“The Drowsy Chaperone,” created by Bob Martin and Don McKellar, is popularly known for being a Tony-award winning production. The world-famous play centers on a vain showgirl, who is about to marry a man she only just met, and her producer, who does not want to lose his precious starlet. The said musical have also garnered countless nomination and has acquired a number of worldwide recognitions and acclamations.

This should be a simple and uncomplicated venture for this theatre buff that has previously starred in a number of Broadway and off-Broadway shows, not to mention films and TV projects. Spending majority of his acting career in theatre, Glover takes this opportunity as an invigorating pep up and affirmation of his successful acting profession.

On the show Smallville, Glover plays Lex Luthor’s father, Lionel Luthor, who is perceived as a deceitful and corrupt but very powerful person. Armed with abundant resources, he utilizes his wealth and influence to entice and lure illicit deals. Although Glover portrays a very challenging and interesting character, his addition to Smallville appears to be a “poles apart” undertaking for this established theater actor. But still his inclusion to the series has given him much diversity and versatility in acting, and has ultimately established his stance on the television loop. Moreover, the series has given him much exposure and opportunity to flaunt his convincingly good acting.

The much-awaited Broadway performance of John Glover will be shown in April this year. In the mean time, fans and spectators can catch a glimpse of Glover’s brilliant acting expertise on Smallville, which airs Thursdays at 8:00 PM on The CW Network.

For more information about Smallville or even about Smallville’s John Glover To Star on Broadway please review this website http://www.buddytv.com

One reason many individuals like having a hand in designing their own home theatre system is that you can basically mix and match to make it into whatever you want. You are not restrained by package deals. It is possible to put together a full-scale, state of the art system with projector, receiver and the works, or if that seems a little over the top, you can buy a quality TV (some almost to projection screen sizes nowadays) and accessorize it with DVD player and surround sound speakers.

The variance can go from a couple thousand, to $100,000 for the ludicrously rich and extravagant. This illustrates the importance of choosing a system that suits your needs and doesn’t break the bank.

In the end, it’s all about getting the best possible home theater system for the money you have available. Don’t be afraid if it’s not state of the art-your neighbor will still be paying that off six years down the road when you’ve already upgraded for cheaper. Because of the rapid move of technology, prices bottom out pretty quickly as companies rush at sometimes break neck speeds to try and out do each other.

Think about your own watching and listening needs. Based on what you prefer, a little research should reveal to you the best brands, the best speakers, the best options for what you want to enjoy.

Building your home theater can be a great experience. If you are a family man, you can enjoy movies with the family without having to go out to the hassles of a theatre. If you’re a bachelor, invite the guys over for the game. If you’re a college student, you are probably incredibly popular (just don’t put it on the credit cards). There are several different factors to consider when picking out the various parts that will go into your own personal home theatre system. Here is a check list of a few things to consider:

* Projector or TV? Are you in a semi-permanent residence, or moving soon? That may make a huge difference in how much you want to sink in.

* If you’re shooting for the projector, then what type suits your needs?
* Small room or larger one.
* What is the focus? Movies? Music? Football games? All of the above?
* Location, location, location!
* Can I do it myself, or should I get help?

Keep this checklist in mind and do your research, and you’ll be sure to find the home theatre system that matches your needs.

Death of a Salesman

Anton Chekhov’s The Seagull

Travel to New York City (NYC), and you’re bound to discover more sights and activities than you could have imagined. The city beams with culture and excitement around every corner – so whether you’re a fan of sightseeing, shopping, fine dining, or museum-going, New York has something for you.

But one of the most thrilling aspects of the city is its theatre scene. New York’s theatre district offers musicals, plays and off-Broadway shows in countless venues throughout the city. And because shows are staged year-round, you can find a spectacular production no matter when you visit.

So how do you even begin to making sense of the vast number of productions being staged in NYC? A good place to start is through an online theatre guide. A comprehensive guide will list all the city’s theatres, as well as break down all the productions based on categories of plays, musicals and off-Broadway shows. Once you know what’s on, you’ll want to start enquiring about reviews. Once again, many online theatre guides will include reviews along with information about staging.

If you’re mainly interested in plays, you won’t want to miss the return of Jane Fonda in 33 Variations, Angela Lansbury in Blithe Spirit, or Tony Award-winner August: Osage County. However, if you’d like to experience the city’s superb offering of musicals, you certainly won’t be disappointed with the number of options available to you. From award-winning musicals such as Wicked, and Jersey Boys, to iconic musical productions like South Pacific, there’s something for every theatrical taste in New York City.

Moreover, with musical shows like Mary Poppins and Shrek the Musical, the whole family can enjoy one of the city’s most prominent offerings. And of course, there are the ever famous off-Broadway productions – such as the Blue Man Group, Fuerzabruta, and Stomp – which are sure to thrill.

Don’t forget that holiday shows – such as the Nutcracker – are also staged at appropriate times of the year – so look out for special performances such as these when travelling to New York. And if you’d like to delve into the city’s instrumental performance scene, you’ll also find countless concerts to attend.

There is much to take into consideration with a theatre break to the Big Apple, such as your accommodation, flights to New York and of course, which show you wish to attend. But once you have completed all the relevant planning and preparation, you can relax knowing you are off to discover the Big Apple’s theatre scene.

westendtheatre.com rounds up what looks hot in London theatre in 2009

If theatre mirrors life then you would expect 2009 to be a bad year for the performing arts in London: economic downturns and credit crunches sound like gloomy news for our discretionary entertainment spending. But West End theatre box office figures have kept on going up in recent years, and the huge number of new productions sailing into town during 2009 could mean that Theatreland manages to buck the trend.

THE GREAT REVIVAL

The RSC, National Theatre, Donmar and Old Vic dominated straight drama in the West End in 2008, and they haven’t finished yet. Big hitters coming to town include Judi Dench in the Donmar in the West End’s Madame de Sade at the Wyndhams; Jude Law offering us his, hopefully fighting fit, Hamlet; Gillian Anderson in Ibsen’s A Doll’s House at the Donmar Warehouse; and a number of crowd-pleasing revivals at the Old Vic, no more so than Dancing at Lughnasa, Brian Friel’s hugely successful play starring Andrea Corr, and Sam Mendes directing Chekhov’s The Cherry Orchard and Shakespeare’s A Winter’s Tale, both featuring Simon Russell Beale and Sinead Cusack.

STAR POWER

Other stars shimmying into town include Ian McKellen and Patrick Stewart in Samuel Beckett’s Waiting for Godot at the Haymarket, Ken Stott in Arthur Miller’s A View from the Bridge at the Duke of York’s, heavy-hitter Pete Postlethwaite as King Lear at the Young Vic, and Antony Sher giving us his Prospero in the RSC’s The Tempest. The Gavin and Stacey phenomenon continues to roll on, as we see Joe Orton’s delicious romp Entertaining Mr Sloane at the Trafalgar Studios starring Gavin himself, Matthew Horne, alongside Imelda Staunton; whilst Gavin’s onscreen Mum Alison Steadman plays a barking Leeds housewife in Alan Bennett’s Enjoy at the Gielgud Theatre.

NEW PLAYS

The sharp eyed amongst you will notice that all of these plays are revivals rather than new work, keeping audiences firmly in their comfort zones. That said, new plays may be thin on the ground but not absent all together, with the National offering up Richard Bean’s England People Very Nice, following two lovers across four centuries, and Samuel Adamson’s Mrs Affleck set in the 1950s. Jez Butterworth has two new plays in pre-production, with comedy Parlour Song at the Almeida and Jerusalem at the Royal Court. Also at the Royal Court, Mark Ravenhill will bring his new play Over There. Plus Hollywood man of the moment James McAvoy is to star in Richard Greenberg’s acclaimed play Three Days of Rain at the Apollo, and at The Old Vic Richard Dreyfuss headlines the world premiere of American playwright Joe Sutton’s new play Complicit, directed by Kevin Spacey.

“BASED ON A FILM”

In musical theatre, 2009 promises to be a year of great big fabulous and familiar shows, surely enough to see us through the dark times? And it’s no coincidence that many of them are based on hugely successful films.

Oliver! will be well and truly steaming ahead through 2009 at the Drury Lane Theatre Royal with Rowan Atkinson and Jodie Prenger; La Cage Aux Folles will continue camping it up at the Playhouse but with Graham Norton taking over from Douglas Hodge; and at the Adelphi Theatre Lee Mead will bow out of Joseph to be replaced by Gareth Gates.

Jason Donovan will be donning the wigs and lip gloss to take us on an Australian power-mince in Priscilla Queen of the Desert at the Palace Theatre. And Sister Act at the London Palladium will be doing its best to recreate the fun of the film, helped along by Whoopi Goldberg as co-producer. And not quite a musical but as good as, Calendar Girls the stage play will up the naked flesh quotient in the West End, starring Patricia Hodge and Lynda Bellingham at the Noel Coward Theatre.

KIDS RULE

Kids should also see a good year in 2009 with an enormous live theatrical production of Walking with Dinosaurs coming to a stadium near you, and War Horse transfers from its successful run at the National Theatre to the New London Theatre.

Book these shows here

Evidently, Hampton maintained his beguiling knack for separating urbanites from their money long after Guare dramatized, in 1990, Hampton’s most impressive scam, that of persuading members of Manhattan’s upper crust to take him in as the son of Sidney Poitier. Of course, Guare is interested in more than the attractions of one con artist; he uses the story both to poke fun at and commiserate with his real subject: the well-meaning but somewhat lost liberal rich.

The play’s success in performance hinges on whether we buy that Paul (the Hampton character) could charm the pants and pocketbook off pretty much anyone. On that account, Marra’s otherwise lively production fails: Engelen brings to the character a childlike sincerity that justifies the older characters’ parental concern for him, yet there’s nothing irresistibly seductive about his Paul. As the principal scamees, Griffith and Steinhagen display some comic timing but lack the necessary air of patrician breeding troubled by liberal guilt.

Read more: http://chicago.timeout.com/articles/theater/69269/six-degrees-of-separation-signal-ensemble-theatre-at-chopin-theatre-theater-review#ixzz0ah3XrnwH

“If the world were like the movies

we would never make mistakes

we’d correct our little blunders

and select our better takes”

- From the 1982 film

“My Favorite Year”

The shows I’m reviewing this week, “The School for Scandal” and “The Altar Boyz,” are a mixed bag of entertainment pluses and minuses. While each show has a lot going for it, each has a way to go or grow, depending on how you look at it.

The Role Players Ensemble Theatre in Danville is presenting a brilliantly clever restoration comedy, “The School for Scandal,” by the articulate author, renowned orator and British parliamentarian, Richard Brinsley Sheridan.

First produced in 1777, Sheridan’s marvelous play affectionately satirizes the fashionable society of the wealthy class, with its overt materialism, gossip and hypocrisy. His story takes place within an elitist social circle whose members’ favorite pastime seems to favor finding someone to defame, ridicule or malign through carefully constructed falsehoods and/or innuendo. These individuals focus their primary interests into devising secret, cunning and complicated schemes, all to achieve a particular goal or to cause harm to others, often for their own personal gain or pure entertainment. These egregious character-slayers comprise many layers in “School for Scandal.”

This is a complicated play and certainly a very ambitious play for community theater

There are 15 diversely comic and intriguing characters in this farcical story about sibling rivalry, love, lust, fidelity, infidelity and artificial relationships. The characters are given names that in some small way describe some aspect of their character, such as Snake Lady Sneerwell, Sir Benjamin Backbite, Mrs. Candor, Mr. Crabtree, Sir Peter Teazle and Lady Teazle, Moses and the Surface Brothers.

The plot is blunt. Practically everyone has something to glean by mischievous and treacherous means.

Director Sue Trigg has done an excellent job of selecting cast members capable of providing full meaning to their characters. This play is an outrageous farce, a grand comedy and for the most part it is carried off very well. The language is “stately English” and at times is difficult to capture, for lack of familiarity.

It was not until I went online to review the actual script that I fully grasped some of the relationships. The play opens with two of the lesser support characters plotting to spoil Charles Surface’s character. It is here where we begin to grasp that there is a circle of socializers who gather routinely to pander in slander, to gossip and trade “delicious” tales out of context, fabrications and fornications of the truth.

Lady Sneerwell wants to damage a budding relationship between Charles Surface and Sir Peter Teazle’s ward, Maria, because she had at one time been in a relationship with Charles and doesn’t want him to marry this beautiful younger woman. Sir Peter Teazle has a much younger wife, who has romantic aspirations toward Charles’ brother, Joseph. While Joseph pretends to have similar inclinations toward Lady Teazle, he does so in order to get back at his brother, Charles, because he also lusts after the attractive young Maria.

Intrigue after intrigue compound the relationships, especially that of a wealthy uncle of the brothers, Sir Oliver Surface. He arrives on the scene incognito to determine the true character of his nephews, to help him decide who is the most worthy to inherit his estate when he dies. Sir Oliver Surface is played by Chris Chapman. Lady Teazle is played by Kathryne Davidson, Maria by Xanadu Bruggers, Mrs. Candor by Melynda Kiring, Mr. Crabtree by Candy Campbell (a lady who plays an older man very well), Moses by Elias D. Protopsaltis, Rowley by Michael Green, Careless by Jill Davidson, Snake and Sir Benjamin Backbite by Paul Plain and the stalwart servant by Joel Stefani.

Sir Peter Teazle (John Blytt) acknowledges his uneven and contradictory friendship with his deceased friend’s sons, the brothers Joseph Surface (Michael Sally), and Charles Surface (Craig Eychner). He believes Joseph to be the epitome of virtue and honor, while he believes Charles to be the opposite in character, the epitome of personal corruption and deplorable financial carelessness. He wishes that his young ward, Maria, would find Joseph an acceptable suitor for her hand in marriage, over her obviously romantic admiration for the more colorful and more handsome Charles Surface.

As the play develops, we quickly discover that brother Joseph Surface is a two- faced individual. Lady Snearwell describes him thus, “I have found him out a long time since. I know him to be artful, selfish and malicious-in short, a sentimental knave; (but) while with Sir Peter, and indeed with all his (general) acquaintance, he passes for a youthful miracle of prudence, good sense, and benevolence.”

I enjoyed the play very much and laughed at times. I did find fault with some aspects, but not enough to belabor any specific points. It was obvious that the play fell shallow on some ears. This is a long play, too long without a full professional cast. The first act was hard to sit through, but the second act moved much better. On the whole, the production never quite came together.

While every member of the cast contributes significantly to this production, the following actors deserve “outstanding” kudos for their efforts: Michael Sally, Melynda Kiring and Craig Eychner.

This humorous restoration comedy plays Thursdays through Saturdays at 8 p.m., with Sunday matinees at 2 p.m. through Saturday, May 10, in the Community Center Theater at 420 Front Street in Danville.

Tickets may be purchased by calling 314-3400 or 314-3463, or online at www.villagetheatreshows.com, or in person at the Community Center, 420 Front Street, in Danville. Tickets are a reasonable $22 to $25 each.

“Altar Boyz” at the Willows

The Willows “Cabaret” Theatre in Martinez is carrying forward the little theater’s theater of Catholicism with another musical that will be appreciated by anyone with a personal history closely aligned with Catholic experiences. This cabaret-style theatre is presenting the Off-Broadway musical, “Altar Boyz.”

This is a venue where the audience sits at small tables where they can order drinks and snacks to enjoy during the show.

This upbeat, modern religious rock musical professes no one specific religious point of view. It must have been penned by someone with a great knowledge of Catholic ritual and rhetoric. “Altar Boyz” tells the inspiring, upbeat story of five guys from small-town USA who are drawn together in their quest to “save souls.” They form a singing, dancing company that travels town to town, like a comic revival show, seeking to inspire, cajole, convert and re-commit a sagging religious following among the young; to seek out and embrace Jesus as their savior. They make fun of religion, but not too offensively.

With songs such as “Jesus Called Me on My Cell Phone” and “Girl You Make Me Want to Wait,” the verbal message is loud and clear, but their sinfully terrific dancing, suggestive body language and straight street talk are modern and in touch with today’s hip overtures.

The musical is youthful, exuberant and exciting, tuning the audience into their party-exhilaration wavelength before the evening is over. The songs include the terrific “Rhythm in Me,” “Church Rulez,” “Something About You,” “Everybody Fits,” “La Vida Eternal” and “I Believe,” to mention a few. The songs relate to issues in the boy’s lives as well as issues that many audience members must have found relative as well. The audience was enthusiastic and appreciative. The lyrics are clever and fun.

Director and Choreographer Mickey Nugent has brought together five unique young men that include Kenneth Scott as Matthew, Bobby Bryce as Mark, Michael Scott Wells as Luke, Rod Voltaire Edora as Juan and Herbie Raad as Abraham. The musical director, Carl Pantle, provides great accompaniment.

The sound didn’t work for me. It too loud to be comfortable and many lines were walked over or just not delivered clearly. Rod Voltaire Edora who portrayed Juan had such a thick accent that I missed many of his lines entirely. They are all outstanding talented performers, but if you cannot understand them, the show loses much of its punch.

The other problem I have is that the theater seating is just too crowded for comfort. Other guests expressed the same feeling to me. This is a great show, an attractive little venue, but how often does one want to be so crowded that when the young women who serve drinks and snacks (at a fairly hefty price) have to shove their way past you so that they can reach other patrons.

If you sit near the aisle, you continually have to move your chair even closer to an already uncomfortably small table and other guests, so much so that it disturbed my enjoyment of the show and its hardworking performers. This is not good. One reason I don’t often go back to this theater to review shows is that the experience of the theater itself is basically the same, and that’s a shame! The whole concept is a great idea, if they just didn’t try to squeeze so many people in.

“Altar Boyz” continues Wednesdays at 3:30 and 7:30 p.m., Thursdays at 7:30, Fridays at 8, Saturdays at 2 and 8, with Sunday performances at 3, now through May 11.

The Willows Cabaret “Campbell” Theatre is located at 636 Ward Street in Downtown Martinez, one block east of Main Street at the corner of Estudillo Street. Call 798-1300 for tickets or visit the Willows Web site at www.willowstheatre.org. Tickets range between $20 and $30 each with discounts for seniors.

The first incarnation of the theatre came to light after the Puritan Interregnum, which was an 11-year ban on “frivolous” pastimes, including theatre. It opened May 7, 1663, and was known as the “King’s Playhouse” by many. The original building was a wooden structure made of three tiers, 112 feet long and 59 feet wide. At maximum capacity, it could hold 700 patrons. The performances during this time typically took place around 3 p.m. in order to make use of the daylight. There was no roof over the audience pit, which oftentimes left those attending plays at the mercy of the elements.
Live at the Theatre Royal Drury Lane
When the first theatre was destroyed by fire in 1672, the second theatre, named the “Theatre Royale in Drury Lane,” opened in 1794. This theatre lasted almost 120 years but was demolished in 1791 to make room for a bigger theatre, which opened in 1794. This theatre only lasted 15 years, as it also burned down in 1809.

The theatre building still existing today opened on Oct. 10, 1812. It seats about 2,237 people which, despite still being considered a large theatre, makes it approximately 550 seats smaller than the previous building.

Since its opening, it has been visited by Shakespearean actors, comedians, musical composer and performers and even the Monty Python comedy troupe, who recorded a concert album there. World War II forced the theatre to temporarily close and during the war, the theatre was used as headquarters for the Entertainments National Service Association. Although the theatre suffered minor bomb damage, it reopened in 1946 with Noel Coward’s “Pacific 1860.”

Since the war, it has produced mainly musical theatre, including several Rodgers and Hammerstein musicals including “Oklahoma!” In 1946, “South Pacific” in 1951 and “The King and I” in 1953. Other productions have included “My Fair Lady,” which had a five-year run beginning in 1958; “42nd Street” from 1984 to 1989; Miss Saigon from 1989 to 1999; and, more recently, “The Producers,” which closed in January 2007; a musical adaptation of “The Lord of the Rings,” which closed July 19, 2008; and “Oliver!” which began directly after the closing of “The Lord of the Rings.” The Drury Lane theatre is currently owned by Andrew Lloyd Webber.

It is often referred to as one of the world’s most haunted theatres. One of the most famous spirits alleged to haunt the theatre is that of the “Man in Grey,” a man whose skeleton was found in a walled-up room in 1848. Other supposed ghosts within the theatre include the spirits of comedian Joe Grimaldi and actor Charles Macklin.

Author:
If you fancy some tickets for the Theatre Royal, Drury Lane or any other London Theatre Tickets visit the website.

Terms: Articles may be reprinted provided content is not edited and links are kept live

Source: www.articledepot.co.uk

The theatre was, for many years, home to the D’Oyly Carte Opera Company and the Carte family ran it for more than a century. D’Oyly Carte’s son, Rupert, modernized and rebuilt the theatre in 1929 and in 1993, following a fire, it was rebuilt again. The original design for the theatre was came from C.J. Phipps.

It closed in 1903 and reopened in February 1904 with John Leigh and Edward Laurillard acting as managers. They remained in the managerial positions until December 1906, when the D’Oyly Carte Opera Company returned to the site for repertory seasons between 1906 and 1909. At this point, C.H. Workman took over the manager position until 1911.

The theatre was managed by George Augustus Richardson from November 1911 to Feburary 1915, at which point D’Oyly Carte’s son, Rupert D’Oyly Carte, took over. Rupert decided to bring the D’Oyly Carte Opera Company back to the theatre at this time and he also hired Malcolm Sargent and Geoffrey Toye as guest conductors and Isidore Godfrey and Harry Norris as musical directors.
Savoy Theatre was closed June 3, 1929, and the interior of the building was rebuilt completely. The original capacity of the theatre was 1,292, but was reduced to 986 by 1912. The new theatre designed allowed for 1,200 people. The theatre was reopened Oct. 21, 1929, and presented a production of “The Gondoliers.”
Historic Print (M): [Savoy Theatre and Hotel Dunlop, Boardwalk and Ocean Ave., Atlantic City, New Jersey] /
Gilbert and Sullivan seasons ran at the Savoy Theatre on and off from 1929 to 2003. The theatre also featured “Blithe Spirit” in 1941, which ran for 1,997 consecutive performances.
Management of the theatre went to Sir Hugh Wotner in 1948. The D’Oyly Carte Opera Company ceased operations in 1982 and the last heir of the D’Oyly Carte family died in 1985, effectively ending the family line.

During renovations in 1990, a fire destroyed the building, sans the stage and backstage area. It reopened July 19, 1993, and the newly rebuilt theatre currently seats 1,158. During the renovations, a swimming pool was added above the stage and another story was added about the theatre.

Since 1993, some shows at the theatre have included “Relative Values,” “Travesties,” the musical “She Loves Me,” “Dead Funny,” and “Coward’s Hay Fever.” In 2000, the D’Oyly Carte Opera Company was shortly reconstituted and produced “H.M.S. Pinafore” and “Pirates of Penzance.” The company followed these with “The Barber Seville” in 2004.

Currently, the theatre (located at The Strand, Westminster, London, WC2R 0ET), is showing Rodgers and Hammerstein’s “Carousel,” a show which debuted Nov. 29, 2008.

Author:
If you fancy some tickets for The Savoy Theatre or any other London Theatre Tickets visit the website.

Terms: Articles may be reprinted provided content is not edited and links are kept live

Source: www.articledepot.co.uk