Broadway To Vegas

Copyright: December 20, 2020
By: Laura Deni
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WILLIAMSTOWN THEATRE FESTIVAL OFFERS AUDIO PRODUCTIONS

Aja Naomi King

In response to the unprecedented challenges of 2020, the venerable Williamstown Theatre Festival has embarked upon an innovative artistic endeavor, collaborating with Audible - the world’s largest producer and provider of original spoken-word entertainment and audiobooks.

Animals by Emmy nominated Stacy Osei-Kuffour, directed by Whitney White and starring accomplished professionals Madeline Brewer, Jason Butler Harner, William Jackson Harper, and Aja Naomi King has been reviewed by Broadway To Vegas.

Whooshing wind and dramatic music introduces the presentation of Animals as a male voice announces the production's name, author and director.

Although the four stars aren't mentioned by name, there is always another co-star in any audible recording - sound effects - in this case provided by Fan Zhang.

In the heyday of radio drama, which was even before my time, the famed shows were 15 to 30 minutes long and the sound effects guy made the difference as to whether the audience was mesmerized or bored and confused.

The actors used their voices to truly act needing to convey emotions which lighting, stage design and costumes would later help to define.

Jason Butler Harner

It's imperative that the voices must be different enough from each other, so that the listener doesn't get them confused.

Animals is billed as a comedy. It isn't. Not in any form, even though nobody dies. It's a bitter tirade against each other and themselves. "Themselves" being four people, two of whom aren't well grounded, are emotionally immature and uncomfortable with who they are - if only they knew what that meant.

A beverage being poured is clearly heard. The female and male voices are distinctive, patronizing - bitter, manipulating the other with romance, anger and insults.

If you feel a sentenced doesn't communicate unless it contains vulgarity, then this is the play for you. This drama is about two emotionally immature people - Lydia (Aja Naomi King) and Henry (Jason Butler Harner) - who can neither control nor appreciate their own lives, and lash out at anything and everything.

Except for one specific instance, which we will discuss in a moment, there is no doubt that that author knows how to construct dialogue and that the director knows how to bring that dialogue to life on an audio recording.

Lydia and Henry have been together over a decade, with insults and arguments being the glue that has bound them together. By dissecting the script, Lydia seems to be 32. The couple has a kitchen which contains a wine wall holding several $300 bottles of the wet stuff. They shop at Trader Joe's.

As the play unfolds it becomes obvious that Lydia is trapped in her low life past, which is her comfort level. She controls Henry by threats. violence, insults and sometimes sex. Why he acquiesces is a mystery.

William Jackson Harper

They are expecting guests for dinner.

Prior to their arrival it is disclosed that the male guest Yaw / Jason (William Jackson Harper) means more than he should to Lydia. in fact, the dinner is an "anniversary dinner" of the 15th anniversary of when they first met - she was 17 and the implication is that date was also her first sexual encounter. They were a couple known as The Killer and the Thriller; together committing a robbery. She has spent the last 15 years re-living her relationship with Jason.

Before their arrival Henry proposes marriage to Lydia and offers her a ring - whose diamond authentizity will be questioned by Jason. Lydia accepts the proposal and ring, but with a profusion of vulgarity she lets it be known that she didn't suspect he was going to propose and accuses him of trying to ruin her anniversary dinner. With their voices doing the acting the softness and breathing indicates an embrace and kiss.

Then, within a heartbeat, they are insulting, swearing and screaming. Doors open and close, including the refrigerator with Henry being berated for eating ice cream before dinner. As the voices dim, it is obvious that the people are walking away from each other.

Henry can't understand why the soon to arrive male guest is changing his name. Lydia defends her teenage friend, saying he is "erasing the name the white man gave him" explaining "it's a black thing."

Henry accuses her of getting "blacker."

Lydia's profanity is vile and almost non stop to the point that Henry even inquires: "Why do you have to curse? Jesus!" He tells her she should drink some water - that she is drunk already.

He doesn't like it that she leaves her dirty clothes on the floor for him to pick up - a metaphor for his cleaning up the messes she makes in real life. At this point it's clear that Lydia is now trying to sexually excite Henry, taunting him that he enjoys cleaning up after her. They seethe, swear, argue, accuse. They see how far they can push the other.

Madeline Brewer

This entire play is about bitterness, resentment and control. They argue about everything. Some might suspect that a cotton ball version of Whose Afraid of Virginia Wolf may have inspired this play, which doesn't contain the meat or emotional depth of the Albee classic.

The target audience or point of this play is never clear.

When Lydia says ' darling' the word is verbally encased by broken glass.

Speaking of broken glass, this is where the script needs audio work. In audio romantic scenes the author can leave a lot to the imagination - especially with female listeners who generally like to have their own romantic fantasies, frequently better than the real thing. When it comes to violence, especially if blood is drawn, you've got to get specific.

In an early scene when the insults fly, something also sails through the air, hitting Henry in the face, causing blood to flow and Henry to accuse Lydia of breaking his nose. There is also the sound of glass breaking, but no declarative sentence as to what happened.

Saying the man lay dead in a pool of blood is one thing - it's a passive scene. The dead man isn't going anywhere by himself. But, if you are talking about an action scene where the violence is followed by immediate action, you must tell the listener specifically what happened.

What hit Henry in the face? Where did the blood come from? His nose? A facial cut? If she threw a glass at him, say so in one sentence. Also, if it hit or missed - detail the damage. Henry mentions bleeding. Yet, almost instantly, the couple arrives and the four are arguing and drinking. You don't get a bleeding, broken nose and casually pass it off. Audio scripts must be highly precise when it comes to active violence.

Later in the play, again the sound of breaking glass is heard with no explanation.

Jason who has changed his name to the more ethnic Yaw, has fond memories of Lydia, his longtime friend, but is glad to be free of his low life past - comfortable with his success as a professor at NYU. He wants to go forward and resists Lydia dragging him backwards - although he has continued to remain in touch with her for all these years.

He is accompanied to the dinner by a new lady in his life, Coleen, who is quiet - more reserved and polite than the others.

When they arrive Jason/Yaw and Lydia speak using an ethnic drawl. Lydia calls him Negro. He calls her Negress. Then Jason/Yaw returns to a more educated pronunciation of English.

During the evening we discover that Jason/Yaw has become a vegan. He munches on a salad while the others chow down on pulled pork sandwiches and corn on the cob.

The evening explodes as intensity, jealously and resentment become the main course and dessert.

Bitter Lydia is an instructor at a New York City community college where she doesn't "have to teach white rich kids." She met Henry when he was passionate about establishing a legal career and got her out of jail, taking her home and to bed with him, (a serious violation of numerous professional ethical standards). That was over a decade ago. Then she was under legal or or just above her majority and her youth leaned towards the presumption of innocence. Today, she is still emotionally immature, has a problem with alcohol and marijuana and serious anger issues. After calling Coleen, a women she had just met, a variety of insulting and vile names she threatens to get a knife and cut her.

Harry is the son of a successful attorney and his wife. Harry graduated from law school but flunked the bar - not an unusual occurrence. In fact, in some states, more people flunk the bar their first try than pass. Instead of hunkering down to study and taking the bar again, he turned his back on the law and works in an Apple store. When his parents died they left their fortune to charity and the house to Harry.

His spine is composed of silly putty. He doesn't want to be loved as much as controlled and chastised. Lydia is more than happy to oblige. She yanks him around as though there was a ring through his nose - alternating vulgar insults with attempts to sexually arouse him.

Jason/Yaw has intellectually crossed over from the wrong side of the tracks becoming a professor at NYU. Morally there are a few spokes missing. He has recently returned from an educational trip to Africa accompanied by Coleen, who is first introduced as working on her Masters Degree in philosophy. Later it is revealed that she is a student of his - a sophomore.

The evening leaves no doubt that these are two interracial couples whose black member hates whites unless they happen to be having sex with one.

After dinner they all get high on marijuana - which is not a legal recreational drug in New York. Under age Coleen is provided with both alcohol and weed by two university professors.

There is nothing comedic about this play. In a comedy there doesn't need to be a message or a moral. In a play there has to be a purpose and this play is lacking one. Set in the present, facts are ignored or distorted.

There are 35 community colleges and universities in New York enrolling 285,207 students. None of those community colleges would tolerate a teacher like Lydia, who in the course of the play also makes several derogatory remarks about NYU, a respected institution which wouldn't tolerate an instructor having sex with his student much less taking her to Africa on a school funded project.

Does the author know how to write a play? While the playwright knows how to write dialogue, her preferred method of creating a script seems to be the Cooking Spaghetti Writing Approach - throw everything against the wall and see if anything sticks. Does the director know how to direct for audio? Yes. Does the sound designer know how to convey realistic sounds? Yes. Do the actors know how to use their voices to sound convincing in the part and keep the listener's attention? Yes. Does this play have redeeming social value? No.

Animals is part of Williamstown Theatre Festival's robust New Play and Musical Development Initiative which provides support and professional opportunities to playwrights, composers, and other generative artists.

A running time of 96 minutes.

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This is not your typical, totally boring textbook.

In the pages of How To Earn A Living As A Freelance Writer (the first to be lied to and the last to be paid) you'll find sex, celebrities, violence, threats, unethical editors, scummy managers and lawyers, treacherous press agents, sex discrimination; as well as a how-to for earning money by writing down words.

ART AND ABOUT

BAGS: INSIDE OUT Sacks to despatch boxes, Birkin bags to Louis Vuitton luggage, Bags: Inside Out explores the style, function, design and craftsmanship of the ultimate accessory.

At the V&A Museum in London through September 21, 2021. Reminder, the V&A is temporarily closed due to Covid-19.

THE DETROIT INSTITUTE OF ARTS (DIA’s) 12th ANNUAL COMMUNITY GROUP EXHIBITION is officially open and is being held virtually for the first time this year. This year’s show features work from 100 artists.

The special virtual display also features a video allowing the participants and program coordinators to discuss their artwork.

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SWEET CHARITY

QUEEN OF THE STARDUST BALLROOM a sensitive Emmy winning portray of senior love was rebroadcast on television last week. The music was composed by 5 time Emmy winner Billy Goldenberg who died too soon last August. In 1999 Broadway To Vegas interviewed him. In the interview he talked about suffering from Dystonia. See Broadway To Vegas column of May 10, 1999

On January 21, 2021 a Dystonia Medical Research Foundation Cooking For the Cure event will take place.

This is your chance to join a select group of friends of the DMRF for a unique LIVE experience with Andy LoRusson "The Singing Chef". Participants can cook and sing along with Andy as they prepare a meal of Cacio E Pepe and Sicilian Ricotta Cheesecake. With thousands of international performances over 30 years, he has partnered with celebrities and top chefs around the world and is the author of the best-selling cookbook and album combo, Sing and Cook Italian.

The event will take place on January 29, 2021 at 7:00 PM ET and last 60-70 minutes.

The Singing Chef Andy LoRusso is also donating a portion of proceeds from his Signature Sauces collection to support the Chicago based DMRF.

LONDON'S THEATRES HIT BY ANOTHER DEVASTATING BLOW

Looking happy and enjoying every second of the show, Prince William, his wife Kate and their three children went to the London Palladium last Friday to attended a special performance of Pantoland for key workers and their children at the London Palladium, starring Julian Clary and Elaine Page. When they first arrived, seven-year-old George, Charlotte, five, and two-year-old Louis waved to crowds and stopped to watch actors dressed as elves entertaining guests at the event.

They had a marvelous time and surprised performers by trying their hand at Panto and even passed out presents.

The Duke and Duchess released an emotional video in which they narrated in a pantomime-style rhyme as children arrived to the red carpet greeted by elves. Before entering to watch the show, the children were all asked what they would like before Christmas - before elves rushed to a famed Hamley's toy store during the show to purchase the chosen toys. In the video clip, s the surprised children can be seen exiting the Palladium back to the red carpet, stunned as they were handed their particular gifts.

The holiday merriment was short lived.

Within days the British capital entered into the most stringent level of coronavirus restrictions - called Tier Three - with most theatres forced to close shows just days after they opened.

Tuesday, December 15, 2020 was the final performance before the Grinch struck.

Actress Elaine Paige said she was disappointed that the theatre has to close, asking in a tweet why it was theatres were closing when Tube journeys and flights were still allowed. "These rules are illogical," she carped. "The audience response shows how desperate they are for 2hrs of escapism. If its so terrible - cancel Christmas!"

Matt Hancock, Britain’s health secretary, announced Monday, December 14, 2020 that the government was tightening restrictions in London, as well as other parts of southern England, because of a “very sharp, exponential rise” in coronavirus cases. The new restrictions, which included a ban on theatrical performances and the closure of other indoor cultural institutions, such as museums. Pubs and restaurants would also close, though they could still offer takeout.

“For businesses affected, it will be a significant blow, but this action is absolutely essential,” Hancock admitted when he addressed Britain’s Parliament.

Culture Secretary Oliver Dowden conceded he understood it would have a "huge impact" but that the government "must act quickly".

The measures mean no live performances in London for an indefinite period.

Livestreamed shows and rehearsals are still allowed in tier three.

Theatres will only reopen when London is back in the “tier two” category.

Theatres affected:

Almeida Theatre - Nine Lessons and Carols began previews at the Almeida Theatre on December 3, and now suspend performances until December 23 at the earliest.

Apollo Theatre - Everybody’s Talking About Jamie reopened December 12, and suspended performances to January 8, 2021 at the earliest.

Bridge Theatre - A Christmas Carol began performances on December, 3 starring Simon Russell Beale, Patsy Ferran and Eben Figueiredo. I suppose there is always next year for the annual presentation.

Bush Theatre - Overflow opened at the Bush Theatre on December 8. No information as to when it will re-open.

Charing Cross Theatre - The Elf Who Was Scared of Christmas, starring Gina Beck and Neil McDermott opened December 8. All future performances at Charing Cross Theatre are suspended.

Dominion Theatre - A Christmas Carol, starring Brian Conley, Jacqueline Jossa and Matt Willis began performances 7 December 7, towards an opening night on December 14, dropping the curtain on December 16.

Duchess Theatre - The Play That Goes Wrong was suspended to January 8, 2021 at the earliest.

Garrick Theatre - Nimax Theatres will open January 9, 2021 at the earliest; all remaining performances of Death Drop and Potted Panto were cancelled.

Gatsby's Drugstore - The Great Gatsby closed its doors on December 16. In a statement, producers Louis Hartshorn and Brian Hook said, “This is a hammer blow to an industry which has been fighting valiantly to bring culture and community to people's lives this Christmas. The Government has created a situation where millions of pounds have been spent on re-launching productions and shut them down just as revenue is about to be generated, leaving even more organizations in extreme financial difficulty and putting jobs for permanent staff and freelancers alike at even greater risk."

Hampstead Theatre - Performances of the 60th anniversary production of The Dumb Waiter, were suspended with the production hoping to be staged January 4 - 30, 2021.

London Palladium - Pantoland closed. In a statement from Michael Harrison, director of Pantoland at the Palladium, said: Michael Harrison, Producer and Director of Pantoland at The Palladium posted:

"We are devastated by today's news that London will move to Tier 3, forcing the closure of Pantoland at The Palladium.

"We are deeply concerned about the economic impact of today's decision for businesses in the West End and believe that we have done everything possible to ensure a Covid-secure environment within The London Palladium for our audiences, following all advice from Government. Whilst the safety and health of our visitors, staff and performers is of extreme importance, the Government's yo-yoing approach on advice is frankly appalling. It is not possible for any business to function in an environment where our leaders seem to have simply no idea how our country will look from one week to the next. The advice is bordering on incompetent.

"Pantoland at The Palladium opened to rapturous standing ovations, and we saw a reaction from the audience like nothing we've experienced before - such was their delight to be back in the theatre seeing live performance. We were honoured to welcome Royal and Government guests at our special key worker performance on Friday. The Secretary of State for Digital, Culture Media and Sport, Oliver Dowden, saw for himself on Friday the rigorous safety measures in place at The London Palladium and I was thrilled to see him crying with laughter, it's just a shame my entire cast and Company are now crying because of the Government's decision to put London into Tier 2 just 12 days ago encouraging us all to press on with our productions only to realise that was in fact a mistake. One of many, many mistakes.

Lyric Theatre - After opening at the Lyric Theatre on December 5, Six was suspended to January 8, 2021.

National Theatre - closed Dick Whittington, only the second pantomime it has ever staged. However, you can watch - in a free stream - from December 23, 2020.

Noel Coward Theatre - The Comeback sees The Pin make their short-lived West End debut, with performances suspended. In a statement from Sonia Friedman, "Following the devastating announcement that London will be entering Tier 3 on Wednesday 16th Dec, The Comeback performances from Wednesday 16th Dec onwards have been postponed. Having installed extensive safety measures at the theatre, for the last week of previews we have been welcoming delighted audiences to the Noel Coward Theatre to enjoy this brilliant, funny and heart-warming show. They have left the theatre uplifted, energized and reminded about the power of theatre and the vital role it can play in the mental well-being of the community... But let me be clear –The Comeback WILL be back. It is our intention to resume The comeback performances as soon as government restrictions allow."

Palace Theatre - cancelled West End Musical Christmas along with performances of Jimmy Carr: Terribly Funny at the Palace Theatre.

Riverside Studios - All performances in the advertised Christmas season were suspended. This included Christmas at the Movies and Great Expectations.'

Sondheim Theatre - Performances of Les Miserables: The All-Star Staged Concert starring Michael Ball and Alfie Boe were suspended. A scathing statement from Cameron Mackintosh stated:
"The sudden volt face by the government in deciding to immediately put London into Tier 3 and shut down the West End is devastating for both the theatre and the economy. Even worse it smacks of panic and makes all our considerable and costly efforts to ensure the safety of both performers and audiences alike, widely praised by the health authorities, seem worthless - breaking any sense of trust between us as an industry and the government departments we've been trying to build a rapport with. The commercial theatre has had virtually no support from the Treasury, apart from the offer of quite expensive loans - which we, unlike the subsidised theatre, have been asked to give personal guarantees to repay. A lot of us do not want to go into debt to pay for losses caused by diktats completely out of our control. The constant changes of rules and advice we have received is impossible for any business to react to. A private company behaving like this would be subject to legal charges from its investors. Yet the government seems to play with our rights and liberties with impunity. We have almost 100 mostly self-employed performers and staff working on Les Misérables - The Staged Concert at the Sondheim Theatre. At a stroke, this government has tipped them into unemployment just in time for Christmas - Bah Humbug to the Prime Minister and the men in white coats. We will have to disappoint thousands of patrons over the next few weeks who were booked to safely see Les Mis over the holidays. We intend to continue performances in January as soon as we are allowed to and demand clarity of a date as soon as possible. Where is the leadership this government promised? All we have is empty words and empty chairs!"

Theatre Royal Haymarket - Love Letters which had transferred from Windsor to London, now suspended.

Turbine Theatre - Cinderella stage production cancelled. However, Cinderella will be available to stream from to January 1, 2021.

Vaudeville Theatre - Performances of Mischief Movie Night suspended.

The Society of London Theatre's chief executive Julian Bird said the announcement was "devastating news for the city's world-leading theatre industry".

"The past few days have seen venues beginning to reopen with high levels of Covid security, welcoming back enthusiastic, socially distanced audiences," he said.

"Theatres across London will now be forced to postpone or cancel planned performances, causing catastrophic financial difficulties for venues, producers and thousands of industry workers."

Jon Morgan, director of the Theatres Trust, called London's move into tier three "a disaster" for the performance sector.

"Theatres have worked incredibly hard to create safe environments for audiences and through no fault of their own will now face enormous financial losses," he charged.

He called for a government-backed insurance scheme for theatres, a request that was echoed by Sonia Friedman, producer of Harry Potter and the Cursed Child and other shows. She said: "London going into tier three is yet another blow for British theatre - one it simply cannot afford after a brutal year, and one that both could and should have been avoided.

"This feels like a final straw," she said of the latest measures, calling them "proof that this government does not understand theatre and the existential crisis it is facing".

On Saturday, December 19, 2020 it was announced that a new coronavirus strain linked to a surge in cases has emerged prompting U.K. Prime Minister Boris Johnson to imposed a new round of restrictions for London and much of southern England.

Officials said they have identified a new COVID-19 strain that is 70 percent more transmittable that existing strains.

Tier Four means that all non essential businesses must close. No longer are up to three households permitted to gather in Christmas Bubbles from December 23-27.

"It is with a very heavy heart that I must tell you we cannot proceed with Christmas as planned," Johmson said.

SPREADING THE WORD

NEW YORK GILBERT & SULLIVAN PLAYERS (NYGASP) have announced the grand finale of their 2020 Virtual Season, a premiere cinematic experience of Sir Arthur Sullivan and F.C. Burnand’s comic operetta, Cox and Box. This all-new original film, available for stream December 27 – January 2 was shot and fully staged at South Orange Performing Arts Center with an Actors Equity Association-approved COVID-19 safety plan.

The 50-minute film, produced in 1080p HD resolution with multiple cameras, transports the audience into the action of this hilarious one-act farce. Join Mr. Cox and Mr. Box as they dig in their heels when they discover the mischievous scheme of their landlord, Sgt. Bouncer. Victorian formality is thrown to the wind in this entertaining and beautifully shot musical film.

The prim hatter, Cox (David Macaluso), works during the day and the tousled printer, Box (Daniel Greenwood), works during the evening, and both are renting a room at Bouncer’s Board and Lodging. Unbeknownst to these two lodgers, their bumbling landlord, Bouncer (Matthew Wages), is renting out the same room to both. His tightrope walk is just the beginning of the comedy as they squabble and sing their way through this early score by Sir Arthur Sullivan.

The film is brought to life by director Matthew Wages with a vision more in-line with situational comedy and 21st century sensibilities. Wages designs the new set, with construction by technical director Albert Bergeret and Joshua Strone, who also serves as Production Stage Manager.

Audiences can purchase a video-on-demand ticket to various performance times throughout the week. There is also a post show Zoom meet and greet with the cast and producers of Cox and Box on Sunday, December 27 at 7:00PM, Wednesday, December 30 at 2:30PM and a New Year’s Eve special December 31 at 8:00PM. Audiences have 48 hours to watch the film from the listed start time of the performance, but live Zoom meet and greets will begin one hour after the performance’s original listed start time.

December 31 will feature NYGASP New Year’s Eve traditions alongside Cox and Box, such as a champagne toast, rewritten lyrics of “When Britain Really Ruled the Waves,” and a rousing chorus of “Auld Lang Syne.”

A CHRISTMAS CAROL GONE SOLO streaming for your world wide pleasure. Taking creative matters into their own hands three performers are presenting their version of the iconic A Christmas Carol as a one person presentation.

Time to unleash your Christmas Spirits with a proper Dickensian start to the season.

TONY WINNER JEFFERSON MAYS! brings you A Christmas Carol streaming through January 3, 2021. Experience A Christmas Carol unlike any other - past, present or future. The timeless tale of Ebenezer Scrooge has been given new life thanks to the haunting vision of one of Broadway’s most imaginative directors, Michael Arden, and the Tony-winning virtuoso, Jefferson Mays, starring in 50 roles of a lifetime.

Staged exclusively for this production and captured live with breathtaking clarity, this must-watch streaming event conjures the powerful spirits of Christmas and brings all the magic of live theatre home for the holidays.

91 minutes.

VETERAN KNEEHIGH ACTOR DAVID MYNNE brings his exuberant and inventive one-man performance of A Christmas Carol to the Minack in Cornwall, England through December 22, 2020.

Joy to all mankind? Bah!

Spend an hour with Ebenezer Scrooge: a squeezing, wrenching, grasping, clutching, covetous, old miser. Bah! Watch horrified as he is haunted by four creepy ghosts (wooo-oooh) each one more terrifying than the last. Bah! Sob at the bedside of a tiny, malnourished child riven with rickets. Bah!

In their inimitable style, the team that brought you Great Expectations, Dracula and The Odyssey will now take you on a grim (sort of) journey through the dark, dismal streets of Victorian London.

Dickens’ original words with added silliness. Silliness? Bah! Celebrate the festive season with a mesmerizing performance of a timeless, transformative story: Now with Extra Humbug!

THE ALABAMA SHAKESPEARE FESTIVAL presents Charles Dickens’ A Christmas Carol, adapted and performed by Greta Lambert, streaming digitally through December 27, 2020. Audiences will be mesmerized as one actor takes on many roles in this heartwarming production. ASF’s A Christmas Carol is the perfect way for families and friends to make the holidays unforgettable. Directed by ASF Artistic Director Rick Dildine, this holiday offering is a unique event during an unparalleled time for the theater. Although the pandemic forced the closure of ASF’s physical spaces, it has inspired the development of creative programs and events that continue to deliver the arts to audiences in this age of social distancing.

Dickens was known for performing dramatic readings of his popular novella for audiences all over the world. Drawing inspiration from that tradition, longtime company member Greta Lambert stars in ASF’s one-person production of A Christmas Carol.

This streaming production will transport audiences back to a magical evening in Victorian England to enjoy the story of Ebenezer Scrooge and his encounters with Jacob Marley and the Ghosts of Christmas Past, Present, and Future.

The creative team includes Lighting Designer Tom Rodman, Sound Designer Melanie Chen Cole, Assistant Sound Designer Russell Thomas Bush, Stage Manager Katie An Siegel, and production company Big Dreamz Creative.

A Christmas Carol will be available to stream in-person, virtual, and hybrid classrooms free of charge as part of the theater’s SchoolFest student matinee program. Educators interested in streaming the 72-minute production to their classes can request information by completing the form at ASF.net/schoolfest-reservation.

Alabama Shakespeare Festival is a not-for-profit organization under the direction of Artistic Director Rick Dildine and Executive Director Todd Schmidt. As a beloved Alabama arts institution, ASF broadens the cultural identity of the South by producing the classics, Shakespeare, contemporary plays, musicals, theatre for young audiences, and exciting new works. A leader in education and outreach, ASF serves more than 35,000 students annually with artistic programming. ASF is supported by grants from the Alabama State Council on the Arts and the National Endowment for the Arts. For more information about Alabama Shakespeare Festival, visit ASF.net.

92Y ANNOUNCES BROADWAY’S MOULIN ROUGE! THE MUSICAL has announced that Tony Award winner Karen Olivo, Aaron Tveit, Danny Burstein, Sahr Ngaujah, and Robyn Hurder - stars of the Broadway smash Moulin Rouge! The Musical - take the 92Y virtual stage with Ruthie Fierberg for a behind-the-scenes look at the show that’s been nominated for 14 Tony Awards including Best Musical and individual performer nominations for each of the panelists.

How have they adapted the characters of Baz Luhrmann’s revolutionary film for the stage? How do they manage to tell an intimate love story in the context of the most lavish, eye-popping and transportive production ever to hit Broadway? How on earth do they perform over 70 songs that celebrate some of the greatest popular music of the last 50 years? And how do the central themes of the show—the celebration of artists and the struggles that face them—resonate now more than ever while Broadway is currently dark?

Don’t miss the chance to get up close and personal with the stars of this theatrical marvel. Free on Monday, December 21, 2020 at 7pm ET.

BRAD GARRETT'S COMEDY CLUB reopening at the MGM Grand in Las Vegas on December 26, 2020. Two shows Friday and Saturdays - single shows on Sundays, Wednesday and Thursdays - with an audience limited to 50 people seated six feet apart and 25 feet from performers.

SIOUX FALL JAZZ & BLUES SOCIETY has teamed up with New York's Jazz at Lincoln Center to provide a special Holiday offering.

Join a virtual, family-friendly concert featuring big band arrangements of Holiday classics. Enjoy performances by the Jazz at Lincoln Center Orchestra with Wynton Marsalis, Catherine Russell, Kurt Elling, Rubén Blades, Ashley Pezzotti, and many more.

Watch the performance anytime on-demand through December 26th to bring a little extra joy to your festivities this year.

MUSIC HELPS Doctors should listen to Mozart while operating according to a study published in International journey of Surgery. The study found that listening to Mozart and Bach can boost doctors' performance by up to 11 per cent.

Procedures were also completed 10% quicker with music in the background.






RECORDING ACADEMY TO HONOR BLACK ENTERTAINMENT AND SPORTS LAWYERS ASSOCIATION at 23rd Annual Entertainment Law Initiative event, which will take place during Grammy Week in a new virtual format, gathering the nation's most prominent entertainment attorneys to promote discussion and debate about the most compelling legal issues facing the music industry today.

The event will honor the Black Entertainment and Sports Lawyers Association (BESLA) — a nationally recognized leader in legal education and professional development within the United States for lawyers and professionals in the entertainment, sports and related industries—with the 2021 Entertainment Law Initiative Service Award.

This honor is awarded to an attorney or organization that has demonstrated a commitment to advancing and supporting the music community through service. The winner of this year's Entertainment Law Initiative Writing Competition will also be recognized during the virtual event. Other program participants include Recording Academy Chair and interim President/CEO Harvey Mason jr., Recording Academy Chief Diversity, Equity and Inclusion Officer Valeisha Butterfield-Jones, Entertainment Law Initiative Executive Committee Chair Laurie Soriano, and Entertainment Law Initiative Program Chair Ken Abdo (Fox Rothschild LLP).

The Recording Academy, in concert with some of the nation's most prominent entertainment attorneys, established the Entertainment Law Initiative to promote discussion and debate about the most compelling legal issues facing the music industry today. The initiative also endeavors to support future careers in entertainment law by seeking out the nation’s top law students and giving them invaluable networking and educational opportunities.

OTHER PEOPLE'S MONEY

ENTERTAINMENT LAW INITIATIVE SCHOLARSHIP STUDENT WRITING COMPETITION is accepting submissions. For the past 22 years, the program has included a legal writing competition that offers law students the chance to win up to $10,000 in tuition-based scholarships.

The ELI Writing Competition challenges students to identify, research and write an essay outlining a proposed solution on a compelling legal issue confronting the music industry.

A nationwide panel of music law experts will judge the papers in a blind process to select a winner and two runners-up. This contest is open to Juris Doctorate (JD) and Master of Laws (LLM) candidates at U.S. law schools.

One Winner Will Receive:

$10,000 scholarship paid on behalf of the student toward their law school tuition A private one-hour online mentorship session with a top entertainment attorney from the ELI Executive Committee Recognition at the online ELI program and scholarship presentation on January 29, 2021.

Two Runners-Up Will Receive:

$2,500 scholarship paid on behalf of the student toward their law school tuition. A private one-hour online mentorship session with a top entertainment attorney from the ELI Executive Committee. Recognition at the online ELI program and scholarship presentation on January 29, 2021.

The deadline for submission is January 4, 2021.

DUBAI STUDIO CITY in Dubai, UAE ia celebartingits 15th anniversary by announcing it has seen more than 4,000 productions with a total budget in excess of AED400 million over past three years.

Dubai Studio City's involvement has included Mission: Impossible – Ghost Protocol starring Tom Cruise is a 2011 action movie with scenes filmed in Dubai.

The global productions have also included Star Trek Beyond;ible, Jackie Chan’s Vanguard and Kung Fu Yoga among others, as well as several popular TV productions such as Master Chef Arabia and The Cube.

The business community for film and television production, which was established in 2005, boasts the biggest sound stages in the Middle East and North Africa as well as boutique studios across 18 buildings and seven workshops.

Dubai Studio City, alongside Dubai Media City and Dubai Production City, forms a complete ecosystem that is home to 3,000 companies including StarzPlay, MBC, Dubai Media Incorporated, and Discovery Networks Central & Eastern Europe, Middle East and Africa - employing 34,000 professionals.

FAN SPORTS CUTOUTS GENERATE BIG MONEY The booming cottage industry is generating big bucks fo sports teams which had to clear the stands of live people. Fake cardboard fans are being taken to the bank.

In Major League Baseball, the Oakland A's and San Francisco Giants offered fans the opportunity to purchase a cardboard cutout that appeared in the stands.

When the A's announced their "Coliseum Cutouts" program, it allowed fans to put their image on an 18 x 30 cardboard cutout and for the chance to see their cutout appear on television. In the first 24 hours, the A's sold 1,000 "season tickets" for the cardboard cutouts.

"Response has been extremely strong," Oakland A's president Dave Kaval told CNBC in an interview. "People are especially interested in the foul ball dunk, where if your cutout gets hit, we send you the authenticated ball to your house."

The price of cutouts varies by team. In Oakland, prices ranged from $49 to $129, depending on location in the stands.

Nebraska reports more than $600,000 in revenue has been generated from from fan cutouts in Memorial Stadium. More than 6,000 fans purchased cutouts.

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FINAL OVATION

ANN REINKING a dancer, actor and Tony Award-winning choreographer who performed on Broadway for nearly three decades, including productions of Coco, Over Here!, Goodtime Charley, Chicago, Dancin', and Sweet Charity died December 12, 2020 in Seattle, Washington where she was visiting her brother. She simply went to sleep and didn't wake up. She was 71.

The star got her acting start in a Seattle Opera House production of Bye Bye Birdie in 1965. She found her way onto the Broadway stage when she was cast in the ensemble for the 1969 production of Cabaret.

She best known for playing Roxie Hart in 1977’s Chicago, replacing Gwen Verdon. She reprised the part when she returned for the 1996 revival of the famed production.

Her choreography for the revial of Chicago earned her a Tony Award for best choreography.

In 2001, she received an honorary doctorate from Florida State University for her contribution to the arts. She served as a member of the advising committee for the American Theatre Wing. She is survived by her fourth husband, Peter Talbert, and her son Chris and four stepchildren.

Next Column: December 27, 2020
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Laura Deni

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