Your Act I character, Karl Lindner, has stepped out of A Raisin in the Sun and into Clybourne Park. What’s it like to play that unique aspect?
I’ve made some effort to not over think the Raisin in the Sun connection. I haven’t poured over Karl Lindner’s part in that play. For Bruce Norris, it was a jumping-off point, and it’s the same for me. I’ve never seen the movie; Bruce told me that I shouldn’t. [laughs] When I first walk on stage in Act I, my character resonates with people and a lot of the work is done for me. Pretty late in the first act when I say “The community association made an offer to these people,” the people who are familiar with [A Raisin in the Sun] know what that means, because they’ve been in that living room and saw him make an offer to the Youngers. I get the advantage of my first act being the second act of something else.

How does it feel to play a character that breaks social norms and is hilariously bad?
That’s the pleasure of doing Bruce’s plays in general. He allows his characters to say things that we have probably all thought, but would never say. That’s a complete pleasure, especially within the context of a very smart theatrical event. I’ve been asked if it’s hard to say the things that my characters say. There are certain things that are offensive that would be hard to say if the play itself was offensive. Then yeah, I’d just be offensive in an irresponsible way. But because things are contextualized so well, I feel like it’s thrilling and the audience gets a real vicarious thrill.

Is it freeing for you to speak so freely on stage without the red tape of political correctness?
Being an actor, you get credit sometimes for being smart just because you’re in a smart play. To be able to say some of these things in the context of this larger play is incredibly freeing and exciting. People are surprised that I say I relate to the character I play, particularly in the second act. First, it’s my job as an actor. But also, I feel like the guy has some points. I think he goes way too far all the time and you wish he would just shut up and listen. He doesn’t listen well, but he probably has some decent things to say if he was able to put his thought out there and hear the response.

When the cast first joined together for this play, how did you all break the ice?
We all knew it was a special play, so there was no feeling of these awkward, difficult topics are a part of a play that’s potentially making us look racist or like fools. We knew that in the context of this amazing play, we were taken care of. We just jumped full force into it.

VIDEO: Jeremy Shamos talks about moving Clybourne Park from off-Broadway and the transfer’s near cancellation.

To have a straight play on Broadway without any of the lead roles going to Hollywood names is a rarity. Here you are, leading this play! How does it feel?
We’ve always felt privileged to be a part of it. As we’ve moved from off-Broadway to Broadway and the journey of those two years, we’ve only gotten closer. It’s unique to have this group on Broadway. We call ourselves the starless ensemble. It’s rare in the business of Broadway and I understand why it’s tough. We all feel like the little engine that could, as a team.

Bruce Norris is known to be reclusive to the media, so we don’t get to hear from him much. How was he in rehearsals? What did you learn from him?
He’s incredibly respectful of actors’ processes, because he is an actor. He doesn’t get in your business, but if you ask him a question, he has very smart and direct answers. I think he’s reclusive from the press because he doesn’t want to be self-promotional and he feels his work speaks for itself. He has an allergy to having an interview with him be written as, ‘Bruce Norris is eating a salad and talked this way to the waiter.’ He likes being an outsider and it’s becoming harder and harder for him, because he won the Pulitzer Prize.

How did you get through that period during the LA production when the Broadway transfer was up in the air?
The show had ups and down and potential interest from producers before. I felt like we had already been on a bit of a roller coaster. Scott Rudin did a ton for the show; he’s hugely responsible for us being on Broadway. He got us the Kerr Theatre and got us involved with Jujamcyn [the show's lead producer] in the first place. He’s one of those producers that will just get a Broadway theater. He helped arrange the dates of the LA run so that we could come to Broadway before the Tony Awards deadline. He did a lot of the power lifting that got it going. When he decided to not move forward with the show, it had a lot of momentum that he had actually given it. Had we not had a theater yet, I think it might have been dead in the water, which would have been sad. Jordan Roth and everyone at Jujamcyn already believed in the show. They believed in it enough to allow us to have this theater. Jordan in particular really believes in the play and that it’s an important piece of work. Scott Rudin put out a statement that he wanted his investors to stay with it. At the time, I wasn’t sure if that was a sincere statement or if it was just for the press. But he was sincere. I think most of his investors stayed with the show. I’d be lying if I didn’t say there were two days where I was disappointed. I don’t think any of us allowed ourselves to be incredibly disappointed, because we felt there was momentum that had already occurred. We knew it was a great play that would find its footing.

Sometimes audiences have trouble separating actors from their characters. Has anyone mistaken you for a racist or given you the cold shoulder?
Not really. Although people who I do know will bring a guest to the show, and they’ve told me that they’ve leaned over to their friend in the middle of it and said something like, ‘He’s totally not like this at all; he’s a really nice guy!’ People do say to me though, ‘You play a racist, so you couldn’t possibly be.’ But you know, maybe I am racist. I don’t think I am. I feel like you get credit for being super-duper liberal and smart when you’re in a play like this.

What would winning a Tony mean to you?
That’s a scary thought. I have always been a team player. Anytime I’ve been the lead in a play, I’ve never felt, ‘This is my play, get out of my way!’ I’ve always liked the concept of an ensemble. I think awards are a little bit weird and potentially alienating. I don’t see that happening with his group. The ensemble itself is just too tight. The play itself depends too much on people working together and sharing. The play fundamentally wouldn’t work if someone hogged the ball. But I think it’s an exciting time for everyone to be in the spotlight, where they belong.

Do you think Jeremy Shamos has a good chance of nabbing that Tony, Rushers? What recognition do you think the ensemble of Clybourne Park deserves? Are you surprised by how at ease Shamos is with the script? Do you know anyone in your own life similar to Shamos’ characters? Leave your thoughts in the comments below!

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Photo: Joan Marcus

You’ve taken this show to three locations now. How does that feel?
Here we are in LA for the third and final installment. It’s extraordinary. It feels like we’re on tour, really. It’s all very unexpected, of course, because initially it was just going to be in Washington, DC. To then be told we were going to New York was a wonderful surprise. Now to be here in LA is even better. It keeps on rolling.

What’s going on with this production? Has anything different? How’s it going with Victoria Clark, who is replacing Bernadette Peters?
I haven’t yet started rehearsals; I start on Friday. One thing I know is different is that the leading lady, Bernadette Peters, is not in this production out here. It’s a young lady by the name of Victoria Clark, who I’ve yet to meet. That will make a different complexion on the piece. Sometimes when somebody new comes into something, I think that could be a breath of fresh air.

What’s it like to dance that difficult choreography in “Who’s That Woman?”
Well, it’s difficult! It’s very energetic. It’s eight minutes long. It certainly builds up one’s stamina. It keeps you fit, let’s put it that way. It’s great fun to be in an ensemble number with my fellow actors, having to bat off one another as we remember what it was like to do that number when we were young, and here we are all those years later doing it again. It’s just great fun, really. It often stops the show, indeed.

What do you do with all your time off stage in Act II?
Well, in New York, we had a green room, so it was a wonderful opportunity to meet up with fellow actors who also aren’t in Act II. We’d pass the time telling stories and just chew the fat, as you would say. I would sometimes email or Skype my boyfriend back in London. When you’ve got time off in a show, it’s quite hard to switch off and do something else. You’re there to work and you’re in the piece, you hear music playing. I don’t really like to divorce myself too much from what’s going on in the theater. Nevertheless, it is quite a long time in Act II after I’ve done that scene in the beginning to wait for the end. It’s a matter of hobnobbing with one’s fellow artists.

If only those walls could talk, huh?
[Laughs] Yes, a lot of stuff went down, I can tell you.

Has playing this role made you reflect on your own career? What have you realized?
Well, I’ve realized that Mr. Sondheim is a very clever lyricist and tells the story of Carlotta Campion [in “I’m Still Here”], which I think is based on Joan Crawford’s life, pretty realistically. I think if you’ve been in the business for any length of time, as I now have been in the business for nearly 45 years, it’s true to say that one has a career of ups and downs, which is what this song is about. It’s not too difficult to identify with a lot of the lyrics in this song. Of course, at the end, to triumphantly, as she does, state for the last time, “I’m still here,” I can identify with that completely. I’ve been around the block a few times and to be able to say “I’m still here” is always a bit of a marvel to me, and a wonder that indeed I am. And at this rather late stage in the game to be performing out here in America is wonderful.

Follies focuses on disappointments in life, and in many interviews I’ve read with you, you’re asked about your career disappointments. What were some of the most joyous moments of your career?
My goodness, I’ve been one of the most fortunate actors in the world, I think. From when I’ve started, particularly with English musical theater, I’m talking about Tim Rice and Andrew Lloyd Webber’s modern musicals, I’ve been very much at the forefront of that and traveled along their journey with Jesus Christ Superstar, and then of course starring in Evita, Cats, Sunset Boulevard, and Chess. These are major musicals of the modern era of musical theater and I was lucky enough to be there.

Is there a moment that was your happiest?
Evita will always stand out as a moment that will be difficult to surpass. Everybody wanted to play that role, initially. To be the first to play Eva Peron, it was a very coveted role. For me to win that part was truly amazing to me. It really did change my life completely and gave me a career. It really was one of the most exciting, frightening, and nerve-wracking times of my life, all at once. I was embarking on something that was completely new to me. That will always stand out to me as one of the most momentous times of my life. Cats was equally extraordinary because I had that wonderful song “Memory” to sing and was the first to do so. That came about through rather strange circumstances, to be called in at the last minute as Andrew did, because Dame Judy Dench had injured herself and they called me in to take over at the last minute. And Cats of course, for many years, was the longest running musical in English musical theater history. I’ve been connected with these iconic show, sometimes by default. It’s all been a whirlwind of a journey. I can’t complain; I’ve had a wonderful career to date. Now this is sort of coming so late in my career, to be part of a wonderful company in this marvelous show is also unexpected and a delight. I’m loving every minute of it.

What is the best advice you have received in your career?
When I was doing Evita, Hal Prince said to me, “Don’t leave this show too quickly. You’ll be very lucky to ever get another role like this in your career. Sometimes there’s just one. If you get two, that will be really amazing. Just thank your lucky stars and don’t be too ready to leave this.” I’ve remembered those words always. He was saying I’d be lucky to get one or two of those roles, and I’ve been much more fortunate than that and had several. I always pinch myself and remind myself that I am still here.

The Broadway run of Follies was super successful and had a healthy run. What are some of your most fun memories from those months that we might not know about?
Living in New York for any length of time, for a Brit, is a stunning thing. The energy of the place and the speed of it all is all terribly exciting. London, by comparison, is a bit like a village; it’s quiet and slow. It was all very exciting. And to see my fellow Brits on Broadway as well, like Alan Rickman, Tracie Bennett, and people like that is always lovely to have some of your contemporaries from home as well. Basically, it was just being in a hit on Broadway. What more can you ask for?

You’re probably headed for your first Tony nomination. Doesn’t that sound crazy? What would it mean to you?
Oh my God, I don’t like to think of it. It would be wonderful. Awards and such are just the icing on the cake. Should it come, it would be an absolute thrill. I don’t expect it and I don’t think about it. We’ll just have to wait and see on that one. If it should, it would be amazing, because it would be the first and if it happens, it would be a very exciting evening to get there to be there.

You’ve been away from your BBC Radio 2 show for quite some time. Will you return with a bang?
I’ve been home to London during the interim between Broadway and LA for several weeks. I resumed my radio show and backed up a few, so that I can be out here and my audience won’t know I’ve gone. When I go back after LA, the show is going to be revamped. I’ve been doing it for seven or eight years, so I think it’s time to look at it and change a few things. It’s something I love to do and everybody loves the show, for some reason or other.

Which of your Follies castmates would be the best cohost on your radio show?
When I was in New York, I did a couple of things with Ron Raines, a couple of radios and we would just sit and chat and play music and stuff. So maybe Ron would be the guy to do it with me. It worked rather well then, so I would have to say Ron! I’ve got to get him on. He gave me his album when we were in New York and I’ve given him a couple of spins on the show.

Do you think Elaine Paige is headed for her first Tony Award nomination, Rushers? What is your favorite role that she’s played? What did you think of her performance in Follies? Will you be seeing Follies in LA? Leave your thoughts in the comments below!

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How did this collaboration with Suzanne Vega come about?
We’ve known each other for a really long time because we’re both practicing Buddhists. We knew each other through those circles and we’d see each other at various places when we’d be touring for our records. For a long time, Suzanne had this idea about writing a show where she would play Carson McCullers and perform these songs that were inspired by her writing. Suzanne’s daughter is a huge fan of Spring Awakening, so Suzanne thought that since I’ve done the theater thing before, she’d call me up. We ended up writing a score for this piece together. She performed it a year ago at the Rattlestick Playwrights Theater and she’s been performing a few of the songs in her concerts since then. So we decided to do this co-headlining tour.

What’s the format of the concert going to be like?
She’ll play some songs, I’ll play some songs, and then we’ll play some songs together.

What songs do you have planned from your repertoire?
I have this covers album that I put out a year ago. I have a remix version of that record that’s soon to see the light of day. I’m going to be doing a fair amount of the covers. I’m going to do some new material from a forthcoming record that doesn’t exist yet, then maybe a few things from the catalog. And then I’ll be singing songs with Suzanne from Carson McCullers Talks About Love.

How do you feel Vega matches up with your musical style?
If you think about the 80s stylistically, in terms of the music that was made, Suzanne had a really rare and wonderful subtlety that was mostly absent from a lot of garbagey music that got made in the 80s. There was so much crap and Suzanne avoided all of that nonsense. I respect the elegance and intelligence of her music. I respect her staying power and the fact that this is something she’s done consistently for 25 years now. She’s someone to look up to.

It’s interesting that you have this fascination with the music of the 80s. How do you feel having made such a huge contribution to the 90s with “Barely Breathing”?
Well, I don’t know that I made a huge contribution to the 90s at all.

I think there are people that would beg to differ.
Perhaps. I personally don’t like music to be time-bound at all. I like things to be able to stand the test of time. Some [of my music] has lasted better than others. To be honest, what’s hard for me is that I didn’t feel a lot of kinship with artists that were on Top 40 radio at the same time that I was. I always felt awkward to be lumped in with other artists from my era. Not to disrespect them, but I just didn’t feel like what I was doing had that much to do with what they were doing. The 80s was the time when my stylistic identity began to form and it’s the music that’s in the DNA of my songwriting. I feel much more of a connection to the 80s than I do to the 90s. Bands like Nirvana, as much as I think they were great bands, they weren’t necessarily the things that I was that psyched about. There were things from the 90s like Radiohead and Bjork that inspired me, but they were few and far between Jeff Buckley. The 90s was a fun decade for me, but I also kind of feel weird about it now.

I’ve seen you in concert many times and only at a handful of those engagements have you performed “Barely Breathing.” I get the sense that you’re not in love with the song. How do you feel about it?
It depends. I didn’t play it for a really long time. After Spring Awakening happened, I felt better about playing it. I had a bit of distance from it and so did everyone else, hopefully. [Laughs] I could kind of play it and enjoy it a bit more. But for a minute, it was kind of a cross I had to bear.

With the tremendous success of Spring Awakening, do you feel pressure to produce mainstream, commercial music, or do you feel complete artistic freedom?
There is a part of me that wants to make the music that I’m really psyched about and moves me personally and might be fairly eccentric and not mainstream-sounding stuff. But there is also a really big part of me that wants to make music that reaches other people. There’s a part of me that wants to have a song that’s a guilty pleasure to lots of people and when it comes on the radio, they raise their hands and get super psyched. If you can pull that off without debasing yourself, that’s an amazing thing. It’s very hard to do. I’ll keep trying.

Do you have another album of original music in the works?
Yes, I do. I’ll play a couple of those songs on this tour. I’ve been working on the score for the stage version of American Psycho, which is all electronic. I’ve been in this more electronic music mode lately and so some of the things that I may do for this record may be much more modern than other things I’ve done before.

Since you brought it up, what’s next for American Psycho?
We had one very successful and instructive workshop presentation last October. We regrouped after that and had many conversations about how we might improve and get it into better shape for another workshop. There’s some discussion about doing a production in the UK in 2013, but nothing’s set in stone. We’re all busy, [director] Rupert Goold and [co-writer] Roberto Aguirre-Sacasa. I’m really crossing my fingers that we can put it up in front of a real audience in the next year.

That was quite a cast you had for the reading, with Benjamin Walker and Reeve Carney.
Yeah, they were both great. My sister was in it, Kacie. They were all really good singers. We got lucky. We’ll see. The development of these things takes forever and is torture. It will exist in the world. I vow for it to happen.

What is the latest on the Spring Awakening movie?
It’s in a better place than it’s been for a long time. There was some talk of it being a studio movie for a minute and now it’s going to be an independent movie. It’s just the usual complications of trying to put all the money together to get it made right. If we’re going to do it, we need to do it well; we need to make a quality movie. It’s incredibly difficult to make good movie musicals. In my opinion, there are very few of them. It’s very important to us to do it, but we need to have all our ducks in a row.

Is McG still attached to it as the director?
He would be, yes.

Don’t you get a sense that everyone would love to see some of the original cast members, like Lea Michele or Jonathan Groff, in that movie?
I’m sure some people would love to see the original cast members. But one of the things that’s important about the piece is that you believe that these kids are innocent and that they haven’t had these experiences yet. You can tell by looking at someone if they’ve lived a little bit of their life or if they haven’t.

Do you keep in touch with the original cast members?
Absolutely. Lauren Pritchard and I are still great friends. I see Jon Groff once in a while and Johnny Gallagher. Johnny Wright was in the American Psycho workshop. I talk to Lea on occasion. I see a lot of the cast members in casting for other shows that I’m working on. We’re doing The Nightingale at La Jolla Playhouse this summer. We were casting yesterday and there were probably half a dozen people who were auditioning who had been in some version of Spring Awakening.

What’s your take on how Duncan Sheik feels about his success in the 90s, Rushers? Do you think massive success with songs should just be embraced by artists, or do you think it creates creative issues? Do you think Spring Awakening would be a better film if it went through a major Hollywood studio or took the indie route? Who would you like to see cast in the film? Will you be seeing Sheik at Highline Ballroom? Leave your thoughts in the comments below!

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Photo: Robert Kazanjian

If you give Andrew Keenan-Bolger a bag of Flamin’ Hot Cheetos, he will give you a Crutchie trading card. Disney has given each cast member of its new Broadway musical Newsies, based on the 1992 cult favorite film, 100 trading cards of their respective characters to distribute at will. I found this out when I sat down with Keenan-Bolger in his dressing room at the Nederlander Theatre when I presented my interviewee with what I had heard was his favorite snack. (I have card no. 62.) Keenan-Bolger, who plays lead newsie Jack Kelly’s disabled best friend, is making the screaming girls who crowd the stage door after every performance work for these collectors’ items. If they’re lucky, they’ll get a piece of what has been a golden year for Keenan-Bolger.

“I decided I was only going to give [the trading cards] out to people who give me Flamin’ Hot Cheetos or people who check my Twitter every day and give the password that I post,” Keenan-Bolger explained. He selected a catchphrase that is an inside joke between himself and his friends—“You must be joking.” “I thought that maybe someone would check it.” Much to the 26-year old’s surprise, awaiting him outside the stage door behind metal barricades was a cavalcade of girls screaming, “You must be joking!” “It’s crazy that the fans are that tapped in.” Keenan-Bolger, who is also a filmmaker and co-creator of the popular web series Submissions Only, has just under 10,000 Twitter followers, so he might want start thinking up cagier ways of making fans earn Crutchie cards.

Despite the daily hordes of Newsies enthusiasts, Keenan-Bolger never saw it coming. Newsies was never supposed to happen. Keenan-Bolger was asked to participate in the first reading of the musical and was told that it was simply so that Disney could license the musical to high schools and regional theater companies. However, a production cropped up at Paper Mill Playhouse in Millburn, New Jersey last fall, which garnered glowing reviews (and the beginning of that rabid fan base). Even then, the cast’s hope for a Broadway bow was discouraged. “The way Disney played it, they had completely undercut our chances for doing anything other than closing this production and having them sell it,” Keenan-Bolger said. When the production ended its run at Paper Mill, Keenan-Bolger hoped to return to Mary Poppins, where he had previously been playing Robertson Ay. “It wasn’t until we opened up the New York Times the day that everyone else found out we were going to Broadway; that was the day the newsies found out.”

Newsies marks Keenan-Bolger’s fourth production with Disney Theatrical Group. He made his Broadway debut in 1995 as Chip in Beauty and the Beast, later went on to tour with Mary Poppins before joining the Broadway company, originated a role in the stage version of Aladdin last summer at Seattle’s 5th Avenue Theatre, and is now a part of his first leading role in an original Broadway cast as the disabled, lovable Crutchie.

In the show, the newsies face serious opposition in their strike against Joseph Pulitzer when the newspaper magnate raises rates. Act I concludes with a brawl with Pulitzer’s thugs, which leaves the newsies badly beaten, particularly Crutchie. A substantial amount of the show’s emotional core rides with Crutchie, and if the audience isn’t hurt along with him, the show’s in trouble. “It’s tricky because going into the show, I have a lot of built-in sympathy because I have a crutch,” Keenan-Bolger said. “It’s really easy to get sick of that character quickly. I steer as far away as I can from him being this sweet, fragile Tiny Tim character. I want him to be a real tough guy. He thinks he’s just as strong as the other guys and he’s not looking for the sympathy.”

Crutchie might not want anyone’s pity, but Keenan-Bolger is certainly carrying the banner for young audience members afflicted with physical ailments. “I think it’s incredible portraying a member of the handicapped community,” Keenan-Bolger said. “I’ve signed a number of crutches at the stage door. I’ve met a lot of other disabled people that say they really feel like their story is being represented here.”

Disney specializes in characters that face personal obstacles, and the House of Mouse greatly influenced Keenan-Bolger growing up. Not only did he start his career in a Disney production, but also he was one of many boys in America that was taken by the tough kids in the film version of Newsies. “I think getting to see all those boys in the movie be really athletic and presenting musical theater as a cool thing was huge to us back in the 90s,” Keenan-Bolger said. “We didn’t have things like High School Musical and Glee to really put musical theater in the spotlight.”

Keenan-Bolger followed the acting track throughout his teenage years and is now a successful stage actor, along with his older sister Celia, who is also staring this Broadway season in Peter and the Starcatcher. “It’s definitely been a crazy year for the Keenan-Bolgers!” he said. On the day the Broadway cast was announced for Newsies, Peter and the Starcatcher, a critically acclaimed off-Broadway hit last spring, also announced its transfer. “On all the theater websites, the two main headlines were about my sister’s show and my show. That has got to be the proudest moment of my career so far.”

VIDEO: Watch Andrew Keenan-Bolger discuss the effect that his web series, Submissions Only, has had on his career and why he wants to be like Tina Fey.

With two Keenan-Bolgers on Broadway and another sibling, Maggie, who is a playwright and actress who has appeared on TV, the family is in great favor with the entertainment gods. Yet with their hectic show business schedules, it takes dedication to stay in touch. “We’ll have a K-B meeting at whatever restaurant in midtown that’s the in-between point between Celia’s and my theater,” Keenan-Bolger said. “Celia’s been so supportive and I feel so lucky to have another sibling in the business to follow and admire what she’s done with her career.”

Luckily, brother and sister will not be facing off at the Tony Awards this June, as their shows are split between the musical and play categories. Yet the potential of Broadway’s biggest night is something Keenan-Bolger can’t help but hypothesize about. “Of course, every show gets their hopes up. I think the audience response has been good enough that I hope we get nominated for Best Musical,” Keenan-Bolger said. “Just so long as we get to perform, I’ll be happy. I’ve never performed on the Tonys. Growing up, that was my one connection to New York theater. Once a year, you could see a little bit of Broadway on your TV set. Getting to perform on that would be just a dream come true.”

If Keenan-Bolger thinks for one minute that he and his crutch won’t be hobbling onto the Tony Awards stage with his fellow newsies, he must be joking.

What do you think of Andrew Keenan-Bolger’s performance in Newsies, Rushers? Did you fall in love with Crutchie? What do you think of his portrayal of a disabled character? What kind of role would you like to see him play next? What do you think are Newsies‘ chances at the Tony Awards in June? Leave your thoughts in the comments below, and tune into the next episode of Stage Rush TV for more footage with Keenan-Bolger.

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—Concert recap by Zachary Laks

Joe’s Pub’s intimate setting made for an exciting opportunity to hear Lewis Flinn’s score, which will be preserved on a cast recording set for release on May 15. Book writer Beane hosted the evening, interjecting his sharp wit in between the performances. Three of the original Broadway cast members were unable to attend, due to scheduling conflicts. Most noticeably absent was Lysistrata Jones herself, Patti Murin who is filming a pilot in Los Angeles. Teddy Toye (Harold) and Alexander Aguilar (‘Uardo) were also unavailable for the event.

The concert began as the Broadway production did, with its startling bang and a Greek-like chorus homage leading into its high-energy meet-the-characters cheer song, “Right Now.” With a peppy, petite lead in Libby Servais (Murin’s understudy—who had never gone on in the role on Broadway), the opening brought the whole cast out to great cheers and the glory-filled moments of the cast reuniting on the same stage. Flinn noted that the performance was taking place exactly one year ago from the first rehearsal for its off-Broadway production.

Lindsay Nicole Chambers was spontaneously called upon to perform her hysterical slam beat poetry entitled “Despair” as Beane noted that the poem was one of the most-talked-about moments in the show. She nailed the beat poetry and had a great time with it, seeming ready for it at a moment’s notice.

During “Just Once,” Lyssie J’s want song added for the Broadway run, Servais nailed the humor with ease. The scene was so well done that Beane joked that with one performance under their belt, they’d be ready for off-Broadway.

“Change The World” was a chance for Servais to show her confidence, exuding youthful pep as she decidedly chooses to give up sex until the university’s basketball team wins a game.

“No More Giving It Up” gave Jason Tam the opportunity to cover for the ‘Nardo and his chemistry with Kat Nejat and their “no sexo” bit had a fresh Latino flare. Throughout the number, Chambers and Servais had delightful camaraderie as they decreed their new decree.

“Lay Low” was introduced as a send up to boy bands. The song is Mick’s (played by Josh Segarra) response to the women’s stand against sex. Tam and Flinn subbed into the mix to great effect. Segarra was having fun with the song, playfully essaying the song with his own peppy choreography and charm.

Liz Mikel’s Act I show stopper, “I Don’t Think So,” was heavily reliant on staging, costumes, and props in the original production. Here, it managed to remain as funny, raucous and brassy as ever. The self-proclaimed “hostess with the mostess” channeled the seen-it-all prostitute masterfully as she teaches the girls a trick or two on how to best tease their men. As the 6 train rumbled below the venue, the walls shook with the exclamatory sounds of the women declaring their newly learned lessons of flirtation and chastity. The whole number crescendos into one my favorite musical moments of the 2011-2012 Broadway season and nothing was left for wanting in this concert rendition.

“You Go Your Way,” which Beane cited as his favorite number from Lysistrata, was an audience favorite. A rock anthem of separation sounded it’s best as the actors, free from the aerobic choreography, were able to stand and deliver.

The Act I closer “Where Am I Now” was as stirring as ever. Servais brought her own firm vocal inflections and honest characterization, all pacing towards the final belt-off, which she nailed. The audience erupted at the song’s key change, building towards the final spine-tingling notes of the first act.

VIDEO: Watch Libby Servais sing “Where Am I Now?”

The second act started up with “Writing On The Wall,” sung by Biti Strauchn, a back-up vocalist who had been with the show since the beginning. Strauchn’s soaring vocals perfectly harmonized with Mikel’s deep, earthy rasp while never intruding on the action. Throughout the score, Strauchn beautifully adds her vocal styling to fill out the sound, but here, she was given free reign to stand out.

“Hold On” with Servais, Tam, and Mikel was gorgeous and touching; the song never fails to make me tear. This was a more playful, fun performance of the song that fared well without the dynamic staging of its original incarnation.

VIDEO: Watch Jason Tam, Libby Servais, and Liz Mikel sing “Hold On”

LaQuet Sharnell and Alex Wyse’s “Don’t Judge a Book By It’s Cover” is a the sort of valentine to a working relationship that you don’t often see in a musical comedy duo. Both Sharnell and Wyse demonstrated a great chemistry and the role-playing/reveal in the scene was always an audience favorite.

“Right Now: Operetta” by the whole company was fresh and sounded great, if not a little too loud on the seemingly delicate sound system of Joe’s Pub.

“When She Smiles” by Segarra was soft, and again, more playful and free than done at Broadway’s Walter Kerr Theatre. It was nice to see him sing it straight out on a mic, as opposed to the scene in which he plays it singing to Robin, his love interest, while she helps him type up his essay.

“Hold On (reprise)” with Mikel and Servais was a fun pairing to place these two women of contrasting types next to each other. Mikel’s assured energy shined bright.

“The Final Game” and “Give It Up!” brought it all to an exclamatory rise of joy and pride with the full cast on stage singing their hearts out, hinting at various moments of the show’s choreography and tipping their hats to one another’s moment to shine.

The evening was a rare and exciting opportunity to revisit a musical that didn’t get the chance to shine long enough on Broadway. However, as demonstrated in the enthusiasm for evening’s concert, Lysistrata Jones will undoubtedly shine on in many future productions to come.

Were you at the Lysistrata Jones reunion concert, Rushers? Which was your favorite performance? Did anyone stick out to you during the concert that didn’t during the Broadway run? What other closed Broadway shows do you wish would reunite for a concert? Leave your thoughts in the comments below!

The No. 1 Reason To See Evita: The opulence of the Casa Rosada
Michael Grandage directs this beautifully elaborate production, which features a bold leading lady, mesmerizing choreography, and a stunning set design. Roger, who is reprising her performance from the West End production, defies her teensy stature and proves formidable on stage. As the ladder-climbing Eva, Roger speaks with direct intention; there is no question that this woman knows what she wants. Her dancing is also phenomenal, as is the choreography by Rob Ashford. The “descamisados” of Buenos Aires tango and spin their way through the warmly lit streets with expertly pointed toes and engaging precision. Meanwhile, all these exciting performances (from the leads to the ensembles) take place among Christopher Oram’s gorgeous set design of the Casa Rosada—the Perons’ estate. With ornate balcony railings, deep archways, and buildings that peek out from behind, the set looks heavy and expensive—everything a Broadway production should be. The only question I’d have is: Where can I set up a table and enjoy a nice churrasco steak in the courtyard?

Evita student rush policy: Beginning when the box office opens, up to two tickets per person may be purchased for $38.

Photo: Richard Termine

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Typically, my theater experiences are sequestered to Broadway and New York. However, on April 13, I will be traveling to Princeton, New Jersey to see Stuffed and Unstrung at the McCarter Theatre. I first saw Stuffed and Unstrung when it played a (criminally) brief off-Broadway run at the Union Square Theater in April 2010. It officially ranks as the funniest live show I have ever seen. The jokes were fresh, biting, and always pushing the envelope of decency. The acting was nuanced, original, and adorable. Perhaps the most surprising aspect of the night was that the audience members called on stage were somehow just as funny as the performers in their awkward stories and prompt suggestions.

If you want to join me at the McCarter Theater for Stuffed and Unstrung, Stage Rush is giving you a special promotional code to get tickets for $25. Use the word “Stuffed” when buying tickets online at McCarter.org or by calling (609) 258-2787. Student tickets with a valid ID are also available at $15.

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The No. 1 Reason To See End of the Rainbow: The story of a great performer begetting a great performance
In her Broadway debut, Bennett astounds as the iconic Garland. The role requires screaming, crying, laughing, crawling, and belting… lots of belting. Performance interludes of Garland’s greatest hits are interspersed with the dramatic scenes and Bennett must perform at top-concert level—sometimes as immaculate Garland, sometimes as manic Garland. To watch Bennett transition out of a scene in which she has been screaming at her fiancé Mickey (Tom Pelphrey) to a musical number with vocal perfection is incredible. It’s also exhausting to watch. Bennett not only sings with Garland’s passion, but also depicts the anguish she experienced in her personal life. Broken and bruised from a lifetime of industry abuse and loves she has lost along the way, Bennett plays a woman who is no longer within arms reach of solving her problems. When she fights Mickey for a bottle of prescription drugs, I felt like I wanted to leap on stage and wrestle them away from her as well. Bennett disappears inside Garland and the effect is unnerving. However, the life the audience has been invited to watch wasn’t all rainbows (excuse the pun). We have come to see the sad but true story of how one of the world’s most beloved performers concluded her life and Bennett claws and pulls at every last strand of despair. It’s strangely beautiful to think that the dramatic storytelling of a great talent could facilitate the birth of a new one. Bennett becomes a star by depicting Garland’s demise.

End of the Rainbow general rush policy: Beginning when the box office opens, up to two tickets may be purchased per person for $31.50 each.

Photo: Carol Rosegg

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The No. 1 Reason To See The Best Man: John Larroquette’s struggle with the dark side of politics
McCormack plays Joseph Cantwell, who has no reservations about using personal business as a weapon against his opponent. Larroquette as William Russell is the opposite, determined to keep the battle within the ring of diplomatic policy. Cantwell’s campaign quickly becomes what Larroquette was trying to avoid—a smear job. However, when information on Cantwell is fortuitously delivered to Russell, he has the opportunity to strike back against his competitor, using it as leverage to save his career. However, the decision would compromise his principles, turning him into the kind of politician he despises. While Russell’s advisers urge him to retaliate against Cantwell, Larroquette delivers a staggeringly heartfelt speech about the right and wrong of politics and what makes a noble leader. Larroquette, while not an actor who conveys melodramatic emotion, displays a storm of internal struggle through his stoic face. The inner conflict is palpable and what the audience is watching is a man who is at the tipping point of either becoming a leader he respects or one that he loathes. It’s that moment in everyone’s life where words take a backseat to actions, and Larroquette creates that personal choice on stage with painful suspense.

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The No. 1 Reason To See Jesus Christ Superstar: Jesus and Judas extending over the audience during “Superstar”
Scrolling red LED lights that traverse the industrial set have counted down the last week of Jesus’ life. During the climactic scene while Jesus (Paul Nolan) is on his way to his crucifixion, Josh Young appears as Judas wearing a shimmering blue suit, belting out the famous number “Superstar.” the two mount a long metal plank that the ensemble wheels to the edge of the stage and Nolan and Young jut out over the audience. Nolan strikes a confident, serene pose as Jesus while Young’s Judas belts out the song, transforming these historic figures into rock ‘n’ roll gods. At the performance I attended, the audience members under the plank gazed up at Nolan and Young, clapping in ecstasy. It’s the takeaway visual of this flashy production and will stand as one of the aesthetic high points in this Broadway season.

Jesus Christ Superstar student rush policy: Beginning when the box office opens, up to two tickets per person may be purchased for $27.

Photo: Joan Marcus

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