national tour for Sweeney Todd

The State Opera South Australia will return Sweeney Todd: The Demon Barber of Fleet Street for a tour along the east coast of Australia in 2023 after receiving $570,000 in RISE funding from the federal government.

“This production is special,” says State Opera Artistic Director Stuart Maunder of Stephen Sondheim’s musical thriller. “Sweeney Todd is without a doubt the most powerful, dramatic and theatrical horror tale ever set to music.

“It is also a fitting tribute to mark the passing of Stephen Sondheim late last year to show this glorious production to more people. Stephen was a musical theater legend, and with Sweeney Todd he created a scary delicious; dark, sinister…and exciting story that directors like me are lucky enough to work with.

Funding for the tour was secured through the Restart Investment to Sustain and Expand (RISE) fund, which the federal government established to help arts businesses reactivate after the pandemic. The production will visit locations across New South Wales, Queensland, the Northern Territory and the ACT.

Read our State Opera review Sweeney Todd: The Demon Barber of Fleet Street of the May 2021 Adelaide season here.

Shows are now selling out at full capacity

The state government’s announcement of increased theater capacity as part of the latest easing of COVID restrictions has allowed arts companies and venues to offer additional tickets for on-demand shows during and after the peak festival season.

With venues now operating at full capacity, Adelaide Festival has freed up more seats for Dorian Gray’s photoBangarra Dance Theater Wudjang: not the pastand the dance and drum show manifestoamong others.

The Adelaide Festival Center has also announced that it will release more tickets for the 2022 Adelaide Cabaret Festival Variety Gala on March 25, which had previously sold out at 75 per cent capacity. The gala is presented this year before the Cabaret Festival in June, with additional seats now available for early-streaming events, including the festival’s artistic director Tina Arena’s signature show. Songs my mother taught me.

Adelaide Cabaret Festival executive producer Alex Sinclair welcomed the increased capacity at the theatre.

“This is heartening news for our audiences, our artists and the arts in South Australia and a vote of confidence in the future of our industry, which like many others has been deeply impacted by COVID,” said Sinclair said. “We are thrilled to be one of the first festivals in the state to be able to operate at 100% audience capacity and know that the release of more tickets to our previously sold-out Variety Gala will be picked up by our loyal Cabaret Fans. .”

The full line-up of the Cabaret Festival will be launched at the Variety Gala, hosted this year by Australian comedian Paul McDermott.

Breaking Ground apps are now open

South Australian visual artists from regional regions are now invited to apply for Country Arts SA’s 2023 Breaking Ground Award.

Since its launch in 2012, the prize has offered visual artists a valuable opportunity to broaden their professional experience and develop their practice.

The Breaking Ground winning artist will receive $10,000 over the next year to support the development of a body of work for a solo exhibition. This exhibition will be held in an Adelaide CBD gallery as part of the SALA 2023 festival. A mentorship opportunity, valued at $5,000, is also available as part of the award.

ActNow Theater Bids Farewell to Executive Director

South Australia’s ActNow Theater has announced that executive director and co-CEO Rhen Soggee will step down from his role to focus on the next stage of his career.

Soggee has been part of the ActNow team since 2018, previously fulfilling the roles of Managing Director and International Producer. Under their leadership, ActNow has been able to implement an ambitious program throughout the pandemic, maintaining continued financial support and strengthening relationships with other organizations.

“ActNow has given me an incredible space in which to grow and generate meaningful opportunities that support a more representative and relevant South Australian arts industry,” says Soggee. “As I prepare to hand over the reins, I know I couldn’t leave the business in better hands.”

The recruitment process for a new Managing Director and Co-CEO will begin soon.

This article is supported by the Judith Neilson Institute for Journalism and Ideas.

The Joyce Theater Foundation (Linda Shelton, Executive Director) welcomes the return of Sankofa Danzafro with the company’s newest play, Accommodating Lie. Choreographed by artistic director Rafael Palacios, the company’s follow-up to Joyce’s 2018 debut will play at the Joyce Theater from February 15-20.

Tickets, which range in price from $10 to $55, can be purchased at www.Joyce.org or by calling JoyceCharge at 212-242-0800. Note: Ticket prices are subject to change. The Joyce Theater is located at 175 Eighth Avenue at West 19th Street.

For more information and to learn more about Joyce Theater’s detailed health and safety protocols, including required face coverings and proof of vaccination policies, please visit www.Joyce.org.

Rooted in powerful Afro-Colombian and Afro-contemporary dance, Rafael Palacios’ latest feature for Colombia-based Sankofa Danzafro, Accommodating Lie, challenges the “exotic” label Western colonial culture has assigned to black bodies. Uplifted by live music and song, the artists of Sankofa reclaim their representation through a series of emotional dances in which they embody decades of slavery and racism. Accommodating Lie is a powerful call for awareness that dismantles stereotypes and clichés about the black body throughout history and today.

To celebrate my recent 79th birthday, Tina and I attended two theatrical performances. On the first night we saw “Oklahoma,” presented by the Heartwood Regional Theater in Newcastle and featuring student actors from Lincoln Academy as well as home schooled students. The second night we saw “Cabaret”, hosted by Portland Players in South Portland.

Oh, what a treat it was to experience the live theater after the long hiatus forced by the pandemic.

“Oklahoma”, the Rodgers and Hammerstein musical that hit Broadway in 1943, is a national treasure, a wellness story with catchy numbers (eg “Oh, what a beautiful morning”, “Surrey with the bangs at the top ”and“ People Will Say We’re in Love ”), which has remained popular with domestic and international audiences.

It was a real treat to see 20 enthusiastic young people immerse themselves in the magic of “Oklahoma”. Kudos to Griff Braley, Artistic Director of the Heartwood Regional Theater, a master at harnessing the talents of actors, young and old. When I congratulated Griff after the show, he explained to me that two months earlier he wasn’t sure they had time to put together such an ambitious show. The students definitely seized the opportunity and lived up to Griff’s high standards.

I returned to see “Oklahoma” marveling at the impact Griff Braley had on young people for almost 40 years. In addition to developing their singing and acting skills, the students learned to work together towards a common goal. They gained confidence by performing in front of an audience. And they discovered the rewards that can be had when you push yourself harder than ever before.

“Cabaret” provided a very different, but equally compelling, theatrical experience. This daring musical is set in Berlin in 1929, as the Nazis rise to power. The Kit Kat Club serves as a metaphor for the disturbing political developments at the end of Weimar in Germany.

The talented cast of professional and semi-professional actors and dancers did a great job creating an ominous but sometimes manic tone as people struggled to deal with personal relationships as well as events in Germany during this time. Ray Dumont, a leading figure in theatrical circles in Maine, used his talents as a director and choreographer of the twenty actors and five musicians of “Cabaret”.

There was no encore at the end of the “Cabaret”, which was a brilliant decision for me. The overarching message (the threat of an emerging dictatorship) was to linger in the air, undiluted by loud applause from the audience, though the performers certainly deserved recognition.

I left “Cabaret” even more concerned about the future of democracy in America. Former White House chief of staff John Kelly noted that President Donald Trump had already praised Hitler, saying he had “done a lot of good things.” Bad things can happen when a charismatic leader without concern for legal niceties and without empathy manages to manipulate a large group of people to the point where dissent from the leader’s views is no longer tolerated.

Those who think comparing Hitler to Trump is too far a bridge might consider what is happening now in terms of behind-the-scenes maneuvering at the local, state and national levels. I really hope that my fears will prove to be unfounded. Meanwhile, all patriotic Americans must unite to ensure that in America the truth still counts, that the Constitution is still in force, and that democracy remains our best hope.

Thank you to the theater for helping us see the sun – and ourselves – through the raindrops.

David Treadwell, a writer from Brunswick, welcomes comments and suggestions for future “Just a Little Old” columns. [email protected]

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After months of pandemic-related delays, the metro area’s two main nightclubs – the Blue Strawberry nightclub in St. Louis’ Central West End and The Cabaret Project of St. Louis – are on the move again.

As Tim Schall, executive and artistic director of the latter, reminds us with irony: “What is the point of sitting alone in your room? Come listen to the music play! ”- referring to the title number in the classic Broadway musical Cabaret. Schall and Jim Dolan, founder of Blue Strawberry, have busy schedules through January – and beyond.

Both companies necessarily adhere to the pandemic protocols mandated by St. Louis. “We follow the policies on the sites where we produce, [namely] Jazz St. Louis and The Sheldon Concert Hall, ”says Schall. Both venues occupy the Grand Center Arts District – arguably the heart of the performing arts in St. Louis.

Specifically, clients must wear masks to enter and move around the premises but, once seated, may remove the masks. In addition, upon entry, customers over 11 must present proof of full COVID-19 vaccination or a negative COVID-19 test.

Blue Strawberry and The Cabaret Project both pivoted differently during the pandemic. Dolan says his venue closed for almost four months and explains, “We reopened as a piano bar in June 2020 with reduced capacity and hiding. “

Blue Strawberry, for its part, has adapted in other ways, notes Dolan: “We have expanded our offerings to include more R&B, blues, jazz, soul, folk, singer-songwriter. and rock. Blue Strawberry showcases a lot of local talent… and national tours as well.

The Royal Ballet modified the “harem scene” in The Nutcracker for the Christmas performance in order to “create an inclusive environment for performers and audiences”.

The scene was redesigned as a duo, instead of the usual three women and one man, for fear that it would be “offensive” in the middle. a redesign of a production staged for the first time in 1972.

The change comes after the bosses of the Scottish Ballet decided earlier this month to remove ‘cartoon elements’ from Arabic and Chinese footage after a review, some scenes revealed that some scenes “proliferated racial stereotypes”.

The changes to Sir Peter Wright’s Royal Ballet production were written by principal ballet master and lead artist Gary Avis, The Telegraph reported.

Tuesday night’s performance of The Nutcracker, the production’s premiere, saw only Melissa Hamilton and Lukas B Brændsrød perform the Arabic dance.

Tuesday night’s performance of The Nutcracker, the production’s first, saw only two dancers perform the Arabic dance after it was changed over fears it was “offensive”

A spokesperson for the Royal Ballet said: “The Royal Ballet regularly reviews the classical repertoire to ensure that these works remain fresh and as inclusive as possible for a wide audience.

“The Nutcracker is one of the best-known ballets and is the perfect introduction for a new audience to this art form.

‘Kevin O’Hare, director of the Royal Ballet, is keen to ensure that the elements of production are appropriate in the context of classical ballet.

“In an ongoing process of discussion with company members and guests, the Royal Ballet strives each season to create an inclusive environment for its performers and audiences.”

Earlier in November, the dance company announced changes characters, costumes and choreography would be brought to the stages of Candy Land in The Nutcracker, which will feature a cast of 40 children.

Act two of the ballet depicts different nationalities through “candy dances” including Spanish “chocolate”, Arabic “coffee” and Chinese “tea”.

Drosselmeyer, the enigmatic toy maker and 19th century ballet magician, will be played by male and female performers for the first time in the company’s history.

An official announcement earlier this month said: “The Nutcracker is a timeless festive story that has delighted audiences around the world for over a century.

“To make sure it remains relevant today and into the future, we continue to make subtle but important changes to certain characters, costumes and choreography.

“The enigmatic Drosselmeyer will, in this tour, be performed by male and female dancers.

And, as a result of ongoing consultations, the Chinese and Arabic-inspired entertainment in The Land of Sweets will have updated costumes and choreography to remove elements of caricature and better represent the culture and traditions that brought them to life. inspired. “

The dance company will remove “caricature elements” from the Arabic and Chinese sequences of The Nutcracker as part of a revamp of a production first staged in 1972. Pictured: Two dancers perform at the café , Arab dance, under the eyes of two ballerinas wearing white tutus sitting behind them. Italy, 2013

Last year, the Scottish Ballet admitted that its 50-year history “included outdated and racist artistic content”.

An article published on the Scottish Ballet website last year said: “Classical ballet and access to elite training have included racism: the proliferation of racial stereotypes (The Nutcracker and Petrushka are just some examples).

“By examining our own history, understanding and accepting how the Scottish Ballet has been part of and benefited from institutional and systemic racism, we hope to encourage others to do the same.”

Artistic Director Christopher Hampson said: “We had the opportunity to correct some of the choreography of The Nutcracker.

‘It was created at a time [in 1972] when it was acceptable to imitate cultures and represent them by imitation rather than by in-depth knowledge.

“It’s really about representation, knowing that we have done due diligence and that if we represent a culture then we are doing it authentically.

“I think the changes will make the production richer.

“Audiences are perhaps more likely to notice a difference in production on nights when Drosselmeyer is played by a woman.

“This change happened after I started watching who our heroes are in ballets. There was nothing in the role that made me think only a man could play it. I thought it might as well be a woman.

The company had previously pledged to ensure better representation of the Gypsy, Roma and traveler communities in The Snow Queen after being criticized last year.

He interviewed all staff, dancers and board members on anti-racism issues and also organized anti-racism workshops.

The first four shows of next year’s Adelaide Cabaret Festival are unveiled today, with new artistic director Tina’s Arena adding a twist to the Variety Gala and headlining her own heartfelt show.

Audiences will be treated to a double act of cabaret next year when the Adelaide Cabaret Festival again hosts the popular Variety Gala, but not as you know. Starting the winter cabaret season early, The 2022 Variety Gala will take place during the balmy March, for a one-night show celebrating the launch of the full festival program at the Festival Theater on Friday, March 25.

Always the glamor, red carpet event cabaret fans have come to love, charming host and comedian Paul McDermott as well as the incomparable Tina Arena will lead you astray with a selection of delicacies from the 2022 program, produced by Mitchell butel and under the musical direction of Marc Ferguson.

Bringing a touch of her Italian heritage to the program, audiences will have a rare chance to connect with Tina Arena on a personal level, as she makes headlines and hosts the show as a world premiere. Songs my mother taught me. With Tina and special guests Lior, Thank you, Jess hitchcock and Sophie Koh, this show celebrates culture, heritage and love and is inspired by storytelling and family. Two shows only at Her Majesty’s Theater on June 24 and 25 with additional programming to come… watch this space!

In a first in Adelaide, The Shànghǎi MiMi group starring award-winning singer Sophie Koh will transform The Famous Spiegeltent into a glamorous club, bringing to life the golden era of 1930s Shanghai. A zenith of talent and opportunity; the show tells how Shanghai became a magnet for foreign musicians in the famous Bund jazz halls performing alongside Chinese singers. An extraordinary woman and an exquisite performance on twenty intoxicating songs from the Paris of the East and conducted by John McAll from June 16 to 18.

Last but not least, next year’s new late-night hub – which is sure to be one of the city’s most popular tickets – will see The Famous Spiegeltent pay homage to disco icons at The Piña Colada room. Under a mirror ball sky, late night revelers can dance the night away to sounds that moved a generation, inspired artists, and created icons. With an ever-changing roster of DJs, cabaret stars and mischief-makers taking control of the club – no night will be the same. Until late June 10 to 25.

Adelaide Cabaret Festival Artistic Director Tina Arena is delighted to announce the first lineup of its inaugural program:

I can’t wait to return to Adelaide and lose yourself in a decadent world of pure magic, glamor and festivities! Starting with The Variety Gala in March, I hope this is a time to celebrate and bring the audience together, as we give you a preview of what’s to come in June of next year.

Join me as I take you back to my most beloved childhood songs my mother taught me and ask Australian cabaret performers to share their stories and legacy in Songs My Mother Taught Me. The talented musician Sophie Koh and the group will transport you back in time and The Pina Colada Room will be the place to be, come those chilly cabaret nights.

From intimate evenings with some of the world’s best performers to wild nights under disco lights, next year’s schedule will be full of provocation and pizazz. I can’t wait to see you there!

Tickets for the preview shows on sale November 8 from 11 a.m. (ACST) at adelaidecabaretfestival.com.au

Tickets for the Piña Colada Hall are only available as part of our first outing when purchasing for another performance. Single tickets for the Piña Colada hall will go on sale in 2022.

The 2022 Variety Gala will take place at the Festival Theater on March 25 at 7:30 p.m.

The world’s biggest and best cabaret festival kicks off June 10-25, 2022

After a “season of interlude” of self-assessment and strategic planning at the height of the COVID-19 pandemic, Houston Early Music is now presenting live performances. The 2021-2022 season, Finding Enchantment and Renewal with Houston Early Music, reflects the organization’s new start and the innovative vision that guides its programming.

“This season’s offerings are deeply engaging and enchanting: an essential part of keeping spirits up through this next level of global angst,” said Houston Early Music Artistic Director and Executive Deborah Dunham. “While challenges persist, Houston Early Music firmly maintains our mission as a presenting organization to bring the best artists on an international tour of historically informed performances to Houston.”

Houston Early Music presented the first in-person performance of the season, The Baroque-Carnatic Music Connection: Cross-Cultural Musical Discoveries, in collaboration with Silambam Houston last month. The performance explored the parallels and differences between classical music from South India and pieces from the European Baroque era (1600-1750). This provocative event was also broadcast live to viewers in India and received overwhelmingly positive responses.

The 2021-2022 season will continue at 7:30 p.m. on Saturday, November 6, when Houston Early Music presents Kleine Kammermusik, an ensemble known for its inventive programming and imaginative use of space to create fresh and entertaining events with a historic flavor. distinctive.

During its concert at Lambert Hall in Houston Heights, the ensemble will present the jewels of the wind chamber of two high baroque figures: Johann Sebastian Bach and Jan Dismas Zelenka. Each composer has a heritage of deep counterpoint – putting different melodic lines against each other – and also for brilliant melody, skillful harmonic interaction and musical drama.

“Most know Bach, but not everyone knows Zelenka,” Dunham said. “He grew up in Bohemia (now in the Czech Republic) and spent his professional life in Dresden, Germany. There is an exotic touch in Zelenka’s music; it is extremely attractive.

Houston Early Music’s full 2021-2022 season is described below.

KLEINE KAMMERMUSIK – The Art of Counterpoint: Bach & Zelenka

Kleine Kammermusik is dedicated to reviving the richness of Baroque chamber music for winds and basso continuo (a basic group of instruments, typically comprising a harpsichord and a bowed bass instrument).

The ensemble’s first recording, Fanfare and Filigree: Chamber Music from Paris and Dresden, was recently released on the Acis label and received accolades from Early Music America Magazine, Colorado Public Radio and BBC Radio.

Kleine Kammermusik’s upcoming concert in Houston shows how the distinctive personalities of Bach and Zelenka – who knew and admired each other – led to equally complex and dazzling styles of counterpoint.

The show will begin at 7:30 p.m. on Saturday, November 6 at Lambert Hall, 1703 Heights Blvd. in Houston, 77008.

ISTANPITTA and KINDER HSPVA MADRIGAL SINGERS – Bonus concert: Now let’s celebrate!

Join Houston Early Music for “madrigals, music and fun,” followed by wassail and holiday treats.

General admission is $ 35; tickets are $ 10 for students and FREE for Houston Early Music Gold Level members.

The performance begins at 2:30 p.m. on Sunday, December 12 at the University of Houston Chapel, AD Bruce Religion Center, 3841 Cullen Blvd., Houston, 77004.

SEVERAL FRIENDS and reader JONATHAN RICHARDS – The shadow of the night: mysticism and magic in medieval music

This presentation incorporates excerpts from contemporary diaries, plays, poetry and music dating back to 17th century England, revealing a widespread interest in magic of all kinds.

Manyl Friends is a consortium of musicians based in Santa Fe, New Mexico, who play a wide range of early music. Actor Jonathan Richards has appeared in leading roles on the Santa Fe stage and is a founding member of the New Mexico Actors Lab.

The concert is scheduled for 7:30 p.m. on Saturday, January 22, 2022 at the Evelyn Rubenstein Jewish Community Center at the Kaplan Theater in Houston, 5601 S. Braeswood Blvd., Houston, 77096. The Moore School of Music at the University of Houston will host a lecture -demonstration by Mary Springfels and the members of Manyl Friends on January 20th. The time will be announced closer to the event.

TABEA DEBUS, recorder, and ALON SARIEL, archilute – Presentation of Tabea Debus: Recorder Extraordinaire

Described as a “charismatic virtuoso,” Tabea Debus constantly explores the horizons of recorder music and has performed widely in Europe and Asia, as well as Colombia and the United States. The award-winning artist is a regular guest on BBC Radio 3’s “In Tune and Early Music Show” and has released five solo records. In 2019, Debus won the International Concert Artists Guild (CAG) Competition and she is now on the CAG’s list.

Debus’s American tour, Ohrwurm, explores how popular arias and dances “found their way” into many aspects of musical creation in 17th and 18th century Europe.

Debus will be accompanied by lutenist Alon Sariel, also mandolinist and conductor. Sariel has toured in Asia, Europe, United States, Mexico, South America and South Africa. He resides in Hanover, Germany, where he is musical director of the international baroque orchestra Concerto Foscari and founding member of the PRISMA quartet.

The concert will begin at 7:30 p.m. on Tuesday, March 29, 2022 at the Live Oaks Friends Meeting House, 1318 W. 26th St., Houston, 77008. Tickets for the concerts in the 2021-2022 season are $ 50 for the public, 20 $ for students, and $ 40 for people aged 60 and over.

Tickets for the Houston Early Music Special Event, ISTANPITTA and KINDER HSPVA MADRIGAL SINGERS – Now Make We Joy !, are $ 35 for audiences, $ 10 for students, and FREE for Houston Early Music Gold members.

Buy tickets at https://houstonearlymusic.ludus.com.

Seasonal subscriptions and Discovery subscriptions are also available. Visit https://www.houstonearlymusic.org for more details.

Producers Barry Diller, David Geffen and Kate Horton today announced the full cast of the highly anticipated Meredith Willson revival. The man of music. Twice featuring Tony Award^®, Grammy Award^®, and Emmy Award^®-winning star Hugh Jackman as Professor Harold Hill, and also starring two-time Tony Award winner Sutton Foster as Marian Paroo, a preview performance of The man of music are scheduled to begin on Monday, December 20, 2021, with an opening night slated for Thursday, February 10, 2022 at the Winter Garden Theater (1634 Broadway).

Jerry Zaks commented: ““The man of music is Valentine’s Day in America, the story of two people who can’t help but fall in love with each other. We’ve put together the kind of irresistible cast that our audiences would, similarly, fall hopelessly and hopelessly in love night after night. I feel so lucky to chair this remarkable group of performers.

The production, directed by four-time Tony Award winner Jerry Zaks, with choreography by Tony Award winner Warren Carlyle, will also star, as previously announced, Tony Award winner Shuler Hensley as Marcellus Washburn, the Tony Award winner Jefferson Mays as Mayor Shinn, Tony Award winner Jayne Houdyshell as Ms Shinn and Tony Award winner Marie Mullen as Ms Paroo. Remy Auberjonois as Charlie Cowell, Gino Cosculluela as Tommy Djilas and Emma Crow as Zaneeta Shinn will join the main cast. Benjamin Pajak as Winthrop, Kayla Teruel as Amaryllis, Garrett Long as Ethel Toffelmier, Linda Mugleston as Alma Hix, Jessica Sheridan as Maud Dunlop, Rema Webb as Mrs. Squires, Phillip Boykin as Olin Britt, Eddie Korbich as Jacey Squires join the cast, Daniel Torres as Ewart Dunlop, Nicholas Ward as Oliver Hix, and Nick Alvino, Jordan Beall, Ronnie S. Bowman Jr., Maria Briggs, Audrey Cardwell, JT Church, Max Clayton, Kammie Crum, Aydin Eyikan, Carlee Flanagan, Ethen Green -Younger , Emily Hoder, Curtis Holland, Eloise Kropp, Ethan Lafazan, Kayla LaVine, Andrew Minard, Sean Montgomery, Tanner Quirk, Lance Roberts, Daniel Patrick Russell, Ann Sanders, Sherisse Springer, Mitchell Tobin, Kathy Voytko, Branch Woodman and Ryan Worsing Complete all.

One of the most universally cherished treasures of American musical theater, The man of music was an instant hit when it premiered on Broadway on December 19, 1957. It won five Tony Awards, including Best Musical, and ran for 1,375 performances. The cast’s original album took No. 1 on the Billboard charts and remained on the album charts for 245 weeks. The recording won the cast’s first-ever Grammy Award for Best Original Album. Smithsonian Institution Rankings The man of music as one of the “great glories of American popular culture”.

The man of music unites the Tony Award-winning and record-breaking renaissance creative team Hello Dolly! with Bette Midler, including (in addition to Zaks and Carlyle), Santo Loquasto, four-time Tony Award winner (Scenic & Costume Design), Scott Lehrer (Sound Design), David Chase (Vocal and Dance Arrangements) and Luc Verschueren for Campbell Young and Associates (hair, wigs and makeup). Tony Award winner Jonathan Tunick will create Orchestrations, and Patrick Vaccariello and five-time Tony Award winner Brian MacDevitt will join the team as The man of musicrespectively musical director and lighting designer.

Producers Lia Vollack Productions and The Michael Jackson Estate announced today that Walter Russell III of Harlem, New York, and Christian Wilson of Norfolk, Virginia, will alternate as “Little Michael”. Devin Trey Campbell from the Bronx, New York, has also been announced, who will play the role of “Little Marlon” in the highly anticipated new musical, MJ. Inspired by the life and art of Michael Jackson, MJ will begin Broadway performances on December 6, 2021, with an opening night slated for Tuesday February 1, 2022, at the newly renovated Neil Simon Theater (250 W 52^sd Street).

MJ Presents Pulitzer Prize Book Twice^® winner Lynn Nottage and a sheet music consisting of some of the best-loved and best-selling songs in recording history. Tony Award winner Christopher Wheeldon will direct and choreograph.

The cast is by The Telsey Office, Rachel Hoffman.

Producer / Creator Holly-Anne Devlin and Bond 45 (221 W 46^e Street) announced today that Speakeasy – Times Square, an all-in-one immersive mixology experience that combines the worlds of burlesque, circus, illusionists and musical theater with a decadent cocktail, dining and nightclub experience, will return by popular demand following a summer engagement at ticket offices closed. Speakeasy will resume performances on Friday November 12, 2021 at 8 p.m. Tickets are now on sale.

Enter Madame Lulu’s scorching Storyville Speakeasy, a world of magic and mixology where sweatshop sirens rule the night and celebration is not only encouraged but expected. An unforgettable evening of electrifying performances, five finely crafted cocktails and a delicious appetizer from Bond 45’s world-class culinary team, Speakeasy is led by Holly Anne Devlin, with musical direction by Dan Garmon, costume design by Tristan Raines, lighting design by Joe Beumer, video and projection designs by Joey Moro, sound design by Walter Trarbach, directing by Franny Fernandez, with Josh Roberts on drums and Tony Glausi on trumpet.

Speakeasy presents the best circus, burlesque and theater artists in the world. Broadway veterans join the company Kristin yancy (The Cher Show, summer) as Bessie Bourbon; three-time winner of the Burlesque Hall of Fame, Lou Lou D’vil; acrobatic duo defying gravity, Bassam kubba and Roman mendel; queen of nightlife, Melike Konur; pole & tip artist, Làszlò Major; international burlesque sensation, dirty Martini; striptease artist, Mike Pugliese; renowned contortionist, Allison schieler; and fire and circus artist, Syrena; The cast will also include returning favorites, including Broadway and Off-Broadway favorites. Joey taranto (Kinky Boots); Sarah meahl (Waitress) as Imogen; Lauren Mary Moore (Mom Mia!) as Fleur de Lys; Megan Campbell (Chicago) as Estée; dance star, Alec Varcas (Aladdin); tap-dancing sensation, Omar Edwards (Bring Da Noise); and Oscar in the crown Star, Jada temple as mistress of ceremony, Madame Lulu; with internationally renowned burlesque artists, Tansy Burlesque, Audrey Amour, Miss Miranda, and Peekaboo Pointe; with fashion dancer, Karma Stylez; contortionist “America’s Got Talent”, Aryne; and the brilliant pole artist and opera singer, Gaga Opera. Special surprise guest stars from Broadway will also make appearances throughout the race.

Shows Speakeasy start on Friday, November 12, 2021 and perform on Friday and Saturday evenings at 8 p.m. with additional performances on Wednesday, November 24; Sunday December 19; Monday, December 20; Tuesday December 21; and Wednesday, December 22. Tickets start at $ 85 on TodayTix and include a sinful snack and five decadent signature cocktails designed by the master mixologists at Fireman Hospitality Group. Meal packages are available before and after the show to complete the dinner club experience.

The Congress for Jewish Culture was commissioned to present the 2013 off-Broadway Yiddish staging by director Moshe Yassur. Waiting for Gadot at the prestigious Royal Dramatic Theater in Stockholm, Sweden, next month. Shane Baker’s iconic Yiddish translation of Samuel Beckett’s very first Yiddish-language production to appear at the Royal Dramatic Theater in Stockholm. The show stars Michael Wex as Tarragon and Shane Baker as Vladimir, along with Allen Lewis Rickman, Luzer Twersky and Nicholas Jenkins. For more information visit www.dramaten.se/en/repertoire/en-attente-de-godot. Founded in 1948, the Congress for Jewish Culture is a New York-based secular organization dedicated to its long-standing commitment to enriching Yiddish culture around the world. This spring, Congress will present the Off-Broadway premiere of longtime comedy smash Gasoline, which has sold out for over a decade in the North East and Europe.

RED BULL THEATER (Jesse Berger, Founder & Artistic Director | Jim Bredeson, Managing Director) cordially invites you to the world premiere of an all-new adaptation of Ben Jonson’s classic comedy, The alchemist, adapted by Jeffrey Hatcher and directed by Jesse Berger, the team that created the hit comedy The government inspector.

Featured in the cast will be Nathan Christopher (debut Red Bull); Stephen DeRosa (Red Bull: Government inspector; Broadway: Gary: A sequel to Titus Andronicus, The Nance, Into the Woods, The Man Who Came to Dinner); Carson Elrod (Bway: Peter and the Starcatcher, reckless, silent; Off road : The storm, measure for measure, all’s well that ends well – NYSF; The liar, the heir apparent – SCC); Manoel Felciano (Red Bull: The Changeling; Bway: To kill a mockingbird, Amélie, Sweeney Todd – Tony nomination); Teresa Avia Lim (Bway: Junk – Lincoln Center Theater; Off road : Caesar and Cleopatra – GTG, The Tamed Shrew – Public theater); Jacob Ming-Trent (Falstaff in Shakespeare in the Park’s Happy wives, Lortel Prize Winner – Father comes home from wars…, Panda in HBO’s “Watchmen”); Louis Mustillo (“Mike and Molly”, Bartenders – OCC Nomination Best Solo Performance); Reg Rogers (Bway: Tootsie, the royal family – appointments to the COC; The ice man comes, the laughter present, the big knifeand Holiday – Tony and Drama Desk appointments. Glare – OBIE and Lucille Lortel Prize); Jennifer Sánchez (Bway: Attractive woman standing, women on the verge of nervous breakdown); and Allen Tedder (Bway: Kill a mockingbird, King Lear – Shakespeare in the park).

Performances will be held at New World Stages (340 West 50th Street) for limited Off-Broadway engagement, until December 19 only. The opening night is set for Sunday, November 21.

Arthur Hanket and Katrina Ferguson in the North Coast Repertory Theater production of “Moon Over Buffalo” in Solana Beach, California. Photo by Aaron Rumley via KenLudwig.com

The Oregon Cabaret Theater has announced its 37th season, including an expansion to a sixth show in 2022, “White Christmas,” which will be performed at the Thomas Theater at the Oregon Shakespeare Festival.

The Cabaret‘s first show of the 2022 season, “Moon Over Buffalo”, is an on-stage prank of comic book mastermind Ken Ludwig, author of the theatrical hits “Lend Me a Tenor”, “Leading Ladies” and “Baskerville”. In the show, declining stars of the 1950s George and Charlotte Hay perform “Private Lives” and “Cyrano De Bergerac” performing in Buffalo, New York, with five actors. On the verge of a disastrous breakup caused by George’s flirtation with a young ingenuous, they learn that they might just have one last chance to become a star: Frank Capra comes to town to see their matinee, and if he likes it. he sees, he could throw them in his remake of “The Scarlet Pimpernel”. Sadly, for George and Charlotte, anything that could go wrong goes wrong, encouraged by the visit of their daughter’s ignorant fiancé and the uncertainty as to which play they are actually performing. “Moon Over Buffalo” opens February 10 and runs until April 10, 2022.

The Cabaret Spring Show will be the 2008 Tony Award winner for Best Musical, “In the Heights”. Before “Hamilton,” Broadway prodigy Lin-Manuel Miranda created this musical set in a vibrant community in New York’s Washington Heights neighborhood – a place where the local bodega’s coffee is light and sweet, windows are always open and the breeze carries the rhythm of three generations of music. It’s set in a community on the brink of change, and its main characters grapple with what they’ll take with them and what they’ll leave behind. “In the Heights” will be played from April 21 to June 19.

Playing from June 30 to September 4, the Cabaret offers a musical that it had initially promised to the public in 2020 – “The Full Monty”. While spying on their wives on a “girls’ night out,” a group of unemployed Buffalo steelworkers see how women enjoy watching strippers. Jealous, out of work, and feeling emasculated, the men find a daring, stripped-down way to make a quick buck – a strip show of their own. Based on the hit film of the same name, “The Full Monty,” was nominated for 10 Tony Award nominees when it arrived on Broadway in 2002.

The fourth show of the season will be the world premiere adaptation, “Sherlock Holmes and the Final Adventure”. Sherlock Holmes’ skills are put to the test when he takes on his intellectual equal, the criminal mastermind, Professor Moriarty. After repeated attempts against his life, Holmes is joined by his recently married friend Dr Watson and the two attempt to thwart the professor’s plans on a continent-wide theatrical adventure that takes audiences to the safety of the Holmes’ apartment at 221B Baker Street in the heights of Reichenbach Falls in Switzerland. “Sherlock Holmes and the Final Adventure” will run from September 15 to November 6.

The holiday show that will be performed in the Cabaret will be “A Christmas Carol”, which will run from November 17th to December 31st. Charles Dickens’ famous holiday ghost story is a haunting tale of that fateful Christmas Eve where grumpy miser Ebenezer Scrooge is visited by his former business partner, Jacob Marley. Scrooge is told to expect three spirits to haunt him – the Christmas spirits past, present, and future – destined to put Ebenezer on the unlikely path of redemption.

In addition to the five shows slated for production at the Cabaret, the company is producing a sixth show, “White Christmas,” which will be presented at the Thomas Theater at OSF from December 1 to January 1, 2023. Veterans Bob Wallace and Phil Davis have a successful song and dance number after WWII. With romance in mind, the two follow a duo of beautiful singing sisters on their way to their Christmas show at a lodge in Vermont, which happens to be owned by former army commander Bob and Phil, who is in desperate need of help with his struggling lodge. . Irving Berlin’s score features well-known standards including “Blue Skies”, “I Love A Piano”, “How Deep Is the Ocean” and the perennial favorite, “White Christmas”.

“The Cabaret and the OSF are excited to make Ashland a destination during the holiday season,” said OCT General Manager Rick Robinson. “Our small town, seasonally lit up is magical this time of year, and now with three professional shows happening at the same time here during the holidays, people can come to town and have their fill of laughs with it. “It’s Christmas, Carol ‘at OSF, the delicious music of’ White Christmas ‘produced by the Cabaret at the Thomas Theater of OSF, and the classic redemption story of Charles Dickens’ ‘A Christmas Carol’ at the Cabaret – all of it. in a weekend. It’s our combined hope that more theater means more tourists – and more people in Ashland’s shops and restaurants.

“Our theme for our 2022 season is to dream big,” says artistic director Valérie Rachelle. “The realities of post-COVID reconstruction suggest that we are sticking with smaller stories and smaller distributions, but that’s not really who we are. We want to do amazing things next year, things you wouldn’t think possible.

The ticket booth located at the corner of First and Hargadine streets in Ashland is currently closed to walk-in traffic due to COVID-19 restrictions. However, tickets and more information on current shows and 2022 programming are available online at oregoncabaret.com or by calling 541-488-2902.