Grizabella was the wrong cat to die. After seeing CATS the Musical for the first time in July of 2016, podcast host Mike Abrams was filled with a whirlwind of emotions. He was amused, confused, and a little angry. Almost exactly three years later when the 2019 CATS movie trailer came out, Mike had enough. It was time to speak his truth – Grizabella was the wrong Cat to Die at the Jellicle Ball. In this podcast series, Mike interviews CATS cast members, CATS superfans, CATS haters, and explores the backstories of the Jellicle characters all to make a case for why they were more worthy to ascend to the Heavyside Layer than Grizabella. I’ve written in the past that in 1986 my life was changed when I was cast as the ‘Magical Mr. Mistoffelees’ in a brand new National Touring company of CATS. To give some perspective, CATS was, in terms of popularity, the Hamilton of its day. All over America, everywhere we went, we were sold out months before we arrived. Me back in 1986 as ‘the Magical Mr. Mistoffelees’ Fast forward to Fall 2020, my cast reunited in a virtual event performing material from the show to raise money for The Actors Fund. At the time, as “the journalist” of the group, folks asked if I would try and help with the publicity aspect. At the time, I came across Mike’s very entertaining podcast where, initially, he opined on which cat actually should have/deserved to go to the Heaviside Layer at the end of the show. I booked three of my cast mates to go on the podcast and share, not only about our event, but their time ‘back in the day.’ Mike had interviewed cats from the Broadway revival, but no one from the original days in the 1980s. Listening to his character by character in the beginning episodes, I was charmed to find that my character was – in his opinion – the cat that really deserved that next “Jellicle” life. Some weeks ago, he invited me to come on the show and chat. I believe I’m the first ‘Mistoffelees’ to be interviewed on the show, which is quite the honor. This was much fun to revisit the Hit the play button below or listen wherever you get your podcasts – Apple Podcasts, Pandora, Spotify, and Stitcher.
Producer Scott Rudin (screen capture via 60 Minutes) After reports of excessive bullying, Broadway producer Scott Rudin has issued a statement to the Washington Post apologizing for his “history of troubling interactions with colleagues.” He adds that he will step away from “active participation” in his current and upcoming Broadway productions.
“Much has been written about my history of troubling interactions with colleagues, and I am profoundly sorry for the pain my behavior caused to individuals, directly and indirectly,” he wrote in a three-paragraph statement emailed to The Post.
“After a period of reflection, I’ve made the decision to step back from active participation on our Broadway productions, effective immediately. My roles will be filled by others from the Broadway community and in a number of cases, from the roster of participants already in place on those shows.”
“My passionate hope and expectation is that Broadway will reopen successfully very soon, and that the many talented artists associated with it will once again begin to thrive and share their artistry with the world. I do not want any controversy associated with me to interrupt Broadway’s well deserved return, or specifically, the return of the 1500 people working on these shows.”
In addition to blockbuster productions like the Bette Midler revival of Hello, Dolly!, Rudin had three productions running on Broadway (West Side Story, The Book of Mormon, To Kill a Mockingbird), as well as the upcoming The Music Man starring Hugh Jackman. Read the full article here.
“NY PopsUp is an expansive festival consisting of hundreds of pop-up performances that will regularly permeate the daily lives of New Yorkers,” reads the official website. “It is intended to revitalize the spirit and emotional well-being of New York citizens through the energy of live performance.” Today, lights lit up a Broadway stage for the first time in over a year as Tony Award winners Nathan Lane and Savion Glover took to the stage of the St. James Theater to a small but thrilled live audience. #Progress The brief matinee was directed by Broadway veteran Jerry Zaks. In a 20-minute tap-dance stream of consciousness, Glover reflected on his life in the theater dropping bits of “Memory,” “One,” and “Fabulous Feet.” Lane performed a new monologue by playwright Paul Rudnick, which told the story of a theater-obsessed man cooped up in his studio apartment during quarantine, his particularly hilarious encounter with Hugh Jackman and others. The video below shows the audience arriving and making its way through safety precautions plus excerpts from each of the two stars’ performances.
The festival continues through Labor Day, coinciding with the 20th anniversary of the Tribeca Film Festival and the Festival at the new Little Island at Pier 55. Performances are not announced in advance, thus the reference to “PopsUp.” You can follow the program on Instagram here.
In the orchestra of the St. James Theatre. 4/3/21. Had to show ticket, covid test or vax card, photo ID outside. Socially distanced and masked inside. pic.twitter.com/DMyVfeY70N
— Laura Heywood BroadwayGirlNYC (@BroadwayGirlNYC) April 3, 2021
I will write more about this–I’m still processing the sensations of being back in a big theater. Nothing compares to the intensity of watching performance live. It activates the senses in ways the conscious mind can’t immediately digest. I’m moved, dazzled, stirred up. #NYPopsUppic.twitter.com/tSM7CZxvWC
Savion Glover on the stage of the St. James Theatre. 4/3/21. A breathtaking solo tapathon. “The Tap Dance kid is here,” he sang.#NYPopsUp. pic.twitter.com/eHDlpowf3C
Broadway and TV veteran (and my longtime friend) Rachelle Rak chats with me about her new musical, “Electric Island.” p.s. my first-ever Instagram Live chat…! The musical follows and celebrates the real stories of women working on Broadway: those working hard to go from show to show and aren’t the recognized stars above the marquee.
Shining light on women of all ages, ethnicities, and sexual orientations, “Electric Island” illuminates how these performers have navigated the highs and lows of a life in the theater–on stage and off. The streaming event (below) features selections from the show and will be available for a few days after. Plus, the live stream will benefit the Phyllis Newman Women’s Health Initiative, a program of The Actor’s Fund.
A quick run-down of Rachelle’s lengthy resume includes her many Broadway Credits: Fosse, Catch Me If You Can, The Look of Love, Dirty Rotten Scoundrels, Thou Shalt Not, Oklahoma!, and CATS. TV audiences know her from Abby’s Ultimate Dance Competition and Dance Moms on Lifetime TV. During the pandemic, Sas (as she’s known among friends) launched her own dance conventions, Ignite Dance Live – which have now gone virtual. AND, she offers her own master classes – SasStorm.com – where studios around the country can book her one on one for their students. Every class she offers is a form of weather – because, as I say, she’s a force of nature. You can check out my in-depth chat with the indomitable Rachelle Rak from last fall on The Randy Report podcast here.
(photo: Ludovic Bertron/Flickr) Mayor Bill de Blasio has announced plans to create a coronavirus vaccination site on Broadway that will be reserved for theater industry workers. The mayor added there will be additional city resources dedicated to the push to reopen Broadway theaters by this fall. From the New York Times:
At a news conference, Mr. de Blasio said that in addition to the Broadway vaccination site, there would be a mobile vaccination unit to serve theater workers beyond Broadway. The sites will be staffed by theater workers, many of whom have been relying on unemployment insurance since Broadway shut down over a year ago.
The city’s plans will not change the state’s rules around vaccine eligibility, which currently allow residents older than 50 to sign up for shots, as well as those in certain job categories and with certain health conditions. Mr. de Blasio said that the sites would be set up over the next four weeks or so and that vaccination eligibility is expected to be much more broad by then.
I want to stress that last part – theater workers won’t be ‘jumping the line’ to get vaccinated. These plans are being initiated in advance of when eligibility opens up as requested by President Biden. Earlier this month, Gov. Andrew M. Cuomo announced that arts, entertainment and events venues will be allowed to reopen April 2 at 33 percent capacity up to a maximum of 100 people indoors or 200 people outdoors. While Broadway shows can’t afford to operate at 100 tickets per performance, it’s expected that there will be some special events inside Broadway theaters throughout the spring and summer. Trust and believe – the Broadway theater community is a resilient one. Just like streaming/virtual events have become the new normal over the past year, I’m sure we’ll be seeing some exciting live theater moments in the near future.
For a musical throwback Thursday I was recently reminded of this symphonic concert version of the musical Chess (penned by ABBA geniuses Benny Andersson and Björn Ulvaeus and Lloyd Webber collaborator Tim Rice). The show used the game of chess as a metaphor for Russia/US cold war politics and “game play.” I saw the show in London before it made the trip across the Atlantic to Broadway. I loved the show in the West End, but the version that reached New York City wasn’t the same. The original director/choreographer, Michael Bennett, had cast and commissioned the set designs for London but then stepped away due to poor health. Trevor Nunn took over in London, but was left with Bennett’s casting choices and some concepts in place. The show ran three years in the West End. When Nunn brought the show to New York, it underwent radical rewrites and was not well-received. The production ran about three months before closing. But fans love the score. This song, “Anthem,” is sung by the original star Tommy Körberg who played the Russian for the concept album and in London. The moment comes at the end of Act One as the Russian chess player Anatoly has decided to defect from Russia. The melody, lyrics and Körberg’s spectacular voice come together perfectly. The entire concert can be viewed below as well.
Two-time Tony Award winner Thommie Walsh I originally posted this on March 15, 2011. I think of my funny, talented, and dear friend Thommie Walsh so often I can’t tell you. Today would have been Thommie’s 71st birthday. This is a very personal post for me, and so I share this each year to celebrate his beautiful spirit. Dear Thommie, love and miss you madly.
Thommie Walsh was a 2-time Tony Award winner, an original cast member of the ground-breaking A Chorus Line, and my dear wonderful friend. Thommie came into my life in so many ways. As a young actor and dancer, I was forever changed by his performance in A Chorus Line. The boy who grew up near Buffalo but “couldn’t remember the name of the town” – he’d blocked it out. His work on Broadway was the stuff wide-eyed young actors or dancers like me only dreamed about. He danced in several Broadway shows – including A Chorus Line – and then graduated to director/choreographer. As Tommy Tune’s partner, he won two Tony Awards (A Day in Hollywood / A Night in the Ukraine;My One And Only). Thommie’s accomplishments and honors were many, too numerous to mention them all. But my favorite memory of Thommie was as my friend. In 2002, Donna McKechnie was asked to perform her then-developing one-woman show “Inside The Music” in Los Angeles. Thommie was her director and choreographer. The theater was a small theater on a budget, so Donna asked if Thommie could stay with me. Every day was a holiday with Thommie in the house. Having consulted on some of Donna’s earlier shows, I accompanied Thommie to rehearsals and assisted when I could. But just being around Thommie made life better and funnier and more wonderful. We became very fast friends. Thommie was immensely supportive of my work as a director and/or choreographer. Some years later, when I was choreographing a show off-Broadway, he insisted he come to see the show. Then he made a point of taking me to dinner at Joe Allens (famous Broadway restaurant) to talk about it. I’ll never forget the look in his eyes when he sat down, smiled, and simply said to me “you did good – I loved it.” His sense of humor, his directness in any situation, everything about Thommie worked for me. My wonderful, funny, talented friend. In late 2006, however, he stopped returning phone calls. I worried something was wrong. I reached out to everyone I could. At one point, on Christmas eve, I stood outside a holiday dinner in the freezing cold on the phone with a close friend of Thommie’s. The news was not good. I was distraught. I frantically asked the friend to keep me informed as his health deteriorated. News was very slow to come over the next several months. I did all I could to stay in the loop from across the country. Then, on a hot summer night – June 16, 2007 – this boy-wonder of Broadway was gone. I was riding in a car in Las Vegas when a friend called: “Did you hear about Thommie?” I held my breath in silence. I didn’t want to know. Several heartbeats went by. I’m dramatic – surely I’m wrong. Please let me be wrong. I wasn’t. My friend on the other end of the call was sad and silent. But, the news had come. Gone. But never forgotten. I remember Thommie’s birthday every year. March 15th – the Ides of March. From Julius Caesar – “Beware the Ides of March.” Beware indeed. He used his own birthday onstage in A Chorus Line as “Bobby” or “Robert Charles Joseph Henry Mills, III” as his introduction went. Just so dang funny. I would play his role in A Chorus Line several times, and I always thought of Thommie when I did. Near the end of his character’s monologue, he had a line that read, “I just wanted to see if anyone would notice me.” Boy, did the world notice Thommie. I miss Thommie often. His laugh, his humor, his talent, his friendship… all of it boundless. I’d love to regale you with some stories I lived with him, but they may not be suitable for this post. If you knew him, you know what I mean. If you don’t, then please know I hope someday you know someone like him so you will. Except there will never be another Thommie Walsh. Ever. And my eyes tear up with joy and sadness every time I know that. Thommie – how very lucky am I to have known you. I miss you. I always will. Thommie once advised me if you were going to steal, steal from the best. So, as Thommie would close his letters, from me to the fabulous Thommie Walsh: “Love you madly – always.”
(screen capture)American Dance Machine for the 21st Century has released its latest virtual video, “Cool” from West Side Story, performed by 10 talented dancers around New York City. “Cool” was directed by Tony Award nominee Joshua Bergasse, with choreography by Jerome Robbins recreated by Robert La Fosse. Bergasse has staged for ADM21 include “20th Century Fox Mambo” which Josh created for the hit NBC series “Smash,” and “The Great Lover” pas de deux for the 2014 revival of On The Town which was originally choreographed by Jerome Robbins, the revival for which Josh received his first Tony nomination. Back in December, ADM21 released its first virtual video, “The Music and the Mirror” from A Chorus Line, performed by 27 singer/dancers coached by Tony Award winner Donna McKechnie.
Backstage at CHICAGO with Broadway legend Chita Rivera who turns 88 today Some news items you might have missed: • Happy Birthday: Sending the biggest birthday wishes to Broadway legend Chita Rivera (above) who turns 88 years young today. I was thrilled to work with the singular sensation during one of my many chapters with CHICAGO the Musical. #HappyBirthdayToYouuuuuuuuuuuuu • BosGuy: It’s Furry Friday every week on the veteran LGBTQ blogger’s site and we’re always so much the better for it. Hit the link 🙂 • Instinct Magazine: President Biden’s new Secretary of Defense, Lloyd Austin III, announced during his confirmation hearing that he is definitely in favor of Biden’s plan to reverse the woeful ban on transgender military service members. “I support the president’s plan to overturn the ban.” Secretary of Defense Lloyd Austin (screen capture) • The Advocate: President Biden’s nominee for secretary of State, Antony Blinken, says he will appoint an envoy for LGBTQ+ rights and allow U.S. embassies around the world display the LGBTQ+ Pride flag without restrictions. • Washington Post: Federal law enforcement officials are privately debating whether they should decline to charge some of the individuals who stormed the U.S. Capitol out of concern that hundreds of such cases could swamp the courts. Some federal officials have argued internally that those people who are known only to have committed unlawful entry — and were not engaged in violent, threatening or destructive behavior — should not be charged. • Edge Media: Watch this mom take credit for her OnlyFans star son’s ‘biggest asset.’ “Of course I’m proud. I’m your #1 fan. I’m always upbeat, you know that. I made that dick, I want a percentage.”
Internationally acclaimed tenor and vocal coach David RomanoDavid Romano, the internationally-acclaimed tenor who created the role of “Ubaldi Piangi” in the original Broadway cast of The Phantom of the Opera and was best known as the “vocal coach to the stars,” died on Saturday, December 26 at his home in Palm Springs, CA at the age of 69. David was also a close friend of mine since 1995. In addition to his own glorious voice, for more than 40 years David has been a much sought-after voice teacher and vocal coach. Over the years, his students/clients – including Josh Groban and Sarah Brightman – have gone on to illustrious careers of their own lighting up stages from the Metropolitan Opera, to La Scala, to Broadway stages and in feature films. “David Romano was an incredible force,” says 4-time Grammy Award nominee Josh Groban. “He was one of the smartest people I’ve ever met and his knowledge of the voice was pivotal to my understanding of singing and, the lessons he taught me, in music and in life, will carry on with me forever.” David Romano making his grand entrance in The Phantom of the Opera (photo: Joan Marcus) “I first got to know David in 1988 when we were performing in The Phantom of the Opera in NYC,” said international classical vocalist and original Phantom star Sarah Brightman. “At the time, being a young performer, English and new to the pressures of Broadway theatre, he took me under his wing, and we had been good friends ever since.” “Not only did he have a beautiful voice, but he was also an excellent vocal coach,” added Brightman. “He was a strong and ebullient character, a personality, lived life to the fullest, a lover of opera, a wonderful human being and will be missed by his friends and many in the arts and entertainment world. He will always be remembered and will never be forgotten as the vocal coach to the stars.” David Romano with Sarah Brightman backstage at Phantom of the Opera International opera star Angela Maria Blasi shared in a statement: “During our times in Evita, we would disappear into the basement during the break between shows and he would coach me on my opera audition material. He was so knowledgeable in everything opera that I don’t know what I would have done without his steadfast support and mentorship. Rest in peace dear friend.” As a performer, David toured the world as a concert soloist, singing over 100 concerts with Roger Wagner and, can be heard on more than 30 film soundtracks. David Romano chatting with Elizabeth Taylor after a performance of Phantom of the Opera One of David’s favorite highlights was when he sang a duet with opera legend Luciano Pavarotti in the MGM film Yes, Giorgio. During the recording session, Pavarotti announced, “Your voice is more beautiful than mine.” In 1998, David released his own critically acclaimed solo album, All the Things You Are, and over the years was featured on numerous musical theatre recordings. He also recorded the soundtrack and was featured in the ABC movie of the week “Infidelity.” Among his seemingly endless list of credits, David graced the stages of the San Francisco Spring Opera, Opera Colorado, and the Ojai Festival as well as appearing as a soloist with major symphony orchestras up and down the west coast. A shortlist of his many theater credits include featured roles in Evita (original Los Angeles company), Sammy Cahn’s Words and Music and appearances in L.A. Civic Light Opera’s Camelot, Kismet, Wonderful Town, and Bells Are Ringing. Additional film and TV credits are “Fernwood Tonight,” Twilight Zone,” “Alf,” “Lady Blue,” “Means and Ends” and “The Martin Short Show,” to name just a few. But on a personal note, I will remember David for his unending friendship. I met David as a longtime friend of my husband, Michael. Countless were the sitcom adventures I would find myself traipsing about with David. After a year or two, Michael would answer the phone only to turn to me to say, “Ethel, it’s Lucy.” With Michael and David escaping Oz Patience wasn’t always David’s strong point. One time, as he was driving his huge SUV after leaving a theater event in Los Angeles, he got tired of the slow-moving traffic from the 4th floor of the parking structure to the exit. So, he just announced, “Hold on!” And then drove down the left hand (wrong) lane of traffic all the way down to the street level. Once we were out, he calmly turned and said, “I didn’t buy this car to wait.” I also got to experience David’s incredible talent as a vocal coach for several years. Normally, his fee for a session would cost hundreds of dollars, but he would teach me for free out of his immense generosity. And I never sang better. He was very old school. As the student, he wasn’t interested in why I thought I sang this or that a certain way. He would just ask, “Who is the teacher?” His instinct in coaxing the best out of his students was unerring and never missed the mark. “Open your mouth, drop your jaw, say ‘ah’ not ‘aw’ and sing!” And out would come an effortless high B flat I was never able to conquer before. That was David’s talent, though. I just did as I was told. And if you didn’t ‘do as you were told,’ you were thrown out of the studio. Out. OUT. He was the teacher. Period. David and Michael in the 1990s David often assumed the role of my unofficial publicist as he was never slow to brag about my theater career informing any and every one of my resume (as important as it may or may not be) dropping every name he could along the way. David was generous to a fault, and I really mean that. Almost every meal he would pick up the check. Having managed apartment buildings early in his life, he would show up and confront contractors who were working on the first house Michael and I bought when we thought we were being taken advantage of. In one instance, the contractors became extremely defensive about something and the situation wound up with the builder yelling “F*ck you!” inches from David’s face. (pause, pause, pause…raise one eyebrow) “And…?” David asked in a calm, quiet, plaintive tone.
I could go on and on. As Josh Groban shared on his social media, “Anyone who knew him has a fun story. The guy lived 20 lives. He relished in making people part of new stories.” Josh closed his post with this comment which sums up David oh-so-well: “I would say rest with the angels but I know you’re busy teaching them better vowel placement.” Busy indeed. David was complicated, complex, exhilarating, exhausting, intelligent, and incorrigible. And he was my friend. Rest in peace, Lucy. Signed, Ethel. With Michael, David and Sabrina – Christmas 1998
Grizabella was the wrong cat to die. After seeing CATS the Musical for the first time in July of 2016, podcast host Mike Abrams was filled with a whirlwind of emotions. He was amused, confused, and a little angry. Almost exactly three years later when the 2019 CATS movie trailer came out, Mike had enough. It was time to speak his truth – Grizabella was the wrong Cat to Die at the Jellicle Ball. In this podcast series, Mike interviews CATS cast members, CATS superfans, CATS haters, and explores the backstories of the Jellicle characters all to make a case for why they were more worthy to ascend to the Heavyside Layer than Grizabella. I’ve written in the past that in 1986 my life was changed when I was cast as the ‘Magical Mr. Mistoffelees’ in a brand new National Touring company of CATS. To give some perspective, CATS was, in terms of popularity, the Hamilton of its day. All over America, everywhere we went, we were sold out months before we arrived. 
Some weeks ago, he invited me to come on the show and chat. I believe I’m the first ‘Mistoffelees’ to be interviewed on the show, which is quite the honor. This was much fun to revisit the Hit the play button below or listen wherever you get your podcasts – Apple Podcasts, Pandora, Spotify, and Stitcher. 
Among his seemingly endless list of credits, David graced the stages of the San Francisco Spring Opera, Opera Colorado, and the Ojai Festival as well as appearing as a soloist with major symphony orchestras up and down the west coast. A shortlist of his many theater credits include featured roles in Evita (original Los Angeles company), Sammy Cahn’s Words and Music and appearances in L.A. Civic Light Opera’s Camelot, Kismet, Wonderful Town, and Bells Are Ringing. Additional film and TV credits are “Fernwood Tonight,” Twilight Zone,” “Alf,” “Lady Blue,” “Means and Ends” and “The Martin Short Show,” to name just a few. But on a personal note, I will remember David for his unending friendship. I met David as a longtime friend of my husband, Michael. Countless were the sitcom adventures I would find myself traipsing about with David. After a year or two, Michael would answer the phone only to turn to me to say, “Ethel, it’s Lucy.” 
