At 2:00 p.m. on Wednesday April 4, the longest-running musical in Broadway history reaches an unprecedented milestone. With today’s matinee, Andrew Lloyd Webber’s The Phantom of the Opera plays its phenomenal 8,000th performance. The Cameron Mackintosh/Really Useful Group, Inc. production, directed by Harold Prince, is now in its 20th year at Broadway’s Majestic Theatre, with no end in sight. Congratulations!

Looking forward: In a brief video message posted on his website last month, Lloyd Webber announced that he is currently working on a sequel to Phantom, which will take place in New York City.

  
     
 
         
   

Director Doug Hughes, a Tony Award® nominee in 2004 for Frozen and a Tony winner in 2005 for Doubt, returns to Broadway this spring with a new production of Jerome Lawrence and Robert E. Lee's Inherit the Wind. This powerful drama re-imagines the famous Scopes “monkey” trial of 1925, which shone a judicial spotlight on the teaching of evolutionary theory in Tennessee public schools. Hughes directs a cast of 35 actors including Broadway powerhouses Brian

 
 

Dennehy as Matthew Harrison Brady (based on politician William Jennings Bryan) and Christopher Plummer as Henry Drummond (modeled on attorney Clarence Darrow). Neal Freeman caught up with Mr. Hughes by telephone while the show was in previews.

Neal Freeman: Before we begin talking about Inherit the Wind, I'd like to ask about the job of a stage director. How do you define it?

Doug Hughes: It might sound kind of glib, but I believe a director is a member of the audience who gets to talk back. A director sits where the audience sits. He or she is confronted in every minute of rehearsal with a series of decisions about how something can be improved. Can more be experienced here? Am I being shown too much? Would I prefer this moment give me more room to discover things for myself rather than have it spelled out? Long before I meet with the actors in rehearsal I go to work on the framework of the production, the design, and how it's going to look and move. In every task I put myself in the imaginative shoes of the audience. What is going to be surprising? How can I concentrate the action so that the maximum power is released?

What does Inherit the Wind have to say to contemporary audiences?

  
         
 

Inherit the Wind is always going to be a valid play to revive in this country because as the character Drummond says, “You don't think this kind of thing is ever finished do you?” Deep religious belief has always been a fact of life and hugely important in this county. In recent years the very issues of the Scopes trial, including the right to teach evolutionary theory in state schools, have been questioned in recent years in a number of state legislatures.

 
Brian Dennehy in Inherit the Wind.
Photo by Joan Marcus.
 
 
When Lawrence and Lee wrote the play [in the early 1950s], I think they assumed that the controversy about the teaching of evolution had been put to rest. They were using the story as a metaphor to respond to things that had gone on more recently in America, like the McCarthy hearings. But there will always be moments when an individual's right to think as he or she pleases will come very much at odds with the state's notion of what is best. Another great thing that happens in the play is that it flatters an audience into thinking of themselves as citizens, people who are involved in the national debate. A lot of lip service is paid to free thought and democratic ideals, but they're rather fragile things and I don't know that we tend the garden of our democracy as vigilantly as we might. Inherit the Wind is a play that reminds us of our job as citizens.
  
     
 

How did you go about bringing these ideas to the forefront of this production?

  
     
 

Santo Loquasto [the set and costume designer] and I looked at a lot of pictures of great American meeting places: political clubs, Masonic lodges, town halls, churches, and courtrooms of course -- places where debates happen, where passionate positions are taken. You hear a lot these days about terms like "town hall meeting" where a Presidential candidate hopes to be heard and to listen. So we've furnished a place, a gallery, in which we invite a group of 63 [audience members] to sit onstage and to be inside that courtroom every night. They witness the proceedings, and the 850 people sitting out front are watching them as well. I also wanted to bring to the show some of the stirring beauty of the gospel music that speaks of deep religious belief, so we added a gospel quartet to sing some of the beautiful hymns and stirring anthems that have to do with fundamental beliefs that are held so dearly by so many Americans. I wanted that side of the equation to be represented as beautifully and vividly as possible.

  
     
 

Did you have Christopher Plummer and Brian Dennehy in mind when you began working on the production?

  
         
 
Christopher Plummer in Inherit the Wind.
Photo by Joan Marcus.
 

Yes, very definitely. The producers and I talked about people we thought had the charisma and the stature to take on two iconic characters, and Chris and Brian instantly came to mind. It's been an extraordinary experience to rehearse with them. They're extremely generous actors, and they're also adventurous. They make great partners. One of the things that's a lot of fun to see is an intense rivalry that's conducted by two actors who are really giving to each other.

  
         
 
It sounds like this is shaping up to be a unique and special production!

It is rare that a play of this size is undertaken on Broadway these days, and I'd like to pay tribute to [producer] Bill Haber and his partners for taking on a play that they feel has something to say to us right now. It comes out of a grand American theatrical tradition that doesn't get celebrated as often as it should on Broadway, with two powerhouse actors taking on these heavyweight roles. It's a special event and I feel very privileged to be taking part.

Get information and tickets to Inherit the Wind.

View a list of Doug Hughes' Broadway credits.

  
 
 
On Stage in New York  
   
 
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  Ilovenewyorktheater.com  
     
The New Jersey Performing Arts Center
 
Located on the Newark riverfront, the New Jersey Performing Arts Center opened in 1997 as the sixth largest performing arts center in the United States (based on annual operating budget).
 
         
 
Outside the New Jersey Performing Arts Center. Photo by Esto.
 


The Center houses two theatres, the 2,750-seat Prudential Hall and the 514-seat Victoria Theater, and programs a wide variety of orchestral, dance, theatre, and instrumental works, including a touring Broadway series.

  
         
 

On October 18th of this year, NJPAC will celebrate its 10th anniversary, a significant milestone for an institution that many felt would never succeed in downtown Newark.

"There was a great deal of skepticism initially," explains Jeffrey Norman, NJPAC's Vice President of Public Affairs. "I used to call this 'the building that wasn't going to be built in the city that nobody was going to come to.' We used to go around to board rooms and living rooms with a model and tell people, 'No really, we're going to build this wonderful arts center!' We felt we could become a catalyst for the economic revival of the city of Newark."

The Center features the 4th largest arts education program for a performing arts center in the country, one that has served close to a million children and families since 1997, while total attendance at NJPAC has reached nearly five million patrons. At the Center's inception, attendance numbers like these were anything but a sure thing.

"There were horrible race riots in Newark in 1967," says Mr. Norman. "The city suffered from an esteem problem for decades after. Newark was a place in the 20s, 30s, and 40s where people would come to go to the big department stores and the movie palaces. They used to leave Harlem late at night and come to Newark because things were still hopping here. After the riots, all of that stopped. So for NJPAC to be built here was a real leap of confidence." 		 
         
 

With over 8 million people in the state of New Jersey and 4.5 million just within a 25-mile radius of NJPAC, the Center need not look far for an audience hungry for high-quality arts programming.

 

NJPAC's Prudential Hall with its chandelier. Photo courtesy of NJPAC.

 
         
 

Says Mr. Norman, "We're really pleased at the niche that we've been able to carve out for ourselves. We are dedicated to keeping our eye out for the highest quality arts content, and that emphatically includes touring Broadway. What we like to say is we're offering the best of Broadway close to home for the people of New Jersey."

The New Jersey Performing Arts Center is just a short train ride away from New York City. Visit NJPAC on-line for more information and a calendar of upcoming events.

 
 
         
 

Eric Bogosian's Talk Radio, now playing on Broadway at the Longacre Theatre, centers on an acerbic host of a talk radio program, played by Liev Schreiber. Also in the cast are a group of actors who, besides appearing as various onstage characters, provide the live offstage voices of callers to the program. We asked some of these performers about their own pet peeves and comical rants that could possibly inspire THEM to call a talk radio program.

  
         
    Cornell Womack: If I was honestly to call a talk radio station I would probably like to talk about the fact that we as human beings are limitless. All around I hear people talking about what isn't possible and what's wrong and I see their focus going toward reinforcing limitations and restricting their sense of what they are able to do. More focus on that reality and we could achieve unheard of accomplishments.  
         
   


Barbara Rosenblat: When will restaurants learn to teach their waiters and bussers not to clear plates without asking first? And let ME pour my wine, please!

 
         
   

Adam Seitz: For me it's the ridiculousness of the media today. I don't like to watch the news anymore because all it is just things that are not news. Everyone wants to get their little shot of fame.

 
         
 
  Christy Pusz: Here is my imaginary phone call..."I'm sorry, but no -- I would not like to come see a comedy show tonight. If you haven't noticed, your friend asked me the same question about half a block ago and I told him no as well. Comedy's great, really, but can't you tell from the expression on my face and the swiftness of my gait that I live in NY? And my friend, if I live here, what would I be doing in Times Square if I didn't already have someplace I need to be? See that nice couple over there holding a map upside down? They would love to talk to you."  
         
    Marc Thompson: I hate it when talk radio callers spend their whole call complimenting the host so that they can get a free book or pair of pajamas. I want to hear an enlightened discussion about important issues, not..."you're great…are you still giving out the Vermont teddy bears?" Go get free stuff somewhere else. Entertain me with your extremist obnoxious opinions while I'm stuck in traffic. That's good radio! Dance for me, monkey boy! Dance!

 
     
  Get information and tickets to Talk Radio.  
     
 
     
  The Touring Broadway Audience Choice Award  
     
 

Voting for the Touring Broadway Audience Choice Award continues through Thursday April 12th, so be sure to record your vote by visiting the link below. Congratulations to Broadway Fan Club member Peter Mooney who received a $225 Broadway Visa Gift Card® as our thanks for voting.

The winner of the Audience Choice Award will be announced by Christine Ebersole (Grey Gardens) on Monday April 16, 2007 as part of the 2007 Touring Broadway Awards ceremony in New York City. For a list of winners, stay tuned to the Broadway Fan Club newsletter or visit TouringBroadwayAwards.com after April 16.

Vote for the Touring Broadway Audience Choice Award by clicking here.

If the above link doesn't work, please copy and paste the following text into your browser's address bar:

http://www.zoomerang.com/recipient/survey.zgi?p=WEB2267AVD4TTH

  
     
 
 
     
  Spelling Bee and Spring Awakening Receive League Education Grants  
     
 

Established in 2002, the League’s New York Education Grants recognize and support education initiatives of Broadway shows. This year’s recipients are the musicals The 25th Annual Putnam County Spelling Bee and Spring Awakening. Each production receives a $5,000 grant towards its 2007 educational initiatives. For information about the two initiatives click here.

The League also sponsors a grant program to support education programs for touring Broadway productions. The two programs combined have to date awarded over $600,000 to theatres in New York and across the country. Both awards are also generously supported by Theatre Development Fund.

  
     
 
 
     
  Learn About the Business Behind the Show  
     
 

What, exactly, does a theatrical producer do—and how do you get to be one? For the past 26 years, the Commercial Theater Institute (CTI) has been the preeminent apprentice program for anyone interested in learning about the business of show. Next month CTI offers its annual three-day intensive training program, “Producing for the Commercial Theater.” The program is open to anyone interested in learning about producing on Broadway or elsewhere, investing in commercial productions, and learning the ins and outs of the business. Participants spend their weekend with theatre professionals such as Rocco Landesman (The Producers), Kevin McCollum (Avenue Q), and David Stone (Wicked), along with other producers, general managers, theatre operators, press and literary agents, and theatrical attorneys who cover topics such as creative development, marketing, management, working with non-profits, and legal issues. CTI is presented by the League and Theatre Development Fund. The 2007 three-day program takes place on May 4 through 6. The fee is $400.

Registration is available at www.CommercialTheaterInstitute.com.

  
     
 
 
     
  Drowsy Swap  
     
 

Television legend Jo Anne Worley (“Laugh In,” “The Merv Griffin Show”) will join the cast of The Drowsy Chaperone on April 17 in the role of “Mrs. Tottendale.” She replaces fellow TV star Georgia Engel, who created the role.

  
         
 
 
         
  Broadway Fan Club Photo Gallery  
         
 
Broadway Fans Corin and Carly Conroy pictured with John Gallagher, Jr. (Moritz) after a performance of Spring Awakening.
 

Don't forget to submit pictures of yourself outside of a Broadway theatre in New York or across North America for our Broadway Fan Club photo gallery!

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