All tagged Camille A. Brown
On this week’s show, Jamie and Rob bring you an interview with the extraordinary choreographer Camille A. Brown, who in the last year alone worked on the Metropolitan Opera’s production of “Porgy and Bess”, The Public Theater’s “For Colored Girls Who Have Considered Suicide / When The Rainbow Is Enuf”, and “Toni Stone” for Roundabout, and earned a Tony Award nomination for her work on Manhattan Theatre Club’s “Choir Boy”.
"Little Shop of Horrors" extends to March with Gideon Glick; "Forbidden Broadway: The Next Generation" to play the York Theatre Company; Johnny Depp producing another Michael Jackson-themed musical in LA; Beth Leavel and Taylor Iman Jones to star in Broadway-bound musical "The Devil Wears Prada"; Jordan Fisher is Broadway’s next Evan Hansen; "Soft Power" will get a cast album; Jo Ellen Pellman will star as Emma in the Netflix film adaptation of "The Prom"; Camille A. Brown joins “Aida” development lab; cast of "Hangmen" announced; "Hustlers" musical might be in the works; RIP Marion McClinton, Valerie Taylor-Barnes, and John Simon
Three new plays opened at three of Off-Broadways best non-profit theatre companies over the course of the last month. I take a brief look at “Moscow Moscow Moscow Moscow Moscow Moscow” at MCC Theater, “The Rolling Stone” at Lincoln Center Theater, and “Toni Stone” at the Roundabout Theatre Company—all three of which are critic’s picks!
The 2019 Tony Award Nominations were announced this morning by Bebe Neuwirth and Brandon Victor Dixon. Take a look at the list and read my analysis of the surprises and snubs.
The Broadway premiere of Tarell Alvin McCraney’s “Choir Boy” at Manhattan Theatre Club, finely acted and beautifully told, is transcendent. The very presence of this play on Broadway about a black, queer teenage boy navigating private, Christian Prep school life is seismic, and Jeremy Pope offers a memorable debut in this timely and important work.
“This Ain’t No Disco”, an original rock opera about the art, music, and dance club scenes of 1979 New York, ain’t kidding. This new musical is bland and soulless, overstuffed, overdone, and under-dramatized, with a cacophony of characters, ideas, and issues offering only a sprawling, shallow story that is neither unique, distinctly tethered to the history of the setting, or frankly, engaging. This isn’t just a flop, but a belly flop—the likes of which you rarely see on stage in New York anymore.
