During LGBT Pride Month, I was pleased to welcome Rochester native Nicolette Hart to Stage Notes. She’s a Broadway superstar, a backup vocalist for Bette Midler, and one of the most talented triple threats I know. My full interview with her, including songs, is available below.
Lin-Manuel Miranda won the award for Best Score for Hamilton, and in lieu of a traditional speech, he delivered a poem about love for his wife and the need for love in the wake of tragedy, no doubt responding to the horrific mass shooting in Orlando. By the end, he was in tears, and the crowd was cheering. Following is the transcript:
“My wife’s the reason anything gets done. She nudges me towards promise by degrees. She is a perfect symphony of one. Our son is her most beautiful reprise. We chase the melodies that seem to find us. Until they’re finished songs and start to play. When senseless acts of tragedy remind us. That nothing here is promised, not one day This show is proof that history remembers. We live through times when hate and fear seem stronger. We rise and fall, and light from dying embers. Remembrances that hope and love last longer. And love is love is love is love is love is love is love is love; Cannot be killed or swept aside. I sing Vanessa’s symphony; Eliza tells her story. Now fill the world with music, love, and pride.”
Nicolette Hart performing with Bette Midler during It’s the Girls Tour
Described by Frank Rich of The New York Times as “Now the greatest and perhaps best-known artist in the American musical theater,” Stephen Sondheim turned 86 on March 22. Stage Notes host Robert Hammond paid tribute to the musical genius. Full program now available on demand.
Some of his best-known works as composer and lyricist include A Funny Thing Happened on the Way to the Forum, Follies, A Little Night Music, Sweeney Todd: The Demon Barber of Fleet Street, Sunday in the Park with George, andInto the Woods. He wrote the lyrics for West Side Story and Gypsy.
Join Host Robert Hammond (full program below) as he examines how religion influences musical theatre. The Book of Mormon is one of Broadway’s biggest box-office hits – recently there have been revivals of Christian-themed musicals — Godspell and Jesus Christ Superstar. The revival of the revival of the revival (well, you get the picture!) of Les Miserables is still open on the Great White Way! The current revival closes in September. Among others, Fiddler on the Roof and Spring Awakening are steeped with religious undertones. It’s probably fair to say that the theater has seen the way of the Lord. Has someone been putting sacrament in the water? Or have playwrights just gotten in touch with their devout or devoutly satirical sides?
Today’s Stage Notes was prerecorded. If you read this and then go to the second and final performance of Broadway Rocks, the first Pops concert music director Ward Stare has conducted in Rochester, you’ll think I was a bit hyperbolic. Don’t get me wrong, the Rochester Philharmonic Orchestra was fantastic, especially the rhythm section, which is vitally important to a concert like Broadway Rocks, but overall the concert fell flat. I had higher expectations.
The main problem could have been the sound, particularly during the first act – it was muffled. From the Loge, I could barely hear the guest soloists and the choir from Roberts Wesleyan College.
The repertoire was outstanding—some of the biggest Broadway hits, including songs from Wicked, Hairspray, Jersey Boys, and The Phantom of the Opera were performed.
Before the concert, I knew little about Capathia Jenkins. She is all that and more! She brought down the house with her renditions of “And I’m Telling You I’m not Going” from Dreamgirls and “I will Survive.” She and the RPO are what make this concert worth attending.
Another guest vocalist, Rob Evan, could have survived without amplification. His highlights were Dennis DeYoung’s (lead singer from Styx) song “Come Sail Away” and “The Music of the Night,” from The Phantom of The Opera. His voice is strong; however, he could use a stylist.
I’ve seen guest vocalist Christiane Noll on Broadway and at Eastman. In general, I’ve been impressed. This concert is not suited for her. She seemed uncomfortable on stage. That’s not dancing, Sally! (Seinfeld reference.) She decimated a song that should have elevated the concert, “Defying Gravity.” Although the choir would have drowned her vocals out, I’m not sure why they weren’t included at the songs conclusion to proclaim “no one mourns the wicked.” Noll’s voice is pretty, as proved during the Theme from The Phantom of The Opera, but she’s no rocker.
Ward Stare’s forte is Classical conducting – last night he proved he’s a Pops pro, too. Rochester is lucky to have him. Please let me know when he conducts the RPO and the Capathia Jenkins show. I’ll be there.
Broadway Rocks is on stage in Kodak Hall at Eastman Theatre tonight at 8 PM. Tickets and information at RPO.org.
Nostalgic! Inspiring! Energetic! Just a few adjectives that come to mind after seeing the first national Broadway tour of Beautiful The Carole King Musical.
Rebecca LaChance, in the role of Carole King, is flawless. My God, some big shoes to step into! Jessie Mueller, who won a Tony Award for her performance in the original cast, has to be thrilled that the role on the road has been filled with the same gusto and grace.
This Jukebox musical works better than any I’ve seen. The sets and the scene changes, which are critical to the story, flow effortlessly.
If Ben Frankhauser, in the role of Barry Mann, doesn’t have a comedy gig on the side, he’s missing out on a lot of dollars. He and his hard to get wife, Cynthia Weil (played by Becky Gulsvig), are a match made in heaven. Their comic timing is spot on, as is their vocal talent.
Gerry Goffin (played by Liam Tobin), is accurately portrayed as a charming conflicted soul—sometimes you want to hug him and other times you want to shoot him. Indeed, Mr. Tobin has a great set of pipes.
At times, ensembles can be ignored throughout the theatre community. Not in this show! Each member is a unique thread in a beautifully crafted tapestry.
Rochester is a lucky city. Think about it. Beautiful is still on Broadway. The first national Broadway tour just left Chicago where it was planted for several months. And, in the very near future, it is scheduled to be in LA for an extended run. The arts are strong in Rochester—that is known throughout the country, which is why it gets shows like Beautiful The Carole King Musical.
Don’t miss this masterpiece, especially if you’re a fan of Carole King. You really will laugh and cry, and you certainly will enjoy heading down memory lane.
Beautiful The Carole King Musical is at RBTL’s Auditorium Theatre through March 13th. Tickets and information are available at RBTL.org.
Maestro Wards Stare, Rochester Philharmonic Orchestra’s music director, joined host Robert Hammond in studio at WXXI to talk about the RPO’s upcoming concerts, Broadway Rocks. Stage Notes did indeed rock out with songs from Wicked, Rent, The Phantom of the Opera,Hairspray, and more. Full program available on demand below.
Stare is likable and knowledgeable. You’ll enjoy the lightness of the conversation, especially the life stories he shares. His story about the famous Styx song “Come Sail Away” is a highlight. Sit back and listen to a special rockin’ edition of Stage Notes. Remember to follow Stage notes on Twitter @stagenotes, and like our page on Facebook.
The Rochester Pop’s season opened last night with the glorious Megan Hilty. Don’t worry, if you didn’t go, you have one more chance—tonight at 8 at Kodak Hall at Eastman Theatre. Do not miss out!
You know you’re in for something wonderful when conductor Jeff Tyzik starts out a concert by saying the guest is not only talented, but a genuinely nice person. For anyone who attends Pops concerts as frequently as I do, you know he does not often gush about artists.
The orchestra began the concert performing a Tyzik arrangement of some of Marvin Hamlisch’s best known songs, including “The Way We Were,” “Nobody Does it Better, “The Entertainer,” and of course, many selections from A Chorus Line. It was a splendid way to begin the night, and the orchestra was in top form.
Then, Megan Hilty came out. Wow! Yes, she’s beautiful! Her gowns were breathtaking. But boy, this girl can sing! She does so with such ease and control. There wasn’t a second when she and the orchestra weren’t perfectly in synch. Her ability to interpret every nuance of a song leaves you hanging on every note. Her expression and grace are unparalleled. She was born to be on stage.
The concert was filled with Broadway standards, including “Luck be a Lady Tonight” and a highpoint, “Diamonds are a Girl’s Best Friend.” I believe Ms. Hilty could be described as a modern day Marilyn Monroe.
Speaking of Norma Jeane, another highpoint was Hilty’s performance of a song from Smash, the two season musical drama on NBC she starred in, “Second Hand Baby Grand.” Prior to its performance, she gave a detailed description about the song. After sung, few eyes were dry. I’ve included the version from Smash (on demand below).
We will be hearing a lot more about Megan Hilty. She is a star. She is a Smash.
Hilty is on stage again tonight with the Rochester Pops. Information is available at RPO.org.
I’ve been known to say that Stephen Sondheim is a genius. His musicals are not easy to tackle, especially Into the Woods. I doubt I’d be up to the challenge. Well, as usual, Ralph Meranto, artistic director for the JCC’s CenterStage, took the challenge.
To be honest, I was expecting a fair to good production. (Keep in mind; some of the best actors on the planet were just in the motion picture!) Into the Woods at CenterStage is a masterpiece! The cast was chosen perfectly, and they delivered a Broadway caliber show. The production is flawless. Who knew three hours in the woods could go so fast?!
The score is every bit as important as the acting. Music director Brian Clickner put together a magnificent ensemble that led the cast into the woods impeccably.
At intermission, I sent Ralph a one word text: Wow! Everyone involved should be glistening. You did the genius proud.
Into the Woods is on stage at CenterStage through May 17. Information is available at jccrochester.org.
Host Robert Hammond and Broadway veteran Cass Morgan discussed The Road to Where, a new musical that makes its world premiere at Geva Theatre Center April 23 through May 10. A couple of songs from the show debuted on Stage Notes.
With the help of two talented musicians, writer, Actor, and singer Cass Morgan searches for her roots in The Road to Where. A trip to the West of Ireland sparks memories of her childhood in Rochester, her growing up in a Florida trailer park, and a need to reconcile with her parents in an enchanting evening of story and song.
CASS MORGAN is thrilled to be back at Geva, this time as both actor and writer. Broadway credits include The Bridges of Madison County, Memphis, Mary Poppins, Ring Of Fire, Beauty and the Beast, The Capeman, The Human Comedy, Pump Boys and Dinettes (co-creator) and Hair. Off-Broadway credits include The Immigrant, Floyd Collins and Violet. Regionally. Ms. Morgan has appeared in 1776, Picnic, The Bridges of Madison County (Williamstown), Uncle Vanya, Saint- Ex (Weston Playhouse), The Music Man (Geva),Emmet Otter’s Jug Band Christmas (Goodspeed), Cabaret, Best Little Whorehouse in Texas, Das Barbecue (Baltimore Centre Stage) and Children Of Eden (Mill Mountain Playhouse). But her favorite role is Mom to Collin and Jocelyn, and Nana to Magdalena and Abigail.
During this edition of Stage Notes, Hammond also featured the Lotte Lenya Competition, to be held Saturday, April 18 at the Eastman School of Music in Rochester, New York. Among songs from Kurt Weill’s catalog, Doug Carpenter, winner in 2013, sings “Molasses to Rum,” from the musical 1776.
Fourteen exceptionally talented singer-actors from the United States, United Kingdom, and Germany have been selected as finalists in the 2015 Lotte Lenya Competition, held annually by the Kurt Weill Foundation for Music. They will compete for top prizes of $15,000, $10,000 and $7,500 on Saturday, April 18, 2015, at the Eastman School of Music in Rochester, New York. Broadway leading lady and Tony Award nominee Rebecca Luker, British opera and musical theater conductor James Holmes, and Rodgers & Hammerstein President and American Theatre Wing Vice-Chairman Theodore S. Chapin will judge.
Now in its 17th year, the Lotte Lenya Competition is an international theater singing contest that recognizes talented young singer-actors, ages 19-32, who are dramatically and musically convincing in a wide range of repertoire, from opera and operetta to contemporary Broadway musicals, with a focus on the works of Kurt Weill.
Rebecca Luker, who judges for the fifth time this year, said of the contest, “There is no other singing competition quite like it. The Lotte Lenya competitor must have it all: acting and singing chops from a wide variety of theatrical and musical realms and also that certain something—charisma, star-quality, call it what you will—that puts them above all others. It’s always extremely difficult to pick only a handful of winners from a group that is always wholly excellent.”
Finalists were selected from a group of twenty-eight semi-finalists from the United States, Canada, Puerto Rico, Germany, the Netherlands, and the United Kingdom after auditions in New York on March 13-14, 2015. Contestants were required to prepare four selections: an aria from the opera or operetta repertoire; two songs from the American musical theater repertoire (one from the pre-1968 “Golden Age” and one from 1968 or later); and a theatrical selection by Kurt Weill. Drama Desk nominated singer, actor, and voice teacher Judy Blazer and Broadway music director and conductor Andy Einhorn served as adjudicator/coaches, evaluating and working with each of the semi-finalists.
The 2015 finalists, ranging in age this year from 23 to 31, are: Robin Bailey (London, UK), Jordan Davidson (New York, USA), Adam Fieldson (Nebraska, USA), Briana Silvie Gantsweg (California, USA), Anthony Heinemann (Missouri, USA), Talya Lieberman (Ohio, USA), Carter Lynch (Maryland, USA), Michael Maliakel (New Jersey, USA), Lauren Michelle (California, USA), Florian Peters (Köln, Germany), Katherine Riddle (Maryland, USA), Jim Schubin (Colorado, USA), Annie Sherman (Maryland, USA), and Christine Cornish Smith (Texas, USA).
Finalists will perform their entire programs for the judges on Saturday, April 18 between 11 am and 3:30 pm. At 8 pm, they will perform a concert of selections which will conclude with the announcement of the winners. Both events are free and open to the public, and will take place in Kilbourn Hall at the Eastman School of Music, 26 Gibbs Street, Rochester, N.Y.
Since the inception of the Lotte Lenya Competition in 1998, the Kurt Weill Foundation has awarded over $600,000 in prize money to young performers and continues to support previous winners through professional development grants. Previous winners enjoy successful stage, concert, and recording careers around the globe. Their 2014-15 credits range from Broadway (Lauren Worsham [Tony nominee], Amy Justman, A Gentleman’s Guide to Love and Murder; Analisa Leaming, On the Twentieth Century; Kyle Scatliffe, Les Misérables), National Tours (Cooper Grodin, Katie Travis, Amy Justman, The Phantom of the Opera; Doug Carpenter, Dirty Dancing; Maria Failla, Evita; Jacob Keith Watson, Chicago), and regional theaters (Erik Liberman, The Hunchback of Notre Dame, La Jolla Playhouse and Paper Mill Playhouse; Ariela Morgenstern, Next to Normal, Baltimore Center Stage) to major opera houses including the Metropolitan Opera (Ginger Costa-Jackson), San Francisco Opera (Matthew Grills), Los Angeles Opera (Liam Bonner, Jonathan Michie, Lauren Worsham), Glimmerglass Festival (Ben Edquist, Maren Weinberger), Royal Opera House, Covent Garden and English National Opera (Noah Stewart), Deutsche Oper Berlin (Edward Mout), Oper Frankfurt (Elizabeth Reiter), Dutch National Opera (Rebecca Jo Loeb), and Théâtre Royal de La Monnaie (Justin Hopkins). Concert highlights include Sweeney Todd (Zachary James, Justin Lee Miller) and Show Boat (Lauren Worsham) with the New York Philharmonic and the upcoming U.S. premiere of The Road of Promise, a concert adaptation of Kurt Weill and Franz Werfel’s The Eternal Road (Justin Hopkins, Megan Marino) with The Collegiate Chorale and Orchestra of St. Luke’s on May 6-7 at Carnegie Hall.
About the Kurt Weill Foundation
The Kurt Weill Foundation for Music, Inc. (http://www.kwf.org) is dedicated to promoting understanding of the life and works of composer Kurt Weill (1900-1950) and preserving the legacies of Weill and his wife, actress-singer Lotte Lenya (1898-1981). The Foundation administers the Weill-Lenya Research Center, a Grant Program, the Kurt Weill Book Prize and the Lotte Lenya Competition, and publishes the Kurt Weill Edition and the Kurt Weill Newsletter.