Yes, Zachary Quinto plays Louis, the heel who initially abandons his AIDS-stricken partner, Prior, and takes up with married, closeted Mormon Joe Pitt before coming to his senses. Oh, and I love the scene between Louis and Belize in the diner where Louis is such a prick and Belize is is just barely tolerating him ("Real love isn't ambivalent.") And later when Louis confronts Joe Pitt (when he--Louis--comes to his senses). Supposedly Quinto does a good job of making Louis annoying, yet tolerable, which is what that character is.

Looking forward to the stage musical version of Priscilla, Queen of the Desert. While I have no illusions that it will be as good as the movie, I hope that the show will be fun. It's had much success in Australia and London, and makes its' North American premiere in Toronto in October, before moving to Broadway in the new year. Here's a video interview with the show's stars (incl. Tony Sneldon, who plays the transexual Bernadette, and who starred in the show in Australia and London) during a preview for the press in Toronto.

I saw Scapin, a Moliere play interpreted by Bill Irwin at ACT San Francisco and LOVED IT. It's a commedia del arte genre piece. It takes some suspension of disbelief, but once that happened I was mesmerized. His sidekick in the play really steals the show too.

Not sure if this counts as theatre, but I saw the 'simulcast' of the 25th anniversary concert of Les Miserables from the O2 arena in London. The performance was 'simulcast' in movie theatres around the world, although in Canada it was shown a day after the actual show. Very well sung (by the likes of Lea Salonga as Fantine and Norm Lewis as Javert), although Nick Jonas was uninspiring as Marius. And the poor boy has only one facial expression: puppy dog. The encores featured a quartet of Jean Valjeans, including the original star Colm Wilkonson (still in fine voice), performing Bring Him Home. They also brought out other members of the original London cast (and current London casts) to reprise One Day More.

This week I saw the NT Live simulcast of the play A Disappearing Number. It's an interesting modern play that uses things like projections and time-shifting to tell two stories: one is set in the present and involves the wonderfully presented relationship of an American man of Indian descent who meets an British maths lecturer and they fall in love and marry, and later she dies (although, with the time-shifting, we actually learn this early in the play); and in the early 1900's the British mathematician GH Hardy gains acquaintance of a poor Brahmin Indian Srinivasa Ramanujan, an untrained but naturally gifted mathematician (the latter two are based on real people; the first two are fictional). The plays theme of the continuity of time, of life, of existence is quite interesting in that it has both an Indian spiritual-type ring, but that it's illustrated through mathematics (the way numbers are connected both forward, 1 2 3 4...to infinity, and backwards, -1 -2 -3 -4... to infinity).

I also saw the first preview performance of the North American debut of the musical Priscilla Queen of the Desert. Based on the excellent 1994 film, the stage musical is a lavishly-costumed romp filled with 1970's and '80's hits--like Mamma Mia, only a thousand times gayer. And the audience the night that I saw it was gayer than Saturday night at Woody's--there were even some real live drag queens in the crowd. A very enjoyable and funny spectacle, although like the stage adaptation of Billy Elliot (which comes to Toronto in late January), it isn't quite as good as the original film. Plenty of man flesh on display, though (probably why the audience was filled with gasping and moaning gays ). It was recently announced that Bette Midler has joined the producing team. Expect to see her promoting the show in advance of its Broadway transfer Feb/March.

Saw the Soulpepper production of Death of a Salesman. I hadn't read the play since school (lo, those many years ago), and had never seen a live production (although I recall seeing a TV version with Dustin Hoffman), but I just re-read the play this past week and wow. Every line in that play is gold, and there are so many wonderful, meaningful, emotional scenes. Alas, Soulpepper's production, was a bit pallid. I felt it was under-directed and the heightened drama came mostly when the actors raised their voices--despite some of the quieter scenes being the more emotional.

Incidentally, it was announced that Death of a Salesman will be revived on Broadway next fall with Philip Seymour Hoffman as Willy Loman.

Apparently there are people protesting the Broadway production of The Scottsboro Boys. "...white producers, writers, directors, and the media are attempting to turn Black people’s [sic] suffering from racial terrorism into a mockery" says their flyer. I haven't seen the show myself, but the video clips I've seen make it look pretty good. That it's a Kander and Ebb (Cabaret, Chicago) show, gives me confidence that this is art and not exploitation. I don't have any problem with them using the minstrel style as a form of satire. But clearly some people are not happy. But that's what art does...

New York Amsterdam News: ‘Scottsboro Boys’ is a blemish on Broadway

Blog post rebuttal: 'Scottsboro Boys': It Ain't No Minstrel Show

NY Times: Hard Steps to Walk a Fine Line in ‘Scottsboro’

In February, Ugly Betty's Michael Urie will take over the role of Prior Walter in the revival of Angels in America. Cool. Alas, Zachary Quinto (and several other cast members) will be leaving the show at the end of January, so we won't see a Marc St. James/Spock pairing.

Wish I could see this: TV's Jim Parsons (The Big Bang Theory) and Lee Pace (Pushing Daisies) will be making their Broadway debuts in the upcoming Broadway production of Larry Kramer's 1985 AIDS drama The Normal Heart, which will star Joe Mantello, John Benjamin Hickey, and Ellen Barkin. It's scheduled to be a limited run April 19 to July 10.

Saw the movie theatre screening of the Broadway production (based on the Stratford production) of The Importance of Being Earnest (featuring Brian Bedford as Lady Bracknell). Quite delightful, as expected. And although most of the witty lines and epigrams are so well known as to not be laugh inducing (ie. Jack Worthing: "I have lost both my parents." Lady Bracknell: "To lose one parent, Mr Worthing, may be regarded as a misfortune; to lose both looks like carelessness."), still, it brings a smile to one's face just to hear them said.

Saw the movie theatre screening of the musical Company, staged with the New York Philharmonic and starring Neil Patrick Harris. Very good! Although I have the recent revival cast CD (with Raul Esparza), I had not seen Company before. I was surprised at how well-written the book scenes are. The Sondheim songs (Being Alive, the Ladies Who Lunch, Another Hundred People, Not Getting Married, etc.) are, of course, wonderful, but the concert staging was quite well done, too.

Trailer: http://www.youtube.com/watch?v=L2xEtYHyRv4

Saw WarHorse a month ago. The puppetry and acting are superb! But I have to agree with many reviews, "Oh, no, not the horse!"

Saw Carrie Fisher perform her Wishful Drinking show. I quite enjoyed it. It's a one-woman show where she talks about her dizzying life and family: the daughter of Debbie Reynolds and Eddie Fisher; her father left her mother for Elizabeth Taylor; her mother had various other disastrous marriages to men who squandered her money; she (Carrie) had a tempestuous relationship and brief marriage to Paul Simon; she later married a man who was gay; she had various substance abuse problems; oh, and she has bipolar disorder. She tells it in a dry, droll manner. And although it's a scripted show that she's performed for years (and there's a filmed HBO version), she makes it feel fresh and she makes it feel like she's invited you to her house and is regaling you with stories of her life. No pretensions (despite her famous background and her own fame as Princess Leia) she really seems like a person you would want to know and be friends with. Clip from Broadway version.

I has the fortune of seeing it in London. A beautiful show and the horse (and other) puppetry did merit its eventual special commendation Tony this year. The book is well-written and would be well-used by schoolteachers.

Anton Zetterholm brings Euro-sexy to the new German musical Tarzan, but can he sing?

Apparently YES, even in English

Looking more like a European football player than an American one


He would only be able to play the part of Boy here. Is that an unconvincing gorilla behind him?


Love the distressed Ikea furniture look


Somebody certainly seems to like him

Saw the touring production of the musical Next to Normal (with Tony Award-winning best actress Alice Ripley), about the family of a woman with mental illness. Liked the show. Loved the set and lighting design and the staging. Solid cast all around.

Saw a production of The Glass Menagerie. Pretty decent overall, although the actor who played Tom was a bit older than one would expect and he reminded me of William H. Macy as Jerry Lundegaard in Fargo. I've read the play several times, and this is the second time I've seen a production--but, this was the first time I saw bit of my own mother in Amanda (in a good way).

Saw the Stratford Festival's much-lauded production of Jesus Christ Superstar. I love that show and the production was quite good. I did find the acting of the leads was a bit bland, but Bruce Dow stole the show with his over-the-top campy/mean Herod. Singing was strong, particularly Paul Nolan's Jesus. This production is moving to San Diego later in the fall and there is a rumor of a Broadway transfer.

Saw a very good production of Larry Kramer's 1985 play, The Normal Heart. Effectively staged in the round, Kramer's searing autobiographical play examines the early days of the AIDS crisis in New York City. Ned Weeks (Kramer's stand in for himself) is confrontational on all issues. But as a mysterious plague (a word which Kramer uses to this day to describe AIDS) sweeps the gay community of NYC, Weeks is determined to take on everyone and anyone--particularly the gay community. His own friends often bear the brunt of his rages, but his speeches (and of few other big speeches from other characters) are just so riveting--intelligent and persuasive, insightful and fraught.

Also saw a good production of Ibsen's Ghosts. In a way, Ghosts was the antithesis of The Normal Heart, yet they also bear some commonality. In Heart, set in the early 1980's New York, the characters show all of their feelings and more in thrilling, passionate speeches. In Ghosts, set in 1880's Norway, the characters are constrained by society's codes of behavior, and the acting is reserved. Yet the gay men in The Normal Heart are also constrained in their own lives (some are only partly out) and by the anti-gay establishment (closeted NY mayor Koch, President Reagan) and the willful ignorance and disrespect from the gay community to the stridency of AIDS activists. And the characters of Ghosts face what might seem to be modern-day problems: sexually transmitted disease, baby daddys, secret loves for the clergy or half-siblings. As such, it was interesting to see these two plays in the same week.

Fela! immerses you in the world of Fela Kuti, the legendary Nigerian musican and activist. A pioneer of the Afrobeat sound (a fusion of African rhythms, jazz and funk) his music criticized the corruption, brutality and globalization infecting Nigeria and he was routinely harrassed and beaten by the police and government soldiers.

The show invites us to Fela's 'final' show at his club, The Shrine, in '70's Lagos. Fela's beloved mother had recently died following a brutal attack by soldiers, and Fela himself was recovering from a beating. He contemplates leaving his homeland for greener pastures in Europe and America and recounts significant moments in his life. But you need not know anything about Fela to appreciate this show, for it is a riotous theatrical experience of music, dance and song, brash costumes, evocative lighting and video projections which make the show a feast for the eyes and ears.

Fela! is currently on a North American tour.

Saw Alberta Ballet's Love Lies Bleeding, a dance show featuring the songs of Elton John and Bernie Taupin. While the flashy and sexy costuming seem appropriate to a show highlighting Elton's earlier years, I found the choreography wanting, often telling the same story (the highs and lows of fame) in song after song. Some good bits, but wanted more of a through line story to bring the entire piece together.

CBC will be broadcasting the show on April 9th of next year. Here are some behind-the-scenes clips from the Toronto engagement: http://www.cbc.ca/live/behind-the-scenes-a...s-bleeding.html

Saw the touring production of The Addams Family musical. Although panned by the critics in its Chicago and Broadway incarnations, they've re-tooled the show for the tour and I thought it was pretty good. A simple plot (reminiscent of La Cage aux Folles) involves the straight-laced parents of Wednesday's boyfriend visiting the Addams' manor and meeting the Addams for the first time. Really nice design (sets, costumes, lighting). True, one doesn't leave the theatre humming any tunes, but it's light entertainment that stresses the bonds of family. Nothing wrong with that. Particularly liked the performance of Douglas Sills as the loquacious, Spanish-accented Gomez, and Blake Hammond as Uncle Fester.

Saw the touring production of the musical Memphis. It's about a quirky white guy who somehow finagles his way into a job as a DJ playing black music on the radio in segregated 1950's Memphis. He also falls in love with a black singer, and their forbidden romance threatens their careers (and lives). Although one may want to dislike the show for being hokey and somewhat inauthentic, it's actually quite entertaining (a dramatic alternate to the more comic Hairspray, which is also about white kids listing to black music during segregated times). The characters are likable, but the songs are mostly ordinary (although I like the 11 o'clock number, Memphis Lives in Me).

Highly recommend the musical American Idiot which I saw last week here in Toronto. Best musical I've seen in quite some time. The tour has them in Toronto until the 15th then through a ton of US cities through the first half of 2012 including Detroit, Boston, Raleigh, Chicago, St Louis, Denver, Dallas, Seattle, San Francisco, Los Angeles etc etc. If you get the chance go to see it. The cast is brilliant, band and music solid and the storyline thought provoking without being preachy.

It is based on Green Day's amazing album of the same name. Reviews here in Toronto include this from the Toronto Star - 'The first great musical of the 21st century has arrived'.

I saw American Idiot, too. It was a show I had high expectations of, and I was mostly satisfied. The music was excellent (although it could have been louder) and I was singing along, and most of the cast and ensemble (particularly the male ensemble) were very good, led by a strong Van Hughes as Johnny. I was a bit underwhelmed by the set, lighting and projections (Christine Jones and Kevin Adams, the set and lighting designers, have done better work), and Scott J. Campbell who plays Tunny (one of the 3 main characters) was a bit weak (although when he stripped down to his underpants I nearly fainted ).

Kim's Convenience is a very enjoyable and funny play about a Korean-Canadian family that runs a convenience store in Regent Park (a low-income neighborhood in Toronto). Appa, the father, has built his life around the store, but his two adult children seem unwilling to take over. His daughter is 30, single, lives at home and is a photographer. His estranged son ran away from home when he was 16 and works at an unsatisfying job. And while this somewhat familiar storyline sounds like a drama, it's actually very funny, almost sitcom-my at times (albeit with a few touching and tender moments). For example, Appa tells his daughter that the most important part of running a convenience store is sizing up your customers and knowing who will steal and who will not. He rattles off various ethnic combinations (in a totally non-PC way), and says of the gays: gay (no steal), but lesbian (steal)... except when there are two lesbians (who cancel each other out). And through its specificity--about Korean-Canadians in Toronto--it actually becomes quite universal and thoroughly enjoyable, with 4 and 5 star ratings from all the local media.

I saw it here in Detroit. Loved the passion and the general story but thought the book could have been better. Music was fantastic and thought Van Hughes as Johnny and the actor playing St Jimmy were great.

I was disappointed in the lack of performance in the guys playing Will and Tuny. Just above average.

Plans are to make a movie. I think having 3 actors playing StnJimmy as a multifaceted approach to Johnnys drug needs would be killer... I am thinking Adam Lambert, Lady Gaga, Billie Joe himself would kick ass.

I've never seen this show, and now it's too late. NY Times: Naked Boys Singing! to close!