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a-trick-or-two-with-lepers · 1 year

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Jesus Christ Superstar Live in Concert (NBC 2018) Breakdown and Review

Quick disclaimer: This is the second version of JCS that I've seen in full. I was introduced to the rock opera through the 1973 movie, and I'm not afraid to say that that is where my bias will always be, especially considering I'm more of a film buff than a theater nerd. However, I am aware that putting a feature-length film and a live recording of a performance on the same level for criticism is unfair, so I'll try to keep the comparisons to a minimum.

With that out of the way, here are my (slightly deranged) thoughts on NBC's JCS Live!

~Overture~

I can only imagine how hyped JCS enjoyers got while watching this live back in 2018. Not only is the live orchestra doing an amazing job, but the guitar players get their own time to shine on stage! This is so damn cool to see, because the guitar riffs are really what makes the song. When the "Heaven on Their Minds" riff began and we got to see one of the guitarists on stage just going at it, I knew I'd be in for a treat.

I'd like to take a moment to talk about the set design as well. One thing I know to be true about most JCS productions is that the set is almost always bare-bones - but in a meaningful way. The story relies more on the actions and emotions of its characters than the environment, which makes sense as Jesus and his compatriots were not necessarily wealthy. This remains true for this particular production. The staging is really impressive; you're never short of something or someone to look at.

Also... the outfits! I'm a sucker for leather, and this production has no shortage of it. The costumes, while aesthetically pleasing, show how much the ensemble in this play favor rebellion.

I love when casts are as diverse as possible - in ethnicity, skin color, body types, gender presentation, etc. This cast fits the bill, and everyone does a fantastic job in the overture. In fact, the ensemble this cast provides are just amazing in general. You can tell each and every one of them has oodles of experience under their belt. I have no complaints about any of their performances.

I will say, the flashing lights during the more chaotic bits were a bit much for me, but that's more due to my propensity to get overstimulated. Overall, the choices made in this section were top-notch, and I really can't be mad at any of it.

Enter: John Legend.

You know how I was really digging the costuming? Well...

Look, I understand that most productions have Jesus just looking like a normal ass dude with normal ass clothing, but was the grey shawl really necessary? Whatever, I'm not too put out by it. At least we get to see some John Legend tiddy.

It occurred to me during this part of the play that I am not a fan of live audiences. Once again, my easily overstimulated brain may be to blame, but I found myself wishing for most of the play that the audience would just quiet down. Nevertheless, I'm sure the cast was happy to be so outwardly appreciated.

~Heaven on Their Minds~

youtube

I'm gonna say this once and I won't say it again. THE MARKETING TEAM LEFT BRANDON VICTOR DIXON IN THE GODDAMN DUST. Seriously, every time I came across a video of this production on Youtube, his name was either not in the title, not in the thumbnail, or he was labeled as Tim Minchin. The poor guy is the main fucking character and nobody could be bothered to give him the credit he deserves. I understand that Legend is more famous, but seriously. That just rubs me the wrong way.

Anyway...

I'm back to loving the costuming. Judas' vest is so cool, and I love the symbolism of his tank being red. Honestly, any Judas in red has my heart immediately.

His performance here is good, but nothing I'm overly impressed by. I can understand wanting to save energy for later performances, though, and I'm definitely not offended by Dixon's singing. He's a bit stilted in his delivery, a little nasally in his vocals, and I sometimes have a hard time believing his performance. Though, I can imagine it's kind of hard to stay in character when you're struggling to be heard above the audience. I mean seriously! When Jesus did the bit where he reached out to the audience, the crowd got so loud that if I didn't know the lyrics to this song by heart I wouldn't know what Dixon was saying. It made me a bit mad, to be honest. I don't know, maybe that in itself is symbolic or some shit.

I do like Dixon's phrasing in some parts, especially when he sing-speaks the line "do you care for your race?" as well his sassy delivery of the titular line. I did not care for the way he sang "how put down we are," but he later totally nailed the original riff on "sour," which is one of my favorite vocal runs of all time. The way he interspersed the bits where he wasn't singing with spoken complaints was cute. He also did a really nice break at the "puh-LEASE" bit.

He really made the song his own. The last twenty seconds gave me chills. Dixon is clearly a very skilled performer, and though there were parts of his performance I didn't love, I overall really enjoyed watching him sing one of my favorite musical numbers.

One last thing about this part: I don't really like how Judas is singing directly to Jesus. A big part of Judas' characterization is that he is a sort of outcast-loner type, and his relationship with Jesus fails mainly because both men fail to communicate effectively. When Judas is literally expressing his concerns directly to Jesus, and Jesus outright ignores him, it makes Jesus come across as an unresponsive dick. Again, this is the first theater JCS I've seen, so I'm not sure how much of this is written in stone as part of the Broadway production. Instead of doing the right thing and researching that, I'm just going to judge the play based on how I initially responded to it.

~What's the Buzz / Strange Thing Mystifying~

I'm not sure if this is a constant in most JCS productions, but "What's the Buzz" feels too slow to me. It's a bit jumpier in the '73 version, but that may be because they were recording it in a studio rather than in front of a live audience. I will say, there's not much room for breathing in this song. Once again, though, the ensemble is doing a banger job.

I came into this not really having a strong opinion on John Legend. I really only know the one song from him ("All of Me," obviously). I've heard people criticize his performance in this, and while I'd much prefer a rock singer or seasoned Broadway performer in this role, I can't say I'm too offended by his casting. He's more focused on his voice than his acting. When it comes to musical theater, each line should be treated as its own and should portray a slightly different emotional tone. With Legend, all his lines kind of sound the same and seem to hold the same level of importance. He's also not very good at the kind of talk-singing that is usually present in this role. But, I can't deny that he sounds pretty damn good. I especially liked how he sang "Mary, oooh, that is good." Very sexy indeed.

Speaking of Mary! Who doesn't love Sara Bareilles? (No seriously, who? I just wanna talk...) I really really really love her dress, and her voice is just lovely. Very soothing and unassuming.

When Judas comes in for "Strange Thing Mystifying," he is once again portraying the perfect amount of sass and shade. I really missed the "hey cool it man :(" line from Simon, though. It's so adorable in the '73 JCS.

I really liked Legend's staccato "Who. Are. You." parts! Whoever made the decision to direct him like that knew what they were doing.

All around, there was more singing than acting going on from the main cast. In my opinion, this makes the characterization kind of weak, but it doesn't make the songs unenjoyable.

Also, I love the choreography here! Especially when they sing "when do we ride into Jerusalem?" Still can't top the '73 choreo for me, but that's a very high bar.

~Everything's Alright~

While I absolutely adore Sara Bareilles' voice, I wish she enunciated a bit more for this song, but that's just a personal preference. Her singing and her entire vibe is just so calming and gorgeous, and her runs are spot-on. Then we get to the little Judas and Jesus interaction.

In the original movie, this is the scene that made me realize, "Wow. These men really love each other." Every scene with Carl Anderson and Ted Neely is just so emotionally intense that it's impossible to look away. That is not really the case with Legend and Dixon.

Though they both sound good (for the most part), the desperation and emotional overflow is just not there. And I say for the most part because both Dixon and Legend struggle a bit with the higher notes. Dixon went for the belt, but was a bit flat. Legend opted to sing "when I'm gone" with a poorly sung falsetto, and it just. Does not fit. Whatsoever. It was a weak performance of a line that is meant to be fraught with emotion.

Also, by the end of the song, I'm pretty sure the point is supposed to be that despite Mary's careful ministrations, Jesus is still stressed and upset. But here? Nah, Jesus is just snoozin'.

Despite J and J's subpar deliveries, I enjoyed this song even if just for how Mary was presented.

~This Jesus Must Die~

Norm Lewis! I! Don't really... have a pre-formed opinion on him. So many people seem to, but I just haven't been involved in theater for so long that I'm a bit out of the loop.

Nonetheless, he is a wonderful performer. His vibrato is liquid gold. However, I was under the impression that Caiaphas is a role usually played by bass singers. Lewis is very clearly a baritone. I'm not sure I'm too happy with this choice, especially since he seems to struggle a bit with the lower notes. It's not nearly as noticeable as Legend's struggle with high notes, but I really wish we got to have a beautiful, gravelly bass voice in this role. Even without the inhumanly low tones, Lewis manages to make this role just as intimidating as it should be.

Jin Ha does a good job as Annas. I don't have much to say about his performance.

What I find particularly funny about this part is that you can tell who the stage performers are. Legend is a singer. He sings. These priests that have like, two lines each? They're PERFORMERS. They are taking their fifteen seconds of fame and milking them as much as possible, and I respect the hell out of it because it makes for some very enjoyable performances. The "What then to do about this Jesusmania?" guy killed it.

I love the costuming here as well - very cool geometric designs on the jackets.

Though I would love to say I fancied this version of the song, they didn't include the "Jesus is cool" line. And for that, this is my least favorite song in the production. (/j)

~Hosanna~

I don't have a whole lot to say about this one. It was good! Just a few little tidbits:

-Legend starting a crowd clap was cute

-This song works really well for Legend cause it's right in his register and he doesn't have to reach for any super high notes

-The key change is super cool! I LOVE Legend's runs during this part as well

-The last part where they all sing "SUPERSTAAAAR" was awesome and I can imagine them using that for a lot of cable advertisements

~Simon Zealotes / Poor Jerusalem~

First of all: Simon's cute as hell! Look at his lil' hair!

I just love when this role is played as the most energetic, chaotic, batshit insane guy you've ever seen. And I cannot express how delighted I am to see a role in this play being done by a rock singer! Erik Grönwell's performance here is my favorite out of anyone in this play so far. His belts are out of this world.

The ensemble can't be discounted here either, 'cause they sound freaking amazing. But I've already expressed my love for them.

Surprisingly, Legend's falsetto actually works well for "Poor Jerusalem." It makes sense, though, as this part is meant to be a bit gentler and more downtrodden. He sounds really nice.

Side note: when did they change the "but you close your eyes" line to "but you live a lie?" Is that just for this version or was it changed previously? I feel like it doesn't really add anything.

~Pilate's Dream~

Not much to say here either, it's a pretty short song. I will say I really like Pilate's outfit. The colors are reminiscent of '73 version, which is an immediate like from me. I also like how Pilate looked straight into the camera at the end of the song. Pretty impactful even if I know for a fact they went to commercial break right after that.

~The Temple~

Okay. I'd die for these guitarists. I love whenever they're on stage! They're killing it!

Anyway, I found it pretty funny that the temple-goers just started dumping glitter on the ground. I wrote in my notes "Slay ig," so, slay ig.

It's pretty cool too how the "temple" is literally just a huge cross on the ground. The slow movement of the camera makes this a languid realization, which is neat.

Speaking of which, I forgot to mention that the camerawork so far has been really good. I never feel like I'm watching something stagnant, yet I still feel like a part of the audience. Good job, NBC crew.

"My temple should be a house of prayer, but you have made it a den of thieves" is my favorite part of the original movie. It's so undeniably powerful, and Neely's rock-belt is just heavenly to listen to. (He performs it live, too, so I know it isn't just a trick of the recording studio).

Legend's version of this line? Eh, it was alright. It was honestly better than I was expecting. I was really worried he was just gonna sing it the way it was written and go for the falsetto, but he instead chose to stay in his range. He also has an intentional voice break, indicating a bit of emotion, which is nice to see. I don't know why he sings the "get outs" in lowercase; it's just kind of funny.

The lepers sound really good, but when Legend is trying to sing his part over them, I can hardly hear him. What I did hear, though, was like? Really good? Super rock-sounding. Hopefully we hear more of that later...

~I Don't Know How to Love Him~

No notes. She slayed.

Yvonne Elliman supremacy, but Sara Bareilles Mary Magdalene now has a place in my heart. I'm glad I watched this production if just for her, honestly.

~Damned for all Time / Blood Money~

What can I say? The priests are spooky, the lighting is badass, and Norm Lewis is the best singer here.

As far as Judas goes, Dixon is doing exceedingly well for how ridiculously hard this song is to sing. Carl Anderson owns this song in my heart, but Dixon is not disappointing. He makes up for the lack of insane belting by adding his own runs, and it works well. I wrote in my notes that "Brandon actually looks like emotions are happening," so, yeah. Also, the BICEPS! Needless to say, I was enjoying it.

~The Last Supper~

I forgot why I wrote "Aw, gay apostles" in my notes, but going back to it, I noticed how much hugging kissing was going on between these guys. Can't complain, love a good smooch.

Mary is also in this scene, which differs from the movie. And she shows her hospitality towards Judas, which is cute. I always wished they had Judas and Mary interact more in the movie.

Legend sounds good at the beginning. Once again, this song is well within his range, and his falsettos don't feel too out of place. However, they didn't put a pause between the "when you eat and drink" line and the "I must be mad" line, which I thought was odd.

When the accusations start flying, Jesus just. Doesn't seem mad. Judas does, and Dixon completely upstages Legend in this scene.

After the apostles sing a second time, and Judas starts dishing out the insults to Jesus, I feel like it should have been more one-on-one and personal. I would've had the apostles move further away or even leave the stage for this part.

Oof. Legend singing "Get out!" in falsetto was just... not good. When the audience clapped for it I cringed so hard.

Let's see if Legend can redeem himself with the next song...

~Gethsemane~

With how bad everyone made it out to be, I was expecting Legend to completely biff it here. But to my surprise, he really stepped it up here, in both terms of singing and acting. Obviously, it was nowhere near as impactful as Gillan or Neely's versions, but I could at least see that Legend was trying. This part made me recognize that he isn't necessarily a bad actor, he just isn't consistent enough in his performance for it to be believable that he is in character.

He displayed some really impressive rock-belting midway through the song, right around where most people usually go for the g5 note. It sounds so gravelly and crisp, and I really wish he used it more during this performance. Additionally, I am very happy that he didn't go for the g5. That part usually makes or breaks the performance, and with Legend I think we know which way the egg was gonna fall.

There were some good choices made here as well as some bad ones. He still did some nasty falsettos in the latter half of the song, which actually made me laugh. Seriously, who convinced him that was okay? I feel like this would have been a well-regarded performance without that.

Overall, I'm impressed. The weak points were weak, but few, and the strong points were really strong. It wasn't nearly as poor as people made it out to be.

~The Arrest~

The kiss was nice and tender. I like the way Jesus hugs Judas afterwards too, that was very sweet. For some reason it sounded like Legend said "Judas, must you betray me with a gay?" which I thought was pretty funny.

I like how the arrest was framed as a news stint, with reporters and mics and all that. It was also pretty neat how they interspersed the solo lines with ensemble lines.

~Peter's Denial~

Peter was good, but the real standout here was that guy with the phone that sang "But I saw him too, he looked just like you." God DAMN! They went OFF!! Can he play Judas next please?

~Pilate and Christ~

Pilate is really the one bringing the camp here. He ate this up.

~King Herod's Song~

Well. What do you want me to say here? It's Alice Cooper. Do you really think I am physically, mentally, or legally capable of criticizing Alice Cooper?

I'll spare you the fangirling I did in my notes app; just know I, as well as the audience, was very happy to see this man doing his thing.

Also, as a rocker, he actually made this song fit with the rest of the play, which is truly a feat.

(Still not as good as his episode on The Muppets).

~Could we Start Again Please~

Even though I love Sara as Mary, and Peter did a good job as well, I wish they included more ensemble in this song. I feel like it's more impactful that way as it shows that there were still people who believed in Jesus. Still, I'm so glad they decided to keep this song in most JCS productions because it's one of my favorites.

~Judas's Death~

Oh no, he lost the leather vest! I'm not complaining though... 😏

This is the part where I praise Dixon for his showmanship, 'cause this man just got THROWN and he KEPT SINGING! I found that to be very impressive. Though I will say, the increase in his emotional performance seems to cause his singing to suffer a bit. To be fair, it's an incredibly hard part to sing.

Aside from Jesus going bonkers in the Temple, Judas' reprise of "I Don't Know How to Love Him" is my favorite scene in the original movie. Did Dixon live up to my expectations? Well, considering my expectations were pretty low to begin with, he exceeded them.

This is seriously the best acting I've seen in the whole play. Dixon completely sells his performance. Consider me a proud and satisfied viewer.

Although, quick PSA to the audience. You don't actually have to clap every time a man sings in falsetto, mkay? Thanks <3

~Trial Before Pilate~

This song is notorious for its difficult timing considering it's just talksingtalksingtalk *BUM* talksingtalksingtalk *BUM* for a bit. This Pilate though? Yeah, he nails it. I was really impressed by his performance. Also, when he said "talk to me Jesus Christ," that was the most sexual tension I've seen in a stage play, wow.

I don't really understand what was going on in the flogging scene, because the ensemble members were just running past him individually, but Legend was selling it. It definitely looked like he was in pain, and the lashes on his back didn't look sloppy or rushed.

Another emotional crux of the play is when Pilate basically yells "DON'T LET ME STOP YOUR GREAT SELF DESTRUCTION!!" I was a little let down by this guy's performance of these lines honestly. However, he was virtually perfect the rest of the time so I can't really be mad.

~Superstar~

THIS. THIS IS IT.

For whatever reason, Dixon just decided to turn the iconic scale up to 1000. The diamond laced fit. The dancing. The footwork. Everything about this performance was absolutely incredible, and I am just ecstatic about it. I mean, the man was full on spinning on the ground while singing. Every run he did now has a permanent residence in my brain. If you decide not to watch this version of JCS, I understand. I don't blame you. But if nothing else, please please PLEASE watch this part on Youtube. You won't regret it.

In the words of a close friend of mine, he slayed, ate it up, left no crumbs, licked it clean, you could eat off that plate again.

~The Crucifixion~

There were some lines in here that definitely weren't in the movie, and again, I'm not super familiar with the broadway play so I'm not sure how much of this was changed for this version alone. Nonetheless, Legend did a good job here. I mean, attempting to portray Jesus dying on a cross is a task to be sure, and he accomplished it.

~John Nineteen: Forty One~

There seemed to be some resurrection imagery here, so, congratulations Christians. He did the rising. (I am not religious, can you tell)?

I love me a good curtain call. They're just so joyous.

So! Was this production worth two hours of me composing my thoughts on it into a Tumblr post approximately five people will read? You tell me. I certainly enjoyed my time with it, and I hope to do this with more productions. I'm looking forward to watching both the 2012 revival and broadway productions, the 2014 Swedish one, and the 2000 movie. Please let me know if you have any suggestions for others I might enjoy or that you would like to see a breakdown of.

#jesus christ superstar #jesus christ superstar 2018 #review #jcs 2018 #jcs #john legend #brandon victor dixon #alice cooper #nbc #sara bareilles #Youtube

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thedreadpiratematt · 1 year

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Musical lovers! Reblog and put which shows ended up in your Spotify wrapped

I had:

Bright Star ||||

The Band's Visit |

tick, tick... BOOM! (Original cast recording) ||||

Be More Chill |

Natasha, Pierre and the Great Comet of 1812 |||| ||

Hadestown (Live Original Cast Recording) |||

Jesus Christ Superstar ||

The 25th Annual Putnam County Spelling Bee |

Groundhog Day |

Carrie ||

Into The Woods |

SIX ||||

Spring Awakening |

Rent |

Oklahoma! (2019) |||

Women on the Verge of a Nervous Breakdown |

tick, tick... BOOM! (film soundtrack) |||

She Loves Me |

Mean Girls |

Anastasia |

Heathers |

#musicals #Broadway #West End #Spotify wrapped #personal #feel free to put in reblogs or tags #and you don't have to do the tally marks like i did i just thought it would be interesting to see how many i had of each too #looks like Great Comet won for a single album with 7 #though ttb one for a show split between two different productions with 8!#and damn‚ I had 21 shows overall!

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jcs-study · 1 year

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Things I Encounter as I Write the Book, Vol. 1

So, as previously mentioned, one of the key chapters of Impressions of a Crucifixion is going to be about JCS' characters, consulting casting notices as I go to create a sort of primer for performers approaching the piece for the first time.

As I worked on Judas' section of the chapter, I had to laugh as I consulted the 50th-anniversary tour's audition breakdown for source material. Why? Well, when they describe possible musical influences for the actor, they say "stylistically drawing a great deal from soul music [...] Useful reference points would be Stevie Wonder/Murray Head." Their ideal voice type is even more telling: "…requires an agile and sensitive voice with access to extremely high registers across a full dynamic range […] someone who can tell a story through a melody, with exquisite diction and intonation…"

I ask you -- what does that combination of elements sound like to you? It's literally the definition of "Tell me you want me to 'do a Carl Anderson' without telling me you want me to 'do a Carl Anderson'."

I suspect the only reason they don't come out and say it is partially their insistence on marketing the tour as a return to the Brown Album roots and partially leaning into the director's choice to emphasize the "superstar" rather than the "Jesus Christ" in his concept; when you pick a star that Carl literally taught to sing with his diaphragm (Stevie, who told that story at Carl's memorial) as your example, it's pretty clear what you want.

A cross between Murray Head and Stevie Wonder with a lot of soul influence -- that's... like... it's Carl, just say it, for crying out loud.

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dreamcastingbroadway · 3 years

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Dreamcasting Broadway: JESUS CHRIST SUPERSTAR

“Listen Jesus to the warning I give, please remember I just want us to live.”

Dreamcasting Broadway: Jesus Christ Superstar

Adrienne Warren as Jesus Christ

Andrew Polec as Judas Iscariot

Maiya Quansah-Breed as Mary Magdalene

Kyle Scatliffe as Pontius Pilate

Jewelle Blackman as Caiaphas

Zara MacIntosh as Annas (Judas u/s)

Conroe Brooks as Peter (Caiaphas u/s)

Anthony Chatmon II as Simon Zealotes (Jesus u/s)

Lesli Margherita as King Herod

Alex Gibson as Apostle/Ensemble (Caiaphas u/s)

Blaine Alden Krauss as Apostle/Ensemble (Annas u/s, Simon u/s)

Cameron Amandus as Apostle/Ensemble (Peter u/s)

Chelsea Lee Williams as Apostle/Ensemble (Pilate u/s, Peter u/s)

Hannah Corneau as Apostle/Ensemble (Judas u/s)

Javier Ignacio as Apostle/Ensemble

Nora Schell as Apostle/Ensemble (Simon u/s)

Patrick Connaghan as Apostle/Ensemble (Peter u/s)

Rohit Gopal as Apostle/Ensemble (Annas u/s)

Abbi Hodgson as Ensemble (Simon u/s)

Akilah Ayanna as Reporter 1/Ensemble (Soul Girls u/s)

Alexa De Barr as Ensemble

Alexander Gil Cruz as Reporter 2/Ensemble

Allan K. Washington as Priest 3 (Judas u/s)

Alysha Deslorieux as Ensemble (Jesus u/s)

André Jordan as Soldier/Ensemble

Arica Jackson as Soul Girl/Ensemble

Ashley Andrews as Reporter 3/Ensemble

Athena Collins as Soul Girl/Ensemble (Mary u/s)

Billy Joe Kiessling as Reporter 6/Ensemble

Chris Medlin as Ensemble

Dan Gleason as Reporter 14/Ensemble (Jesus u/s)

Ericka Hunter as Ensemble

Erikka Walsh as Reporter 7/Ensemble

Grasan Kingsberry as Reporter 9/Ensemble

Gus Reed as Ensemble

J. Harrison Ghee as Soul Girl/Ensemble

Jacob Keith Watson as Priest 1/Ensemble (Herod u/s)

Kaleb Wells as Reporter 11/Ensemble (Pilate u/s)

Karis Oka as Reporter 5/Ensemble (Mary u/s)

Khori Michelle Petinaud as Ensemble

Noah Wolfe as Reporter 8/Ensemble (Mary u/s)

Paul HeeSang Miller as Reporter 4/Ensemble (Pilate u/s, Caiaphas u/s)

Rory Donovan as Reporter 12/Ensemble (Herod u/s)

Sam Aberman as Reporter 13/Ensemble

Samantha Williams as Priest 2/Ensemble (Soul Girls u/s)

Shekinah McFarlane as Reporter 10/Ensemble (Herod u/s)

Tessa Alves as Reporter 15/Ensemble

Vanessa Becerra as Reporter 16/Ensemble

Vishal Vaidya as Old Man/Ensemble

Calvin L. Cooper as Swing

Camden Gonzales as Swing

Juan Caballer as Swing

Julian Ramos as Swing

Lauralyn McClelland as Swing

Mike Baerga as Swing

Sam Strasfeld as Swing

Shannen Alyce Quan as Swing

Veronica Otim as Swing (Annas u/s, Soul Girls u/s)

*Inspired by @thediaryofatheatrekid‘s JCS casting breakdown

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wild-icarus · 4 years

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Judas Iscariot, “Heaven On Their Minds”-”Judas’ Death” Costume Ver 3. with Jacket (Tim Minchin, Lucas Rush) Arena Tour Jesus Christ Superstar Production 2012-13 (3/9)

Jesus: Ben Forster

Row 3 left photo is Tim Minchin and his understudy Lucas Rush both in matching Judas costumes

Costume Notes: Version three of this costume, or the recorded DVD version, identical to ver. 2 just with a white scarf now and different tattoos. His jacket is on for the start of the show and he removes it at the end of “Heaven on Their Minds”. During the start of the “What’s the Buzz” he shoves it in his bag (he removes the bag during “Heaven on...”). He has the jacket on again during the instrumental before “Blood Money,” but removes it when he meets Caiaphas and Annas by giving it to a ensemble member. His jacket reappears for the betrayal scene where he wears till his death. Breakdown of the rest of his costume is available here in part 2/9.

This version is available on DVD but if you’re interested in Tim Minchin’s vocals or other cast members be warned the DVD version is autotuned and so the singing sounds weird on occasion so I recommend listening to live performances for press that is posted on YouTube without autotune (though I will say Minchin sounds a bit ill for some performances making him more nasal so perhaps listen to a few).

Now you may wonder what about Lucas Rush? well you’re in luck, he has posted parts of him performing “Everything’s Alright/Ointment scene” (he warns that he’s a bit flat here), "Last Supper” and “Superstar” on YouTube. Rush even posted a video of Krysten Cummings who was the understudy Mary Magdalene performing “Could we Start Again Please” He also posted rehearsal video compilation and it’s really cute and I heavily recommend checking it out if you like this production (there’s parts where Minchin ad libs during “Superstar” to the entertainment of the cast, cast member attacking each other with water bottles and so on).

Part: 1 (promo/ver.1), 2 (ver.2), 4 (ver.3), 5 (ver.3), 6(ver.4), 7(backpack), 8(Superstar), 9(Superstar)

#Lucas rush #tim minchin #krysten cummings #heaven on their minds #jesus christ superstar #jcs #superstar #judas iscariot #Judas' Death #jcs 2012 #jcs arena tour #costume #costume reference #costume detail #cosplay reference #jcs costume

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tarry-a-lot · 4 years

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I just watched the Jesus Christ superstar broadway revival from 2012 and I cried so hard, I don’t think I cried that hard since rent or les mis, i mean I do have breakdowns often but like I’m saying crying for theatre, I just really don’t know what to say I’m still so sad, just the friendship and bond between mary judas and Jesus hurts so much, also after the crucification they had the audacity to have the word signs show the text of where judas yells at mary and Jesus about the waste of oil and I started crying again, could we start again hurts it all hurts fuck, I have never cried at gethsemane before this but this one really got me especially when judas is standing behind him at the end, I just sorry for the rant , the revival is great, the cast was great but especially josh young, Paul Nolan and Chilina Kennedy, I cried so hard and as Jesus said now I’m sad and tired

#damn what a trip #jesus christ superstar #josh young #paul nolan #chilina kennedy #rambling

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gemmaxtucker · 5 years

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WDPA MINI CHALLENGE 005 || THE SOUNDTRACK OF YOUR LIFE

Opening Credits: So You Wanted to Meet the Wizard by Queen Latifah (Wiz Live Cast Recording)

Waking Up: Whatever by Hot Chelle Rae

First Day of School: Happiness is a Warm Gun by Joe Anderson & Salma Hayek (Across the Universe Soundtrack)

Falling in Love: They Just Keep Moving the Line by Megan Hilty (Bombshell Cast Recording - SMASH Cast)

Fight Song: Circus Girl by Mindy Gledhill

Breaking Up: Gasoline by Britney Spears

Prom: What Time Is It? by High School Musical cast

Life’s OK: Why Not Me? by Carrie the Musical cast

Mental Breakdown: Some Other Me by Idina Menzel & Anthony Rapp (If/Then Cast Recording)

Driving: Here I Go Again by Whitesnake

Flashback: We Know the Way by VoicePlay feat Rachel Potter (Moana)

Getting Back Together: Hosanna by the Jesus Christ Superstar Live Cast

Wedding: No Place Like Home by Todrick Hall

Birth of Child: Stitches by Shawn Mendes

Final Battle: Like a Virgin by Moulin Rouge cast

Death Scene: Doll Hairs by Todrick Hall

Funeral Song: Brokenhearted by Karmin

End Credits: Hurricane by Bridgit Mendler

#wdpa mini challenge #I'm honestly so in love with this

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meadow-dusk · 6 years

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LONG LONG LONG

a music survey from livejournal days…

- TO TAKE THIS SURVEY, SIMPLY PUT YOUR MUSIC PLAYER ON SHUFFLE AND ANSWER THE QUESTIONS WITH THE TITLE OF THE SONG THAT COMES ON - [it’s better if you don’t cheat and don’t skip any songs.]

What is your name?: Moby Dick • Led Zep

How is your life going?: Get on the Right Thing • Paul McCartney

What is your nickname?: The Day the World Gets ‘Round • George Harrison

What is your theme song?: Little Games • The Yardbirds

What is your best friend’s theme song?: Wait • The Beatles

How is your life going to turn out?: Communication Breakdown • Led Zeppelin

Will you get married?: Four Sticks • Led Zeppelin

Will you have kids?: For What It’s Worth • Haley Reinhart

What will your job be?: Rattled • Traveling Wilburys

Did you/will you finish school?: Good Times, Bad Times • Led Zeppelin

Who is your best friend?: Behind that Locked Door • George Harrison

Who is or will be your significant other?: Think Pink! • Beyond Pink

Who do you like?: We’re All in This Together • High School Musical Cast

How will you die?: Stairway to Heaven • Led Zeppelin (YAAAAAS)

How do you feel right now?: Sentimental Journey • Ringo Starr

What is your favorite song?: Matilda Mother • Pink Floyd

How could you describe your parents?: Pilate and Christ • Jesus Christ Superstar (you can’t make this stuff up yall)

Your best friend[s]?: Postcards from Paradise • Ringo Starr

Your teachers?: She’s Not There • The Zombies

Your significant other [or crush…]?: Riding on a Bus • The Beatles (an interview)

Yourself?: Brian Bathtubes • The Beatles (taking requests)

What is your best feature?: The Riddle • Five for Fighting

What will you be/should you be, profession-wise?: Desire • U2

How could you describe this survey?: I Told You So • Randy Travis

What makes you angry?: Moanin’ • Chris Farlowe ft. Jimmy Page and a random sitarist (this song is so interesting)

What makes you sad?: Everything I Know • Mandy Gonzalez

What makes you happy?: One • Bee Gees

What makes you dance?: I Still • Backstreet Boys

What is your favorite color?: Sundown • Gordon Lightfoot

How would you describe yourself?: Heart Attack • One Direction

Who is your worst enemy?: Little Soldier Boy • The Yardbirds

Who do you hate?: No Me Diga • In the Heights

Who do you love?: I Started a Joke • Bee Gees

Who do you lust after?: What Do You Want? • The Yardbirds Finish the Sentence I wish: Rainy Day Women #12 and 35 • Bob Dylan I want to: We’re on the Road Again • Ringo Starr I want to kill:. Money • The Beatles I want to eat: Spring Musical Medley • HSM3 yall with Kryan duet to open My head: Sometimes I’ll Be There • Naked Brothers Band (accurate) I am: Movin On • Rascal Flatts My best feature is: The Sad Bells of Rhymney • Fifth Avenue My eyes are: Safest Place to Hide • Backstreet Boys My hair is: Who Can See It • George Harrison My face is: Baby Come on Home • Led Zeppelin You should: Not This Time • 3Lw

Random Words of advice: And Here We Are Again • The Beatles How do others see me?: Rhythm of Love • Plain White T’s How do I see myself?: Knowing Me, Knowing You • ABBA *** For this first section, put down the first ten songs that play, and then rate them on a scale of 1 - 5 (5 being the best) in the next column. 1. I Have a Dream • Abba 2/5 2. Sounds of Silence • Simon and Garfunkel 5/5 3. In The Flesh • Pink Floyd 4/5 4. Ya-Ya • John Lennon (ft. Julian on drums) 4/5 5. Magic Bus • The Who Live at the Isle of Wright 4/5 6. Stomp • Steps 2/5 7. KICK DA DUST UP • Luke Bryan 4/5 8. Your Mother Should Know • The Beatles 5/5 9. Photograph • Ringo (2017) 3/5 he sounds great but it isn’t exciting also who’s the chick I didnt sign up for this 10. Piggies • The Beatles 5/5 good one George Now for a little fortune telling… 1. Who am I?: Tug of War • Paul McCartney 2. Why am I here?: Bet On It • Zac Efron (skittles and steak) 3. What’s my theme song?: American Beauty/American Psycho • Fall Out Boy 4. How’s tomorrow gonna be?: Behind Blue Eyes • The Who 5. What does ______ really think of me?: Let’s Go to Vegas • Faith Hill 6. What’s this school year going to be about?: Man on Fire • Andy Gibb 7. Is something bad going to happen in the near future?: Little Bitty • Alan Jackson 8. What’s the government going to do next?: Sgt. Pepper’s Lonely Hearts Club Band/The End • Paul McCartney Live at Citi Field 9. What’s my best friend doing right now?: Inutil • Carlos Gomez 10. What does my iPod/MP3 think about me?: American Girl • Tom Petty and the Heartbreakers Last section! These next questions are all about music 1. I absolutely LOVE this song!: The Look of Love • ABC Comments: This was in Start the Commotion and there was a clip art of eyes as the O’s in look 2. I have no clue why this song is still on my music player: Steppin’ Out • John Mayall and the Bluesbreakers Comments: It’s saved because I occasionally really try to get into Clapton 3. This song has AMAZING lyrics: Love Will Find a Way • Pablo Cruise Comments: I remembered his initials but not his name

4. The band that does this song is one of my favorites: Most Peculiar Man • Simon and Garfunkel Comments: I would not say favorites but I give them their due 5. My dad loves this song: Songs About Rain • Gary Allan Comments: he bought the CD and took it on road trips so probs 6. My mom can’t stand this song: The Hook (All My Love) • Led Zeppelin Comments: she probably can stand it more than me 7. I have a sibling who enjoys listening to songs by this band: When You See a Chance • Steve Winwood Comments: fair to say that cause once she asked me what the name of Valerie was 8. One of my best friends hates the band that does this song: Like Nobody’s Around • Big Time Rush Comments: NO FRIEND OF MINE! 9. I got this song off a mix CD: Got My Mind Set On You • George Harrison Comments: I learned how to do the mashed potato to this song 10. This song is on a movie soundtrack: The Freedom Song • Jason Mraz Comments: could definitely be but don’t hold this one down

11. Share a memory involving this song in comments: Friday On My Mind • The Easybeats Comments: running to it - how was there this much good music at one time 12. I’ve played this song on repeat before: You’re My Number One • S Club 7 Comments: Try this ALBUM back when we used to play S Club and have choreography 13. This song is on the band’s Greatest Hit’s CD: Ramblin’ Man • Allman Brothers Band Comments: if it isn’t they screwed up 14. I love dancing to this song!: If You Wanna Do a Dance • The Spinners Comments: seems like that was the idea 15. This song gets me every time I hear it: Bathroom Sound (Out on the Tiles early take) • Led Zeppelin Comments: I prefer the final version with vocals and silly quips but this version does just as well for Bonzo Appreciation Time 16. This song is great to listen to when you’re angry: Farmer Refuted (Instrumental) • Hamilton Comments: OH MY GOD tear this dude apart 17. I love the music video for this song: I’m Just a Singer (In a Rock and Roll Band) • Moody Blues Comments: if there is one it’s probably psychedelic so I’d dig it I bet 18. I’ve seen the band that performs this song live: The Boxer • Simon and Garfunkel Comments: I have not. This song is beautiful. 19. Is this song better to listen to at night, in the morning, or in the afternoon?: Let’s Get Rocked • Def Leppard Comments: morning, running. 20. I haven’t listened to this song in so long!: That’s the Way (Live Paris 1971) • Led Zeppelin Comments: not true it came on on the way to the gym barely a few weeks ago *** What were the first words to Abe Lincoln’s Gettysburg Address?: What ya gonna do when it’s cold outside? (Keep It Hid • Robert Plant) What did Martin Luther King have a dream about, anyways?: You’ve got a cute way of talking, you got the better of me! (You Make Me Feel Like Dancin’ • Leo Sayer) Tomorrow’s newspapers will all have the major headline of: Out in the Rain Looking for Sunshine (Permanent Stain • Backstreet Boys) If someone offered you some free drugs, how would you respond?: Lord almighty, feel my temperature risin’...(Burning Love • Elvis) What kind of higher power do you believe in?: You need coolin, baby I’ ain’t foolin (Whole Lotta Love • Led Zeppelin) What do people really notice about you?: There’s a girl I know who makes me feel so good (Valleri • The Monkees) What do you notice first in the preferred sex of your choice?: Hey fellas, have ya heard the news you know that Annie’s back in town (Heartbreaker • Led Zeppelin) What do you look for in reading books?: They say that Richard Cory owns one half of this whole town, with political connections to spread his wealth around (Richard Cory • Wings) What’s a must-have quality in a friend for you?: Meeting people along my way, seemingly I’ve known one day (Happenings Ten Years Time Ago • The Yardbirds) What scares the shit out of you?: Gat Kirwani • George Harrison (this has no words it’s just a sitar jam) How do you laugh?: Anna, you come and ask me, girl, to set you free girl? (Anna (Go To Him) • The Beatles) Why do you do these surveys?: When the night returns just like a friend, when the evening comes to set me free (If You Know What I Mean • Neil Diamond) Do you have anything you’d like to confess?: I can see you in the window waiting for my call (Untouchable • Big Time Rush) How do you feel about the person you cannot stand the most?: If ever you’ve got rain in your heart, someone has hurt you and torn you apart, am I unwise to open up your eyes to love me (Run To Me • Bee Gees) The best date ever, in your book, would consist of…: Dear Theodosia, what to say to you?(Dear Theodosia • Leslie Odom Jr. & Lin-Manuel Miranda) If you sent a random Hallmark card to a friend, you would write to them: Are we growing up or just going down? It's just a matter of time until we're all found out. (Sophomore Slump or Comeback of the Year • Fallout Boy) If you had the chance to speak to (a) God, what would you say?: Every time I see her, she don’t even look my way (Just My Style • Gary Lewis and the Playboys) Finish the sentence: “When the going gets tough…”: My friend came to me with sadness in his eyes and told me that he wanted help before his country dies (Bangla Desh • George Harrison) How do you deal with your stress?: I can almost remember their funny faces (Jet • Paul McCartney) What is your biggest burden in life?: Somebody’s knocking at the door, somebody’s ringing the bell (Let Em In • Wings) What’s the coolest thing about your best friend?: Hands, put your empty hands in mine (Stand By You • Rachel Platten) Why do you love the one you do?: Sweet, wonderful you. You make me happy with the things you do (You Make Loving Fun • Fleetwood Mac) If a friend broke their arm and got a cast, what would you write on it?: Gonna build myself a castle high up in the clouds (Dance the Night Away • Cream) You see a stick and wet cement. What do you write?: It feels so right now hold me tight (Hold Me Tight • The Beatles) A guy just stole your (purse, car, etc)! What do you yell at him?: Welcome to the camp, I guess you all know why you’re here (We’re Not Gonna Take It • The Who) You pass a crack addict on the corner one day. Solemnly he tells you: Well now we’re respected in society, we don’t worry bout the things that we used to be, we’re talkin heroin with the president (Respectable • The Rolling Stones) What will your baby’s first words be?: He knows about you in every way, he's memorized every part of your face (Does He Know • One Direction) You are at your wit’s end, and decide to write a suicide note. It begins: The pound is sinking, the peso’s falling, the lira’s reeling and feeling quite appalling (The Pound is Sinking • Paul McCartney) Why can’t there be peace in the world?: Let’s talk about one, bay-bay, ya gotta hear me out (Get Another Boyfriend • Backstreet Boys)

How do you think people see you?: I walked in the band just started, the singer couldn't carry a tune in a bucket (Ten Rounds with Jose Cuervo • Tracy Byrd) Inside, though, what kind of person are you really?: well the rain was a-fallin’ and the ground turned to mud, I was watchin’ all the people running from the flood (Deliver Your Children • Wings) If you wanted to comfort a friend, you’d say: Anytime, any day you can hear the people say that love is blind, well I don’t know but I say love is kind (Listen to What the Man Said • Wings) When you want to cheer someone up, you say: *I just make series of nonsense sounds* (Pow R. Toc H. • Pink Floyd) You’re unbelievably depressed because your friend just told you…: people say we’ve got it made, don’t they know we’re so afraid? (Isolation • John Lennon)

When you are incredibly bored, you start thinking about…?: I drive all alone, at night, I drive all alone, don’t know what I’m headed for. (Dead End Friends • Them Crooked Vultures) You’re a classy person, so instead of cursing when you’re mad, you yell…?: I met a gin-soaked, bar-room queen in Memphis (Honky Tonk Women • The Rolling Stones) you’re writing a love letter, but what are you going to begin it with?: The theater’s so obsessed with drama so depressed, it’s hard to sell a ticket on broadway! (Keep It Gay • The Producers) If you were to write a letter to the President of the USA, it would say…?: It’s a boy, Mrs. Walker, it’s a boy (It’s a Boy • The Who) What would someone have to tell you to make you really angry?: No no no no, don’t phunk with mah haaahrt (Don’t Phunk with My Heart • Black-Eyed Peas) …To make you really depressed?: Cars and girls are easy to come by in this day and age, laughing joking drinking smoking til I spend my wage (Over Under Sideways Down • The Yardbirds) ...To make you sexually aroused?: Catch a star if you can, wish for something special (Are You Ready for Love • The Spinners) Your first thoughts waking up were…: Life is just a bowl of All-Bran, you wake up every morning and it’s there (Happydaystoytown • The Small Faces) Your last words before falling asleep will be…: the sun is shining in the sky, there ain’t a cloud in sight (Mr. Blue Sky • Electric Light Orchestra)

#music survey #wow that only took me half a month #kari

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newyorktheater · 5 years

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Nominees for the Grammy for best musical theater album of the year:

The Band’s Visit (Original Broadway Cast Recording)

Rodgers & Hammerstein’s Carousel

My Fair Lady (2018 Broadway Cast Recording)

Jesus Christ Superstar Live in Concert (Original Soundtrack of the NBC Television Event)

Once On This Island (New Broadway Cast Recording)

Details of Musical Theater Album nominees

Full list of Grammy nominees

Week in New York Theater Reviews and Previews

The Jungle

“When does a place become a home?” It’s a question asked by Ammir Haj Ahmad as Safi, a refugee from Syria who is one of the residents of The Jungle. That was the name given to the extraordinary, self-governing community built on landfill in Calais, France that for 11 months became makeshift home to thousands of migrants, including hundreds of unaccompanied minors, fleeing more than a dozen countries. Safi serves as unofficial host and occasional narrator of “The Jungle,” a remarkable production that attempts to bring the community back to life. From its inventive staging to its authentic casting and vivid setting, “The Jungle,” which arrives at St Ann’s Warehouse intact from its acclaimed run in London, shows what theater can do at its best to open us up to a world we otherwise ignore.

Slave Play

Slave Play,” which marks the Off-Broadway debut of playwright Jeremy O. Harris, begins, as one would expect from the title, in a plantation in the Antebellum South. It involves three interracial couplings…In these first scenes, sexy and deliberately outrageous, Harris seems heavily influenced by the in-your-face pornographic theatrics of Thomas Bradshaw…But 45 minutes into the play there is an abrupt shift…What we learn (spoiler alert) is that the three interracial couples were role-playing as part of “Antebellum Sexual Performance Therapy

Network

Nobody can do a nervous breakdown like Bryan Cranston. As Howard Beale, long-time network news anchor gone mad, he sits in front of the camera, unable to speak, his face a dramatic repertoire expressing varying shades of reddened desperation. And that’s just one of Cranston’s many memorable moments in the Broadway production of Network, a largely humorless, tech-heavy adaptation by avant-garde director Ivo van Hove of the Oscar-winning 1976 film…Cranston, who became a star thanks to his Emmy-winning performance as chemistry teacher turned drug kingpin on AMC’s Breaking Bad, and convinced Broadway of his theater chops in his Tony-winning turn as LBJ in All The Way, is the reason to see Network at the Belasco. There aren’t that many other reasons.

The Cher Show

“The Cher Show,” the new Broadway jukebox musical that offers a whirlwind tour of the music, life and six-decade career of the entertainer and self-proclaimed “goddamn Goddess Warrior,” is banking on the popularity of the star, using three different actresses to portray her. One could argue that Cher’s fans expect no less – and no more – than what The Cher Show gives them: glitz, hits and highlights. But Cher’s very popularity – along with her longevity, range, and contradictions – might have made for a portrait not just fabulous but also fascinating…and maybe even (dare I say it) nuanced.

Instead, the show is putting its faith in the power of sequins.

Cher and Broadway: A Quiz

The Head and the Load

This unusual and startling hybrid piece uses a cacophony of words and images, music and dance to bring us World War I as it played out in Africa….What’s on the page suggests a structure and meaning that prove largely elusive on stage to those of us without a grounding in the history of Africa or of World War I. …it’s worth it anyway, because a story so full of horror should not be lost to history, and because (as with most of what I’ve seen at the Park Avenue Armory over the last couple of years) it’s being presented with such theatrical audacity.

Heather Raffo and Noura

Heather Raffo says she grew up as a “sheltered Michigan girl — a really nice, open, conservative” and blonde American who spoke English with a flat Midwestern accent. Then, at age 20, the Gulf War changed her identity. She became an Iraqi-American practically overnight.

Now, almost three decades later, Raffo, in long (dyed) black hair, is portraying the title character in her play Noura at Playwrights Horizon, about an Iraqi family celebrating their first Christmas after becoming American citizens. It doesn’t go as planned. They too are forced to adjust to a new identity.

https://newyorktheater.me/2018/12/04/book-review-dear-evan-hansen-the-novel-the-story-minus-the-music/

The Week in New York Theater News

Mercedes Ruehl and Michael Urie

Torch Song will end its run Jan 6, 2019, more than a month earlier than planned, after 26 previews and 77 performances. Plans for a national tour next Fall.

For the first time since began in 1934, the famed Apollo Theater will expand, adding 2 new theaters (one w/ 99 seats, the other 199) — opening its new vision in 2020 as Apollo Performing Arts Center

After an absence of more than thirty-five years, Faye Dunaway will play Katharine Hepburn, in the Broadway premiere of Tea at Five by Matthew Lombardo, in a limited run in summer 2019

Irish Rep is presenting Season of Sean O’Casey, from January 31 to May 25, 2019. The celebration will feature The O’Casey Cycle – O’Casey’s three most renowned works in repertory: The Shadow of a Gunman (1923), Juno and the Paycock (1924), and The Plough and the Stars (1926); and free readings of all of O’Casey’s other plays. Other planned events include symposiums, lectures, film screenings, a musical evening, and two exhibitions.

Congratulations to newly formed National Disability Theater),led by educator/activist Talleri McRae and actor Mickey Isaac Rowe (Curious Incident), to present work “run entirely by people with disabilities” that will be 100 percent accessible.

.@Lin_Manuel has been nominated for a @goldenglobes as best actor in a musical or comedy for his role in @MaryPoppins2018 pic.twitter.com/QeGPzXMVTI

— New York Theater (@NewYorkTheater) December 6, 2018

Interview with Heidi Schreck, The Interval’s Person of the Year

Peter Brook on The Meaning of Theater

When people ask me what I am trying to say, I get very angry. I’m not trying to say anything….. [P]ure theater: the sharing through the imagination of something down to earth and concrete and appealing for the imagination, so that there’s always that sense of “and then what?”—that sense of wonder, which one needs so badly, and one has so little of in everyday life.

Santino Fontana as Dorothy in Tootsie, opening April 23, 2019 at Broadway’s Marquis Theater.

Rest in Peace

Philip Bosco, 88, Tony winning actor, veteran of a remarkable 51 shows on Broadway

Musical Theater Grammy Nominees. Faye Dunaway Back on Broadway. Apollo Expanding. #Stageworthy News of the Week Nominees for the Grammy for best musical theater album of the year: The Band's Visit (Original Broadway Cast Recording)

#Apollo expanding #Heather Raffo #Peter Brook on the meaning of theater #RIP Philip Bosco #Sean O&039;Casey Season #Torch Song closing

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thegloober · 6 years

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Emmys Predictions: Who Will Win and Who Should Win in 2018?

The 2018 Primetime Emmys are just a few days away, so it’s time to take a look back at the last year in television to see if “Game of Thrones” will dominate again, and who will step up in the comedy categories with “Veep” out of contention this year.

Last year, it was HBO’s blockbuster fantasy series that was ineligible, opening the door for a dominant showing from Hulu’s “The Handmaid’s Tale.” This year, the two shows will be competing against one another.

Meanwhile, on the comedy side, three-time Outstanding Comedy winner, “Veep,” took the year off. This means that six-time reigning champ Julia Louis-Dreyfus was also ineligible, opening up the competition for the first time in more than half a decade. Can Tracee Ellis Ross finally rise to the top, or will the buzz of “The Marvelous Mrs. Maisel” push Rachel Brosnahan above her.

Other shows anticipating a big night include “The Assassination of Gianni Versace: American Crime Story,” which is looking to virtually sweep the limited series category, and “Saturday Night Live,” which saw more acting nominations this year than in its entire history.

All eyes will also be on “The Americans,” the critically acclaimed Russian spy series in its last year of eligibility, as well as “This Is Us,” slowly creeping more and more into the spotlight and trying to bring even more Emmy gold back to network television. Perhaps an Oustanding Dramatic Series win to match its SAG Award earlier this year?

No matter what happens, TooFab is sure to disagree with some — or all — of their choices. So we’ve made our own predictions on who will win, and who should win.

Outstanding Reality-Competition Program

“The Amazing Race” (CBS)

“American Ninja Warrior” (NBC)

“Project Runway” (Lifetime)

“RuPaul’s Drag Race” (VH1)

“Top Chef” (Bravo)

“The Voice” (NBC)

Not much changes in this category year after year, with both “The Amazing Race” and “The Voice” dominating the category, and the latter taking the award the past three years running. It definitely seems like the shine has worn off of “Race,” which continues to be nominated every year that this award has existed. While we’d love to see “RuPaul’s Drag Race” win it in its second year of contention for being the funniest and most innovative reality show on telveision, “The Voice” added Jennifer Hudson in Season 13 and fellow “Idol” alum Kelly Clarkson in Season 14, Both moves proved incredibly popular with fans and critics, keeping the show in the spotlight and re-energizing it, making “The Voice” likely to win for the fourth straight year.

Should Win: “RuPaul’s Drag Race” (VH1)

Will Win: “The Voice” (NBC)

Outstanding Variety Sketch Series

“At Home with Amy Sedaris” (truTV)

“Drunk History” (Comedy Central)

“I Love You, America with Sarah Silverman” (Hulu)

“Portlandia” (IFC)

“Saturday Night Live” (NBC)

“Tracey Ullman’s Show” (HBO)

In only its fourth year as a distinct category, the variety format was largely dominated by “Saturday Night Live,” which continues to experience a renaissance largely in part to the Trump White House and Alec Baldwin’s recurring performance as the Commander in Chief. Amy Sedaris and Sarah Silverman injected new blood into the category, but their shows don’t feel as fully realized yet as the returning nominees. Honestly, it would be nice if “Portlandia” took home a trophy in its final year as one of the most consistently funny and unique sketch shows in the history of the format. Fred Armisen and Carrie Brownstein went largely under-appreciated for eight years in this gem, but there’s no way they’re going to stop the “SNL” juggernaut, riding more acting nominations (nine total) this year than ever before.

Should Win: “Portlandia” (IFC)

Will Win: “Saturday Night Live” (NBC)

Outstanding Variety Talk Series

“The Daily Show with Trevor Noah” (Comedy Central)

“Full Frontal with Samantha Bee” (TBS)

“Jimmy Kimmel Live!” (ABC)

“Last Week Tonight with John Oliver” (HBO)

“The Late Late Show with James Corden” (CBS)

“The Late Show with Stephen Colbert” (NBC)

This is another category that has benefited tremendously from the controversial Trump White House, with John Oliver the two-time reigning champion. “The Daily Show” returns for the first time with new host Trevor Noah, but he wasn’t nearly as strong as Oliver or Stephen Colbert or Jimmy Kimmel in their skewering of current events, which will likely determine the winner here. And while it feels very inevitable that Oliver’s well-researched and lengthy breakdowns will win again, there’s definitely something to be said for how well Colbert has revitalized the “Late Show” with a new sense of energy. He’s turned it into one of the smartest and most relevant shows on television, often writing his monologue and bits up to the moment the cameras start rolling, and he does it on a daily show.

Should Win: “The Late Show with Stephen Colbert” (CBS)

Will Win: “Last Week Tonight with John Oliver” (HBO)

Outstanding Supporting Actor in a Limited Series or Movie

Jeff Daniels, “Godless” (Netflix)

Brandon Victor Dixon, “Jesus Christ Superstar Live in Concert” (NBC)

John Leguizamo, “Waco” (Paramount Network)

Ricky Martin, “The Assassination of Gianni Versace: American Crime Story” (FX)

Edgar Ramirez, “The Assassination of Gianni Versace: American Crime Story” (FX)

Michael Stuhlbarg, “The Looming Tower” (Hulu)

Finn Wittrock, “The Assassination of Gianni Versace: American Crime Story” (FX)

Brandon Victor Dixon was a revelation in NBC’s live production of “Jesus Christ Superstar,” easily stealing the show from many of the more known Hollywood stars in the cast. But is that enough to topple the Academy’s clear love for “American Crime Story,” with three total nods? Or Emmy favorite Jeff Daniels, who’s double-nominated this year for his work here in “Godless,” and in the lead role in “The Looming Tower.” We think his villainous turn in the under-appreciated Western is what’s going to bring home Emmy gold, while “ACS” will score elsewhere.

Should Win: Brandon Victor Dixon, “Jesus Christ Superstar Live in Concert” (NBC)”

Will Win: Jeff Daniels, “Godless” (Neflix)

Outstanding Supporting Actress in a Limited Series or Movie

Sara Bareilles, “Jesus Christ Superstar Live in Concert” (NBC)

Penelope Cruz, “The Assassination of Gianni Versace: American Crime Story” (FX)

Judith Light, “The Assassination of Gianni Versace: American Crime Story” (FX)

Adina Porter, “American Horror Story: Cult” (FX)

Merritt Wever, “Godless” (Netflix)

Letitia Wright, “Black Museum (Black Mirror)” (Netflix)

Letitia Wright is riding high from “Black Panther,” and this nom is more a reflection of her cultural relevance at the moment, while Sara Bareilles is a huge surprise and Adina Porter is representing fading franchise in the Academy’s eyes. Judith Light is a television legend, but Merrit Wever is a modern-day legend when it comes to the Academy. She scored her first win for her work on “Nurse Jackie,” and earns her sixth nomination here. She was fantastic as the widowed mayor’s wife in the gloriously dark “Godless,” but the Academy clearly loved “American Crime Story” and it’s going to be hard to resist Penelope Cruz’s relentless take on fashion icon Donatella Versace … not to mention her movie-star status, which still seems to hold some sway with the Academy.

Should Win: Merritt Wever, “Godless” (Netflix)

Will Win: Penelope Cruz, “The Assassination of Gianni Versace: American Crime Story” (FX)

Outstanding Lead Actor in a Limited Series or Movie

Antonio Banderas, “Genius: Picasso” (Nat Geo)

Darren Criss, “The Assassination of Gianni Versace: American Crime Story” (HBO)

Benedict Cumberbatch, “Patrick Melrose” (Showtime)

Jeff Daniels, “The Looming Tower” (Hulu)

John Legend, “Jesus Christ Superstar Live in Concert” (NBC)

Jesse Plemons, “USS Callister (Black Mirror)” (Amazon)

Plemons was an unexpected surprise for his powerful work in “Black Mirror’s” most popular episode this season (and he could play spoiler here), but this is a category we feel pretty strongly is leaning toward one very deserving performance. Darren Criss fully embodied the twisted serial killer Andrew Cunanan in “American Crime Story” and the performance should and will be recognized for his commitment to it, and the subtle nuances he used to bring the character to sympathetic-yet-terrifying life.

Should Win: Darren Criss, “The Assassination of Gianni Versace: American Crime Story” (HBO)

Will Win: Darren Criss, “The Assassination of Gianni Versace: American Crime Story” (HBO)

Outstanding Lead Actress in a Limited Series or Movie

Jessica Biel, “The Sinner” (USA)

Laura Dern, “The Tale” (HBO)

Michelle Dockery, “Godless” (Netflix)

Edie Falco, “Law & Order True Crime: The Menendez Murders” (NBC)

Regina King, “Seven Seconds” (Netflix)

Sarah Paulson, “American Horror Story: Cult” (Amazon)

Edie Falco is an Emmy favorite, so if they go with the lazy choice, they might just throw it her way. She’s always solid, but she isn’t the most exciting choice here. Regina King was her usual brilliant self, but she will probably be her usually overlooked self come Emmy night for a show that dropped a while ago and has largely been forgotten. The same goes for Jessica Biel, though she is the most deserving winner her for her stellar work against type in “The Sinner.” Biel was a tour de force, showing greater depth of range and character than we’d ever seen from her, and she owned every episode of the series’ first season. But then there’s Laura Dern, fresh off a win last year for “Big Little Lies,” and an awards-show darling. And while she is solid on “The Tale,” her performance didn’t turn heads and get people talking in the way Biel did.

Should Win: Jessica Biel, “The Sinner” (USA)

Will Win: Laura Dern, “The Tale” (HBO)

“The Alienist” (TNT)

“The Assassination of Gianni Versace: American Crime Story” (FX)

“Genius: Picasso” (Nat Geo)

“Godless” (Netflix)

“Patrick Melrose” (Showtime)

“Patrick Melrose” is a little too stodgy,” “The Alienist” a little too commercial and “Genius” a litle under-baked. Honestly, the category didn’t have a lot of really strong contenders on the year, leaving it largely a two-horse race between the Netflix dark Western and FX’s twisted true-crime saga. The latter had way more buzz on the year, and the kind of star power most creators wish they could bring (and Ryan Murphy always seems to be able to pull off). That said, “Godless” is a tighter and more consistent series, while “Crime Story” suffers some bloat and lag in its middle chapters. But we don’t think voters will care.

Should Win: “Godless” (Netflix)

Will Win: “The Assassination of Gianni Versace: American Crime Story” (FX)

Outstanding Supporting Actor in a Drama Series

Nikolaj Coster-Waldau, “Game of Thrones” (HBO)

Peter Dinklage, “Game of Thrones” (HBO)

Joseph Fiennes, “The Handmaid’s Tale” (Hulu)

David Harbour, “Stranger Things” (Netflix)

Mandy Patinkin, “Homeland” (Showtime)

Matt Smith, “The Crown” (Amazon)

“Game of Thrones” is back to throw a wrench in things, as “The Handmaid’s Tale” absolutely dominated the Emmys with the HBO favorite absent last season. This year, it’ll be a battle between those two heavyweights and “The Crown” in most categories, though we don’t see Matt Smith putting up enough of a fight here, despite a brilliant season. Peter Dinklage is a two-time winner who had a commanding presence this year, while David Harbour could prove a dark horse contender for his more mature and complicated role in “Stranger Things 2.” But no one gave a performance as challenging or chilling as Joseph Fiennes in “The Handmaid’s Tale,” deserving not only of this recognition, but a trophy as well.

Should Win: Joseph Fiennes, “The Handmaid’s Tale” (Hulu)

Will Win: David Harbour, “Stranger Things” (Netflix)

Outstanding Supporting Actress in a Drama Series

Alexis Bledel, “The Handmaid’s Tale” (Hulu)

Millie Bobby Brown, “Stranger Things” (Netflix)

Ann Dowd, “The Handmaid’s Tale” (Hulu)

Lena Headey, “Game of Thrones” (HBO)

Vanessa Kirby, “The Crown” (Netflix)

Thandie Newton, “Westworld” (HBO)

Yvonne Strahovski, “The Handmaid’s Tale” (Hulu)

Another powerhouse category, and last season’s winner, “The Handmaid’s Tale” faces itself … twice, with two winners already. Alexis Bledel moved from guest to supporting and faces off against last season’s winner here in Ann Dowd, but it’s Yvonne Strahovski who had the most powerful year, scoring her first nod for her tortured work. There’s a chance the Academy wills often on “Thrones” this year, as it will have one more year of eligiblity before its over, or there may just be too much competition here. But the edge may go to Thandie Newton, who has confounded viewers and critics for her unapologetic performance as Maeve, a whore robot suffering a major identity crisis.

Should Win: Yvonne Strahovski, “The Handmaid’s Tale” (Hulu)

Will Win: Thandie Newton, “Westworld” (HBO)

Outstanding Lead Actor in a Drama Series

Jason Bateman, “Ozark” (Netflix)

Sterling K. Brown, “This Is Us” (NBC)

Ed Harris, “Westworld” (HBO)

Matthew Rhys, “The Americans” (FX)

Milo Ventimiglia, “This Is Us” (NBC)

Jeffrey Wright, “Westworld” (HBO)

Sterling K. Brown won this category, and awards shows love to hand him trophies, so he could easily repeat. But he’s facing stiff competition from his own show, as Milo Ventimiglia played out his much-anticipated death and made audiences love him even more. “Westworld” brought some amazing work from both Jeffrey Wright and Ed Harris, nominated for the first time for this show, while “Ozark” is still settling into its groove. But the show and performance that deserves some attention is Matthew Rhys for his final turn as a KGB spy in “The Americans.” This show has finally gotten some love in nominations, but is woefully under-represented with gold, considering the consistent caliber of its seasons.

Should Win: Matthew Rhys, “The Americans” (FX)

Will Win: Milo Ventimiglia, “This Is Us” (NBC)

Outstanding Lead Actress in a Drama Series

Claire Foy, “The Crown” (Netflix)

Tatiana Maslany, “Orphan Black” (BBC America)

Elisabeth Moss, “The Handmaid’s Tale” (Netflix)

Sandra Oh, “Killing Eve” (BBC America)

Keri Russell, “The Americans” (FX)

Evan Rachel Wood, “Westworld” (HBO)

Tatiana Maslany returned to a category she’s done very well, but “Orphan Black” kind of ended with a whimper, so we suspect this is as far as she’ll go. Elisabeth Moss is our returning champ, but she’s facing some stiff competition in Claire Foy. It’s her final season on “The Crown,” and its a performance that has had critics raving for two years now. On top of that, Keri Russell also bids farewell to a critically-acclaimed performance, though she’d be as much a surprise win as her on-screen husband Matthew Rhys for Best Actor. Honestly, we’d love to see both of them go out on top, with twin trophies for six amazing seasons. Or maybe the Academy will just give it to Moss, who was, admittedly, amazing again.

Should Win: Keri Russell, “The Americans” (FX)

Will Win: Claire Foy, “The Crown” (Netflix)

Outstanding Drama Series

“The Americans” (FX)

“The Crown” (Netflix)

“Game of Thrones” (HBO)

“The Handmaid’s Tale” (Hulu)

“Stranger Things” (Netflix)

“This Is Us” (NBC)

“Westworld” (HBO)

This is a brutal category, featuring the last two winners facing off for the first time with the returning “Game of Thrones” and “The Handmaid’s Tale.” Could one of them repeat and spoil things for the other, or will a fresh upstart get in the way. “The Crown” has been in the shadow of slightly buzzier shows since its inception, but had its strongest season yet, while “Westworld” continues to grow in buzz and accolades and confusion. But this could be the year that broadcast television takes a big stand with the most talked about storyline of the past year in the death of family patricarch Jack Pearson (Milo Ventimiglia — also nominated) on “This Is Us.” Every bit as compelling, sharp and smart as its cable brethren, could it be their time? Probably not, just as “The Americans” will probably get overlooked yet again so “The Handmaid’s Tale” can repeat.

Should Win: “This Is Us” (NBC)

Will Win: “The Handmaid’s Tale” (Hulu)

Outstanding Supporting Actor in a Comedy Series

Louie Anderson, “Baskets” (FX)

Alec Baldwin, “Saturday Night Live” (HBO)

Tituss Burgess, “Unbreakable Kimmy Schmidt” (ABC)

Brian Tyree Henry, “Atlanta” (FX)

Tony Shalhoub, “The Marvelous Mrs. Maisel” (Amazon)

Kenan Thompson, “Saturday Night Live” (NBC)

Henry Winkler, “Barry” (HBO)

Both of the last two winners in this category are still in contention, with Louie Anderson still turning in a uniquely nuanced performance as a put-upon mother on “Baskets.” But that show is getting older now and has little buzz, while last year’s winner, Alec Baldwin, is still bringing Trump to life on “SNL” many times a year. New to the field this year are Brian Tyree Henry, Kenan Thompson and Tony Shalhoub, who used to clean up for “Monk” every year. But the real revelation is Henry Winkler’s dark, hilarious turn as a passionately quirky acting coach on “Barry.”

Should Win: Henry Winkler, “Barry” (HBO)

Will Win: Alec Baldwin, “Saturday Night Live” (HBO)

Outstanding Supporting Actress in a Comedy Series

Zazie Beetz, “Atlanta” (FX)

Alex Borstein, “The Marvelous Mrs. Maisel” (Amazon)

Aidy Bryant, “Saturday Night Live” (NBC)

Betty Gilpin, “GLOW” (Netflix)

Leslie Jones, “Saturday Night Live” (NBC)

Kate McKinnon, “Saturday Night Live” (NBC)

Laurie Metcalf, “Roseanne” (ABC)

Megan Mullally “Will & Grace” (NBC)

What a stacked category, and with two icons from the ’90s returning to the field for the same roles in Megan Mullally and Laurie Metcalf. The “Roseanne” stink might hurt Metcalf, and the Academy seems even less enthused about “Will & Grace.” The Academy is probably not going to show “Atlanta” love outside of Donald Glover, and the “SNL” ladies could run the risk of cancelling one another out. Kate McKinnon is coming off back-to-back wins, making a third even less likely. So we think the Academy is going to notice and recognize “The Marvelous Mrs. Maisel” in this category with a well-deserved win for Alex Borstein, who has been working brilliantly in comedy for years (“Family Guy,” “MadTV”) but somehow still largely under the radar.

Should Win: Alex Borstein, “The Marvelous Mrs. Maisel” (Amazon)

Will Win: Alex Borstein, “The Marvelous Mrs. Maisel” (Amazon)

Outstanding Lead Actor in a Comedy Series

Anthony Anderson, “black-ish” (ABC)

Ted Danson, “The Good Place” (NBC)

Larry David, “Curb Your Enthusiasm” (HBO)

Donald Glover, “Atlanta” (Hulu)

Bill Hader, “Barry” (Netflix)

William H. Macy, “Shameless” (NBC)

Donald Glover scored a victory in this category last year, but he’s perhaps even more relevant this year thanks to his acclaimed return to music. But he has to face the return of sitcom royalty in Ted Danson, who won several times for his work on “Cheers.” And we know the Academy likes a good comeback kid. But the real surprise here might be Bill Hader as a hitman-turned-actor in “Barry.” If the Acadey wants to go bold, they could choose him, or acknowledge the quietly brilliant and relevant work of Anthony Anderson on “black-ish” all these years. He turned in his most challenging work this year as the show took a dramatic turn when marital issues struck the family.

Should Win: Anthony Anderson, “black-ish” (ABC)

Will Win: Ted Danson, “The Good Place” (NBC)

Outstanding Lead Actress in a Comedy Series

Pamela Adlon, “Better Things” (FX)

Rachel Brosnahan, “The Marvelous Mrs. Maisel” (Amazon)

Allison Janney, “Mom” (CBS)

Issa Rae, “Insecure” (HBO)

Tracee Ellis Ross, “black-ish” (ABC)

Lily Tomlin, “Grace and Frankie” (Netflix)

The big news for this category is that after six straight wins for “Veep,” Julia Louis-Dreyfus is not going to win again (but only because “Veep” took the year off). That opens the door for a new face, which could include awards-show fav Allison Janney, still riding that Oscar buzz. But it’s probably going to come down to a battle between Rachel Brosnahan and Tracee Ellis Ross. The latter has been the underdog favorite to win for years, so this could be her chance. But then comes along Brosnahan and one of the most buzzed about shows on television, and Ross might have to settle for a nomination once again. Besides, the real underdog here is Pamela Adlon, who is to the brilliant “Better Things” what Donald Glover is to “Atlanta.” In other words, she is everything, and yet she is again the only thing about this gem even nominated.

Should Win: Tracee Ellis Ross, “black-ish”

Will Win: Rachel Brosnahan, “The Marvelous Mrs. Maisel”

Outstanding Comedy Series

“Atlanta” (FX)

“Barry” (HBO)

“black-ish” (ABC)

“Curb Your Enthusiasm” (HBO)

“GLOW” (Netflix)

“The Marvelous Mrs. Maisel” (Amazon)

“Silicon Valley” (HBO)

“Unbreakable Kimmy Schmidt” (Netflix)

Another door that’s opened with “Veep” out of contention this year after a three-year victory streak, “The Marvelous Mrs. Maisel” has all of the buzz, but “Atlanta” is one of the mosts acclaimed shows on television and might rise to the occasion. Honestly, this might be the toughest category to call with eight nominees. “GLOW” surprised everyone with 10 total nominations, but it just feels a little too out there for the Academy. “Silicon Valley” and “Curb” don’t have the edge they used to, and “Barry” may be too unknown yet. No, it comes down to “Maisel” and “Atlanta.” Last year, Glover had to settle for an acting award last year, and we think that’s what will happen with Brosnahan and “Maisel” this year.

Should Win: “Atlanta”

Will Win: “Atlanta”

Find out how many we got right when “The 70th Primetime Emmy Awards” broadcast on Monday, Sep. 17 at 8 p.m .ET on NBC.

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The post Emmys Predictions: Who Will Win and Who Should Win in 2018? was shared from BlogHyped.com.

Source: https://bloghyped.com/emmys-predictions-who-will-win-and-who-should-win-in-2018/

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londontheatre · 7 years

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JOSIE LAWRENCE as MOTHER COURAGE

Final casting is announced to join multi award-winning Josie Lawrence, one of the UK’s best-loved actors and comedians, in a new production of Mother Courage and her Children.

Mother Courage and her Children by Bertolt Brecht, translated by Pulitzer Prize-winning Tony Kushner (Angels in America at the National Theatre) will run 2 November – 9 December at Southwark Playhouse. Press night is Monday 6 November at 7.30pm.

The rest of the cast are: Laura Checkley (one half of award-winning comedy duo Checkley & Bush, her theatre credits include Gone With The Wind, West End); Ivy Corbin (Masha, Three Sisters, Union Theatre); Celeste de Veazey (The Bureau of Lost Things, Theatre 503); Rosalind Ford (These Trees Are Made of Blood, Arcola Theatre); Ben Fox (Andre, Dirty Rotten Scoundrels and The Commitments, West End); Jake Phillips Head (a recent graduate of Royal Central School of Speech & Drama, making his professional debut); Shiv Jalota (The Grapes of Wrath, West Yorkshire Playhouse); Julian Moore-Cook (Rolling Stone, Orange Tree and Our American Cousin, Finborough); Nuno Queimado (Jesus Christ Superstar, Regent’s Park Open Air Theatre, Women on the Verge of a Nervous Breakdown and From Here to Eternity, West End); David Shelley (Windows, Finborough Theatre, King John, Rose Theatre); Phoebe Vigor (Jane Eyre, National Theatre).

Mother Courage And Her Children is directed by Hannah Chissick, returning to Southwark Playhouse after the success of the musical Side Show, and is produced by Danielle Tarento, whose recent successes at the same venue include the UK première of Grey Gardens (with Sheila Hancock and Jenna Russell), Titanic, the world première of Gods and Monsters and Chekov’s Three Sisters reworked for the 21st century by award-winning playwright Anya Reiss.

Creative team: Director Hannah Chissick, Musical Supervisor and Arranger David Randall, Set & Costume Designer Barney George, Lighting Designer Robbie Butler, Sound Designer Patrick Ball.

In a land ravaged by war, Mother Courage pulls her cart with her three children in the wake of the army, trading with soldiers and attempting to make profit from the war. Widely considered to be one of the greatest plays of the 20th century, Mother Courage And Her Children has been described as the greatest anti-war play of all time. It remains a timely exploration of displacement, war weariness and invisible enemies. It mirrored then, as it does now, the growing fear at the ever-advancing threat of terror infiltrating our everyday lives and our desire to protect ourselves and what is ours at any cost.

JOSIE LAWRENCE said: “I first read Mother Courage when I was an 18-year-old drama student and immediately fell in love with the play. Now I feel ready to play her. It’s a major tick on my theatrical bucket list.”

Josie’s credits include: For The Royal Shakespeare Company: Helen of Troy in Faust: Dunyasha in The Cherry Orchard: Kate in The Taming of The Shrew (The Dame Peggy Ashcroft Award for Best Actress). For the National Theatre: Agnetha in Bryony Lavery’s Frozen: Dora in Picasso’s Women: Doll Common in The Alchemist. West End: Mrs Anna in The King and I (London Palladium): Bonnie in Acorn Antiques The Musical (Haymarket): Alarms and Excursions (The Gielgud). Other roles: Beatrice in Much Ado About Nothing, Manchester Evening News Best Actress Award (Manchester Royal Exchange): Benedick in Much Ado About Nothing (Shakespeare’s Globe)

Television: Stella (Sky 1), Humans (BBC1), You Have Been Watching with Meera Syal (GOLD), The Kennedy’s (BBC2), Jonathan Creek (BBC), Robin Hood (BBC), EastEnders (BBC), Minder (ITV), Skins (E4), Doctors (BBC), The Old Curiosity Shop (ITV), Casualty (BBC), Holby City (BBC), Wizards and Aliens (BBC), Common Ground (BBC), The Last Detective (BBC), Josie (Channel 4), A Many Splintered Thing (BBC), Keen Eddie (Channel 4), three series plus Christmas special of Outside Edge (ITV), Fat Friends (ITV), The Flint Street Nativity (ITV), SWALK and Lunch In The Park with Paul Merton (BBC), Nine series of Whose Line Is It Anyway? (Channel 4), Downwardly Mobile (ITV), Bill’s New Frock (BBC), Absolutely Fabulous (BBC), The Green Man (ITV), Miss Marple (BBC), Poirot (BBC), Not With A Bang (ITV), Friday Night Live (Channel 4), Rachel and The Roarettes (BBC), Campaign (BBC), Norbet Smith, A Life (BBC), The Comic Strip Presents (Channel 4). Film. Finding Your Feet: Enchanted April: The American Way: The Sin Eater: Married to Malcolm: Mam: Looking for Vi: Round Ireland with a Fridge: Bonobo. Since 1985 Josie has been a member of The Comedy Store Players based at London’s famous Comedy Store. They are in The Guinness Book of World Records as the longest running comedy group.

Hannah Chissick (Director) Most recently Hannah directed Down the Dock Road by Alan Bleasdale (Liverpool Royal Court), the UK professional premiere of the musical Side Show (Southwark Playhouse), Brass for NYMT (Hackney Empire), Rags and Amour (Royal Academy of Music), Marry Me a Little (St James Studio) and Teechers for the John Godber Theatre Company. She was Assistant Director to Matthew Warchus on the play Art in London and New York and was Associate Director on Matthew’s acclaimed production of Boeing Boeing, directing 4 casts in London, 2 on Broadway and 1 in Melbourne. In 2003, Hannah became the youngest women to become an Artistic Director in the UK, when Harrogate Theatre appointed her at the age of 25. Other credits include the critically-acclaimed revival of Side by Side by Sondheim (The Venue, London), Abigail’s Party (Northcott Theatre Exeter), Teechers (Haymarket Theatre, Basingstoke), a tour of Grumpy Old Women Live, the world premiere of Horrid Henry – Live (tour and West End) and the world premiere of Pushing Up Poppies (Theatre 503).

Danielle Tarento (Producer) Danielle was named Best Producer at the 2012 Off West End Awards and won Best Off West End Production at the WhatsOnStage Awards for Titanic at Southwark Playhouse. She has also produced the world première of Le Grand Mort, starring Julian Clary and James Nelson-Joyce, currently playing at Trafalgar Studuios, Grey Gardens, Allegro, Grand Hotel, Gods And Monsters, Dogfight, Three Sisters, Victor/Victoria, Mack & Mabel, Parade and Company at Southwark Playhouse; Death Takes A Holiday, Ragtime and Titanic (Charing Cross Theatre), Pure Imagination: The Songs of Leslie Bricusse (St James Theatre), Taboo (Brixton Clubhouse); The Pitchfork Disney (Arcola); Burlesque, Drowning On Dry Land (Jermyn Street); Noël And Gertie (Cockpit). She is co-founder of the Menier Chocolate Factory and co-produced all in-house shows 2004 – 2006, including Sunday In The Park With George, which received a West End transfer and 5 Olivier Awards. Forthcoming productions include a UK and Ireland tour of Titanic.

Danielle Tarento presents Mother Courage And Her Children By Bertolt Brecht Translated by Tony Kushner Music by Duke Special Director Hannah Chissick Musical Supervisor and Arranger David Randall Set & Costume Designer Barney George Lighting Designer Robbie Butler Sound Designer Patrick Ball

THE LARGE SOUTHWARK PLAYHOUSE 77-85 Newington Causeway London SE1 6BD Dates: 2 November – 9 December 2017 http://ift.tt/NsSQwM

http://ift.tt/2h5DAiK LondonTheatre1.com

#IFTTT #LondonTheatre1.com

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