Answer the questions below to be entered into the contest.
Only one entry per person will be counted.

The giveaway will end on Thursday, February 9. Winners will be contacted via email and must acknowledge their acceptance of the tickets within 24 hours of being contacted, otherwise new winners will be chosen. The tickets are not available for resale.

What are you waiting for, Rushers? Enter to win tickets to this hot show! And don’t forget to follow Stage Rush on Facebook and Twitter, and sign up for the weekly newsletter!

Tickets are provided by Serino Coyne.

The No. 1 Reason To See Porgy and Bess: Audra McDonald and Phillip Boykin’s brawl during “What You Want With Bess?”
At the top of Act II, Bess’ fearsome pimp Crown, incredibly played by Phillip Boykin, returns from hiding from the police to remind Bess that he will soon be taking her away from the cozy life she’s made for herself in his absence. Bess, who has found tender love with Porgy and a sense of community with her neighbors in Catfish Row, has no intention of returning to her murky past. She sings “What You Want With Bess?,” an appeal to Crown, highlighting the notion that he can find a better, younger woman to satisfy him. McDonald’s delivery signifies the first time in a long time that Bess has stood up for herself. Of course, the concept of being denied only makes Crown desire Bess more, and despite her newfound inner strength, she is no match for his massive arms. As McDonald wails through the song, she and Boykin engage in a gruesome physical struggle. The gripping, pulling, and punching between McDonald and Boykin is raw and horrifically real. Yet the violence is not what makes the scene great; it’s McDonald’s unaffected singing throughout the brutality that creates this hypnotic juxtaposition. Credit also goes to Boykin, who is firmly committed to the viciousness of his character. However, McDonald’s unwavering operatic voice throughout this mayhem is astonishing. I guess four statues named Tony can’t be wrong.

Porgy and Bess student rush policy: Beginning at 5 p.m. for evening performances and noon for matinees, one ticket per person may be purchased for $37, cash only.

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The No. 1 Reason To See Wit: Cynthia Nixon’s startling portrayal of pain
Nixon’s portrayal of Vivian is excellently married with Edson’s words. She effectively conveys the confusion and struggle with having cancer—a tremendous task, since some believe only those who have suffered from it fully understand it. It would be difficult to find someone not affected by cancer, either through knowing someone close who has had it or being diagnosed with it themselves. Yet with such a serious condition, it is easy for those who don’t have it to become isolated from those who do, based on lack of understanding. In society, we discover someone has cancer and we wish them well, support them, and encourage them to endure the prescribed treatment and get better. Yet there is no way to fully comprehend what they are going through. Nixon’s raw performance makes a significant dent on this subject. Despite eloquent prose about how cancer has altered her life and the way the medical uncertainties of her condition conflict with the educational certainties that she’s enjoyed until this point in her life, the audience can only understand Vivian’s struggle to an extent. That is until the play’s final third when Nixon writhes in a hospital bed, shrieking in pain. Nixon’s screams send shivers through the house of the Samuel J. Friedman Theatre. It’s disturbing enough to want to walk out, releasing from the torture this woman is enduring. However, it wouldn’t feel right, as Vivian is stuck on the stage, unable to escape the agony. “There is cancer eating away at my goddamn bones, and I did not know there could be such pain on this earth,” Vivian yells. As startling as it is, Nixon’s performance is haunting enough to give the strongest window into the realities of cancer I have ever seen. The horror of Nixon’s performance serves as an invaluable reminder for the importance of cancer awareness.

Wit student rush policy: Up to two tickets per person may be purchased for $27 each when the box office opens.

Photo: Joan Marcus

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• Godspell‘s Lindsay Mendez: Can she carry her own show?
• Broadway grosses

What do you think, Rushers? Do you think Mendez will one day headline her own Broadway show? Do you think she’s a character actress or a leading lady—or is she both? Who are some of your favorite character actors on Broadway who have become leading men and women? Leave your thoughts in the comments below!

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This show looks like it’s so much fun to perform. What’s been the best moment so far?
I’d say opening night, just because it was such a mammoth task to take on redoing this show. In the beginning of rehearsal, we all thought this could either be really awesome and fun, or it was going to be really bad. It took a while for it to come together. When we opened, the show was fluid and wonderful.

Since your character is called Lindsay, what qualities of Lindsay Mendez are in the character you play in Godspell?
I think the Lindsay in the show has a lot of joy and definitely wants to go her own way. She’s also very materialistic. I don’t think I’m quite as bad as her, in that respect. But I really like playing her because I get to wear really fancy things. I don’t wear anything this nice. There aren’t many things that differ from her and I and it’s been really fun to have the audience get to know who I really am.

Is that difficult to play yourself?
I feel like I always bring a huge part of myself to any role I play. In Everyday Rapture, I played myself as well, in a way. I’m kind of used to playing myself. It’s not as foreign to me.

This is such a vocally heavy show with sustained energy. How is your voice and energy level holding up?
My body is more tired than my voice. The first couple weeks, the cast was saying there’s no way we’re going to be able to do this. We’re on stage the whole time; we sing every song; we never get water; we never get a break. I had to figure out how to manage. When you’re doing a Broadway show, it can start to feel like jail, in a way. All you do is wake up and hope you have enough of a voice to do the show and that your body feels good enough to perform at night. I’m trying to find the balance of having my own life in the daytime, then coming here at night and doing a great job. It’s an ongoing learning process for me.

This production puts the actors very up close and intimate with the audience. During intermission, theatergoers are even allowed to mingle with you on stage. Has that yielded any awkward or uncomfortable moments?
We have our moments where people want more than what we can give them. They ask for more wine; they want to take props from the stage. But most people come up on the stage and say they’ve never been on a Broadway stage before and how cool it is. I love staying out there. I only get about a five-minute break, but we all have the option to leave or stay. I stay every night, because I really enjoy it. I love hearing from people that they’re touched or having a wonderful time. I always need to be reminded of why I’m doing this.

VIDEO: Lindsay Mendez on the Godspell workout and how her Zodiac sign booked her Everyday Rapture

You look fantastic, by the way. How do you stay fit?
The show is a huge factor. It’s so physical that I don’t go to the gym because I’m doing two and a half hours of crazy cardio every night. I just try and eat well. It’s not every show that you get this much exercise in. I’m dripping sweat at the end of every show and it feels great. If I want to go out and eat something bad, I say, “Meh. I’ll burn it off on the trampolines tomorrow. [referring to the “We Beseech Thee” number]

You have a wide musical range, but you’ve become known specifically for jazz and scatting. Where does that come from?
I never studied jazz. I never even went to college. I began buying music and educating myself on it and I ended up buying a lot of jazz. I was really into Nina Simone, Ella Fitzgerald, and Sarah Vaughn. I just started hoarding this music. By hearing it, I’d wonder if it was something I could do. I’ve learned to do it and it’s really fun. Getting to scat is not a common thing in musical theater, but I’ve gotten to do it a lot. It’s really great to flex my muscles and see if I can make it work in the context. I don’t ever want it to be masturbatory. It has to fit and be exactly right.

This is only your third Broadway show, but you’re constantly working on readings and concerts, like the ASTEP Christmas concert and your Joe’s Pub show this Wednesday. When you first set out to be a performer in New York, did you know there would be opportunities available to you outside of a Broadway theater?
Not at all. I didn’t even realize that working with new composers and having my own band was a possibility for me. I came here wanting to be on Broadway, like everybody does. It wasn’t until I did Grease that my husband said to me, “If we’re going to be here, let’s see what else is out there for you to fill your time so that you don’t feel like you’re just living to work. This way, when the show closes, you don’t have to start from scratch.” I started meeting composers that I really clicked with. That’s the key—meeting these people who are creating the new work and getting them to write for you. That happened back in the day with Bernadette Peters and Stephen Sondheim. It’s still happening. That thought made me excited about working.

From your ASTEP appearances, it’s clear that you and Sierra Boggess have a strong friendship. What’s your history together?
We met doing a show called Princesses by David Zippel and Matthew Wilder at Goodspeed. I think Sierra got her Equity card doing it. I had gotten mine the show prior. We thought Princesses was going to Broadway. You hear your show is going to Broadway and you get that midtown apartment. We got an apartment at 50 St. and Tenth Avenue and moved in together. And then the show didn’t go to Broadway. I had gotten some other regional job. Sierra was on her last dime; she was struggling so hard. Then she got the Les Miserables tour and she has not stopped working since. We have been so close for so long. Doing that concert with her a couple weeks ago, I just couldn’t believe how much we’ve been through and that we get to come together and do this. I’m just so proud of her. She’s kicking so much butt.

When you were in Everyday Rapture, you took the role of a backup singer, which would seem like a thankless experience to most actresses. How does that experience sum up for you?
Gosh, Everyday Rapture was the best thing that’s ever happened to me in my life. I went into that audition three weeks after Grease closed. I really felt like I would never work again; that’s what you think when your first show closes. I’ve always thought Sherie Rene Scott was the most incredible performer. Knowing that Michael Mayer was directing and Tom Kitt was doing the music and Dick Scanlan was writing, I was like, these people are legends. To get the opportunity to be in a four-person show of theirs was unheard of. So I went in and auditioned. They immediately said, “You’re who we want.” They found Betsy Wolfe and we were in the final callbacks together. We read with Sherie and then she asked us what our astrological signs are. [laughs] Because that’s what she does. And we just clicked immediately. They’re like sisters to me. We’ve been through so much together, what with doing the show and transferring it to Broadway. Sherie and that experience really changed my life. I would do that show again in a heartbeat; tomorrow or 10 years from now. Sherie never made us feel like backup singers. If she had it her way, she would be behind us. She will tell anybody and everybody, “The reason I hired Betsy and Lindsay is because I know they’re going to be huge stars and I want everyone to know that I picked them.” I spent two nights with them this week, in fact.

You’ve gained quite a following from playing supporting characters. Are you creatively fulfilled by the types of roles you’ve played?
Grease was my Broadway debut. I had fun playing that character, even though I’ve played it many times before. Everyday Rapture was something different. The Marvelous  Wonderettes [off-Broadway] was a big challenge, because it’s a hard show where you’re on stage the whole time. I’d say Godspell has been the biggest challenge—that I have to live up to the work of Stephen Schwartz. I think this is the most exposed I’ve ever felt in a show. I think it’s been really good for me. I’m excited to see what happens next. I never thought I’d get this many opportunities in my career. I’m kind of a weird type and I’ve managed to make a space and I’m beyond grateful.

Do you see yourself as a leading actress?
Yes. I definitely see myself as a character actress, but that doesn’t mean that I can’t lead a show. What excites me about a lot of the new work I’m doing is that women don’t have to be a size zero and blonde to lead a show anymore. People are writing with certain actors in mind, knowing that they’re special and unique. I think audiences respond to people who are reachable. I’m this Mexican girl from California. I can relate to a lot of audiences that come. I believe I could lead a show. Will I ever get to? I don’t know. For now, I enjoy what I do. I enjoy a side character too. You get your two songs, a couple scenes, funny lines, then you’re backstage playing Uno. That’s good too; I’ll take either one.

Do you think Lindsay Mendez is on track to headlining her own show, Rushers? What has been your favorite performance of hers so far? Are you as touched by her close bond with Sierra Boggess as I am? Leave your thoughts in the comments below and tune into this week’s episode of Stage Rush TV for more interview footage with Mendez!

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• Louis Hobson shares Next to Normal memories in his Bonnie & Clyde dressing room
• Stage Rush’s top 3 Broadway moments of 2011

What do you think, Rushers? What was your top Broadway moment in 2011? What are you most looking forward to on Broadway in 2012? Leave your thoughts in the comments below, and have a safe and happy New Year!

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In Relatively Speaking, four-time Oscar winner Ethan Coen and two-time Oscar nominee Elaine May join with Woody Allen for a one-of-a-kind Broadway experience directed by John Turturro. Julie Kavner, Steve Guttenberg, Mark Linn-Baker and Marlo Thomas head a cast of 16 in this hilarious evening of one-act plays that explore the often outrageous reality of relatives (each one-act play springs from a different branch of the family tree).

So, what’s better than attending a performance of Relatively Speaking with a friend at the Brooks Atkinson Theatre? How about getting to attend a performance of Relatively Speaking with a friend  for free, courtesy of Google Places and Stage Rush?

Stage Rush is proud to be teaming up with Google Places, the new personalized local recommendation engine powered by the reviews of users and their friends. Google New York wants to give you the opportunity to win a pair of tickets to Relatively Speaking, just for sharing your opinions about your favorite places in New York City—and all the winners will go out to the theater together on the evening of Tuesday, January 10. And, after the show, you’ll all go out for drinks—on Google!

Here’s how it works:

1. Go to Google.com/Places and select “Start Rating” (you’ll need to create a Google account if you haven’t already).
2. Fill out this form by 11:59 PM on Sunday, January 8.
3. Review as many New York City places (especially your favorite theaters!) as you like by 11:59 PM on Sunday, January 8. Each quality review you write will be judged as a new entry.
4. We’ll go through all the reviews you write during the contest period and give them points. The entrants with the highest number of points will win a pair of tickets to see Relatively Speaking at the Brooks Atkinson Theatre on the evening of Tuesday, January 10.
5. The winners will be notified via email on Monday, January 9. Remember to keep Tuesday, January 10 open in case you win a pair of tickets!

So, what are you waiting for, Rushers? Start writing those quality reviews today!

Note: You must be 21 to enter. To read the full official rules, click here. To find out where the Google Places crew will be next, follow them @GoogleNYC on Twitter and on Facebook.

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Ted Hinton is an interesting role in that you’re kind of the bad guy. The audience doesn’t root for you, but you’re on the side of the law; you’re doing the right thing. Sounds like a difficult mindset to get into.
Our conversation from the first rehearsal was that there is no antagonist in this show. If you need to choose an antagonist, you can say it’s society or the circumstances that everyone’s in. I wanted to push Ted as close to the middle of that line between right and wrong. I think that Clyde falls on that line as well. To me, it’s more interesting that no one in the show is all good and no one is all bad.

What’s it like playing someone who actually lived?
Ted Hinton was the last surviving member of the group that brought Bonnie and Clyde down. Ted in the show is sort of a composite of several different people. What he needed to be for this story was a little different than what he was in real life. But it’s always nice to start with something that’s real.

Is it fun to play cops and robbers on Broadway?
It’s fun having a gun. It gives you so much power. Unfortunately, I don’t get to shoot mine. Ted is one of the few guys that doesn’t get to shoot his gun. We have these big-ass guns [during the shootout scene at the end], but they don’t actually fire; they’re prop guns. Everything in that scene is firing sound effects. I don’t get to fire a blank in the show, and… that’s alright. [mock disappointed voice]

The gunshots in the show are jarring for the audience. Is it still startling for you?
We jumped when we were first [firing the blanks]. These are real bullets; they just don’t have the metal tips that fire the projectile. We were playing around with a full load of gun powder, then a half load, a quarter, an eighth—all to test different volumes. I can live with this volume now; it was so loud at the beginning. I’ve gotten used to it. Every once in a while, I get that ringing in my ears. But it’s much worse for Jeremy and Laura.

VIDEO: Louis Hobson talks about acting opposite Tony winner Alice Ripley in Next to Normal

You get to sing this sweet song “You Can Do Better Than Him,” and then you get to belt in the reprise of “Raise A Little Hell.” Is it nice to get to sing both sides of the coin?
Being a theater singer, you always bend your voice to the will of the scene. I’ve never sung country music before. I bent my voice in that direction for “You Can Do Better.” For the reprise, we fiddled around with that a lot in rehearsal. I talked my way into the end of that. I thought it would be cool because it’s been a long time coming. Ted wants to get Clyde and he’s been saying that over and over again. To be able to work my way into that and get that nice open belt in there is emotionally satisfying.

Photo: Nathan Johnson

You were amazing in Next to Normal and saw that show through so much, including its entire Broadway run. What was it like to stick with a long-running Broadway show from opening night to closing night?
It is rare. It was such a gift to be able to do that—to see replacements come and watch the show shift and change. Everybody was always invested in it. Nobody checked out at any point. My role [as Dr. Fine/Dr. Madden] was such a listening role. I just sat and listened. I had to take in the other person and react accordingly. It was exciting, because most of the roles I’ve played over my career have been very active. To play a sit and listen role, it was very exposing. I felt like when I was first doing it that I had to do more. It’s a lesson in acting. The more you do a show, the more you realize you have to chip away. You take away the excess material. Not many people get to open and close a show on Broadway that’s successful.

What was your top Next to Normal moment?
Gosh, there were so many. I made my Broadway debut in that show. I was completely freaked out, because I had no idea what that was like. I think the first moment I realized I was making my Broadway debut was the moment at the end of the show where I walk up the stairs of the set and we’re all placed around the stage. I could see the audience through the slats of the stairs. I don’t like to look out at the audience, if I can help it. During Next to Normal especially, because it wasn’t a show that was performed out [to the audience], for me, anyway. There were so many great moments. There were moments stacked upon moments. It was almost too much. When we found out we got the Pulitzer, when the Tony nominations came out. Not really understanding how amazing the show you’re in is until you’re done and you realize not every show’s like this. Not every show has the best producer, the best director, the best writers, the best cast. It was a once-in-a-lifetime opportunity.

You acted opposite Alice Ripley in some of her most vulnerable scenes. What was she like as a scene partner?
She’s the most exciting person to be with on stage because she’s so dangerous. She never follows the plan. I think that’s one of the great lessons I’ve learned about acting and I’ve learned a lot of it from her. You’re scared, especially in your first Broadway show. You’re trying to do everything perfect. You’re trying to do it as written and on the page. Then you realize that the words are just the tip of the iceberg, especially in that show. There was so much internal life in her. She was in it from the first performance to the last. She never phoned it in. It was amazing to watch.

You made the jump from Seattle theater to Broadway. What’s been the toughest part about it?
I’ve been blessed since I’ve been here. Before Next to Normal closed, I booked The People in the Picture, which ended up kind of being a disappointment. But it had a wonderful cast and it was a great experience in a lot of ways. When that was finished, I went back to Seattle for a few weeks on vacation and literally walked back into this city and booked Bonnie & Clyde. I haven’t had difficulty in that regard since I’ve been here. I said to my wife while doing this show that I don’t know how many more of these I have in me. To originate a role and to do all the work it takes to get a show up. And I had just joined Bonnie & Clyde; most people have been with it for years. To get a show, open it, having all those variables come together at the last minute under that time and pressure to make a show—all that crams together and you end up with something that, hopefully, means something. It’s so much energy. It’s so hard on your body, your soul, your mind. I have kids and a wife; to balance all those things has been the hardest part. I have always said that I would keep on doing this as long as I was committed to it. I never want to be one of those actors that comes in and treats it like a job, just punches the clock. If I stop investing 100 percent of myself into this while I’m here, then I should just stop.

Do you feel the supporting roles you’ve played so far on Broadway have been enough for you, creatively?
Yes and no. They’ve afforded me the ability to do other things. If I was playing a really big role, I wouldn’t be doing other things that I’m passionate about. I take an acting class once a week at Michael Howard Studios. I have time with my family. I’m co-producing a new musical this month, as sort of an outgrowth of the other things I think I’m good at. It’s afforded me the ability to do that. But yes, I would like to have a crack at something larger. I think that I’m good at playing a big role. It’s easier for me in a lot of ways, because you’re on stage the whole time and you don’t have all that time off stage when you have to keep focused. I would like to do bigger roles. I came here to win a Tony; I didn’t come here to just work on Broadway. Which is a gift unto itself, but I want to play something juicy.

What do you think of Louis Hobson’s story, Rushers? Have you caught him in Bonnie & Clyde? Were you taken by his performance in Next to Normal? What kind of roles on Broadway  would you like to see him play? Do you think he’ll make the jump from supporting character to lead soon? Leave your thoughts in the comments below, and tune into this week’s episode of Stage Rush TV to see more of our interview with Hobson.

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• Raul Esparza, Sierra Boggess, and more sing devastatingly beautiful Christmas songs at ASTEP’s annual holiday benefit concert
• Broadway grosses

What do you think, Rushers? Who had the best performance of the night at ASTEP’s Christmas concert? Would you forgo Christmas presents in exchange for hearing Raul Esparza sing (like I would)? What’s your favorite Christmas song that you’d like to see one of these guys perform? (An album of songs featured in the concert is available on iTunes and at Sh-K-Boom Records.) Leave your swooning and inappropriate thoughts in the comments below!

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Sherie Rene Scott, Lindsay Mendez, and Betsy Wolfe (previously seen together in Everyday Rapture) kicked off the show with Mariah Carey’s “Christmas (Baby Please Come Home)” in such sassy, female rocker fashion, it made me wish the three would form a permanent girl rock group. The bond between the three women seemed strong, as their chemistry flared during their feisty number and between songs, they exchanged playful banter. Scott told a story in which an early scene for Everyday Rapture had Mendez and Wolfe playing her breasts, with character names simply “Left” and “Right.” Scott credited her strong relationship with Mendez saying, “Lindsay will always be my Right.”

VIDEO: Sherie Rene Scott, Lindsay Mendez, and Betsie Wolfe sing “Christmas (Baby Please Come Home)”

Andy Karl, currently appearing in Jersey Boys, did Rob Thomas justice with “New York Christmas,” which was arranged in a mashup with “Hark! The Herald Angels Sing.” Later on, he returned to the stage with his wife, past Legally Blonde costar Orfeh, when they dueted with “I’ll Be Home For Christmas” and “Christmas In America.” Orfeh appropriately blew out at least a few Christmas light bulbs in the tree out in the Public’s lobby.

Sierra Boggess of the West End’s Love Never Dies and the upcoming Broadway musical Rebecca showed her pretty face twice to sing a pair of songs. First up with Mendez (currently in Godspell), the pair sang a mashup of “Still, Still, Still” and “The First Noel,” which was so mind-bendingly melodic that it personified exactly what the peaceful Christmas Eve of your dreams feels like. Boggess then returned to the stage, accompanied by her sister Summer Boggess on the cello, to sing one of the Christmas canon’s most beautifully somber tunes, “Have Yourself A Merry Little Christmas.”

VIDEO: Sierra Boggess and Lindsay Mendez sing a mashup of “Still, Still, Still” and “The First Noel”

Introducing numerous performers were a couple of Broadway stars who showed up to charm with their words, rather than their musical talents. Brooke Shields, currently starring in The Addams Family, was there to support Addams music director Mary Mitchell Campbell and Esparza, her Leap of Faith costar. Appearing greatly humbled by the night, Shields sang the praises of ASTEP, an organization that gets artists involved to creatively stimulate the youth in poverty-stricken populations. Also a speaker of the evening was Seth Numrich of War Horse, who appeared in appropriate attire for a Spring Awakening audition. He was present to extol the good deeds of ASTEP; he was not there to sing­—something he made clear to the audience of which he had no ability.

Over the course of the evening, Boggess stunned with her beauty, Mendez scatted the audience into oblivion, and Chester Gregory (currently in Sister Act) shattered windowpanes in the upper east side with his high notes. Yet despite these Broadway veterans’ fantastic performances, I am taken year after year by music director and co-host Lynne Shankel. As organizer of the concert and the orchestrator of these fresh arrangements of Christmas classics, Shankel’s adorable introductions and anecdotes consistently make a case for her being one of the coolest ladies on Broadway. Her rapport with the performers is built up of cute exchange upon even cuter exchange (particularly with Esparza). She’s so into what she does that it’s simply fascinating just to watch her accompany a singer on the piano. This year, however, Shankel joined in on a group vocal performance. Who knew this woman could sing! Lynne Shankel, congratulations; you just won the You Can Do Everything Award. We wouldn’t have it any other way.

Yet this recap must be ended with a recount of what happened when Mr. Esparza took the stage. (In fact, all concert recaps should probably end with Raul Esparza.) Esparza’s concert billing is what attracted me to the first New York City Christmas concert in 2008, where he famously set fire to the stage with an English/Spanish version of “O Holy Night,” which I have been watching obsessively for years now. The four-time Tony nominee performed that burning ember of a Christmas tune again this year, but he added another marvel that he collaborated with Shankel on arranging. In a mashup with “Winter Wonderland,” Esparza sang “In The Bleak Midwinter,” a song that does not share the hyper cheeriness of “Santa Claus Is Coming To Town” in the slightest. As most of us know, the holidays aren’t always the happiest time of year. This pensive, sacred-sounding melody merged with Esparza’s yearning voice to create a musical definition of what Christmastime depression feels like. This is a song you curl up under your Christmas tree and cry to, with only the light from the decorative, colored bulbs to illuminate your tears. And it is glorious! Esparza’s rendition proved that Christmas isn’t always presents and candy canes, but even its emotional pitfalls can be beautiful.

VIDEO: Raul Esparza sings a mashup of “In The Bleak Midwinter” and “Winter Wonderland”

Were you at ASTEP’s New York City Christmas concert, Rushers? Whose performance was your favorite? Do you gravitate toward the rosy-cheeked, giddy songs of Christmas? Or do you prefer thoughtful, introverted tunes of the holiday season? Who would you like to see perform at next year’s concert? Leave your thoughts in the comments below, and tune into this week’s episode of Stage Rush TV for bonus footage from the concert!

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