"Rent's" Adam Pascal and Olivia Valli Headline the Cheerful National Tour of "Pretty Woman: The Musical"

By James V. Ruocco

A Cinderella tale of wealth, class, social position and prostitution, "Pretty Woman: The Musical" takes its cue from the popular 1990 motion picture of the same name and hooks itself up (no pun, intended) with plot points from "Sweet Charity," "My Fair Lady," "Gigi" and "Irma LaDouce," among others.

Not that any of that matters.
This is musical theatre - big, grand, colorful, silly, frothy, gooey, absolutely delightful.
Pretty much everyone in the audience - boys, girls, couples, homosexuals, married folk, seniors, transgenders - have seen the movie so this tale of a loveable Hollywood prostitute named Vivian who finds her "happily ever after" with Edward, a handsome millionaire who looks very much like an older version of Roger Davis from "Rent" (that's a casting coup destined to bring hundreds of diehard  Rentheads to the box office) is hardly cause for alarm.

Like it, love it or hate it, a fact is a fact.
"Pretty Woman: The Musical" is fun.
It's entertaining.
It's cute.
It's harmless.
It's easy to digest.
It's irresistible.

At the same time, "Pretty Woman: The Musical" is also not going to change the world.
Nor is it going make you hop on a plane headed for Los Angeles to book a room or the penthouse suite at the Beverly Wilshire Hotel.   

If you should see it - and see it you should - its "Pygmalion"-like graces and charms will definitely win you over as will its old-fashioned storyline, its Hollywood setting, its vivid, rainbow-tinged Technicolor, its lyrical musicality, its bright period costumes and its appealing, attractive characters.
In short, what's not to like?

Using a script penned by J.F. Lawton and the late Garry Marshall, "Pretty Woman: The Musical" comes to the stage with story, dialogue, characters and situations amped up or reconfigured - to some degree - for the Broadway (in this case, the National Tour) audience. As before, Vivian's accidental meeting with Edward prompts him to hire her on the spot (for a week, that is) as a paid escort to satisfy him sexually in the bedroom, dine with him at fancy restaurants, attend a performance of "La Traviata" and accompany him on heated business meetings with some very wealthy, well-dressed clients.
On film or in musical form, things move pretty fast as Lawton and Marshall go the sugar daddy route (obviously, they know what they're selling) and treat the material and its sexual subtext with abject sweetness, polish and fun-and-fancy charm and kindness while Adams and Vallance inject oiled, well-orchestrated songs into the already familiar scenario. It all comes off swimmingly (did you expect, otherwise?) as long as you succumb (this is mandatory, folks) to its decided humor, its candy-coated frivolity and the crazy conceit that sex workers are people who think big, dream big and live big - no matter what the cost.
PS: a charge card with unlimited credit for shopping sprees on Rodeo Drive (a major, plot advancing story arc that segues into song and dance) is just one of the many perks "Pretty Woman: The Musical" dishes out in playful, in-your-face abandon.

Pulled together by Jerry Mitchell, the director/choreographer who staged both the Broadway production and the current West End editon starring Aimie Atkinson and former "Hollyoaks" heartthrob Danny Mac, the National Tour is afloat with that "together forever" humor and sexiness that is gleefully pimped out for two hours and twenty minutes (much to the delight of everyone on stage and in the audience) in grand, Broadway musical fashion. Again, Mitchell holds all the cards and instills this production with a winsome capability and cheer that doesn't falter for a moment. Here, you get froth and giggle mixed with hope, thrust, good will and cookie-cutter vulnerability.

Sexually speaking, the musical is also fueled with some steamy, soft-core niceness (first and foremost, Vivian is a prostitute) that is treated openly and tastefully by Mitchell throughout both Act I and II.  Edward's paid sex with Vivian includes two quickly orchestrated fade-outs of oral sex along with subsequent moments of both characters pulling off their clothes, kissing passionately and making love as the music swells and swells. Again, this isn't "The Sound of Music" or "Annie." It's a 2018 Broadway musical where the lead female character engages in sexual intercourse for pay. 

That said, the story board and songbook for "Pretty Woman: The Musical" benefits from a plot line that makes great use of its ensemble cast in very much the same way as all those wonderful Broadway musicals of yesteryear did. Most of the supporting cast changes clothes, hairstyles, moods, manners and body language to morph into a variety of different characters, all of which progresses the
Pretty Woman" storyline without any blips or hiccups. As director and choreographer, Mitchell is chock full of whip-snap invention that is seamlessly cued to Hollywood Technicolor movie musical fun offset by wonderfully orchestrated production numbers mixed with hints of cuteness, flair, schmaltz, gayness and let's-applaud-this-moment showmanship. It so much fun, you can't help but lap it up like honey.

Channeling the wicked romcom nostalgia and cheerfulness of the popular 1990 Richard Gere-Julia Roberts motion picture "Pretty Woman,"  composer and lyricist duo Bryan Adams and Jim Vallance craft an accommodating, sweet-sounding score that pays homage, in part, to those pleasant enough Broadway musicals populated by gumdrop ditties, plausible choral numbers, bona fide solos and duets and pulse-racing production numbers that cry "showstopper," "standing o" and "gosh-oh-gee that sure is pretty."  Here, you get 22 musical numbers, carefully tucked into the storyboard plotting of Act I and Act II. They are: "Welcome to Hollywood," "Anywhere But Here," "Something About Her (preamble)," "Welcome to Hollywood (reprise)," "Something About Her," "I Could Get Used to This," "Luckiest Girl in the World," "Rodeo Drive," "Anywhere But Here (reprise)," "On a Night Like Tonight," "Don't Forget to Dance," "Freedom," "You're Beautiful," "Entr'acte/Opening Act II," "This Is My Life," "Never Give Up on a Dream," "You and I," "I Can't Go Back," "Freedom (reprise)," "Long Way Home," "Together Forever" and "Finale/Oh, Pretty Woman." The latter, as most people know, was written by Roy Orbison and Bill Dees.

Every one of the songs is perfectly positioned to move the story forward with just the right amount of thread, kick and dimension to not only get you to listen - and listen well - but keep things always fun and cohesive with nary of blip, a hiccup, a jolt or a move in the wrong direction. The score, of course, is not in the same league as something by Tim Rice, Jonathan Larsen and Stephen Sondheim - "Chess," "Rent," "tick...tick...Boom!" "Company," immediately spring to mind - but, so what?  There's still a massive hook to the music from melody lines and power blasts to instrumentations and lyrics that are fresh-sounding, spontaneous and inspired.

Working from the blueprint of arrangements, orchestrations and music supervision provided by Will Van Dyke, music director Daniel Klintworth ("The Book of Mormon," "Billy Elliot") brings a tremendous sense of theatricality and color to the National Tour. It's a high-octane feat of moods, flavor, flamboyance and harmonics which he and his orchestral team address with dazzle, tilt and savvy Broadway lyrical expression. Song by song, act by act, it's all vividly realized with splendid artistic  freedom and comfort offset by a fingerhold that follows the musical narrative, its progression and its kaleidoscope of change intuitively.  It's all expertly timed to the musical songbook at hand and the obvious, playful conceit set forth by both Adams and Vallance.

The cast - leads, supporting players and ensemble - also benefit from Klintworth's tutelage. On every level, their vocal consumption of the material is rife with a thrall and encouragement that is the music's forte. That said, the vitality of mood, swing and articulation is subsequently marked by harmonic relishing, grace and concern that is performed and negotiated with natural aplomb. The Bushnell's ideal, perfectly balanced sound system furthers that notion.

The cast, is true to form, in rich Broadway musical fashion.

Adam Pascal, best known for his cutting-edge portrayal of Roger Davis in Jonathan Larson's 1996 Broadway production of "Rent" oozes plenty of charm, sophistication and sexiness for his role of the rich and very eligible bachelor Edward Harris. It's an emotionally engaged turn - as was Roger in "Rent" - and one Pascal coveys with honesty, passion, drive and confidence. Even when things get silly - and they do from time to time - the actor never lets his guard down for a moment. Vocally, he is magnificent (no surprise, here), displaying a wide range of emotions, style and reflection that makes every one of his musical moments ring loud and clear throughout the two-act production.
Olivia Valli, the granddaughter of "Four Seasons" frontman Frankie Valli, takes hold of the now iconic role of Vivian Ward (played by Julia Roberts in the 1990 film version of "Pretty Woman" movie) and turns it into a smart and savvy heroine who actually does get her "happily ever after" ending right before the final fadeout. She not only has great fun with the role, but invests it with a natural sense of whimsey, freedom, charm and allure. Like Pascal, she too comes to "Pretty Woman: The Musical" with vocal chops befitting a true Broadway leading lady. Her singing, which includes a powerhouse belt, is heartfelt, die-hard enthusiastic, centered and wonderfully alive. 

In the role of Vivian's trusty and mouthy sidekick, Jessica Crouch delivers plenty of sass, spunk and voltage-charged vocals. Kyle Taylor Parker, cast in the dual roles of a crafty hotel manager and the show's street-singing Mr. Hollywood narrator, is an amazing talent exuding showstopping charm, personality and command throughout the musical. Lastly, there's the wonderfully animated Trent Soyster, who pretty much steals the show as Giulio, a gay Beverly Wilshire Hotel bellhop whose singing, dancing, preening, posing and frequent flights of fancy are so excitably executed and performed, his every on-stage moment, which also includes some standout ensemble work, is well worth the ovation worthy applause he gets during the musical's final curtain calls. Chock full of charm, candy store sweetness and Broadway razzle-dazzle, Soyster commands your attention from start to finish.

A crowd pleaser with nothing on its mind except to entertain, "Pretty Woman: The Musical" is a colorful, splashy entertainment that breezes along with the carefree snap and zing of a musical theatre confection designed solely to get you clapping, smiling and oh yes, put you in a romantic mood for the night, the day or the morning after (no fee required). Direction and choreography by Jerry Mitchell who helmed both the 2018 Broadway production and the London edition, currently running at the Savoy Theatre, is sweet, lively and motivated. The cast, headed by "Rent's" Adam Pascal and Olivia Valli, all deliver old-school Broadway caliber performances - the kind where every single person on stage can not only sing, dance and act, but also are in sync with the mindset and good cheer set forth by the show's creators. And that is exactly what makes this playful National Tour fly.

Photos of "Pretty Woman:The Musical" by Matthew Murphey.

"Pretty Woman: The Musical" is being staged at The Bushnell, 166 Capitol Ave., Hartford, CT), now through May 1, 2022.

For tickets or more information, call (860) 987-5900.

website: busnelll.org.

Calista Flockhart and Zachary Quinto Headline the Geffen Playhouse Revival of Edward Albee's Critically-Acclaimed Drama "Who's Afraid of Virginia Woolf?" in Los Angeles

 By James V. Ruocco 

Martha: "Get over there and answer that door?"

George: "You've been advised."

Martha: "Yeah, sure, Get over there."

George: All right, love...Whatever love wants...Isn't it nice the way some people have manners, though, even in this day and age? Isn't it nice that some people won't just come breaking into other people's houses even if they do hear some sub-human monster yelling at 'em from inside...?"

Martha: "SCREW U !!!!"

And, so it begins.
Edward Albee's edgy, booze-soaked, serio-comic portrait about a dysfunctional marriage on the verge of collapse, comes to L.A.'s Geffen Playhouse just in time to celebrate the play's iconic 60th Anniversary.
First performed at the Bill Rose Theatre in October, 1962, the original production starred Uta Hagen, Arthur Hill, George Grizzard and Melinda Dillon in leading roles. It received the 1963 Tony Award for Best Play and the 1962-63 New York Drama Critic's Circle Award for Best Play. A film adaptation, penned by Ernest Lehman and directed by Mike Nichols, was released in 1966 with a stellar-cast headed by Elizabeth Taylor, Richard Burton, George Segal and Sandy Dennis.

An explosive tale of mind games, manipulation, lies, deceit, compromise and revelation, told in three acts - "Fun and Games," "Walpurgisnacht," "The Exorcism" - the Geffen Playhouse revival stars Calista Flockhart as Martha, Zachary Quinto as George, Graham Phillips as Nick and Aimee Carrero as Honey. It is being directed by Gordon Greenberg whose credits include the West End revival of "Guys and Dolls," the North American premiere of "Piaf/Dietrich," the Broadway staging of Irving Berlin's "Holiday Inn" and the world premiere of "The Heart of Rock and Roll," the new Huey Lewis musical at The Old Globe.

"I have always loved the play, although my relationship with it changes over the years," Greenberg told Sarah Rose Leonard, Dramaturg for "Who's Afraid of Virginia Woolf?" "I first saw the movie in my teens. I was living in a household that wasn't as drastically dangerous as this household, but it resonated. I certainly recognized the decaying relationship, codependence and violence, the disappointment and mourning that all these people are experiencing, I was also drawn to the exposing of the underbelly of an ostensibly perfect, orderly, suburban existence. I loved that the couple you thought had it all together and had everything going for them - the golden couple, if you will - is actually more dysfunctional than the couple who look like they're a mess and should be separated, probably. I think George and Martha have a brighter future than Honey and Nick. And that was fascinating to me."
In 2022, Albee's play, per Greenberg, is just as timely as it was when it was first performed.
"As I've gotten older, I've understood what it means to love someone through darkness at times. The way you think about life is not quite as neat and tidy and finite. If you look at the lifespan of a relationship, it's like traversing the Pacific Ocean. There are going to be storms, and there are going to be challenges and waves. But if you learn how to sail through them, you get a great reward at the end, which is mileage and longevity."

Returning to the stage after a 20-year absence, Flockhart, whose credits include "Romeo and Juliet," "The Three Sisters," "Ally McBeal," "A Midsummer Night's Dream," "Supergirl" and "The Glass Menagerie," is more than just excited to be starring in the Geffen Playhouse staging of "Who's Afraid of Virginia Woolf?"
"Whenever I did a play, I was usually the ingenue and one of the youngest people in the cast," the 57-year-old actress told the Los Angeles Times. "And now, I'm the oldest person in the cast. And I am not the ingenue. And that's really fun and exciting. I could never play Martha without all the life experience. So it feels pretty wonderful."
Theater, live theatre, is Flockhart's first love.
"I love theater. I love that it's happening in the moment right in front of your eyes. I love going to the theater. I love being in a play. I love, obviously, that it's live.
"There is no editor and it's an actor's medium. You're on stage, the director's gone and it's just very exciting to me."

Working alongside Flockhart, Phillips, completely understands why the actress is excited about bringing the character of Martha life, performance after performance. "She's got such a brilliant take on Martha that I never would have expected. She just comes across as more dangerous. It has this almost-transparent quality to her, where you feel like you really know Martha. And then something changes and you realize maybe you have the whole thing wrong all along."

Mixing truth and illusion with the inability to communicate, "Who's Afraid of Virginia Woolf's" razor-sharp dialogue, invited parallelism, fierce interplay, raw characterizations and strong sense of purpose, is one of the main reasons why the play is so often revived. It's three-act structure, set loose in a cyclone of controversy, desperation and opinion, not only questions American values and the institution of marriage, but allows the work to stand tall in its fight for artistic freedom, inspiration and independence.

According to Greenberg, the Geffen Playhouse staging of "Who's Afraid of Virginia Woolf?" is also a play with hope.
"When you got adversity, the only way around it is through. We're watching these characters go through the storm probably in the worst way they ever have. I believe they come to a higher, hopefully more connected understanding of each other.
"There's a reason Albee ends the show with dawn breaking. It's almost too on the nose, but he's telling us something. My feeling is that there is hope for a future for Martha and George."

George: (singing) "Who's afraid of Virginia Woolf? Virginia Woolf. Virginia Woolf,"

Martha: I...am...George..."

George: "Who's afraid of Virginia Woolf..."

Martha: I...am...George...I...am..."

"Who's Afraid of Virginia Woolf?" is being performed at the Geffen Playhouse ( 10886 Le Conte Ave., Los Angeles, CA), now through May 29. 2022.

Performances are 7:30 p.m. Tuesdays, Wednesdays, Thursdays and Fridays and 7:00 p.m. Saturdays and Sundays. Matinees are 1 p.m. Saturdays and Sundays.

Tickets are $30-$149.

Running time: 3 hrs. and 20 minutes, including two 10 minute intermissions.

For more information, call (310) 208-2028.

website:geffenplayhouse.org

Note: For the health, safety and well-being of the actors, staff, audience and artists, everyone in attendance is to be fully vaccinated and to wear masks.
The production, which contains adult subject matter, profanity and the smoking of herbal cigarettes is not recommended for those under the age of 14. Children, six and under, will not be admitted.

Photos of  "Who's Afraid of Virginia Woolf?" by Jeff Lorch and Justin Bettman

The Wait Is Over...The Pandemic Continues...Vaccines Are Mandated...It's Showtime, Broadway Plays and Musicals Are Back, Part 2

 

By James V. Ruocco

Broadway 2022.

The pandemic - COVID-19 and the Omicron Variant - rages on.
Performances are cancelled.
Performances are rescheduled.
Performances resume.
Performers test positive for COVID.
Understudies take their place.

But Broadway is back.
And live theatre is here to stay...for the moment anyway.

Behind the scenes, auditions continue for new shows.
Actors, musicians, directors, technicians and backstage crews are being assembled.
Rehearsals continue or are about to begin.

Vaccine protocols are in place and updated regularly.

So, what are the rules?

When attending the Broadway play or musical of your choice, you must be vaccinated (anyone 12 and up). Upon entering the venue, you must wear a mask and bring proof (vaccine card and government-issued photo ID) showing your current vaccinations and booster shots and status.

If you can't get vaccinated or haven't been vaccinated, you must show proof of a negative COVID-19 PCR test taken within 72 hours of the performance. Or show proof of a negative COVID-19 rapid antigen test taken within 6 hours of the performance.
These rules, established and enforced by the Broadway League, apply for all Broadway shows through February 28, 2022

And yes, they must be followed.

Back to business, it's time to raise the curtain on what's waiting in the wings.

Who's who?
What's playing?
What's opening?
When do performances begin?

Here's what's happening so far, show by show, in no particular order.

"Funny Girl"

(August Wilson Theatre)

Previews: March 26, 2022

Opening Night: April 24, 2022

Cast: Beanie Feldstein, Ramin Karimloo, Jane Lynch, Jared Grimes

"Plaza Suite"

(Hudson Theatre)

Previews: February 25, 2022

Opening Night: March 28, 2022

Cast: Matthew Broderick, Sarah Jessica Parker, Danny Bolero, Molly Ranson

"The Music Man"

(Winter Garden Theatre)

Previews Resume: January 5, 2022

Opening Night: February 10, 2022

Cast: Hugh Jackman, Sutton Foster, Shuler Hensley, Jefferson Mays, Jayne Houdyshell

"Birthday Candles"
(American Airlines Theatre)
Previews: March 18, 2022
Opening Night: April 10, 2022
Cast: Debra Messing, Susannah Flood, Crystal Finn, Christopher Livingston

"Mr. Saturday Night"
(Nederlander Theatre)
Previews: March 1, 2022
Opening Night: March 31, 2022
Cast: Billy Crystal, Randy Graff, David Paymer, Chasten Harmon

"American Buffalo"

(Circle in the Square Theatre)

Previews: March 22, 2022

Opening Night: April 14, 2022

Cast: Lawrence J. Fishburne III, Sam Rockwell, Darren Criss

"Macbeth"

(Longacre Theatre)

Previews: March 29, 2022

Opening Night: April 28, 2022

Cast: Daniel Craig, Ruth Negga

"Take Me Out"

(Helen Hayes Theatre)

Previews: March 9, 2022

Opening Night: April 4, 2022

Cast: Jesse Tyler Ferguson, Patrick J. Adams, Jesse Williams, Hiram Delgado, Ken Marks, Julian Cihi

"How I Learned to Drive"
(Samuel J. Friedman Theatre)
Previews: March 29, 2022
Opening Night: April 22. 2022
Cast: Mary-Louise Parker, David Morse, Johanna Day, Alyssa May

"The Minutes"
Theatre: Studio 54
Previews: March 19, 2022
Opening Night: April 7, 2022
Cast: Tracy Letts, Ian Barford, Blair Brown, Austin Pendleton, K. Todd Freeman, Cliff Chamberlain

"The Little Prince"

(Broadway Theatre)

Previews: March 14, 2022

Opening Night: March 17, 2022

Cast: Lionel Zalachas, Aurelien Bednarek, Chris Mouron, Laurisse Sulty

"Paradise Square"

(Ethel Barrymore Theatre)

Previews: February 22, 2022

Opening Night: March 20, 2022

Cast: Joaquina Kalukango, Chilina Kennedy, John Dossett, Sidney DuPont

"for colored girls who have considered suicide/when the rainbow is enough"

(Booth Theatre)

Previews: March 4, 2022

Opening Night: March 24, 2022

Cast: T.B.A.

"Beetlejuice"
(Marriott Marquis Theatre)
Performances Resume: April 8, 2022
Opening Night: T.B.A.

"The Skin of Our Teeth"
(Vivian Beaumont Theatre)
Previews: March 31, 2022
Opening Night: April 25, 2022
Cast: T.B.A.

Updates will also be provided on a day-to-day basis once the T.B.A. mandate changes in terms of casting, venues and preview and opening night performances.

The Iconic "25th Anniversary Farewell Tour" of "Rent" is a Major Musical Achievement Well Worth Remembering

By James V. Ruocco

Then and now, the lyrics for Jonathan Larson's iconic 1996 musical "Rent" are unmistakably catchy, inspiring and timely. And well, they should be. Like all great music, they have acquired a history, a rhythm, a pulse and a universal vitality that goes way beyond the Bohemian stratosphere from whence they came.

Five hundred twenty-five thousand

Six-hundred minutes.
Five hundred twenty-five
Moments so dear
Five hundred twenty-five thousand
Six hundred minutes
How do you measure - measure a year?
In daylights - in sunsets
In midnight's - in cups of coffee
In inches - in miles
In laughter - in strife

There's only us, there's only this.

Forget regret, or life is your's to miss.

No other path, no other way.

No day but today

"How do you document real life

When real life's getting more like fiction each day?

Headlines, bread-lines blow my mind

And now this deadline, "Eviction or pay." Rent!

A-M-A-Z-I-N-G.

Without, question.
"Rent" was....
"Rent" is...

"Rent" remains the celebrated work of  the very talented 35-year-old Larson, the composer, lyricist  and author of the musical who died of an aortic aneurysm on January, 25, 1996, just days before his exhilarating, ground-breaking rock opera made its official debut off-Broadway to heightened fanfare and subsequently, was later transferred to Broadway in April of the same year, where, it became the "Hamilton" of its day.
This, of course, came as no surprise to anyone in the cast, in the audience, in the producer's chair, backstage or on the creative team.
"Rent" was definitely in a class of its own.

Glancing back, the two-act musical, which won the 1996 Tony Award for Best Musical and Best Musical Score, among others, completely changed the face of musical theater with its adrenaline-pumped musical score of seamlessly mixed salsa, reggae, opera, gospel, tango, electric rock, pop and Sondheim-tinged eclecticism. Its complicated, important, angst-filled story of gay and straight characters fighting for survival in N.Y 's bohemian milieu of St. Mark's Place, was fueled with grit, hope, revelation, desire and unabashed vitality. And when the "Rent" cast stood on the edge of the proscenium stage facing the audience at the start of Act II to sing the soul-searching anthem "Seasons of Love," a tearful reminder of living and measuring life on borrowed time, your heart just about broke and broke....and broke.

Sitting there on the aisle - fifth row orchestra center at the Nederlander Theatre - just two days after its big Broadway bow, I remember thinking, "Oh, my God! How lucky am I to be sitting here watching this musical unfold with a cast that included Anthony Rapp, Adam Pascal, Idina Menzel and Daphne Rubin-Vega. It doesn't get any better than this."

In 2021, back on the road for it's much-publicized "Rent 25th Anniversary Farewell Tour," "Rent" still exudes that same theatrical magic and dizzying frenzy on today's audience (all masked and fully vaccinated) as it pretty much did way back in 1996  at the 79 East Fourth St in the East Village and four months later when it transferred to Broadway at the intimate Nederlander Theatre.

The cast is new. The production is new. The sets, the sound, the lighting and the costumes are new. But make no mistake about it.
This is "Rent" the way it was meant to staged and performed in all its gritty, ironic, sexy and heartfelt glory.

It's urgent.
It's raw.

It's edgy.
It's romantic.
It pops.
It snaps.
It entices.

It jumps.

It invigorates.
It delivers.

It gets the pulses racing.

One major difference, however.

Today, the audience, all revved up for "Rent" - pandemic aside - comes to the production knowing every song and lyric, every line of dialogue, every characterization, every plot twist, every heartbreak, every revelation, every drum roll, every tick, every kick, every beat, every nuance, every dance move, every shock and every surprise. They also know all the inhabitants of Larson's colorful East Village Bohemia (artists, drag queens, drug addicts, homosexuals, lesbians, songwriters, dancers, filmmakers, homeless people and those living with HIV) and how they will interact during the show's 2 hr. and 35 min. running time. 

Some are actors, Broadway groupies, college students, homosexuals, high school students, drag queens, transgenders, lesbians, business executives and freshly-scrubbed kids from middle-income or wealthy families who live, breathe and die for everything "Rent."
Each performance also brings out hundreds and hundreds of RENT-heads (fans of the musical who follow the show from city to city) who come through the theater's doors ready to clap, get emotional, lose control or go absolutely crazy whenever their favorite moment  - song, scene or line of dialogue - comes. It's a explosion of sorts and one that undoubtedly heightens the experience that is live theatre.

  

Nowhere - at least for the moment, anyway - is this more evident than at the Bushnell where the "Rent 25th Anniversary Farewell Tour" has taken up residence for a four-performance run, chock full of the emotional slap, bang, wallop it is famous for.  The tour, which happily proclaims, it is "the last chance" to enjoy "Rent" one final time, is masterfully crafted with moments of joy and beauty - "Seasons of Love" at the start of Act II, for example  - designed to send chills up and down your spine, shed a tear or two and more importantly, welcome back an old friend.

Inspirational.
Feverish.
Poignant.
Humorous.
Savvy.
Resilient.
Solidified.

 

In Hartford, before a sold-out audience of hardcore "Rent" fans on opening night, the two-act musical basques in the atmospheric eclecticism and primal frenzy it is famous for. True to its roots, it kicks into orbit with snap, dash and pop and never once shows any sign of slowing down or running out of fuel. It works everyone on stage and in the audience into a fervent, voltage-charged lather, which, when you think about it, is probably what Larson envisioned all along for his mind-blowing character opus.
Then and now, it deals openly and creatively with truthful, personal stories about addiction, eviction, materialism, struggle, legacy, sexual identity, transgender activism, death, poverty, individualism, urban redevelopment and AIDS. Its raw adult language ( "fucking weird," "fucking bitch," "dildo," "clit club," for example)  hits hard and home without any form of hesitation or censorship. The characters are full-on and reflective of their impoverished East Village milieu. And nothing is taken for granted or thrown in to knock the audience off- center or on its ass. 

The vast Bushnell space, which houses nearly 3,707 people, is big, grand and splendid. Here, "Rent" is larger-than-life as its thrusts itself forward in a 3-D cinematic style not found in smaller theaters where the two-act musical has played before. It's a plus of high proportions that allows "Rent" to swirl, tilt and pivot in glorious Technicolor. It's still the same story (none of the intimacy is lost), but the lights, the sound, the scene changes and the songs are so beautifully configured against the backdrop of this spectacular venue, there are times when you wish you could hit "rewind" and play certain parts of this "Farewell Tour" over and over again.

If you've seen "Rent" before, this edition, though faithful, in part, to Larson's original conceit, is not a direct copycat of the original 1996 Broadway musical conceived by Michael Greif or its 1998 London/West End counterpart which featured three members of the original New York cast. Here, "Rent" director Evan Ensign (he also staged the 20th Anniversary National Tour) isn't interested in dusting off the blueprints of those two works to the point where his version of "Rent" is nothing more than a nostalgic, affectionate tribute to once upon a time.
Instead, he puts his own thrilling, definitive stamp on the "Farewell Tour," a directorial move that heightens and enlightens the original material and gives it a uniqueness all its own. Given the fact that "Rent" was originally conceived back in 1996 - changes - no matter how big or how small, bring additional color and pulse to this particular staging. As director, he tweaks some of the original stage direction (Maureen's choice to partially drop her jeans to bare her bottom is much more ballsy; Mark's use of props or the grabbing of his crotch to simulate an erection is fueled by some pretty playful pornographic comic strokes; Angel's drag queen flamboyance is kicked up a notch). Elsewhere, he thrusts the action forward at a much brisker pace. He brings some of the upstage action downstage, a directorial change that makes certain actor-audience moments more effective. He also brings an enlivened twist and perk to the show's many tune ups, voice mails and holiday greetings, which every RENT-head in the audience can recite verbatim.
Respectful of the play's origins, he lovingly recreates most of the original staging prevalent in the musical's wildly pulsating opening number of "Rent," which sets the stage for the events that follow. The hilarious "Over the Moon," based on the 18th century nursery rhyme "Hey Diddle Diddle," is ignited by some pretty well-timed over-the-top kitsch that thrusts it high flying high and onward. The wickedly feverish "La Vie Boheme," which closes Act I, also unfolds with an enlivened merriment that makes it even more fun to watch.

Choreography is key to the evolution of the "Rent" story and Marlies Yearby's playful, character-driven dance movement ("Tango Maureen," "Today 4 U," "Out Tonight," "La Vie Boheme") provides the necessary pulse, momentum and oomph necessary to get the juices flowing. It is energetic. It is modern. It  is confident. It is expressive. It is athletic. It fits perfectly into the dramatic fabric of the story. It is also purposely amped up to keep this "Rent" fresh and exciting. And much like that of the original work, it allows the audience to feel the emotions conveyed in the show as dictated by its predecessors.

As witnessed on Broadway, in London, in Los Angeles and on National Tour all across America or overseas, the defining pulse, sting and thrust of the show is Larson's inventive, optimistic, character-driven musical score. His creative and defining mix of anthems, duets, ballads, rock songs, plot-driven laments, pronouncements and lively showstoppers seamlessly reflects the anguish, rage, rift and emotion he intended for "Rent."

"La Vie Boheme," "Another Day," "One Song Glory," "Light My Candle," "Rent," "Out Tonight," "I'll Cover You," "Take Me or Leave Me," "Seasons of Love," " "Without You," "Santa Fe," "Over the Moon," "What You Own," "Today 4 U," "Tango Maureen."

It's all here and nothing gets lost in the translation.
Larson's recurring themes - living on the edge, taking chances, tragic losses, fighting for survival, a strong sense of community, death and adversity, shielding loved ones from danger, unspoken truths -  are emotionally addressed and melodically revisited by "25th Anniversary Farewell Tour" music supervisor Matthew DeMaria whose fierce, quick-shot handling of the material unfolds with the dizzying frenzy and magic of a great artwork set in motion.
Once the show makes its presence known through the catchy, pulsating beat of  the opening title song "Rent" - a cry for help channeling the frustrations of twenty-somethings faced with financial hardships - DeMaria follows every twist and turn of the story (the musical takes its cue from Puccini's "La Boheme") with the right sort of involvement and navigational detail intended by Larson.
He lets his players rip through moments of spontaneity, argument and escape, prompting an orchestral fluidity and flourish, mixed with a bustle or two of nostalgia that is hauntingly conceived and played with great warmth, passion and excitement. His conceit not only pays homage to "Rent's" roots, but gives it an immediacy and realization that keeps it both centered and productive throughout.

As "Rent" retraces Larson's blueprint moving from song to song, DeMaria and his team scrupulously create a revival that is musically commanding and exciting with plenty of flow, flexibility, attack, bite and you-ism. Here and there, they take risks with the tempos to give them a more contemporary feel and urgency. And that's o.k.
When necessary, they also squeeze a little bit of extra pulp out of certain phrases and lyrics to make them more palpable for today's audience. This process - a creative choice for this particular revival - brings additional color, depth and confidence to several songs - "One Song Glory," "Rent," "Seasons of Love," La Vie Boheme" to name a few - which, despite familiarity, makes them sound fresh, spunky and surprisingly new.

No one could play the part of the struggling Jewish filmmaker Mark Cohen like Anthony Rapp who created the role in the original 1996 Broadway production. That was a once-in-a-lifetime performance - a mix of charisma, personality and confidence - that has withstood the test of time. The good news about this "Rent" is that Ensign saw fit to cast Cody Jenkins - an actor who reminds one of 22-year-old Sean Giambrone from ABC's "The Goldbergs" - in the now-iconic role of Cohen. The enthralling result - elements of mood, scope, dimension and drive- allows the actor to naturally tap into Cohen's psyche and deliver a fascinating performance that is so true to the show's sense of time, place and story - you completely forget about that actor whose last name begins with a capital R.
From start to finish, Marks creates a real, raw and energetic characterization that steers clear of all things Rapp. He nails all of the familiar character traits that Larson set forth for Mark. He brings his own sense of thrill, compassion and playfulness to the part. He takes chances and runs with them. He also exudes a certain charm and sexiness that spills out into the audience every time he's on stage. Vocally, he imbues Mark's many songs with a naturally-placed musicality that is lively, direct and immediate. As both singer and actor, he so loves being on stage in front of a live audience, you can see the excitement on his face whenever he's thrust into the spotlight. His knowledge and understanding of the "Rent" material adds to his feel-good portrayal of the East Village filmmaker. It's a triumphant example of how an actor could create a character, sing a song, tell a story and interact with all the other players in a way that no other art form can.

Is Javon King's sassy and sparkly portrayal of Angel, the young gay drag queen who is dying of AIDS as showstopping as Wilson Jermaine Heredia's was in the original 1996 Broadway production?  You bet it is. As shaped and molded by King, it's a dazzling, whirl-and-twirl star turn of high kicks, glitter and individuality that the actor exudes with wishfulness, reality, reflection and accentuated engagement, beauty and flamboyance. This exhilarating mindset is utilized to full advantage throughout "Rent," thus, turning his big musicals numbers - "Today 4 You" and I'll Cover You" - into major showstoppers that the audience can't seem to get enough of. 

Coleman Cummings is the perfect fit for the part of Roger Davis, the restless, singer/ songwriter whose previous girlfriend committed suicide once she learned of her AIDS diagnosis. His anguished, emotional ballad "One Song Glory" is rendered with appropriate pain and pathos as is "What You Own," the character's big, fiery, harmonious duet with Mark in the middle of Act II.  Vocally, he's as polished and charismatic as Adam Pascal was in the original 1996 Broadway production, who, like his predecessor, uses a crisp, polished song style and confidence to sell every one of his songs.

As Mimi Marquez, the drug stoked dancer with a serious heroin habit, Aiyana Smash projects the sexy, slippery, sensuous and alluring persona intended for her character. Dancing wise, she cuts all the right moves liked a skilled acrobat. There's a wave of erotic electricity in "Out Tonight," her big dance-and-song solo in the middle of Act I rooted in a dance aesthetic, reinforced by an artistic strength and confidence of quicksilver application. Vocally, she also imbues "Light My Fire" and "Without You," her savvy duets with Roger, with a warmth and passion that nicely reflects the heart and soul of the original material.

Lyndie Moe and Rayla Garske create all the right sparks and passion as the touchy-feely, sometimes combative, sometimes argumentative Maureen Johnson and Joanne Jefferson. Together, or alone, they each bring plenty of unabashed charm, flair, excitement and earthiness to their individual roles. Their big duet "Take Me or Leave Me" unfolds with enough sizzle and snap (kissing, ass-grabbing, breast-touching and simulated cunnilingus, to boot) to cause a power outage. "Over the Moon," Maureen's wonderfully wicked protest number is so impeccably conceived and timed, both comically and vocally, it deserves a standing ovation in itself.  It's one of Act I's many showstoppers.

Jeremy Abram, in the pivotal role of Tom Collins, is both sincere and heartfelt Angel's newfound boyfriend and lover. He plays the part with an emotional sweetness and charm that works especially well. And when it comes time for him to sing his character's poignant Act II reprise of "I'll Cover You,"Abram stops the show this tear-drenched vocal. His serious vocal heft makes this particular song soar and wound with applause worthy and chilling resonance.

Theatergoers, new to "Rent" will easily embrace this energetic, sexy, hyperactive "25th Anniversary Farewell Tour" edition of the celebrated musical, which, in 2021 and long before that, has become its very own brand name. And why not? Its inspired enthusiasm extends far beyond the proscenium wall of the Bushnell stage with a sparkling urgency, zest and command that's pretty hard to resist. The familiar story of East Village Bohemia is inhabited by a new group of excited, emotionally-charged cast of men and women who eat, sleep, live and breathe "Rent."
The musical score by the late Jonathan Larson is smooth, ragged, raw and emotional. It gets the juices flowing. It seduces and invigorates. It gets you thinking.
First time, second time, 100th time, "Rent" still electrifies. What fun! What joy! What a resurrection! Bohemia, thank the Lord, is not dead. It's alive and well in Hartford at the Bushnell. 

"Rent" is being performed at the Bushnell (166 Capitol Ave., Hartford, CT), now through November 7, 2021.

For tickets or more information, call (860) 987-5900.

website: bushnell.org

Jimmy Buffett's "Escape to Margaritaville" is Cotton-Candy Sweet, Gum-Drop Gooey Escapist Fun For Everyone

By James V. Ruocco

Cheeseburgers and Margaritas.
Drunken Days.
Island Paradises.
Kicking Back.
Flip Flops and Parrottheads.
Rum with Coconut Water and Limes.
Tropical Pattered Shirts.
Sunny Days and Breezy Nights.

Welcome to the lively world of songwriter/lyricist Jimmy Buffett, the iconic music man whose casual tropical island spirit and lifestyle provides the backdrop for the breezy, gumdrop-gooey confection "Escape to Margaritaville," a two-act musical which opened on Broadway back in 2018 and subsequently launched a variety of National Tours including the bright and colorful 2021 edition which hit the road in September, 2021 after being suspended for 18 months due to the COVID-19 pandemic.

A splashy entertainment of sweetness, relentless glee and happy-go-lucky plotting and engineering, "Escape to Margaritaville," which kicked off the Bushnell's 2021-2022 season Tuesday night before a very excited and appreciative audience, is feel-good fun - the kind that oozes warmth and giddiness, splash and dash, swirls and twirls and Technicolor island breezes - all designed to bring a smile to your face, clap your hands till they hurt, gush uncontrollably over the show's duo boy-girl romances, wish for a happy ending, and, when it's all over, break out your mobile phone to call Uber Eats to order a double cheeseburger and a round or two of tasty margaritas.

That said, this is cotton-candy light escapist fun to the MAX.

Written by Greg Garcia and Mike O'Malley" "Escape to Margaritaville" delivers a simple story of spun sugar about an island tropical resort singer (Tully), his best friend and buddy (Brick) and the two women (Rachel and Tammy) who come to the island for fun and relaxation and end up sleeping with them, falling in love with them and finally marrying them as tropical breezes sway and everyone lives happily ever after. 

Corny, oh, yes. Silly, double silly. Cliche ridden, definitely without question. But in spite of that double-dipped gumdrop effect, it all works surprisingly well - very well, in fact - as it magically casts its spell over anyone willing to accept its candy floss merriment, its MGM movie musical concept, its lightweight romantic plotting and its sunny, obvious likeness to that of "Momma Mia!" and "Anything Goes."

Staging "Escape to Margaritaville," director Amy Anders Cororan reaches into the show's grab bag of music, comedy, romance and tropical island splendor to deliver a freewheeling, satisfying story in itself, always mindful of its attitude, its pulse, its comfort, its emotions and its playfulness. Her intention is to have 100 percent fun with both the characters on stage and Garcia and O'Malley's play text. Nothing more. Nothing less. With the accent strictly on entertainment, she creates a lightweight, sweet-centered  atmosphere that serves the material well. Scene by scene, she gives "Escape to Margaritaville" a snappy escapist drive that keeps going and going until the final curtain calls. She asks her cast to play it for real, which they do, without ever going overboard for a laugh, a tear or questioning the romantic silliness of the plot. This, in turn, keeps the musical afloat with genuine stage smarts, wit, sincerity, flair and well-intentioned  gaiety.

Music is everything here and "Escape to Margaritaville" delivers the goods in the amusing, laid-back manner, intended by its creator. The songs, all carefully formatted into the plot are: "License to Chill," "Margaritaville," "Fins," "It's Five o'Clock Somewhere," "It's My Job," "Why Don't We Get Drunk," "We Are the People Our Parents Warned Us About," "Breathe In, Breathe Out, Move On," "Son of a Son of a Sailor," "Three Chords," "Coconut Telegraph," "Last Mango in Paris," "Changes in Latitudes, Changes in Attitudes," Volcano," "Grapefruit, Juicy Fruit," "He Went to Paris," "Cheeseburger in Paradise, " "Coast of Marseilles," "Havana Daydreamin,' " "Tin Cup Chalice," "Love and Luck," "Come Monday," "A Pirate Looks at Forty" and "One Particular Harbour."

Under the guidance and supervision of Christopher Jahnke, Jimmy Buffet's souffle of musical treats roars onto the stage with accelerated dash and fizz, thus, creating a celebratory frenzy that everyone on stage performs and addresses with vocal renditions that are heartfelt, joyous, enthusiastic and harmonious.
Going with the flow of the music, he brings the right rhythm and pulse to the sound and detail of Buffet's orchestrations, their sweet-tinged commentaries, their humorous and dramatic tones and the teeming flux of the very familiar lyrics, jokes, pronouncements and eclipses.

The cast of principals - Kyle Southern as Tully, Sarah Hinrichsen as Rachel, Peter Michael Jordan as Brick, Emily Qualmann as Tammy, Patrick Cogan as J.D., Rachel Lyn Fobbs as Marley - are all  exactly right for the roles they are asked to play. As actors, they are funny, romantic and emotional. As singers, they tackle Buffet's music with the quality, magic and fun-loving spirit of his original mindset.

Highlights include "Cheeseburger in Paradise," "License to Chill," "It's Five O'Clock Somewhere," "Why Don't We Get Drunk" and "Margaritaville."

A brilliant move on the Bushnell's part to kick off the theater's new Broadway season - and bring audiences back to this Hartford-based-landmark - "Escape to Margaritaville" is a sunny, refreshing, lightweight musical with absolutely nothing on its mind except to thrill, cajole and entertain, which it does ever so engagingly. Jimmy Buffet's laid-back signature music works its way comfortably into the show's romantic plotting much to the delight of everyone in the audience without ever going overboard to make its point. Everyone in the cast - principals, supporting players, ensemble - has great fun bringing the two-act musical to life in glorious, panoramic Technicolor. The sets, the lighting, the costumes beautifully reflect the tropical island magic of the show's setting. Director Amy Anders Corcoran spins a romantic tale that never once whirls out of control. And musical supervisor Christopher Jahnke celebrates the music and sound of Jimmy Buffett with an obvious summertime zest and energy that respects and pays tribute to the man himself.

"Escape to Margaritaville" is being staged at the Bushnell (166 Capitol Ave., Hartford, CT), now through October 17, 2021

For tickets for more information, call (860) 987-5900.

website: bushnell.org

The Wait Is Over...Broadway Plays and Musicals Are Back

 

By James V. Ruocco

It's official.

Broadway's back.

Actors, musicians and backstage crews are being remounted.

Auditions are underway for both new shows and recasts.

Rehearsals are slated to begin in the coming months for various plays and musicals.

And, with new vaccine program in place, audiences can start buying tickets to the show (or shows) of their choice.

Excited!
Of course, you are.

So get ready.
It's time to raise the curtain.

What's playing?

What's waiting in the wings?

Who's who?

Here's what we know so far, show by show, in no particular order.

Updates will also be provided on a day-to-day basis once the T.B.A. mandate changes in terms of casting, venues and preview and opening night performances.

"Diana"

(Longacre Theatre)

Previews: November 2, 2021

Opening Night: November 17, 2021

Cast: Jenna Dewaal, Roe Hartrampf, Erin Davie, Judy Kaye, Zach Adkins

"Aladdin"
(New Amsterdam Theatre)
Performances Resume: September 28, 2021
Cast: Michael Maliakel, Shoba Narayan, Frank Viveros

"Hadestown"
(Walter Kerr Theatre)
Performances Resume: September 2, 2021
Cast: Reeve Carney, Andre DeShields, Amber Gray, Eva Noblezada

"The Book of Mormon"
(Eugene O'Neill Theatre)
Performances Resume: November 5, 2021
Cast: Kevin Clay, Jamison Strand, Kim Exum, Stephen Ashfield

"Moulin Rouge! The Musical!"
(Al Hirschfeld Theatre)
Performances Resume: September 24, 2021
Cast: Aaron Tveit, Natalie Mendoza, Danny Burstein, Sahr Ngaujah, Tam Mutu

"Ain't Too Proud - The Life and Times of the Temptations"
(Imperial Theatre)
Performances Resume: October 16, 2021
Cast: Nik Walker, James Harkness, Jawan M. Jackson, Mah Manuel, Jelani Remy

"The Music Man"
(Winter Garden Theatre)
Previews: December 20, 2021
Opening Night: February 10, 2022
Cast: Hugh Jackman, Sutton Foster, Shuler Hensley, Jefferson Mays

"The Lion King"
(Minskoff Theatre)
Performances Resume: September 14, 2021
Cast: Brandon A. McCall, Stephen Carlile, Adrienne Walker, Vince Ermita 

"Birthday Candles"
(American Airlines Theatre)
Previews: March 18, 2022
Opening Night: April 10, 2022
Cast: Debra Messing, Andre Braugher, Enrico Colantoni, Crystal Finn

"MJ The Musical"
(Neil Simon Theatre)
Previews: December 6, 2021
Opening Night: February 1, 2022
Cast: Miles Frost, Quentin Earl Darrington, Whitney Bashor, Lamont Walker II

"Beetlejuice"
(Marriott Marquis Theatre)
Performances Resume: April 8, 2022
Opening Night: T.B.A.

"To Kill a Mockingbird"
(Sam S. Shubert Theatre)
Performances Resume: October 5, 2021
Cast: Jeff Daniels, Celia Keenan-Bolger, Portia, Hunter Parrish

"Company"
(Jacobs Theatre)
Previews: November 15, 2021
Opening Night: December 9, 2021
Cast: Katrina Lenk, Patti LuPone, Matt Doyle, Christopher Sieber, Nikki Renee Daniels

"The Phantom of the Opera"
(Majestic Theatre)
Performances Resume: October 22, 2021
Cast: Ben Crawford, Maghan Picerno, John Riddle, Bradley Dean

"Take Me Out"
(Helen Hayes Theatre)
Previews: March 9, 2022
Opening Night: April 4, 2022
Cast: Jesse Tyler Ferguson, Patrick J. Adams, Jesse Williams, Hiram Delgado, Ken Marks

"Chicken & Biscuits"
Theatre: Circle in the Square Theatre
Previews: September 23, 2021
Opening Night: October 10, 2021
Cast: Norm Lewis, Cleo King, Michael Urie, Alana Raquel Bowers

"Dear Evan Hansen"
(Music Box Theatre)
Performances Resume: December 11, 2021
Cast: Jordan Fisher, Christiane Noll, Jessica Phillips, Phoebe Koyabe, Jared Kleinman

"Plaza Suite"
(Hudson Theatre)
Previews: February 25, 2022
Opening Night: March 28, 2022
Cast: Matthew Broderick, Sarah Jessica Parker, Danny Bolero, Molly Ranson

"Harry Potter and the Cursed Child"
(Lyric Theatre)
Performances Resume: November 12, 2021
Cast: James Snyder, David Abeles, Jenny Jules, Aaron Bantz

"Hamilton"
(Richard Rodgers Theatre)
Performances Resume: September 14, 2021
Cast: Miguel Cervantes, Krystal Joy Brown, Mandy Gonzalez, Jin Ha, Tamar Greene

"Caroline, Or Change"
(Studio 54)
Previews: October 8, 2021
Opening Night: October 27, 2021
Cast: Sharon D. Clarke, Caissie Levy, Samantha Williams, John Cariani

"Jagged Little Pill"
(Broadhurst Theatre)
Performances Resume: October 21.2021
Cast: Heidi Blickenstaff, Elizabeth Stanley, Derek Klena, Morgan Dudley, Sean Allan Krill

"Thoughts of a Colored Man"
(Golden Theatre)
Previews: October 1, 2021
Opening Night: October 31,2021
Cast: Dyllon Burnside, Luke James, Keith David, Forrest McClendon

"Dana H."
(Lyceum Theater)
Previews: October 1, 2021
Opening Night: October 17, 2021
Cast: Deidre O'Connell 

"Six: The Musical"
(Brooks Atkinson Theatre)
Previews: September 17, 2021
Opening Night: October 3, 2021
Cast: Adrianna Hicks, Abby Mueller, Andrea Macasaet, Samantha Pauly, Anna Uzele, Brittney Mack

"Intimate Apparel"
(Mitzi E. Newhouse Theater)
Previews: January 13, 2022
Opening Night: January 27, 2022
Cast: Kearstin Piper Brown, Justin Austin, Chabrelle Williams 

"Wicked"
(Gershwin Theatre)
Performances Resume: September 14, 2021
Cast: Lindsay Pearce, Ginna Claire Mason, Sam Gravitte, Kathy Fitzgerald

"David Byrne's Utopia"
Theatre: St. James Theatre
Previews: September 17, 2021
Opening Night: October 17, 2021
Cast: David Byrne, Chris Giarmo, Angie Swan, Karl Mansfield

"Pass Over"
(August Wilson Theatre)
Previews: August 4, 2021
Opening Night: September 12, 2021
Cast: Jon Michael Hill, Namir Smallwood, Gabriel Ebert

"Chicago"
(Ambassador Theatre)
Performances Resume: September 14, 2021
Cast: Ana Villafare, Paulo Szot, Lillias White, Bianca Marroquin, Ryan Lowe

"Paradise Square"
(Barrymore Theatre)
Previews: February 22, 2022
Opening Night: March 20, 2022
Cast: Joaquina Kalukango, John Dossett, Sidney DuPont, Chilina  Kennedy

"Come From Away"
(Schoenfeld Theatre)
Performances Resume: September 21, 2021
Cast: Petrina Bromley, Jim Walton, Joel Hatch, Pearl Sun, Rachel Tucker, Tony LePage

"Flying Over Sunset"
(Vivian Beaumont Theatre)
Previews: November 11, 2021
Opening Night: December 13, 2021
Cast: Carmen Cusack, Harry Hadden-Paton, Jeremy Kushnier, Erika Henningsen

"Mrs. Doubtfire"
(Stephen Sondheim Theatre)
Previews: October 21, 2021
Opening Night: December 5, 2021
Cast: Daniel Hillard, Jenn Gambatese, Brad Oscar

"Girl From the North Country"
(Belasco Theatre)
Performances Resume: October 13, 2021 
Cast: Caitlin Houlahan, Todd Almond, Jeanette Bayardelle, Marc Kudisch, Mare Winningham, Luba Mason, Robert Joy, Kimber Elayne Sprawl

"How I Learned to Drive"
(Samuel J. Friedman Theatre)
Previews: March 29, 2022
Opening Night: April 22. 2022
Cast: Mary-Louise Parker, David Morse

"The Who's Tommy"
Theatre: T.B.A.
Previews: T.B.A.
Opening Night: T.B.A.
Cast: T.B.A.

"Tina: The Tina Turner Musical"
(Lunt-Fontanne Theatre)
Performances Resume: October 8, 2021
Cast: Adrienne Warren, Daniel J. Watts

"The Lehman Trilogy"
(Nederlander Theatre)
Previews:  September 25, 2021
Opening Night: October 14, 2021
Cast: Simon Russell Beale, Adam Godley, Adrian Lester

"Sing Street"
Theatre: T.B.A.
Previews: T.B.A.
Opening Night: T.B.A.
Cast: T.B.A.

"Skeleton Crew"
(Samuel J. Friedman Theatre)
Previews:  December 21, 2021
Opening Night: January 12, 2022
Cast: Phylicia Rashad

"Waitress"
(Ethel Barrymore Theatre)
Performances Resume: September 2, 2021
Cast: Sara Bareilles, Joe Tippett, Charity Angel Dawson

"American Buffalo"
(Circle in the Square Theatre)
Previews: March 22, 2022
Opening Night: April 14, 2022
Cast: Lawrence J. Fishburne III, Sam Rockwell, Darren Criss

"Clyde's"
(Helen Hayes Theatre)
Previews: November 3, 2021
Opening Night: November 22, 2021
Cast: Uzo Aduba, Kara Young, Ron Cephas Jones, Reza Salazar 

"The Minutes"
Theatre: Studio 54
Previews: March, 2022
Opening Night: April 7, 2022
Cast: Tracy Letts, Ian Barford, Blair Brown

"Trouble in Mind"
(American Airlines Theatre)
Previews: October 29, 2021
Opening Night: November 18, 2021
Cast: La Chanze, Michael Zegen, Chuck Cooper

"Lakawanna Blues"
(Samuel J. Friedman Theatre)
Previews: September 14, 2021
Opening Night: September 28. 2021
Cast: Ruben Santiago-Hudson

(Updated: December 18, 2021)