October 2009 Archives

Broadway's not quiet anymore. The new season is off to a high-flying start.

The newest revival, Bye, Bye, Birdie , at the new Henry Miller's, and the newest musical, Memphis, at the classic Shubert have turn-up-the-heat choreography by, respectively, director Robert Longbottom and Sergio Trujillo. BBB's Conrad B., as gyratingly and high-flyingly portrayed by former gymnast Nolan Gerard Funk, and the amazing Sweet Apple, Ohio, "kids" and Ms breathlessly jiving ensemble are reason enough to catch the two shows.

The beloved, Tony-winning Charles Strouse/Michael Stewart Best Musical BBB[seemingly a staple in annual school productions] is a thinly-disguised parody of the Elvismania that swept the nation when the rck 'n roll king was inducted into the Army at the peack of his popularity. In a huge promotion, Birdie's manager Albert Peterson, played by John Stamos, wreaks havoc on a small town by having his star plant one last kiss on a more-than-willing teen.

Sadly, the teen's mom doesn't have a lot to do. It's sad because the role is filled by the always watchable Dee Hoty. Dad is portrayed by one of theater/circusdom's great clowns, the always irrepressible, ingratiating Bill Irwin, who does some high-flying of his own. You hire a clown, you get a clown. Does his love-it/hate-it performance distract from the show? Yes, particularly, in the rendition of what should be one of the show's supreme showstoppers, "Kids." As rendered by Irwin and Hoty, it comes over as a throwaway number.

Assuming director Longbottom didn't want Irwin's wild antics, he would have spun him in a different direction. Few critics were bowled over by Irwin's havoc wrecking; however, audiences are ROTFIL. Along with the choreography, he scores as one of the show's high points - which says something about the Roundabout production itself.

In the role of Mae Peterson, Albert's interfering mother, Irwin gets fierce competition from Tony-nom [Well] Jayne Houdyshell, an actress not exactly born to the realm of sarcastic comedy as was the gifted original so memorably played by Kay Medford [Funny Girl].

Memphis, on Broadway via the La Jolla Playhouse and Seattle's 5th Avenue Theatre, is a very fictionalized account of the roots of rock 'n roll as it emerged from unknown black boppers in "underground" clubs of the 50s along Memphis' Beale Street [there are no basement clubs, but storefront ones].

Radical, white DJ Huey Calhoun is determined to take "race music" from storefront clubs to the mainstream and make it the white rage. Of course, there are obstacles such as falling in love, Calhoun's ignorance-is-bliss attitude toward racial boundaries, racist violence, and his swelling head as he becomes a celebrity. In the end, most are overcome.

The role dominates the musical and is given an exuberant, sometimes over-the-top but nonetheless star-making turn by Chad Kimball [Lennon, and various roles in the short-lived Good Vibrations, and the Into the Woods revival], who soars along a path that segues from an unknown with rebel exuberance to an arrogant, foolhardy, and reckless celebrity.

Directing is Tony nom Christopher Ashley [Xanadu], who could have trimmed the show by a good 20 minutes. Joe DiPietro [I Love You, You're Perfect, Now Change] book is based on various incidents during that segregated era [for instance, there was a pioneering Memphis DJ, Dewey Phillips]; however, not all of the ground-breaking ones took place in Memphis or Tennessee. The city wasn't exactly the Baltimore of Hairspray! So you might call the show fiction loosely based on semi-fact.

However, the original score by Bon Jovi founding member David Bryan, with three especially outstanding numbers: "Memphis Lives in Me," "Everybody Wants to Be Black On a Saturday Night" and "Colored Woman," is a scintillating combo of gospel, soul, R&B, and Carl Perkins-era rock 'n roll.

It is vibrantly performed by stunning and golden-voiced Montego Gover [as the black singer Calhoun pushes into the big time], booming J. Bernard Calloway, James Monroe Iglehart, and, in a showstopping featured role, Cass Morgan as Kimball's bigoted mom. Tony and Drama Desk nom Michael McGrath is also featured but not in a role that showcases his amazing range of talent.

If the music doesn't grab you and whip you around the room, Sergio Trujillo [Jersey Boys] pulls out all the stops with the passionate and quite sensuous dancing of his incredible 17 + ensemble. You won't have to look too closely to spot what might seem like a familiar face. If you think it's Debbie Allen, it's okay. However, it's her daughter Vivian Nixon, who's the spitting image of Mom and just as dexterous and talented.

Aiding Dancers

Rolex once again is sponsoring one of the premiere dance events, the 24th annual Career Transition for Dancers' gala and fundraiser America Dances! Celebrating Our Sparkling Heritage - Broadway, TV & Film November 2 at 7 P.M. at City Center. Honored posthumously with the 2009 Rolex Dance Award will be Patrick Swayze.

The event, produced/directed by Ann Marie DeAngelo, celebrates the variety of dance genres that defines our culture, with an assimilation and fusion of styles that move from stage to television and film. A film montage will cavalcade through the crazes and evolution of dance in America.

The talent roster is star-studded. Among those scheduled to appear are Tony and DD-winner Laura Benanti, legendary choreographer Jacques d'Amboise, Nicole Fosse [with selections from Bob Fosse's Dancin'], four-time Emmy winner Valerie Harper, Tony and DD-winning director/choreographer Kathleen Marshall, Met Opera megastar Samuel Ramey, and Tony and DD-nominee John Selya and Nicole Graniero [dancing to Rodgers and Hammerstein's Carousel classic "If I Loved You"].
Representing national dance companies and TV dance shows will be lead dancers from Cedar Lake Contemporary Ballet, Dance Times Square, Dancing with the Stars, the Isadora Duncan Dance Company [Dance of the Furies], Electric Boogaloo's Mr. Wiggles, New York City Ballet [Ashley Bouder and Andrew Veyette performing Balanchine's Stars and Stripes" pas de deux], Rock Steady Crew, So You Think You Can Dance, and Tap City Youth Ensemble.

In addtion, there will be appearances by Stephen Hanna from Billy Elliott, Kiril Kulish, one of the Tony-winning Billys from Billy Elliot, NYCB and ABT dancer/choreographer Robert LaFosse, Tony-nominee and Alvin Ailey and ABT's Demond Richardson [Dancin', Movin' Out, The Look of Love: The Songs of Burt Bacharach], and former NYCB principal dancer Jack Soto.

Among the special tributes will be a Duke Ellington salute, Sophisticated Ladies, choreographed by granddaughter Mercedes Ellington; and interpretations to the music of tango legendary composer Astor Piazzolla by the Lombard Twins.

CTFD's Awards for Outstanding Contributions to the World of Dance will be given to the Lawrence Herbert, chair/CEO of Pantone, one of the world's premiere color standards company and color authority; and the Lloyd E. Rigler - Lawrence E. Deutsch Foundation. Rigler made his fortune selling Adolph's Meat Tenderizer and became a major patron of the arts and a founding donor of L.A.'s Music Center, vice chair of the NYC Opera board, and a Joffrey Ballet principal supporter.

On the sale of business, he continued sponsoring arts with business partner Lawrence Deutsch. Projects included restoration of Hollywood's Egyptian Theatre and TV's Classic Arts Showcase, available to more than 50 million homes nationwide.

Gala/supper dance [at the Hilton, Rockefeller Center] tickets are $600 - $1,200 and available by calling (212) 228-7446 X. 33. Show only tickets are $45 - $75 and available at the City Center box office, through CityTix, (212) 581-1212, and online at www.nycitycenter.org.

Celebrating Music and Theater

Only Make Believe, the non-profit organization dedicated to freeing children's imagination as a valuable part of the healing process, celebrates their 10th Anniversary on November 2 at 7 P.M. with a star-studded program of music and theater artists at the Shubert Theatre. Only Make Believe creates and performs interactive theatre for children in hospitals and care facilities.

The gala host is Sir Ian McKellen. Headliners will be BBB's Nolan Gerard Funk, Memphis co-star Montego Glover performing "Colored Woman", Jude Law, Nellie McKay, Christopher Meloni, Euan Morton, and the Big Apple Circus' juggler extraordinaire Picasso Jr.

Seth Rudetsky and an ensemble of 12 dancers will present a segment from his Broadway 101; the cast of Hair will perform "Good Morning Starshine"; and Disney's Lion King cast will perform "One by One";

OMB will honor Chris Wearing, managing director, Accenture Capital Markets North America, with the OMB Founders' Award; songwriter/music director/XM Sirius Radio host Seth Rudetsky with the Volunteer Award; and Bernadette Longford, manager of New York Community Relations at Disney Worldwide Outreach with the James Hammerstein Award.

Accenture is presenting sponsor, additional support from Bloomberg, Disney, Reuters, the McGraw-Hill Companies, and Morgan Stanley.

Tickets starting at $100 are available at www.telecharge.com or by calling (888) 432-7250. For more information, visit www.onlymakebelieve.org.

A Premiere Movie Event

Opening next weekend from Lionsgate Films, direct from it's sold-out showings as the Centerpiece attraction at the New York Film Festival is Lee Daniels' unsparingly raw and deeply poignant Precious: Based on the Novel 'Push' by Sapphire. Considering what a huge hit it was at Cannes, Toronto, and Sundance, where it won the Grand Jury Prize and Audience Award, it should have been the Closing Night attraction.

It began raising a lot of anticipation when moguls Big O and Tyler Perry joined forces as exec producers. There are many shattering moments and it's not always easy to watch. There is a high quota of violence, but not the shoot-'em-up, blood-spoutin' kind. It will surely become one of the year's most talked about films of many a year. There's little doubt Precious won't be a contender for end-of-the-year Best awards and nominations.

Adapted from the 1966 novel, it's the story of 16-year-old Claireece Precious Jones who endures unimaginable hardships - poor, angry, barely literate, hugely overweight, unloved - ridiculed by classmates, abused by her mother and raped by her father. She is blessed in the rare instance when the public school system actually works to benefit the child. Suddenly, a mother and with the help of new friends, her life begins to change.

Daniels says, "Precious isn't just a tale of endless abjection. It's also the celebration of a young woman's determination to free herself from the pathologies surrounding her," guided by a teacher who senses innate talents and a tough yet compassionate welfare officer.

The casting is innovative: Sidibe, an unknown; stunning Paula Patton as the teacher has a magical screen presence [and could be almost mistaken for JLo]; and Mariah Carey, in only her fourth film since the Glitter fiasco should receive award buzz for losing her glam side and appearing "unvarnished" as a welfare worker. Rocker Lenny Kravitz, and Sherri Shepherd [The View; Everybody Loves Raymond] appear in featured roles.

Sidibe is a casting coup and Daniels extracts an awesome performance from her, but there's another coup: comedienne Mo'Nique [Special Jury Prize, Sundance] as Precious' monstrous, jealous, abusive mother. Audiences who know her TV sitcom work and stand-up will be jaw-droppingly stunned at the depth of her performance. Mo'Nique makes every meanie and heavy you've seen onscreen look like Girl and Boy Scouts helping blind and infirmed cross the street.

She had a champion in Daniels, who had worked with her "so I knew what she's capable of pulling out of herself way down deep from a place she didn't even realize was there."

Her portrayal will open many doors and lead Mo'Nique down a path to heavy dramatic roles. If she's not Oscar-nominated, there's something wrong with the Academy!

When Daniels was reading the novel, he recalled a horrific childhood incident where a neighboring young girl came to the family door naked, bleeding and crying. She screamed, "My Mommy's going to kill me!"

Casting the + size + plum role of Precious was painstaking. Casting directors couldn't fill the role. "There weren't too many 300 lb. actresses on their agency lists," laughs Daniels. So he auditioned, as he put it, "in the hood." Sidibe was the last of over 400 put to the test.

Considering the nature of the film, Daniels explained that the shoot was "surprisingly lighthearted. Mariah was often helping Gabby with her make-up. Lenny was helping with costumes. Mo'Nique was always embedded in the script. When she got to particularly troubling parts, like where she has to throw a baby across a room, I had to keep her away from the craft services."

ACL Documentary on DVD

Every Little Step -- a portrait of the struggle to achieve a dream as seen through the mounting of the smash Broadway show, "A Chorus Line" -- is just out on DVD [Sony Pictures Home Entertainment; SRP $29]. The film was an official selection at the 2008 Torontol, Berlin, and 2009 New Directors/New Films Festivals; and subsequently won high criitical praise. It was directed and produced by multiple Tony and DD nom and winner James D. Stern [The Producers; Hairspray] and film producer Adam Del Deo [So Goes the Nation, The Year of Yao].

The doc captures the magic of the show by following auditions and casting of the successful 2006 stage revival, while at the same time exploring the history of A Chorus Line, from late director/choreographer Michael Bennett's ground-breaking concept of inviting Broadway chorus performers to tell their real stories, to the show becoming an international phenomenon from the 1970s through the 1990s.

Every Little Step not only compares and contrasts the original musical with the 2006 revival, it also takes viewers behind the scenes for actual auditions (including peeks at many of the show's beloved song and dance numbers), as well as candid interviews with hopeful performers and those who decide their fate. Bonus features include deleted scenes, a commentary with directors Adam Del Deo & James D. Stern and composer Marvin Hamlisch,

The film features interview footage with Broadway legends Bob Avian, Michael Bennett, Jacques & Charlotte d'Amboise, Baayork Lee, and, among numerous other vets of the original produciton, composer Marvin Hamlisch

Prominently featured in ELS are Charlotte, currently in L.A. co-starring with T.R Knight in the Donmar Warehouse production of Alfred Uhry and Jason Robert Brown's DD-winning Best Musical Parade, which took Tonys and DDs for Best Book and Score. Diorio can be seen on Fox's So You Think You Can Dance.

Marvin Hamlisch and various ACL perfomers will be at Barnes and Noble, Lincoln Square, on November 12 performing numbers from the musical and also signing DVDs.

Coming Soon

Broadway will be getting another "new" theatre. Though the Shuberts are being very hush hush about it and not revealing any details, the Belasco, built by producer/playwright David Belasco and opened in 1907 as the Stuyvesant, is getting a long-in-coming, stem-to-stern renovation - maybe even an elevator to the gods [replacing the long-ago removed one that Belasco used to go up, up, up, up to his "apartment" at the apex].

One of the highlights of the 1,100-seat theatre is the unique Tiffany-like stained glass treatments and lighting fixtures throughout. It boast heavenly flies, great wing space and was one of the first to have an stage elevators and state-of-the-then-art stage lighting. After many years of Belasco-produced shows, following a production of Jean Giraudoux's Madwoman of Chaillot in 1948, it became an NBC studio and, sadly, two of the lower boxes were ripped out. It returned to legit with a solid-gold hit in 1953, The Solid Gold Cadillac by George S. Kaufman and Howard Teichmann.

The Shuberts can't make some of the mistakes made by the developers of the new Henry Miller's. They probably won't dig three continents down and expect the theatre to empty in an efficent way with only stairways and two humongous elevators. Hopefully, they will install seats that are a bit more generous with wiggle room.

And...

If you want a taste of how actors projected back in that era and the more recent one where you don't actually have to purchase a tkt to a musical [you can just grab one of those chairs from Bloomberg's Seventh Avenue/Broadway parkland and enjoy from the sidewalk], get tickets now for Scott Siegel's Sixth Annual Broadway Unplugged November 16 at Town Hall, where standards from classic musicals are performed by vocalists without mikes and amplication. Siegel likes to call it "sound by God." Showtime is 8 P.M. Tickets are $25-$75 and available at the Town Hall box office or by calling (212) 365-4345.

Last Chance

Run, don't walk, to the Vineyard and catch the last performances of Colman Domingo's captivating, hilarious, and poignant one-man show with benenits, A Boy and His Soul. The show closes Sunday. As Domingo tells of his coming of age and coming out in a not-so-traditional, extended Phily black family, he accompanies every step of the way with the music that drove him: soul, the Motown kind. Though no relation to the mega opera star with the same surname, Colman's got vibe. His list of credits is mind-boggling, but you may recall him in Stew/Heidi Rodewald's Tony-nominated and DD-winning Passing Strange [and Spike Lee's film]. He's currently a regular on f Logo TV/Rosie O'Donnell's Big Gay Sketch Show. Tickets are $55 and available at the Vineyard box office or online at www.vineyardtheatre.org.

Boo!

There's always lots to do on Halloween, a very special "holiday" in NYC and an opportunity for generally normal, or fairly normal, folks to shake up their unhibited side. The big event is the annual Greenwich Village into Chelsa Halloween. What follows after, especially on such Village streets as Christopher, might be called the Exhibitionists Parade!

For some daytime fun, there's the Bronx Zoo's Boo at the Zoo fest. The huge array of animals in the vast complex won't be wearing costumes but there will be plenty of focus on the Zoo's creepy inhabitants, which include bats, rats, owls, and snakes. In the trick and treat department, activities will include a magic show, spooky stories, costume parades, musical haunted hayrides, and even some trick or treating.

Only a 90-minute ride away by car or from Port Authority is the always-festive Six Flags Great Adventure Fright Fest - thrills by day [from all those roller coasters] and chills by night from the ghosts and ghouls surrounding the Fountain of Blood to costume and character parades, face-painting, live shows, dolphin and tiger shows, and children's ride park. Any visit should include the free-with-admission-if-you-drive-through Wild Safari, the world's largest such "drive-thru" attraction outside of Africa. The Safari has seen huge population growth with dozens of new babies born this season. Wear comfortable shoes!

"Nowadays," says Chita Rivera after the upbeat overture and her rousing signature opener "I Won't Dance" in her Birdland concert, "when I look around, I'm beginning to wonder with the revival of Bye, Bye, Birdie, seeing giant posters of Velma from Chicago with her legs spread, and these buses going by with West Side Story on them, if I'm not supposed to be somewhere at 8 P.M.!"

Three of the famous musicals she starred in are back on Broadway. And Chita is somewhere: Birdland, celebrating the launch of her new solo CD, the first in years, And Now I Swing. But instead of 8, the time Broadway shows begin, the spotlight hits her promptly at 8:30.

Broadway's national treasure, Presidential Medal of Freedom recipient, Kennedy Center honoree, Theater Hall of Famer, two-time Tony and Drama Desk-winner [not to mention multiple T and DD nominations], has packed Birdland audiences on their feet before she even sings the first tune in her upbeat concert, accompanied by five musicians and music director [and CD producer] Michael Croiter. The show has a decidedly jazz and latin beat.

Of course, Chita does dance. There's no stopping her. "I can't help it," she says, "I live my life to musical rhythms. It keeps my soul lubricated." For 90% of the show, she's in constant motion moving back and forth across the stage. "I'm here and I'm alive!" she exclaims to wild applause.

Chita has four more performances: tonight and tomorrow at 8:30 and 11. The 85-minute show is filled with numbers from her most celebrated musicals - including WSS, Birdie, Sweet Charity, Kiss of the Spider Woman, The Rink, and Chicago .

The Birdland show - as well as Chita's CD - reflect her theater roots along with her love for jazz and standards. Things get really upbeat when the band plays tunes with the late Fred Ebb's signature entrance vamps. "No once could write vamps like Fred," says Chita. "You'd be waiting for your entrance and hear that music and it would get you all pumped up."

There's an extended Birdie medley. Songs also include "Where Am I Going?" from Sweet Charity, "Camille, Collette, Fifi" from Seventh Heaven, her showstopping Jacques Brel's "Carousel," "I Don't Remember You," and "More Than You Know."

Standouts among the newer material are the torch tune "Love and Love Alone" from Kander and Ebb's The Visit, and Lynn Ahrens and Stephen Flaherty's "A Woman the World Has Never Seen" written for Chita's The Dancer's Life, which becomes a catalog of ruminations on her various shows.

There are delightful tales out of school about various co-stars, such as Dick Van Dyke and Ricardo Montalban; loves gone right and wrong; a particularly personal moment when Chita becomes ultra introspective and talks about the one who got away in such a way that you can almost feel the heat that was at the center of their "brief" romance; and a fascinating story of the psychic path Chita took to starring in Spider Woman.

Among the many poignant moments is the prelude to Carol Hall's "Circle of Friends," in which she pays tribute to friends past and present, here and gone, who've made her life what it is. As Chita has done in the past, she pays great tribute to Kander and Ebb for their faith in her; and also to the intimitable Gwen Verdon, her Chicago co-star.

In the show, the body's certainly willing; and Chita, 76, never looked more ravishing. This is one entertainer who knows how to seduce an audience. She gives it all she can vocally, but occasionally there's a bit more vibrato. However, there's never a lack of verve. Her voice is at its memorable best when performing songs in character, as she does with "Chief Cook and Bottle Washer" from The Rink and her marvelous renditions of "All That Jazz," "Class" and "Nowadays" from Chicago.

The concert is in many ways a retrospective of how Chita Rivera, the Latino gypsy, rose from chorus ranks to stardom. And now with the CD, she feels her career "is a culmination of a wonderful adventure. It's been a challenge, yes;, but an extraordinarily rewarding one. I'm a lucky gal, working with Jerome Robbins, Leonard Bernstein, Stephen Sondheim, Gower Champion, Bob Fosse, Hal Prince, Arthur Laurents, Jerry Herman, and Frank Galati. I've been so handsomely rewarded."

Is there anything the sensational Rivera hasn't done? Nope. Through her colorful career as a triple-threat [dancer/singer/actress] she's had star billing on Broadway, London, Toronto and Vegas. Not bad for the daughter of Puerto Rican Pedro Julio Figueroa, who played saxophone and clarinet in the Washington-based U.S. Navy Band. He died when Chita was only seven and her mother Katherine Anderson del Rivero not long after auditioning at age 11 in Washington was forced to go to work as a secretary [at the Pentagon].

Rivera says she was a "rambunctious tomboy" and to tone her down, her mother enrolled her in ballet school at age 11. When an instructor from New York's American School of Ballet - run by the esteemed George Ballachine - visited, she was chosen to attend on a scholarship.

"Some early advice from one of my Washington dance instructors was 'Be who you are!'" says Rivera. From that day forward, she has been.

At ABT, her teachers included Maria Tallchief and Edward Villella. It was the dance world's loss and show biz's gain when the 17-year-old Rivera accompanied a friend to the auditions for the tour of Call Me Madam and she ended up landing the part.

In the mid-50s, she made her Broadway debut in Cole Porter's Can-Can, followed quickly by the Victor Young/Stella Unger musical adaptation of Seventh Heaven. She began her rise out of the chorus in 1957 with Mr. Wonderful, starring Sammy Davis Jr., with whom she was greatly enamored; and as Eartha Kitt's understudy in Shinbone Alley.

Jerome Robbins cast her as Anita in WSS [1957] opposite Larry Kert and Carol Lawrence. Her electric performance to his groundbreaking choreography started her on the road to stardom. It also led to a serious romance with Mordente, a Jet gang member. They were married during the run. Rivera's critical acclaim equaled that of Kert and Lawrence, so much so that producer Hal Prince delayed the WSS West End opening until Rivera gave birth to her daughter and was back in shape.

Her first Broadway starring role was as Rosie in Bye Bye Birdie [1960], opposite Dick Van Dyke. It's never really spoken of but Gower Champion's casting her in the female lead was groundbreaking. Nothing was made at the time of Rivera being the first Latino Broadway star.

After BBB, it was three years before she was back on Broadway, when choreographer Peter Gennaro hand-picked her to appear opposite Herschel Bernardi and Nancy Dussault in Bajour [1964], where as Anyanka she was featured doing some spectacular dancing alongside "this brilliant kid Michael Bennett," who was just beginning to branch out into choreography.

In 1968, she headed West. By that time Chita was a tried and true New Yorker, and, she says, "Let's face it, L.A. is not New York. It doesn't have New York's pace or energy and I was very much homesick." While out there, however, Rivera did some fancy footwork as Nickie opposite Shirley MacLaine [and McMartin] in the film version of Cy Coleman and Dorothy Field's Sweet Charity [1969], which she had previously toured in as Charity for a year.

From 1973 to 1974, she appeared with Van Dyke and Hope Lange on The New Dick Van Dyke Show. "I was Dick's neighbor. It was a great opportunity, but I didn't have a lot to do. On one show I was to come in loaded with groceries and find Dick all doped up after being at the dentist. I was to try to rouse him.

"My lines," she continues, "were, 'Dick. Dick? Dick!' I knew I had to make the most of it, so I really rehearsed ways to have the most impact. 'Dick!! Dick?? DICK!' We did it and I immediately felt it was time to throw in the towel. Done in by three Dicks, I headed back to New York."

In 1975, as jealous jail-house rival Velma Kelly, Rivera and Gwen Verdon, as the infamous Roxie Hart, created the razzle-dazzle for Bob Fosse and Kander & Ebb's Chicago; and Rivera has a cameo in the Oscar-winning film adaptation.

She stumbled through a very short-lived 1981 Birdie sequel. "The wonderful Donald O'Connor and I tried valiantly to bring him back, but hard as we tried, we couldn't do it!"

Chita was back on Broadway as the Queen in Elmer Bernstein/Don Black's 1983
Merlin, which co-starred Nathan Lane and, lackluster though it was, managed a six-month run mainly due to Doug Henning's magic.

In 1984, she received major recognition playing Liza Minelli's free-spirited mom, Anna, in Kander & Ebb's The Rink, which through its trials and tribulations managed six months on Broadway. A year and a half later, she was co-headlining with Dorothy Loudon and Leslie Uggams in the Jerry Herman revue Jerry's Girls.

In her 50-year career, Rivera's never been a dreamer. "There's nothing easy about show business," she says. "In fact, it's so seldom that the good guy wins." She, of course, is one of the exceptions.

She's quick to note that she is, "first of all, a dancer who's grown into many other things with the great help of the geniuses I've worked with. God's been wonderful. He said, 'Okay, I'll let you go there.' And everyday, I'm still learning."

Dancers, explains Rivera, are an obedient lot. "We do what we're told - generally without opening our mouths. Most directors love that! But, working with these guys, I've always been able - no! been encouraged, to say what I feel."

She also points to her outstanding line-up of "leading men": Van Dyke, Brent Carver and Anthony Crivello [Spider Woman], O'Connor [Bring Back Birdie], John McMartin and George Hearn [in The Visit], Antonio Banderas "and to work with such giants as Larry Kert [West Side Story] and Jerry Orbach [Chicago]."

Her life in theater, says Rivera, "has been a wonderful and rewarding adventure. With each job, I feel as if I'm being pushed into a new area with these great playwrights and creative teams who trust me and want to direct me and take me further and further down this path of theatrical adventure."

As obedient as she may be, Rivera also has a sharp thought process. For instance, she explains, "I really wasn't anxious to do Nine. Doing a revival was not at the top of my To Do list. I don't find them challenging. I was working in L.A. and I started hearing tidbits about what it was going to be, who was going to be in it and who'd direct. When my agent called back, I wasn't so negative. I had heard a lot about director David Leveaux. When I heard Antonio was doing it, I thought, 'What an interesting project.'"

But, she laughs, she didn't arrive "all starry-eyed, looking at Antonio as this Hollywood sex symbol." It didn't take long for him to win her over, however. "Soon, I was thinking, 'He's born for the stage.' He was sweet, approachable, charming, savvy and respected everyone. He didn't walk around with star attitude. He sincerely wanted to be accepted as a stage actor on Broadway. And, to prove that, he worked harder than anyone. It was fabulous to see someone respect that space - to really love theater."

To what does Rivera owe her longevity? Certainly good genes and discipline. She laughs, "I tell my body, 'We did it yesterday, and we can do it today.'' Most of all it's her absolute refusal to think negatively in the face of crisis. Especially her worst crisis.

In a 1986 automobile accident, Rivera's left leg was crushed. That she is able to walk much less dance after her horrendous injuries in an automobile accident, is a miracle. "The prognosis wasn't good," she relates, "but I was determined I'd dance again. When I saw the x-rays, I realized that would be the hardest job of my career." She was thankful for her years as a dancer when discipline, discipline, discipline was instilled in her psyche. "Pity wasn't a word in my vocabulary. I've never been one who does anything half-way."

Amazingly, she was released three weeks later, albeit with 18 screws in her leg. "From day one," Rivera notes, "I obeyed, did exactly what I was told. It was fascinating because I could feel my leg mending." Eleven months later, she had the type of mobility which made her realize she would still have a career. "I wasn't happy with my dancing, but I was on my feet!"

Many predicted the accident would end her career as a dancer, but determined trouper that she is, Chita did a couple of "shakedown" engagements before coming full-circle, career-wise, and signing on for the 1988 international tour of Can Can, with the high-kicking Rockettes. "How crazy is that?" she screams. "Of all the shows! But I didn't miss a kick!"

She went on to stun L.A. in Lorca's House of Bernarda Alba at the Mark Taper Forum; then, on to Toronto and Broadway with her awesome footwork in K&E's Kiss of the Spider Woman [1993] and the Nine revival.

Chita says she is happy the accident didn't happen when she was younger, as she may not have been as strong.

As a dancer, she says, "I've always maintained that there is a dance in every movement we make. When you walk onstage, when you move about the scenery, you can make it all appear as dancing. It can all flow. And, when it's not so obvious, that's when you have the real magic."

She went on to do The Visit, which has been presented at Chicago's Goodman and Arlington, VA's Signature. "I pray to God we're able to bring it to Broadway soon," she says. Regarding the musical, which sometimes borders on Theatre du Grand-Guignol, Chita admits it isn't your typical musical comedy fare with big, bouncy production numbers. "It's complex and dark. I was worried audiences might not get that it was a love story. It's about justice, love, bitter heartbreak. There are many parallels to Spider Woman."

The musical is based on the Tony-nominated 1958 play of the same name by Friedrich Durrenmatt [adapted by Maurice Valency] which was directed by Peter Brook about the return to her poor hometown of an enormously wealthy woman on a mission of revenge.

Fears of darkness disappeared when she saw how audiences responded. "I don't know why I was worried. It's quite compelling and there's a wonderful intimacy. I'd been there, done that with John and Fred and came out quite well - Chicago, The Rink, Spider Woman. They were always like family, my brothers. Whatever they'd ask, I wouldn't blink. I'm happiest being in something that has the audience leaving needing a drink, needing to talk about the show And The Visit is definitely one of those shows."

One of the things Chita is most graceful for is being chosen to create so many choice roles in K&E. "They will be remembered as two of the greatest writers we've had in musical theater," she says. "Without them, I wouldn't be here. It's as simple as that."

Not a day goes by, she states, "that I don't pinch myself and say thank you. There's a lot of hard work involved in maintaining a career, but I don't understand it if it isn't hard work. Every once in a while, I think, 'You could be doing something much easier!' But would I be happy? No! My philosophy is: If it works, let's do it.

"People say," she continues, "'Aren't you sorry you didn't do the movie of this, or the movie of that?' No! Because this is the path that's been chosen for me, and I'm going to stay on it as long as I can and as long I should."

The new album And Now I Swing [Yellow Sound Records; 11 tracks, 13 songs; SRP $14] is a variation on Chita's long-ago solo CD, And Now I Sing, now an expensive collectible. The only thing lacking, and you would have thought Chita would have been very much on top of this, is that after waiting this long for another solo CD, are a few more tracks. It's not like our gal can't find material.

At Tuesday's CD launch and concert preview for invited guests, among those in attendance were Lucie Arnaz, Stephanie J. Block, Alan Cumming, Michael Douglas and Catherine Zeta Jones, George Dvorsky, Harvey Fierstein, David Hyde-Pierce, John Kander, Terrence McNally, Lin-Manuel Miranda, Bebe Neuwirth, and Tommy Tune.

Chita begins a concert tour, Chita Rivera: My Broadway, in January in Florida, with a stop at Lincoln Center on March 6. For additional dates and more information, visit www.chitarivera.com.

Monday will be a very busy day for Chita. She'll perform and sign copies of the And Now I Swing in the Live at Lincoln series at Barnes & Noble, Lincoln Triangle [Broadway at 66th Street] at 7:30 P.M. Arrive early. Seating is limited. Afterward, she'll join Dancers Over 40's tribute to legendary dancer/choreographer Peter Gennaro at St. Luke's Theater [308 West 46th Street], where she'll reunion with WSS star Carol Lawrence and Harvey Evans, an alumnus of the show, for an interview.

Birdland tickets are $40, and $50 for central premium seating, plus $10 food/drink minimum. The club's width and tiered seating make for hardly a bad seat. Dinner, from the club's extensive menu and first-class kitchen, is served from 5:30. To purchase, call [212] 581-3080 or go online at www.birdlandjazz.com.

Broadway's national treasure, Presidential Medal of Freedom recipient, Kennedy Center honoree, Theater Hall of Famer, two-time Tony and Drama Desk-winner [not to mention multiple T and DD nominations], Chita Rivera hasn't been resting on her laurels.

She not only has a new CD launching this week but is playing six shows up close and personal at Birdland tonight-Saturday. In addition to numbers from her most celebrated musicals - including West Side Story, Sweet Charity, Chicago, Kiss of the Spider Woman, and The Rink, the new act showcases several tunes from, And Now I Swing [Yellow Sound Records; 11 tracks, 13 songs; SRP $14].

The album is a variation on her long-ago solo CD, And Now I Sing, now an expensive collectible; and her 2006 entry in the Legends of Broadway series with solo songs from her shows and those with such co-stars as Gwen Verdon.

Last night, among the guests at the Birdland album launch party and preview were Lucie Arnaz, Stephanie J. Block, Alan Cumming, Michael Douglas and Catherine Zeta Jones, George Dvorsky, Harvey Fierstein, David Hyde-Pierce, John Kander, Terrence McNally, Lin-Manuel Miranda, Bebe Neuwirth, and Tommy Tune.

In addition, Senorita Chita will perform and sign copies of the CD as part of the Live At Lincoln series at Barnes & Noble, Lincoln Triangle [Broadway at 66th Street], Monday at 7:30 P.M. And, talk about a busy night! Afterward, she'll will be whisked, breathless no doubt, to St. Luke's Theater [308 West 46th Street] for the in-progress Dancers Over 40 tribute to legendary dancer/choreographer Peter Gennaro. [See Below]

Her Birdland show and CD reflect her theater roots along with her love for standards, accompanied by a jazz bands. Songs include "I Won't Dance," "Nowadays, "Where Am I Going," "Love and Love Alone" [a poignant ballad from Kander and Ebb's The Visit], Lynn Ahrens and Stephen Flaherty's "A Woman the World Has Never Seen" from Chita's The Dancer's Life; Jacques Brel's "Carousel," "I Don't Remember You," and "More Than You Know."

The only thing lacking, and you would have thought that Chita would have realized this, is that after waiting this long for another solo CD, why aren't there a few more tracks. It's not like our gal can find material.

She begins a concert tour, Chita Rivera: My Broadway, in January in Floriday, with a stop at Lincoln Center on March 6. For additional dates and more information, visit www.chitarivera.com.

Birdland tickets are $40, and $50 premium seating, plus $10 food/drink minimum. Chita performs tomorrow and Thursday at 8:30; and Friday and Saturday at 8:30 and 11. To purchase, call [212] 581-3080 or go online at www.birdlandjazz.com. For Monday's B&N event, arrive early. Seating is limited.

A Weekend Where You Can Have It All

The Town Hall launches its new season with a celebration of Broadway and cabaret. Friday through Sunday is the 5th Annual Broadway Cabaret Festival, a three-concert series hosted by Broadway by the Year's Scott Siegel. There will be tunes from David Merrick musicals, Linda Eder in concert, and the always much-anticipated Broadway Originals reunion concert.

Friday at 8 P.M., A Tribute to David Merrick will headline an all-star cast including Stephanie J. Block, Stephen Bogardus, Carleton Carpenter, Robert Cuccioli, Marc Kudisch, Sharon McNight, Lee Roy Reams, Emily Skinner and Elizabeth Stanley in a concert celebrating the fabled and infamous showman.

His six-decade career with 38 Tony noms [nine wins and two special Tony Awards] and gave Broadway not only many great plays [such as Becket, Look Back in Anger, Rosencrantz and Guildenstern Are Dead, One Flew Over the Cuckoo's Nest] but also such musicals as Gypsy, Oliver!, Hello Dolly!, Carnival, 42nd Street, Mack & Mabel, Promises, Promises, 110 in the Shade, I Do! I Do!, Roar of the Greasepaint..., Oh, What a Lovely War, and I Can Get It for You Wholesale.

These shows yielded popular standards by Comden and Green, Herman, Jones and Schmidt, Kander and Ebb, Rome, Sondheim, and Styne; and gave the likes of Channing and Merman roles that would define their careers. Others catapulted Barbra Streisand and Woody Allen to stardom.

Joining the cast will be TV and recording star Corbin Bleu from the High School Musical, franchise; tap dancer extraordinaire Kendrick Jones, and MAC Award winner Jim Caruso, and a chorus of Broadway gypsies.

Of Merrick, choreographer/director Randy Skinner who worked with Merrick twice. "Over eight years on the original 42nd Street, I got to know Mr. Merrick and his philosophies about how to produce and promote shows. Later in his life, he was responsible for bringing the stage musical adaptation of Rodgers and Hammerstein's State Fair [which Skinner directed/choreographed] to Broadway from the road. Although it was a short run, he really believed the show would have a very positive message for audiences who got to see it.

"I won't say Mr. Merrick was always easy to work with," continues Skinner. "He was a man of his convictions and wasn't swayed easily, but look at what he gave world-wide theater. Working with him and the incredibly talented Gower Champion [on 42nd Street] provided me with an education that no amount of money could buy. I was mentored by two theatrical giants. It was an amazing time in my life."

[Tom Jones and Harvey Schmidt of The Fantasticks fame have a different spin on David Merrick. See Below.]

On Saturday at 8 P.M., the Fest continues when Linda Eder returns to take the Town Hall center stage again for the first time since her 1997 triumphant concert there during the run of Jekyll and Hyde.

The occasion of her new show, All of Me, will also mark the launch her new CD, Soundtrack [Verve Records; 11 tracks; SRP $14]. Eder's sweeping vocals on such signature tunes as "Vienna" and "Someone Like You," will receive a bit of a jazz treatment backed by her tour band of seven musicians led by Billy Stein.

Sunday, October 18th at 3pm, the Festival concludes with Broadway Originals, where, for one performance only, 20 stars including Bogardus and Kerry O'Malley [White Christmas], Cheryl Freeman [Play On], Alexander Gemignani [Sunday in the Park with George, Les Miserables], Kudisch [The Wild Party], Sharon McNight [Starmites], Julia Murney [Wicked, Lennon], O'Malley [Into the Woods], and revisit the songs they made famous on Broadway.

A must-see for Broadway aficionados, the program features favorites by Irving Berlin, Alain Boublil and Claude-Michel Schönberg, Kander and Ebb, Stephen Sondheim, and Stephen Schwartz.

There'll also be a reunion of the cast of William Finn/James Lapine's Falsettos, minus Carolee Carmello [soon to be seen in The Adams Family]. Janet Metz who did the show Off Broadway will be stepping into her shoes. Singing a substantial percentage of the score will be Bogardus, Michael Rupert, Chip Zien, Jonathan Kaplan, Heather MacRae and Barbara Walsh. Siegel promises "a special, poignant, tear-jerking moment."

Tickets for the Broadway Cabaret Festival are $55 to $50 and limited seats are still available at the Town Hall box office, through Ticketmaster.com, or by calling [212] 307-4100.

Linda Eder Goes to the Movies

After a CD of quasi contemporary country, Linda Eder has chosen some of her fav themes from blockbuster movies over the last 50 years for her Soundtrack.

The tunes includes the Beatles' "Help!"; Nilsson's "Everybody's Talking" from Midnight Cowboy; Johnny Mercer/Henry Mancini's Oscar-nominated "Charade"; Hugo and Luigi/George Weiss/J.P.E. Martini's "Can't Help Falling in Love" from Blue Hawaii, and the Bee Gees' "If I Can't Have You" from Saturday Night Fever.

There are two very personal favs: Michael Kamen/Bryan Adams/Robert John Lange's Oscar-nominated "Everything I Do (I Do It for You)," from Robin Hood: Prince of Thieves] - "a song I've always loved and wanted to record; and the quite poignant Oscar-winning "Falling Slowly" from the 2006 Irish indie Once.

Surely, you remember Glen Hansard/Marketa Irglova's tune from the movie musical you and hardly anyone but Eder saw. It was about a busker and an immigrant and their week in Dublin, as they write, rehearse and record songs that tell their love story.

In the last three years, Eder has returned to her country [as on her last Verve CD, The Other Side of Me] and jazz roots. "Soundtrack is a lybrid cross between some of those original songs and songs I wrote and the traditional things fans expect - you know, my 'Over the Rainbow's."

The recent CD had a quite poignant, self-penned song, "Waiting for the Fall." Says Eder, "It wasn't about the weather, but about being in a relationship and waiting for it to crash. No [she says laughing], it isn't autobiographical at all!"

The big disappointment on the CD, which was produced by Peter Collins, is that there are only 11 tracks. You wait and wait, and this is what you get. It's a real let-down to fans.

Eder said she has no plans for Broadway. "Being in a show takes over your life. And now I have my son [with Frank Wildhorn], who's now 10. These are the special years. If I was on Broadway, I'd hardly see him. When I'd be home, he'd either be asleep or off at school." Though she plays some 60 tour dates annually with her band and as a guest with symphonies, she limits engagements to weekends to spend more time at home.

Eder will be performing October 24 at 8 P.M. at the Tilles Center, on a bill with Brian Stokes Mitchell, in Greenvale, NY; and November 20 at 8 at the Paramount Center for the Arts in Peekskill.

Remembering David Merrick

When N. Richard Nash's The Rainmaker was adapted for the musical stage into 110 in the Shade, producer David Merrick, then dubbed the "King of Broadway" because of his numerous hits, had final say.

"Out of the blue," recalled lyricist Tom Jones, "the phone rang. It was Mr. Merrick, who told us how much he loved The Fantasticks. We hadn't done anything on Broadway but he felt, since we were from Texas, that we'd be ideal for 110."

Composer Harvey Schmidt was still working his day job doing commercial art. "The day Mr. Merrick called," he reports, "I was packing to go to Iran to do a series of paintings of the Shah's tiger hunt for Sports Illustrated. The tigers had to wait. Our world was about to turn upside down working on a Merrick show. The elation didn't last long. Mr. Merrick turned out to be as crafty as any wild animal."

Joseph Anthony, an esteemed director whose only musical staging was the original Most Happy Fella and who had directed The Rainmaker on Broadway, would be captain; "but, really, Mr. Merrick," says Schmidt, "a hands-on person if ever there was one, called the shots."

Inga Swenson won out over Streisand, whose sudden stardom while she was in I Can Get It for You Wholesale led to numerous missed performances and a miffed Mr. Merrick, for the role of Lizzie, the young "old maid" whose rancher father is trying to marry off.

"Inga was a Shakespearean actress with only one music revue credit," notes Jones, "however she was beautiful. A little too beautiful to be playing a gal who was supposed to be plain, but, oh, what a voice. Hal Holbrook won the coveted role of the mythic, wandering stranger Starbuck. But, by all accounts, he wasn't Merrick's first choice.

Details Schmidt, "In some derring do, all of a sudden Hal was out and Robert Horton, a TV heartthrob from the Wagon Train series was in."

110 has a rich score, and could have had a much richer one. In their zeal to get their Broadway debut right, Jones and Schmidt wrote 114 songs before rehearsals ever began. "Our thinking," explains Schmidt, "was we wanted to be prepared when and if during tryouts Mr. Merrick or Joe wanted other songs. When that happened, we'd go to our room and pull another song from our suitcases instead of burning the midnight oil."

Sixteen songs made the cut, including Lizzie's showstoppers "Love Don't Turn Away" and "Simple Little Things," and "Is It Really Me?" But, on it's way to Broadway, there was tension between the composers and Merrick.

"Mr. Merrick was a double-edged sword," claims Schmidt. "Because of his mega successes, doors opened for record deals and theater parties. Early on, we could tell he wanted something that wasn't there. He saw 110 as a big dance show. We didn't. We knew we were in trouble when he brought in Agnes DeMille."

The composers didn't want the show to be a warmed-over Oklahoma! [which won DeMille critical acclaim for her choreography], but something more earthy. "We told Mr. Merrick and Miss DeMille how we felt," says Jones. "She replied, 'Great. That's exactly what I want.' Then, I guess obeying orders from Mr. Merrick, proceeded to make it a dance show!"

"A couple of numbers ran over ten minutes," laughs Schmidt. "They were wonderful ballets, but not much room remained for the story and songs."

"It was a tumultuous time!" Jones points out, cringing at the memory. "There were all sorts of shenanigans and yelling over casting. For instance, here was a show about the dust bowl and Mr. Merrick was screaming for a chorus of pretty girls."

Jones and Schmidt reported that Merrick kept shifting back and forth on creative decisions. After Boston, where the musical got mixed to positive reviews, he decided the musical, like the original play, would have three acts.

"I was close to suicidal!" exclaims Jones. "Mr. Merrick wanted a superhit," says Schmidt, "and didn't react well in Philadelphia when the reviews were negative."
"In fact," adds Jones, "he threatened to close the show. Harvey and I said, 'Great!' We were relieved. It would be better than to go on like we were. As we were about to walk, he said, 'Wait. I'll give it one last chance.' We went back to two acts and put in other changes. It made a huge difference. Things started to click. Audiences were loving it."

However, according to Jones and Schmidt, by the time the musical arrived in New York, the show was beset with rumors of impending doom. It was a nervous opening night at the Broadhurst Theatre on October 24, 1963. As the dailies rolled off the press, there was hope. The newspaper critics found much to cheer about, especially in the score.

"There was a big exception, exclaims Jones: the New York Times. Confound that damn Times review! Then as now, their critic established a show as a box-office bonanza or an also-ran." Adds Schmidt, "It was a weird, strange review, calling the musical everything but the dirtiest show on Broadway."

It didn't help that the nation was thrown into a collective depression the following month with the assassination of President John F. Kennedy. Then, when business picked up, Swenson slipped in the pouring stage rain, injuring her ankle. She was out for several weeks.

In spite of that review and events, points out Jones, 110 did modest business. It received four Tony noms, including one for Jones and Schmidt's score, Swenson and Anthony. However, it never became a must see.

"And that was thanks to Mr. Merrick, who didn't market the show," Schmidt states, "because his energies were more focused on Dolly [which was in out of town tryouts and, hard to believe now, having a difficult time]. He never got behind us. He made our lives and the lives of everyone involved a living hell."

110 ran just over nine months, 330 performances. Thanks to the RCA original cast recording, the musical wasn't forgotten. There were Off Broadway and regional revivals, an acclaimed 1992 revival by New York City Opera, and Roundabout's 2007 revival.

In the intervening years, several songs - including "A Man and A Woman," "Simple Little Things," "Wonderful Music" and "Love Don't Turn Away" - had a life of their own.
Jones and Schmidt never stopped writing for musical theater. "In spite of our duels with Merrick, our love of musical theater never diminished," states Schmidt. "It's always been our life."

Showstoppers

Three of Them in The Royal Family:

There's nothing like an old-fashioned George Kaufman/Edna Ferber classic comedy, such as The Royal Family, to light up and lighten up Broadway. Doug Hughes' revival of this gem leaves no comic stone unturned.

Rosemary Harris and Jan Maxwell play mother and daughter, Fanny and Julie, the acting doyenes of the the eccentric theatrical Cavendish family [think Barrymores], whose daily routines get disrupted by news that their granddauther/daughter plans to leave the stage for marriage. Add to mix, Tony, the dashing stage actor [think John B.] son turned disgruntled movie star on the run from legal beavers over a director he hit and an actress he made promises to.

The esteemed Tony and DD-winning [with numerous nominations] Miss Harris essays the role with great aplomb. However, great acting emantating from Miss Harris is no surprise. She had the distinction of playing the role of daughter Julie in Ellis Rabb's acclaimed DD-winning 1975 revival. [Miss Harris had been married to Rabb.]

But TRF truly belongs to Jan Maxwell. The production will surely mark a star high in the horizons for her. As Julie, she runs all the emotional gamuts and runs them extraordinarily well. Her performance in the second act is expecially memorable. And three cheers for Reg Rogers as Tony, who can ham it up as well as he can fence.

Marilyn's Back in Town

Down at the Metropolitan Room, through Saturday is the indefatigible Marily Maye covers more moods of legendary composer Johnny Mercer in her superdazzling Marilyn Maye Presents More Mercer. She is reprising her June tribute with the addition of some new material. There isn't a singer today who can do what Miss Maye does. And she's 82, but seemingly has found the fountain of youth!

She thinks of her shows as parties and she always attracts wildly devoted fans. In fact, at many performances, there are six to eight fans who attend every show.

Miss Maye earns their devotion and loyalty. She displays a great kinship and passion for the Mercer tunes. The lyricist is one of her all times favs. "To my great regret," she says, "I never got to meet Johnny. I understood he drank a lot, something he had in common with three of my husbands. So I could have really worked with him. Back when I was recording for RCA, I was in the studio and someone came in and slipped me a note on a torn piece of paper. It read, "No one sings 'Misty' like you!' and it was signed Johnny Mercer. And he didn't even write 'Misty.' I ran to the hall looking for him but he has slipped away."

She goes full blast in excess of 90 minutes singing 40 songs from the Mercer treasure trove by such lyricists as Arlen, Carmichael, Ellington, Kern, Mancini, Raskin, Strayhorn and Warren. The tunes include "Come Rain or Come Shine," "Fools Rush In," "I Remember You," "Emily," "Laura," "Satin Doll," "Skylark," "Tangerine," "That Old Black Magic," "Too Marvelous for Words," "In the Cool, Cool, Cool of the Evening," "On the Atchinson, Topeka, and the Santa Fe," "One for My Baby (and One More for the Road)," and "You Must Have Been a Beautiful Baby."

"Johnny was in many ways," adds Miss Maye, "a tortured soul and it's easy to find the drama in his lyric text. I don't know another composer who provides the perfect music to show the many aspects of the how I enjoy performing."

Miss Maye is a true showstopper. She most ably accompanied by musical director Ted Firth on piano, Tom Hubbard on bass, and Jim Eklof on drums.

Showtimes vary [no performance Thursday], $30 cover, two-drink minimum. Visit www.metropolitanroom.com for reservations or call [212] 206-0440.

Bill Pullman

Think what you may about Doug Hughes' revival of David Mamet's spin on political correctness and sexual harrasment in the 90s Oleanna - and it will have you talking - maybe wondering where the title comes from, what's it about, and what the brisk, emotional 90 minutes mean - but one thing you can't deny is two-time DD-nominee Bill Pullman, breaking down, bitterly angry, aggitated, and falling to pieces, in the tour de force of his career.

Mamet's play about a power struggle and ultimate academic showdown - between a university professor, who may or may not be guilty of sexual discretions and who often has trouble speaking in full sentences, and one of his female students, played by Julia Stiles in her Broadway debut, who may or may not be on her own power trip in wild exaggerations. It's all quite intense, and perhaps not for everyone, but John's dialogue should become every serious actor's favorite audition choice.

There's another scenestealer in Oleanna: those slick, automated aluminum Venetian blinds that seem to have a mind of their own [but exactly what are they contributing?]. There could be a run on them for every home in the Hamptons.

A Tribute to Peter Genaro

Dancers over 40 will pay tribute on Monday at 7:30 at St. Luke's Theater to Broadway, movie, and TV dance legend Peter Gennaro, also a legendary choreographer. Gennaro evolved from his performance days in Guys and Dolls and his contribution to West Side Story choreography to work on the Perry Como, Ed Sullivan and numerous shows and live original TV musicals [such as Steve Allen's The Bachelor, opposite Tony winner and his Pajama Game "Steam Heat" vets Carol Haney and Buzz Miller, which can be screened at the Paley Center for Broadcasting].

Gennaro became Broadway's go-to choreographer and put the moves in The Unsinkable Molly Brown, Bajour, and, of course, Annie.

Hosts for the tribute will Carol Lawrence [WSS], and Lee Roy Reams [42nd Street, Applause], with Harvey Evans, another WSS vet, moderating a chat with Chita. Dancers from Gennaro's Broadway and TV days will attend.

There will be a separate section devoted to WSS with rare footage from Gennaro's memorable dances, including a duet with Lawrence. In addition, his daughter Liza Gennaro will stage a short reproduction of one of Gennaro's TV performances.
The program will be videoed for inclusion into the Jerome Robbins Dance Collection at the Lincoln Center Library for the Performing Arts.

Tickets are $15 for DO40 members and $35 for non-members. Non-members may purchase at the St. Luke's box office or book through Telecharge, (212) 239-6200 or online at www.telecharge.com.

Upcoming

October at the Metropolitan Room is as talent-jammed as October on Broadway/Off Broaday. Marilyn Maye is in performance; and tomorrow at 7:30 Jamie deRoy and Friends present an a variety show starring MAC Award winners. Joining deRoy will be Tony and DD-nominee Euan Morton, comedian David Baker; and British actor Jon Peterson. Barry Kleinbort direct, with Ian Herman as musical director. $30.

The always watchable/listenable Liz Callawy begins a Metro engagement on October 20 at 7 with Passage Of Time, celebrating the release of her same-title CD, her first CD in eight years. There are tunes by Ahrens and Flaherty, Maltby and Shire, Rogers and Hammerstein, Schwartz, Carly Simon, Sondheim, and James Taylor. Shows continue October 22 - 25, but at 7:30. $30.

Also, heading into the Metro are Marcus Simeone, October 21, $20; and from October 26-28 and 30, Amanda McBroom, $35.

There's a two beverage minimum for all show. For reserations, call (212) 206-0440.

Theater Hall of Fame executive producer Terry Hodge Taylor has announced the inductees, who will be honored at a ceremony at the Gershwin Theatre rotunda on January 25. They are veteran producer Roger Berlind, veteran Tony and multiple Drama Desk-winning actor Jim Dale, veteran multiple Tony nominee and multiple DD-winning actor John McMartin, producer Ted Mann, multiple Tony-nominated and DD-winning actress Lynn Redgrave, composer Stephen Schwartz, and composer Andrew Lloyd Webber.

Ridiculous Theatrical Company founder Charles Ludlum will be honored posthumously. A HOF Founders Award will be presented to 2009 Tony honoree, press agent Shirley Herz saluting her 50 years in theater.

Dale will soon launch his much-anticipated one-man show; and, it was just announced, that Webber will launch Love Never Dies, the sequel to his longest running musical in theatrical history Phantom of the Opera in London in March, to be followed by its Broadway opening next November.

Sadly, the 350 members of the Hall and the American Theater Critics Association, who vote the honors, have once again not inducted late actors George Rose and Larry Kert. Rose, who was murdered in 1988 by an adopted son in Dominican Republic, first appeared on Broadway with the Old Vic in 1946, went on to major featured and starring roles in 17 plays and musicals - winning the Tony and DD for his lead role in Rupert Homles' Tony and DD-winning The Mystery of Edwin Drood.

Kert, a theatrical legend for his starring role as Tony in West Side Story and historic Tony nomination for the original production of Company, passed away in 1991 after 40 years on Broadway - including starring roles in Rags, Cabaret, and the short-lived Breakfast at Tiffany's and La Strada. His last role was as Peter Allen's standby in 1988's also short-lived Legs Diamond.

To be eligible for induction, nominees must have a career spanning 25 years in the American theater and at least five major Broadway production credits.

Tony Gets Royal Welcome

The show must go on, and last night at the Friedman it went on with two-time Tony nominee back onstage in the role of business agent George Wolfe for the opening night of Doug Hughes' revival of George S. Kaufman and Edna Ferber's theatrical comedy gem The Royal Family.

Roberts had been at St. Luke's-Roosevelt Hospital, where he was rushed Sunday after becoming ill during the matinee. He suffered "a minor seizure," according to daughter Nicole, who gave brief reports on his recovery progress.

The play which centers on the eccentric theatrical Cavendish family [think Barrymores], whose daily routines get disrupted on the news that grand doyenne Fanny C.'s daughter is leaving the stage for marriage.

The esteemed Tony and DD-winning [with numerous nominations] Rosemary Harris essays the role with great aplomb. Miss Harris has the distinction of playing the role of daughter Julie in Ellis Raab's acclaimed DD-winning 1975 revival. [At the time, Miss Harris was married to Raab.]

Jan Maxwell in the role of Julie, Reg Rogers, Ana Gastever, John Glover, Kelli Barrett, Larry Pine, and David Greenspan co-star.

Carrie Tells All

So you thought you came from a dysfunctional family? Think again. As you'll find out at the limited engagement of Roundabout's Wishful Drinking at Studio 54, your life has been like a month at Disneyland compared to Carrie Fisher, daughter of a long ago era's Brad Pitt and Jennifer Anniston: hitmaking recording artist Eddie Fisher and legendary movie star Debbie Reynolds. Eddie and Debbie were the American moviegoing public's sweethearts, having their wonderful bundle of joy [Carrie] until Angelina entered the picture in the form of Elizabeth Taylor. Scandal, the Confidential Magazine and National Enquirer kind.

Carrie's tale of growing up among Hollywood royalty is hilarious. She has the stories from her up and down struggle with celebrity [being cast as Princess Leia in the first Star Wars trilogy], growing up with a constant Tinseltown hangover in a world where d-i-v-o-r-c-e was as common as toothpaste and as often as brushing your teeth, drugs, breakdowns, alcoholism, you-name-it-she's-been-there; and yet, as she notes, she's a survivor.

She's still here and telling all; and with incredible wit, impeccable comic timing, and though Rip Taylor's threatening to sue, lots of glitter to have you cursing her all the way home.

To paraphrase Comden/Green/Styne's showstopping number of eternal optimism for Carol Burnett in Fade Out/Fade In: If you think you've hit rock bottom and you're feeling really low, don't feel discouraged. There's always one step further down you can go. But, fear not, your life'll change when you visit with Carrie.

Film Fest

The Film Society of Lincoln Center's 17-day 47th New York Film Festival comes to a close Sunday with Broken Embraces (Los abrazos rotos), the much-anticipated film by Festival fav Pedro Almodóvar, marking his eighth appearance in NYFFs. Screenings will be at 5 and 8 P.M. The Fest screenings have returned to the totally-renovated Alice Tully Hall, which now boasts a million dollar sound and projection system.

The weekend is studded with worthy films to catch or watch for: Bong Joon-Ho's Mother [South Korea], screening today at 6 P.M. and Saturday at Noon; writer/director Todd Solondz's must-see black comedy, Life During Wartime [U.S.], tomorrow at 9 P.M. and Sunday at 11 A.M.; CatharineBreillat's edgy, sexual tale of a 17th Century serial killer, Bluebeard [France] on Sunday at 2 P.M.

Broken Embraces is touted as "comedy/romance/film noir." The plot centers on a screenwriter with two identities who loses his sight and the love of his life; and then, because of a numbing incident, "experiences a flood of memories that encompass a tale of naked ambition, forbidden love and devastating loss." Admittedly, Almodovar is a dedicated moviegoer's fav, but this film is a real mixed bag [not to mention, at over two hours, much too long for what it is]. Sometimes you don't know what's what or when, but this wouldn't be the first film to have that claim.

Co-starring in the convoluted goings on [including a film within the film] are Penelope Cruz, looking more ravishing than ever; Lluis Homar (Bad Education), who has a commanding screen presence; Almodóvar's new Antonio, Tamar Novas, who, alas, is no Antonio [looks don't necessarily add to a steaming screen presence]; and Blanca Portillo (Volver), who in a pivotal role is more irritating than not. Ingrid Bergman and George Sanders make cameo appearances via film clips. Broken Embraces hits theatres November 20 through Sony Pictures Classics.

Life During Wartime is a hoot. Beautifully cast with Alison Janney [going topless for some puzzling reason!], Michael Lerner, Ciaran Hinds, Renee Taylor, Michael Kenneth Williams, and giving four priceless performances, Shirley Henderson [her hapless Joy will win your heart quickly in an especially award nomination worthy role], Paul Reubens, Alley Sheedy and Charlotte Rampling.

The NYFF annually has presented some of the best and, often, the most controversial in international cinema from Cannes and Toronto [the granddaddy of Film Festivals].

Last Saturday the Fest presented its Centerpiece, Lee Daniels' unsparing and deeply poignant Precious: Based on the Novel 'Push' by Sapphire. Considering what a huge hit it was at Cannes, the recent Toronto FF, and at Sundance [where it won the Grand Jury Prize and Audience Award], this should have been the Closing Night film. Precious... emerges as the 2009 NYFF's best film. It's raw and not always easy to watch. There are many shattering moments. It will surely become one of the year's most talked about films [and now has the support of the Big O and Tyler Perry as exec producers] for numerous reasons [including story and casting] when it's released November 6 by Lionsgate Films.

Adapted from the 1966 novel, it's the story of 16-year-old Claireece Precious Jones who endures unimaginable hardships [poor, angry, barely literate, fat, unloved] abused by her mother and raped by her father. Daniels says, "Precious isn't just a tale of endless abjection. It's also the celebration of a young woman's determination to free herself from the pathologies surrounding her," guided by a teacher who senses innate talents and a tough yet compassionate welfare officer.

The casting is innovative: Sidibe, an unknown; stunning Paula Patton as the teacher has a magical screen presence [and could be almost mistaken for Jlo]; Mariah Carey, in only her fourth film since the Glitter fiasco should receive award buzz for losing her glam side and appearing "unvarnished" as a welfare worker; Lenny Kravitz, and Sherri Shepherd [The View; Everybody Loves Raymond].

But the casting coup is comedienne Mo'Nique [Special Jury Prize, Sundance], in a role like you've never seen her before and one you'd never expect her to play: the monstrous, abusive mother. Her performance will def shock audiences; however, it will open many doors and lead her down a path to heavy dramatic roles. If she's not Oscar-nominated, there's something wrong with the Academy!

Richard Peña, Film Society program director and chair of the Selection Committee had stated, "This year's slate is diverse, fresh and compelling with exciting new voices who, we believe, will become filmmakers deserving world attention." He might have added, re: a couple of the films: "perverse" and pretty awful.

At some of this year's media screenings, many were asking, "What was the Selection Committee thinking?" That was been particularly true of a stupefying film from the Philippines, Independencia, financed by France, Germany and the Netherlands and, amazingly also presented at Cannes. You couldn't say the media turned out in droves for this one, but to their credit they stayed to the end - no doubt to hear the young director attempt to make some sence of the debacle they had just seen.

Some of the "film"'s credits, such as for the DP, were impressive but nothing impressive appears onscreen. Considering experimental director Raya Martin's intent is to expose the American domination of the Ps, that point hardly ever enters into the unbelievably senseless plot [wait! was there a plot?]. The film must have been shot on about 10 yards of a botanical garden, using badly painted backdrops and shots repeated over and over [with things - and one brief glimpse of a character - thrown in for no reason].

Denmark's Lars von Trier [Dogma]'s Antichrist, another multiple nation co-production and a sort of Stephen King exercise in horror and paranoia [deeply influenced by David Lynch and Stanley Kubrick], set supposedly in the Pacific Northwest but shot in Europe, stars Willem Dafoe and Charlotte Gainsbourg [Best Actress, Cannes], was a brutal onslaught. Many will find the title offputting and the violence [even, perhaps, the sex] disturbing/shocking. Von Trier is a master at manipulating audiences. The sure-to-be controversial film, being released by IFC Films, will no doubt be a box office blockbuster, if for no other reasons, for its erotic sequences.

Anthony Dod Mantie's cinematography for this multinational-financed production is brilliant; and the film has great style. The director, who displayed a great sense of humor at the media video conference, stated he was depressed during shooting this story of a marriage disintegrating into tragedy as a couple mourn the death of their son. Even if you're not depressed, this may not be the film for you! It will undoubtedly be hailed and booed. Some may even consider tarring and feathering. Many will find it difficult to stay in their seats. Von Trier stated he'd be disappointed if there weren't walk outs when the movie opens, distributed by IFC Films. He needn't worry.

Though many admired Joao Pedro Rodrigues' To Die Like a Man [an official Cannes selection; from France and Portugal; in Portuguese], a saga of a drag queen struggling between man and womanhood, it, too, is so convoluted that I found no new ground being broken. It didn't come anywhere close to the original La Cage aux Folles film. What it has going for it is a stellar performance by Fernando Santos, as long-suffering Tonia. Mid-picture, and out of nowhere, very bizarre characters are introduced and in a sequence when they traipse through a "magic/haunted" forest they sit still on stumps and rocks for a two-minute medium shot while a song is sun in voiceover. It's being said that the action [?] in this sequence turns their world on its head. It turned mine upside down, too, but not in the intended way.

But if you want dullsville, watch for the release of 81-year-old New Wave veteran Jacques Rivette's film Around a Small Mountain [France; which screens today at 3 P.M.], which stars Jane Birkin, who usually delivers memorable/riveting performances, as a woman struggling against grief and fear [because of a long ago incident] and Sergio Castellito, is set in a less than one-ring circus. I remember Castellito driving through the mountains in one sequence, but what that had to do with the title is beyond me.

All in all, there will be 29 films and retrospectives from 17 countries by celebrated and veteran directors and fresh indie faces, so enough about the disappointments. There were more than enough pleasures.

Israel's Samuel Maoz made a huge impact with his edge-of-the-seat war drama Lebanon), a brutal, gripping, thought-provoking film, stunningly shot and performed by a cast of young unknowns. It's set against a day in the 1982 Israeli invasion of its neighbor, where even the good guys aren't exactly good. Kudos to DP Giora Bejach. Ninety percent of the is shot within the confines of a tank. Winner of the Golden Bear at the Venice Film Festival.

Shown late in the NYFF was Michael Haneke's Cannes Palme d'Or winner, The White Ribbon [Austria/France], a very long and often tedious "starkly beautiful meditation set in Germany on the consequences of violence - physical, emotional, spiritual on the eve of WWI." Sony Pictures Classics will release.

An early film that garnered a lot of praise along with outrage is Don Argott's damning The Art of the Steal [U.S.], a doc with thriller intrigue about the quest for tourism dollars by powerful Pennsylvania politicians and normally respected charities to break the will of the founder of the prestigious Barnes Foundation museum and school.

Their goal, ultimately successful, was to acquire its beyond priceless treasure of Post-Impressionist masters for a new site in Phily. Worse than the powerbrokers' greed is the silence heard from the directors of America's major museums, including the Met.

One of the enjoyable highlights of the NYFF is the vast array of short films submited from around the globe and shown before the main attractions. Two to look forward to this year are Ramin Bahrani's Plactic Bag [U.S.], about the life of said item from store to its wandering the earth and its final demise; Daouda Coulibaly's hilarious A History of Independence [France/Mali] about a cave-dwelling mystic's wife yearning for freedom; and, perhaps best of all David Moreno's Socarrat [Spain], a 10- minute dark comedy about a dysfunctional family with a perverse mission that far exceeded the expectations of some of the features - and should definitely made into one.

The Film Society receives support from 42BELOW, GRAFF, Stella Artois, Illy Caffè, the New York State Council on the Arts, the National Endowment for the Arts, HBO, The New York Times, and Kodak.

For ticketing, dates, showtimes and related events for the 2009 slate, visit www.filmlinc.com.

Tango Argentina

Tanguera: The Tango Musicalhas arrived from Buenos Aires for a limited engagement stop on its world tour at City Center through October 18.The choreography by dancer and top tangophile Mora Godoy is part tango, ballroom, ballet, contemporary, and acrobatic. Some of the tango choreography is quite classic but there are some very nice modern twists. Godoy's goal is to "extend the lines between dance and theater, in the same vein as did Moving Out and Contact.

As Tanguera plainly bills itself, it's not a tango revue, but a tango musical.
Tango began in the brothels and everyman boites of B.A. and grew to be a national passion. This story is about good vs. evil, the haves [gangsters, albeit very well dressed one] and the have nots [much more casually dressed and all handsome hunks] and the young women they love and the seasoned women who were once very much loved.

The show is slow in starting - in building to the fire and lust that's the essence of tango, but once it gets going there are very impressive duets and ensemble numbers. One of the great joys of tango is watching the amazingly intricate footwork. And that's no exception here. Two standout moments are when a trio [two men, a woman] do a racing tango.

The dancing is story driven and that tends to drag the 90-minute production down a bit.
Under Omar Pacheco's direction, it's a bit West Side Story/Romeo and Juliet, Slaughter on Tenth Avenue, Fiddler on the Roof, Sweet Charity [the sort of "Big Spender" tribute number], Rags and Ragtime. There are Jerome Robbins, Eliot Feld, Bob Fosse influences in the exhilarating dance moments by couples and the ensemble.

The big payoff is the finale and encores when the spirited company gets roarin' hot and sparks fly. Needless to say, the audience goes wild. Tanguera would have benefited with more such spectacular adrenaline-pumping dancing in the story portion. However, it's a helluva way to end the show.

The full-scale production with set design and colorful costumes boasts a cast of over 30 superlative dancers and singers, and has an original score by Gerardo Gardelin and songs by Eladia Blazques [with lyrics translated in the Playbill]. The production is deftly aided by the 12-piece orchestra under the direction of Lisandro Androver on bandoneon.

Among the standout lead dancers are hunk Esteban Domenichini, beauty Rocio de Los Santos, and veteran tango aficionado Oscar Martinez Pey in addition to singers Marianella and a sprightly Maria Nieves, who can still cut some quite intricate footwork.

Another star of the show is the lighting by Ariel Del Mastro which is nothing short of jawdropping. European and South American lighting designers approach lighting much differently than Broadway's by paying more attention to how lighting can contribute to the telling and atmosphere of the story. Del Mastro's bio states that he's "considered the best lighting designer in Argentina." That should be amended to "one of the best lighting designers anywhere."

The co-presenter, with Michael Brenner and Daniel Barenboim, of Tanguera is veteran former principal dancer Paul Szilard, who's devoted the latter decades to presenting dance companies - from Alvin Ailey, ABT and Martha Graham - around the world. His name always guarantees dance devotees will be quite satisfied.

Tickets are $45 - $95 and available at the City Center box office, by calling City Tix (212) 581-1212, or online at www.citycenter.org. Premium seating is available. For showtimes and more information, visit www.tanguera-musical.com.

Marilyn Maye and More Mercer

In her return engagement, through October 17, at the Metropolitan Room, the sensational singing marvel covers more moods of legendary composer Johnny Mercer in Marilyn Maye Presents More Mercer.

Recently Miss Maye was asked why another compilation of Mercer music so soon after her last Metro engagement where she debuted to great acclaim Mercer, the Maye Way. "It was an easy question," she laughs heartily. "Johnny's lyrics, his incredible inner rhymes, it's my kind of music. There are gorgeous ballads I can get my teeth and voice into. There are whimsical tunes that are fun for me and the audience. You must know by now that with me, it's always a party."

There'll be dozens of songs with such lyricists as Arlen, Carmichael, Ellington, Kern, Mancini, Raskin, Strayhorn and Warren. Tunes will include "Come Rain or Come Shine," "Fools Rush In," "I Remember You," "Laura," "Satin Doll," "Skylark," "Tangerine," "That Old Black Magic," "Too Marvelous for Words," and "You Must Have Been a Beautiful Baby."

"Johnny was in many ways," adds Miss Maye, "a tortured soul and it's easy to find the drama in his lyric text. I don't know another composer who provides the perfect music to show the many aspects of the how I enjoy performing."

Miss Maye is accompanied by Ted Firth on piano, Tom Hubbard on bass, and Jim Eklof on drums.

Showtimes vary [no performance October 15], $30 cover, two-drink minimum. Visit www.metropolitanroom.com for reservations or call (212) 206-0440.

Get On the Bus

The Broadway community will play a prominent role in Washington in tomorrow and Sunday's National Equality March and demonstrations, where, hopefully, record-breaking citizens from throughout the U.S. will make their voices heard to President Obama and Congress on the importance of taking action on LGBT rights.

Hair's Sunday's matinee has been cancelled so the entire cast can march with the large contengent of theater artists busing down. Stephen Schwartz and Wicked producer David Stone are among those sponsoring buses.

The focus of events, featuring numerous speakers such as Milk writer/director Dustin Lance Black, NAACP exec director Julian Bond, comedienne Kate Clinton, NYC Council Speaker Christine C. Quinn, and Judy Shepard, activist mother of Matthew Shepard, is to promote equal protection in all matters governed by civil law in the 50 states.

Issues include legislation to repeal of the Defense of Marriage Act (DOMA) in order that every marriage has equal federal rights; the repeal of the military Don't Ask, Don't Tell policy; the implementation of an Employment Non-Discrimination Act; adoption rights; hate crimes legislation; and immigration reform that recognizes same-sex couples.

Producer Robert Carreon is poignant in his support of the March. "Broadway has become a closer knit community," he stated. "We're all in this together. Think about it. If Jordan Roth had been appointed Jujamacyn president 10 years ago, would he have been talking about his partner and son? Could such openly gay actors such as Neil Patrick Harris, Cheyenne Jackson, Cherry Jones, and Nathan Lane be who they are today? By supporting equality for all, we provide the same comfort level to those who still suffer prejudice and discrimination."

For information on events and how to participate, even hitch a ride on hundreds of buses, go to www.equalityacrossamerica.org.

Rediscovered TV Musical Gems

As part of the NY Musical Theatre Festival, tomorrow and Sunday the Paley Center for Media [25 West 52nd Street, between Fifth and Sixth Avenues] will screen a sampler of musicals written exclusively for television.

Before there was Company and Boeing Boeing, there was The Bachelor [1956], with music and lyrics by Steve Allen [including "This Could Be the Start of Something Big"] plus additional songs by Ervin Drake. It will screen Saturday at 1 P.M.

The plot centers on a 37-year-old bachelor ad exec, played by Hal March [emcee, the legendary $64,000 Question, can't make a commitment to the women he keeps dangling. Sassy secretary, the inimitable Carol Haney [Tony winner, Pajama Game], arranges for the women to meet and force his hand. He imagines life with the Girl in the Grey Flannel Suit, famed chanteuse Julie Wilson, his young culture-starved model played by emerging sex symbol Jayne Mansfield, or a sleek socialite, Georgann Johnson. Dancer extraordinaire Peter Gennaro if featured. Miss Wilson, who sings two songs in the 90-minute program, will attend.

The Saturday 3 P.M. slot will be Hallmark Hall of Fame's Hans Brinker, or the Silver Skates [1958] with music and lyrics by Hugh Martin, and direction by Sidney Lumet. Teen heartthrob Tab Hunter, Peggy King, Olympic skating champion Dick Button, Basil Rathbone, and Carmen Mathews are among the stars of this lavish production, which was telecast live. The program set a record for HHOF telecasts [11.5-million homes] that remained unbroken for two decades. Miss King, Button and several chorus members will attend. A Q&A with Sirius XM On the Aisle host Bill Rudman will follow.

Sunday, at 1, is a loose adaptation of Lewis Carroll's classic Alice Through the Looking Glass [1966] with songs co-written by Moose Charlap. Jimmy Durante, Nanette Fabray, Ricardo Montalban, Agnes Moorehead, Jack Palance, and Tom and Dick Smothers star with Judi Rolin as Alice.

At 3 P.M., Armstrong Circle Theatre's two-hour adaptation of Rodgers & Hammerstein's Carousel [1967] screens. It stars Robert Goulet, Mary Grover, Pernell Roberts and, as the starkeeper, Charlie Ruggles. Veteran Broadway music man Jack Elliott music directs. Choreography is by the legendary Edward Villella. In addition, there'll be rarely seen 1945 film of members of Carousel's original Broadway cast performing dances choreographed by Agnes de Mille.

The screenings are included with museum admission.

Last Chance

Tomorrow's your last chance to catch Katharine Hepburn: In Her Own Words, the intimate exhibition at the New York Public Library for the Performing Arts at Lincoln Center of artifacts from her correspondence, photos, posters and a video program of such stars as Zoe Caldwell, Marian Seldes, and Sam Waterson reading letters Miss Hepburn wrote and received. Vincent Astor Gallery. Enter from the Plaza or Amsterdam Avenue between 64th and 65th Streets. Free.