Stage Rush TV: Episode 86
- 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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Concert recap: Raul Esparza, Sierra Boggess rock ASTEP New York City Christmas
Raul Esparza shook his ass, Sherie Rene Scott compared Lindsay Mendez to her right breast, and Seth Numrich showed up to announce he can’t sing. Yes, everyone was in the holiday spirit at ASTEP’s fourth annual New York City Christmas concert at Joe’s Pub December 12. (An album of songs featured in the concert is available on iTunes and at Sh-K-Boom Records.) The evening of Broadway A-listers performing Christmas songs to innovative arrangements proved as solid and gorgeous as ever, mixed in with a lot of good humor. Here’s what went down.
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)”
The No. 1 Reason To See: The Agony and the Ecstasy of Steve Jobs
One of the most important questions to ask in our modern-day world is: Where does it come from? This question could refer to the food we’re eating, the clothes we’re wearing, and in the case of writer/performer Mike Daisey’s newest work—the gadgets we’re using. In The Agony and the Ecstasy of Steve Jobs, playing at the Public Theater, Daisy examines the frenzied obsession with Apple products, how the company controls those items, and the moral dilemmas of how they’re manufactured.
The No. 1 Reason To See The Agony and the Ecstasy of Steve Jobs: Timeliness Read more
Ticket giveaway: Shakespeare in the Park’s All’s Well That Ends Well and Measure For Measure
One of my favorite parts of the summer is the Public Theater’s Shakespeare in the Park series. One of my least favorite parts of the summer is waiting in line for free tickets to Shakespeare in the Park. So Stage Rush is swooping in to relieve some of you Rushers from the agony of that line in Central Park, and bringing you the joy of Shakespeare in the Park without the hassle. We are giving away a free pair of tickets to either All’s Well That Ends Well or Measure For Measure—the show is winner’s choice.
Here are the easy steps you need to take to have your chance to win these tickets:
- Enter on Facebook by writing on Stage Rush’s Facebook wall (“Like” us, if you haven’t already done so)
- Enter on Twitter by retweeting a link to the Shakespeare in the Park contest page (a retweet button is located at the top of this page) OR one of Stage Rush’s tweets about the contest (@StageRush must be mentioned somewhere within your tweet, or else we won’t receive your entry)
- Subscribe to Stage Rush’s weekly newsletter. (Previous subscribers will automatically be entered into the contest.)
Review: Bloody Bloody Andrew Jackson
After receiving what was undoubtedly the most kick-ass history lesson of my life last spring when I saw Bloody Bloody Andrew Jackson at The Public Theater, I wondered how the show would handle a Broadway transfer. Even now, the emo-rock musical about America’s seventh president still has a more off-Broadway feel to me. Its humor is incredibly specific and the story verges on off-putting and offensive at times. But like its title character, this show doesn’t follow convention.
Now playing at the Bernard Jacobs Theatre, Bloody Bloody has once again opened with commitment. The show’s focused style of humor and aesthetics would not work without pure dedication, and Bloody Bloody has gone whole hog. Or rather whole horse, as one hangs upside down from the ceiling over the audience.
Walking into the home of Bloody Bloody is an instant immersion into another world. Scenic designer Donyale Werle has done stupendous work, expanding beautifully on the setting at The Public. One of the most enjoyable aspects of Bloody Bloody last spring was the all-inclusive set design, with gaudy chandeliers and Christmas lights stretching far out into the audience. Werle has adapted the themes wonderfully for the 1,000-seat Jacobs Theatre. The house is splashed in deep read and painted portraits adorn the walls all the way to the back. The Christmas lights and chandeliers have returned, hoisted high above the audience, stretching back through the mezzanine. The Jacobs Theatre looks like a ghoulish setting for a Halloween party.
Once in the theater, the audience is prepped for all the sights of Bloody Bloody. The creative team for this show is the one to beat come Tony season. Werle, lighting designer Justin Townsend, and costume designer Emily Rebholz have collaborated with such unity. Rebholz’s costumes have done the actors the service of making them look as sexy and radical as they need to portray themselves. All aspects of Bloody Bloody fit together like a puzzle. Read more
‘Bloody Bloody Andrew Jackson’ readies for Broadway
Indians and politicians invaded the Playwrights Horizons Theatre on Wednesday when the cast and creative team of Bloody Bloody Andrew Jackson met with the press to promote their upcoming September 20 Broadway bow. The cast came armed with a medley performance of two of the show’s numbers, and writer/director Alex Timbers offered a sneak peak of what will happen when Jackson takes the stage.
Video: The cast of Bloody Bloody Andre Jackson performs “Populism, Yea Yea” and “Rock Star”
Stage Rush TV: Episode 28
- Bloody Bloody Andrew Jackson offers $20 tickets for first preview
- A week of strange plays: Pope: The Musical, Abraham Lincoln’s Big Gay Dance Party, and Jurassic Parq: The Broadway Musical
- Broadway grosses
Did you snap up a discount ticket to Bloody Bloody Andrew Jackson’s fist preview, Rushers? Were you surprised and elated (like me) when the Public staff gave out free merchandise? How many Fringe shows have you caught? Did you see Pope or Jurassic Parq? Leave your questions and thoughts in the comments!
Review: Bloody Bloody Andrew Jackson
Stage Rush TV: Episode 9
- Bloody Bloody Andrew Jackson gets EMOtional
- Seeing Anyone Can Whistle from a mile away
- Chicago’s ensemble talks stunt casting
- Broadway grosses: Why American Idiot isn’t a sellout
Rushing 12 Nights in Advance: The State of the Rush
I love Anne Hathaway. Like, love her. So when I heard she was doing Shakespeare in the Park’s Twelfth Night this summer with Raul Esparza, my other favorite actor, I couldn’t contain my excitement. In fact, I tweeted on April 15 “Raul Esparza has been cast in Twelfth Night, which is already starring Anne Hathaway. I’m getting in line NOW!” Little did I know I should have followed through with that tweet.
On Sunday, I was shut out from getting tickets to the performance. Unfortunately, it was the production’s final show. I know, I should have planned to do the famed Central Park rush earlier in the run, but due to scheduling conflicts, this is the way it worked out. But I took precautions. I arrived at 5:45 a.m.—a time I thought might even be over ambitious. But as the eternally long line of ticket hopefuls moved from Central Park West into the park (Central Park is technically not open to the public before 6 a.m.), line monitors of the Public Theater cut off the line when it reached a certain point, allowing no one else to join. There were already more people than there were tickets available, they said. After asking people who just made the cut off what time they arrived, I learned that on this particular day, unless you arrived at 4 a.m., you were out of luck. Read more