A sensational online cabaret series hosted by 5-time Grammy Award nominee Michael Feinstein. December 2nd-5th.
“Theatre Under the Stars has once again staged a double-back flip of a dance piece and stuck the landing. Directed by Julie Kramer, this ensemble is as good as any. Nowadays it is rare to find true “triple threats,” performers who can act, sing and dance to a high degree. TUTS’ “A Chorus Line” assembles nearly 20 multi-talented actors of such caliber.
Sarah Bowden is fearless as Cassie, while Samantha Marisol Gershman shines as vocal powerhouse Diana. Sean Ewing’s solid baritone voice cuts through the spacious Hobby Center with ease, while Leeds Hill’s acting as Greg comes across as unvarnished and honest.”
“Musik Und Ein Spiegel.
It may not have quite the same ring to it as “The Music and the Mirror” to the average, musical theater-loving American, but it’s quite familiar to triple threat Sarah Bowden, who has traveled and performed around the world including, yes, playing the role of “Cassie” from A CHORUS LINE in an entirely German production.
Bowden is currently in Houston, where she’s reprising the role of “Cassie” for Theatre Under the Stars’ 51st season opener. Bowden was kind enough to chat with Broadway World Houston via email to tell us the differences between playing Cassie in English and German, explain why Michael Bennett‘s musical still resonates with audiences, and share a little insight into the auditioning process.”
Read more here.
“In her show Beyond Ballet, presented this week at Jacob’s Pillow Dance Festival, Sara Mearns, a star principal dancer with New York City Ballet, joins a long line of big-name ballet dancers who’ve leapt over any perceived dividing lines between ballet and modern dance. Sometimes Mearns has skipped over that line, à la Isadora — in recent years she’s performed some of Duncan’s iconic solos — or slithered over that line, à la Merce: in April she danced in “Night of 100 Solos,” the worldwide Cunningham centenary celebration.
Mearns, who gobbles up space with a thrilling largesse, a glistening musicality, and a formidable, clarifying technique, is an authentic mover regardless of what she’s dancing. This doesn’t mean she’s now a Duncan or a Cunningham expert — she’s not: these things take time and deep immersion. But she’s interested in exploring their movement, and is thus interesting to watch.”
“‘Ballet is comfortable to me. So I want to get out of my comfort zone literally and doing these other things gets me out of that. It also makes me a stronger dancer and more full artist. So when I do come back to City Ballet, in a way I feel more myself when I’m on stage. I feel like a stronger artist. It’s hard to explain but all these experiences really help me in my ballet career.’
One of the five pieces Mearns will perform this week at Jacob’s Pillow is No. 1 with Honji Wang of the French hip-hop duo Wang Ramirez. Created in 2017, No. 1 is a Pillow-commissioned work that brings together French hip-hop duo Wang Ramirez (Honji Wang and Sebastien Ramirez), recipients of two Bessie Award recognitions (2013 award for Outstanding Performers and 2017 nomination for Outstanding Production) and Sara Mearns.”
“Earlier this summer, Sara Mearns came to a shocking realization: She hadn’t worn a pair of point shoes in four and a half weeks.
At City Ballet, Ms. Mearns, 33, is lauded for her musicality, daring and indelible old-school glamour. She moves so big, yet doesn’t sacrifice delicacy. But though she is one of the most celebrated ballerinas in the world, she isn’t tethered to ballet. She’s curious; she wants to experience as much as she can in the body that she has now.”
“WICKED is also a difficult musical to sing. The two women playing the witches do most of the vocal work, and one of them has to hit that high F in “Defying Gravity.” The night I saw the show, that job fell to Sarah Anne Fernandez, who is the understudy for Elphaba. (Before you get nervous about that, remember that Sutton Foster was originally the understudy in Thoroughly Modern Millie, a show for which she went on to win a Tony.) Fernandez is phenomenal — she can belt with the best of them, but also brings out the depth of Elphaba’s character.“
“As someone who listened to the cast recording of Wicked with the mega-talented Idina Menzel as Elphaba for 15 years, hearing someone else belt out ‘Defying Gravity’ may have been weird but I was lucky enough to see Sarah Anne Fernandez step into the role as an understudy. She was phenomenal.“
“Pepe Nufrio unexpectedly brings down the house early on in the show with his performance of “Those Magic Changes”. Nufrio continues to impress in all subsequent scenes and seems to have a never ending supply of energy. I particularly enjoyed watching him during the dance sequences.
Grease at Pioneer Theatre is a joyous celebration of the nostalgia of 1950’s America. If you are looking for a fun evening that takes you back to a simpler time, Grease is the perfect evening out. Grab your leather jacket, slick your hair back, or put on your poodle skirt and don a high ponytail and make your way over to Pioneer Theatre to see their production of Grease. I dare you not to tap your toes.”
“Choreographer Lorin Latarro knows what it takes to sustain a career in the theatre world. As a veteran of 14 Broadway shows as a dancer, Latarro has made her mark as a choreographer for almost a decade. Her work is currently represented on Broadway in the show, Waitress.
Latarro spoke with Dance Network about her recent successes, her advice to dancers who want to make the transition to choreographer and a sneak peek at Almost Famous, the stage adaptation of the 2000 Cameron Crowe film. It will have its world premiere at The Old Globe in San Diego beginning this fall.”