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Each morning before leaving their apartment to report to the Law & Order set, Jerry Orbach wrote his wife, Elaine, a short poem to find upon waking.
Is it fair to limit The Color Purple's donations to housing construction in New Orleans to strictly what can be raised by passing the hat?
A concert to benefit the Actors Fund, co-chaired by Jo Sullivan Loesser and Sir Paul McCartney.
If Angela Lansbury, at 83, can do a dance in the middle of Blithe Spirit, what is so hard for Gershon to do?
Who in Billy Elliot or In the Heights favors marriage equality? Why not let them speak at the "mobilization" rally, too?
Broadway and critics should make common cause for their art. Haven't the American Theatre Wing and Broadway League always supported that ideal?
Should journalists promote podcasts by the same people who snipped critics from the Tony-voting roster?
Charge your batteries: Ruhl's "vibrator" play is headed our way.
As one commenter writes about the Tonys, "The ratings aren't even equal to the number of people who attend Broadway each year."
And then there's the Broadway producer who said the New York Times' theater criticism suffers because Ben Brantley and Charles Isherwood are "gay white men."
This is just the kind of promotional tool all Broadway shows should think about.
The first moment in Moisés Kaufman's 33 Variations, which marks Jane Fonda's return to Broadway after 46 years, occurs not on stage but in the audience. Musical director Diane Walsh enters, bows and sits graciously at a grand piano, house left. She begins playing the sweet and unremarkable waltz by Austrian music publisher Anton Diabelli that inspired Ludwig von Beethoven to write 33 variations on Diabelli's theme, and apparently inspired Kaufman to compose his probing if problematic play. 33 Variations really asks a simple question: Given the banality of Diabelli's waltz, why did Beethoven bother?
No doubt many of you arose this morning and rushed like mad, mad fiends to your computer to read what Michael Riedel had to...
Well, if you read between the lines in this piece in the New York Sun, it seems as if Lincoln Center Theater artistic director...
He comes out about this, if you will, in his review of The Little Mermaid in Time. Frankly, it is quite possibly the strangest example...