by Jason Kappus, Ensemble in LEGALLY BLONDE THE MUSICAL
How I Got the Job - Part 1: The Real Audition
or "You Gotta Fight to be Legally Blonde"
My life changed at the Starbucks on 43rd and 9th in Manhattan... but that's jumping a little far ahead.
This past summer, I had the amazing privilege of spending most of the beautiful Seattle sunny days in basement rooms rehearsing Catch Me if You Can at The 5th Avenue. Spending two months working with some of the best in the business (on both sides of the table) was a dream come true and stands out as a highlight of my Seattle career.
Our choreographer for Catch Me was the brilliant Jerry Mitchell, one of the foremost Broadway choreographers today - who had recently made his Broadway directorial debut with Legally Blonde The Musical (he also did the choreography).
Jerry and I had a couple of talks over the summer about my career: about my "type," some advice, some ideas on projects and roles for which I should angle. In one of these talks, he mentioned that I could be a good fit for the national tour of Legally Blonde. I said "That would be awesome!" or something similarly ecstatic while trying to sound calm and cool.
Now, I was already determined to do a good job and make a good impression with "the New York folks" coming into Catch Me, so now with some extra motivation, well... needless to say, I worked my butt off. (Literally. I lost almost 10 pounds just doing Jerry's crazy-fast high-energy choreography.)
As any of you who saw Catch Me can probably imagine, we had a blast. The whole process was an amazing experience, and everyone's hard work and love paid off in many ways. For my part, Jerry and I talked a couple more times about New York and the future, and he referred me to the casting director for Legally Blonde (one Justin Huff). Through talking with the both of them, it became pretty clear that they were interested in looking at me for the show, and that I would get a call to come to NY to audition once the right spot opened up.
Then Catch Me ended, we all went our seperate ways, and I waited...
(to be continued...)
Showing posts with label catch me if you can. Show all posts
Showing posts with label catch me if you can. Show all posts
Monday, February 8, 2010
Wednesday, June 24, 2009
Cohesive Ensemble by Mo Brady
Last week's rehearsals were about getting comfortable - but this week we began to delve deeper!
Since the ensemble learned most of our material last week, we spent the first half of this week "cleaning" - specifying movements and music, so we all are sure where our arms are exactly placed on a jump, or that the vocal cut-off is on the second beat of a measure.
It is a taxing process to run and re-run a number, but the repetition builds your stamina to be performance-ready, and helps us to move together and become a coheisive ensemble.
On Saturday morning, the full company began stringing the show together in order. Beforehand, we had worked songs and scenework in seperate rooms simultaneously. Now, starting from the top of the show, Jack put the scenes on their feet, giving us entrances and exits, and seeing how the show would move.
Once we had initial blocking for a few scenes, we would go back and run it again.
And again.
And again.
The opportunity to run the scenes in sequence allows us to find the flow of the show, and begin creating the arc we will take audiences on, only a month from now.
Running a number multiple times also allows an actor to clarify the song's emotional journey. Each time we review a number, I've focused on specifying the intentions played in each scene.
While all of our songs certainly have a presentational element, each one has a different underlying tone that fuels the plot further forward. As we incorporate Jack's guidance with the staging, we find where the direction motivates specific movement, and visa versa. The ultimate goal being a throughline where the movements and motivation work seemlessly together.
Since the ensemble learned most of our material last week, we spent the first half of this week "cleaning" - specifying movements and music, so we all are sure where our arms are exactly placed on a jump, or that the vocal cut-off is on the second beat of a measure.
It is a taxing process to run and re-run a number, but the repetition builds your stamina to be performance-ready, and helps us to move together and become a coheisive ensemble.
On Saturday morning, the full company began stringing the show together in order. Beforehand, we had worked songs and scenework in seperate rooms simultaneously. Now, starting from the top of the show, Jack put the scenes on their feet, giving us entrances and exits, and seeing how the show would move.
Once we had initial blocking for a few scenes, we would go back and run it again.
And again.
And again.
The opportunity to run the scenes in sequence allows us to find the flow of the show, and begin creating the arc we will take audiences on, only a month from now.
Running a number multiple times also allows an actor to clarify the song's emotional journey. Each time we review a number, I've focused on specifying the intentions played in each scene.
While all of our songs certainly have a presentational element, each one has a different underlying tone that fuels the plot further forward. As we incorporate Jack's guidance with the staging, we find where the direction motivates specific movement, and visa versa. The ultimate goal being a throughline where the movements and motivation work seemlessly together.
Tuesday, June 16, 2009
Buzz in the air - by Mo Brady
I had been looking forward to June 9, 2009 for a long time. Well, about five months actually. I got the call to join the cast of the world premiere of Catch Me If You Can in early January, and the subsequent months have been filled with anticipation, pride, and preparation for our first rehearsal. So, to say the least, it has been thrilling to finally be in the rehearsal room and start working on this show.
I would say the biggest surprise about the rehearsals so far has been how comfortable they have been. In many ways, we're just putting up another show. This production feels similar to the other four 5th Avenue shows I've been a part of this year. Last season, DAT5 has become a second home, so I feel very comfortable and capable within its walls. I walk the halls of the theatre with a familiarity and an ease that allows me not to be flustered by the amount of star power we have in our rehearsals.
It's not just the space that feels comfortable, but also the people. I look around rehearsals and see many familiar faces: two of my Pontipee brothers, Karl Warden, Kyle Vaughn, along with Shanna Palmer from Seven Brides for Seven Brothers, one of my oldest friends, Jason Kappus, who I first shared The5th Avenue stage with in West Side Story, stage managers Amy Gornet and Bret Torbeck, who I had the pleasure to work with on both Sunday in the Park with George and Seven Brides for Seven Brothers last season. Even our rehearsal accompanist, Dwight Beckmeyer, is a familiar face from many previous productions (it seems that the theatre can't get rid of either of us!)
We spent the first week of rehearsal doing what we do at the beginning of every rehearsal process: learning the material. The week was filled with constant music rehearsals and choreography sessions. The learning curve is steep but nothing out of the ordinary, although Marc Shaiman's ensemble voicings are surprisingly difficult to pick up (I'm not used to being so challenged by note memorization, but his jazz-infused score is full of surprises.)
The choreography sessions consist of learning patterns: small snippets of moves that Jerry Mitchell then tries on different people in different positions in different spaces on the stage. The challenge of those rehearsals has not only been remembering the steps, but which version of the steps we last tried.
And while a lot of what we've done feels normal, there is a buzz in the air. It's an excitement that permeates each day of rehearsal, one that I've never felt in a rehearsal process before. We are putting this show on its feet for the very first time. And while I will be careful not to jinx our show, there is so much talent in rehearsals that I can't imagine how we could go wrong.
Everybody, from writers Marc Shaiman (music & lyrics), Scott Wittman (lyrics), and Terrence McNally (book), to director Jack O'Brien, choreographer Jerry Mitchell and musical director John McDaniel, down to our ensemble, is highly capable, highly inventive, and highly passionate about this story. And yet, at this point, there are more questions than answers about the show. This week, a lot time was spent this first week discussing the tone of the show: while the creative team seems pretty clear about the story they want to tell, they are still creating the way in which that story will be told.
It is the exploration of how to tell this story that has been the most exciting part of our rehearsals thus far. During our final rehearsal of the week, the entire company sat around in chairs, reading through the script and singing the songs. When actors had lines or songs, they would go into the middle of the circle and act their material from there. And at the end of each scene, Jack would give a few pieces of direction, or comment on the tone of a song or a line. It honestly felt like we were creating the show right then and there. For my part, his thoughts about the ensemble and our motivation to tell Frank Jr.'s story were elegant and powerful. Suddenly, I was seeing the material we had spent all week on in a new light, which made each song more poignant and vital.
It was a fantastic end to a thrilling week. And I'm looking forward to June 16, June 17, June 18.... and beyond.
I would say the biggest surprise about the rehearsals so far has been how comfortable they have been. In many ways, we're just putting up another show. This production feels similar to the other four 5th Avenue shows I've been a part of this year. Last season, DAT5 has become a second home, so I feel very comfortable and capable within its walls. I walk the halls of the theatre with a familiarity and an ease that allows me not to be flustered by the amount of star power we have in our rehearsals.
It's not just the space that feels comfortable, but also the people. I look around rehearsals and see many familiar faces: two of my Pontipee brothers, Karl Warden, Kyle Vaughn, along with Shanna Palmer from Seven Brides for Seven Brothers, one of my oldest friends, Jason Kappus, who I first shared The5th Avenue stage with in West Side Story, stage managers Amy Gornet and Bret Torbeck, who I had the pleasure to work with on both Sunday in the Park with George and Seven Brides for Seven Brothers last season. Even our rehearsal accompanist, Dwight Beckmeyer, is a familiar face from many previous productions (it seems that the theatre can't get rid of either of us!)
We spent the first week of rehearsal doing what we do at the beginning of every rehearsal process: learning the material. The week was filled with constant music rehearsals and choreography sessions. The learning curve is steep but nothing out of the ordinary, although Marc Shaiman's ensemble voicings are surprisingly difficult to pick up (I'm not used to being so challenged by note memorization, but his jazz-infused score is full of surprises.)
The choreography sessions consist of learning patterns: small snippets of moves that Jerry Mitchell then tries on different people in different positions in different spaces on the stage. The challenge of those rehearsals has not only been remembering the steps, but which version of the steps we last tried.
And while a lot of what we've done feels normal, there is a buzz in the air. It's an excitement that permeates each day of rehearsal, one that I've never felt in a rehearsal process before. We are putting this show on its feet for the very first time. And while I will be careful not to jinx our show, there is so much talent in rehearsals that I can't imagine how we could go wrong.
Everybody, from writers Marc Shaiman (music & lyrics), Scott Wittman (lyrics), and Terrence McNally (book), to director Jack O'Brien, choreographer Jerry Mitchell and musical director John McDaniel, down to our ensemble, is highly capable, highly inventive, and highly passionate about this story. And yet, at this point, there are more questions than answers about the show. This week, a lot time was spent this first week discussing the tone of the show: while the creative team seems pretty clear about the story they want to tell, they are still creating the way in which that story will be told.
It is the exploration of how to tell this story that has been the most exciting part of our rehearsals thus far. During our final rehearsal of the week, the entire company sat around in chairs, reading through the script and singing the songs. When actors had lines or songs, they would go into the middle of the circle and act their material from there. And at the end of each scene, Jack would give a few pieces of direction, or comment on the tone of a song or a line. It honestly felt like we were creating the show right then and there. For my part, his thoughts about the ensemble and our motivation to tell Frank Jr.'s story were elegant and powerful. Suddenly, I was seeing the material we had spent all week on in a new light, which made each song more poignant and vital.
It was a fantastic end to a thrilling week. And I'm looking forward to June 16, June 17, June 18.... and beyond.
Thursday, March 12, 2009
Broadway's Next To Normal has Seattle ties
Written by 5th Avenue staff member, Brandon Ivie on 3/12/09:
I am very excited to report that I will be in NYC working on the Broadway production of the new musical NEXT TO NORMAL in March and April. I will be the writer’s assistant helping make changes to the script and score while its in flux and development.
There’s quite the Seattle contingent working on the show. Along with myself, Louis Hobson (Cliff in Cabaret, Tony in West Side Story, etc) is in the cast and Brian Yorkey (previous Associate Artistic Director at Village Theatre) wrote the book and lyrics. I’ll also be able to hang out with cast member Aaron Tveit, who will be the lead here in CATCH ME IF YOU CAN this summer. I’m very excited, as I’ve been following the show since it had its very first reading under a different name here in Seattle around 6 years ago. Its a really fantastic new musical and I’m so happy I’m able to work on it.
For more info on the show and such, click here.
I am very excited to report that I will be in NYC working on the Broadway production of the new musical NEXT TO NORMAL in March and April. I will be the writer’s assistant helping make changes to the script and score while its in flux and development.
There’s quite the Seattle contingent working on the show. Along with myself, Louis Hobson (Cliff in Cabaret, Tony in West Side Story, etc) is in the cast and Brian Yorkey (previous Associate Artistic Director at Village Theatre) wrote the book and lyrics. I’ll also be able to hang out with cast member Aaron Tveit, who will be the lead here in CATCH ME IF YOU CAN this summer. I’m very excited, as I’ve been following the show since it had its very first reading under a different name here in Seattle around 6 years ago. Its a really fantastic new musical and I’m so happy I’m able to work on it.
For more info on the show and such, click here.
Thursday, March 5, 2009
The 5th’s 2009-2010 Season: A Full-Color Palette of Comedy, Drama, and Gorgeous Music!
The 5th’s 2009-2010 Season: A Full-Color Palette of Comedy, Drama, and Gorgeous Music!
Seattle’s premiere home of musical theater celebrates its 29th Season with an exciting mix of the contemporary and the classic
SEATTLE – The 5th Avenue has announced the seven productions that make up their 2009–2010 Season, which include the company’s trademark mix of world premieres, the hottest shows direct from Broadway, and classics from the Golden Age of musicals featuring Seattle’s favorite performers and artists.
The season opens with the exciting World Premiere musical Catch Me If You Can, based on the acclaimed Steven Spielberg film and the incredible true story that inspired it, and featuring a blockbuster creative team that includes many of the amazing talents who gave us Hairspray. With music by Marc Shaiman and lyrics by Scott Wittman and Shaiman and a book by Terrence McNally, this brand new musical follows the unlikely adventures of a young man who creates an astonishing array of identities—airline pilot, doctor, lawyer—none of which he has any qualifications for! Directed by Jack O’Brien with choreography by Jerry Mitchell, this new musical is certain to be the theatrical event of the year. And once again Seattle will see it first!
Next up is the first ever 5th Avenue Theatre production of Andrew Lloyd Webber and Tim Rice’s contemporary classic Joseph And The Amazing Technicolor Dreamcoat. With music that runs the gamut from Pop to Country to Calypso to Rock & Roll, the musical re-tells the Biblical tale of Joseph, his many brothers, and that spectacular coat, in a vibrant and sometimes hilarious new way that gives new life to a perennial family favorite.
Then just in time for the holidays returns one of our most popular and beloved productions ever, Irving Berlin’s White Christmas. The story of two ex-soldiers who pursue a pair of lovely ladies right to the lodge that their ex-commanding officer is running is a song-and-dance extravaganza featuring dazzling sets, gorgeous costumes and a timeless hit parade of toe-tapping Irving Berlin tunes including “Blue Skies,” “Sisters, “Count Your Blessings” and, of course, the immortal title song. This show played to large and enthusiastic audiences here in its premiere in Seattle back in 2006, and had a similar reception on Broadway this past winter. Now it returns in a brand-new production with all of your old favorites still intact.
If you’ve still got any winter blues left over, than prepare to banish them with the national tour of one of the most acclaimed revivals in Broadway history, the Lincoln Center Theater production of Rodgers and Hammerstein’s South Pacific, directed by Intiman Theatre’s Artistic Director Bartlett Sher. This production was awarded seven 2008 Tonys (including Best Revival and Best Director) and has been playing to sold-out audiences in New York since March of last year, and now Seattle audiences get their first glance at a show of which New York Times critic Ben Brantley said “I know we’re not supposed to expect perfection in this imperfect world, but I’m darned if I can find one serious flaw in this production.” With an extraordinary score including “Some Enchanted Evening,” “Bali Ha'i,” “There Is Nothin' Like A Dame,” and “A Wonderful Guy,” South Pacific is also a deeply felt drama. Its portrayal of American soldiers living in a beautiful but alien paradise is as relevant today as when it first thrilled audiences in 1949.
Next up we “think pink” with the Seattle premiere of Legally Blonde The Musical, a high-energy rush of sheer adrenaline and excitement. Inspired by the hilarious movie, this recent Broadway hit follows the trail from sorority house to hallowed halls of justice blazed by Elle Woods, one of the brightest and blondest heroines ever to grace a musical comedy. With its dazzling production, kinetic dancing and pop infused score, this is a great show for the entire family.
This year the 5th celebrates an American master with not one but two great works by Leonard Bernstein. First up, and the centerpiece of a city-wide Bernstein Festival (which includes events by the Seattle Symphony and many other leading performing arts groups and organizations), is his first remarkable musical On the Town. With book and lyrics by the great Broadway and Hollywood writing team of Betty Comden and Adolph Green (Singin’ In The Rain), this show follows the adventures of three sailors on leave in New York City as they cram a lifetime of romance and excitement into just one day. With such classic songs as “New York, New York!,” “I Can Cook, Too” and “Some Other Time,” this production will be directed by the 5th’s Associate Artistic Director Bill Berry with choreography by Patti Colombo (7 Brides For 7 Brothers), featuring Seattle’s Spectrum Dance Theatre.
Part sophisticated operetta, part Monty Python comedy, Bernstein’s Candide follows the comic adventures of a hopelessly optimistic young man as he seeks his true love on a wild journey around this “best of all possible worlds.” Adapted from Voltaire’s wickedly satirical novel, this landmark musical features a sharp and clever book by Hugh Wheeler (Sweeney Todd) and John Caird (Les Miserables), as well as droll lyrics by an amazing sextet of literary talent -- Stephen Sondheim, Richard Wilber, John Latouche, Lillian Hellman, Dorothy Parker and Bernstein himself! The show’s celebrated score includes the famous “Overture,” “Glitter And Be Gay” and the stunning “Make Our Garden Grow.” The 5th’s Artistic Director David Armstrong helms this great though little-seen classic.
Catch Me If You Can
July 23 – August 14, 2009 (World Premiere)
Cast and Creative Team
Book by Terrence McNally
Music by Marc Shaiman
Lyrics by Scott Wittman and Marc Shaiman
Based on the Paramount Pictures film and the autobiography by Frank Abagnale Jr. and Stan Redding
Joseph and the Amazing Technicolor Dreamcoat
October 13 – November 1, 2009 (5th Avenue Theatre Production)
Cast and Creative Team
Music By Andrew Lloyd Webber
Lyrics By Tim Rice
Directed and Choreographed by James Rocco
White Christmas
December 1 – December 20, 2009 (5th Avenue Theatre Production)
Cast and Creative Team
Music and Lyrics By Irving Berlin
Book By Paul Blake & David Ives
South Pacific
January 29 – February 18, 2010 (Tour)
Cast and Creative Team
Music By Richard Rodgers
Lyrics By Oscar Hammerstein II
Book By Joshua Logan & Oscar Hammerstein II
Directed by Bartlett Sher
Legally Blonde
February 23 – March 14, 2010 (Tour)
Cast and Creative Team
Music and Lyrics By Laurence O’Keefe & Nell Benjamin
Book By Heather Hach
On The Town
April 13 – May 2, 2010 (5th Avenue Theatre Production)
Cast and Creative Team
Music by Leonard Bernstein
Book and Lyrics By Betty Comden & Adolph Green
Based on an Idea By Jerome Robbins
Directed by Bill Berry
Candide
May 25 – June 13, 2010 (5th Avenue Theatre Production)
Cast and Creative Team
Music By Leonard Bernstein
Lyrics By Richard Wilbur
Additional Lyrics By Lillian Hellman, Dorothy Parker, John Latouche, Stephen Sondheim and Leonard Bernstein
Directed by David Armstrong
Seattle’s premiere home of musical theater celebrates its 29th Season with an exciting mix of the contemporary and the classic
SEATTLE – The 5th Avenue has announced the seven productions that make up their 2009–2010 Season, which include the company’s trademark mix of world premieres, the hottest shows direct from Broadway, and classics from the Golden Age of musicals featuring Seattle’s favorite performers and artists.
The season opens with the exciting World Premiere musical Catch Me If You Can, based on the acclaimed Steven Spielberg film and the incredible true story that inspired it, and featuring a blockbuster creative team that includes many of the amazing talents who gave us Hairspray. With music by Marc Shaiman and lyrics by Scott Wittman and Shaiman and a book by Terrence McNally, this brand new musical follows the unlikely adventures of a young man who creates an astonishing array of identities—airline pilot, doctor, lawyer—none of which he has any qualifications for! Directed by Jack O’Brien with choreography by Jerry Mitchell, this new musical is certain to be the theatrical event of the year. And once again Seattle will see it first!
Next up is the first ever 5th Avenue Theatre production of Andrew Lloyd Webber and Tim Rice’s contemporary classic Joseph And The Amazing Technicolor Dreamcoat. With music that runs the gamut from Pop to Country to Calypso to Rock & Roll, the musical re-tells the Biblical tale of Joseph, his many brothers, and that spectacular coat, in a vibrant and sometimes hilarious new way that gives new life to a perennial family favorite.
Then just in time for the holidays returns one of our most popular and beloved productions ever, Irving Berlin’s White Christmas. The story of two ex-soldiers who pursue a pair of lovely ladies right to the lodge that their ex-commanding officer is running is a song-and-dance extravaganza featuring dazzling sets, gorgeous costumes and a timeless hit parade of toe-tapping Irving Berlin tunes including “Blue Skies,” “Sisters, “Count Your Blessings” and, of course, the immortal title song. This show played to large and enthusiastic audiences here in its premiere in Seattle back in 2006, and had a similar reception on Broadway this past winter. Now it returns in a brand-new production with all of your old favorites still intact.
If you’ve still got any winter blues left over, than prepare to banish them with the national tour of one of the most acclaimed revivals in Broadway history, the Lincoln Center Theater production of Rodgers and Hammerstein’s South Pacific, directed by Intiman Theatre’s Artistic Director Bartlett Sher. This production was awarded seven 2008 Tonys (including Best Revival and Best Director) and has been playing to sold-out audiences in New York since March of last year, and now Seattle audiences get their first glance at a show of which New York Times critic Ben Brantley said “I know we’re not supposed to expect perfection in this imperfect world, but I’m darned if I can find one serious flaw in this production.” With an extraordinary score including “Some Enchanted Evening,” “Bali Ha'i,” “There Is Nothin' Like A Dame,” and “A Wonderful Guy,” South Pacific is also a deeply felt drama. Its portrayal of American soldiers living in a beautiful but alien paradise is as relevant today as when it first thrilled audiences in 1949.
Next up we “think pink” with the Seattle premiere of Legally Blonde The Musical, a high-energy rush of sheer adrenaline and excitement. Inspired by the hilarious movie, this recent Broadway hit follows the trail from sorority house to hallowed halls of justice blazed by Elle Woods, one of the brightest and blondest heroines ever to grace a musical comedy. With its dazzling production, kinetic dancing and pop infused score, this is a great show for the entire family.
This year the 5th celebrates an American master with not one but two great works by Leonard Bernstein. First up, and the centerpiece of a city-wide Bernstein Festival (which includes events by the Seattle Symphony and many other leading performing arts groups and organizations), is his first remarkable musical On the Town. With book and lyrics by the great Broadway and Hollywood writing team of Betty Comden and Adolph Green (Singin’ In The Rain), this show follows the adventures of three sailors on leave in New York City as they cram a lifetime of romance and excitement into just one day. With such classic songs as “New York, New York!,” “I Can Cook, Too” and “Some Other Time,” this production will be directed by the 5th’s Associate Artistic Director Bill Berry with choreography by Patti Colombo (7 Brides For 7 Brothers), featuring Seattle’s Spectrum Dance Theatre.
Part sophisticated operetta, part Monty Python comedy, Bernstein’s Candide follows the comic adventures of a hopelessly optimistic young man as he seeks his true love on a wild journey around this “best of all possible worlds.” Adapted from Voltaire’s wickedly satirical novel, this landmark musical features a sharp and clever book by Hugh Wheeler (Sweeney Todd) and John Caird (Les Miserables), as well as droll lyrics by an amazing sextet of literary talent -- Stephen Sondheim, Richard Wilber, John Latouche, Lillian Hellman, Dorothy Parker and Bernstein himself! The show’s celebrated score includes the famous “Overture,” “Glitter And Be Gay” and the stunning “Make Our Garden Grow.” The 5th’s Artistic Director David Armstrong helms this great though little-seen classic.
Catch Me If You Can
July 23 – August 14, 2009 (World Premiere)
Cast and Creative Team
Book by Terrence McNally
Music by Marc Shaiman
Lyrics by Scott Wittman and Marc Shaiman
Based on the Paramount Pictures film and the autobiography by Frank Abagnale Jr. and Stan Redding
Joseph and the Amazing Technicolor Dreamcoat
October 13 – November 1, 2009 (5th Avenue Theatre Production)
Cast and Creative Team
Music By Andrew Lloyd Webber
Lyrics By Tim Rice
Directed and Choreographed by James Rocco
White Christmas
December 1 – December 20, 2009 (5th Avenue Theatre Production)
Cast and Creative Team
Music and Lyrics By Irving Berlin
Book By Paul Blake & David Ives
South Pacific
January 29 – February 18, 2010 (Tour)
Cast and Creative Team
Music By Richard Rodgers
Lyrics By Oscar Hammerstein II
Book By Joshua Logan & Oscar Hammerstein II
Directed by Bartlett Sher
Legally Blonde
February 23 – March 14, 2010 (Tour)
Cast and Creative Team
Music and Lyrics By Laurence O’Keefe & Nell Benjamin
Book By Heather Hach
On The Town
April 13 – May 2, 2010 (5th Avenue Theatre Production)
Cast and Creative Team
Music by Leonard Bernstein
Book and Lyrics By Betty Comden & Adolph Green
Based on an Idea By Jerome Robbins
Directed by Bill Berry
Candide
May 25 – June 13, 2010 (5th Avenue Theatre Production)
Cast and Creative Team
Music By Leonard Bernstein
Lyrics By Richard Wilbur
Additional Lyrics By Lillian Hellman, Dorothy Parker, John Latouche, Stephen Sondheim and Leonard Bernstein
Directed by David Armstrong
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