#gregg edelman

[sweeneytoddst]

A collection of Sweeneys for ya. I wanted to draw the lot of them together in a lineup again for a while. Last time I only drew four, so I added 4 more Sweeneys to whom I like or have seen. Enjoy ❤️💈🩸🔪🥧✨️

In order: Tod Slaughter - 1936 Len Cariou - 1979 George Hearn - 1982 Ray Winstone - 2006, BBC Film Johnny Depp - 2007, Tim Burton Film Gregg Edelman - 2008, Drury Lane Micah Cone - 2022, sierrastages Josh Groban - 2023 Revival, sweeneytoddbway

#sweeney todd #sweeney todd the demon barber of fleet street #my art #barber #musical #straight razor #musical theatre #stephen sondheim #victorian #horror #tim burton sweeney todd #tim burton #johnny depp #tod slaughter #len cariou #george hearn #ray winstone #gregg edelman #josh groban #sweeney todd 2007 #sweeney todd 2023 #sweeney todd revival #sweeney todd broadway #sweeney todd musical #theatre kid #broadway

[dorothy16]

Making his Broaday debut, Grant Gustin is Jacob ❤️ ❤️

#grant gustin #isabelle mccalla #gregg edelman #paul alexander nolan #stan brown #joe de paul #sara gettelfinger #wade mccollum #water for elephants musical #water for elephants ig #grant gustin ig #me edits

[caroleditosti]

'Water for Elephants' a Sensational, Poignant, Uplifting Spectacle

'Water for Elephants' is a sensational, poignant, uplifting spectacle that wows!

Grant Gustin and the cast of Water for Elephants (Matthew Murphy) Based on the titular novel by Sara Gruen, Water for Elephants, excitingly directed by Jessica Stone, currently funs at the Imperial Theatre until September 8th. The production is a circus musical about redemption, love, courage and faith. With a book by Rick Elice and songs with a variety of dynamic musical styles and empowering…

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#Grant Gustin #Gregg Edelman #Isabelle McCalla #Jesse Robb & Shana Carroll #Jessica Stone #Joe De Paul #Mary-Mitchell Campbell & Benedict Braxton-Smith #Paul Alexander Nolan #Pigpen Theatre Co #Rick Elice #Sara Gettelfinger #Sara Gruen #Shana Carroll #Stan Brown #Wade McCollum

[bkenber]

All-Time Favorite Trailers: 'Little Children'

A lot of movie trailers are scored with certain kinds of music to where certain themes are used over and over in them such as the ones from “Black Rain” and “Requiem for a Dream.” But for the “Little Children” trailer, however, the images we see are instead scored to the sound of a locomotive train which is about to reach its desired destination, and it proves to be the perfect illustration of…

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#2006 Movies #Bona Fide #Book To Film #Gregg Edelman #Jackie Earle Haley #Jennifer Connelly #Kate Winslet #Little Children #Movie Trailers #New Line Cinema #Noah Emmerich #Patrick Wilson #Phyllis Somerville #Standard Film Company #Todd Field #Tom Perrotta

[thesweatycollectiontyrant]

Anna Karenina

The show that I’ve always wanted to listen to because of its amount of legit repertoire, but have never had the time to. Now is the time.

It's been two and a half years since I went through a show this way. I graduated from college a week ago tomorrow, and I am finding time to do my favorite things again. It's been such a fun time reflecting on my time at university. I'm grateful.

Background Info

Anna Karenina ran at Circle in the Square in the early 1990s. It wasn’t largely successful from what I understand. It is based on the Tolstoy novel of the same name. There was no cast recording for the musical until 2007, when an absolutely crazytown (my favorite term for TALENTED) group of people recorded it for posterity! Wait until you hear these names.

Writers

Music for Anna Karenina was written by Daniel Levine, who received a Tony nomination for Best Original Score for his work on the show. Peter Kellogg wrote the book and the lyrics.

I’ve been through hell and high waters trying to get a legible and complete score for this show, so we shall see how this goes.

Character List

COUNT ALEXIS VRONSKY (Baritone) - Anna's lover, a cavalry officer.

ANNA KARENINA (Soprano) - Oblonsky's sister, Karenin's wife, and Vronsky's lover. A woman who is unhappy in her marriage and searching for fulfillment in her own way.

CONSTANTIN LEVIN (Tenor) - Kitty's suitor, Stiva's old friend, certified nervous wreck.

PRINCE STEVEN OBLONSKY (Baritone) - Civil servant, Anna's brother, and man about town.

PRINCESS KITTY SCHERBATSKY (Mezzo-Soprano) - Sister-in-law to Oblonsky, pursued by Levin. Bubbly and fun.

NICOLAI KARENIN (Bass) - Senior statesman and Anna's husband, twenty years her senior.

Who’s Singing?

As I mentioned above, there was a studio cast recording that happened in 2007. It has an all-star cast, including Brian d’Arcy James as Vronsky, Melissa Errico as Anna, Gregg Edelman as Levin, Marc Kudisch as Oblonsky, Kerry Butler as Kitty, and Jeff McCarthy as Karenin. This is such a group of amazing singers and actors, especially the four men. I’m very excited to dig into this show.

Let’s Do This

In the cast album, we begin with “Journey to Moscow.” The interweaving eighth notes remind me of Anastasia. The 3+3+2 accent pattern begins as the ensemble and principals begin to sing about being on the train and all of their personal problems that will be fixed by being on the train…? I love that each of the principals get a little moment of solo line throughout. Not the most dramatically exciting opening number, but the rhythmic pulse in the music does a good job compensating for it. I do love the end, especially the piano swell.

Anna and Oblonsky sing a duet called “There’s More to Life Than Love,” filled with witty conversation. Anna is trying to tell Oblonsky that there is more to life than love (as if you didn’t get that from the title) and she is telling him this by bringing up other topics, hobbies, and humanities, however for everything she brings up, he counteracts with its connection to love. It’s written as a waltz. Marc Kudisch does such a fun job of coloring all of his comebacks. I love how Melissa Errico so casually throws her soprano up into the stratosphere out of nowhere. I especially love the very end where you think it’s going to be a big finish, but Oblonsky so quickly and quietly spits out the last lines, saying “But who cares?”

Kerry Butler enters the picture as Kitty with her solo “How Awful.” As she always is, she is earnest and hilarious. This is a fun range-y song for a mixer looking for something that is funny, but not well known. The beats are fun to play, the melody is challenging and fun to sing as well. Kerry Butler sings the role with a lot of charm.

“Would You” introduces us to Levin, who when asked how long he’d be in Moscow replies with a marriage proposal. I am beyond utterly obsessed with this song. The energy is so exciting, and the odd time signature makes it all feel a little disjunct and scared and anxious and excited. Lovely singing from Gregg Edelman!

There’s a conversation piece (Wonderful Town, anyone?) number for Kitty, Anna, Levin and Vronsky called “In a Room.” They sing individually, voicing their thoughts while the others chatter (perhaps?) I was more focused on following along in the music because the copy I have has the song, but it may as well be a completely different piece by a completely different composer for a completely different musical. It’s cute. Not very memorable.

Anna has her first solo with “Nothing Has Changed.” She lists the things she finds similar compared to the last time she was here. Levine’s harmony in this song is really remarkable. There is a constant churning with both the mode used for this piece, and also the extra notes in the chords. The suspensions added to the root position chords are impossible to miss. This song is really stunning musically. Dramatically, it’s one of those songs that tries to make something bigger out of ending exactly where the character began. Oops.

In “I Shall Work,” Levin sings about how he will become a learned man in order to ignore the romantic feelings he has for Kitty. The song reminds me a bit of Henrik from A Little Night Music. It’s got a solid high note at the end too.

“How Many Men” is where Kitty wonders how many romantic trysts she’ll have to go on before she can meet “the one.” Kerry Butler takes every opportunity to make this fun, and she succeeds. In a waltz, she allows the melody and music to accompany the dramatics of the song. This is a great audition song that no one does!

In his first solo “We Were Dancing,” Vronsky sings, presumably to Anna, as they dance. Another solo that I don’t have music for, but it’s beautiful. It reminds me of Anastasia yet again. Brian d’Arcy James keeps the material interesting.

Jeff McCarthy, everyone’s favorite officer (Lockstock) comes in as Karenin. His solo “Karenin’s List” begins with a fiery recitative. He jumps into the song proper and plots what he will say to his wife. The melody twists and turns around the scale as he maneuvers his brain through the possibilities of what to do here. McCarthy has always had a sort of operatic sound to his voice. It never ceases to amaze me. His sound has always been so remarkable for every show he’s been in. So many of these songs would work so well in an audition setting. It reminds me of She Loves Me because of the amount of solos!

Anna has another solo called “I’m Lost.” She realizes where she is in her relationship with her husband and where she is in her relationship with Vronsky. A woman discontented, she sings to herself “on the way home” according to Wikipedia. Not a big fan of the lyric “So lost, and I don’t even want to be found!” It’s giving the reaction that 8-year-olds have when they hear “you’re grounded give me your phone and go to your room” instead of “Isn’t it rich? Are we a pair?”

In the Act I Finale, “Waiting for You,” Anna and Vronsky finally have a love duet. This music is soul-stirring, and beautifully lush. Perhaps the music didn’t work its charm until the two lovers were able to embrace their love for each other. Oops. Again. Stunning vocal performances from both Errico and d’Arcy James. 

Act II starts with “This Can’t Go On.” It is an operatic trio between Anna, Vronsky, and Karenin where the three individually lament their situations. Anna asks Karenin for a divorce and reveals that she is pregnant. The harmony swells and surges. It reminds me of the “Storm” from The Secret Garden. The stakes are HIGH at the top of Act II, people! At least no one’s singing about a train anymore.

It seems that Levin’s heart has been broken in “That Will Serve Her Right.” Rather than feeling bad, he feels rage - makes for a much more interesting song. Edelman does a good job as he reprises his role from Broadway fifteen years prior. The resolution is so apparent in his voice!

Anna and Vronsky sing a duet called “Everything’s Fine.” I’m thinking about the structure of the story and I don’t see how many of these songs function in the narrative. I hunted for a script, but I couldn’t find one. Both Errico and d’Arcy James sound incredible on this music.

Anna and Kitty have their duet with “I Never Dreamed” where they both look forward to marriage, Kitty with Levin and Anna with Vronsky.

Karenin gets the eleven o’clock slot with “Only at Night.” He sings that he misses Anna, but only at night. There’s an incredible bridge here that could work so well in a cut. McCarthy is simply masterful. In this role, it reminds me of when he was in Side Show as Terry Connor.

As she denies her son, realizing that he is better off without her, Anna goes to railroad tracks and stands in front of a train in “Seryozha.” It is a hauntingly beautiful finale into a lovely “Epilogue.”

Audition Songs

There are so many solos in this show!

“How Awful” - Princess Kitty Scherbatsky, C4-F5

There is a fun, tantrum-like energy to this song. It would work for younger roles really well.

“Would You?” - Constantin Levin, C3-B4

This song is perfect for a role like Laurie from Little Women. There’s such an excited and nervous energy here. It bubbles through the accompaniment and the irregular time, and it is a fun challenge in musicianship and acting.

“Nothing Has Changed” - Anna Karenina, G3-D5

This song has a lot of beauty musically. The only problem is that, just like the title, nothing changes. It is up to the actor to choose a good and interesting cut because the music is really incredible.

“I Shall Work” - Constantin Levin, D3-B4

This time, the B is not sustained, but it is full voice. The A right beneath it is sustained right before it! This one seems like a lot of fun to act and sing. Complete devotion to someone. There are a few roles that this would be really good for. I said earlier that this reminds me of Henrik in A Little Night Music. Certainly, use it for that.

“How Many Men” - Princess Kitty Scherbatsky, A3-G5

This song has Kristin Chenoweth’s style written all over it, especially the early roles of her career. Glinda, Sally, Precious, all of them! Put it in your books!

“Karenin’s List” - Nicolai Karenin, A#2-F4

Great for a bass-baritone. There are moments of patter, but it isn’t frenzied - it is metered, it is precise, and it is premeditated. The F isn’t sustained, just tapped a couple of times.

“That Will Serve Her Right” - Constantin Levin, G2-E4

The music I have has the range listed above. The version that Gregg Edelman sings on the studio cast recording is very different. The pitches, rhythms, and many lyrics are changed.

“Only At Night” - Nicolai Karenin, Bb2-Eb4

This song is hauntingly beautiful. It lingers. The key that Jeff McCarthy sings it in is lower than the music I have.

To Wrap It Up

I didn’t see this show as one that would astound me. It didn’t flop, but it didn’t remain particularly noteworthy after its closing. Another sign is that there is no way to license the show. The good thing is that there is a lot of really good material for singers who want to explore more of a legit sound in their singing. I really like the role of Levin!

Thanks for reading!

#anna karenina #broadway musical #broadway #musical #musical theatre #marc kudisch #melissa errico #kerry butler #gregg edelman #jeff mccarthy #brian d'arcy james #anna #karenina #tolstoy #rose #flop #broadway flop

[adsmusiconstellations]

Judy Blazer - The Lady Is a Tramp (Richard Rodgers, Lorenz Hart)

https://www.newworldrecords.org/

#judy blazer #video #jazz #broadway #the lady is a tramp #richard rodgers #lorenz hart #new jersey symphony orchestra #evans haile #judy kaye #gregg edelman #audio

[usoppsfattit]

The Song "You're nothing without me" oozes out such hard ZoSan vibes!!

#zoro roronoa #one piece zoro #one piece #roronoa zoro #op zoro #op sanji #one piece sanji #black leg sanji #sanji #zoro x sanji #zosan #one piece zosan #op zosan #sanzo #sanji x zoro #Spotify

[wysteria-bloom]

ANYONE ELSE GET VOX VS ALASTOR VIBES?!??! ALL I CAN THINK OF IS THEM THE LYRICS MATCH UP SO WELL 😭😭😭😭

PLS TELL ME THIS HAS BEEN DONE AND SEND ME THE LINK PLSPLSPLS IM ON MY KNEES🙏🙏🙏

#hazbin hotel vox #vox #hazbin vox #alastor #alastor hazbin hotel #radiostatic #im screaming #they are my roman empire #Spotify

[droughtofapathy]

Cabaret's Shifting Lead Placement

Welcome to another rambling theatre history lesson with DroughtofApathy. Today we're going to examining the fascinating history of Cabaret's ever-changing lead roles.

Ground rule: Tony eligibility for Lead Actor/Actress is first determined by "above-the-title" billing in the show's opening night Playbill. It was a far stricter guideline in the past, as you'll see. These days, many lead roles aren't put above the title (ex. Hadestown, Kimberly Akimbo, etc.) but will be placed in lead categories either because it's obviously a lead, or because producers lobby for it. Conversely, actors can have "above-the-title" billing and be in featured roles, usually because they're major names like Angela Lansbury and Elaine Stritch, who were both Madame Armfeldt in the 2009/2011 revival of A Little Night Music. In which case, producers will usually submit them as featured.

When Cabaret opened on Broadway in 1966, Jill Haworth (Sally), Jack Gilford (Herr Schultz), and Bert Convey (Cliff) got top billing with Lotte Lenya (Fraulein Schneider) in the coveted "and" slot just below. Note who's missing. That's right. When the show premiered, Joel Grey (Emcee) was just a regular old featured role.

Left: opening night playbill billing. Right: post-Tony rebilling with Joel Grey's ascension.

At the 1967 Tonys, Jack Gilford (Herr Schultz) and Lotte Lenya (Fraulein Schneider) were nominated as Leading Actor/Actress, respectively, while Joel Grey and Edward Winter (Ernst Ludwig) were both in Featured. Jill Haworth (Sally) was not nominated, but would have been eligible for Lead as she had "above-the-title" billing. At the time, Joel Grey was just another working actor. Not so after Cabaret. His performance elevated both the role and his billing, thus transforming the Emcee into a Leading Role from then on.

Subsequent productions would focus more on Sally and the Emcee, while Schultz and Schneider (and the non-singing Cliff) would become featured roles. However, the "above the title" Tony ruling was far stricter back in the day, leading Sally (this time Alyson Reed) to once more be featured in the 1987 revival.

Left: opening night Playbill billing. Right: poster billing

In 1987, Joel Grey was given the sole "above-the-title" billing with Alyson Reed in the next featured spot. Though Sally was, like 1966, technically a lead role, she was nominated in featured at the Tonys that season. (Grey was not eligible as he was reprising his role.) In this production, Regina Resnik (Schneider) and Werner Klemperer (Schultz) both got fancy featured billing and nominations in their respective categories. As Cliff, Gregg Edelman got the "and" billing, but in this case it was less elevated than either Resnik or Klemperer (note the boxes). Edelman was still early-career at this point, and not yet a "name" but Cliff was still considered an elevated role in the company.

By 1998, however, the roles as we currently think of them had finally slotted into place. Alan Cumming (Emcee) won for Best Actor, Natasha Richardson (Sally) for Best Actress and Ron Rifkin (Schultz) for Featured Actor. Mary Louise Wilson (Schneider) was nominated in Featured Actress. Richardson also received left-side billing, as she was a larger name (arguably) than Cumming at the time.

Left: opening night Playbill billing. Right: lobby poster billing

But though nominations seemed to make sense, it still didn't jive with billing placement. In the 1998 production, Richardson, Cumming, and Rifkin all had "above-the-title" with Wilson in the featured "and" slot. Despite this placement, Rifkin went in for Featured. Producers can lobby the Tony committee for actor placement if they think it fitting, and these days we're a lot more fast-and-loose with the definitions. Note however, how Wilson has "above-the-title" billing in the lobby board. This was presumably a contractual renegotiation that happened post-Tonys. Note how Denis O'Hare (Ernst) and Michele Pawk (Kost) have their own line below John Benjamin Hickey (Cliff). All three were/are modest, but known, names in the theatre world, about equal to one another, at least at the time.

By 2014, the old couple (Schultz and Schneider) no longer would get top billing. Alan Cumming only built upon Joel Grey's foundation to fully elevate the Emcee role into the undisputed leading man, with Sally the star-vehicle leading lady. Between the 1998 and up until the recent revival, the older couple's story--and Cliff's importance--had taken a backseat.

Left: opening night Playbill billing. Right: poster billing.

In 2014, the revival won no Tonys, but was nominated for both Featured Actor and Actress (Danny Burstein and Linda Emond, respectively). Cumming was not eligible as, like Joel Grey before him, he was reprising his role. This time, with a Tony in his pocket, and a much bigger name than 16 years prior, he got left-side billing. Emond and Burstein received equal line billing below the title, with Emond getting the left. Though they were roughly equal in the theatre world, and Burstein had a slight edge in terms of Tony noms, I'd guess Emond got the left owing to her larger screen presence/notoriety. In the poster, Bill Heck (Cliff) is left out of featured billing entirely, as are Aaron Krohn (Ernst) and Gayle Rankin (Kost).

Now we come to our latest revival, number four. Though it's still too early for nominations, we can assume Eddie Redmayne (Emcee) and Gayle Rankin (Sally) will be leads with all others featured. Historically, Schultz and Schneider are roles that receive nominations, and the Emcee a role that wins. Will that hold in a wildly over-crowded season?

Left: first preview Playbill insert. Right: billing poster outside the theater.

Once more deviating from past productions, the roles of Cliff (Ato Blankson-Wood), Ernst (Henry Gottfried), and Kost (Natascia Diaz) are plucked back out of the company to be given featured billing. This time, Steven Skybell (Schultz) is on even footing with Cliff, even slightly under with his right-side billing. This would be the least "elevated" billing any Schultz has ever gotten. Skybell is a respected theatre veteran but not quite a household name, even in theatre circles. Blankson-Wood, meanwhile, is a recent Tony nominee. It's all politics when it comes to billing.

Here, Bebe Neuwirth (Schneider) is given the coveted "and" poster billing, no surprise. Of the featured roles, she's inarguably the biggest name. A few decades ago, that might have been enough to get her above the title, but these days it's less common that a solidly featured role would get that (unless you're Patti LuPone in Company, and Bebe doesn't have quite the same sway or ego).

This, to me, seems like the most obvious case of industry politics and agent negotiation at play, and usually actors (and egos) aren't even involved in the conversation. Skybell and Neuwirth aren't on the same level, though their characters are. My guess here is that producers want to bill their sole two-time Tony winner separately, and Skybell's agents know he isn't big enough to dispute that.

Now, let's take a look at this marketing design. Redmayne's name is left-billed despite being above Rankin's head. While annoying for those of us audience members who might just see this as a design flaw, this is all contractual, negotiated to death. Redmayne also gets front-and-center positioning, while Rankin is in the background, off-center, but she gets left-side position, which isn't as minimizing as right-side would. Left-billing is given to the bigger name because English reads left to right. These are the kinds of things I think about when I see marketing ads and playbills.

#cabaret #cabaret broadway #history lessons with doa #ask me about the sweeney todd teaser key art please it's an even better example of contracts at play #yeah i *did* stalk the ebay pages until someone put a playbill picture up for listing i'm just that dedicated to the craft #bebe neuwirth #joel grey #alan cumming #it's 9:30 a.m. but we're going live with this because why the fuck not?

[john-cardoza]

Water for Elephants - Broadway - March 3, 2024

Gregg Edelman (Mr. Jankowski), Stan Brown (Camel), Wade McCollum (Wade), Joe De Paul (Walter), Sara Gettelfinger (Barbara), Paul Alexander Nolan (August/Charlie), Isabelle McCalla (Marlena/June), Grant Gustin (Jacob Jankowski), Antoine Boissereau, Rachael Boyd, Paul Castree, Taylor Colleton, Isabella Luisa Diaz, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Michael Mendez, Gabriel Olivera De Paula Costa, Samiel Renaud, Marissa Rosen, Charles South, Sean Stack, Matthew Varvar

do not repost

#water for elephants #water for elephants musical #grant gusting #stan brown #audio #v gifs audios

[lepoppeta]

RADIOSTATIC PT. 3 (alastor, vox)

paparazzi (lady gaga)

hot n cold (katy perry)

youre nothing without me (gregg edelman, james naughton)

computer boy (poppy)

take a hint (victoria justice, elizabeth gillies)

i wanna be your slave (måneskin)

blinding lights (the weekend)

what is this feeling? (idina menzel, kristin chenoweth)

#hazbin hotel #alastor #vox #radiostatic #alastor x vox #alastor hazbin hotel #vox hazbin hotel #moodboard #songboard #playlist

[sweeneytoddst]

could you please make a list of who all the sweeneys/lovetts are in the tier list? i want to use it but some of the actors are kind of hard to make out just on sight alone for me

Yeah! I thought it would tell you the names of the files, but I was incredibly wrong. Thank you for asking <3

Here they are!

Len Cariou and Angela Lansbury

George Hearn and Dorothy Loudon

Dennis Quilley and Sheila Hancock

Tod Slaughter and Stella Rho

Brian Mitchell and Christine Baranski

Bryn Terfel and Emma Thompson

Norm Lewis and Carolee Carmello

Gregg Edelman and Liz McCartney

Michael Cerveris and Patti LuPone

Michael Ball and Imelda Staunton

Ray Winstone and Essie Davis

Johnny Depp and Helena Bonham Carter

Javier Ferriera and Ashley Braxton

Josh Groban and Annaleigh Ashford

Aaron Tveit and Sutton Foster

Link to the Tier List: Rating Sweeneys and Lovetts

#sweeney todd #sweeney todd the demon barber of fleet street #musical theatre #stephen sondheim #musical #icons #ask #johnny depp #tim burton #helena bonham carter #sutton foster #aaron tveit #bryn terfel #emma thompson #michael cerveris #patti lupone #george hearn #angela lansbury #len cariou #sweeney todd revival #josh groban #annaleigh ashford #ray winstone #essie davis #michael ball #imelda staunton #gregg edelman #liz mccartney #norm lewis #carolee carmello

[dorothy16]

w4emusical “When they call places, there is this ritual we all do together as a company before the curtain goes up,” he says. “There is a line in the show: ‘Step right up and put some wind in your sails.’ So we form a circle and say ‘step right up’ over and over again until everyone has joined in.” - @grantgust for @townandcountrymag

#grant gustin #isabelle mccalla #paul castree #paul alexander nolan #gregg edelman #stan brown #loe de paul #sara gettelfinger #wade mccollum #gabriel olivera #eric bates #marissa rosen #keaton hentoff killian #caroline kane #alexandra royer #matthew varvar #water for elephants #town and country #jenny anderson photos #natalie powers photos #me edits

[broadwaydivastournament]

Isn't it rich? Isn't it queer? Send in Desiree from A Little Night Music (8*)

Bernadette Peters (Broadway revival, 2010 - 64) Carolee Carmello (Symphony Space concert, 2022 - 59) Kate Baldwin (New Jersey, 2024 - 48) Patti LuPone (Ravinia Festival, 2002 - 52) Emily Skinner (Barrington Stage, 2022 - 52) Karen Ziemba (American Conservatory Theater, 2015 - 58) (with Paolo Montalban)

Not pictured: Mary Beth Peil (Opera Ensemble of New York, 1988 - 48) review Betty Buckley (BBC Radio Production, 1995 - 48)

Fun facts: The Charlotte-to-Desiree pipeline is alive and well. Emily Skinner was the Charlotte to Karen Ziemba's Desiree. Kate Baldwin was the Charlotte to Carolee Carmello's Desiree. Kate Baldwin was also the Charlotte to Carolee's ex-husband Gregg Edelman's Fredrik (different production, but can you imagine?). Mary Beth Peil would eventually age into the Madame Armfeldt to Emily Skinner's Desiree.

#broadway #musical theatre #a little night music #desiree armfeldt #bernadette peters #carolee carmello #kate baldwin #emily skinner #marin mazzie #karen ziemba #mary beth peil #betty buckley

[bestmusicalworldcup]

Full casting has been announced for Water for Elephants, a $25 million dollar musical coming to Broadway.

Starring in the production is Grant Gustin as Jacob Jankowski, and Isabelle McCalla as Marlena. The cast also features Gregg Edelman as Mr. Jankowski, Paul Alexander Nolan as August, Stan Brown as Camel, Joe De Paul as Walter, Sara Gettelfinger as Barbara, and Wade McCollum as Wade.

Newly announced for the musical's company are Brandon Block, Antoine Boissereau, Rachael Boyd, Paul Castree, Ken Wulf Clark, Taylor Colleton, Gabriel Olivera de Paula Costa, Isabella Luisa Diaz, Samantha Gershman, Keaton Hentoff-Killian, Nicolas Jelmoni, Caroline Kane, Harley Ross Beckwith McLeish, Michael Mendez, Samuel Renaud, Marissa Rosen, Alexandra Gaelle Royer, Asa Somers, Charles South, Sean Stack, Matthew Varvar, and Michelle West.

Water for Elephants features a book by Rick Elice and music and lyrics by PigPen Theatre Co. Previews begin February 24, 2024 at the Imperial Theatre on Broadway, with opening night set for March 21.

#water for elephants #musicals #broadway #not a poll #theater news

[movies-to-add-to-your-tbw]

Title: The Proposal

Rating: PG-13

Director: Anne Fletcher

Cast: Sandra Bullock, Ryan Reynolds, Malin Åkerman, Craig T. Nelson, Mary Steenburgen, Betty White, Denis O'Hare, Oscar Nunez, Aasif Mandvi, Michael Nouri, Gregg Edelman, Michael Mosley, Dale Place, Alicia Hunt, Alexis Garcia, Kortney Adams, Chris Whitney

Release year: 2009

Genres: romance, drama, comedy

Blurb: When she learns she's in danger of losing her visa status and being deported, overbearing book editor Margaret Tate forces her put-upon assistant, Andrew Paxton, to marry her.

#the proposal #pg13 #anne fletcher #sandra bullock #ryan reynolds #malin åkerman #malin akerman #craig t nelson #mary steenburgen #2009 #romance #drama #comedy