Our personal favorite nominations are those going to the shows Caroline, Or Change, Company and A Strange Loop in the musicals category. In the plays we’re thrilled to see Dana H., For Colored Girls Who Considered Suicide/When the Rainbow is Enuf and The Lehman Trilogy amongst the nominees.

We’ve had conversations with many of this year’s nominees and you might want to take another look at what they shared with us. They include:

Simon Russell Beale who is nominated for his performance in The Lehman Trilogy.

“I’m a slightly stocky, middle-aged Englishman with a beard and I’m now pretending to be all sorts of different things just because I say so, rather than with any other help. And that’s quite fun. It’s not about emotional expression or effort. It’s about just keeping the mind focused. If you make a mistake, and I don’t think we’ve ever done a perfect performance actually, but if you make a mistake, you just have to forget it and move very quickly on.”

A side note: Beale is nominated as are his on-stage colleagues Adam Godley and Adrian Lester. Separating one performance from another is a fool’s game. They should have been nominated as a trio in the same way in which the three boys who originated the role of “Billy Elliot” in the musical of the same name were.

Shoshana Bean who is nominated for her performance in the Jason Robert Brown musical Mr. Saturday Night.

“I think that I’m a culmination of all the things I’ve soaked up in my life. I’m very Streisand, there’s Frank Sinatra, Chrissie Hyde, John Mayer, Aretha Franklin…while it may seem original, we’re all using the same ingredients. What matters are your proportions. I go left when people think I’m going right. I don’t look at it as strategic decisions, it’s what I’m lead to do. It’s literally been what felt like it needed to happen.”

Dale Franzen who is a co-producer of nominees Caroline, Or Change and For Colored Girls Who Considered Suicide/When the Rainbow is Enuf.

“I would say I am much more leaning into stories like that that I feel have such a harder time of being told. Let’s be honest, men aren’t telling those stories. They keep telling the stories that they want to see and I think that women have been shortchanged. I want to be part of changing that. That is not to say that if I’m sent something that I feel is really extraordinary and it happens to be written by a man or it’s a male story that doesn’t mean I won’t get involved. But I would say right now what I feel drawn to moving our stories forward.”

Matt Doyle who is nominated for his brilliantly comedic performance in the revival of Stephen Sondheim’s Company.

“I have a lot of experience in being incredibly anxious over general anxiety disorder and panic disorder. And I know the feeling very well of the surprise and the fear that Jamie experiences during that song. Also the staging is so smart and so brilliant. I think half of what you’re seeing on stage is me turning that kind of delight and excitement and thrill of what I get to do and what the audience gets to see every night into something that is coming off as surprise.”

Deirdre O’Connell who is nominated for her breath-taking performance in Dana H.

“It does feel like there is an infinite number of discoveries to be found. As a ride it’s pretty endless. I feel like it would be interesting to try to do a long run of it. It think you’d have to build breaks into it. the way the fatigue manifests itself is more like it sounds echo-y to me or I’m having a hard time hearing it right now. I could be wrong. It could be easier in terms of the doing it.”

Jayne Houdyshell who is nominated for her performance in the revival of The Music Man.

“I really am a creature of theatre. I came up in the theatre. I chose the life of an actress because of my love of the theatre. It’s always been foremost home for me. I’ve had a few small opportunities to do television and film work. While I appreciate it very much, I don’t feel like the real trajectory of my career is about that or will probably ever be about that. I just am most a home in the theatre.“

To read the full interviews with each artist, please click on the link built into their name.

Once again, congratulations to all 2022 Tony nominees!

Main Photo: Opening Night of “Company” (Photo by Rebecca J. Michelson)

The post Congratulations 2022 Tony Nominees appeared first on Cultural Attaché.

Henry received nominations for his performances in The Scottsboro Boys, Violet and the 2018 revival of Carousel. He’s an original cast member of In the Heights and has toured in Hamilton. Some of his other Broadway credits include The Gershwins’ Porgy and Bess and Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed. Most recently he became the first Black actor to play the role of Dr. Pomatter in Waitress.

I took this occasion to talk to Henry, who was just announced along with Adrienne Warren as the Broadway stars to announce this year’s Tony nominations, about his first-ever stage role, to look back on his career so far and to also look forward to where and what Broadway might and should become. What follows are excerpts from our conversation that have been edited for length and clarity.

There’s so much more to hear from Henry, so I strongly encourage you to watch the full interview on our YouTube channel for stories about Carousel, tick…tick…Boom!, Stephen Sondheim and more.

I want to start by asking you about something that Harold Hill says in The Music Man, the first role you ever played which was at Florida Bible Christian School. He says “A man can’t turn tail and run just because a little personal risk is involved.” It strikes me as though that is the journey every actor takes to try to get on Broadway. What are the kind of risks that you feel you’ve taken that have been most successful for you in getting this career that you have now? 

I love that quote. I would say one of the biggest risks that I took was when I was doing In the Heights and it was my first Broadway show and Lin-Manuel [Miranda’s] first Broadway show. We had just won the Tony Award for Best Musical. I was in the ensemble and I had the opportunity to go to a principal role on Broadway in Godspell and play Judas. [In the Heights] was going to run for a long time. But I was like, Oh, I definitely see myself as a principal.

So I decided to put in my four weeks notice, leave and go do Godspell. And this was in 2008. Long story short, the show lost its investment and it didn’t happen. So I find myself in between these two amazing things, just right in the middle of a valley. That’s one of the biggest risks I took. I’m so glad that I took it early on because it showed me the highs and lows of the business and how I need to find something to sustain myself beyond the highs and lows. 

When you think of Broadway as it was back when you were doing In the Heights and Broadway as it is today, pandemic aside if that’s possible, what do you miss most from the way it was and what do you like most about what it is now? 

That’s a good question. I’ll start with what I love about what it is now. I think we’re just much more aware of bringing lots of voices to the table creatively and management wise and producing wise. For instance, Black folks are much more in control of their narrative and the way that they run their shows. I think that’s really important.

What do I miss about what was pre-pandemic or even 2008? For me, it was just this incredible community. It’s still an incredible community, but what struck me when I just got here was how it was just fun. It was just absolute fun. I came from Miami, Florida and coming up to New York in 2006 it was just this world of wonder. And I think now it’s not just fun for me anymore. It’s trying to do the right thing. It’s also fun, but now I’m much more aware and I’m much more strategic in how I’m trying to amplify different voices.

Last year I saw the revival of Caroline, Or Change, a show I loved when it was first on Broadway. But it felt like time and audiences had caught up with it in a way they didn’t the first time around. If The Scottsboro Boys was given a revival today do you think this awareness you mentioned might breathe new life into the show?

100 percent correct! Caroline, Or Change is a great example, it depends on the moment. The audiences in 2010 didn’t want to hear about this true story. I bet you now if Scottsboro Boys is on Broadway right now, oh my goodness! Art sometimes lines up with what’s going on. I’m so sad that I missed Caroline, Or Change because I heard it was incredible. Scottsboro Boys went to the West End and won some Oliviers there. It’s had a great regional life since I did it again at the Ahmanson Theater. It all depends on the moment and I do believe that if Scottsboro Boys came back right now that it would do really well.

You’re on Billy Porter‘s album The Soul of Richard Rodgers, which is completely a pop approach. I’m wondering how important you think it is for projects like that to exist so that people don’t think that Rodgers and Hammerstein or moving forward, even someone like Stephen Sondheim, is part of a previous generation or generations past, and that there’s still something viable about what these songs have to say and that young audiences should be paying attention to them.

The great thing about Stephen Sondheim music, Richard Rodgers music, is it’s just phenomenal storytelling, phenomenal lyric, incredible melodic lines. As someone who grew up in the 90s listening the R&B, pop, rock, jazz, I’m going to see great material through my lens and I’m going to want to interpret it like that, just like Billy Porter or Michael McElroy would want to in their lenses. And I think incredible material that speaks to us will stand the test of time and genre interpretation.

I’m glad to be part of a school of thought that wants to bring those incredible composers as current as possible just to people that don’t know and just think that that’s way back. And I hope that a lot of institutions now understand that and we can rethink some of these classics. They’re fine on their own. But what we’re talking about is bringing them to a newer audience and that’s going to take a little more fine tuning.

Do you remember your first audition for a Broadway show and the song you sang? What was it and what do you think your perspective would be on both how you think you performed it then and how you might perform it now?

Oh gosh, my first Broadway show was off-Broadway at the time, but it was In the Heights. I sang the song “Hear Me Out.” That was a song that Benny sang to Nina’s dad to be like, “Hey, listen. I can handle some more responsibility and I can handle your daughter. Just trust me.” It didn’t make it to Broadway, but that song it’s very hip hop and R&B.

It’s funny that the the title “Hear Me Out” means so much more to me now. I have a hat I was just wearing and it says, “Be Heard.” So like, hear me out, you know? Now I think about it in terms of Broadway. I want to be heard in a different way now. I want more voices to be heard.

If I’m going to sing that song now, though, oh gosh. You know what, Craig? I think I’m going to cover that. I’m going to cover that song. I’m going to put it on Tik Tok because I haven’t thought about it in a little while and I’m going to text Lin. I’m going to be like, “Yo, check this out.” I’m so glad that you brought that up. 

To watch our full interview with Joshua Henry, please go here.

Photo: Joshua Henry (Courtesy his Facebook Page)

The post Joshua Henry Talks All About Broadway appeared first on Cultural Attaché.

When Broadway star Rebecca Luker passed away last December of complications from A.L.S. (commonly known as Lou Gehrig’s disease), colleagues and journalists struggled to find enough superlatives to describe her incredible talent.

The New York Times hailed her “crystal clear operatic soprano.” Playbill recalled her “innate warmth, infectious joy, and gorgeous voice.” Broadway’s Laura Benanti called her “humble, loving and kind. So much so that you would sometimes forget her otherworldly talent, until she would sing, and her golden voice would wrap you in peace.” And Kristin Chenoweth, who called Luker an inspiration described her voice as “soprano heaven. I love you, Rebecca.”

On Tuesday, May 4th, Becca, a streaming show of music and stories from her three-decade career will take place at 7:30 PM ET/4:30 PM PT. The event is a fundraiser for Target ALS with all proceeds going to ALS research.

Participating in the concert will be Benanti, Sierra Boggess, Michael Cerveris, Chenoweth, Victoria Clark , Santino Fontana (they appeared in Cinderella together), Judy Kuhn, Howard McGillin, Norm Lewis, Kelli O’Hara, Tam Mutu and Sally Wilfert.

Wilfert and Luker recorded All the Girls, an album of songs about women and their friends, that was released late last year.

Luker originated the role of “Lily” in the musical The Secret Garden.

The show’s composer, Lucy Simon, is acting as honorary producer for this event. Frank DiLella, who hosts On Stage for Spectrum News in New York, will serve as the host. Mary-Mitchell Campbell and Joseph Thalken serve as co-music directors.

Luker was nominated for three Tony Awards: Best Actress in a Musical for her roles as “Magnolia” in the 1994 revival of Show Boat and as “Marian Paroo” in the 2000 revival of The Music Man and for Best Featured Actress in a Musical for her role as Winifred Banks in Mary Poppins.

Her other Broadway credits included The Phantom of the Opera, The Sound of Music, Nine and Fun Home.

She was married to Danny Burstein who is a Tony nominee this year for his role as Harold Zidler in Moulin Rouge The Musical.

I was only lucky enough to see Luker in one show: The Music Man. She was glorious. She truly sang like an angel.

It’s tragic that she was taken from her family, friends and colleagues at such a young age (she was 59).

Becca will be filled with joy, beautiful music and certainly a few tears. But could anyone help you feel better are such a tragic loss than Rebecca Luker herself?

Tickets for Becca begin at $20 and go higher based on your ability to pay.

All photos courtesy Rebeccaluker.com

The post Becca – A Concert Celebrating Rebecca Luker appeared first on Cultural Attaché.

“Who can turn the world on with her smile?
Who can take a nothing day
And suddenly make it all seem worthwhile?”

Foster’s joyful personality and abundant talent will be on full display when New York City Center begins streaming Bring Me to Light on Wednesday, April 28th at 7:00 PM EDT/4:00 PM PDT. The show will remain available for streaming on demand through May 31st.

Bring Me to Light will celebrate City Center and look forward to our collective return to that wonderful shared experience of sitting in a theater together.

Foster is a two-time Tony Award winner for her performances in Thoroughly Modern Millie and the 2011 revival of the Cole Porter musical Anything Goes. She is scheduled to appear in a revival of The Music Man with Hugh Jackman next year. (That show is undergoing some upheaval with the recent revelations about producer Scott Rudin that forced him to step away from the production.)

She appeared in New York City Center’s Encores! productions of The Wild Party (the Andrew Lippa version) and Anyone Can Whistle.

Joining Foster for this show are other alumni from City Center’s Encores! series:

Raúl Esparza, who hasn’t appeared in a Broadway show since 2012’s Leap of Faith and appeared in the 2019 Encores! production of Road Show; Joaquina Kalukango, seen on Broadway in The Color Purple and who also appeared in The Wild Party at Encores!; Tony Award-winner Kelli O’Hara who appeared in the 2015 revival of The King and I and Wren Rivera, a trans performer and one of Foster’s students at Ball University, will all be joining.

Bring Me to Light is directed by Leigh Silverman who directed Foster in the New York City Center Encores! production of the musical Violet that transferred to Broadway. Jeanine Tesori, composer of Thoroughly Modern Millie and Violet (and one of my favorite musicals Caroline, or Change), serves as the Creative Producer for the show.

Michael Rafter, who was Music Director for Violet and Thoroughly Modern Millie (and who happens to be Tesori’s husband), plays piano and serves as MD for this show. He is joined by guitarist Matt Hinkley (who played guitars in the orchestra for Violet).

Here’s some additional trivia for you: Bring Me to Light is also the name of a song from Violet.

What can you expect from this hour-long show? Songs from the musicals Anyone Can Whistle, Camelot, Oklahoma!, South Pacific, Violet and The Wild Party.

Tickets are $35 and allow for unlimited streaming through May 31st. Deluxe packages, priced at $135 and above, are available that include bonus content including behind-the-scenes footage of the making of the show.

After the turbulence of the pandemic, Bring Me to Light is going to make it clear to us that we’re gonna make it after all.

Photo: Sutton Foster in Bring Me to Light (Photo by Christopher Duggan/Courtesy New York City Center)

Lyrics to Love Is All Around by Sonny Curtis.

The post Bring Me to Light – Sutton Foster appeared first on Cultural Attaché.

Joining Jackman for these two performances, as she has at select other stops on the tour, is his co-star from The Greatest Showman, Keala Settle.

Which gives Jackman another source for material to pull from for this show. A look at the setlist from the opening night of his show in Glasgow shows the he performed a song by Queen, a song from the musical Carousel, music by Kurt Weill, one of the most beloved film songs of all time (from a certain 1939 movie), songs made famous by Frank Sinatra, Gene Kelly and others – all in addition to the material listed above.

That setlist did not include any songs from The Music Man which will be the musical that finds Jackman returning to Broadway next fall with Sutton Foster.

For tickets on Friday night go here.

For tickets on Saturday night go here.

Photo from Hugh Jackman: The Man, The Music, The Show courtesy of HughJackmanTheShow.com

The post Hugh Jackman The Man, The Music, The Show appeared first on Cultural Attaché.