The Afternoon Report, Tuesday, June 30, 2015

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Tuesday, June 30, 2015


Today’s Tweets from BBB
Follow us on Twitter – @BBBway


Willie surprises a devoted dad with trip to NYC, Whitney Museum, tickets to @CURIOUSBroadway via @todayshow • • • Welcome @HEDWIGOnBway #6, @TayeDiggs! #HedDiggs • • •

Facebook News Feed Algorithm Change: Factoring in Actions Taken on Videos
AdWeek/SocialTimes – by JUSTIN LAFFERTY

Facebook’s News Feed algorithm is going through another change, the company announced Monday. Now, the algorithm will take into account actions taken on videos when it determines how widely the video will be seen.

Knowing that many people can enjoy a video without liking, commenting on or sharing it, Facebook is rewarding pages that post videos, but have users turn the volume up or make the video expand to full screen.

Read the article, click the link below


Happy Social Media Day 2015!
Mashable – by RYAN LYTLE

It’s that time of year again: Happy Social Media Day from all of us at Mashable.

Mashable first launched Social Media Day in 2010 to commemorate and celebrate the ways social media has changed our world, both big and small.

This year marks the sixth-annual global celebration, and it could just be the largest yet, with hundreds of events around the world bringing thousands of people together to discuss the growth and proliferation of social media.

Wherever you’re located, there may be an event happening in a United States or international location near you. But if you can’t attend an event in person, you can still join the global conversation online through the hashtag #SMDay.

Find out other ways to participate, click the link below



Broadway Ad Breakdowns: Continue reading

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The Afternoon Report, Monday, June 30, 2015

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Monday, June 29, 2015

Today’s Tweets from BBB
Follow us on Twitter –
CURIOUS INCIDENT star Alex Sharp talks Tony Awards, love and why he’s a New Yorker via @pix11news @CuriousBroadway • • • Anatomy of a Scene: Tony-Winning Designer Bob Crowley on ‘AN AMERICAN IN PARIS‘ via @thr @AmericanInParis • • • Tiler Peck & Robbie Fairchild talk about being dance partners for life @AMERICANINPARIS • • • Happy birthday to @ROTTENBroadway star @briandarcyjames! #broadwaybirthdays • • • #OFGOODSTOCK opens @MTC_NYC tomorrow. Break legs to the cast and crew! • • •



12 Questions To Ask Before You Hit ‘Send’ on Social Media
Time/Buffer – by KEVAN LEE

Before you hit the Publish button or send an update to the queue, what do you do?

Quite often, I find myself publishing instinctively and sometimes failing to consider all the necessary questions and guidelines for what makes a wildly successful, viral—and valuable!—social media update.

To do right by your audience, to deliver the utmost value and receive the maximum engagement, there are a handful of qualifications that every social media post should meet. From our experience and our research, 12 items stand out, making for a super slick checklist. We’d love to share with you how this looks.

Check out the list, click the link below

Link to Broadway Grosses for the week ending June 28, 2015 Continue reading

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OF GOOD STOCK Opens Tomorrow at MTC’s Stage I

Of Good Stock Manhattan Theatre Club - Stage I

Manhattan Theatre Club’s New York premiere of Of Good Stock, the new play by Melissa Ross, directed by MTC’s award-winning Artistic Director Lynne Meadow, opens tomorrow night, Tuesday, June 30 at MTC at New York City Center – Stage I (131 West 55th Street).

The cast of Of Good Stock features Kelly AuCoin (“House of Cards,” Some Men), Greg Keller (Wit at MTC, Belleville), Heather Lind (AMC’s “Turn: Washington’s Spies,” The Merchant of Venice), Nate Miller (Love and Information, Peter and the Starcatcher), Jennifer Mudge (Into The Woods, Reckless at MTC), and Alicia Silverstone (Time Stands Still at MTC, The Graduate).

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THE GIN GAME announces pre-sale, on sale and creative team

The Gin Game

Pre-sale for Citi® cardmembers and Audience Rewards® members has been announced for the new Broadway production of D.L. Coburn’s Pulitzer Prize-winning classic, The Gin Game, starring Tony Award-winners James Earl Jones and Cicely Tyson.   The Gin Game, directed by Leonard Foglia (Master Class, Thurgood) opens Tuesday, October 13 at the Golden Theatre (252 West 45th Street between Broadway and Eighth Avenue).  Previews begin Friday, September 18.  The production will play a limited engagement through Sunday, January 10, 2016.

Tickets for The Gin Game go on sale exclusively to Citi® cardmembers from Wednesday, June 24 through Sunday, July 5.  Visit for details.

Audience Rewards® members can purchase tickets through an exclusive presale from Monday, July 6 through Sunday, July 12.  Audience Rewards® is the Official Rewards Program of Broadway & the Arts. It’s a standing ovation for ticket buyers across the nation.  Earn valuable ShowPoints every time you buy tickets to participating theatrical productions, live entertainment, exhibitions and more. Save money by redeeming ShowPoints for free tickets to the events you love or, even better, securing unique experiences and merchandise exclusively curated for Audience Rewards® members. It’s free and fast to join.  Visit to sign up and purchase.

General on sale begins on Monday, July 13 by calling at 212-239-6200 or 800-447-7400 or online at

Mr. Jones and Ms. Tyson are sharing a Broadway stage for the first time since 1966, when they appeared in A Hand Is On The Gate at the Longacre Theatre.  They also starred in the long-running Off-Broadway production of Jean Genet’s The Blacks.   They starred opposite each other in the film The River Niger and the TV movie “Heat Wave”.  Mr. Jones is a two-time Tony Award winner (Fences, The Great White Hope), three-time Emmy Award winner (“Heat Wave,” “Gabriel’s Fire,” “Summer’s End”) and the recipient of a Grammy Award and an Honorary Academy Award.  Ms. Tyson is a Tony Award-winner (The Trip to Bountiful), a three-time Emmy Award winner (“The Autobiography of Miss Jane Pittman,” “The Oldest Living Confederate Widow Tells All”) and an Academy Award nominee (Sounder).

Winner of the 1978 Pulitzer Prize for Drama, The Gin Game returns to the Golden Theatre where the original production opened in 1977, starring Hume Cronyn and Jessica Tandy.  Since its premiere, the play has also been staged across the United States and all over the world. The Gin Game has also been filmed twice for television; in 1981 with original stars Cronyn and Tandy, and in 2003 with Dick van Dyke and Mary Tyler Moore.

Weller Martin (James Earl Jones) and Fonsia Dorsey (Cicely Tyson) meet on the porch of their nursing home and strike up a friendship, with Weller teaching Fonsia how to play gin rummy. As they play, they share stories about the lives they led in the outside world. But when Fonsia wins every hand, Weller becomes increasingly frustrated, until their gin games and conversations become a battleground, with each player exposing the other’s failures, disappointments and insecurities.

The production will feature set and costume design by Riccardo Hernandez, lighting design by Jules Fisher and Peggy Eisenhauer and sound design by David Van TieghemThe Gin Game will begin rehearsals on Thursday, August 13.


THURSDAY, SEPTEMBER 18 – SATURDAY, OCTOBER 10: Monday at 7:00 PM, Tuesday at 7:00 PM, Wednesday at 2:00 PM, Thursday at 7:00 PM, Friday at 8:00 PM, Saturday at 2:00 and 8:00 PM.  (Added performance Wednesday, September 30 at 7:00 PM.  No performance on Monday, September 28).

MONDAY, OCTOBER 12 – SATURDAY, OCTOBER 17: Monday at 7:00 PM, Tuesday at 6:30 PM (Opening Night), Wednesday at 7:00 PM, Thursday at 7:00 PM, Friday at 8:00 PM, Saturday at 2:00 and 8:00 PM.

BEGINNING TUESDAY, OCTOBER 20: Tuesday at 7:00 PM, Wednesday at 2:00 PM, Thursday at 7:00 PM, Friday at 8:00 PM, Saturday at 2:00 and 8:00 PM, Sunday at 3:00 PM.


James Earl Jones (Weller Martin) made his Broadway debut in 1957 and most recently starred on Broadway in You Can’t Take It With You.  He won Tony Awards for The Great White Hope and Fences, and received Tony Award nominations for On Golden Pond and The Best Man.  He received Drama Desk Awards for Othello, Les Blancs, Hamlet, The Cherry Orchard and Fences, Obie Awards for Clandestine on the Morning Line, The Apple, Moon on a Rainbow Shawl, the LA Critics Circle Award for Fences and an Olivier Award nomination for Cat On A Hot Tin Roof.  Other theatre credits include Driving Miss Daisy (Broadway, London, Australia).   He is an award-winning film and TV actor and recipient of three Emmy Awards, a Grammy Award and a Lifetime Achievement Oscar.

Cicely Tyson (Fonsia Dorsey) won a 2013 Tony Award for Best Actress in a Play for her performance in The Trip to Bountiful and was also nominated for an Emmy Award for the 2014 television movie version.   Best known for her ground-breaking double Emmy Award-winning performance as Jane in “The Autobiography of Miss Jane Pittman,” Miss Tyson was also nominated for an Academy Award for Sounder.  She then received her third Emmy Award for “The Oldest Living Confederate Widow Tells All” and was also nominated for her performances in “Roots,” “King,” “Sweet Justice,” “The Marva Collins Story” and “A Lesson Before Dying”.  Her many film credits include the upcomingShowing Roots, The Heart Is A Lonely Hunter, Fried Green Tomatoes, Because of Winn-Dixie, Hoodlum, Diary of a Mad Black Woman, Madea’s Family Reunion, Why Did I Get Married Too?, The Help, Alex Cross.  Broadway credits include The Corn Is Green, Trumpets of the Lord, A Hand Is On The Gate, Cool World and Jolly’s Progress.  Off-Broadway, she appeared in the long-running production of Jean Genet’s The Blacks.  Miss Tyson has a star on the Hollywood Walk of Fame.  In 1995, a middle school in East Orange, NJ was named for her.  Following Miss Tyson’s involvement in 2009, she was able to open a new $143 million state-of-the-art kindergarten through High School renamed the Cicely L. Tyson Community School of Performing and Fine Arts.

D.L. Coburn (Playwright) came to prominence in 1977 with The Gin Game, which was his first play.   The Gin Game ran on Broadway for 516 performances and subsequently toured the nation with its original cast of Hume Cronyn and Jessica Tandy to sold-out performances in Los Angeles, Chicago, Boston, Philadelphia and a half-dozen other cities before going on to a triumphant tour of England and the then Soviet Union.  It has since had major productions in virtually every country of the western world, including France, Germany, Italy, Greece, Belgium, the Netherlands, Austria, Romania, Israel, Hungary, Australia, Brazil, Chile, Argentina and South Africa, as well as heralded productions in China and Japan.  In 1978, the play garnered four Tony nominations and was awarded the Pulitzer Prize for Drama.  Plays Mr. Coburn has written since The Gin Game includeBlue Water Cottage (1979), Guy (1983), Noble Adjustment (1985), Return to Bluefin (1992), Fear of Darkness (1995) and Firebrand (1997).  Additionally, he has written television pilots for CBS and ABC and several screenplays including Flight of Angels (1987), A Virgin Year (1991) and Legal Access (1994).

Leonard Foglia (Director) is a theater and opera director as well as librettist. Original Broadway productions: Master Class, Thurgood (filmed for HBO),The People In The Picture.  Revivals: On Golden Pond, Wait Until Dark. Off-Broadway: Let Me Down Easy (filmed for PBS), The Stendhal Syndrome, One Touch of Venus, If Memory Serves, Lonely Planet.  Regional: Unusual Acts of Devotion, Distracted, Paper Doll,The Secret Letters of Jackie and Marilyn, The Subject Was Roses, Things Being What They Are, God’s Man in Texas.  Opera: He has directed the world premieres of Moby Dick (filmed for PBS), Everest, El Pasado Nunca Se Termina/The Past Is Never Finished (librettist and director), Cruzar La Cara De La Luna/To Cross The Face Of The Moon (librettist and director), A Coffin In Egypt (librettist and director), The End of the Affair and Three Decembers. His production of Dead Man Walking has been presented in opera companies across the US. This summer he will direct the premier of the opera Cold Mountain.


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The Afternoon Report, Monday, June 22, 2015

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Monday, June 22, 2015

Facebook gaining ground on YouTube in video ads, report says

Facebook is gaining ground on Google’s YouTube as an outlet for big companies to market their products via online videos, the fastest growing category of Internet ads, a report published on Monday said.

The competition for video viewers opens up a new front in the clash between the two web giants that already compete in other types of advertising given their appeal to young and international consumers, Ampere Analysis said in a study.

London-based Ampere predicts a new advertising “arms race” between the two rivals, neck and neck in terms of audience sizes with around 1.4 billion to 1.3 billion monthly active users, respectively for Facebook and YouTube. That means consumers are likely to be forced to see more ads, but also enjoy a richer range of video programming as a result, it said.

Read this article, click the link below


Which Popular Twitter Type Are You: Curator, Promoter or Social Butterfly?
AdWeek/SocialTimes – by LAUREN DUGAN

With 302 million monthly active users sending half a billion tweets per day, you can bet that there are personalities of all types on Twitter. Some, however, are more popular than others, as people tend to group together in how they tweet.

So which one of these three popular Twitter types are you?

Find your inner twitter, click the link below


Link to Broadway Grosses for the week ending June 21, 2015 Continue reading

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The Afternoon Report, Thursday, June 18, 2015

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Thursday, June 18, 2015 


Today’s Tweets from BBB
Follow us on Twitter –

RT @FeldmanAdam: Showstoppers! We rank Broadway’s most exciting numbers • • • RT @Bubbles2828: BEST BROADWAY MUSICAL COMMERCIALS NOW PLAYING on @Culturalist. What are yours? • • • RT @broadwaycom: PHOTOS! @BillyCrystal visits the Renaissance with the cast of @ROTTENBroadway • • • @AtlanticTheater GHOST STORIES: The Shawl and Prairie du Chien @TimeOutNewYork Critic’s Pick @DavidCote • • •  



It’s Comments All The Way Down
The New Yorker – by MARK O’CONNELL

If the Internet were to receive its own Ten Commandments—picture a Moses figure descending from Mountain View, clutching a stone phablet etched with a listicle of moral directives—somewhere in there would surely be the phrase “Thou Shalt Not Read the Comments.” There are few online experiences more dispiriting, more arduously futile, than the downward scroll into the netherworld of half-assed provocations and inanities that exists beneath the typical opinion piece or YouTube video. It is plainly bad for the soul, the whole business, and yet we do it, all the time—or I do, at any rate, more of the time than I care to reflect upon. Fairly frequently, someone will post a link to something on Facebook or Twitter with the stern caveat that, although comments should obviously be avoided as a rule, the comments on this specific article must be avoided with especial care, and I will find myself clicking the link and having a quick read of the piece before doing, at considerable length and with considerable rigor, precisely what I have been warned against, precisely because I have been warned against it. There’s presumably some kind of masochistic imperative at work here—the perverse compulsion of masochism, that is, without any of the perverse pleasure. (Clicking a “View All Comments” button is a mild manifestation, I suspect, of the Freudian death instinct.)

And yet there is something narrow, and basically anachronistic, about this view of “the comments” as a phenomenon restricted to the unconsecrated ground below the line. Because it is possible to think of the Internet itself, in all its incomprehensible vastness, as an exponentially ramifying network of commentary and metacommentary. It’s comments all the way down. Social media, at any rate, and Twitter in particular, are a continually metastasizing accretion of marginalia. A tweet is a comment implicitly calibrated to provoke further comment, by way of replies or retweets or favorites: it is a form of text produced in order not just to be read but to generate the production of further text. (Almost every time I compose a tweet and click send, I become discomfitingly aware that I just made the Internet slightly longer than it already was, which was way too long in the first place.)

The mind blanks at this sheer volume of commentary generated with every elapsing second, this unreckonable tonnage of weigh-ins. –

It is this wider sense of “the comments”—the bewildering datascape of Amazon reviews, Facebook likes, Yelp! ratings, and YouTube blurtings—that the academic Joseph M. Reagle, Jr., explores in his new book “Reading the Comments: Likers, Haters, and Manipulators at the Bottom of the Web.” The mildly contrarian idea underpinning the book is that the comments should, in fact, be read—at least in the academic sense of “reading” as analysis and contextualization.

Read the article, click the link below



The Billboard Charts ~ Issue Date: June 27, 2015

Billboard Top Broadway Cast Album Catalog: Continue reading

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The Afternoon Report, Wednesday, June 17, 2015

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Wednesday, June 17, 2015


Today’s Tweets from BBB
Follow us on Twitter – @BBBway


RT @broadwaycom: PHOTOS! Get a front-row seat to the opening night of David Mamet’s GHOST STORIES • • • ‘S Wonderful: Backstage at AN AMERICAN IN PARIS with Max von Essen, Episode 8: Au Revoir, Henri! @AmericanInParis • • • RT @nytimestheater: PENN AND TELLER, Reconjured on Broadway • • • A final extension has been announced for #HEISENBERG @MTC_NYC! Get your tickets now • • • Cast and creative team announced for World Premiere of PRINCE OF BROADWAY in Japan this fall • • •

Twitter to Advertisers: 100% Viewability on Autoplay Videos – Or It’s Free!
AdWeek/SocialTimes – by JUSTIN LAFFERTY

Twitter on Tuesday unveiled something new in its timeline: autoplay videos. And unless a promoted video is 100 percent viewable (not half-off-screen or scrolled by) and has been watched for at least 3 seconds, Twitter will not charge advertisers for the view.

To read this article, click the link below

Six Key Metrics for Measuring the Effectiveness of Video Content – by JONATHAN HUNT

The 2015 upfront season featured a volley of swipes by TV execs at digital video’s longstanding measurement issues. TV’s recent declines in viewership of historic proportions were glossed over, but that’s neither here nor there. The fact of the matter is, they are not wrong.

We’re an industry looking to a dozen different metrics and signals to validate our video and editorial decisions, and in some instances we’re even creating our own. However, video — video of real substance and entertainment value — is often expensive to create and to this day there is still no definitive measurement for sussing out business impact: Did this drive sales? Did this improve brand lift? Was this able to shorten someone’s decision funnel? Did this produce meaningful media value?

I recently moderated workshops around this very topic: How should we be measuring the impact of our content investments? I posed the question to marketing execs, agencies and other media professonals. Here are six top metrics (in order of importance), and the challenges in tracking them:

Read the list, click the link below



Broadway Ad Breakdowns: Continue reading

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MTC’s World Premiere of “Heisenberg” Announces Final Extension

HeisenbergNew York City Center - Stage II

Manhattan Theatre Club is pleased to announce a final extension for the critically acclaimed world premiere of Heisenberg due to overwhelming demand from audiences.

Heisenberg is the new play by Tony Award and two-time Olivier Award winner Simon Stephens (The Curious Incident of the Dog in the Night-Time, Punk Rock), directed by Drama Desk Award winner Mark Brokaw (The Lyons, How I Learned to Drive), starring Denis Arndt (The Night Alive at Geffen Playhouse, “The Practice”) and Tony and Emmy Award winner Mary-Louise Parker (Proof, “Weeds”).

The limited engagement must close on Saturday evening, July 18 at The Studio at Stage II – Harold and Mimi Steinberg New Play Series at New York City Center – Stage II (131 West 55th Street).

Tickets for the extension are on sale now and are priced at $100. Special $30 tickets are offered as part of MTC’s 30 Under 30 program, which makes tickets available to all MTC shows for theatergoers age 30 and under for $30, limit two per order. People not already part of 30 Under 30, can join this program free of charge by visiting:

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Cast and creative team announced for World Premiere of PRINCE OF BROADWAY in Japan

Prince of Broadway

Umeda Arts Theater is pleased to announce the cast and creative team for the World Premiere of Prince of Broadway, a new musical celebrating the extraordinary six decade Broadway career of producer-director Harold Prince.  The production will play from October 23-November 22, 2015 at Tokyu Theatre Orb in Tokyo, Japan and November 28-December 10, 2015 at Umeda Arts Theater, Main Hall, in Osaka, Japan.

Prince of Broadway, which features words and music from many of the shows that have earned Hal Prince a record 21 Tony Awards, has a book by two-time Tony Award nominee David Thompson (The Scottsboro Boys, Steel Pier), co-direction and choreography by five-time Tony Award winner Susan Stroman (The Producers, Contact, Crazy for You) and direction by Mr. Prince.

The cast includes Shuler Hensley (Tony Award winner for Oklahoma!), Ramin Karimloo (Phantom of the Opera, Tony Award nominee for Les Miserables), Nancy Opel (Honeymoon in Vegas, Tony Award nominee for Urinetown), David Pittu (Tony Award nominee for Love Musik and Is He Dead?), Emily Skinner (Billy Elliot, Tony Award nominee for Side Show), Josh Grisetti (It Shoulda Been You), Mariand Torres (Natasha, Pierre & the Great Comet of 1812, Wicked), Kaley Ann Voorhees (Phantom of the Opera) and Reon Yuzuki (former Top Star of the Takarazuka Revue Company’s Star Troupe).

Celebrating one of the most influential and successful careers in the American theatre of the past 60 years, Prince of Broadway will look at the circumstances and fortune, both good and bad, that led to Hal Prince creating some of the most enduring and beloved theatre of all time, including The Pajama Game, West Side Story, Fiorello!, Fiddler on the Roof, Cabaret, Company, Follies, A Little Night Music, Sweeney Todd, Evita, and The Phantom of the Opera, the longest-running show in Broadway history.

Mr. Prince commented, “The idea for Prince of Broadway was brought me to me some years ago and, a tad reluctantly, I agreed to consider the notion of a compendium show featuring material from the 34 musicals I directed and/or produced on Broadway. Subsequently, I asked Susan Stroman to choreograph and co-direct with me because so much of the material will require inspired movement. I have come to the conclusion that I don’t want to reproduce verbatim what I staged in the original productions. Instead, I plan to re-think each segment and direct it as I would today, possibly having learned more about what I’m doing in the subsequent years. Finally, I’ve asked Jason Robert Brown, a choice composer with whom I’ve worked before (Parade) to orchestrate the show, write connective musical material, and create a brand-new number for the finale. After all, my career is just a blip on the theatre screen and there will be a rich future.”

Mr. Prince directed the original productions of She Loves Me, It’s a Bird…Superman, Cabaret, Zorba, Company, Follies, A Little Night Music, Pacific Overtures, On the Twentieth Century, Sweeney Todd, Evita, Merrily We Roll Along, The Phantom of the Opera, Kiss of the Spider Woman, Parade and LoveMusik. He has also directed acclaimed revivals of Candide and Show Boat. Before becoming a director, Mr. Prince produced the original productions of The Pajama Game, Damn Yankees, New Girl in Town, West Side Story, Fiorello!, Tenderloin, Flora the Red Menace, A Funny Thing Happened on the Way to the Forum and Fiddler on the Roof. Among the plays he has directed are Hollywood Arms, The Visit, The Great God Brown, End of the World, Play Memory and his own play, Grandchild of Kings. His opera productions have been seen at Lyric Opera of Chicago, the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, Dallas Opera, Vienna Staatsoper and the Theater Colon in Buenos Aires. In 2006, he prepared a new version of Phantom which ran in Las Vegas at the Venetian Hotel for six years. His next musical, The Band’s Visit, will open at the Atlantic Theatre Company in 2016. Mr. Prince is a trustee for the New York Public Library and previously served on the National Council on the Arts for the NEA. He is the recipient of 21 Tony Awards, a Kennedy Center Honor, the Eugene O’Neill Theatre Center’s Monte Cristo Award and a National Medal of the Arts from President Clinton for a career in which “he changed the nature of the American musical.”

Prince of Broadway will feature set design by Tony Award winner Beowulf Boritt, costume design by six-time Tony Award winner William Ivey Long, lighting design by Sonoyo Nishikawa and sound design by Koichi Yamamoto.   Wig design is by Paul Huntley.  Musical supervisor and arrangements are by three-time Tony Award winner Jason Robert Brown.  Musical director is Fred Lassen.  Casting is by Tara Rubin.

Tickets are now on sale for performances from October 23-November 22, 2015 at Tokyu Theatre Orb in Tokyo, Japan, and November 28-December 10, 2015 at Umeda Arts Theater, Main Hall, in Osaka, Japan.

Rehearsals for Prince of Broadway begin in New York on September 1.

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KINGS THEATRE in Brooklyn Will Present ANNIE This Holiday Season, Dec. 15 – 27


Brooklyn’s newly restored Kings Theatre (1027 Flatbush Ave, Brooklyn, NY) is pleased to announce that the all-new U.S. tour of the beloved musical Annie will play a limited 16 performance only engagement at the venue this holiday season, December 15 – 27, 2015. Tickets are on sale now. Directed by original lyricist and director Martin Charnin for the 19th time, this production of Annie is a brand new physical incarnation of the iconic Tony Award®-winning original.

This production marks the first major theatrical event in the history of the former movie house, which re-opened earlier this year after a $95 million restoration. The renovation expanded the original theatre’s footprint from approximately 83,000 square feet to 93,000 square feet, including an enlarged and modernized stage house, dressing rooms and loading areas, and upgraded theatrical lighting and acoustic accommodations. All of this combined has made it possible for the theatre to now accommodate and produce full-scale theatrical productions in Central Brooklyn.

“We are thrilled to welcome the Brooklyn community and families from all over New York City to the Kings Theatre as we play host to this outstanding production of Annie in December,” said Matthew Wolf, Executive Director of the Kings Theatre. “Annie opened on Broadway in 1977, the same year the Kings Theatre originally shut its doors. We are excited to mark the Kings’ inaugural year back on Flatbush Avenue with this classic production, suited for all ages.”

Annie has a book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin. All three authors received 1977 Tony Awards® for their work.   Choreography is by Liza Gennaro, who will incorporate selections from her father Peter Gennaro’s 1977 Tony Award®-winning choreography.

The original production of Annie opened April 21, 1977 at the Alvin Theatre and went on to win the New York Drama Critics Circle Award for Best Musical, seven Drama Desk Awards including Best Musical, the Grammy for Best Cast Show Album and seven Tony Awards®, including Best Musical, Best Book (Thomas Meehan) and Best Score (Charles Strouse, Martin Charnin).  The show remains one of the biggest Broadway musical hits ever.  It ran for 2,377 performances after it first opened, and has been performed in 28 languages and has been running somewhere around the world for 37 years.

The beloved score for Annie includes “Maybe,” “It’s the Hard Knock Life,” “You’re Never Fully Dressed Without a Smile,” “Easy Street,” “I Don’t Need Anything But You” and the eternal anthem of optimism, “Tomorrow.”

The celebrated design team includes scenic design by Tony Award® winner Beowulf Boritt (Act One, The Scottsboro Boys, Rock of Ages), costume design by Costume Designer’s Guild Award winner Suzy Benzinger (Blue Jasmine, Movin’ Out, Miss Saigon), lighting design by Tony Award® winner Ken Billington (Chicago, Annie, White Christmas) and sound design by Tony Award® nominee Peter Hylenski (Rocky, Bullets Over Broadway, Motown). The lovable mutt “Sandy” is once again trained by Tony Award® Honoree William Berloni (Annie, A Christmas Story, Legally Blonde).    Musical supervision and additional orchestrations are by Keith Levenson (Annie, She Loves Me, Dreamgirls). Casting is by Joy Dewing CSA and Holly Buczek CSA, Joy Dewing Casting (Soul Doctor, Wonderland, Joseph and the Amazing Technicolor Dreamcoat).  The tour is produced by TROIKA Entertainment, LLC.

This brand new production features a 25 member company: in the title role of Annie is Issie Swickle, a 10-year-old actress from Davie, FL, making her tour debut.  Gilgamesh Taggett will star as Oliver Warbucks.  In the role of Miss Hannigan is Lynn Andrews.  Also starring in the tour are Ashley Edler as Grace, Garrett Deagon as Rooster, Lucy Werner as Lily and Jeffrey B. Duncan as FDR.  Sunny, a 5-year-old rescue terrier mix, stars as Sandy.

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