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THE FASCINATING LIFE OF ALVIN EPSTEIN - - A RAPPIN' PRINCE CHARLES
- - FAME ON 42ND STREET CD
FRANK SINATRA DRIVE OPENS IN LAS VEGAS - -
DRAMA DESK NOMINATIONS - - AMERICAN IDOL'S JOHN STEVENS' BIGGEST FAN
STREETCAR NAMED DESIRE AT KENNEDY CENTER
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SMORGASBORD OF THEATRICAL
Marlene Dietrich taught him how to apply make up. Orson Welles
almost killed him. He sent
Duncan's lover care packages. He began his directing career telling Robert Duvall and Dustin
what to do on stage. He radicalized the Guthrie Theatre and spent over 25 years with the
Theatre in Cambridge, MA. Now, Alvin Epstein is back in New York with the Colleagues Theatre
The personable and articulate gentleman spoke with Broadway To Vegas about his fascinating
From an early age Bronx born Alvin Epstein wanted to become either "a great composer or a
painter." He'd sit at the piano for hours improvising and still has the piano his parents bought him
when he was six.
Long Tom Cannon
"Then a certain World War II happened. I was drafted into the Army," he explained indicating the
military showed no interest in his music or art. "I was in the
field artillery. Working with the 155mill Long Tom Cannon there wasn't a lot of drawing and
music making. The
kind of music we made was "deafening" and "killer" music."
"At the end of the war, the US Army opened an American
University called the Biarritz American
University in the town of Biarritz in France. They took over the
whole town, practically, and
opened the university for soldiers."
"It was a magnificent touch," he recalled about the school.
"We lived in different times then. Of course, it wasn't a
volunteer army. It was an Army of draftees and many of us
interrupted schooling. So, they gave us a university to go to.
I applied and I got in and I
studied in the theater department"
"That is when I really began to function in the theater. We had a
wonderful faculty. They were all very prominent American, New
York, Broadway and Hollywood people, hired by the government,
to come over to
"Guthrie McClintock was married to Katherine Cornell. He was a
producer and directed all of her Broadway plays. He was one of the
teachers. Richard Barr, who was the
first producer in this country to basically produce Edward
Albee, and he produced a lot of Samuel
Beckett, was on the faculty. The head of the drama department
Biarritz American University was a Lt. Col. in the Army named
Albert McCleary. He had been one
the producers and directors of the very first, live dramatic
programs on television Matinee
He was friendly with Marlene Dietrich. So, he got her to come down to
supposedly teach us make up, " he laughed.
"He needed an excuse to get her there!"
"There was a very important and famous Broadway stage designer named Mordecai Gorelik. He
taught design, so we had the cream."
William Windom who would go on to become an award winning actor
"During the term, aside from the classes, we also did a couple of productions. We did Richard
III which Richard Whorf directed. He had been a protegee of Alfred Lunt
and Lynn Fontaine in New York. Richard III was very good. William Windom
played Richard and I was Lord Rivers. It was so good that the Army decided to send it on
"We toured Europe for a couple of months playing mostly for Army audiences, but actually in
anybody could come - and did."
"I was at that point devoted to the theater," Epstein related. "I had read many books by a genius
of the 20th century theater revolution. His name was Edward Gordon Craig and he was the son of
Ellen Terry the British actress. He was a very important designer and director and a real rebel in
the theater of that period."
"He was also Isadora Duncan's lover and father of her daughter, Diedra -
the two children who were killed in that miserable accident - they drowned in the
Seine," recalled Epstein about Isadora's children, Deidre and Patrick, from two of her lovers,
Gordon Craig and Paris Singer. Tragically the two children drowned with their governess in the
Seine river in 1913. Isadora's own life was cut short in 1927 in a car accident along the Riveria.
Edward Gordon Craig. Photo from Gordon-Craig Gallery
Craig, who died in 1966, was born January 16, 1872, the second child of a liaison between the
actress Ellen Terry
and the architect Edward William Godwin. Like Edith, the other child of his parents, their son was
given the name Craig, which he adopted as a surname Craig.
He asserted revolutionary theories of theatrical design. Craig's productions were marked by
simplicity and unity of concept, with the emphasis being placed on the movement of actors and of
light. But his productions - their artistic impact
notwithstanding - were commercial failures.
In 1907 he invented the portable folding screens used in set designs for a co-production with
Konstantin Stanislavsky of at the Moscow Art Theatre in 1912.
He also made the
copperplate that recorded his research into the creation of an art of movement, and he founded
and edited his international review, (1908-29), which helped to make his theatrical ideals widely
known. He also published etchings illustrating his scenographic concepts in A Portfolio of
Etchings (1908) and penned Towards a New Theatre (1913), which contains 40
plates of his original scenic designs. He established his School for the Art of the Theatre in
"After the war, I got know Craig in Paris," explained Epstein. "He was old man at
that time. I
collection because he directed a production of Hamlet at
Moscow Art Theater for Stanislavski. He had a huge and a very important collection. He
had been living in Paris before the war. When the Nazi's invaded they put him into a concentration
camp with his mistress and their young baby daughter and confiscated his collection. At the end of
the war his collection was returned to him - but in a state of chaos."
"I wanted to stay and help him
re-catalogue the collection. But, he couldn't pay anything. They were
in bad financial straits, as many people were after the war in France. He is a cousin of John
Gielgud and Gielgud did help and sent some money. I used to send him care
packages that I could get from the Army."
"Anyway, it was his kind of work that was passionately
interesting to me. Work that I wanted to do. And, it had very little to do with the kind of acting
understood and knew about. My interest in the theater, at that time, was more in movement than
in acting. When I was discharged from the Army I went to study for about a year with Martha
a year I realized that if I stayed with her I would become a dancer
and that is not really what I was interested in. It was
movement - her whole theatrical
vision that was inspiring - but not the actual dance."
The Children of Paradise
"At the end of the war I had seen the premiere of a new
movie called The Children of Paradise which opened in 1945."
Set in the Parisian theatrical world of the 1820's, Children of Paradise, directed by Marcel
screenplay by the poet Jacques Prevert, is considered one of the greatest French films ever
made. Children of Paradise has been luminously restored, available since 2002 on
movie stars: Arletty, Jean-Louis Barrault, Pierre Brasseur, Marcel Herrand, Pierre Renoir, Maria
Casares and Louis
The movie is a grand period piece and costume drama told on an impressively large scale. The
heart of the movie is the
tale of four men who love one woman, each in a different way. The picture's real romantic heart
Garance and Baptiste, the mime. That mime captivated Epstein.
"I knew that was the kind of work I
wanted to do," declared Epstein. "I went back to Paris
because pantomime, which we then called
mime, was happening in Paris. Edward Gordon Craig immediately put
me in touch with Etienne Decroux who was my teacher."
Decroux is considered the father of modern mime - a great luminary who directly
influenced the worlds of theatre and modern dance. Working in New York for five years, notably at the
Actor's Studio, his last public performance was at Carnegie Hall in 1963.
"One of my fellow students was Marcel Marceau," Epstein related. "We got to be very good friends.
After four years working with Decroux and becoming part of his company I decided I no longer wanted to be a
mime. Now I wanted to act," related Epstein whose varied career eagerly sampled from the
"So, for a year I studied with Sandford Meisner who was one of the exponents of the Stansalvaki
system in this country, and a wonderful teacher. When I was with
Ducroux in Paris we had taken our company on tour
to a new country called Israel. We were then in 1950 and the country was two
years old. While there I received invitations from two of
the largest theaters there to become members."
Epstein not only wasn't interested, he didn't speak one
word of Hebrew, which was the language of the theater. Friends can be persuasive and
Epstein was cajoled into giving it a try. He spend three years in
Israel - the first one devoted to learning the language.
"I literally could not even say "yes" or" no" in
Hebrew," he admitted. "I studied very hard. Eventually, I was able to
learn dramatic text with the help
of coaches. I started to act in the Habima Theatre company,"
he said referring to
National Theatre of Israel which was founded in 1917.
Habima's production of The Dybbuk (1922) established
it as a company of high
artistic merit, and it became affiliated with the Moscow Art Theatre. Today it stages 15
Epstein remained in Israel for another two years. "During those two years I had invaluable
experience working with very experienced and wonderful actors who had come from the Moscow
Art Theatre School. In the two years I was in the company I
played 11 roles. It was a Rep so you
got a chance to really do things."
"At the end of the third year I decided I didn't want to be
Israeli actor. I wanted to speak on stage in my own language in my own country. I came back
to this country. I literally had 75 cents in my pocket. I was lucky because my family was living in
the Bronx. I went home to live with them and immediately began to audition."
"I had been back from Israel about three weeks when I read in The New York Times
Marceau was going to open at the Phoenix Theater for the first time in America. My father gave
me money to buy the tickets for the opening night,
which was the next night."
Epstein's name on the reservation list was noticed. Serendipity.
When Epstein arrived at the theatre to pick up his tickets what he found was an impatient
"The director was standing outside saying - Get in side they are waiting for you. Hurry up. I
thought - What do you mean they are waiting for
He said hurry up don't ask questions."
"I went inside and there was Marcel. They needed
another mime for the company, so I opened with Marcel that evening."
"It was an enormous hit. America had never seen anything quite like it. We moved up town to the
Barrymore theater, then we went on tour.
interested in me and started sending me around."
Orson Welles in King Lear
"Very soon after that, I think we were in Philadelphia, when I got a call from my agent to audition
for Orson Welles for his production of King Lear. I came back for the day
and auditioned and got cast."
"I was the Fool. That was a very remarkable experience," understated Epstein. "This was the
notorious production of King Lear where during one preview he sprained
by almost killing me. Then on opening night broke his other ankle. From then on he had to
play the rest of the run in a wheelchair."
Welles demanded to view the other actors in their performances by watching the rehearsals from
the seats instead of the stage.
That enabled him to critique the actors in a way that being with them onstage would not allow.
The drawback was that his own
performance as the lead suffered, since he wasn't rehearsing with the cast or the scenery.
"He was playing King Lear, basically did the design of the show - although he couldn't claim
credit for it because he wasn't registered with the Designer's Union - directing it and acting
role. That was really too much for him - too much for anybody," insisted Epstein. "What it meant
was that he was not sufficiently rehearsed. The stage that he basically designed was a mystery to
him. He hadn't rehearsed on it enough."
The scenery was composed of platforms of varying heights and sizes, which could be moved
throughout the performance. Welles'
desire to use a minimum of lighting made safety an issue.
"There were black velour curtains hanging on the sides in the wings as part of the set," continued
Epstein. "One of the curtains was disguising a steel tower on which lighting instruments were hung. I knew
that very well because I had rehearsed. But, he had been sitting out in the theater doing the directing and
was not familiar with the stage set. There's a scene where he says something like - Oh, Fool I think I shall
go mad - and picked me up by the scruff of the neck. I weighed like 140 and he was 240 pounds. He was a big
man by then. He had me by the scuff of the neck with my costume so that
my feet were barely touching the floor," Epstein recalled.
"We ran off stage into the wings and I
could see that he was heading right towards the black velour curtain that had the steel tower work behind.
Not the kind of curtain that you can brush aside. He had me by the right hand and I saw his left arm
going up in front of me in order to brush the curtain aside. I realized he didn't know where he was
going. So I began to squirm with all my energy, because I was going to be crushed against this
tower. In the split second before I was to be slapped into the tower, I managed to squiggle out of
the way and he crashed into the tower - face first. It was awful! He fell down, lost his false nose, sprained
his ankle. But, he managed to finish the show."
"Then we did the rest of the previews. On opening night he made a curtain speech at the end of
the performance, telling the audience how happy he was to be back in New York and on the stage
after his years of exile in Europe. As he was walking off stage he got to the door that led from the wings
into the corridor. There was a half inch threshold. He tripped over it and broke the other
"There was no performance the next night and then we had to re-stage the whole production
with him in a wheelchair."
Always interested in the visual and scenic aspects of the theater, Epstein "naturally wanted to
"I began to direct before going to Yale Rep. I had a Ford Foundation Grant to work with an
experimental group. That group was made up of myself, Vivica Linfords, Rae Allyn. Ron Liebman, Dustin
Hoffman, Robert Duvall. We worked together for a year on the money that the grant had given
"That was my first directing experience."
"I went to Yale Rep as an actor, became a teacher and eventually a director. Estelle Adler had
been teaching in the drama school for the first year. She left and I look over her classes.
Bob Bruestein, who was the Dean of the Yale Drama School and the founder and director of Yale
Rep, wanted me to teach and direct, so I started directing. He took his sabbatical to London while I
was at Yale. He spent the year in London and made me his acting artistic director. When he got back he made the
"That was 13 years before the Guthrie."
"The Guthrie was looking for a new artistic director and they approached me. I went out and met
them and thought - Yes, I'd like to do it."
From the best of times to ....
"It was a very troubled time for me," he admitted. "They wanted an American director. The
theater was founded by Sir Tyrone Guthrie and then it was taken over by, Doug Campbell, another Brit and
they wanted an American. They basically wanted a change in the programming. They had existed for
something like 17 years before I came there and in the 17 years they had produced two new plays. Part of my
mission was to produce many new plays and to change the style of the theater. It was wonderful and beautiful but
it was like an English import."
Michael Langham, the artistic director before me, had come from
Stratford Ontario and had been there for something like 12 years. He had a very beautiful and elaborate way of
producing and directing plays. I came in with a totally different esthetic and I immediately began
producing new plays. New plays are always a challenge to an audience," Epstein warned.
"The Guthrie audience had been used to established classics. That was their diet and that is what
they wanted. So, it really needed a period of transition where, in order for the audience to become used to a whole new program of
plays, which wasn't going to be a lot of Shakespeare and traditional ways. It was going to be a lot of new plays."
"I immediately started to do new plays. There was repercussion at the box office. The Ford Foundation understood that this was going to happen. They gave me either a half million or a million dollars
fund on which to make up the short fall in the expected fall off of audience attendance. But, the Board of Directors of the Guthrie did not understand."
"As soon as the box office reflected that we were doing a new play, by a wonderful French Canadian playwright, about incest in a city where the Catholic church was up in arms, they got cold feet. So, it was a troubled time."
The Guthrie history records Epstein's term as: During his 18 month tenure, he introduced many
new programs and ideas to Guthrie audiences including two new plays, Teibele and Her
Demon by Isaac Bashevis Singer, and Bonjour, La, Bonjour by Michael Tremblay. He arranged for the
renowned Russian director Anatoly Efros to visit from Moscow and direct Marriage and
Monsieur de Mohiere.
"Eventually I left," he continued. "They asked me to leave and I decided to leave."
"I think it was a valuable experience for the Guthrie, because it really violently turned them
around to a new direction that they have since basically followed. The
catalyst is, at the time, a troublemaker."
"The Guthrie has had a wonderful history and life and I'm glad that I contributed something to it -
even if not as long as I had hoped or wanted."
Epstein then spent almost 25 years with the American Repertory Theatre in Cambridge, Mass.
"About a year and a half ago I decided that I really wanted to come back to New York. There is
where my life and career began and I have lots of friends here. I came to New York to do Tuesdays With
Morrie, playing Morrie. It was off Broadway and very successful. I had a wonderful time
Despite real estate prices Epstein decided he wanted to stay in New York.
"Let me tell you it is no joke," he exclaimed. "It is just unbelievable. Little did I ever
dream that I would spend the kind of money that I have had to spend in order to buy a place to live. But, it is a very nice place. I've got it and
I'll be moving in toward the end of June. I have all my furniture up in Boston so I am just
going back and forth to move."
His relationship with the Colleagues Theatre Company is a comfortable fit.
"I had already done a production The Mad Woman of Chaillot
with the Colleagues Theatre Company. I was still living and working in Cambridge but I came in
to New York to do that. So, I already knew this group. And, I knew this was a group that was formed for
the older actor. It was mainly to give roles to older actors whose possibilities for work had shrunk because
of advancing years. The Madwoman was the first one that we did. We had just gone into
rehearsal when 9/11 happened."
"Since then we have done 24 Evenings of Wit and Wisdom. That was like a pastiche of
pieces having to do with getting older. It was with Rosemary Harris, Tammy Grimes, Dina Merrill, Rita Gam,
Peggy Polk, Kitty Carlisle Hart and now we are doing Tasting Memories."
"We just read this at Kitty's apartment. It's a lot of fun. Tasting Memories, which
are different pieces about food. For instance, The Walrus and the Carpenter is part of it because it's all
Tasting Memories is a compilation of reveries about food told in poetry, song, and prose.
It's performed by a revolving cast; Tammy Grimes, Rosemary Harris, Kitty Carlisle Hart, Philip
Bosco, Alvin Epstein, Joy Franz, Kathleen Noone, Mel Cobb, Michael Fischetti and Emily Mitchell.
Previews begin May 19. Officially opens on May 21 closing June 13. Neighborhood Playhouse in
THE MUSIC GOES ROUND AND
FAME ON 42ND STREET based on the hit film and subsequent television series, which traced the lives of
aspiring artists at the High School for the Performing Arts, came home to the city where the story is
set, New York, with a production running at the Little Shubert Theatre. An original cast CD on Q Records has
been available since last November. With the production nominated for several theatre awards, new
attention is being paid to this CD.
Song titles include Hard Work, I Want to Make Magic, Can't Keep It Down, Dance Class,
Tyrone's Rap, There She Goes, Fame, Let's Play a Love Scene, Bring on Tomorrow, The Teacher's Argument,
Pray I Make P.A., The Junior Festival, Think of Meryl Streep, Mabel's Prayer, Dancin' on the Sidewalk,
These Are My Children, Reconnecting With Iris (Pas de Deux) and In L.A.
Conceived and developed by David De Silva, Fame is set in the 1980's and concerns the
lives of up-n-coming performing artists attending New York's High School for the Performing
Arts. The musical features a book by Jose Fernandez. Music by Steve Margoshes and bright, witty lyrics by Jacques
Levy who co-wrote Bob Dylan's Desire album.
The title song - originally performed by Irene Cara in the film Fame - was written by Dean
Pitchford and Michael Gore. Their award-winning movie title theme is delivered in the middle of the first
act coupled with There She Goes, as the overconfident Carmen Diaz fantasizes about her
If you've enjoyed any incarnation of this creation - movie, television or stage - the CD will bring
back fond memories. It's smart, sassy, catchy, filled with youthful energy and urgency. If you're one of the
few who have never been exposed to Fame this CD offers a topic of universal appeal, dealing with
adolescent themes and youth-oriented idealism. An audio shot of B-12.
CAST: Jenna Coker, Emily Corney, Shakiem Evans, Christopher J. Hanke, Nancy Hess, Michael
Kary, Nicole Leach, Gannon McHale, Dennis Moench, Peter Reardon, Jos‚ Restrepo, Sara Schmidt,
Q. Smith, Cheryl Freeman.
ORCHESTRA: Eric Barnes, Lynn Crigler, David Tancredi, Dov Schiller, Edward Hamilton,
Bryan Johnson, Vincent Fay, Joseph Giorgianni, Matthew Taylor, . Music coordinator John Monaco.
CD recorded and mixed by Cynthia Daniels.
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PRINCE CHARLES has personally
enlisted the rap
impresario Russell Simmons to help with a pair of charity concerts featuring hip-hop and R&B
groups from Britain and the United States.
Simmons will act as the ambassador for the Urban Music Festival sponsored by the Prince's Trust.
The event takes place at Earls Court in London on May 8 and 9. Among the confirmed acts are
Jay-Z, Alicia Keys and the new star of British rap, Dizzee Rascal.
SPREADING THE WORD
conducts the National Symphony Orchestra with
Nikolaj Znaider playing the violin.
The audience is invited to participate in
AfterWords where they may join Msistlav Rostropovich immediately following the performance
on May 6, in the Concert Hall for a free discussion about the music performed in this program.
May 6 - 8 it the Concert Hall at the Kennedy Center for the Performing Arts.
SAM WATERSTON star of
NBC's Law & Order appears at the Great Hall of Cooper Union on May 5 to recreate the historic speech
delivered there by Lincoln in 1860. The free event celebrates the publication of the Simon & Schuster
tome Lincoln at Cooper Union: The Speech That Made Abraham Lincoln President by Harold
Holzer, a Lincoln authority who is also the vice president for communications and marketing at the
Metropolitan Museum of Art. Lincoln's speech, arguing against the spread of slavery, transformed him into a
legitimate presidential contender.
AMERICAN THEATER WING SEMINAR Production Seminar Caroline and Change with Hope Clarke,
Veanne Cox, Tony Kushner, Tonya Pinkins & Jeanine Tesori.
The Seminars, created by the late Isabelle Stevenson, are moderated by working professionals.
Now in their 31st year, the Seminars are held in the Fall and Spring with special programs throughout the year.
Thursday, May 6 at The Graduate Center of the City University of New York, NYC.
EVERYTHING OLD IS NEW AGAIN hosted by David Kenney, on Sunday, May 2 will feature an evening of music and
conversation with Michael Feinstein who will also serve as guest Deejay. Everything Old
Is New Again can be heard every Sunday 9-11 PM(ET) over WBAI 99.5 FM.
OTHER PEOPLE'S MONEY
ALAN HENDERSON NBA
center for the Atlanta Hawks was in Las Vegas this past week, attending the
International Carwash Association Convention where he signed autographs for fans
and explained his interest in that trade. It seems his brother might open such an
establishment, which the savvy 5-foot, 240 pound player is considering bankrolling. So,
he wanted to learn all he could about the business. On Wednesday night the
conventioneers took in the Penn & Teller show at the Rio Hotel. The convention ran
Thursday-Saturday at the Las Vegas Convention Center.
PRODUCT PLACEMENT AWARD OF THE YEAR should go to Prince William. Ever since he was photographed wearing
Speedo's the stores can't keep them on the shelves.
AVENUE Q has turned into a street
paved in gold for producers of the quirky people and puppet theatrical experience. Producers announced that the
production had earned back its $3.5 million capitalization in just 10 months on Broadway.
Avenue Q, with music and lyrics by Robert Lopez and Jeff Marx and a book by Jeff
Whitty, is produced by Jeffrey Seller, Kevin McCollum and Robyn Goodman.
49TH ANNUAL DRAMA DESK AWARD NOMINATIONS
the only major theater awards that honor Broadway, Off and Off-Off
Broadway shows equally, will be held on May 16 at Lincoln Center. Harvey Fierstein will be the
host. CLICK FOR THE LIST OF NOMINATIONS
OUTER CRITICS CIRCLE ANNOUNCED WINNERS
Outer Critics Circle, the organization of writers covering New York theatre for out-of-town newspapers, national publications and other media beyond Broadway, announced its award winners for the 2003-04 season in 22 categories. Two categories resulted in ties. The annual awards ceremony will be held on Thursday, May 27th at the legendary Sardi’s Restaurant.
FOR THE COMPLETE LIST OF NOMINATIONS AND WINNER CLICK HERE
A STREETCAR NAMED DESIRE by
Directed by Garry Hynes. Starring Patricia Clarkson as Blanche Dubois,
Noah Emmerich as Mitch, Amy Ryan as Stella Kowalski and Adam Rothenberg as Stanley
Set against the steamy backdrop of New Orleans' gritty French Quarter, Tennessee Williams's
1947 Pulitzer Prize winning drama tells the story of Blanche Dubois, a faded Southern belle driven to
madness by her animalistic brother-in-law, Stanley Kowalski. Taking refuge from her crumbling past, the
fragile yet determined Blanche arrives unexpectedly at her married sister Stella's doorstep, hoping for a
better life and restoration of her senses. But her childlike helplessness, romantic yearnings, and genteel illusions
are no match for the squalor of her new surroundings, the oppressive summer heat, and Stanley's
growing lustful rage. The combination of these brutish forces inevitably triggers Blanche's mental and moral
disintegration, making A Streetcar Named Desire one of Williams's most electrifying and absorbing
Part of Tennessee Williams Explored Series.
May 8 - 30 in the Eisenhower Theatre at the Kennedy Center in Washington, D.C.
HAIRSPRAY at the Neil Simon
Theatre in Manhattan welcomes
actor/songwriter Michael McKean to the cast. Beginning May 4th he will replace Harvey Fierstein
as Edna Turnblad. McKean, a Grammy Award-winning writer of the song A Mighty Wind, first
came to public attention as Lenny Kosnowski in the television sitcom Laverne and Shirley.
HAIRSPRAY speaking of - opens
May 5 at the Princess of Wales Theatre in Toronto. Presented by Mirisch Productions.
Bryony Lavery's chilling drama about a missing child, is hot enough to melt purse strings.
Investors jumping on board have made it possible for this off-Broadway hit to transfer to Broadway. Officially opens
May 4th at the Circle in the Square Theatre. Stars Swoosie Kurtz, Brian O'Byrne and Laila Robins. Doug
A RAISIN IN THE SUN Sean
Combs making a credible Broadway debut in this revival of the Lorraine Hansberry Pulitzer Prize winning drama.
Kenny Leon directs the production. In addition to Combs the production stars; Audra McDonald,
Phylicia Rashad and Sanaa Lathan. Rashad's dynamic performance has already garnered her
several theatrical award nominations. At the Royale Theatre in NYC.
BRITS OFF BROADWAY is a
first annual festival featuring plays from those guys across the pond. Located at the 59E59 Theatre in The Big
Apple. The schedule varies and runs through July 4th.
Through May 16th it's Diana Quick in The Woman Destroyed.
Quick makes her New York stage debut in this - her own translation of Simone de Beauvoir's
classic. Directed by Richard Cottrell. De Beauvoir knew a thing or two about women - and about being
one - and her pay distils all of the humiliation and psychic agonies she suffered in her lifelong partnership
with the unfaithful Jean Paul Sarte.
PRINCE on tour performing before sell out crowds
takes to the Kemper Arena stage in Kansas City, Mo on Tuesday. On Wednesday his purpleness performs
at the Savvis Center in St. Louis, MO and on Thursday the show is at the Gaylord Entertainment Center in
JULIO IGLESIAS a three night
engagement at the Las Vegas Hilton on Thursday.
SEAL performs Monday at the Sandia
Casino in Albuquerque, NM. On Wednesday he's center stage at The Backyard in Austin, Texas. On
Thursday can be enjoyed at the Arena Theatre in Houston. Friday finds the singer at the Grand Casino Gulfport in
DAVID BOWIE in the spotlight
Thursday at the James L. Knight Center in Miami. On Saturday he'll be entertaining at the Chastain Park
Amphitheatre in Atlanta.
ERIC CLAPTON takes over London's
Royal Albert Hall on Tuesday for an engagement running through May 11th.
CASSANDRA WILSON performs
Monday at Chelterham Town Hall in Cheltenham, England. On Saturday she is on stage at Volkshaus in
NORAH JONES entertains Monday at
Halle Tony Garnier in Lyon, France. On Wednesday the show is at the Geneva Arena in Geneva. Thursday
finds her starring at Le Dome in Marseille, France. Friday the performance is at the Grimaldi Forum in
DIANA KRALL opens a three night
engagement tonight, May 2, at the Jubilee Auditorium in Calgary, Alberta. On Wednesday the lady stars at
Skyreach Place in Kelowna, British Columbia and on Friday the show is at General Motors Place in
JEFF FOXWORTHY brings his Red
Neck sense of humor to the Temple Buell Theatre in Denver for a two night stand Friday and
PETER CINCOTTI will be delighting
crowds Saturday, May 8, at the No. Charleston Performing Arts Center in North Charleston,
PAUL ANKA performing to turn
away crowds Friday and Saturday at the Frederick Brown, Jr. Amphitheater in Peachtree City, GA.
PRESERVATION HALL JAZZ BAND
kicking things off Friday at the Temple Theatre in Lufkin, Texas. The following night the notes will be heard at the
Paramount Theatre in Austin, TX.
FRANK SINATRA, JR who was in
Las Vegas on Friday to help formally open Frank Sinatra Drive, performs with
the Omaha Symphony May 7-9 in Omaha, NE.
JOHNNY MATHIS in a two nighter
beginning Thursday at Dover Down Slots in Dover, DE.
JOHN STEVENS of American
Idol fame and controversy is the grandson of political satirist Mark Russell - who is also his biggest
Next Column: May 9, 2004
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