May '09
 
         
   
Tony Awards® Update
Stephanie J. Block
Ask the Broadway Concierge
Industry Insider: John Miller
On Your Way - to Broadway!
Broadway News Wire
On Stage in New York
 
Tony Awards® Update  
     
  TonyAwards.com Photo Contest  
     
  Give us your best shot! Submit your theatrical photos to the TonyAwards.com Photo Contest, and you could win a trip to the 2010 Tony Awards®.  
         
 

Do you have a photo of yourself that captures the magic of stage performance? It could be from a show you starred in, or a special moment backstage, or the time you stood out from the chorus. Submit your photo, and then, beginning May 18, tell all your friends and family to help us select the winners by viewing the photos and rating them.

 

 
     
 
The contest runs though June 3 only. Complete contest rules are available at TonyAwards.com.
 
     
   
     
 
Sing for Your Tony Tickets!
 
     
 
Step up to the mic and sing your favorite show tune for a panel of judges. The judges' favorite will win a trip for two to the Big Apple, including hotel accommodations, and the chance to compete in the contest finals at Macy's Herald Square on Friday, June 5, 2009. One grand prize winner will spend the weekend in New York and score a pair of tickets to the 2009 Tony Awards® along with a $1,000 Macy's shopping spree and more!
 
         
  Visit the Macy's stores listed below for more details and official rules.    
     
 

Cities, stores, dates, and contest times:
Boston - Downtown Crossing, 5/14 at 5:30 p.m.
St. Louis - The Galleria, 5/15 at 4:00 p.m.
Los Angeles - Sherman Oaks, 5/16 at 1:00 p.m.
Chicago - State Street, 5/21 at 12:00 noon
San Francisco - Union Square, 5/22 at 12:00 p.m.
Albany - Colonie, 5/31 at 12:00 p.m.
Philadelphia - Center City, 6/2 at 12:30 p.m.
New York City - Herald Square, 6/5 at 5:00 p.m.

 
     
   
     
 

Visa Signature Tony Awards Season Celebration

 
         
 
  For the second year, the Tony Awards® and Visa will join forces to produce a one-hour TV special that will celebrate the Broadway season and preview the awards. "Visa Signature Tony Awards Season Celebration" features performances from nominees and other stars of the 2008-2009 Broadway season. The show airs on WCBS in New York on Saturday, May 30 and on CBS affiliates in other cities between May 29 and June 6.

 

 
         
   
     
 
It’s Show Time!
 
     
 
CBS will air the 2009 Tony Awards® telecast on Sunday, June 7 at 8/7c, live from Radio City Music Hall. Get more info at TonyAwards.com.
 
     
Stephanie J. Block  
         
 
Pictured: Stephanie J. Block in 9 to 5: The Musical. Photo by: Joan Marcus.
 

With a Tony Award®-nominated score by Dolly Parton, the new Broadway production of 9 to 5: The Musical has been delighting audiences at Broadway’s Marquis Theatre since it began previews this spring. Stephanie J. Block plays Judy Bernly, the downtrodden secretary originated in the similarly titled film by Jane Fonda. Block is no stranger to Broadway audiences or to theatregoers across North America. She created the role of Elphaba for the first national tour of Wicked, a role she recently reprised in New York. On Broadway she has also been seen in The Boy from Oz and The Pirate Queen.

 
         
 

The afternoon before 9 to 5: The Musical’s official opening night, she sat down in her dressing room with correspondents Ben Pesner and Sam Corbett to chat about her career and upcoming solo CD.

Talk a little bit about Dolly Parton as a Broadway composer.

Dolly comes from the Tennessee mountains. That’s what she’s familiar with, but she’s such a musician in every sense. If one were to say, “Write a song for this character,” or, “Write a song for this plotline,” or “Write a song for this experience,” she will do it quickly and beautifully. Or if one were to say, “These lyrics don’t quite feel like they’re moving the story along,” or “This doesn’t quite feel like the voice of the character,” she will walk away, grab whatever’s there--a napkin, a paper plate--and she’ll just start writing. She’ll be back 20 minutes later with three or four options, all of which would work.

When people see Dolly, they see hair and makeup and nails and sparkle. When the music starts, her head goes down, the wheels start turning, and she’s a serious musician, businesswoman, and someone you want writing your music. Her sensibility for music really crosses all the boards. 9 to 5: The Musical has huge glitzy numbers, a James Brown-type number, a bluesy number, of course, some country tunes and I get this exquisite song which I think is the epitome of musical theatre. It’s called “Get Out and Stay Out.”

 
     
   
  Pictured (l to r): Stephanie J. Block, Megan Hilty, and Allison Janney
in 9 to 5: The Musical. Photo by Craig Schwartz.
 
     
 
People are talking about “Get Out and Stay Out” because it’s a major show-stopper. How do you feel about performing this song that you’ll “own” forever?

Thank you. It feels nice to hear you actually say that. It is such a beautifully written song. I’m very lucky; it’s a gift. I think people are used to me, Stephanie J. Block, belting right off at the top of the show, which is not this character at all. I’m so grateful that I get the opportunity to show something else with the humor and vulnerability.

The play starts with Judy Bernly’s first day of work. She’s timid, frazzled and scared. Her husband has just left her, and she doesn’t know where to go or what to do. The audience gets to see every step of this woman’s growth, from finding out what joy is again, to finding friendship, to finding some kind of purpose in her life. They see inch by inch her becoming more of a woman so that by the last half of the second act, I do get to sing, in full voice. Happily, the audience is with me. They’re cheering me on (me being Judy Bernly). They’re saying, “Good for you,” because she’s been so abused and mistreated, always taking it with a smile and continuing to give her heart. But eventually she says, “Enough is enough, I don’t need you anymore, I know who I am as a woman and get out of my life.” Luckily, the audience goes wild every night.

The movie starred Dolly, Lily Tomlin, and Jane Fonda, whose character you’re playing. Jane Fonda’s also on Broadway right now. What a fabulous coincidence!

 
         
 

Isn’t that a blessing? Forty-six years [away from Broadway], and she’s literally a couple blocks up the road. She came to our opening night in Los Angeles. Dabney [Coleman] was there, Dolly was there, Lily was there, and Jane. It was a little nerve-wracking at first. These fabulous actors made the roles iconic, but we kept reminding ourselves that we were not playing these actors. We’re playing the characters of Judy Bernly, Violet Newstead, Doralee Rhodes, and Franklin Hart. When Jane Fonda came backstage after seeing that opening night, it was so important to me. For five minutes, we were connected. She looked at me, and she said, “You kept all the best bits and made the rest your own.” She seemed very pleased with the performance. What a relief! I went [to 33 Variations] on opening night. Oh my stars, genius, just genius. Gorgeous! SO beautiful! She’s the real deal.

 
Pictured: Stephanie J. Block in 9 to 5: The Musical. Photo by Craig Schwartz.
 
     
 
You said that you weren’t playing Jane Fonda, but you actually did play a real-life superstar, Liza Minnelli, in The Boy from Oz. Liza has also been on Broadway this season.

When I got the call [to play Liza] it was a Monday. That same afternoon I had to get on a plane to San Francisco to open the original out-of-town production of Wicked. I was sitting on the plane thinking, “This is going to be amazing. It’s going to be my real Broadway debut, and… oh my God, what have I gotten myself into?” Panic set in. Liza is such a viable part of our community, and people adore her. The Boy from Oz previews was a juggling act. All departments were trying to find the right balance to create Liza on stage.

I can remember Liza saying in an interview that she stays away from singing her mother’s songs because she doesn’t want to be a second rate Judy, she wants to be a first rate Liza. I felt the same way. I was trying to give my interpretation of Liza: her energy, mannerisms and vocal quality, but the bottom line is that there is ONE Liza Minnelli and she does it magnificently! I was not going to pretend to “improve” upon that or exactly mimic that. She has got an essence, a spirit and an energy that no one can mimic and I respect that.

You toured so extensively as “Elphaba” in Wicked. Do you have a story about the road that you’d like to share?

That was a remarkable experience. [The producers] knew that they had to replace Idina Menzel on Broadway and they were also starting the first national tour. My agent and I talked about the pros and cons to doing one or the other. Following Idina on Broadway would have meant going into a show that has already been set. But, it was BROADWAY. Or, I could do the national tour. That sounded like the option for me. I wanted to start from the beginning, create with Joe Mantello [the director] and rehearse with a brand new cast. The experience was unbelievable. There was such great energy in every town. It was like a rock concert!

You have a new CD out, and we hear you got Dolly Parton to sing backup on it. Explain that, please!

The CD is titled This Place I Know. I didn’t want to just record songs that were already out there or to simply re-interpret my favorite musical theatre tunes.

 
         
 
Pictured: Stephanie J. Block with Dolly Parton at The Broadway League's 2009 Spring Road Conference. Photo by Bruce Glikas.
 

My concept for the album was that if I ask a composer if I could use one of their songs, I also wanted them to perform on the CD with me. Each composer I asked said yes. At every session people would ask, “Are you singing something with Dolly?” I kept thinking that I admired and loved her so much and had built a really great friendship that I didn’t want to cross the boundary of asking her for…anything more than she already had given me. People kept saying, “You’re crazy, just go out on a limb and ask. See what she says!”

 
         
 

I spent hours composing the perfect email. The very next morning I received an email from Dolly saying, “Absolutely, of course, and the song I’d like to do with you, perhaps you’ve heard of it, it was the theme from The Bodyguard? I think our voices would be great on ‘I Will Always Love You.’”

I couldn’t have been more thrilled! I was a little nervous. Dolly encouraged Stephen Oremus and me to do a brand new arrangement. I wanted something really simple so that the listener would focus on the lyrics. I wanted it to stand on its own and not be compared to any pre-existing recordings. Thank God I found the guts to ask her. It’s a beautiful track and I’m very excited.

Get tickets to 9 to 5: The Musical

Visit the Show’s Official Website

Purchase This Place I Know from Amazon.com

View a list of Stephanie J. Block's Broadway credits

 
 
 
Ask the Broadway Concierge  
     
 
 
         
 

Q: What is the record for the oldest person who has performed on a Broadway stage? The youngest?

Cassandra
Galesburg, IL

A: We have to admit, this was a tough one! We can’t answer your question with absolute certainty. However, we can tell you that last month the 105-year-old Broadway treasure Doris Eaton Travis performed with dancers from Billy Elliot, The Musical at the Minskoff Theatre. The occasion was the annual Broadway Cares Equity Fights AIDS’s Easter Bonnet Competition event.

Ms. Travis made her Broadway debut in 1917 at the age of 13. A year later she joined the Ziegfeld Follies as the youngest Ziegfeld Girl ever cast in the show. In recent years she has returned to Broadway each spring to help support BC/EFA.

As for the youngest person, our friends at the Internet Broadway Database have a suggestion: The opening-night cast of the 1991 musical Miss Saigon featured 4-year-old Brian R. Baldomero, who alternated in the role of “Tam” with his slightly older colleague Philip Lyle Kong (age 5).

If you have a question for the Broadway Concierge, please e-mail us at fanclub@broadway.org and we will answer it in an upcoming issue of the Broadway Fan Club Newsletter.  Don’t forget to include your name and city!

For tickets to Broadway and select Off Broadway shows, restaurant, hotel and car service reservations and parking information, please visit the Broadway Concierge and Ticket Center.  
 
Industry Insider: John Miller  
     
 
Photo by Rinze van Brug
 

For more than three decades, John Miller has worked behind-the-scenes on Broadway as a music coordinator. He is currently represented on Broadway by Jersey Boys and Rock of Ages. A bass player by training, he also has sat in the orchestra pits of many shows.

John has a new CD out this spring: Stage Door Johnny: John Miller Takes on Broadway. When we heard about the album, we e-mailed him with some questions about his role in bringing musicals to the stage, and how he got into the business. Here are his answers.

 
         
 
What exactly does a music coordinator do?

The music coordinator is a part of the music team consisting of the composer, conductor, music supervisor (when there is one) and orchestrator. Sometimes I’m asked early on to recommend conductors or orchestrators, and occasionally sound designers. But more often, once a conductor is onboard, I work with the team to help find the perfect musicians that all agree would be the best fit for the musical needs of that specific show. This is one of my favorite parts of the job. It’s a great feeling to be a part of giving work to deserving musicians.

Then I help set up all the details for the orchestra rehearsal schedule. We prepare all budgets, payrolls, contracts and help find the most cost-effective ways to give the music team exactly what they want, making sure that all musicians’ union rules are followed.

Once a show is up and running, we maintain it by overseeing musician’s substitutes and publicity appearances, and organizing the cast album and road show when there is one.

How did you fall into this role?

 
         
 

After getting my degree in the string bass at the University of Michigan in the mid 1960s, I returned to NYC and started working as a freelance musician. One of the artists I was lucky enough to record with was Cy Coleman, who asked me to be the music director and one of the performers of his show I Love My Wife, for which our four-piece combo won a Drama Desk award.

Then in the early ‘80s he asked if I wanted to be the contractor of his new show, Barnum, coming to Broadway. I said no. Cy looked at me and said, “I’ve got to give it to some schmuck, I’d just as soon give it to you.” So I decided to give it a shot. Cy was thrilled with the band; I took it very seriously but I was flying by the seat of my pants. To my surprise I dug it, and happily the phone kept ringing.

 
Pictured (l to r): Constantine Maroulis and Amy Spanger in Rock of Ages. Photo by John Marcus.
 
     
 
What was your most memorable show to work on?

As a jazz bass player, I’ll never forget the first time all the musicians played the score of City of Angels. No one who was there will forget. And as a rock bass player, hearing that opening chord to The Who’s Tommy is unforgettable. From the first rehearsal of The Producers through closing night, working with Mel and his entire team was what you might expect: ridiculous good fun for everyone.

I’m not sure what music I was listening to in the 80’s, but it wasn’t White Snake. So I’m currently having a ball getting to know all these great tunes in Rock of Ages. The challenge for me in this show was to help put together a 5-piece band who not only play this music convincingly, but who live it and look it. So my own personal goal was to put together a group who had never played as a band, and have them sound like they’ve been on the tour bus for years with endless amount of sex, drugs and rock and roll. Goal achieved!

 
     
   
  The company of Rock of Ages. Photo by Joan Marcus.  
     
 

How did this new CD come about?

When I’m through wheeling my bass around the city, and my work as a music coordinator is over, I make my way home late at night and lean the bass up in the living room corner. My wife and our dog are asleep. The night is peaceful. I pick up the guitar -- the Martin my parents gave me when I was 12. I turn on the TV to watch a movie…anything, and begin to play.

Nothing in particular, just some chords, or some fragmented lines. Gradually, they begin to morph into a groove. The groove always came first and that would lead me towards one of these great Broadway classics. Then the arrangement evolved from there.

I love each of these songs, but I feel as though I didn’t actually pick them -- they somehow picked themselves. Each one surfaced from down deep in my earliest memories and affections and kept me and the Martin company with late-night, relentlessly seductive guitar grooves.

Purchase Stage Door Johnny from Amazon.com

View a list of John Miller's Broadway credits

 
You Could Be On Your Way  
  to New York City and Broadway!  
     
  New York Style, The Broadway League and Audience Rewards Announce the Broadway New York Style Instant Win Sweepstakes!  
         
   

Look for specially marked packages of New York Style products, found in the deli section of your local grocery store:

Bagel Crisps®
Pita Chips
Panetini®
Focaccia Sticks™

 
     
 

Find a game piece in the bag and win one of 5,000 fabulous prizes (subject to verification).

For complete details and rules, visit BroadwayNYS.com.

 
 
 
Broadway News Wire  
         
 
John Cudia as the Phantom. Photo by Joan Marcus.
 

A New Phantom

On July 27, Broadway will welcome a new Phantom of the Opera. John Cudia (pictured at left in a photo by Joan Marcus), who currently plays the Phantom in the national tour, will replace Howard McGillin, the world’s longest-running Phantom. McGillin, who has played the role on Broadway off and on for ten years, is leaving the production to pursue other theatrical ventures.

 
     
 
 
     
 

Cat on a London Roof

Broadway’s recent revival of Tennessee Williams’s Cat on a Hot Tin Roof, which featured an all-black cast, will be seen this winter in London’s West End. Stars James Earl Jones and Phylicia Rashad will reprise their roles, and Debbie Allen will again direct. Performances will begin December 1.

 
     
 
 
     
 

Broadway Across the Globe

In other international news, the Philippines will get to experience new English-language productions of Legally Blonde: the Musical and Xanadu. The shows, which appeared on Broadway in the 2006-2007 and 2007-2008 seasons respectively, will feature all-new creative teams from the Philippines.

 
     
 
 
     
 

Broadway Barks 11 Set for July 11

Mary Tyler Moore and Bernadette Peters will host the eleventh annual Broadway Barks!, a star-studded dog and cat adopt-a-thon benefiting New York City animal shelters and adoption agencies. The event will take place on Saturday, July 11th in Manhattan’s Shubert Alley (located between 44th and 45th Streets, between Broadway and Eighth Avenue).

 
     
 
 
     
 
Kids Go Free!  
 
     
 

Free tickets for theatregoers age 18 and under are available for select June and July performances of participating shows in NYC and around the US, courtesy of Kids’ Night on Broadway. Each child must be accompanied by a full-paying adult. Visit KidsNightonBroadway.com for details.

 
     
 
 
     
 

Casting News

  • A Royal Cast - Stephen Collins, John Glover, Rosemary Harris, Jan Maxwell, Tony Roberts, and Reg Rogers will star in next season’s Broadway revival of The Royal Family by George S. Kaufman and Edna Ferber at Manhattan Theatre Club’s Samuel J. Friedman Theatre.

 
     
On Stage in New York  
   
 
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