Barrington Stage Company Presents The World Premiere Musical “THE ROYAL FAMILY OF BROADWAY” Choreographed by Joshua Bergasse

“The Royal Family of Broadway features musical direction by Vadim Feichtner (Broadway’s Falsettos), is choreographed by Tony Award nominee and Emmy Award winner Joshua Bergasse (BSC’s The Pirates of Penzance, “So You Think You Can Dance”), and is directed by Tony Award winner John Rando (Broadway’s On The Town, Urinetown).

A brilliant musical comedy, The Royal Family of Broadway is a masterful love letter to the Great White Way. Set in the 1920s and loosely based on the legendary Barrymores, it centers around the Cavendish family of actors: an aging imperious grande dame, a Broadway star looking for love, a self-centered boozy leading man who has fled Hollywood, and a promising ingénue – each having to make pivotal choices in their lives.”

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THEATRE REVIEW: Barrington Stage’s “The Royal Family of Broadway” is Broadway Worthy

“John Rando and Joshua Bergasse have delivered a delicious morsel with this show. The dancing is hyperactive and intricate and romantic and challenging. The staging of the play is dynamic and strong, very definitive in the choices made and sometimes a bit daunting as people appear and disappear as though they were not real characters but only illusions. The theatricality of that is very much in keeping with the tone of the show throughout: The Cavendishes deal with whatever and whoever they need at the moment, and then it’s on to the next scene. Rando gets it right. The show profits from his vision and insight.”

– J. Peter Bergman, The Berkshire Edge

Photo Flash: “JEROME ROBBINS’ BROADWAY” Opens The Muny’s Centennial Season Starring Sarah Bowden

“In its first staging ever in the world since its original Broadway production and tour, Jerome Robbins’ Broadway is an epic musical anthology that honors the career highlights of Tony Award-winning director and choreographer, Jerome Robbins. Filled with mesmerizing production numbers from some of Robbins’ biggest hits, including West Side Story, On the Town, Peter Pan, The King and I and Fiddler on the Roof.”

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Sara Mearns Social Media Takeover

“New York City Ballet principal Sara Mearns, who is currently performing at Spoleto Festival USA in NEW BODIES, took over our Instagram, giving fans an opportunity to follow her around Charleston. The South Carolina native took followers along as she walked down King Street, set up her dressing room, and showed how her fellow dancers got into character before opening night.”

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Review: Classical Dancers Interpret Post-Modern Work of Jodi Melnick

“It is especially thrilling to see Columbia-native Sara Mearns walk through the audience and enter the stage from the front of the theater — quite a different perspective than the usual majestic Lincoln Center stage entrance. She is joined by fellow dancers Angel and Stanley (the latter new to the role after the original dancer suffered an injury). All three are commanding in this exquisite performance which is stripped of the adornment and affectation often seen in traditional ballet. The sheer simplicity and straightforward dancing makes the powerful presence of the dancers extraordinary.

– Eliza Ingle, The Post and Courier

NYCB Dancers & Choreographer Jodi Melnick Experiment with the Body

“A New York City Ballet principal dancer and an award-winning choreographer merge artistry and experimentation in their performance of New Bodies.

For both classical ballet dancer Sara Mearns, 32, and post-modern choreographer Jodi Melnick, 54, stripping themselves of previous body formations and allowing for unrestricted movements is what they envisioned for the five Spoleto Festival USA performances June 7-10 at the Emmett Robinson Theatre.”

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Sara Mearns & Ballet Dancers Let Loose in Jodi Melnick’s Double Bill

Mearns‘ interest in shaking up, and going beyond, the erudite and hallowed institution of classical ballet isn’t new. She had arrived at modern dance as an established disruptor. (New York Times chief dance critic Alastair Macaulay once wondered whether she was “too forceful, too sultry, too broad,” among other descriptors not typically assigned to ballerinas, before ultimately deciding that he loved her.)”

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