bullone n°34, aprile 2019.

È tornato in Italia "A Chorus Line", con la regia di Chiara Noschese e la produzione di Stage Entertainment Italia, in scena al Teatro Nazionale dal 14 febbraio al 7 aprile. È un atteso ritorno, dopo 11 anni dall'ultima versione italiana, con la regia di Saverio Marconi, la produzione della Compagnia della Rancia e le traduzioni di Michele Renzullo.

«A Chorus line» è un musical strano, semplice, ma mai uguale. Se sei del mestiere è difficile che non ti parli diretto, guardandoti dritto negli occhi. Debutta a Broadway nel 1975, rimane in scena fino al 1990, 15 anni, 6137 repliche, 9 Tony awards (gli Oscar del musical) e Premio Pulitzer alla Drammaturgia. La trama è semplice: 17 ballerini affrontano le audizioni per la «Chorus line», la linea del coro. Nessun ruolo principale, solo corpo di ballo, ballerini di fila, quelli senza il nome in locandina. Ottenere «la linea» significherebbe riuscire a pagare le bollette, in un bisogno a metà tra passione viscerale e istinto di sopravvivenza. 

Il cast italiano, diretto come già anticipato da Chiara Noschese, che ha riunito diverse generazioni di interpreti, è bello, unito e convinto. E convince. Gli addetti ai lavori sanno bene cosa si provi a stare su quella linea, su un palco vuoto, da dove il regista che ha in mano il tuo futuro a breve termine, è solo una voce amplificata che dà ordini, un mezzo viso appena illuminato da un punto luce da scrivania, nel buio della platea. 

Il bello del gruppo sta nella sua realtà. Personaggi semplici, ben interpretati da professionisti che ti coinvolgono con sincerità, fino a farti sentire uno di loro. Viene voglia di salire sul palco e mettersi a ballare insieme a loro! L'orchestra dal vivo regala classe e magia, sulla scenografia semplicissima ma d'effetto. Un gioco di specchi che moltiplica le vite, le storie dei ballerini in scena.Il valore aggiunto di «A Chorus line» - e probabilmente il motivo che lo ha reso mitico negli anni - è che di quei ballerini senza nome racconta le storie, le cicatrici, le speranze, le paure. Quella linea per la prima volta nella storia del musical diventa tridimensionale, l'importanza di ottenere quel lavoro supera la smania di avere il proprio nome in evidenza. 

Le storie raccontate nello spettacolo sono tutte vere, registrate in diversi workshop a Broadway tenuti dallo stesso Michael Bennet, ideatore, coreografo e regista originario. Otto dei protagonisti di quelle storie vere entrano a far parte del primo cast nel 1975. Una di loro, Baayork Lee, ispiratrice del ruolo di Connie, ha seguito e curato molti allestimenti, anche in Italia. Questo passaggio diretto dell'eredità storica dello spettacolo, vive stavolta in Fabrizio Angelini, coreografo, presente in tutte le edizioni italiane precedenti, che non inventa nulla da zero, ma regala la propria storia ed esperienza ai nuovi interpreti. Il cast di questa nuova produzione è variegato, per età, esperienza, attitudine. E non solo funziona, ma rispecchia perfettamente la natura dello spettacolo, che cresce e si evolve negli anni grazie alla trasmissione diretta degli interpreti storici ai nuovi, in un'infinita eredità.

[jgroffdaily]

Jonathan Groff sticks close to Lancaster roots while branching out in film, stage and TV

Conestoga Valley grad will move from off-Broadway musical to new 'Matrix' sequel on film.

When he is on stage at the 270-seat Westside Theatre in New York, Jonathan Groff says he often thinks about the Ephrata Performing Arts Center.

He is playing Seymour in an off-Broadway production of “Little Shop of Horrors,” which is being directed by Michael Mayer, of “Spring Awakening” fame, with Broadway veterans Christian Borle and Tammy Blanchard at Westside.

“Everyone is doing this for the fun of it,” Groff says. “It reminds me of EPAC. Nobody is trying to gain anything from it. There are no ulterior motives.”

The show is largely sold out, and reviews have been strong. Ben Brantley, of the New York Times, wrote that Groff “is generating major nerd charisma.”

For Groff, 34, being onstage is his “ultimate existence.” “That’s when I’m happiest,” he says. “ ‘Honk’ and ‘Bat Boy’ (shows he performed in at EPAC), it doesn’t get much better than that. And that’s how I feel with ‘Little Shop.’ ”

Hometown plans

Home is never far from Groff’s mind. He returns to Lancaster frequently, though sometimes just for a day.

“He was here for less than 24 hours on Thanksgiving,” says his mother, Julie Groff.

And he recently purchased a house and property next to his father’s farm in Christiana. It’s a place to live when he’s home, but also, Groff has plans for it.

“I want to turn the barns into creative spaces — a recording studio, an editing suite, a place to write, or a place to have small workshops,” Groff says. “I want it to be inspiring, quiet and peaceful.”

It’s in the future — Groff says it is a 10-year plan — but he is excited about the possibilities. He got the idea while he was playing Melchior Gabor in the cast of “Spring Awakening,” which he did off and then on Broadway from 2006 to 2008.

“Gideon Glick (who played Ernst and will be replacing Groff next month in ‘Little Shop’) was the first to leave the show, and my mother got a school bus and brought everyone in the cast to Lancaster,” he recalls.

“We hung out in the barn and had a bonfire outside. Gideon said how rejuvenating and inspiring it felt, and that got me thinking. It’s close to New York. Someone could come and spend a couple days here. My dad (Jim Groff) loves the idea, and I love the farm,” Groff says. “So as the years go by, we’ll make it a creative place.”

“When I bought the horse farm in 1987, the Realtor bought the frontage (of the property) and built eight houses. Jonathan bought one of those houses,” says Jim Groff, who is a horse trainer and a jockey. “The view out back is, well, you can’t beat it.”

Both Groffs note that their son won’t be tearing any of the barns down and won’t be changing the house much. As a creative spot, it will not have concerts or performances, but will be a quiet place.

“He wants to keep it all natural,” Julie Groff says. “It’s going to look sharp.”

Big movies

Groff’s career is going at hyperspeed these days.

He had to take time away from the “Little Shop” run for an intense press junket for “Frozen II,” the animated musical film that was released last month and is turning into another massive hit for Disney.

And it was announced recently that Groff will be appearing in “Matrix 4,” a film sequel scheduled for theatrical release in May 2021.

“He’s working with a personal trainer. The ‘Matrix’ people are getting him in shape,” says Jim Groff. “He’s working out every day, and he’s on a really strict diet. What gets me is he had to take a picture of everything he ate for a while.”

“He basically barely has enough time to eat,” says Julie Groff. “He is loving this, but I am sure it will catch up with him.”

There is no rest for the weary. Groff is set to leave “Little Shop” on Jan. 19.

The next day, he starts working on “Matrix 4,” which is being filmed partially in Chicago.

“He’s always wanted to appear in a big action movie,” Julie Groff says. “But he’s really a Disney fan. He always wanted to be in a Disney movie, and that turned out well.”

Indeed. “Frozen,” in which Groff voices mountain man Kristoff, was a global phenomenon and the largest-grossing animated film in history. The sequel is breaking records, too.

“I find it so easy to talk about ‘Frozen II,’” Groff says. “It’s so good, and the relationships with the directors and the the cast have been so positive.

“A lot of my interviews have been with Josh Gad (who voices Olaf the snowman),” he says. “We had such good time. It’s almost like a vacation.”

Groff says that when the first “Frozen” film came out in 2013, nobody expected it to be as huge as it was.

“We had all scattered after the film and didn’t really have a chance to do a lot of publicity,” he says. “So this was like a celebration for us.”

Anybody with children of a certain age will tell you how powerful “Frozen” was for their kids, particularly their daughters. Groff thinks part of the success of the movie was how it empowered the female characters.

“Kristoff is an evolved mountain man,” he says. “I love that he is there to serve the women — a man letting women take the spotlight. That flips convention.”

For a few weeks, Groff was all over TV, appearing on just about every talk show out there, from Jimmy Fallon’s “Tonight Show” to Stephen Colbert’s “The Late Show.”

During his most recent appearance with Colbert, Julie Andrews was another guest.

“Can you believe I met Julie Andrews!” Groff says.

On the show, Groff showed footage of his 3-year-old self dressed as Mary Poppins for Halloween, and noted that his older brother, David, was dressed as The Entertainer, complete with top hat and cane. In the family video, David Groff says of his brother, “He has lipstick on — oooooh!”

“He was trying to upstage me,” Groff says, laughing.

“You’ve got a great mom (to let you do that),” Colbert said.

“I do have a great mom,” Groff replied.

“ ‘Mary Poppins’ was Jonathan’s first real movie. He watched it every single day,” says Julie Groff. “It was my two-and-a-half hours to get things done. He became obsessed with the movie and acted out all the parts.”

His father says that he has always studied movies and other actors onstage.

“When he did stuff at the Fulton or at EPAC, smaller stuff, he would sneak around the corner and watch them every night — watch the changes the actors made,” Jim Groff says.

“Even today he does that,” Julie Groff says. “He never stops learning.”

“I like to call him up and give him my notes after I see a show,” Jim Groff says. “We get a laugh out of that.”

Not easily recognized

You’d think Groff would get stopped by people all the time, especially because of appearances on Fox’s “Glee,” HBO’s “Looking” and the Netflix series “Mindhunter,” in which he plays FBI agent Holden Ford. (Groff says the show is on hiatus at the moment.) But he says he rarely gets recognized.

“I look like a generic white person,” he says. “And I’m mainly on my bike because that’s how I get around New York. I sign autographs if people ask.”

“He said he walked down the street in his King (George) outfit from ‘Hamilton’ once and nobody paid any attention to him,” says Jim Groff with a hearty laugh. “In New York, people don’t bother you much.”

“Things may change with ‘Matrix 4,’ though I hope not,” Julie Groff says.

But Groff hasn’t changed. He still visits with friends from home backstage during a show. He is still accessible and friendly to everyone he meets.

“With Jonathan, what you see is how he has always been,” Julie Groff says.

Right now, Groff says, life is very full. His career is going great, he’s in a relationship with New Zealand-born choreographer Corey Baker, who lives in London, and he’s closer than ever with his family.

“This is a sweet moment in time,” he says.

[derekklenadaily]

Broadway Evolved's Instagram Story (June 19, 2024)

[fantasticescapism]

Brothers in Everything but Blood - Chapter 2: Meeting Spider-man

Click here for Chapter 1.

Part 4 of the Never Truly Gone series

Also available at AO3.

Harley’s one time visit turned into an overnight, twice a month thing at Tony’s workshop ever since he met Peter. No complaints there; that only meant more time to play with awesome tech and work on the ASM with him. He liked Peter Parker. It's like having a younger, better behaved brother, unlike his sister and her celebrity obsessions.

Although, Harley had a feeling there’s more to him than a genius fellow intern. At first, he thought it was just the often expected jealousy he should feel when he had to share Tony’s time and attention but, he didn’t feel jealous at all. He’s already an older brother to an excitable little sister so, sharing wasn’t a big deal. In fact lately, he’d been feeling a little protective over his new friend in light of the recent things he observed.

There were times when Peter came in with bruises and Harley’s first reaction was anger. His memories of years being bullied at school - along with the fights he had with her sister’s bullies - were pushed to the forefront of his mind. He confronted Peter about it once but the guy’s adamant the bruises were just him being hopelessly clumsy. Harley doubted it though, the steady way Peter handled the dangerous chemicals at the workshop proved otherwise. No, those bruises were from bullies, or maybe New York’s really as dangerous as most folks back home would say.

Harley asked Tony about it once when it was just the two of them - Peter said he would be late - and all he said was, “He’s just clumsy.” Tony sucks at lying. They’ve known each other for years, he should know he couldn’t lie to Harley.

“Right, and I’m more of a saint than Mother Teresa.” Harley raised an eyebrow at his mentor.

“Kid,” Tony sighed before he faced him, “it’s Peter’s business.”

“You’re not the type that would leave things like this alone, especially if it involves someone you personally know.” He narrowed his eyes.

“I know.” A hesitant pause. “Okay, Peter does have a bully-”

“His school’s in Midtown, right?”

“Whoa, wait.” Tony placed his arm around his shoulders. “Are you really going to his school, potato boy?”

“That reminds me. I can test out my new potato gun.”

“New?!” Tony’s incredulous.

“It’s Mark 10.”

“Harley, you- you have to let Peter handle it.”

“I just,” he huffed, “just really hate bullies.”

“I know.” Tony smiled fondly at him. He seemed to be mulling over something before he spoke again. “Alright, those bruises aren’t from this bully. The dickwad never resort to physical harm so, it’s something else.”

“At home?” He scowled.

“Oh no! Aunt Hottie is scary when mad but he loves Peter with her whole life.”

“Okay then.” He’s still determined to find out what’s going on and it looked like Tony’s aware of that.

“It’s not my story to tell but, maybe in time, you’ll figure it out.” Tony’s eyes sparkled like those times he gave him puzzles, confident that he could solve them. Challenge accepted!

---

Peter came in later with a busted lip and a sheepish smile. Tony saw him first and he definitely didn’t like what he saw.

“Kid, what the hell?!” Tony blurted out.

“Sorry, sorry. I know I’m late. It won’t ha-”

“That’s not what he meant, dude! What happened to you?” Harley pointed at his friend’s face. Who the hell did that to him?!

“Oh, uuh… I-I bumped into a street lamp.” Peter blushed.

“Really now?” If Tony’s raised eyebrows could reach his hairline, it would.

“Y-yeah.” Peter let out an embarrassed chuckle. “I’m okay! Just didn’t pay attention.”

“If you say so, here.” Harley sighed and retrieved an ice pack from their mini-fridge and tossed it towards the guy. Harley swore Peter didn’t look at the tossed ice pack. He was about to apologize but Peter effortlessly caught it. It was impressive… and suspicious. “Whoa! Got a sixth sense or somethin’?”

“Just luck! Lucky.” Peter nervously chuckled then gave him a tight-lipped smile. At the corner of his eye, he saw Tony facepalm.

“You got luck in opposite extremes, dude.” Harley laughed when suddenly, he received a notification on his phone. As he pulled it out of his pocket, he absent-mindedly saw Tony walk towards Peter as they conversed in whispers. It was a Twitter notification. His sister often tagged him in memes.

@harhar spidey’s at it again! lmao! you met him yet?

It was a tweet from The Daily Bugle but the source wasn’t important. The picture attached was glorious! it's like the dark clouds parted, a ray of sun bathed him with light and a choir of angels sang Allelujah!

Huh.

Harley grinned like the devil. This would be fun.

---

Harley loved the comfortable silence in the workshop once all three started working. They worked together like a well-oiled machine; not much words needed, just looks and signals. This time though, Harley decided to disrupt the flow a bit.

“So Tony, when are you going to introduce me to Spider-man?” Harley almost snorted when he saw Peter freeze in the corner of his eye. Harley feigned ignorance, of course.

“That depends if he’s free. Why the sudden interest?” Harley looked up and saw Tony’s genuine question.

“Well, my little sister Faith - you remember, wanna be an actress, obnoxious - she’s a huge fan. Like real huge. She even got this life-size cut-out of Spider-man and lugged it around at a party back home.” He desperately reined in his amusement when he saw Peter’s red-as-a-tomato face.

“Really?” Tony narrowed his eyes at him.

“Yeah, here.” He pulled out the photo he took of Faith hugging her Spider-man cut-out from his phone and showed it to Tony. “See?”

“Huh.” Tony smirked. Harley then turned the phone to let Peter see too and he wasn’t disappointed at his reaction.

“Where-where did she-where did she get that?” Peter crossed his arms.

“She’s part of this fan club; said she won it at a raffle.” With wide eyes, Peter looked at Tony at the mention of a fan club. “That’s the internet for you. They have fandoms for pretty much anythin’. Did you guys know there are Spider-man fanfiction stories? She told me all about it.” He gave Tony a slight smirk and at that moment, he knew Tony knows he knew. He watched as Tony’s eyes sparkled with mischief for a second before he played along.

“Is that so? Is it as huge as mine’s.”

“Nah, Spidey's new so there's not that many, yet.” Harley saw Peter desperately trying to get back to work and feign nonchalance but his fidgety fingers won’t let him. “I scanned some of them. There’s action, angst, comedy and then, there’s a lot - and I mean a lot - of smut.”

“W-w-what?!” Oh, Peter. Harley’s delighted though.

“Yeah. One time, when I was really concerned, had to make sure Faith's internet searches are PG so I checked out some of the stories. Faith’s only eleven, by the way.”

“Yeah.” Tony said..

“Yeah, so I stumbled into one story about a risqué night between Spidey and this mugging victim he rescued. He was invited to the victim’s house as a thank you. Then he was offered coffee before they both went in the bedroom where they-”

“Mr. Stark," Peter jumped, "I-I-I have to make a call! Have to tell May I’ll be late. She’ll be mad if I don’t, ya know?”

“You can just use FRIDAY, kid.”

“No, it’s cool, cool, cool, cool. I’ll just-I’ll just step out of the workshop for a bit. Be right back.” Peter almost ran out of the workshop; his face in danger of being permanently red. As soon as the door closed behind him, Tony signalled for FRIDAY to soundproof the workshop before they both laughed their asses off.

“Oh god!” Tony wiped the tears off his eyes. “You’re a little shit, Harley!”

“Can’t help it!” Harley wheezed. “Just wanna confirm my suspicions but Peter just made it so easy!”

“How did you find out?” Harley pulled out the photo from the tweet and showed it to Tony. “Oh great, that's gonna trend."

"It is trending. Got it from a Daily Bugle tweet."

"His Spidey sense - he named it - is still evolving. So…" He gestured at the Harley's phone.

"Whoa! So he does have a sixth sense!"

"Among other things. Are you gonna tell him you know?"

"Nah, I'm just gonna see how long I can keep this goin’." Harley grinned.

---

Apparently, fate decided to speed things along. It was later that day, a few hours before Harley’s supposed to fly back home to Rose Hill, when he told Tony and Peter his plan to go to the city on his own and just experience it all. Oh and, Faith asked for a Spider-man merchandise and apparently, the compound didn’t have a gift shop.

”Seriously? Not even any official Spidey merch?” He was dubious.

”He didn’t accept the Avengers position so, no.” Was that a hint of sadness from Tony? Hmm...

He was tempted to ask Peter where he could buy them but decided to give the guy a break. Instead, he asked FRIDAY and she gave him a list of all possible places, most of them were in Chinatown. So, Chinatown it was. Happy dropped him off at the corner of Broadway and Canal St. with a stern warning.

“Kid, you have an hour. If you’re not in this exact spot later, you find yourself a way to the airport.”

“Awww Happy, your Grumpy is showin’.” He grinned and he earned a glare for that cheek. In true Happy fashion, the tires of the Audi screeched as he drove to get away. Harley chuckled as he walked along Canal St.

New York never failed to fascinate Harley what with all the diverse cultures and personalities he wouldn’t see in Tennessee. There are a lot of bootleg stuff too, perfect for his non-billionaire budget so he thought he could buy a purse for his mom along with the plush Spidey toy for Faith.

It only took him around thirty minutes to buy gifts then food - he got hungry - and walk around Canal St and thought he could go and venture out to smaller streets. Ever since he told his mom about the internship visits to New York, she’d been so worried for him. Can’t blame her though, most stories that came out of New York were of aliens, kidnappings and other crimes. So, before she agreed to the arrangement, she explicitly warned him to be cautious and to not be stupid. Harley knew he was being stupid as soon as he saw three men with baseball bats and metal pipes. They seemed to surround something on the ground and as Harley walked closer, the situation became clearer.

“Just give us the money or else!”

“P-p-please, I-I-I can’t!” A boy cowered in a corner, a backpack in his arms. “It’s m-money for my mom’s m-m-medicine.”

“You think we care ‘bout that?!” The mugger laughed and mocked the boy. “Give us the fucking money or you won’t go back home to your mom!”

Damnit! Harley looked around for something he could use but all he saw was half a brick and a brown broken leg of a table. Well, better than nothin’. He picked up both. He aimed at the leader’s head and threw the brick. Bullseye!The yelp from the guy made Harley smirk.

“Muggin’ a helpless boy,” he tutted, “ya’ll so pathetic.” Harley’s southern accent always got thicker in stressful situations. The guy he threw a brick at growled and stalked towards him.

“Look guys, a country bumpkin!” The others followed suit menacingly.

“Kid,” Harley looked at the cowering boy, “get outta here!” The boy didn’t need telling twice. He stood and ran away from the scene. The muggers continued to walk closer to Harley as they brandished their weapons.

“You shoulda just walked away, southern boy.” Harley clenched his jaw, both hands on the piece of wood he found and braced himself for a fight. One of the guys raised his bat but before he could do more, a web latched on to it and was pulled out of his hands. When the guy looked up, he was webbed and pulled towards the wall where he got stuck.

“What the fuck?!” The other two looked around in fear.

“Hey, guys!” Spider-man landed beside the head mugger then swept the guys leg off the floor. As soon as the guy landed on his ass, Spidey webbed him to the floor. “I’m Spider-man. Nice to meet you!”

Whoa! Harley was amazed! It was one thing to watch Spider-man from potato quality videos and it’s another to see him fight in person. When Spidey successfully webbed up the last guy, Harley just remembered then regretted not pulling out his camera to take a video of it. Damnit! Good job, me.

“Hey, you okay?” Spider-man asked him. Harley looked at the muggers and saw they’re all knocked out. “Are you hurt?”

“No, no, no. I’m good. I’m good. Thanks, Peter. Hoo boy! That was, that was scary! New York, huh?” Harley grinned at Spidey and lightly punched him on the arm but the guy just froze and stared at him, the eyes on his mask were wide open. “What? Whoa!” Spidey suddenly carried him and swung up a building’s empty rooftop.

“Oh my god!” Harley exclaimed as soon as they landed. “That was awesome! So that’s how it felt like! Faith’s not gonna believe this!”

“How did-When did-How-What the-” Spidey seemed like he was about to hyperventilate.

“Ok, calm down. Breathe.” They both took calming breaths and let the adrenaline rush ebb away.

“Did-did Mr. Stark tell you?” Spidey asked as soon as they’re both calm.

“Nah, I figured it out.” He smirked.

“How?” Harley pulled out his phone and showed him the picture from The Daily Bugle tweet. It’s a collage of burst mode photos of Spider-man as he successfully avoided a flying drone but then he swung face first to a street lamp. “Street lamp, huh?” He grinned.

“Wait, that could’ve been just a coincidence.”

“Yeah but your reaction when I told you guys about my sister’s Spidey obsession was hilarious and a dead giveaway. That and the freaky sixth sense you have.” Spidey groaned.

“Are you telling me that-that smut story was real?!”

“Nah, I made that up.” Harley chuckled as the other huffed in relief. Then again, Harley’s a little shit. “But there are Spidey smut fanfics. Loads of them.” He cackled when Spidey groaned.

“Can’t believe this.”

“Oh please, you’re a nerd. You’re in the Star Wars fandom. You should know these things.”

“Yeah but, I’m just-just Spider-man.” He shrugged.

“Hey, you’re doing great things. You save people so of course a lot of them would love you. Just umm,” Harley side hugged Spidey, “if you don’t want to be scarred, don’t google yourself without SafeSearch on.”

“Harley!” He gasped. Harley couldn’t help but let out an evil laugh.

“Come on, that’s solid advice.”

“Oh my god!”

“Ok, seriously, what else can you do? Those webs aren’t organic, right?”

“No, I made them.”

“That explains the huge bottles of chemicals in the workshop.”

“I have umm, enhanced strength, senses, really fast healing and I stick to everything.”

“Everything? Even a sheer surface like glass?”

“Yeah.”

“Hmm, interesting. Even a non-stick pan?”

“I umm… I actually don’t know. I’ll test it out later.”

“Let me know, okay?” Harley grinned.

“Yeah, sure.”

“Oh, before I forget, do you mind if I take a selfie with you?” Someone in Tennessee’s gonna flip.

“No, it’s okay.” After they took a selfie, Harley sent it over to his sister and, as he expected, he received a Facetime request. “Oh umm. Brace your ears.” He warned before he accepted. A piercing squeal - the pigeons perched at the rooftop flew to get away from the noise - came from Harley’s phone as Faith’s image appeared.

“HARLEY!!!!!!!!”

“Hey sis, meet my friend.”

“Hi, Faith!” Spidey waved and Faith let out another squeal. Harley could feel Spidey freeze by his side.

“Jeez Faith, stop screeching! You’re hurting his ears. He’s got enhanced senses.”

“Sorry, sorry…” Faith whispered. “Oh my god, you know my name. Hi Spidey, I love you!” She used her hands to form a heart shape.

“Umm…” Harley could tell he didn’t know how to respond to that.

“Faith...” Harley warned.

“Okay, okay… Sorry. It’s just, I’m a big fan! Hi!”

“Sis, you get one question then Spidey needs to go fight crime and save people, alright?”

“Okay, umm… Do you have a girlfriend?” Harley rolled his eyes. Of all the- He should’ve seen this coming.

“Umm, no. No, I don’t.” Bless his heart. He bravely answered. Faith screamed again.

“Alright, that’s enough. Bye, Faith!”

“No, wait! Wai-” Harley ended the call and sighed.

“Sorry about that.”

“No, no, no, it’s fine.”

“Don’t let that get in your head.”

“No, of course not!”

“Good. Oh, shit!” Harley looked at his watch. “Happy’s gonna kill me.”

“Come on, I’ll get you there faster.” Spidey, with his arm around Harley’s waist, lifted him before he jumped off the building. Harley loved the feeling of swinging. It was like being on a rollercoaster. It gave him an idea though. What if one day he could fly too?

---

Before going to bed that night, Harley grinned as he received a message from Peter. It’s a photo of a pan stuck on his hand with a message, “Yup, I can.”

[writerchickmarie]

John Lloyd Young - The Spy Who Takes Cafe Carlyle By Storm

John Lloyd Young is back at Cafe Carlyle with an intriguing new show - filled with old favorites and wonderful surprises.

He enters the room mysteriously in shades as he makes his way to the stage, removing them to begin the show with “Can’t Take My Eyes Off You”, to the delight of all of us in attendance.  This song is a JLY classic, and only gets better with time.

He then moves into a stripped down “Bang Bang (My Baby Shot Me Down)”, with the spotlight on his voice and his full range of emotions.  I have never heard this song done with so much raw vulnerability, and JLY tears at your heart as you witness his performance.

JLY brings on more intrigue with “The Spy” and “You Only Live Twice” displaying a bit of retro cool combined with present day charm. It’s clear that he loves this kind of music, and is having fun presenting it to his audience. I can picture him as James Bond - and this 007 can sing!

Next is a mini-tribute to Roy Orbison. JLY says “Only The Lonely” is a perfect song to perform at Cafe Carlyle, dedicating it to those of us who are attending the show by ourselves.  He then tells the story of how he and his musical director Tommy Faragher discovered an unreleased tune called “Say No More”.  And he definitely does Mr. Orbison proud on both songs, showing off his incredible range and powerful vocals.  JLY teased during the show that there was a little bit of a rasp in his voice due to doing an interview earlier in the day, and that we would get “John Lloyd Young channeling Joe Cocker”.  It was only noticeable during some songs, and only added to the pure emotion of each one.  He then showed his Broadway chops on a smooth, beautiful arrangement of “I Have Dreamed” from The King and I.

The two selections that follow are performed in Mandarin.  He brought back a favorite, “Ming Ri Tian Ya (If Tomorrow Comes)”, from a very popular Taiwanese movie.  You don’t have to understand the language to feel the heartbreak in this one - about a dying man apologizing to his lover for leaving her, promising that they would be together again in eternity.  JLY then moved to a lighter selection,  “Wo Yao Ni De Ai”, which is featured in the movie Crazy Rich Asians. He chose to do this one as a call and response, so the audience could participate along with him.  It was a fun way to move into the next part of the show!

JLY then left the stage to join us at the bar (and get a refill on his tea) while the band got a chance to shine. Tommy Faragher (piano and vocals) performed “Bring It On Home To Me”, accompanied by Paul Socolow (Bass), Eric Kalb (Drums), and Stew Cutler (Guitar). They rocked this number, and their stellar musicianship on every song added to the quality of the entire evening.

The next song, “You Keep Me Hangin’ On”, is one I remember from the first workshop that JLY did in LA in June. It was already amazing back then - and getting to hear how it has evolved into something even more powerful now takes your breath away.  It’s a fun tune when presented as a lighter pop song - but when JLY performs it, it packs so much gut-wrenching emotion that you won’t want to hear it any way but his way in the future.  It’s that good.

JLY has been writing original material with Tommy Faragher as well.  Those of us who have been to other shows already love “Slow Dawn Calling”, and as I have mentioned before, this song really belongs on present day radio.  In addition to this one, JLY performed “Almost There”, written by Tommy and Adam Zelkind. This is a particular favorite of mine, and has become a favorite of many other fans as well.  I see a bright future ahead with this original music - and can’t wait for even more people to hear these songs!

JLY told some stories between songs, including how he got the chance to perform in Finland for the President and First Lady back in December.  The Italian Ambassador was also there, and he performed “Parla Piu Piano (theme from The Godfather)” for him. He brought this one back to The Carlyle for us, and it was so good to hear it again.  This one has only gotten better with time as well.

One of the most emotional songs that JLY performs is “Wicked Game” - and this version at The Carlyle with the new arrangement is even more haunting than before.  It truly leaves you breathless by the end of the song, once again showing his raw vulnerability.

Next up is a fan favorite, “Show and Tell”, followed by a new selection.  When I heard JLY begin “A Song For You”, I started to tear up, because I have loved this song ever since hearing the Donny Hathaway version in the 70′s.  JLY did this one justice as well, and I hope it stays in his set for future shows.  There is something special about the way he performs it.

The evening ended with “Working My Way Back To You” and “Sherry”, leaving everyone on a high note.  I have to add here that the lady sitting next to me at the bar is a regular at Cafe Carlyle, and the staff recommend that she see JLY’s show as well.  Afterward, she told me how she was blown away by how powerful his voice is and the depth of his range - and how glad she was that she came to the show.  The word is spreading and more people are starting to take notice - that JLY can perform any genre he chooses and do each one well.  If you have the chance to see him at Cafe Carlyle or anywhere else he is performing, take the opportunity to go.  You will be entertained and intrigued - and you will be back for more.

[theatremarketinginsights]

Dear Playwrights, Producing is Hell.

Here’s a warning to all playwrights.

Producing Theatre is Hell. Don’t let anyone tell you otherwise.

It’s a great thing to hear motivational, “you-can-do-it” speeches, videos, and workshops as they pump you into believing you have what it takes to produce theatre, but let me be the first to tell you that it’s mostly salesy bullshit. Don’t hate me for saying that, I am just trying to save you some of the biggest headaches of your life. So, before you jump in with great enthusiasm and an overflowing dose of positivity, allow me to set the record straight.

First, theatre producing is not what you think it is. In fact, it never was. Whatever fantasy you have about submitting it to some theatre company and seeing it produced while you sit at home and tweak your scenes and dialogue is nonsense. Sure, it may happen… but don’t bet on it.

Second, the chances of going to some mixer, meeting a producer who believes in you and will run with your play straight to Broadway (or even an off-off-off-off Broadway production) is just as fantastical. Prospective producers, investors, and artistic directors will usually NOT come to your reading or festival production and develop it from there. But, sure, keep your hopes up.

Third, the idea that anyone who has never produced a legitimate production can read some books, join some mastermind facebook group, raise money, and evolve into a producer in a few months is the purest bull of all the bull in the bull universe! You could be talking years.

Producing theatre is not for everyone. Producing theatre is hard. Producing theatre is HELL!

And you may actually suck at it because you set out to write plays and are only now realizing that most playwrights self-produce.

Okay, by now you are hating me even though I said not to. Join the club.

Now that we’ve taken off the rose-colored glasses, I am not saying give up. I am not saying that every once in a while some theatre magic doesn’t happen and suddenly a play is on Broadway. The history of entertainment is filled with such magical moments; the actor discovered in a diner, the big-wig producer who goes to see an actor friend at a reading and offers to bank-roll the whole production. What I am saying is to be realistic, be strategic, don’t blow your life savings (or your friends, family, and parents money) on short-cut-themed pipe dreams. For the most part, here is how it works.

Write a great play. Don’t be the one to define your own greatness. Do readings. Be smart about the writing. Always be building a team of collaborators. Test your play in festivals. Do more readings. Teach yourself as much as you can about all the elements of producing (lighting, costumes, marketing, direction, acting, house management, union vs non-union, casting, budgeting, set design…you get the picture.) Then do another reading or two. Set a realistic budget. Now double it. Do another reading and listen to how people react. Define your target audience not once, but often. Read books. Keep talking to people. Perfect your play because a play that sucks will not sell tickets.

The point I am making is that much of your learning happens along the way, trial and error. You are never going to be an expert in all those things, but pick up as much as you can early in the game.

The other thing I can’t emphasize enough is talk to everyone in the business. Talk to theatrical lawyers, to general managers, directors, and anyone who will share their experience. Oh, and know that even when talking to one or more in any of these given fields, you will get opposing opinions on just about everything.

Producing theatre is hard, it’s collaborative, it’s time consuming, and expensive.

Which brings us to the workshops, the presentations, videos, Facebook mastermind groups, and all those wonderful places where we meet and greet. They are great only if you approach them with a focused, learning attitude and not some blind hope that you will find that magical someone who will champion your great play. If it so happens that mythical beast, then great! But know that all the hard work, the financing, the development of the material will be primarily in your universe and under your passionate lead. If you do manage to get past all of the pain of producing, producing can be quite rewarding. That’s why there are producers in the first place. But you do have to suffer for your art, so prepare yourself.

Now go become a producer, or at least think like one…because it may be the only way you’ll see your play produced.

Want to start thinking about producing your play? Call me or email with your thoughts and questions, I’ll be happy to answer some questions at 646-285-3033. And by all means, post and share your response.

RG

(photo: Mel Brooks, The Producers)

Please follow us on Instagram: @TheatreMarketing2019

[thotyssey]

The tHOTlist #50 - 1

50)  The Cock

Gay NYC’s longtime destination for raunch remains steadfast, even as today’s thots are mostly getting their fix through the hookup apps. But never underestimate the power of exhibitionism! It should also be said that the Cock deserves credit in their marketing of events for emphasizing the sexiness of diverse body types, ages, races, proclivities, etc. And if none of that is your thing, chill out upstairs with some sweet, fun bartenders like Franco, Brian and Lola Michele-Kiki.

49)  Steve Sidewalk

Perhaps New York and New Jersey’s most followed dance floor pop DJ, Steve has a rabid babygay following thanks largely to his popular Gay College Tuesdays at the Ritz. Also a regular at POSH, Feathers and Paradise, Sidewalk has been touring venues across the country lately as well.

48)  Will Sheridan

The larger-than-life college basketball star turned emcee and DJ just celebrated the sixth anniversary of Hot Fruit, the Metropolitan Bar party he long ago revamped to include a showcase for diverse Brooklyn talent. Will also dropped the EP LexIcon, performed a few showcases at Rise Bar with Corey TuT and Dezi 5, produced a new monthly party at Rockbar called The Phunktion, started bartending at GYM in addition to Macri Park, and generally remains a powerhouse of the scene. 

47)  Shuga Cain

Having rapidly become one of Manhattan’s favorite queens, Shuga is fierce, funny, and as her name suggests probably the sweetest person you know. You can feel her love for drag (which was a later-in-life career change for her), and that love is infectious... even to a house full of jaded HK Marys who have seen it all. Give Shuga all the finger wags--while you still can--at her solo Thursday Hardware happy hour, her Wednesday night Pieces show with JanSport, and Sunday nights at Bedlam hosting the seminal Look Queen competition.

46)  Therapy

The increasingly famous HK destination boasts good eats, great beats, heavy pours, a more diverse crowd than you’d think (particularly the sexy bar staff), and some of the best drag shows in town: Slurp (Paige Turner), The Help (Pixie Aventura and Kizha Carr), Stage Fright (Marti Gould Cummings), and the new Soaked (Brita Filter, Lagoona Bloo and Rosé). Plus, JanSport’s singing competition “You Tried It” has electrified the babygay Broadway hopefuls that frequent the bar.

45)  Aquaria

Aquaria’s Season 10 win brings home the reality that RuPaul’s Drag Race’s largest growing audience demographic is teen girls. What teenager doesn’t want to be Aquaria, with her beauty and fashion sense and confidence? Which isn’t to say that she didn’t deserve the win... every look she presented was genius, and once the music is cued she’s an electrifying performer. A distant and stilted host by her own admission, she brilliantly found ways to work around or even incorporate that handicap into the acting challenges. It’s quite clear that she’s destined for Warholian Living Fashion Installation Iconicism, and that’s as it should be. A former fixture of every scene queen party in the city, Aquaria’s never going to our parties again. She IS the party now, and we all dream of getting an invite.

44)  Ragamuffin

Brooklyn’s high concept fashion and performance art folk hero crossed the river and became a Manhattan star in 2018. She hasn’t compromised her signature Demonic Raccoon beats, asymmetric silhouettes or off-the-radar drag numbers for anyone, but she’s found a way to incorporate it all into a more mainstream package when needed. She’s also enforced the “artists should actually get paid by the house” philosophy of drag, moving her hit workshop / showcase “Failure” from Bizarre Bushwick to the East Village’s Club Cumming (she’s also regularly lent her drag there to the monthly cabaret revue MARY). You can still catch Raga giving you Brooklyn realness for her seminal pairing with Ruby Roo, Mondays on Mondays at Macri Park--as well as a solo late night Sunday show at Metro. 

43)  Rosé

New York’s uber-talented singing drag trio Stephanie’s Child have officially taken over the scene, and became the standard of quality the queens are expected to meet if they wanna make it big here. Musical theater baby Rosé--aka Stephanie’s Child’s “Pink One”--sings, dances, jokes, and does killer mixes with the best of them. Pleasantly kooky, well-spoken and free-spirited (and newly the drag daughter of legendary Kizha Carr), she made her drag debut last year with an explosive crown-winning turn for the final Lady Liberty weekly competition season. You can now catch her co-hosting the pop-up showdowns of that franchise with Brita Filter at the Ace Hotel. Rosé is also co-hosting Therapy’s new hit Thursday show Soaked with Brita and fellow Child Lagoona Bloo, Turn It Up Sundays with the third Child JanSport at Hardware, and Tuesday karaoke at Pieces with Lagoona. 

42)  Switch N’Play

With a current core roster consisting of K. James, Miss Malice, Divina GranSparkle, Zoe Ziegfeld, Pearl Harbor, Nyx Nocturne and Vigor Mortis, it’s obvious that the nature of this troupe has evolved since its drag king beginnings (in fact, none of the original lineup remains in the group). Successful outfits change with the times, and Switch N’Play presently reflects Brooklyn nightlife’s current Fuck That approach to gender and genre. With two monthly showcases at Branded Saloon--and a recent excursion to the prestigious National Sawdust theatre (current home base of Sasha Velour’s Nightgowns) for their annual Addams Family tribute show--the group has gotten tons of love... not to mention a bunch of Brooklyn Nightlife Awards this past go-around.

41)  The Carry Nation

The famed DJ duo Nita Aviance and Will Automagic are currently enjoying another successful season of residency at Brooklyn’s Good Room, but were super in-demand across the city this year. We danced to their beats at Nowadays, Elsewhere, the House of Yes, Battle Hymn, 3 Dollar Bill, the Pines Pavilion and Bushwig, just to name a few. Their best DJ GLAM nod this year is well-deserved indeed.

40)  Ric Sena

Creating the Alegria brand of circuit parties 18 years ago, Sena married gorgeously hypnotic visuals with sonic sensory overload, and a circuit standard was born. Or rather, a cult was formed. Alegria continues to be the seasonal event that circuit queens around the world plan their lives around, but these days in NYC Ric Sena Presents also offers the monthly VIVA at FREQ, and the occasional morning after Sunrise day party at Hudson Terrace.

39)  The Rosemont

Not really the new kid on the block anymore, former jazz club The Rosemont has become well-established with a certain brand of queer nightlife: young, diverse, experimental, but still unabashedly worshipful of all things pop. Well-attended nights there include the dragtastic OOPS Wednesdays, Bitch Nasty Fridays featuring DJs Ickarus and Hannah Lou, and the bi-monthly Saturday Fake Nudes with DJ P_A_T and The Haus of Sterling.

38)  Maddelynn Hatter

Hell’s Kitchen’s favorite GlamourGhoul kept the party roaring at The Ritz with her scary popular TURNt Wednesdays, and now also a weekly Friday drag competition Open Call. She was also a third of ReBar’s “Bad Bitch Review” and made several Brooklyn appearances, all while keeping us a-gag with her high fashion monster beats.

37)  Lagoona Bloo

“The Blue One” of the megapopular singing drag trio Stephanie’s Child is a superb singer and performer in her own right, and there are undoubtedly even bigger things to come for this queen on the rise. The party never stops with this one! Catch her co-hosting Tuesday karaoke at Pieces with fellow Child Rosé, hosting a solo show Wednesday nights at The West End, co-hosting the new party Soaked with Rosé and Brita FIlter, giving us an all-sung set monthly Fridays at Stonewall, and dropping fierce pop-up bombs for Hardware’s Slay Saturday party alongside Ruby Roo.

36)  Rockbar

The bear-centric bar on the far end of the West Village’s Christopher Street stays faithful to the gayborhood’s cruisy past with a slew of monthly underwear and gear / fetish events, and keeps true to its name with occasional live music acts and a DJ emphasis on rock music and new wave. But the bar has also been developing a noteworthy roster of happy hour drag shows that you should not be sleeping on.

35)  Rify Royalty

Brooklyn’s longtime Sexy Guy and host of the popular Metropolitan Bar monthly party Straight Acting has gone deeper into drag in 2018, with fascinating results, presenting as a gorgeous fashionista with a sex-positive masculine edge (we guess that’s how one can describe most drag queens, but that edge just feels sharper here). Turning lewks at Bartsch parties and creating a fun and flashy new weekly Miss Girl at the East Village’s Narcbar of the Standard Hotel, Rify is now becoming a force to be reckoned with in Manhattan as well as Brooklyn... even earning a coveted Entertainer of the Year GLAM nomination.

34)  Ruby Roo

If Bob didn’t already utilize the title, we’d be calling Ruby the Queen of the People. When she’s not serving you spirits as a (GLAM-nominated!) Pieces bartender on Wednesdays and Saturdays, she’s a versatile performer onstage  who knows how to work a room and cater her drag to it. She’s dryly funny for the attentive loyalists of her long-running Mondays on Mondays at Macri Park, she’s flashy and fun for her mobbed parties Frisky Fridays at Pieces and Slay Saturdays at Hardware, and she delivers the Full Unfiltered Roo for her solo Sunday show at The Duplex. Bonus, she’s a Cosmo Queen! Bonus-bonus, look at that wig up there.

33)  Amanda Lepore

New York City nightlife’s most iconic living figure remains the person that even Hollywood’s top celebrities want a photo op with. If you spot Amanda in the place you’ve chosen as your evening destination -- whether it be one of Susanne Bartsch’s massive scene queen affairs or a smaller lounge situation like Acme’s STRUT -- you’ve chosen your night wisely. And also, cheers to trans hero Amanda for explaining to Victoria’s Secret who she is and who they are, simply and elegantly. 

32)  Mitch Ferrino

As one half of The Only Productions (the other being his bestie Bob the Drag Queen), Mitch keeps himself quite busy producing major events like the epic annual Halloween party Bloodbath, as well as music tracks for Drag Race alums (notably Aja this year) and original multimedia content. But he’s also a DJ who began his nightlife career bartending at the Monster before working his way up to hosting that bar’s popular Saturday night kiki, Manster. After years of manning Manster there (and also DJing Monster’s epic drag competition Look Queen that was Bob’s brainchild), Mitch and Manster’s hostess Honey Davenport abruptly quit The Monster after the bar’s general manager Italo Lopez criticized a Manster poster via text for featuring black men as opposed to “beautiful” (white) men. When Mitch and Honey put the comment out into the public, it forced everyone into the uncomfortable but entirely necessary conversation of racism in nightlife. Mitch has since brought a variation of Manster to Phoenix on Friday nights, and spins Look Queen at Bedlam, but the importance of his actions this year make him a person of great interest when looking at the possible future of queer nightlife in this city.

31)  Brenda Dharling

One of our city’s most cherished queens is still the only dancer in the biz who can pull off a quadruple pirouette. Lovely on the inside and out, Brenda’s basicallythe queen we all want to be, and every year she becomes an even better show hostess. Aside from chilling with her poolside at the Ice Palace during the summer season, you can enjoy Miss Dharling at her solo Monday night Barracuda show, her Legend Wednesdays diva worship at Rise with co-hosts Bootsie LeFaris and Marti Gould Cummings, giving you themed realness on select Thursday nights with Industry’s megashow QUEEN, and turning Blackout Fridays at Suite Bar with Pattaya Hart.

30)  JanSport

After breaking through in 2016 as a Kris Jenner impersonator with powerful Broadway singing chops, Jan evolved over time into a multidimensional queen in her own right. And if you go by her Insta following and the general fame she’s acquired through media appearances -- particular as a major part of the singing queen trio Stephanie’s Child--the funny and cheerful Jan is basically a full-on icon in the making. Catch her with fellow Child Rosé Sundays at Hardware, hosting a popular singing competition Tuesdays at Therapy, Wednesdays at Pieces with Shuga Cain and Izzy Uncut, select Thursdays with the ladies of QUEEN at Industry, and hosting a Friday party at Icon in Astoria.

29)  Jasmine Rice LaBeija

The diva who’s clearly taking over the city is is entirely unafraid to speak her mind--whether it’s to take down a queen who crosses her, clap back at a pageant judge who didn’t favor her, put a non-paying employer in his place, criticize the “No Fats No Fems No Asians” culture of Basic Gaydom, and even a bit of self-depreciation here and there. We live for the Extra, but what keeps us coming to all the gigs each week is the talent. Bitch is funny, fashionably fierce and ferociously smart, encompassing both the gritty old school queens of golden age drag and the polished new school. Plus, the classically trained opera singer can siiiiiiiing. The gigs: Sunday with Brita Filter at Hardware, Mondays with Pissi Myles at Rise, alternating Tuesdays with Sucia hosting karaoke at Boxers Washington Heights, Thursdays at Pieces, and Fridays back at Hardware with Izzy Uncut.

28)  Holly Dae

Here’s a hilarious veteran comedy queen and hostess who’s always showed fierce loyalty to her employers... most recently following the gogo boy troupe Spunk after they vacated the Fairytail Lounge’s Saturday party she hosted, and also standing by The Monster during their recent troubles. She continues hosting her long-running Wednesday show at The Monster as well as a new Saturday Spunk party there--and Sundays she hosts the Pieces Spunk party down the street. Holly also keeps Industry’s QUEEN machine going as its showrunner, and joins Bootsie LeFaris, Pixie Aventura and Brenda Dharling on select Fridays for the still super-successful Distorted Diznee at the Beechman.

27)  Bootsie LeFaris 

One of the city’s hardest working and most professional queens, Bootsie doesn’t come to play... even when she’s being a politically incorrect, lowbrow goofball who’s unafraid to make herself look ridiculous. Our gurl always brings the funny, whether she’s Ratchet Hillbilly Ho or Mother of the Church of Celine Dion. Get your LeFaris fix at the Voss Events Drag Brunch at the Highline Ballroom, Legend Wednesdays at Rise, QUEEN at Industry select Thursdays, Super Size Queen Fridays at Hardware (and also Distorted Diznee at the Beechman on select Fridays), Sinful Saturdays for the past five years at Pieces, and basically any place that has the coin and needs a Bootsie.

26)  The Urban Bear

The bears are the kings of these woods, henny! Robert Valin’s nightlife (and daylife) community is dedicated to all things large, hairy and masc (although the definition of what a “bear” is is certainly not limited to those identifiers anymore). With both weekly and monthly parties at Rockbar, a new monthly affair at The Brass Monkey and the annual Urban Bear Weekend that gets bigger and bearier ever year, these animals have found themselves at the top of the food chain.

25)  The Ritz

Still the favorite destination for HK baby thots to dance and hook up, the two-story bar with the killer new sound system brings famed DJs from across the world to come and play, along with their rotating roster of excellent residents. There is also no shortage of hot guys (bartenders, gogo boys and patrons who might as well be gogo boys) and amazing queens (Digna and Nick Gaga in the hosting committee, Maddelynn Hatter and the cast of TURNt Wednesdays, etc.). The party never stops, seven days a week.

24)  Kizha Carr

This stage and screen actor made good on her threat to return to drag full time after her run with The Book of Mormon on Broadway ran its course, and we couldn’t be happier for it. The brilliant makeup artist, fun-as-all-hell performer and well-respected queen among peers has new gigs all over town -- in addition to her long-running Sunday show at Industry, which was the only drag show we could see her in during her Mormon stint. Now there are also Tuesdays at Barracuda, Wednesdays with Pixie Aventura for The Help at Therapy, and Fridays at Boxers Washington Heights.

23)  DJ 2Face

New York’s most recognizable, two-time GLAM winning DJ (nominated a third time this year) and budding fashionista will probably take your requests at the booth, just don’t be so damn basic about it! And respect the fact that he works practically every night, at the best spots with some of the best known people in the biz. 

22)  Merrie Cherry

Brooklyn’s busiest queen had a major health scare this year, and it seemed for a minute there nightlife was gonna be a little less Merrie. But Da Bitch Is Back after a mere month of convalescence, and better than ever! See the mother of high-concept fashion, electrifying performance and major event production (including the Brooklyn Nightlife Awards) turn it all over the borough, notably as the host of the monthly pageant Dragnet at Metro and her own solo monthly show Pop My Cherry at Macri Park. And we hear that even bigger things are in the future for this queen among queens!

21)  Ladyfag

The long-established Queen of the Night remains a sort of Pope figure for all the fashion / art / dance kids of the scene, and her main church these days is the monthly Battle Hymn in Chelsea. Ladyfag’s Ladyland Queer Music Festival at the Brooklyn Mirage (which had a lineup that included Eve, Kim Petras and Sophie) was one of the more innovative Pride destinations this summer, and her devotees are anxiously awaiting the December return of her revered monthly soiree Holy Mountain in its new Brooklyn destination, Avant Gardner.

20)  Shequida

With Sherry Vine leaving town, this fashionably flawless opera diva takes ownership of the Longest Working Queen of NYC title. Which isn’t at all to say that she’s slowing down anytime soon: her weekly Shequida Show Thursday nights at Hardware remains one of the country’s most attended drag shows that major queens from across the world are lining up to guest star in, the Monday night Pieces competition Drag Wars she hosts has become a vital staple for new talent in the city, she runs the Voss Events Sunday Drag Brunch at the Highline Ballroom, and she frequently performs with fellow nightlife legends for the McKittrick Hotel’s Bartschland Follies on Friday nights. (Oh, and she’s probably the highest paid queen in the city, but you didn’t here that form us!)

19)  Brian Rafferty

If you are a tried-and-true circuit queen in New York, you have a very different tHOTlist than what you’re reading now and this guy is probably your number one. With a long career in nightlife, the founder of Brian Rafferty Productions is currently best known for bringing the sex-drenched monthly circuit party phenom TRADE and its several incarnations to the venues in town that can still house it -- like Times Square’s Rosewood Theater -- and to lucky cities across the country.

18)  Paige Turner

Classy vintage girlie looks, potty mouthed-yet-still-clever song parodies, occasional touching moments, lots of surprise naked guys and a rabid fanbase are the hallmarks of this massively popular longtime queen, both in her bar shows (Slurp Sundays at Therapy, and now Broadway Mondays with Sutton Lee Seymour & Cacophony Daniels at Hardware) and in her scripted stage shows. After a long relationship with the Laurie Beechman Theatre, Paige has mixed things up a bit by bringing her latest Christmas show to Yotel’s Green Room 42.

17)  Brita Filter

One of New York’s best (and best known) drag hostesses has been going strong for some three years now, rocking us with giant wigs and costumes and the biggest (most expensive) smile in the business... even as her waistline shrinks (do we detect a pattern with big queens getting slimmer here?), Making appearances all over the country (as of this writing, she’s at the Austin International Drag Festival) and all the city’s star galas and private events you wanted to go to, Brita still manages to keep one of the city’s fullest weekly show schedules. Catch our “anything but pure” comedienne Sundays (with Jasmine Rice) and Tuesdays at Hardware, Wednesdays (with Honey Davenport) at Boxers Washington Heights, Thursdays (with Lagoona Bloo & Rosé) at Therapy and Fridays (with Ruby Roo) at Pieces.

16)  Club Cumming

Despite a massively successful first year that put the small, eclectic bar and venue on the international map, Club Cumming almost ceased to exist earlier this year when a licensing snafu paralyzed their live performance calendar for months (although the bar’s flagship performers did have a guest presence at Fire Island’s Community House this summer). But the club’s unique fanbase--a true and rare cross section of queers and straights, locals and tourists--kept loyal through a long stretch of silence and Spotify playlists. When the error was finally corrected, The Good Wife star Alan Cumming’s club roared back into life with more ferocity and weirdness then ever before. Now sporting drag, cabaret, comedy, dance parties, burlesque, readings, a knitting circle and a guy who paints with his penis as regular attractions to their small but mighty stage, the infinite possibilities of the space have created more excitement in NYC nightlife than nearly anything else. Recent reports have had Paul McCartney, Vanessa Williams, Emma Stone, Kesha and even Monica Lewinsky come through and at times actually perform impromptu. So if you come on the right night when the stars and planets align, Club Cumming could give you stories you’d actually tell  your grandkids. But maybe leave out the ones about the penis painting guy. [photo: @jeffreycampagna]

15)  Honey Davenport

Everyone who knows Honey understood how difficult it was for her to walk away from Manster, the long-running party at The Monster she hosted with DJ Mitch Ferrino, and to do it so publicly at that. She’s been a consummate professional who only wanted to entertain since the beginning of her drag career. But those who knew her best were aware that she also has convictions, and the time came when she had to take a stand against not only a moronically racist statement from the Monster’s general manager (regarding black men pictured in a Manster flyer), but also all queer culture’s infrequently discussed racial problems. She didn’t solve those problems, of course, but she got us talking. And she also kept us laughing and living at all her other gigs, which are multiplying faster than Gremlins on Christmas (right now it’s rotating Gay College Tuesdays at the Ritz, Wednesdays at both ReBar and Boxers Washington Heights, and Fridays at Paradise in Asbury Park). 2019 will undoubtedly be the biggest year of her career thus far... and few queens are more deserving of success than she.

14)  Barracuda & Industry

Sisters bars in different neighborhoods with opposite decors, there’s still lots in common with Bob Pontarelli’s gay properties: many of the same queens (among the best in Manhattan) doing world famous shows, cute bar staffs and cash only policies to name just a few. Chelsea’s Barracuda first opened its doors 33 years ago, and even with the recent loss of the world’s tackiest wallpaper decorating the stage remains charmingly kitschy... while boasting some of the city’s most important shows like the long-running Star Search now hosted by Tina Burner. Industry Bar in HK is newer and swankier, but with shows like the huge revue QUEEN has become just as vital to drag and nightlife. It would be impossible to get the full gay NY experience without a visit to both of these places... just remember to bring cash!

13)  Daniel Nardicio

Club Cumming's entertainment director has had a long and storied history of producing nightlife events. He and his production company DWorld are known for favoring the raunchiest parties he can get away with, but also building nights around divas ranging from local favorite Amber Martin to folk hero Jill Sobule to Liza Minnelli. Besides ushering Club Cumming through its Dark Period earlier this year -- and also honoring his departed friend, legendary nightlife comic  Robbyne Kaamil -- Nardicio embarked on a massive venture with his recent purchase of Bedlam Bar on the East Village’s Avenue C. It’s going to be a tough sell to get nightlifers to come that far south, but based on his own history and his willingness to try anything (including *ahem* Thotyssey’s own brand new Viva Variety Tuesday night show), it should be another huge win for both Daniel and the scene. Bonus: he still has the cutest Nightlife Dog ever.

12)  Pixie Aventura

Whether she was turning it on the massive outdoor stage alongside legends of the scene for this summer’s surprise Wigstock revival, or performing at this year’s Obie Awards with host and idol John “Chi-Chi“ Leguizamo, or hosting her slew of popular weekly shows (Sundays at Barracuda, Tuesdays at Hardware, Wednesdays at Therapy and select Fridays at the Beechman for Distorted Diznee), Pixie has reminded the world that she’s arguably New York’s best drag performer, as if it needed reminding. A diva in the truest sense of the word -- huge personality and charisma to match her talent and quest for perfection -- Miss Aventura, who is best known for her dancing but really brings every damn thing to the table, is the shining star of the nightlife sky.

11)  John Blair, Jake Resnicow & Alan Picus 

The four masters behind most of New York’s largest and most popular circuit parties, Blair (co-owner of Rise Bar), Resnicow (Producer of the Life Ball) and Picus (BoiParty) keep the thots sweaty and entranced by the thousands. Between various combinations of the three (along with tons of high profile promoters in their employment), we get M.E.A.T. at the Highline Ballroom every month and a few pop-up events scattered across the city, like December’s launch of Laboratory at the new Chelsea Music Hall.

10)  The Eagle NYC

Still the best place in NYC for boys to be boys, men to be men and Leather Daddies to leash up their Pups, the Eagle represents the best of a trailblazing gay scene we don’t see as much of nowadays, but need around in order to keep that level of kink and roleplay alive in the subculture. The leather and fetishist communities found at the Eagle represent a tight-knit and vital queer community.

9)  Horrorchata

The Queen of All Brooklyn Nightlife Today and the founder and producer of the annual Bushwig festival--which put Brooklyn nightlife on the map--continues her colorful, fashionable rule over her borough. Although not often performing herself these days, and too busy with international versions of Bushwig to experiment much with new nightlife events here in NYC, Horrorchata still brings us the epic monthlies Be Cute at Littlefield and Yas Mama at C’Mon Everybody, while spinning the weekly party CAKES at Metro and sundry other DJ gigs throughout the month. 

8)  Tina Burner

We hate having to crop a Tina pic because there is always a full lewk to gag over, and summarizing her contributions to the city’s nightlife could never be done in just a blurb like this either. As the current host of Barracuda’s long-running drag competition Star Search and the creator of the annual Miss Barracuda pageant, Tina fosters so much young drag talent in the city. As the hostess of Industry’s new Monday night show and Barracuda’s Wednesday Gurlesque revue, as well as her Saturday and Sunday brunches at Intermezzo and her One Woman Show at Hardware on Saturdays (not to mention her summer dominance of Cherrys on Fire Island), she exemplifies why New York drag is the country’s best. As a non-stop co-designer of her nightly and pageant looks which can range from the sublime to the ridiculous, she reveals how far the art form can be taken as a visual medium. As a national Comedy Queen finalist and our current reigning Miss Fire Island, she lets us all know that she’s a key player in not just the city’s scene, but the world’s. Unapologetically outspoken and larger than life while 100% devoted to her craft and the social responsibilities of drag in the queer community, Tina is the “drag queeniest” drag queen of them all... and we love her for it!

7)  Stonewall

Our current President may have at one point wanted to overturn the ruling which made this bar a national landmark just to spite his predecessor, but that wouldn’t de-emphasize the importance of this destination to the LGBT movement at large. The birthplace of gay rights remains both a vital community center (featuring political rallies and fundraisers, theater and arts events) and a nightlife hub (weekend dance parties, karaoke, a seasonal singing competition, weekly and monthly drag shows including the career-making, different-featured-queen-per-week Stonewall Invasion). The staff (and the staff of its neighboring sister bar The Duplex) still come across as a giant family, and on their best nights they make their patrons -- tourists and locals alike -- feel like family as well.

6)  Marti Gould Cummings

You may have noticed that some of your nightlife friends have become a lot more politically active and aware on social media these days, which of course is largely to do with necessity for survival thanks to the current administration. But it also can be traced to the visibility and persistence of this queen, who aside from being the founder of the Hell’s Kitchen Democrats and a major campaign fundraising figure for Cynthia Nixon’s gubernatorial run is also seated in the mayoral appointed Nightlife Advisory Committee. Marti is keenly aware of who or what we should be voting for to best protect our community, and she’s not afraid to tell us what we need to know. And what’s amazing is, she’s able to keep up with her responsibilities on the political front while still juggling a motherload of drag gigs: Sunday happy hour bingo at Pieces followed by a late show at Hardware, Monday nights at Therapy, Wednesday nights at Rise Bar, and lots of other pop-up shows and appearances all across town. Few people in the biz can turn the dial on and off between serious / hopeful activist to absolute drag clown with more success than Marti, who was just included in an even more prominent list than this one: the Out 100.

5)  Macri Park & Metropolitan Bar

Having just celebrated their third and fifteenth anniversaries respectively, the smaller Macri Park and its nearby Big Sister institution Metro are the standard for what makes drag great in Brooklyn... whether its drag-infused parties or full on shows. They remain the only places in the borough where you can still see the scene’s pioneers perform on a regular basis, as most of them--Ruby Roo, Ragamuffin, Rify Royalty, Alotta McGriddles, etc.--have branched out into  Manhattan gigs. And Metro’s the best place in the city to see visiting Drag Race queens and famous out-of-town performers do their thing in a surprisingly intimate setting. If you haven’t experienced these bars yet, than you don’t know the full story of NY drag and nightlife.

4)  Susanne Bartsch

The Godmother of Nightlife is finally getting the credit she deserves as a vital figure of pop culture at large, having helped define a whole scene as Music plus Fashion equals Living Art. This year saw another successful run of her weekly summer party at LeBain; the creation of the Bartschland Follies weekly performance series at the McKittrick Hotel (fittingly the home of Sleep No More) featuring the likes of Amanda Lepore, Murray Hill, Joey Arias and other nightlife legends who Bartsch helped establish; the random kiki blowouts KUNST and 3 Dollar Bill’s new Play Now plus her famous annual Halloween affair at MoMA PS1. And then of course, there was the release of Susanne Bartsch: On Top, a much-discussed documentary biopic. Presenting the highest quality of nightlife in terms of art and music and community, Bartschland remains the golden standard.

3)  Boxers

With a fit, shirtless staff, some tasty bar food and and sporty-esque atmosphere, Boxers in Chelsea established itself as a simple-yet-effective brand destined to be a chain of the Gay Hooters variety several years ago. It’s since done just that, with a very popular Hell’s Kitchen site and one all the way out in Philly. This year, the Boxers franchise fought the good fight and won, having earned two new uptown locations in the Upper East Side and Washington Heights. Both the new spots strayed from brand slightly with the inclusion of drag shows (and big ones at that), but nonetheless the company’s successful formula seems to offer infinite franchise possibilities.

2) Pieces & Hardware

An important West Village destination founded in the 90s, the narrow Pieces began as a cruisy karaoke dive and evolved into a destination for great drag and dance parties. Its younger Hell’s Kitchen sister Hardware has become something of a drag institution in recent years, establishing some of the city’s best shows and many of RuPaul’s Drag Race’s recent contestants and winners. With a sexy and charming staff of bartenders and DJs that cross between the two venues all week, neighborhood snobs break their habits and follow them between HK and the West Village pretty regularly. Owners Eric Einstein and Justin Buchanan recently acquired the West Village’s vacated Boots & Saddle property (which they will revamp and rename) as well as a new Hell’s Kitchen venue, both set to open in 2019; it’ll be exciting to see how the city’s nightlife further evolves when that happens.

1)  Frankie Sharp

The nightlife impresario and entrepreneur behind the wildly successful Westgay at the Westway has been making things happen for quite some time, but really seemed to take 2018 as his own. Let’s review! In 2018, Frankie has: 1) maintained Metrosensual, the Saturday night party at Metropolitan Bar featuring guest spots from RuGirls and buzzworthy performers the world over; 2) established MARY, a raw and electrifying musical revue with a full band and large cast of singers, now a popular monthly happening at Club Cumming; 3) took charge of ReBar’s Friday nights with the sexy party BOYS; 4) became the programming director of Brooklyn’s cavernous new nightlife hub, 3 Dollar Bill, where in a few short weeks he’s already whipped up a dizzying calendar of drag shows, dance parties, live concerts and sexy soirées;  5) maintained his persona as a sharp-dressed, sexy AF personality and DJ on the scene. Basically, we all want to be Frankie on some level... we just don’t perceive that we could ever possibly have the time, talent, resources, connections and sheer force of will that Frankie has. He’s the whole package, and the living embodiment of what a person with vision can accomplish in this town.

tHOTlist Archives

[mousemarner]

top 5 or 10 bootleg moments (any bootleg)

HHHHHHHHHHHHHHHHHHHHHH VERY HARD im gonna do a top 10 Actual Bootleg moments and then a bonus Top 5 comments made my the people recording because there’s some REAL good ones

Top 10 Bootleg Moments - note this is only stuff that’s currently for trade so as not to ruin the magic for anyone else. also note this is NOT in any order

THE FUCKENING GESTURE WILLIAM F. ROLAND DID ON “CRUSH THEM AND LEAVE THEM BEHIND” IN THE JUNE VIDEO BOOT

mike “destroyer of chairs” Faist striking again in the original deh video

MLB’s vibrato on “nipples” in the July 30th audio

Lucas Steele WEEEEEEEPING in the Great Comet closing audio

ALSO. UHHHHH. THAT LUCAS LITERALLY HELD THAT ONE LONG NOTE FOR A FULL THIRTY SECONDS LIKE IT WAS TIMED OUT WE KNOW IT WAS ACTUALLY A FULL 30. FUCK!

oh god i cant off the top of my head remember which one but there’s an mlb evan audio where he’s fully sobbing in the “how did you break your arm, evan?” scene and then again in the pre-words fail scene and it FUUUUUUUCKED ME UP WOW. EDIT: Sophia reminded me that yes, this is one the act 2 audio of Nick as Jared

in the audio boot of the original BMC cast, Will fucks up a line in Two Player Game and then makes an ADORABLE flustered squeaky noise and George is laughing and it’s really realllllllly cute 

The first time I watched the Newsies OBC bootleg and got to Jeremy’s Santa Fe, I sobbed like a fucking CHILD he’s SO TREMENDOUSLY GOOD IN THAT SCENE WOW and like that particular video was fairly good quality and was zoomed in quite a bit and you could really see his expressions and emotion and he sounded incredible and just AHHHHHH

this isn’t a specific Moment but i have SO many bootlegs of Book of Mormon and watching it evolve from workshop to like broadway productions and national tours YEAAAAARS later is SO cool. spooky mormon hell dream changed a lot, particularly, and there’s a lot of fun little things in the video i have of an earlier preview that are gone, which is cool.

in the scott stangland gromet boot when u can see the Danatole kiss lol

BONUS 5 comments made by people recording/near the person recording:

“We’re both recording because if it didn’t work…and we didn’t have one…I would Kermit…” -person at the beginning of the first MLB Evan audio

“He looks like a really good kisser. That was my FIRST thought.” -same person, once intermission begins

“How much money did she win?” “$96,000″ “holy SHIT” - whispered conversation audible on an In the Heights audio 

“HOOOOOOO. I’M SHOOK.” -another intermission comment on MLB Evan

“…What?” -an outraged comment immediately after the sch**l sh**ter line on a deh audio