Ads 468x60px

Showing posts with label musical. Show all posts
Showing posts with label musical. Show all posts

Friday, September 2, 2011

Wonder makes musical tribute to Motown's Edwards (AP)

DETROIT – Berry Gordy Jr. brought Motown Records to life, but his sister Esther Gordy Edwards preserved its legacy.

Gordy on Wednesday joined Motown legends Stevie Wonder and Smokey Robinson, as well as hundreds of others, to celebrate both the life and legacy of Edwards, who died last week at 91. Gordy clasped hands with Robinson as they entered the church, and the Motown founder held onto Wonder as they exited.

The more than three-hour funeral service at Detroit's Bethel AME Church featured spoken and sung tributes for Edwards, who held many executive roles with the musical empire that her brother founded in 1959. She was the guiding force behind preserving Motown's original headquarters and record studio and turning them into a museum.

Wonder spoke before performing a stirring, soulful rendition of one of Edwards' favorite hymns, "His Eye is on the Sparrow," and "Sweetest Somebody I Know," an original he said is "so much about her" and which also included some of his hit, "Isn't She Lovely."

Wonder said he was "giving all the praise to God for what she did in my life and the many lives she touched."

"I think if we all had a mother or sister or aunt or cousin or sister or niece that celebrated and cheered our family as much as she did hers, we'd have a world of unity," he said. "I am just thanking God that in my lifetime I knew her."

Edwards' responsibilities at Motown included managing and guiding the artists' careers and exposing the famed "Motown sound" to international audiences as director of international operations.

Still, her lasting contribution to the company came after Motown and most of her family left Detroit for California in the early 1970s. She amassed what would become valuable memorabilia and set to work on preserving the old headquarters — a large stately former house on West Grand Boulevard that included the label's famed Studio A. The museum opened in 1985.

Robinson said Edwards was the only one in the company's early days who knew Motown was "going to make history," so she took pictures and saved "every little scrap of paper, every tape."

"Fortunately, there was Esther, who had our backs," said Robinson, who introduced himself to the audience as "Smokey Gordy Robinson."

"Now we have a pictorial and an itemized history of our legacy, right there on West Grand Boulevard," he said.

Robinson said Edwards wouldn't tolerate misbehavior, particularly from those closest to her.

"I'm a dude who grew up in the `hood, right here in Detroit," Robinson said. "When I was gettin' down wrong, she would chastise me. You chastise the ones you love. If you let `em get away with stuff, then you don't really love `em."

Gordy said his "big sister" was the "glue" for both the Gordy and Motown families.

"And, like glue, everything worth anything stuck to Esther," Gordy said. "When I was leaving Detroit, I was going around throwing away stuff. Esther was right behind me, picking it up. Little did anyone know that one day that stuff I was throwing away would become a world-class museum."

Edwards was born in 1920 in Oconee, Ga., and moved to Detroit as a toddler. She was the eldest daughter in a family of eight children.

She first married Robert Bullock, with whom she had a son, Robert Berry Bullock. She later married state Rep. George Edwards and became a step-mother to his son, Harry.

The crowd was full of "Motown soldiers," as Robinson called them, including the Abdul "Duke" Fakir, the lone surviving original member of the Four Tops, Motown songwriters Eddie and Brian Holland, and Claudette Rogers Robinson, member of the Miracles and Robinson's ex-wife.

Claudette Robinson told The Associated Press after the service that Edwards was "a personal ally" and a "mother figure" going back to the Miracles' first days at the nascent company — two years before any other artist.

"She showed such concern, such compassion for the females," Robinson said. "She wanted to make sure we strived for excellence and we were just being the best we could be."


Yahoo! News

Tuesday, August 23, 2011

"Ghost" musical to appear on Broadway (Reuters)

NEW YORK (Reuters) – The musical adaptation of the hit movie "Ghost," written by former Eurythmics musician Dave Stewart, will open on Broadway in April, 2012, representatives for the musical said on Monday.

"Ghost The Musical" is being transferred from a run in London where it received mixed reviews. The Broadway version begins previews in March and will again be directed by Matthew Warchus, who won a Tony Award for the play, "God of Carnage."

The book was written by Bruce Joel Rubin, who wrote the script for the hit 1990 film romance that starred Patrick Swayze and Demi Moore. The musical again follows Sam, a banker, who returns from the dead to communicate his love for his partner, Molly.

The London musical stars Richard Fleeshman and Caissie Levy, but the Broadway casting has yet to be announced. The musical also features the song "Unchained Melody" by The Righteous Brothers -- which became a hit again when the film was released -- as well as the famed pottery wheel sequence.

The 1990 movie became a blockbuster, generating more than $500 million in global ticket sales, but the London stage production fared less well. The Guardian newspaper, for one, said the production did not match the passion of the film.

(Reporting by Christine Kearney, editing by Bob Tourtellotte)


Yahoo! News

Monday, July 25, 2011

Amy Winehouse among musical talents gone too soon (AP)

NEW YORK – Amy Winehouse released only two albums in her life, one of which sold more than a million copies, won five Grammys and sparked a retro soul movement that hasn't yet stopped.

The small output, in inverse relation to her outsized talent, made her death Saturday in London all the more tragic. Fans will only be able to imagine the unrecorded singles, the never-to-be concerts and the comeback album that didn't come.

It's a sadly familiar script in pop music, the history of which is checkered with greats and would-be greats snuffed out too early in life.

Almost as soon as news of Winehouse's death broke and spread across social media, fans were inducting her into the unfortunate pantheon of music talents gone too soon. Many noted that Winehouse, 27, shared the same age at death as Jimi Hendrix, Janis Joplin, Brian Jones, Kurt Cobain and Jim Morrison.

The British singer-songwriter Billy Bragg, though, realized that a meaningful commonality was being mistaken for coincidence.

"It's not age that Hendrix, Jones, Joplin, Morrison, Cobain & Amy have in common," wrote Bragg on Twitter. "It's drug abuse, sadly."

Those names were touted on the Web as the 27 Club, a ghoulish glamourizing of rock star death that makes it sound as though even in death VIPs remain behind a seductive velvet rope.

It's a term, sometimes called the Forever 27 Club, that has spawned a Wikipedia entry, an independent 2008 movie ("The 27 Club"), numerous websites and at least one book ("The 27s: The Greatest Myth of Rock & Roll").

The causes of death vary. Jones, the Rolling Stones guitarist, was found dead at the bottom of his swimming pool in 1969 and was ruled dead "by misadventure." Hendrix, having mixed sleeping pills and wine, died in 1970 in a London hotel room. Joplin, also in 1970, died at Los Angeles' Landmark Hotel, with heroin the culprit. Morrison died of heart failure in 1971 in the bathtub of his Paris apartment. Cobain killed himself in 1994.

Some have claimed Cobain was aware of the so-called 27 Club. After his death, his mother, Wendy O'Connor, was understandably fed up with the concept, saying: "I told him not to join that stupid club."

The cause of Winehouse's death is not yet known. An autopsy is scheduled for Monday.

She long struggled with drug and alcohol abuse. Last month, she canceled her European comeback tour after she swayed and slurred her way through barely recognizable songs in her first show in the Serbian capital, Belgrade. She flew home, and her management said she would take time off to recover.

What's particular about Winehouse's style of rock 'n' roll excess is that it was chronicled thoroughly by the tabloids and news media and was eagerly consumed by readers.

High-quality photographs captured her poor health, the scabs on her face and marks on her arms. Videos of her landed on the Internet, like one that showed her and Babyshambles singer Pete Doherty playing with newborn mice. Another showed her singing a racist ditty to the tune of a children's song. One, published by a tabloid newspaper, appeared to show her smoking crack cocaine.

Her run-ins with the law — she was cautioned by the police in 2008 for assault and in 2010 pleaded guilty to assaulting a theater manager who asked her to leave a family Christmas show because she'd had too much to drink — found headlines. So did her romances, such as her brief marriage in 2007 to music industry hanger-on Blake Fielder-Civil.

Rarely, though, were Winehouse's troubles romantic or appealing. Though a thoroughly captivating presence — all beehive and tattoos and candor — Winehouse always cut a desperate figure. Her struggles with substances and bipolar disorder (she said she declined to take medication for it) were painfully evident.

In death, her famous boast of "no, no, no" to rehab only sounds empty. The hard truths of addiction don't fit neatly into pop tunes — or morbid 27 Clubs — but play out over years of toil.

Early death typically mythologizes pop stars, inflating their reputation. Pop culture writer Chuck Klosterman, in his book "Killing Yourself to Live," wondered why "the greatest career move any musician can make is to stop breathing."

The posthumous releases from Winehouse will surely follow, and her legacy will grow. But hopefully mythologizing will be resisted.

Winehouse's death, an unfortunate but unsurprising end to a long, public decline, might be best remembered not just as another tragic loss but as a modern portrait of how untrue those rock myths really are.


Yahoo! News

Wednesday, June 29, 2011

Temptations Broadway musical in works, says singer (Reuters)

DETROIT (Billboard) – The Temptations have been many places during their 50-or-so years together. Now Broadway beckons.

Otis Williams, the Motown group's sole surviving founding member, says a stage musical is in the works based on the 1998 NBC miniseries, "The Temptations." Broadway producer Ira Pittleman is working with the group on the project.

"It's still so popular and loved," Williams told Billboard.com. "I get calls all the time, like, 'Man, the miniseries is on!' and stuff like that. That's the catalyst, and (Pittleman) is waiting to do the Tempts story. I never would have imagined the possibilities of the Tempts life story going to Broadway, but it's wonderful."

However, Williams says the group plans to wait until Motown founder Berry Gordy, Jr., gets his own Broadway musical, which is reportedly slated to open in April of 2012, on the boards.

"Then, after that, the Temptations will get into action. They haven't even started writing the script, so it's really early," says Williams, who will serve as an executive producer.

Williams says he and the Temptations camp have no involvement in the Gordy Motown musical, however.

"That is all under Mr. Gordy's control," Williams said. "I definitely will be going to see it. I think we're in it two or three different times, guys portraying the Temptations, and I'm very happy for Mr. Gordy because he's had such an illustrious career that should be magnified as much as possible because he's been a wonderful inspiration to the lot of us."

While the Temptations' musical will recall the group's glory years, Williams and company hope to add to the story by the time it opens. After rolling out a new album, "Still Here," in 2010, Williams said the group -- which this year celebrations the 50th anniversary of its name change from the Elgins to the Temptations -- is starting to eyeball its successor.

"Yeah, we will be doing another CD in (2012)," Williams said. "We'd like for there to be some new music by the time the Broadway musical opens. We'll start putting that together a little later during this year, or the beginning of next year."

(To read more about our entertainment news, visit our blog "Fan Fare" online at http://blogs.reuters.com/fanfare/)


Yahoo! News

Sunday, June 19, 2011

Lloyd Webber's musical 'Love Never Dies' to close (AP)

LONDON – Andrew Lloyd Webber's sequel to the hit musical "The Phantom of the Opera" will close in August.

"Love Never Dies" opened in March last year to mixed reviews at the Adelphi Theatre as the first musical sequel to open in London's West End. The show relaunched with changes months later and recently nominated for seven Laurence Olivier theater awards, but won nothing.

Lloyd Webber had told reporters that he could not properly oversee the opening of the show because he was diagnosed with cancer before the debut.

The musical opened in Melbourne, Australia, in May to more positive reviews.

"Phantom," now in its 25th year, continues to be popular in the West End.


Yahoo! News

Friday, June 17, 2011

Susan Boyle story to be turned into musical (Reuters)

LONDON (Reuters) – Scottish singer Susan Boyle, who shot to stardom in 2009 when her performance on a television singing contest became an internet hit, will see her life portrayed on stage in a new musical.

"I Dreamed a Dream," named after the title of the song she sang that made her an overnight celebrity, will tour internationally from 2012 after premiering at Theater Royal in Newcastle, England, on March 23.

"I never thought my life story would end up on the stage but a lot has happened in two years and it is a very exciting prospect," Boyle said.

"I hope everyone enjoys the show and I promise there will be a few surprises along the way," she added in a statement.

Boyle will be played by actress Elaine Smith, best known for her role in the British comedy series "Rab C Nesbitt" and a favorite of the singer.

Boyle's rendition of I Dreamed a Dream was viewed some 300 million times on the YouTube video sharing site, and within days she was a global singing sensation.

Under the tutelage of music producer Simon Cowell, who was a judge on "Britain's Got Talent" when Boyle performed, she has gone on to record two albums and sell some 14 million copies.

Producer Michael Harrison said of the show: "It's got all the qualities of a fairytale, but with the added bonus of being absolutely true."

According to the Daily Telegraph, a 26-week tour of the Britain, the United States and Australia has been lined up so far.

(Reporting by Mike Collett-White, editing by Paul Casciato)


Yahoo! News

SuBo the musical to tour Britain and the US (AP)

LONDON – Producers say the spectacular rise to fame of singer Susan Boyle is being turned into a stage musical that will tour Britain, the U.S. and Australia.

Scottish actress Elaine C. Smith has been cast as Boyle, a shy, forty-something church volunteer from a small Scottish town who became an Internet sensation through her performance on TV show "Britain's Got Talent" in 2009.

She went on to top the British and U.S. album charts and has sold more than 14 million records.

Producer Michael Harrison said Friday Boyle's story has "all the qualities of a fairy tale, but with the added bonus of being absolutely true."

The show, "I Dreamed a Dream," is due to open in March in Newcastle, northeast England, before a six-month tour.


Yahoo! News

Thursday, June 16, 2011

Bono's "Spider-Man" musical still weak, critics say (Reuters)

NEW YORK (Reuters) – Broadway's most expensive and ridiculed musical, "Spider-Man: Turn off the Dark," suffered another round of crushing reviews on Wednesday, a day after its long-delayed official opening drew celebrities such as former president Bill Clinton and actor Robert De Niro.

The $70 million comic-book adaptation, featuring music by U2's Bono and the Edge, was lambasted earlier this year while playing in a record-breaking 180 previews as its producers struggled to overhaul the production.

While the play would take years to turn a profit, tourists and other intrigued theatergoers could keep it on Broadway far longer than usual for productions with such withering notices.

Technical problems had delayed the opening six times since it began previews last year, and the show was suspended at one point after a rash of on-stage injuries and bad publicity ultimately led to the departure of its iconoclastic director Julie Taymor.

Many critics said that while the show had changed dramatically from its initial run under Taymor, it was still hobbled by a weak plot and bad music.

New York magazine said the musical had "deteriorated from mindblowingly misbegotten carnival-of-the-damned to merely embarrassing dud."

And the New York Times said, "this singing comic book is no longer the ungodly, indecipherable mess it was in February. It's just a bore."

Somewhat embarrassingly for the high-profile rockers in one of the world's biggest bands, the music was uniformly panned.

"It's their mediocre score, as much as anything, that makes this third-rate entertainment," said the Hollywood Reporter, describing a couple of tunes as "shockingly inept."

Added New York magazine: "No amount of mulch or manure can cover up the music, which is, by far, the show's greatest weakness."

Some critics were kinder. USA Today said "the new Spider-Man is ... more in line with the winking musical adaptations of famous films and brands that have lined the theater district in recent years." The paper concluded, "it might just make it."

Even Clinton, hitherto unknown as a theater critic, jumped to its defense. In a statement he described the play as "fabulous."

The musical was originally due to open late last year. Aside from the numerous technical and creative challenges that stumped producers, a major cast member quit and the U.S. Department of Labor accused it of serious violations of workplace safety rules.

And in February, with the musical playing to packed houses for so many months, critics broke the customary embargo on running reviews before the official opening to deliver an initial round of blistering reviews.

But regardless of the latest reviews, the official opening still drew an A-list crowd. In addition to Clinton and De Niro, the audience included Taymor, Bono and The Edge, actors Matt Damon and Steve Martin, director Spike Lee, model Cindy Crawford and artist Jeff Koons.

The show features impressive stunts with "Spider-Man," played by Broadway newcomer Reeve Carney, often flying high above the audience into the top tiers and climaxing with a mid-air fight between Spider-Man and his enemy the Green Goblin. In previews the characters often got stuck mid-air.

The show's woes provided its writing staff with an opportunity to insert a few in-jokes.

"I'm a $65 million circus tragedy," the Green Goblin says at one point in the show. "Well, more like 75 million."

(Reporting by Christine Kearney, editing by XXXX XXXXX)


Yahoo! News

Bono's "Spider-Man" musical still weak, critics say (Reuters)

NEW YORK (Reuters) – Broadway's most expensive and ridiculed musical, "Spider-Man: Turn off the Dark," suffered another round of crushing reviews on Wednesday, a day after its long-delayed official opening drew celebrities such as former president Bill Clinton and actor Robert De Niro.

The $70 million comic-book adaptation, featuring music by U2's Bono and the Edge, was lambasted earlier this year while playing in a record-breaking 180 previews as its producers struggled to overhaul the production.

While the play would take years to turn a profit, tourists and other intrigued theatergoers could keep it on Broadway far longer than usual for productions with such withering notices.

Technical problems had delayed the opening six times since it began previews last year, and the show was suspended at one point after a rash of on-stage injuries and bad publicity ultimately led to the departure of its iconoclastic director Julie Taymor.

Many critics said that while the show had changed dramatically from its initial run under Taymor, it was still hobbled by a weak plot and bad music.

New York magazine said the musical had "deteriorated from mindblowingly misbegotten carnival-of-the-damned to merely embarrassing dud."

And the New York Times said, "this singing comic book is no longer the ungodly, indecipherable mess it was in February. It's just a bore."

Somewhat embarrassingly for the high-profile rockers in one of the world's biggest bands, the music was uniformly panned.

"It's their mediocre score, as much as anything, that makes this third-rate entertainment," said the Hollywood Reporter, describing a couple of tunes as "shockingly inept."

Added New York magazine: "No amount of mulch or manure can cover up the music, which is, by far, the show's greatest weakness."

Some critics were kinder. USA Today said "the new Spider-Man is ... more in line with the winking musical adaptations of famous films and brands that have lined the theater district in recent years." The paper concluded, "it might just make it."

Even Clinton, hitherto unknown as a theater critic, jumped to its defense. In a statement he described the play as "fabulous."

The musical was originally due to open late last year. Aside from the numerous technical and creative challenges that stumped producers, a major cast member quit and the U.S. Department of Labor accused it of serious violations of workplace safety rules.

And in February, with the musical playing to packed houses for so many months, critics broke the customary embargo on running reviews before the official opening to deliver an initial round of blistering reviews.

But regardless of the latest reviews, the official opening still drew an A-list crowd. In addition to Clinton and De Niro, the audience included Taymor, Bono and The Edge, actors Matt Damon and Steve Martin, director Spike Lee, model Cindy Crawford and artist Jeff Koons.

The show features impressive stunts with "Spider-Man," played by Broadway newcomer Reeve Carney, often flying high above the audience into the top tiers and climaxing with a mid-air fight between Spider-Man and his enemy the Green Goblin. In previews the characters often got stuck mid-air.

The show's woes provided its writing staff with an opportunity to insert a few in-jokes.

"I'm a $65 million circus tragedy," the Green Goblin says at one point in the show. "Well, more like 75 million."

(Reporting by Christine Kearney, editing by XXXX XXXXX)


Yahoo! News

Monday, June 13, 2011

Norbert Leo Butz wins best actor in a musical Tony (AP)

NEW YORK – Norbert Leo Butz has won the Tony Award for best actor in a musical.

Butz, who plays a frumpy FBI agent hot on the heels of a con man in "Catch Me If You Can" takes home his second Tony. His previous win was in 2005 for "Dirty Rotten Scoundrels."

Butz was in the original Broadway casts of "Rent" and "Wicked." He also famously replaced Jeremy Piven when that actor left the cast of the hit Broadway revival of "Speed-the-Plow" in 2008 after claiming he suffered from food poisoning.

This year, Butz beat out Josh Gad and Andrew Rannells, both nominated from "The Book of Mormon," Joshua Henry from "The Scottsboro Boys" and Tony Sheldon in "Priscilla Queen of the Desert: The Musical."

__

Online:

http://us.rd.yahoo.com/dailynews/ap/ap_en_mu/storytext/us_tony_awards_musical_actor/41836972/SIG=10rno2erc/*http://www.tonyawards.com


Yahoo! News

Sutton Foster wins best actress in a musical Tony (AP)

NEW YORK – Sutton Foster has won the Tony Award for best actress in a musical.

Foster won for playing Reno Sweeney, the sassy but kindhearted nightclub singer looking for a good man aboard the ocean liner S.S. American, in the revival of Cole Porter's "Anything Goes."

It is Foster's second Tony. She previously won in 2002 for "Thoroughly Modern Millie," and has earned Tony nominations for "Shrek: The Musical," "Little Women" and "The Drowsy Chaperone."

Foster beat out Patina Miller in "Sister Act," and Donna Murphy in "The People in the Picture" and Beth Leavel in the jukebox musical "Baby It's You!"

___

Online:

http://us.rd.yahoo.com/dailynews/ap/ap_en_mu/storytext/us_tony_awards_musical_actress/41836813/SIG=10rno2erc/*http://www.tonyawards.com


Yahoo! News

Norbert Leo Butz wins best actor in a musical Tony (AP)

NEW YORK – Norbert Leo Butz has won the Tony Award for best actor in a musical.

Butz, who plays a frumpy FBI agent hot on the heels of a con man in "Catch Me If You Can" takes home his second Tony. His previous win was in 2005 for "Dirty Rotten Scoundrels."

Butz was in the original Broadway casts of "Rent" and "Wicked." He also famously replaced Jeremy Piven when that actor left the cast of the hit Broadway revival of "Speed-the-Plow" in 2008 after claiming he suffered from food poisoning.

This year, Butz beat out Josh Gad and Andrew Rannells, both nominated from "The Book of Mormon," Joshua Henry from "The Scottsboro Boys" and Tony Sheldon in "Priscilla Queen of the Desert: The Musical."

__

Online:

http://us.rd.yahoo.com/dailynews/ap/ap_en_ce/storytext/us_tony_awards_musical_actor/41836971/SIG=10rno2erc/*http://www.tonyawards.com


Yahoo! News

'Anything Goes' wins Tony for best musical revival (AP)

NEW YORK – The Cole Porter romp "Anything Goes" has won the Tony Award for best musical revival.

The musical, centered on a ship crossing the Atlantic populated by a crazy mix of characters, stars Sutton Foster and Joel Grey, and highlights Porter's best songs, including "You're the Top," "Friendship" and "I Get a Kick Out of You."

It is directed and choreographed by Kathleen Marshall.

It was the third revival of the bubbly musical and its only competition for the Tony this year was "How to Succeed in Business Without Really Trying," starring John Larroquette and Daniel Radcliffe.

__

Online:

http://us.rd.yahoo.com/dailynews/ap/ap_en_mu/storytext/us_tony_awards_musical_revival/41836716/SIG=10rno2erc/*http://www.tonyawards.com


Yahoo! News

'The Book of Mormon' wins best musical Tony Award (AP)

NEW YORK – "The Book of Mormon" has won the Tony Award for best musical.

A critical and box-office darling, the show was the favorite to take home the night's biggest crown thanks to a story and song that both poked fun and honored Broadway's history.

About two Mormon missionaries who find more than they bargain for in Uganda, the musical was written by Trey Parker and Matt Stone, the creators of Comedy Central's irreverent "South Park," and Robert Lopez, co-creator of the equally irreverent Tony Award-winning musical "Avenue Q."

It beat out "Catch Me If You Can," "The Scottsboro Boys" and "Sister Act."

___

Online:

http://us.rd.yahoo.com/dailynews/ap/ap_en_mu/storytext/us_tony_awards_musical/41837062/SIG=10rno2erc/*http://www.tonyawards.com


Yahoo! News