Tag Archives: Stephen Sondheim

Monday, November 5, 2018

Herbie leaves Rose – Gypsy (1993) HD + Small World Redux – Video

Herbie leaves Rose - Gypsy (1993) HD + Small Word Redux

SMALL WORLD - Bette Midler From the Broadway Musical "Gypsy" (1959) (Music: Jule Styne / Lyrics: Stephen Sondheim)

Funny, you're a stranger who's come here Come from another town Funny, I'm a stranger myself here Small world, isn't it? Funny, you're a girl who goes trav'lin' Rather than settlin' down Funny, 'cause I'd love to go trav'lin' Small world, isn't it? We have so much in common It's a phenomenon We could pool our resources By joining forces from now on Lucky, you're a girl who likes children That's an important sign Lucky, 'cause I'd love to have children Small world, isn't it? Funny, isn't it? Small and funny and fine (bridge) Lucky, 'cause I'd love to have children Small world, isn't it? Funny, isn't it? Small and funny and fine
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Monday, March 5, 2018

The Oscar for best original song is a garbage category – Bette Midler Proves It In One Segment

The Washington Post
The Oscar for best original song is a garbage category
By Dan Zak
March 2 at 1:42 PM


CLOCKWISE FROM TOP LEFT: Phil Collins grasps his Oscar in 2000; Robin Williams performs “Blame Canada” the same year; Mariah Carey, left, and Whitney Houston perform “When You Believe” in 1999; and, from left, Peter Allen, Christopher Cross, Burt Bacharach and Carole Bayer Sager claim their shared prize in 1982. (Hector Mata/AFP/Getty Images; Timothy A. Clary/AFP/Getty Images; Clary/AFP/Getty Images; ABC/Getty Images)

Remember when Ann Reinking lip-synced — and danced to — “Against All Odds,” the No. 1 hit by Phil Collins from the movie of the same name, at the Academy Awards in 1985? No?

It was nearly five minutes of theatrical fog, odd lunges and wide-eyed emoting, and Collins had to watch the slow-motion oddity from his seat. The academy wanted a “variety” of entertainers to perform the nominees for best original song, so it didn’t enlist the English rocker, then at the peak of his career. Read More

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Tuesday, February 6, 2018

Bernadette Peters: The Broadway legend on her Hollywood problem, using theater as therapy, and replacing Bette Midler

Vulture
The Broadway legend on her Hollywood problem, using theater as therapy, and replacing Bette Midler
By David Marches
February 5, 2018

Fabulous fan art from @heidschoetter! ???? #HelloDolly

A post shared by Hello, Dolly! (@hellodollybway) on

Since coming to theatrical prominence in the mid-’70s and attaining even shinier status the following decade (thanks largely to her work in the original production of Stephen Sondheim’s Sunday in the Park With George), Bernadette Peters has occupied an unusual dual position. She’s both a very particular type — a bona fide Broadway star, one of the few remaining — and in her warmth, humor, and vulnerability, utterly unique as a performer. “I understand that other people might see something special in what I do,” says Peters, dressed all in black, her famous red curls flowing over shoulder, and speaking (graciously, cautiously) from a meeting room in her publicist’s office in midtown Manhattan, “but I don’t think I’m the one who can say what that is.”

Peters, 69 years old and a three-time Tony Award winner, is currently starring in an acclaimed Broadway revival of Hello, Dolly!, having taken over the title role from Bette Midler, as well as the new season of Amazon’s Mozart in the Jungle. “I never think about things like legacy,” she says. “I don’t think that’s how you should think about what you do. For me, the thing is always the work I’m doing now.” She twists the chunky black ring she’s wearing. “That’s why I love the theater so much — the only thing that matters is that night’s show.” Though, as she’ll explain, a few other things matter too.

 

You’re stepping into the lead role of Hello, Dolly! in the middle of its run, which is relatively rare for a performer of your stature. But this isn’t the first time you’ve made that move. Do you think other stars’ reluctance to do it is just about professional competitiveness? Read More

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Tuesday, December 19, 2017

David Rooney: The Best New York Theater of 2017

The Hollywood Reporter
David Rooney: The Best New York Theater of 2017
12/13/2017 by David Rooney

Jitney

Joan Marcus

Every major production of an August Wilson work is a stinging reminder of the loss of one of American drama’s most uniquely resonant voices. But this belated Broadway debut of the play that launched his magnificent 10-part chronicle of African-American experience in the 20th century — directed by Ruben Santiago-Hudson with penetrating emotional depth and irrepressible humor — was something extraordinary. Gritty and lyrical, joyful and sorrowful, the play examines black struggle through the prism of a Pittsburgh gypsy-cab company in 1977, its denizens portrayed here by a peerless ensemble that found music in every note.

From left: Michael Potts, John Douglas Thompson, Anthony Chisholm, Keith Randolph Smith and Andre Holland in 'Jitney'

The Wolves

Courtesy of Julieta Cervantes

Vibrant ensemble work also is key in Sarah DeLappe’s subtly crafted study of young women navigating the tricky precipice of adulthood. Lila Neugebauer directs the nine fearless performers playing members of a girls soccer team with a palpable connection to their deeply felt experiences — good and bad — providing unfiltered access to the raw volatility and fear of adolescence. Deceptively loose in structure and yet skillfully shaped, the play’s observations shift with uncommon grace from funny to heartbreaking, forming both a group portrait and a highly individualized series of revealing snapshots.

A scene from 'The Wolves'

 

Springsteen on Broadway

Rob DeMartin

The solo stage memoir is perhaps the most over-trafficked subgenre in the contemporary theatrical landscape — far too often by writer-performers whose stories fail to justify the self-scrutiny. But with his unerring instinct for illuminating detail and ability to reframe his superstar experience as that of an everyday, working-man American, Bruce Springsteen combines spoken excerpts adapted from his autobiography, Born to Run, with corresponding song selections in a narratively robust concert-confessional notable both for its thrilling intimacy and its sense of communal celebration.

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Sunday in the Park With George

Courtesy of O&M Co.

No musical delves deeper into the painful difficulties of the creative process than this 1984 dramatic diptych by Stephen Sondheim and James Lapine, which leaps from the clubby art world of 1880s Paris to the corresponding scene in America a century later to explore the transcendent birth of harmony out of chaos. Expanding on their work in an earlier concert staging, Jake Gyllenhaal and Annaleigh Ashford led a superlative cast, bringing startling emotional candor to Sarna Lapine’s exquisitely sung production.

Jake Gyllenhaal in 'Sunday in the Park With George'

 

A Doll’s House, Part 2

Courtesy of Brigitte Lacombe

What could have been merely a deconstructionist gimmick turned out instead to be a wickedly spiky consideration of marriage and gender roles across the centuries in Lucas Hnath’s playful “sequel” to the classic Ibsen drama. In Sam Gold’s bracingly lithe production, from the moment the incomparable Laurie Metcalf walked through the door that Nora Helmer had slammed shut behind her, this was timeless sociocultural debate elevated to the championship theatrical leagues. Quite unexpectedly, it was also one of the funniest plays of the year.

Chris Cooper and Laurie Metcalf in 'A Doll's House, Part 2'

 

Sweeney Todd

Joan Marcus

How do you extract fresh chills from a musical masterwork that has been produced in seemingly every possible size and shape from Industrial Age epic to stripped-down spookhouse chamber piece? Originally staged in a traditional South London pie shop, faithfully recreated off-Broadway, this immersive production of the obsessive revenge tale by Stephen Sondheim and Hugh Wheeler stuck us smack in the middle of the throat-slashing action with a Grand Guignol glee that made us feel the cold steel of the razor and smell the blood.

Siobhan McCarthy and Jeremy Secomb in 'Sweeney Todd'

Mary Jane

Joan Marcus

Carrie Coon followed her breakout TV work on The Leftovers and Fargo with a riveting return to the stage in this infinitely moving yet rigorously unsentimental portrait by Amy Herzog of a mother caring for a chronically ill child while struggling to remain a vital individual beyond that all-consuming role. Anne Kauffman’s lucid, unfussy production gracefully sidestepped the conventions of the medical drama to explore questions of life, death and sacrifice with rare humanism and gentle spirituality.

Liza Colon-Zayas (left) and Carrie Coon in 'Mary Jane'

Hello, Dolly!

Courtesy of Julieta Cervantes

Who would have guessed that the old girl still had so much life in her? I’m talking about the 1964 musical warhorse, adapted by composer-lyricist Jerry Herman and writer Michael Stewart from Thornton Wilder’s The Matchmaker. As a triumphant vehicle for Bette Midler’s return to the musical-theater stage after a half-century’s absence, this was sheer perfection, flanking the indomitable star with a top-drawer cast that includes a never-funnier David Hyde Pierce. Jerry Zaks’ lovingly revitalized restoration was no less delightful with Midler’s divine alternate, Donna Murphy. The show rejoices in the uplifting values of popular Golden-Age Broadway entertainment, and will no doubt continue to do so in January, when Bernadette Peters and Victor Garber step into the lead roles.

David Hyde Pierce and Bette Midler in 'Hello, Dolly!'

Once on This Island

Courtesy of Joan Marcus

In his second Broadway production, actor-turned-director Michael Arden works magic with his environmental staging of the 1990 musical fairy tale by Lynn Ahrens and Stephen Flaherty. Enhanced by visual suggestions of real-world natural disasters from Haiti to Puerto Rico, this rousing hymn to community and resilience is performed by a superb cast of 20, all equally invested in the transformative power of storytelling and the healing energy of song. It also announces an instant star in enchanting discovery Hailey Kilgore.

From left: Mia Williamson, Alex Newell, Hailey Kilgore and cast in 'Once on This Island'

Pacific Overtures

Courtesy of Joan Marcus

Perhaps the most adventurous work in the Sondheim canon, this 1976 musical about the Westernization of Japan, written with John Weidman, unfolded with haunting narrative simplicity in John Doyle’s elegantly streamlined, modern-dress production, featuring a statesmanlike George Takei as the narrator figure known as The Reciter. The staging’s calligraphic delicacy revealed new emotional shades in one of the composer’s most idiosyncratic scores, drawing out both ongoing relevance and understated poignancy in themes of globalization, cultural isolationism and bullying foreign policy.

From left, Steven Eng, Megan Masako Haley and Ann Harada in 'Pacific Overtures'

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Thursday, October 26, 2017

‘Diva Whisperer’ Richard Jay-Alexander opens conversation series in Miami Beach

South Florida
‘Diva Whisperer’ Richard Jay-Alexander opens conversation series in Miami Beach
By Rod Stafford Hagwood
October 25, 2017

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Theater director, producer and all-around impresario Richard Jay-Alexander has worked with showbiz legends Barbra Streisand, Bette Midler, Julie Andrews, Kristin Chenoweth and Bernadette Peters.

“They call me the Diva Whisperer in social media,” Jay-Alexander, 64, says from his home in Miami Beach. “I look at the roster of stars, and I guess I understand it.”

You can hear him dish about those bold-faced names and more at “A Conversation With … Richard Jay-Alexander,” a live interview and Q and A session taking place Oct. 26 at the Jewish Museum of Florida-FIU in Miami Beach. Jay-Alexander’s appearance will launch the onstage conversation series with local A-listers, which organizers say will also include film director Brett Ratner (“Rush Hour,” “Horrible Bosses”) and documentarian Billy Corben (“Cocaine Cowboys,” “Dawg Fight”) sometime in early 2018. Each event will have a different person facilitating the conversation. In Jay-Alexander’s case, the one-on-one will be with his longtime friend Lee Brian Schrager, the founder of the South Beach Wine and Food Festival.

Richard Jay-Alexander

“I liked that it was a conversation as opposed to just a lecture,” says Susan Gladstone, director of the museum. “The 92nd Street Y has been doing this for some time in New York City, so the concept is very well known there. It’s a concept I always thought was very interesting.”

Gladstone says they gave the idea a trial run in April with a conversation between George Feldenkreis, CEO of Miami-based apparel giant Perry Ellis International Read More

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Thursday, September 28, 2017

‘Sunday in the Park With George’ 2017 Broadway cast recording: Jake Gyllenhaal enters Grammy contest against Bette Midler, Ben Platt

Gold Derby
Sunday in the Park With George’ 2017 Broadway cast recording: Jake Gyllenhaal enters Grammy contest against Bette Midler, Ben Platt
David Buchanan
Music Sep 25, 2017 11:00 am

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Jake Gyllenhaal may have missed out on a chance to win a Tony Award for his performance in the recent revival of Stephen Sondheim’s masterpiece musical “Sunday in the Park With George” (the producers decided to withdraw the production from Tony consideration), but he will have a chance to add a Grammy Award to his mantle for his performance. The 2017 Broadway Cast Recording of the production received a digital release on Sept. 22, just eight days before the eligibility cut-off for the 2018 Grammys.

Recorded just days after the limited engagement closed on April 23, the Warner Music Group’s recording seemed to have an interminably long gestation period, keeping fans of the production on pins and needles. The long wait appeared to be worth it, though, with the 19-track recording earning early praise online for the cast’s vocal performances, its sumptuous orchestrations and meticulous sound-mixing. In addition to Gyllenhaal, the album boasts the talents of Tony-winners Annaleigh Ashford (“You Can’t Take it With You”), Ruthie Ann Miles (“The King and I”) and Robert Sean Leonard (“The Invention of Love”), previous Tony nominees Brooks Ashmanskas (“Martin Short: Fame Becomes Me”), Phillip Boykin (“The Gershwin’s Porgy and Bess”), Penny Fuller (“Applause”), as well as the rest of the production’s cast.

Gyllenhaal and Ashford, likely to be considered the only “principal soloists” on the recording, face particularly stiff competition for the Grammy. Other notable albums in contention at the upcoming ceremony include the new Broadway cast recording of “Hello, Dolly!” starring world-renowned, Tony-winning performer Bette Midler, the Billboard-charting “Dear Evan Hansen” original Broadway cast recording that captures Tony-winner Ben Platt’s praised performance, the original Broadway cast recording of “Natasha, Pierre, and the Great Comet of 1812” featuring four-time Grammy nominee Josh Groban, as well as the albums of Tony-nominated shows “Groundhog Day,” “Come From Away,” and “Falsettos.” The London cast recording of “Dreamgirls,” featuring Grammy nominee Amber Riley, could also earn a nomination just as the West End recording of “Kinky Boots” did last year.

Though premature to discuss a frontrunner without the official list of nominees, “Dear Evan Hansen” seems to be the recording to beat. Not only did the album break into the mainstream consciousness in a way few cast albums usually do, but the Grammys tend to shy away from awarding recordings of revivals. Since 2000, only four revivals have won in this category (“Annie Get Your Gun” [2000], “Gypsy: A Musical Fable” [2004], “West Side Story” [2010], “The Color Purple” [2017]). With the star-wattage on display on the “Hello, Dolly!” and “Sunday in the Park with George” recordings, though, voters may be tempted to buck tradition.

Other cast recordings released within the eligibility window that stand less of a chance of contending for the prize include “A Bronx Tale,” “Amélie,” “Anastasia,” “Bandstand,” “Charlie and the Chocolate Factory,” “Irving Berlin’s Holiday Inn,” “In Transit,” and “War Paint.”

2 thoughts on “‘Sunday in the Park With George’ 2017 Broadway cast recording: Jake Gyllenhaal enters Grammy contest against Bette Midler, Ben Platt”

Jeffrey Kare says:
September 25, 2017 at 11:50 am
A few things I’d like to point out about some of the potential nominees…

The original Broadway cast recording of “Dreamgirls” managed to win back in 1983. The soundtrack for the film version was nominated for Best Compilation Soundtrack for Visual Media in 2008, while one of the new songs (‘Love You I Do’) won Best Song Written for Visual Media.

The original Broadway cast recording of “Hello, Dolly!” was nominated back in 1965, but lost to “Funny Girl”. The new cast recording features Bette Midler, who has won three Grammys in the past. We’ve seen that help “The Color Purple” last year not only with Cynthia Erivo’s powerhouse performance, but also the fact that previous Grammy winner Jennifer Hudson was a principal soloist on the album as well.

The original Broadway cast recording of “Sunday in the Park with George” did win back in 1985. In fact, Stephen Sondheim musicals have had a pretty good track record with this category.

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Friday, December 30, 2016

7 Diva Performances Not to Miss in 2017

Playbill
7 Diva Performances Not to Miss in 2017
BY ANDREW GANS
DEC 30, 2016

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If the first half of the 2016-2017 Broadway musical season focused the spotlight more on the men—Josh Groban’s soaring vocals in Natasha, Pierre & The Great Comet of 1812; Christian Borle and Andrew Rannells’ heartfelt performances as Marvin and Whizzer in the revival of Falsettos;and the superbly gifted Ben Platt, whose performance in the title role of Dear Evan Hansen may have raised the bar even higher for male musical theatre actors—it is the women who seem poised to steal the limelight in the second half. In fact, following memorable fall performances by Rachel Bay Jones, Stephanie J. Block, and Denée Benton, there are seven major talents heading to The Great White Way in the New Year who, simply, should not be missed. These artists, arranged in chronological order by their show’s first preview dates, follow:

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Glenn Close (Richard Hubert Smith)

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I spent a good deal of the mid-to-late ’90s (as well as several dates in the current century) catching the wonderful women who played deluded silent-screen star Norma Desmond in Andrew Lloyd Webber’s musical version of the classic Billy Wilder film Sunset Boulevard. The many multi-talented actors who I feel privileged to have caught in the demanding role include Patti LuPone, Glenn Close, Betty Buckley, Elaine Paige, Karen Mason, Petula Clark, Florence Lacey, and Loni Ackerman. Although Close’s vocals couldn’t match the stellar work of many of the other musical Normas, there was a dramatic intensity to her performance that was riveting; in fact, it was hard to take one’s eyes off her any time she was onstage in the original production. More than 20 years after that Tony-winning performance, Close returned to the role on the other side of the Atlantic, earning a 2016 Evening Standard Award for her West End debut in the English National Opera production. That staging, including the transfers of Michael Xavier as Joe Gillis, Siobhan Dillon as Betty Schaefer, and Fred Johanson as Max von Mayerling, will now play a 16-week limited engagement on Broadway, and this Sunset fan can’t wait to enter Norma’s Hollywood mansion one more time. Let’s hope this semi-staged production, which will feature a 40-piece orchestra, will extend to allow many other greats the chance to don Norma’s turban.

(7) Eva Noblezada as Kim in scene from the London production of MISS SAIGON. Photo by Michael Le Poer Trench and Matthew Murphy HR.jpg
Eva Noblezada (Matthew Murphy)

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When Miss Saigon opened on Broadway in 1991, following its debut in the West End, the musical made an international star out of Filipino actor Lea Salonga, who created the role of the ill-fated Kim, the young Vietnamese woman who desperately tries to secure a better life for her son, Tam, amidst the tragedies of war. Salonga’s beautiful voice and impassioned performance earned her Olivier and Tony Awards, subsequent roles in several animated Disney films, loyal fans all around the world, and, thankfully, several returns to Broadway. Now, 25 years later, another young actor, Eva Noblezada, has received a similar reception in the recent 2014 London revival of Saigon, which was preserved on film and recently screened in cinemas. I purposely avoided the screening, wanting to experience Noblezada’s performance in person when the Saigon revival transfers to Broadway later this season. The musical, for this writer, has always been the more moving of the two Alan Boublil and Claude-Michel Schönberg hits, and I’m eager to catch the Broadway debut of North Carolinian Noblezada, who was discovered three years ago by the Miss Saigon casting team at the National High School Musical Theater Awards.

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Patti LuPone and Christine Ebersole
Patti LuPone and Christine Ebersole (Joan Marcus)

It’s quite rare when a musical offers sizable roles to two of Broadway’s leading musical theatre stars, but that is exactly the case in War Paint, the new musical from the Grey Gardens team that played a sold-out, record-setting run this past summer at Chicago’s Goodman Theatre. The women—Patti LuPone (Evita, Gypsy) and Christine Ebersole (42nd Street, Grey Gardens) as Helena Rubinstein and Elizabeth Arden, respectively—are both two-time Tony winners, and their combined theatrical powers promise one of the more exciting nights on Broadway this spring. LuPone and Ebersole are two stellar actors who also happen to boast two of the great voices that the musical theatre has produced: LuPone dazzles with her rich, soaring, and rangy alto, while Ebersole impresses with an equally rangy soprano that can be as delicate as it is powerful. Both, in fact, remain vocally, comedically, and dramatically in full command decades after their respective award-winning careers began.

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In her two major New York theatrical outings to date—the Off-Broadway debut of Natasha, Pierre & The Great Comet of 1812 and the Public Theater and Broadway premieres of Hamilton—Phillipa Soo was equally magnificent, charming audiences with her beautiful soprano as Natasha and creating the most moving moments of the Pulitzer Prize-winning Lin-Manuel Miranda musical as Eliza, wife of Founding Father Alexander Hamilton. The young singing actor, it should be noted, earned her first Tony nomination for her work in the latter, and now she will return to Broadway in the title role of the new musical Amélie, based on the Academy Award-winning 2001 French film of the same name. The lonely French waitress who decides to act as a secret wish-fulfiller to the people who live around her seems a perfect match for Soo, who originated the role of Amélie in workshop productions of the musical and has an ethereal quality all her own.

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Bette Midler

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Monday, December 26, 2016

Get Ready for Bette Midler on Broadway: The Top Theatre Tickets for 2017

The Saily Beast
Get Ready for Bette Midler on Broadway: The Top Theatre Tickets for 2017
By Janice Kaplan
12.25.16 7:30 PM ET

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The fall theater season was an appropriate culmination of the Obama era, with an unusual number of innovative, intelligent, and thoughtful shows.

As a new administration comes in, the new season appears to have a lot of pomp and glitz—and we have yet to find out how much substance.=&0=&

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The fall brought new musicals like the wildly original Natasha, Pierre, and the Great Comet of 1812 and the brilliantly creative Dear Evan Hansen.

The spring has… revivals. They promise to be good revivals, but it’s slightly disheartening to be looking backward.

One of the shows getting the most attention is the revival of Hello, Dolly! with the iconic Bette Midler as the iconic Dolly Levi.

Midler’s powerful voice and brash style seem made for the part of the pushy matchmaker. David Hyde Pierce co-stars as the grumpy Horace Vandergelder, the object of her affections. However tired the 1964 play may be by now, this perfect casting could bring it back to life. (Previews begin March 15, opening night April 12.)

The same formula of icon-meet-icon should bring big ticket sales to Sunset Boulevard with Glenn Close.

The Emmy and Tony-award winning actress played Norma Desmond on Broadway in the 1994 premiere of the Andrew Lloyd Webber musical.

The producers promise this will be a whole new look at the faded screen goddess, but stand by for that famous line about how she’s ready for her close-up. (Previews from Feb. 2, opening night Feb. 9.)

For Stephen Sondheim fans (and who isn’t?), Sunday In the Park with George returns with Jake Gyllenhaal in the title role of Georges Seurat.

A gorgeous musical about the transcendence of art, this is one of Sondheim’s most movingly brilliant shows. Gyllenhaal and Annaleigh Ashford (as Seurat’s lover Dot) got raves last year for their concert production of the show. Expect them to inspire a don’t-miss-it evening. (Previews from Feb. 8, opening night Feb. 23.)

Another Sondheim revival, this one of Pacific Overtures, comes to the Classic Stage Company, directed by John Doyle (who is also the new artistic theater).

The small theater always punches well above its weight and Doyle has done three extraordinary productions of Sondheim in recent years, both on Broadway and off. This should continue his run. (Previews from April 6.)

A new production of Miss Saigon from director Cameron Mackintosh returns to Broadway after a hit run in London. This now-classic show about lovers torn apart by war has unforgettable music and almost more emotion than one stage can hold (plus that helicopter). (Previews from March 1, opening night March 23.)

Movies-to-stage have become a staple, and the latest is Groundhog Day,starring Andy Karl in the Bill Murray role. He previously did the stage adaptation of Rocky, so there are high hopes for this one. (Previews from March 16, opening April 17.)

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Actress Phillipa Soo originated the leading female role in two musicals that went on to be smash hits—Hamiltonand Natasha, Pierre, and the Great Comet of 1812.

Her winning streak could continue with Amélie. Based on the 2001 film about a pixie-ish girl in Paris, the musical premiered last year at the Berkeley Repertory Theatre and is now playing in Los Angeles. Movie whimsy doesn’t always translate to the stage, but Soo is always worth watching. (Previews from March 9, opening April 3.)

If pixies aren’t your style, you might prefer War Paint, starring the formidable Patti LuPone as cosmetic titan Helena Rubinstein and Christine Ebersole as her rival, Elizabeth Arden.

The musical premiered in Chicago last summer, and there couldn’t be a better time to celebrate powerful women who made their mark in business. (Previews from March 7, opening April 6.)

Expect two-time Tony-award winner Christian Borle to be completely delicious as the star of Charlie and the Chocolate Factory. Borle chewed a lot of scenery (and won his Tonys) playing over-the-top characters on Broadway, but he proved his depth and sensitivity in this past season’s touching revival of Falsettos.

Directed by Sam Mendes, this production of Charlie has been playing in London for a few years and should settle in for a long run in New York. (Previews from March 28, opening April 23.)

Another new family offering, Anastasia, is based on the animated film and should appeal to the little girls who want to believe in fairy princesses. Though maybe better to take them to War Paint? (Previews from March 23, opening night April 24.)

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Academy Award winner Cate Blanchett launches 2017 with a re-imagined version of Anton Chekhov’s first play Platonov, now called The Present.

Blanchett’s husband Andrew Upton updated the rarely-performed play and set it in 1990s Russia. Blanchett and co-star (and fellow Aussie) Richard Roxburgh have done much-praised Chekhov performances before, and this one promises lust, humor, vodka, and a bold point of view. (In previews, opens Jan. 8.)

Sam Gold spent the fall directing Daniel Craig and David Oyelowo in a

powerful and original Othello (at New York Theater Workshop through Jan. 18) Read More