Broadway To Vegas
SHOW REVIEWS CELEBRITY INTERVIEWS GOSSIP NEWS
Copyright: December 30, 2001
By: Laura Deni
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BLESS THE BEASTS AND THE
If your son or daughter looks young for their age, is articulate, and you feel your family is
dysfunctional, your offspring may be on the road to superstardom. Before you start fantasizing
about mooching off your dependant, get a grip on reality.
Paul Petersen and the organization he founded, A Minor Consideration, would like to
Paul's activism on behalf of young entertainment industry professionals led him to form A
Minor Consideration in 1990. The non-profit organization provides a support system for former
child stars, and lobbies for laws to ensure education, financial security, character growth and
emotion stability. The former child actor now serves the United Nations as a
delegate for the World Safety Organization, and represents 300,000 film workers as Vice
President of the Hollywood Entertainment Labor Council.
The public remembers Petersen as the child actor who, in 1955, at age nine became one of the
Mouseketeers on The Mickey Mouse Club and then as Donna Reed's son on The
Donna Reed Show.
Petersen is an intelligent, eloquent, personable advocate for children in the workplace. He
discussed with Broadway To Vegas the problems of child actors. This is the first of a two part
A Minor Consideration intends to make things better. For instance, it would be appreciated if
children were treated as nice as the animals used in movies and on television.
All actors should be treated as well as Lassie
Animals are treated better than children?
"Oh, absolutely," exclaimed Petersen. "There are 29 pages of rules for animals. And, since 1938
the entertainment industry pays to keep animals safe. The American Human Association,
which interestingly started life in 1877 as a children worker's protection agency, had a
budget for the year 2001 at 1.4 million dollars to protect animals. You can guess what Hollywood
spends on children - the answer - ZERO."
Focused and passionate about his cause, children in the workplace couldn't find a better
"We are going to end up with not only national rules and standards, but standards that will be
applied internationally," he proclaimed. "Two things are our ultimate goal. Number One - that at
the end of every movie and television show that employs children it says just what it says for
animals - that no child was injured by their participation in the making of this motion picture.
Secondly, we believe that given the path we're on that A Minor Considerations will one day have
the same position as that of the American Humane Association, in terms of oversight and
enforcement for children in the workplace."
Most people assume that Child Labor Laws protect the minor and that the Jackie Coogan law
protects their money.
Charlie Chaplin and little Jackie Coogan
"No, not at all," stated Petersen.
Jackie Coogan was four years old when Charlie Chaplin spotted him one night and chose him for
The Kid. Jackie was an immediate favorite of moviegoers and went on to become one of
popular child stars of all time, earning a great deal of money - none of which he ever saw, since
earnings had been squandered away by others. That scam led to the passage of legislation to
protect child actors, known as the Coogan Law. As an adult, Coogan was best known for his
comic role as Uncle Fester on the 1960s TV show, The Addams Family (1964 66). He
was married briefly to Betty Grable and passed way in 1984.
"Not only was The Coogan Law just a
California law, it was only for court approved contracts," continued Petersen. "In other words, it
was specifically for kids who had
long running television series or long term recording contracts. The kids that do most of the work
- commercials, guest starring in movies and television shows were completely
unprotected. People don't know that," Petersen emphasized.
"You see, Hollywood are such propagandists they know that impressions often carry the weight
of fact. From the late 30s forward they have always left the impression that they took
wonderful care of children. It wasn't true then and it isn't true now."
"There is a pale version of the Coogan Law in Florida for the young tennis players, but it is not
nearly as comprehensive as it is in California," he continued. "Of course California's Coogan law
is important because it changed the ownership of the money to that of the child, the
person who actually does the work. Isn't that just remarkable," mocked Petersen.
Research by the Screen Actors Guild indicated that
"Under existing legislation, (original Coogan Law) parents can use the minors' earnings and spend
before the minor turns eighteen. Reports to the Screen Actors Guild have indicated parents buy
cars for the family in the parents' names, not the minors' names. This system, if abused, is
slave labor, because minors work during childhood and receive none of the earnings upon
the parents have spent it all."
Peterson's organization was instrumental in convincing the California Legislature to put some
teeth into the 1939 Coogan Law.
"The law now calls for a minimum of 15 percent of the gross income to
be set aside for; all kids who live in California, all kids who work in California, kids who work for
a California corporation, or kids who have an employer of record that is housed here in California.
But, the most important feature is now the children own the money they
Sen. Tom Harkin D-Iowa
While that sounds good, it barely scratches the surface. "In our global entertainment industry
that leaves out a lot of kids. Along with the Beverly Hills Bar Association and the
theatrical unions, we will be going to the federal government, probably in the Spring. I
already have the first draft of the bill from Senator Harkins office," said Petersen referring to the
Democratic Senator from Iowa.
"I expect wide support," he speculated. " I expect that the two primary
sponsors of the bill to be Sam Brownback, the very conservative Republican Kansan and Tom
Harkin. But, I also expect the support, of course, of Sen. Barbara Boxer and Sen. Diane
Feinstein here in the West and Senators Hillary Clinton and Edward Kennedy. I also, frankly,
expect the support of Sen. Jesse Helms, Sen.Charles Grassley, Sen. John
McCain and not least, Sen. John Edwards of North Carolina."
Sen. Sam Brownback R-Kansas
"Canada has nine provinces. All of the eastern provinces refused to pass the strict child labor laws
that British Columbia has passed. The reason is that it gives
them a production advantage. Just as ten years ago North Carolina's absence of child labor laws
gave North Carolina an advantage over California based productions," charged
When it comes to Broadway and New York Petersen is not a happy camper.
"I have a draft of a bill working its way through Linda Angelo's office, who is
the Secretary of Labor in New York. They know that I am very upset about New York's
prehistoric child labor laws. They have been on the books forever. They are seldom enforced and
they don't come close to California s protection. They need to be amended.
Petersen thinks the inadequate protection is criminal. "Yes, I happened to think so," he responded.
"You get things like Macaulay Culkin paying his parents and his siblings out of trust
money. Trust money!" exploded Petersen.
"I try to explain to people that anyone who believes that you can expose a kid to that kind of
celebrity and have them unaffected is a fool. Of course it affects your life. Of
course it affects everything you touch. It affects all the people around you," admitted
Petersen who has successfully conquered his own dependency problems.
The cast of the Donna Reed Show; Paul, Shelley
Fabares, Donna Reed and Carl Betz.
"Quality kid actors have some traits in common," elaborated Petersen, who got the part of Jeff on
The Donna Reed Show the day after he turned thirteen. He was just 4'3" tall, which is one
reason he was hired. Donna herself was a petite 5'4".
"Generally, they are undersized, they always have great
communication skills which most often are the result of coming from a dysfunctional family where
the ability to communicate is in fact a survival mechanism."
"That doesn't always help you," he continued. "And, as a performer this is important to know, a
kid goes to work and lies about their feelings and speaks other people's words. That is dangerous
for children. As a parent you do just the opposite. You are forever asking your flesh and blood to
express themselves in their own words. And, to be truthful about what they are feeling. The acting
profession corrupts that. Parents have to be on their guard."
There is usually an exception to every rule and in the case of child actors the exception is Ron
Ron Howard is the exception that makes the rule
"Remember Rickey Sorensen who was boy in the Tarzan movies?" asked Petersen.
"He said it best. You have to pick your parents with care. Grant and Jean Howard, God bless
em, were deeply faithful people, who never lived off their children's income. They maintained
their own level of existence and always kept the boys, Clint and Ron, pointed toward the future.
I am so proud of Ron and his body of work is spectacular."
While their bodies may be spectacular the working life of a model irritates Petersen. "Next to
child actors, models are the sickest part of the entertainment business," he asserted. Many think
that modeling is a short-lived career. Petersen disagrees.
"Oh, but it's not! You've got a 14-year-old girl who is closing in on six feet, who is attractive. She
has a chance to be a model for 10-15 years. Obviously, there are top models who work longer.
But, an adolescent girl who fits the profile - and I'm talking post pubescent. She already has her
breasts and she already has womanly hips, can have a very lengthy career. The reason that it
seems so short is so many of them are blown out of the game by eating disorders, drug and
alcohol addiction - the horrible life that these people are forced to live."
The casting couch has long been a part of the director/producer's office. Is there sexual abuse
among child actors?
"The casting couch and sexual abuse are true and they are pushing the age level down further and
further," answered Petersen. "What do you do, for example, with the 5,000 mostly mothers who,
when they heard there was going to be a remake of Lolita brought their 12 to 14 year old
daughters - five thousand of them- to audition for a part that they knew would require
full nudity and simulated sex with an adult man?"
"That is what our world has become," complained the California born actor turned
"The whole legal system, our culture, has got to step up to the plate here," he continued.
Was it different with the Mickey Mouse Club? Did they have better rules for handling children?
"No, they didn't," he quickly answered. "What made the Mickey Mouse Club decent at any level
was that you were working with a bunch of kids, rather than just two or three, or even just
yourself. So you had that feeling of camaraderie, because you were all in it together."
When people ask me how I got started I always tell them my mother was bigger than me. That's
the reality of it. So, if a parent is really determined to put them child on the audition treadmill first
of all they must inform themselves. They've got to become educated as to the rules
in their jurisdiction. As to what the expected costs should be, they have to beware of these
management scams that promise the moon and hold themselves up as theatrical agents when all
they are management consultants."
"There is a difference," he explained. "A theatrical agent is licensed and by law
allowed to solicit employment and to negotiate the terms of that employment. A manager in the
state of California, is completely unregulated and not franchised by any theatrical union. You
have to be careful. If you go to a modeling school and they tell you that for $2,000 they'll get you
pictures and lessons - run away. You can get started, assuming you're close to an
entertainment center - by that I mean Chicago, Dallas, New York, Orlando, Los Angeles - for
Some parents started out with noble thoughts and then become caught up in their child's
"That's the Gary Coleman experience," added Petersen. "And, I have up on our A Minor
Consideration Website the story
of Jena Malone. The article tells you how a naive and inexperienced mother can, in a very quick
hurry, think that it is okay to take her child's money and give $80,000 to her relatives and not pay
the taxes. It's an ugly thing. I remind everyone when the parents or the manager screw up the
income taxes Uncle Sam comes after the kids.
"Of course it's absurd. It's beyond belief," argued Petersen. "It's unfair, because we must ask the
central question what the hell is the government doing taxing little children? They very well know
that if children have personal savings accounts to be used for education or start a home or a
starter business that child becomes a more productive citizen down stream,"
The children are taxed but not protected. "That's part of the trouble, isn't it? The children have no
voice They have no vote," he declared. "I have been pounding on the doors in Washington,
Sacramento, New York, Austin, and Des Moines."
"Here's the sick part. Despite having the 13th Amendment, which prohibits indentured servitude,
the parents of a working child are compelled by law to attend to the workplace and they
receive no compensation. That's wrong," Petersen declared.
"The deal has always been - We don't have to pay
you, you're getting it from your child. Parents make a significant contribution on any
working set. They are psychologist, chauffeurs, dialogue coach, chief cook and bottle
washer. The reason they get no respect is because they don't get paid."
"This works out into some very curious situations," Petersen elaborated. "For example, I as an
adult member of Screen Actors Guild, have health care coverage. My health care coverage
extends to my dependents, legitimate or illegitimate. A child is working in the same
environment and yet their health care benefits cannot extend to their parents. What happens is
many times the parent has given up their place in the ordinary work place and has sometimes
sacrificed health care coverage for other members of their family. And, that's wrong. You can see
how it works out (taking from the child's money) It's time to correct the vicious cycle," he
Shirley Temple made a lot of people rich
"When the child
works the parents should be compensated. Not a
lot of money," Petersen stressed. "I'm not talking about a multi million dollar Mom, like how
Shirley Temple's mother was compensated by (studio mogul Louis B.) Mayer," said Petersen
referring to Gertrude Amelia Kreiger who was determined to turn her daughter Shirley Temple into a star and did.
Reportedly when Gertrude wanted something she always got it. Shirley made 57 films during her
career and her mother made a fortune.
"I'm talking about adequate compensation so that parents have
access to health care coverage," continued Petersen.
"These abuses and the sort of unnatural workplace realities have been known in Hollywood since
the 20s. Our oldest member is Diana Serra-Cry. She was a big star in the twenties, before sound
ever came into the picture. She was Baby Peggy and a contemporary of Jackie Coogan. The
same abuses that ware going on now happened to Diana. She writes about this eloquently in a
wonderful book called Hollywood's Children, which I recommend to everyone. It is an
"Without the help of the Beverly Hills Bar Association this couldn't be taking place," stressed Petersen. "Among their
highest priorities is the nationalization and unification of the child labor laws for entertainment.
People must not think that this is for a small group of kids," Petersen cautioned. "There are about 300,000 that work in the entertainment and sports business. There are another 3 million children
that work in other unprotected industries."
"The law was written in 1938. So children who deliver newspapers are
exempt from child labor laws. Children who work in agriculture are exempt. When the Fair Labor
Standards Act was passed in 1938 there weren't many kids working in the
entertainment business. It wasn't a big thing that they were exempt from child labor laws,"
Petersen reiterated. "And, most kids who worked in farm labor were working on family farms.
So, in 1938 it didn't seem like a big deal."
"But, the family farms have disappeared. The 850,000 children who are now working in
agriculture are working for gigantic, international conglomerates, absent any child labor laws. It's
ludicrous. And, it's right now - this very day. We all know the stories about our
textile sweat shops. It's not just other countries. It is in Los Angeles, San Francisco, New York
and in North Carolina, even though their textile business has taken it on the chin. It is
everywhere. Remember the children who are involved in family enterprises doing piece goods and
they live in Appalachia. There are no
protections for them.
"If you care about kids you have to care about all of them you can't just pick and choose,"
Petersen stressed. "That is a powerful lesson I had to personally learn as A Minor Consideration
grew and developed. I couldn't just decide to care for the famous kids. I couldn't just decide to
care only about the kids work steady. They all count. People need to see that the child labor
issues, for example, involved in agriculture, are very much the same that involve the
Next week our interview with Paul Petersen continues. Petersen's A Minor Consideration
website can be visited at http://www.minorcon.org
NEW YEAR RINGS IN RICHARD
Richard Rodgers may not have invented the great American musical, but he composed some of
the best shows ever to appear on stage. Most of his toe tapping, inspirational, heart warming
were penned while he was down in the dumps.
The new PBS documentary profile, Richard Rodgers:The Sweetest Sounds, produced
and directed by Roger Sherman, from
Thirteen/WNET New York's American Masters series, showed that the composing genius
suffered from alcoholism, depression, crippling phobias and emotional estrangement from nearly
everyone around him. He may have written about that bright golden haze on the meadow, but
personally he rarely enjoyed one.
Despite his persistent blue funk state of mind Rodgers composed over 900 tunes for his 70-odd
His Centennial Celebration Year was officially launched last June 28 at the Richard
Rodgers' Theatre in New York City, in an hour-long ceremony hosted by Theodore
S. Chapin, President of The Rodgers & Hammerstein Organization.
The festivities take fans from Broadway to Hollywood, London to Tokyo; from new
musical productions, books and documentaries, to museum exhibits, jazz concerts,
and ballets. The hoopla extends well into 2003.
The breath of activities for the Rodgers Centennial underscores the versatility of
his music. Winner of countless awards, including Pulitzers, Tonys, Oscars,
Grammys and Emmys, Richard Rodgers (1902-79) wrote primarily for the stage, but
his songs are equally at home in the worlds of jazz, cabaret, opera, dance and film.
Among his most famous musicals are Oklahoma!, The Sound of Music, The
King and I, Carousel, and South Pacific, written with Oscar
Hammerstein II; and Babes in Arms, Pal Joey and The Boys From
Syracuse, written with Lorenz Hart.
RITA HAYWORTH, FRANK SINATRA and
KIM NOVAK starred in the movie version of Pal Joey.
As exclusive licensor of the
Richard Rodgers musicals worldwide, The Rodgers & Hammerstein Theatre Library
confirms over 4,000 productions of his musicals annually. Pal Joey and
Babes In Arms represent the top-selling titles in their Rodgers & Hart
catalogue, with the Tony-nominated A Grand Night for Singing the most
popular Rodgers revue.
Rodgers Library officials expect the number of Rodgers musical productions in his
Centennial year to surpass the average by at least thirty five percent.
Highlights of the Rodgers Centennial, include:
A New York concert version of Carousel, at Carnegie Hall with Leonard
Slatkin conducting the Orchestra of St. Luke's.
New Broadway productions of Oklahoma! and The Boys From
Cameron Mackintosh will present the internationally acclaimed, and long-awaited, production
of Oklahoma! from Britain's Royal National
Theatre, directed by Trevor Nunn and choreographed by Susan Stroman.
Performances at the Gershwin Theatre begin February 23, opening March 21.
Richard Rodgers and Lorenz Hart
The Roundabout Theatre will present Broadway's first revival of Rodgers &
Hart's 1938 musical comedy The Boys from Syracuse, which is the
very first to be based on a play by Shakespeare, in this case The Comedy
The original production was produced and directed by George Abbott with choreography by
George Balachine. It starred: Eddie Albert, Ronald Graham, Jimmy Savo, Teddy Hart, Muriel
and Burl Ives, running for 235 performances. A revival staged April 15, 1963-June 28, 1964,
enjoyed a 502
run. With the George Abbott book updated by Nicky Silver the new production will be directed
by Scott Ellis. Opening at the American Airlines Theatre on March 7.
Of his 40 musicals, Richard Rodgers considered Carousel his
personal favorite. "Oscar never wrote more meaningful or more moving
lyrics, and to me, my score is more satisfying than any I've ever written," he
said in his autobiography. As part of its Rodgers Centennial
commemorations, Carnegie Hall will present an all-star concert version of
Carousel for one performance only on June 6. Leonard Slatkin
will conduct the Orchestra of St. Luke's.
New York's venerable Village Light Opera Group will present the first
fully-staged New York revival of one of Rodgers & Hart's earliest
musical comedies, Dearest Enemy. Set in New York during the
American Revolutionary War, this 1925 confection introduced Here
in My Arms. The VLOG production, featuring newly restored
orchestrations, will be presented April 13-14, 19-21.
The York Theatre's popular musicals-in-concert series Musicals In
Mufti will devote its entire Winter 2002 season to Richard Rodgers. For
three weekends in January, the York will present one musical apiece
from Rodgers' collaborations with Hart, Hammerstein, and his post-Hammerstein period
Jessica Rush as Cinderella and Eartha Kitt
starring as the Fairy Godmother
The popular U.S. National Tour of Cinderella, inspired by the
recent ABC-TV/Wonderful World of Disney version, resumed this
month with cities booked into late Spring, including Washington
D.C., Boston, Philadelphia and St. Louis. Eartha Kitt stars as the Fairy
Godmother. Paolo Montalban, who was handsome Prince Charming in the 1997 Disney/ABC
television movie of Cinderella with Brandy and Whitney Houston,
reprises the role in this stage version.
Regional productions, including Flower Drum Song, which
starred Lea Salonga, in a new adaptation by David Henry Hwang, at the
Mark Taper Forum in Los Angeles, closed this month after setting
Barry and Fran Weissler are presenting a U.S. National Tour of South Pacific in
association with SFX Theatrical Group, which began in September. Jerry Zaks serves as
production supervisor, with Scott Faris as director and Gary Chryst as choreographer.
Cities on the fifty-week tour include Chicago, Boston, Seattle, Baltimore, and Costa
Tom Bosley, beloved as the father in Happy Days and winner of a Tony Award in
1958 for Fiorello, will star as Noah in a U.S. National Tour of Two By Two.
musical is based on Clifford Odets' play The Flowering Peach, with a book by Peter
Stone. Two By Two will be directed by its lyricist, Martin Charnin.
The Music & Theatre Departments of The University of Findlay, Ohio, will present the first
mounted revival of Rodgers' 1976 Broadway musical REX about Henry VIII, with
by Sheldon Harnick and book by Sherman Yellen. The score, to be performed by a 30-piece
orchestra, has been reconstructed by Micheal [sic] F. Anders, Ph. D., Professor of Music at
The University of Findlay, in consultation with the Music Dept. at R&H and co-authors
Harnick and Yellen. REX will be performed at the Egner Fine Arts Center on the
Findlay Campus from April 11-13, and April 18-20. In addition, Prof. Anders will host a
concert/lecture evening on April 14 entitled The Evolution of REX, the
featuring cut material and guest speakers.
42nd Street Moon in San Francisco will devote its entire 2002 season of
musicals-in-concert to the
works of Rodgers, with a schedule to include: By Jupiter kicking off the season on
April 17, Pipe
Dream, A Connecticut Yankee, with full orchestra, Peggy-Ann, and the
American premiere of Rodgers & Hart's 1930 London musical Ever Green from
November 27-December 5.
StarGames will present two-time Olympic Medallist Nancy Kerrigan and
luminaries of the skating world in a Centennial Ice Show Tribute to Richard Rodgers, opening
this coming summer.
Productions have on
their agenda a touring theatrical concert celebration of Rodgers, to premiere in the spring,
featuring a cast of 12 backed by a full orchestra.
International productions including South Pacific directed by Trevor
Nunn at Britain's Royal National Theatre, The Sound of Music, in
London produced by Andrew Lloyd Webber, and The King and I in
January 6th, kicks-off David Kenny's 2002 Everything Old Is New Again radio show saluting
The Richard Rodgers Centennial. The program titled Some Enchanted
Evening, will feature
songs by the composer and lyrics by Hart, Hammerstein, and Sondheim. The program can be
heard every Sunday 9-11 PM(EST) over WBAI 99.5 FM and on the Internet at:
The Boston Pops, with Keith Lockhart conducting, has just completed recording an
all-Rodgers album on RCA Victor slated for an April release. In conjunction with the
album's release will be an all-Rodgers program on the popular PBS Evening at Pops
and a Rodgers segment during the Pops' nationally televised Fourth of July
Chicago Symphony Orchestra, with John Mauceri conducting, at the upcoming Ravinia
Festival, will present a special tribute concert to Rodgers featuring John
Mauceri leading the Chicago Symphony Orchestra in his CSO debut, with
special guests artists to be announced.
The Danish Radio Orchestra with David Firman conducting will present a series
of Rodgers concerts in Tivoli Gardens, Copenhagen, and in a tour of major
Danish cities, to be nationally-televised this summer.
The Hollywood Bowl Orchestra, with John Mauceri conducting, has displayed
an extraordinary commitment to the works of Richard Rodgers, including
restorations of the film orchestrations for South Pacific, The Sound of
Music, Oklahoma! and The King and I. The latter of which they
subsequently recorded, starring Julie Andrews and Ben Kingsley. The orchestra will also
present a special Rodgers tribute this summer and has authorized a special CD reissue of its
Rodgers & Hammerstein Overtures album from Decca Broadway/Universal
The London Royal Philharmonic Orchestra, with David Charles
Abell conducting, will be featured in an all-star gala Rodgers program scheduled
for June 26-27 at the Royal Albert Hall. The program presented by Raymond Gubbay will be
directed by Paul Kerryson.
The New York Pops with Skitch Henderson conducting will present 100 Years of
Richard Rodgers at Carnegie Hall on April 5.
Bernadette Peters has an all new Rodgers & Hammerstein album on Angel Records.
There is also the publication of two new books on Rodgers - Somewhere For Me,
a biography by Meryle Secrest published by Alfred A. Knopf; and The
Richard Rodgers Reader, edited by Prof. Geoffrey Block published by
Oxford University Press - and new Rodgers songbook folios.
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THE MUSIC MAN by Meredith
Willson closes December 30 at the Neil Simon Theatre after 24 previews and 698 performances.The Music
Man originally opened on Broadway December 19, 1957, starring Robert Preston and Barbara Cook. Book
KISS ME KATE by Cole Porter
drops the curtain December 30 after playing 28 previews and 885 regular performances at the Martin Beck
45 SECONDS FROM BROADWAY
by Neil Simon ends its run at the Richard Rodgers Theatre after a 31 previews and 73 regular
I'M NOT RAPPAPORT
starring Judd Hirsch and Ben Vereen in a revival of Herb Gardner's play opens a mini
tour of three American nonprofit theatres, Jan. 1, at the Coconut Grove Playhouse in Miami,
Daniel Sullivan directs the two Tony Award winners in the tale about two seniors
who meet in Central Park and confront a changing world in the form of drug dealers, punks,
an angry daughter and an ex boss. Hirsch won the Tony Award for playing crusty socialist Nat.
Vereen, who plays Midge, is known for his Tony Award winning turn in Pippin, plus
his recent work in Fosse on Broadway.
Director Sullivan has his own Best Director Tony Award which he won in 2001 for
I'm Not Rappaport plays Coconut Grove Jan 1-20, Ford's Theatre in Washington,
DC, Jan. 23-Feb. 17 and Paper Mill in Millburn, NJ Feb 20-March 4.
ANNIE GET YOUR GUN the national tour Jan 1-6 Louisville, KY at the Kentucky Center.
RAGTIME which won 4 Tony Awards in 1998 Jan. 4-6 at The Jubilee in Edmonton, Canada.
VIVA (ALMOST) LAS VEGAS by Stage West. Through January 20. Bel Air Banquet Hall, Buffet precedes show. Bel Air, NE.
MY FAIR LADY Broadway
Live at the Opera House in Lexington, KY on Jan 2-3.
WAITING FOR TADASHI
written by Velina Hasu Houston, who is a current Japan Foundation Fellow. The production will be
directed by artistic director David Saint.
A poetic tribute to the children born of Japanese women and U.S. servicemen in the aftermath
of World War II, the play features elements of traditional Noh theatre transporting us on a mystical journey through
Tadashi's memories from his childhood in an impoverished Japanese orphanage, to his present-day relationship with
Satomi, the woman who became his mother.
The tale of a boy born to a Japanese mother and black U.S. serviceman father during World War II. Crossing
cultures and decades, and underscored by a fusion of jazz and Shakuhachi music, Waiting for Tadashi is a universal story of an Afro-Amerasian man desperately seeking a sense of "home."
June Angela stars alongside Takayo Fischer, Clark Jackson, Danny Johnson, Sue Jin Song, Mia Tagano and Sabrina Le Beauf.
Designing Tadashi are James Youmans (set), Joe Saint (lighting), Theoni V. Aldredge
(costumes), and David Van Tiegham in charge of sound as well as providing original music for the piece.
Begins January 8, opens January 9 and runs through February 3,
at The George Street Playhouse in New Brunswick, New Jersey.
BARBARA COOK brings her
Mostly Sondheim show to Lincoln Center's Vivian Beaumont Theater for 14 performances beginning
Dec. 30.Sundays and Mondays only to February 11. Wally Harper conducts.
MANDY PATINKIN January 2 at
the Marin Veteran's Auditorium in San Rafael, CA. On January 4 he is center stage at the Paramount
Theater in Seattle, Washington. Next Sunday he makes his Las Vegas debut in Art Ham Hall.
WESLA WHITFIELD has
returned to the Plush Room. Mike Greensill on piano and Bill Douglas on bass. Her engagement
continues through February 2
DONNA McKECHNIE opens at
Arci's Place in New York City January 3 performing An Evening with Donna McKechnie: My Musical Comedy
Life. The talented lady's engagement runs through January 12.
JERRY VALE performs at the
Flamingo Hilton in Laughlin, NV on January 5.
BRYAN ADAMS at Jannus
Landing in St. Petersburg, FL on Friday. Then on Saturday he's in the spotlight at Gulfstream Park in Hallandale,
NEIL DIAMOND tonight and
tomorrow night at the MGM-Grand in Las Vegas. Last time to enjoy Diamond before he goes on hiatus, re-opening
his tour on February 10 in Florida.
B.J. THOMAS performing Friday
and Saturday at Casino Magic in Bay St. Louis, MS.
BETTY BUCKLEY as a
child rode horses in the Fort Worth, Texas rodeo. On Friday and Saturday she will be in the in
Mortensen Hall arena at the Buchnell in Hartford, CT. The buckaroos backing her will be the Hartford
BILL COSBY Jan 6 at the Cerritos
Center for the Performing Arts, Cerritos, CA.
BERNADETTE PETERS center
stage entertaining in the Ruth Eckerd
Hall in Clearwater, FL Jan. 4
DAVE SANBORN Blue Note in
New York City through December 31.
CHICAGO the innovative
eight-man band that has successfully fused jazz, rock and blues music for the past 35 years, translating into 26
consecutive hit albums, will appear at the Stardust Hotel, Las Vegas. January 5-9.
DAVE BRUBECK January 6 at the
First Church of Christ Church in Wethersfield, CT.
Next Column: January 6, 2002
Copyright: December 30, 2001. All Rights Reserved. Reviews, Interviews,
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