One of the most popular musicals in history, The Lion King, will play at Sydney’s Capitol Theatre from December 2013.

The Lion King is a worldwide phenomenon. Since its Broadway premiere on November 13, 1997, 19 productions around the globe have been seen by more than 63 million people and grossed more than $4.7 billion. (See Dance Informa’s review of the Las Vegas production here).

In its 15^th year, The Lion King continues to reign as a cultural phenomenon and one of the most popular stage musicals in the world.  The Lion King is the seventh longest-running musical in Broadway history and one of only six productions in theatre history to play for ten years or more both on Broadway and in the West End.  The Lion King won six 1998 Tony Awards®:  Best Musical, Best Scenic Design (Richard Hudson), Best Costume Design (Julie Taymor), Best Lighting Design (Donald Holder), Best Choreography (Garth Fagan) and Best Direction of a Musical, making Director Julie Taymor the first woman in theatrical history bestowed with the honour.  The Lion King has also earned more than 70 major arts awards including a Grammy® for Best Musical Show Album and Laurence Olivier Awards for Best Choreography and Best Costume Design.

'Lionesses Dance' in The Lion King, Las Vegas. ©2009, Disney. Photos by Joan Marcus

On stage, Taymor’s creative vision blends elements of African art and Broadway artisanship to depict anthropomorphic animal characters.  The Broadway score features Elton John and Tim Rice’s music from The Lion King animated film along with many new numbers. The resulting sound of The Lion King is a fusion of Western popular music and the distinctive sounds and rhythms of Africa.

Thomas Schumacher, Producer and President of Disney Theatrical Productions said, “Australia has embraced our Disney stage musicals as warmly as audiences anywhere in the world and we are thrilled that The Lion King is being invited back. We look forward to re-introducing Sydney to Julie Taymor’s singular, captivating vision.”

The Lion King is an established tourism magnet for Sydney.  The last season ran for almost two years and played to 1.35 million people.  NSW Minister for Tourism, Major Events and the Arts, George Souris said “We wanted to ensure that Sydney would host one of the world’s most enduring musical events.” The 2013 production is expected to attract 50,000 visitors from interstate and overseas generating $36 million in new money for NSW.

Top photo: The opening number ‘The Circle of Life’ from The Lion King, Las Vegas.  ©2009, Disney.  Photo by Joan Marcus.

Published by Dance Informa dance magazine – everything dance in Australia – dance news, dance auditions & dance events.

By Laura Di Orio.

Dance and Broadway fans have a lot to look forward to this year with the new musical drama, Smash. With an all-star cast, exciting choreography and Steven Spielberg behind it all, this newest show to hit the dance television craze is sure to be a … well, smash.

Smash, which premieres in February on Foxtels’ W channel, tells the story of producing a Broadway musical – the ups and downs, the casting issues and real-life drama that threatens to hinder its progress. Debra Messing and Christian Borle play Julia and Tom, a successful songwriting duo, who hope to freshen up the Broadway scene and create a new musical based on Marilyn Monroe. Angelica Huston plays the musical’s producer, and other big stars like Uma Thurman and Bernadette Peters will make appearances throughout the series.

As if the theatre drama wasn’t enough for the characters, issues in life outside – an adoption and a potential divorce, just to name a few – make things even more difficult. But, like in life, the show must go on, and Smash’s Monroe musical must fight its way through opening night, when it’s up to the audience to determine its success.

Cast of Smash in rehearsal. Photo by Will Hart/NBC

The team behind Smash is a strong one – many with a Broadway past – and everyone is attached to the idea of making the show as realistic as possible. Spielberg will team with Craig Zadan and Neil Meron, both adept in Broadway shows and musical-inspired movies (they produced Chicago and Hairspray), as Smash’s executive producers. Marc Shaiman and Scott Wittman, songwriters from Hairspray, will write Smash’s catchy tunes.

Josh Bergasse, a NYC-based choreographer and faculty member at Broadway Dance Center, is the show’s lead choreographer for season one. Bergasse himself has danced on Broadway in Hairspray and The Life, and also on tour in Movin’ Out and West Side Story. With Bergasse in reign of the moves, Smash’s numbers will be exciting and athletic.

Already there is a strong online community for Smash’s fans, who have begun to proclaim themselves as ‘Team Ivy’ or ‘Team Karen’ and many of Smash’s songs will be available for sale on iTunes each week.

When the show starts airing this month, tell us what you think by posting your comments below.

Top photo: Megan Hilty as ‘Ivy Lynn’ in Smash. Photo by Will Hart/NBC

Direct from Broadway and a U.S Tour, an all-new Australian production of one the most successful American Broadway musicals of all time, A Chorus Line is coming to Adelaide and Melbourne.

Adelaide’s Debora Krizak will play the sexy, full of attitude character of Sheila Bryant in the stunning Pulitzer Prize and Tony Award winning musical, opening at Adelaide’s Festival Theatre on December 31.

Debora originates from Adelaide where she obtained a Bachelor Of Arts Degree in Performing Arts. Moving to Sydney in 2001, Debora made her music theatre debut in GFO’s The Producers in which she understudied and performed the role of Swedish secretary ‘Ulla’.

Performer Debora Krizak

“I am very excited about performing as Sheila in A Chorus Line and audiences can expect to witness a bird’s eye view into the grueling audition process that is a part of any music theatre performer’s life! It’s high energy, inspiring and full of emotion. Everyone in this show has to dance, sing and act. There’s no hiding. Not to mention the amazing score and iconic Michael Bennett choreography. I’m so thrilled Adelaide is getting a music theatre premiere,” Debora said.

“There are some strong characters in A Chorus Line which tells the stories of the dreams and aspirations of 17 dancers auditioning for eight stage roles in a musical. Sheila is certainly one of those strong characters who as part of her audition tells the story of her difficult childhood, with a mother who lived her life through Sheila and an unfaithful father,” Debora shared.

Sheila is Debora’s dream role. She first saw the film “A Chorus Line” with her Mum in 1985 and has always remembered Sheila who struck a chord with her and her song “At The Ballet” which is such a poignant part in the show.

Debora has also appeared in Calendar Girls, Respect The Musical, played Shania in Karaoke The Musical for Guy Noble and the role of Madame Aubert in Titanic a New Musical. She recently performed as Gina in Stalker Theatre’s physical theatre piece Shanghai Lady Killer. 

Other stage credits of Debora’s include lead vocalist for some of Australia’s most successful corporate touring acts as well as featuring as a solo performer for Tennis Australia, the Australian Grand Prix and the opening ceremony of the Paralympic Games to name a few. Debora has established a successful television career having hosted Network Ten’s The  Music Shop and has featured in many TV commercials, corporate videos and Australian films.

This new contemporary production comes direct from Broadway, directed and re-staged by Baayork Lee, with Musical Supervisor Peter Casey, produced by Tim Lawson and TML Enterprises. Producer Tim Lawson says “Audiences will be blown away by the talent of the cast we have auditioned.”

A Chorus Line

The cast will also include Josh Horner (Billy Elliot on Broadway, Tivoli, Dirty Dancing, Dancing With the Stars) who will play formidable Broadway director, Zach. Josh says “This role of Zach really speaks to me. You see people giving their heart and soul and you are in control of their dreams. I’ve been on both sides of that role so A Chorus Line mirrors perfectly my life as a dancer.”

A Chorus Line was originally conceived, choreographed and directed by Michael Bennett with music by Marvin Hamlisch and lyrics by Edward Kleban.  Director Baayork Lee has been involved in A Chorus Line since 1975, first as a dancer in the original Broadway cast creating the role of Connie, through to directing the show in the U.S. and now in Australia. 

Adelaide Festival Centre CEO and Artistic Director Douglas Gautier says “It’s the musical for anyone who has ever had a dream and put everything on the line to achieve it. Dance is so popular at the moment and we hope all those who love watching dance on television or the stage, together with the many who participate in dance classes will come out for what will be a thoroughly enjoyable night out.”

The original production of A Chorus Line opened in 1975. It won the Pulitzer Prize for Drama, nine Tony Awards, including Best Musical, Score and Book, and the New York Drama Critics’ Circle Award.  It ran for nearly 15 years, closing in 1990 after 6,137 performances, and was revived on Broadway in 2006.

A Chorus Line will run in Adelaide from December 31, before opening in Melbourne on February 4 at Her Majesty’s Theatre.

For more information and tickets visit www.achorusline.com.au

The ever-popular Broadway musical Annie will light up Sydney’s Lyric Theatre from 29 December in an exciting new production produced John Frost. Returning to the role of New York ‘zillionaire’ Daddy Warbucks will be one of Australia’s greatest theatrical talents, Anthony Warlow, fresh from his success in the title role of the World Premiere of Doctor Zhivago. Show business legend Nancye Hayes will play the tyrannical Miss Hannigan who runs the orphanage where Annie begins her journey. This is the third Australian production of Annie that Nancye has been involved with, having played Lily St Regis in the original production and been Assistant Choreographer for the second.

Joining Nancye as her scurrilous brother Rooster Hannigan is television and stage favourite Todd McKenney (The Boy From Oz, Dancing With the Stars). Playing Rooster’s “lady friend” Lily St Regis and Warbucks’ secretary Grace Farrell will be two leading ladies of musical theatre, Chloe Dallimore (The Producers) and Julie Goodwin (West Side Story) respectively. Making his musical theatre debut in the role of President Roosevelt (FDR) will be radio veteran Alan Jones.

Anthony Warlow as Daddy Warbucks

Announcing his all-star cast, Producer John Frost said, “I’m often asked when Annie will return to the stage, and I’m thrilled that for this new production we have the A-list of Australian musical theatre talent – Anthony Warlow reprising one of his favourite roles, Nancye Hayes putting her mark on the role of the mean Miss Hannigan, and Todd McKenney, Chloe Dallimore and Julia Goodwin who are the cream of Australian talent. And I know Alan Jones will surprise everyone in his musical theatre debut. Our production team is top quality as well – director Karen Johnson-Mortimer, choreographer Kelly Akers and musical director Peter Casey. You can bet your bottom dollar Annie will be a hit again in 2012!”

NSW Premier Barry O’Farrell said, “Over the coming years, Sydney will play host to a number of musicals, many of which will have their Australian and World Premiere season in Sydney and many of which will be produced by John Frost. Today we add another musical to the list, the Australian premiere season of Annie and making his musical theatre debut in the role of Franklin D Roosevelt will be Alan Jones. I’m sure his listeners will be the first in line,” Mr O’Farrell said. “In the last month we have announced that Sydney was chosen for the Australian Premiere of The Addams Family and the World Premiere of Strictly Ballroom. This is in addition to the recent highly successful first run of Doctor Zhivago, as well as Legally Blonde opening in Australia in June 2012”, he said.

Based on the popular Harold Gray comic strip “Little Orphan Annie”, the musical Annie burst into popularity in 1977 when it opened on Broadway. After running there for nearly six years, it has played in over 22 countries worldwide including the UK, Argentina, Japan, Germany, Sweden, Spain and Australia. Annie became a smash-hit movie musical in 1982 starring Aileen Quinn, Albert Finney and Carol Burnett that is adored worldwide and a fixture of popular culture references.

Annie first toured Australia from 1978 with a cast that included Jill Perryman, Hayes Gordon, Kevin Johnson, Nancye Hayes and Anne Grigg. Annie returned to the Australia stage in 2000 produced by John Frost starring Anthony Warlow, Amanda Muggleton, Jane Scali, Philip Gould and Angela Kelly. For this production, Annie’s lyricist and original Broadway director Martin Charnin wrote a new song for Anthony Warlow to sing in the show, an unprecedented honour for Warlow.

Annie is full of toe-tapping hits such as It’s the Hard Knock Life, Easy Street, You’re Never Fully Dressed Without A Smile, NYC, Maybe and everyone’s favourite song – Tomorrow. These wonderful songs have become staples of musical theatre repertoires worldwide and now, 34 years on, it remains one of the most loved and universally appealing musicals of all time.

Annie
Lyric Theatre, Star City From December 29
Bookings 1300 795 267 or ticketmaster.com.au

A New Baby for Broadway

Broadhurst Theatre, New York City
April 2011

By Deborah Searle.

Still in previews, Baby It’s You is a new show for Broadway with a similar script to the stage and screen hit Dreamgirls. The strength of the show is its infectious sound track of popular 50s and 60s music that has the audience dancing in their seats. With a score of famous tracks like “He’s So Fine,” “I Say A Little Prayer,” “It’s My Party,” “Shout,” and “Rockin’ Robin”, this show is set to be a huge success!

Inspired by the life of Florence Greenberg, the woman who in the late 1950′s took the male-dominated music industry by storm, Baby It’s You tells the story of a woman trying to change her life and the music industry. Along the way she pushes social boundaries, falls out of and in love and changes the lives of four young African American singing hopefuls. On a trailblazing journey from New Jersey housewife to record mogul, Greenberg launched the careers of some of the biggest recording stars of the 50s including one of the greatest girl groups of all time; ‘The Shirelles’, and Baby It’s You is a tribute to her success.

The show starts with a bang, immediately engaging us with an energetic song and dance number and we know straight away that we’re in for an entertaining night. This energy doesn’t falter and after the interval the show starts off again in fine form with an explosive song that draws us straight back into the story.

Tony Award winner Beth Leavel plays Florence Greenberg and is perfect for the role. She is believable, passionate and a consummate performer.  Leavel is backed by a brilliant cast that brings the story to life with impressive acting and piercing vocals. There isn’t much dancing in the show, but Kyra Da Costa as one of the Shirelles, is the strongest dancer of the cast, outshining the other performers with her obvious training and technique, and is a joy to watch.

Although the second act was a little drawn out, overall Baby It’s You is thoroughly entertaining and empowering. It’s the popular music that will drive the audience in, but it’s the convincing acting, interesting storyline and even the backdrop (complete with ever changing imagery across large screens) that will keep audiences strong.

Baby It’s You had me entertained, educated about the 50s/60s music scene, and literally dancing in my seat. Although I didn’t grow up in the story’s era, I enjoyed the show immensely proving that Baby It’s You is a great show for both young adults and Baby Boomers.

By Rain Francis

My knee-jerk reaction to the idea of Xanadu was a vague one of undefined distaste. The cult movie on which the show is based was a little before my time and I knew nothing about it. The said undefined distaste was probably related to the promotional material. I had caught one glimpse of the glaring hot pink, rainbow-clad extravaganza of a poster and shuddered. Little did I know that Xanadu the Musical had its tongue firmly in its cheek, and everything was going to be just fine.

The story, in case you’ve not seen (or have blocked out) the movie, begins with Sonny, a gifted artist struggling to find his voice, disillusioned by his day job. Enter Clio, a Greek muse direct from Mount Olympus. In some kind of administration error, Clio finds herself not in Venice, Italy, 1780, but Venice Beach, LA, 1980. Like any good muse would be, Clio is determined to inspire Sonny, so she disguises herself by donning roller skates and an Aussie accent, and by changing her name to Kira. Her mission is simple: to help Sonny achieve “the greatest artistic creation of all time” – the first roller disco.

Yes it’s the most unlikely premise ever, but it works. The script is fast-paced and funny, cheesy and camp in appropriate proportions. The soundtrack, performed by a band sharing the stage with the actors, is catchy. Kelley Abbey’s choreography is clever and flawlessly executed by the small cast. I’m sure I’m not alone in wishing the joyful roller disco finale, complete with what may be the biggest mirror ball known to man, had gone on for a bit longer.

Christie Whelan as Kira is beautiful, talented and funny, clearly winning the hearts of the audience with her first entrance. She has an amazing voice, which bears an uncanny resemblance to Newton-John’s. Whelan made her musical theatre debut in 2005 in Grease – The Arena Spectacular. She is definitely one to watch, having won the Sydney Critics’ Award for Best New Actress as well as being nominated for both the prestigious 2010 Helpmann and Green Room Awards.

The leading man, Sam Ludeman, steps up to the role of Sonny and is well-matched for Whelan. Ludeman is a graduate of Ballarat Academy of Performing Arts and comes to this role directly from finishing up with Fame the Musical.

Ludeman had a certain advantage to his role in that he had previous skating experience. He told me “even though I used to skate a lot when I was younger, and I felt fairly confident, there’s the element that you might fall over, and that’s a bit scary in front of 2000 people!”

Of her skating abilities, Whelan says, “there have been good days and bad days. Sam was already a pro so the bad days were mainly mine. The skating is just one of those things that you don’t have a lot of control over, so you kind of come out going ‘well, here’s hoping…’.”

A highlight of the opening night performance was having the original Kira, Olivia Newton-John, grace the stage. She introduced the show with a speech, drawing attention to the Olivia Newton-John Cancer and Wellness Centre, to which the previous night’s charity performance had been donated. She then joined the cast onstage for the reprise of the title-track finale, resulting in a standing ovation from the crowd.

Whelan and Ludeman were understandably humbled by Newton-John’s presence. “She’s a true star,” says Whelan. “Having her around and involved is just an honour. She gives so much love and light to us in the cast. She’s happy for us, she’s supporting us, and that’s just a beautiful thing.”

You don’t get the accolade of being ‘cult’ if you are everyone’s cup of tea. The creators of Xanadu The Musical have taken the best bits of the film (namely the soundtrack, the outrageous premise and the setting) and created something new; something which doesn’t take itself in the least bit seriously. Says Director Christopher Ashley, who also directed the Broadway debut, “the tone of it is absolutely committed ridiculousness”.*

Whelan agrees. “The script is completely taking the ‘mickey’ out of the movie – it takes everything that was bad about the film and makes it funny. People really relate to it. You don’t have to be a Xanadu fan because all the gags are just there, they’re so funny. It’s so much fun. Movie schmovie – it’s all about the stage show now.”   

Xanadu The Musical
Now showing until April 10
Grand Xanadu Marquee in Melbourne’s Docklands
www.xanaduthemusical.com.au

Photos: Copyright David Wyatt david.wyatt@capturingimages.com.au
www.capturingimages.com.au

* Quote from Your Neon Lights Will Shine by Karl Quinn, The Age 4/3/11

Lyric Theatre, Sydney
February 2011

By Elizabeth Ashley

‘Things might go bump in the night and if we happen to have a train wreck…but Anthony Warlow will be performing tonight!’  This unusual statement was how the director introduced the much-anticipated musical -Dr Zhivago – at the Lyric Theatre in Sydney.

The new production has had an unusual start to its ‘out-of-town try-out’ for the Broadway season with the leading man, Anthony Warlow suffering a calf injury in one of the final rehearsals. Tonight’s performance however went without a hitch, apart from minor sound feedback issues, and the star’s slight limp actually added credibility to his role.

This musical, based on Boris Pasternak’s novel, is a sweeping story of duty, passion, danger and fate. With neo-classical sets complete with Greco-Roman columns, romantic floating white curtains and the occasional use of video projection, we were taken on an epic journey from Imperial 19^th century Russia through the turbulent 1905 revolution and onto the First World War. 

Anthony Warlow remained dazzling; his voice ringing as clearly and easily as ever.  His beautifully controlled changing timbre of depth reflected ‘Zhivago’s’ inner life as he moved from idealistic young doctor cum poet to a man caught in a battle between heart and duty-bound conscience.

By comparison, Lucy Maunder’s ‘Lara’, the enigmatic woman who haunts Zhivago’s dreams and inspires his poetry, couldn’t quite inject sufficient presence and power to make us believe the passionate struggle between these two central stars.

Kelly Devine staged the choreography well. The Tavern scene displayed impressive Cossack dancing with the performers showing surprising agility and athleticism. The charming and intricate Mazurka performed in the first half was brought to a halt by a half-hearted murder attempt on charismatic ‘Viktor Komorovsky’ (Bartholomew John).  Some of the revolutionary scenes brought to mind similar formations in Les Misérables – red flags held aloft, the cast en masse triangular formation style. However, in this preview performance the cast seemed less than confident in attacking their roles.

Dr Zhivago runs for almost three hours. After a rather lacklustre first-half which attempted to cover too much history, the second half came alive. Drama built, the characters seemed to mature and hit their stride and Zhivago became more central as his voice transported us to a more intimate world. Video-projected images of war scenes and provincial poverty added historical ambience.

The singing and the story developed more believably; in particular the scene in the village library where the two women in Zhivago’s life came face to face was aesthetically beautiful and poignant. Lara and Tonia’s voices harmonised perfectly and the emotional power of Warlow’s voice during the closing graveside scene left me with goose bumps. At one point I became mesmerised by the delicately flowing hands of Kellie Dickerson caught by shafts of light, as she conducted the emotive score.

With some added confidence from the cast, this sensitive production has the potential to take Broadway. A standing ovation for Anthony Warlow was absolutely deserved and testified to the audience’s enjoyment. The other standout performances came from Martin Crewes as the political radical ‘Pasha Antipov’ and Taneel Van Zyl, Zhivago’s wife, who both commanded our attention with their presence and strong personas.

By Deborah Searle.

Jason Gilkison’s ballroom sensation Burn The Floor is touring across the States, after a record-breaking run on Broadway. Burn The Floor, the electrifying Latin and ballroom dance spectacular, has thrilled audiences in over 30 countries, bringing the fire and passion of ballroom dance to the theatre.  Burn The Floor is ballroom – reinvented.  This tour, featuring all-new choreography, and many talented Australian dancers, including Robbie Kmetoni (Season 3 winner of SYTYCD), is wowing audiences and setting hearts ablaze.

Dance Informa spoke behind the scenes with three of Australia’s finest dancers.

How do you keep the passion and performance alive after so many shows?

Damien Samuel
Every show is a new audience – a fresh crop of people that we strive to amaze, inspire and leave in wondrous awe from the moment the first music note hits till the curtain touches the floor. We feed off our percussionists’ heart pounding rhythms and we make each and every performance as powerful and electrifying as we possibly can.

Faye Huddleston
Sometimes it just takes a few seconds on my own thinking about my life to realise how lucky we are to be doing what we love and have such passion for, because we forget sometimes.

Robbie Kmetoni
I see each show as new and important, adding my own little touches that change every show, so that I’m enjoying myself every show. The passion needs to be there from the beginning, as it is hard work. Dedication is needed 110%.

What is your favorite thing about Burn The Floor?

Damien Samuel
Seeing Burn The Floor and Jason Gilkison is the reason I started dancing 11 years ago. I was once an audience member screaming my head off at how brilliant the show was and now being at the forefront of the world’s first and most elite ballroom dance production every day is a dream come true.

Robbie Kmetoni
My favourite thing about Burn The Floor is the cast I am with. They are such an amazingly talented, let alone friendly, bunch of people to work and tour with every day. It’s a blessing to be a part of such an incredible journey and show!

Faye Huddleston
I would have to say that my favourite thing has to be that we are not just a dance company but a family. I think that is the most important thing.

What unique challenges have you faced when learning and performing the routines?

Faye Huddleston
The challenge for me would definitely have to be stamina.  We do fast energetic routines that can last up to 4 to 5 minutes.

Damien Samuel
It is an intense physical regime that takes a real toll on your body. We have to make sure we are in crisp physical condition to be able to do this eight times a week. Injuries happen no matter how hard we try to prevent them, so we give 110% to every single performance because it very well could be our last.

Robbie Kmetoni
Being a contemporary dancer it was really difficult at first to learn the basics of how to dance Latin and ballroom, as I have never done a class of either. It was a huge struggle to fit in technically. It almost felt like I was a beginner again in the dance industry.

Why should audiences come to see Burn The Floor?

Faye Huddleston
This show is one of a kind and it appeals to all ages. It is ballroom reinvented. I don’t think people really know what to expect when they see this show, but we always see the audience dancing up the aisles on their way out.

Robbie Kmetoni
EVERYONE must come see this show. It is a jam-packed, energetic, sexy, sophisticated, entertaining and inspiring two hour dance show suitable for any age, male and female. You will not walk out unimpressed!

Damien Samuel
It really is a must see experience. Our live world class singers Peter and Vonzell and percussionists Henry and Joe are worth the admission alone, and then you have 20 world class dancers. It really is a feast for the senses and you can’t find anything like us anywhere else.

If the audience could walk away with one thing, what would you want it to be?

Robbie Kmetoni
I would just love the audience to walk away knowing how much love we put on stage to give them a great show. We pour out our hearts every single night so that the world can see how hard, yet how inspiring dancers and dancing can be. When we get a standing ovation from the crowd, there’s no other feeling like it.. ever!

Faye Huddleston
I’d like the audience to walk away wanting to learn to dance, if they don’t already.

Damien Samuel
Oh they never walk, they sing, they dance and they come back to see us whenever they can!

For more information, including tour dates and ticketing visit www.burnthefloor.com

Photos: Joan Marcus

A Dancer’s Hand guide to New York City

By Jessica Innes.

New York City is one of the most vibrant, exciting and culturally diverse cities I have ever had the pleasure of visiting. As a dancer, New York provides state of the art training facilities in an encouraging environment where creativity is nurtured and tenacity is admired. The “Big City” can be daunting due to its density and size, but this hand guide can help the aspiring performer to find all the hot spots. Make sure you get the most out of New York because there is so much to see and experience…it really is the city that never sleeps!

DANCE

Broadway Dance Center – Commercial dance at it’s best with the latest hip hop, street jazz and urban styles. You won’t want to miss Luam Keflezgy and Sheryl Murakami’s classes…they will blow your mind!
322 West 45^th Street, 3rd Floor, New York, NY
www.broadwaydancecentre.com

Steps on Broadway – Elite ballet and theatre dance classes taught in stunning studios with panoramic views of the city.
2121 Broadway and 74^th Street, New York, NY
www.stepsnyc.com

Peridance Capezio Center – A brand new, state of the art studio with cutting edge contemporary, modern and African classes.
126 East 13th Street, New York, NY
www.peridance.com

EAT

Ellen’s Stardust Diner – Enjoy dinner and a show as you step back in time with this retro diner. In between serving traditional American burgers and shakes, the talented waitstaff entertain you as they sing the best of Broadway.$ – Well priced with most meals under $20
www.ellensstardustdiner.com

Grimaldis Pizza – Even celebrities brave the long lines out the front of this famous coal brick oven pizza place located under the iconic Brooklyn Bridge. It’s definitely worth the wait for delicious pizzas with a downtown Italian atmosphere.
$ – Pizzas start from $14 and toppings are extra.
www.grimaldis.com

Dean and Deluca – For all those health nuts out there whose mouths water at the sight of fresh produce and gourmet delights. Take a selection from the extensive and exotic salad bar for a quick bite on the go or buy fresh bread, cold cut meats, spreads and groceries from these fine food purveyors.
$$ – It’s a little pricey for your weekly shop but fantastic for gourmet fresh foods and specific items.
www.deandeluca.com

SLEEP

Accommodation in New York City is quite subjective and can range from the very basic to highly excessive. A great option is to rent a house or apartment on a short term agreement as you get the full experience of living in the city and save valuable money on housekeeping and hotel services. It’s best to be located in one of the neighborhoods around the midtown area, however Manhattan is relatively compact and easy to travel around.

Roomorama is a website which allows you to browse properties to rent according to your needs. It’s very reliable and relatively easy to use.
www.roomorama.com

SEE

You can’t visit New York without being swept up in the magic of Broadway. If you’re a performer you will be gob smacked by the variety of shows and the talent they display. Get more for your money by entering the “Broadway Lottery” where you can apply for your choice of shows early in the day. If you’re a student you can make the most of the “Rush” seats which are sold when the Box Office opens on the day of the show [times vary.]

Check out www.playbill.com for information on current shows and ticket sales.

GO

New York is internationally recognised for it’s yellow taxi cabs, however the cheapest and often the quickest way to get around is via the subway. For US $27 you can obtain a weekly subway pass that will drop you within walking distance of anywhere you want to go. Make sure you’re wearing comfortable shoes as New Yorkers walk everywhere and with such amazing sights around every corner you’ll be sure to have a spring in your step.

SHOP

With the Australian Dollar so strong at the moment, New York is paradise for the shopaholic. Performers will relish in the halved prices of MAC, Benefit and NARS makeup products and Hip hop dancers will love the fresh street styles and cutting edge fashion. For hot urban wear check out Journeys www.journeys.com or if you’re feeling adventurous, trek into Brooklyn’s Flatbush Avenue for the funkiest hip hop shoes on the planet in stores like Jimmy Jazz www.jimmyjazz.com.

New York is a performer’s playground which awaits you with welcoming arms. So what are you waiting for?
Take a bite out of the “Big Apple” and discover the city where dreams are made.

Lunt-Fontanne Theatre
205 West 46th Street, NYC
Nov 2010.

By Jessica Innes.

Trick or treat? The Addams Family is a bewitching Broadway musical and an indulgent treat for anyone wanting a heart-warming experience full of madness and mayhem. This hysterical feast for the senses proves to be much more than just a comical farce, as it explores the universal themes of love, family, acceptance and growing up. Based on the original works of American cartoonist Charles Addams, the story hones in on Wednesday Addams newfound love Lucas and how their opposing families collide over an explosive dinner party.

With the spotlight focused on Wednesday Addams played by the bright eyed and incredibly talented Krysta Rodriguez, we were able to witness the young star’s piercing vibrato which was beautifully showcased in the number Pulled. However, it was the dynamic duo of Gomez and Morticia Addams, played by the side-splittingly funny Nathan Lane and the smouldering Bebe Neuwirth, that stole the show.  They commanded the stage with the nonchalant flair of true Broadway stars. The comic timing of Lane was impeccable as he reduced the audience to peels of laughter with just a single wink. Oozing sex appeal, Neuwirth was the envy of every woman in the audience with her svelte figure clad in a dress ‘cut to Venezuela’.

The music and lyrics of Andrew Lippa created a culturally diverse musical score with Spanish, Operatic, Big band and even Hawaiian influences. This added a little insight into the characters’ heritage and hidden talents… Who knew Uncle Fester could play the ukulele? Each musical number was the perfect accompaniment to Serjio Trujillo’s picturesque choreography, which ignited the imagination of the audience. 

The Tango de Amor was an essential moment of passion between Gomez and Morticia, however it also revealed the technical abilities of the company, whose staccato footwork was executed with attack and vigour. The Moon and Me was a dazzling display of lights, illusion and humour as Uncle Fester appeared to fly up to the moon, which he toyed with like a basketball all star. With an entirely blacked out set, the beautiful simplicity of this number showed that the sheer brilliance of the content is what drives the success behind this musical.  Nevertheless, the rest of the show was a true mega musical spectacular with huge sets boasting intricate details right down to photo frames and cobwebs on the mantelpiece.       

I felt like one of the family as the characters continuously broke the ‘fourth wall’ and spoke directly to the audience. Set in New York City, the show seemed to be custom made for a Broadway audience and the personal jokes further strengthened the actor/audience bond. The script was bursting with inter-textuality as the writers Elice and Brickman drew from many references including The Sound of Music and children’s nursery rhymes, which were morbidly mutilated to become moments of sheer brilliance.

The mood intensified in Act Two through an array of duets which showed the vulnerability of even the most robust characters. Nathan Lane showed touching tenderness in the ballad Happy/Sad which dealt with Gomez’s paternal reluctance to let Wednesday grow up. Writers Elice and Bickman noted the importance of the word ‘family’ in the musical’s title which they claimed was it’s “point of origin, and the guiding principle.”

The show continued to deliver hit after hit and the finale was a knockout with the triumphant number Move Toward the Darkness. The Addams family brought light to the darker side of life with a truly stellar array of musical numbers and a star-studded cast. They’ll make you laugh, they’ll make you cry and they’ll definitely make you blush. The Addams Family was a frightfully fun night not to be missed!

For tickets and information visit www.theaddamsfamilymusical.com

Photos: Joan Marcus