-- IMOGEN: Welcome back.
It's no secret that the Tony-winning revival of HELLO, DOLLY! is one of Broadway's hottest
tickets.
This production has it all: unforgettable numbers, stunning sets and an incredible performance
from stage legend Bernadette Peters in the title role.
In addition, the musical's ensemble truly takes this theatrical experience to the next
level.
They recently put on their Sunday clothes and showed off their moves in an exclusive
Broadway.com photo shoot with photographer Matthew Murphy.
Take a look.
[Music]
Beth: Joshua Harmon's ADMISSIONS grapples
with issues of white privilege, family expectations and exploded ideals at a New England prep
school.
We headed to star Jessica Hecht's dressing room at Lincoln Center Theater to talk about
the well-crafted new work and its personal ramifications.
[Music]
--I think that I sometimes describe
Admissions inaccurately because it's all based on what you connect to in this
story, but for me it's a story about this family whose son is waiting to hear
about their his college acceptance and when that is found out the issues of
race that they've been mired in their whole lives and family expectations all
bubbled to the top and it's a lot about white privilege and white expectations
and shame, I feel like the story is incredibly true for lack of a better
word. The the issues that the characters deal with on like an uber level and
then the issues that they deal with interpersonally within their family is
really super super honest and it's funny because Josh Harmon wrote the play over
12 years and so when he began writing it he was closer to what it feels like to
be in a in a white educated family with a very high academic pedigree and how
kind of bullshit that might be to someone and how incredibly overwhelming
that might be someone else.
Beth V/O: Hecht says playwright Harmon describes
the play as one in which the characters are in a constant state of redefining themselves.
--He was quick to say that it wasn't a play in his mind about race where he in
no way intended that to be to be what stamped this play. It's more play about
people examining themselves. We've just started now as a community to do that
and and our kids are forced to do it all the time, and I think the humor of this
play is that we're not really forced to do it as much as we should be. Each of us
is probably culpable of what our character is culpable in the play
without a doubt, and so if there's there's like this exorcism of sorts in
it, and you know and it's a so just on a very basic level. That's what the play is
about just just holding true to who you think you are.
RYAN: Scribe David Thompson, director/choreographer Susan Stroman and composer John Kander, have
joined forces on the new musical THE BEAST IN THE JUNGLE which is scheduled to begin
performances at the Vineyard Theatre on May 4.
The production stars Tony nominees Peter Friedman and Tony Yazbeck as John Marcher at different
ages.
The character's life is haunted by the constant worry that his life is to be doomed by a catastrophic
happening: a beast in the jungle.
We headed to New 42nd Street Studios to get the scoop on this new work.
--It is a story by Henry James. He wrote a novella called The Beast in
the Jungle and it's about this man named John Marcher, who sort of goes through
his entire life afraid of what love can do to him, and the commitment that
love could possibly have an effect on him. And so what happens is he becomes
haunted by this beast, that physically, emotionally, mentally is attacking him.
Now whether or not that is real or not, we find out in the play, but but he
believes that he is completely conquered if he gets too close to real love.
--I love
what Tom David Tommy Thompson has done with the the original Henry James
novella. He's done a fabulous adaptation and having done one workshop, seeing
seeing the work that Susan Stroman has done to make it all live, is very
exciting. And of course to be here with John Kander is incredible..
--This show talks about fear
in the sense of some people have something that have happened to them in
their lifetime that keeps them from moving forward. Somehow this event grips
them like a beast, and it keeps them from living their life.
RYAN V.O. #1: Thompson, Stroman and Kander are the all-star creative team behind the
Tony-nominated musical THE SCOTTSBORO BOYS,
which also got its start at the Vineyard.
They spoke about their longtime collaboration.
--This will be my fourth show at The Vineyard I did Flora
the Red Menace and the Scottsboro Boys and and the play Dot, so The Beast in
the Jungle will be that my fourth show there, but also the collaboration of John
Kander and David Thompson and myself , we we have a great collaboration and it's a
joy to work with one another and feed off of one another. And the vineyard is
like a home for us. I know Kander's done a couple shows there too.
And it's just like a place to create and it feels very fulfilling to be at the
Vineyard. --Stro and I started our
careers with Kander and Fred Ebb
doing Flora the Red Menace in 1988 at the vineyard as a revival. I had rewrote the
book and stroke choreographed it and Scott Ellis actually had directed it. But
it was an opportunity for us to start a collaboration that, 30 years ago, we I
can't imagine a day going by without it.
--Well, The Vineyard is is our home,
certainly mine. And it all happened actually during the party after
Scottsboro Boys opened. And I very drunkenly asked, Can I live here?
And they very drunkenly said, Sure!
--Beth: Lucy Thurber's new play TRANSFERS
focuses on two gifted students from the South Bronx competing for a life-changing scholarship
from an elite university.
During a campus visit, the young men are unexpectedly confronted with their shared past while trying
to break through a system that seems designed to keep them on the outside.
We chatted with the Thurber, director Jackson Gay and the rest of the cast to get the scoop
on this new work.
--Transfers is about two students from the South Bronx
that are trying to get into an Ivy League school through scholarship.
--I myself was a scholarship kid, and I came from a very poor rural background and
when I started working with the youth company here at MCC, I met a couple of
young men who became like family to me. And I wrote a play about our conversations.
--Lucy Thurber is kind of an activist playwright, and she often writes about
issues surrounding class, and race, and about invisible people wanting to be
visible. --I read two plays of hers last
year, and I thought she was amazing. And
when this play came about, I read it right away
and I read it again. And I said I have to do this
--Lucy had written this really
beautiful story about people that I recognized, and that really immediately
had such an emotional response. And wanted to be a part of it.
--This play has
been an incredible thing to watch happen. She's an educator herself and has
been leading the MCC youth company for years. And to see her take the experience
with them and turn it into its own piece of art and give them a voice and to be a
part of that process is really exciting.
Beth V.O. #2: The cast and company revealed
what Thurber's play says about education and opportunity.
--If you can access education, you can change your life. You can you can
enter into places that you've never been, but there are barriers, you know?
--I honestly believe the solution to all of America's problems is that is the
educational system. But I think it's a complicated situation.
--No one has a right
more than someone else based on where they're from or who their parents are or
how much money they have, but education is the one equalizer that we all have to
fulfill our dreams. --For a lot of people education is a way out,
a way out out of their current circumstances, you know? And and it's
important. --I think it's actually raising
more questions than it is making
statements. So hopefully what people take away will be a conversation and a
dialogue that they start having.
--IMOGEN: When we return, we catch up with Kate
Rockwell to talk all things MEAN GIRLS.
--First things first you need to get a ticket to
Travesties, Tom Stoppard's London smash is Broadway's newest must-see. This wild
ride of a comedy has it all art love revolution and the Tony Award for Best
Play. Don't miss Travesties.
--And we are back with Kate Rockwell currently
playing Karen Smith in Mean Girls. Look you're on the poster.
--I know look! There I am, mom, I'm on the poster!
--Broadway dreams come true you can still wind up on a Broadway poster. c
--Can you
believe it? It's just like you finally let go of that dream when you realize
that like that's not the way it usually works, and then like one day they put up
your face on a billboard you're like oh my god it's me!
--So how is it going?
You're opening this weekend,.
--We open on Sunday. It's going so well. It's such a
wonderful show honestly, and I mean I get to say that because I'm in it and I feel
like I have to say that, but you know Mean Girls is such a big part of my life,
when I was growing up. And when I heard that this piece was being done
this was you know five or six years ago when the rumors started going around
that they wanted to do Mean Girls musical. I was like I will like Tonya
Harding some knees to get in the show. It is like for sure the
thing I have to be a part of. And then now all these years later, like Here I am
actually doing it. And it is the most exciting project I've ever been a part
of.
It's so joyful.
--So when you thought I need to be in that, did you think Karen?
--You know. --I mean cuz that's interesting
I mean you could you could have played a
lot different characters in this show.
--I think, you know I think what I love about
getting to be Karen is that this gives me an opportunity to explore comedy in a
way that I've never really been able to do before. And I love comedy. Comedy is a
puzzle and it's it's about being honest and about being simple and about being
natural but it's also scientific, you know? Like laughter as a science and and
so for my like puzzle brain, that is so much fun to sort of like change one
little thing and see how that affects the joke, and then change this little
thing and see which one plays and learning to read an audience. So it's
been a real challenge for me in that way and a real sort of exploration of a new
side of being a musical theatre actor and so that has been such a cool
opportunity I don't know that I thought that's where I would end up five
or six years ago when I heard about it. But I'm so grateful that I'm there. I
love her so much, and this creative team has has really trusted me with her and
let me play. I don't want to give too much away.
--She's a fun girl. --She's a lot
of fun and truly they've let me they've let me really kind of go hog-wild in
certain ways that I think has given her even a little
more fire and umph than maybe you know we would have thought in the beginning.
--Well I think you figured out the puzzle, there are no missing pieces because you
are hilarious in the part. So,
I have to ask about the Tina Fey factor. That was sort of like the number one
thing when you get cast in Mean Girls. I remember when the workshop was happening
and the readings were happening. Because you were have you been involved...
--I got involved first in 2015. I actually looked this up the other day because I
wanted to know exactly the first day that I got an email that said Tina Fey
was wondering, and I forwarded that email to everyone I knew.
--She was wondering --Tina Fey
was wondering if you would come in and read the role of Karen Smith for this
table read that we're doing. And this was again back in the summer of 2015.
--Had you auditioned or Tina Fey knew you
--This was because I have worked in the past with
Nell Benjamin who does the lyrics. --You were in Legally Blonde
--I was in Legally Blonde, and --
--Which is great because you were in college ten years ago, and now you're in high school.
Like an actor's dream.
--Right! I'm literally reverting backwards. --No one's
questioning it --No one seems to mind, which is
lovely. Don't think too hard about that. But so I think you know Nell I had
sort of recommended me as somebody that could come in and do this table read. And
then I got to meet Tina and Casey. I'd never worked with Casey either.
--Nicolaw.
--Nicolaw, our director, and I sort of spent the entire time like this like just like
wide-eyed but like trying to pretend like I was being cool. And then you know
a couple years later when they came back around to doing the full production, I
did go back in, and I did re-audition and go through the kind of the normal
process. And what was so, I say sad because I met Tina doing that table read,
but when I went back in to audition, I full-on panicked and did my entire
audition to Tina. Not the reader and not like an actor does an audition. I just
stared at her. --Well instead of ignoring
the obvious elephant in the room, let's
just stare at her --I just stared at her. I did all of my lines to her.
It was
probably one of the worst audition I've ever
done. I walked out and was like I just blew it. What happened to you? You've met
her before! This isn't the first time you ever seen her in a room, and I just like
fully panicked. And thank God they let me come back and try
--Did you make her laugh? Did you make her laugh
while you were looking at her? -- I think she was probably intensely uncomfortable.
It's really not a pleasant experience to have an actor deliver too many lines to
your face, aggressively without blinking. --So what
were you like in high school? --Oh. Oh, it's so sad. There's a there's a
photo out there, because we used them for press stuff for Mean Girls.
I was very awkward. I had no eyebrows. This is like a thing. I don't know as
someone taught me that you're supposed to tweeze your eyebrows when you were in
high school. But I like tweeze them, so they started like here.
I had braces of course, and an expander. Yeah,
Ohio in the late 90s was really awkward time. --Did you do musicals?
-- I did. That was
my place. That was like I was always. --What kind of roles did you do?
--We did a
production of Two by Two --A rare
--That hit Danny Kaye musical. And I played Goldie the not
prostitute because we were in high school. I played a tree in Wizard of Oz
my freshman year. That was a big one. --You got the big roles.
--Wait ready for this
though? When I was 14 I played Grandma Tseitel in Fiddler on the Roof!
--You really are going backwards -- I really am!
--You're gonna play Annie next. They're gonna do Annie in ten years.
Going backwards --I never actually thought about that but
you're right. I've literally reverted all the way back. -- I love that.
--Yeah yeah it's great stuff. --It's fun to
think about Mean Girls getting done in high schools. --Which it will. Absolutely.
will. And it should, frankly, because while this definitely is a show that adults
will appreciate the humor, and I think maybe you can appreciate it in a
different way when you've lived through high school and you can look back on it
and laugh. I do think that it really resonates with age-appropriate people
because it's just so honest, and so genuine, and Tina worked really hard to
make sure that 15 years after the film, can you believe that, that it was still
current for them and that they could still really identify with what it was
like to be in high school.
--Yeah opening night is Sunday. What are you
wearing? This is a big this is a big event. -- I
can't tell you! -- But you have it all figured out?
--I have some of it figured out.
I won't say I have all of it. I need a shoe. I need a shoe still.
--I can't help you. --I know. You don't have anything I can borrow?
But no I'm really excited about it. It's it's it's, we're doing you know
it's Mean Girls musicals. So it's like easy to walk in and be like pink! But
I think we're all sort of trying to steer away from that a little bit, and
give a little bit of something different and a little more like cool cool kid.
So I'm I mean I can you can tell by me saying that how cool I really am
because I used the word like that. So we'll see how I do. But I'm excited about it.
--I'm excited for
you this is such a great opportunity for you. I've loved you in so many things
over the years. So I'm so thrilled that you're on the poster
--[laughs] --Look at that. It all worked out.
--Just laughing at my hair like it's telling a really funny joke.
--Everyone go see Kate in Mean Girls at the August Wilson Theatre on Broadway. Thank you so
much for being here --Thank you for having me.
--PAUL: When we come back, Samantha Barks and
Steve Kazee give us a sneak peek at PRETTY WOMAN the Musical.
--First things first you need to get a ticket to
travesties Tom Stoppard's London smash is Broadway's newest must-see this wild
ride of a comedy has it all art love revolution and the Tony Award for Best
Play. Don't miss Travesties.
--Hi, my name is Lauren Ridloff and I do the role of
Sarah in Children of a Lesser God. And you're watching the Broadway.com Show!
RYAN: Thank you for watching THE BROADWAY.COM SHOW.
IMOGEN: We leave you with Samantha Barks and Steve Kazee performing "You And I" from
PRETTY WOMAN: THE MUSICAL.
RYAN: See you next week!
[Music] You and I, we got something going on.
You and I, how could this
be wrong? Who'd believe that we could catch the wind before it's gone?
[Music]
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