NEW ORLEANS (news release) – Individual tickets for that tour in the critically-acclaimed Broadway production of ANASTASIA are for sale. Named “perhaps one of the most gorgeous shows in years,” ANASTASIA will undoubtedly be arriving at the Saenger Theatre from April 14-19. Presented by the brand new Orleans Theatre Association, ANASTASIA is area of the Hancock Whitney Broadway in New Orleans 2019-2020 season. Tickets for ANASTASIA start at $30. Tuesday – Thursday: 7:30 p.m. Saturday: 2 p.m. and 8 p.m. Sunday: 1 p.m. and 6:30 p.m. “This adventure-filled musical could keep audiences enthralled,” said Gary Lorio, Hancock Whitney regional president. In the Tony Award-winning creators on the Broadway classic Ragtime and inspired from the beloved film, ANASTASIA may be the new Broadway musical that’s “probably one of the most gorgeous shows in years! ” (NY Observer). This dazzling show transports us from your twilight on the Russian Empire for the euphoria of Paris inside the 1920s, like a brave young woman sets out to find the mystery of her past. Pursued by way of a ruthless Soviet officer determined to silence her, Anya enlists aid from a dashing conman along with a lovable ex-aristocrat. Together, they attempt an epic adventure to greatly help her find home, love and family. ANASTASIA includes a book by celebrated playwright Terrence McNally, a lush, new score by Stephen Flaherty (music) and Lynn Ahrens (lyrics) and direction by Tony Award-winning director Darko Tresnjak. ANASTASIA completed its two-year Broadway operate on March 31, 2019 on the Broadhurst Theatre (235 West 44th Street). Critics exclaimed “Ahrens and Flaherty have chosen the proper moments to musicalize, and their score here sounds complete and full – among the season’s strongest! ”. The brand new musical has played to sold-out crowds on Broadway and across THE UNITED STATES on its first national tour, along with garnering multiple Tony, Drama Desk and Outer Critics Circle awards and nominations.
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Led by Kelley’s truly charming, thoughtful, well-sung performance as Alfie, this can be a production filled with impressive performances, including Merritt because the stubborn but loving Lily; Green, who’s in great voice as Robbie; and Elliot who’s sympathetic because the initially shy, somewhat mysterious Adele. Musgrave-Perkins can be a solid presence as both self-absorbed, strait-laced Mr. Carney so when the ghost of Oscar Wilde, who appears being an encouraging figment of Alfie’s imagination. All of the players are great, with Nigh, Stockton, and Love giving strong comic performances, and Allison excellent in a very dual role like a well-meaning but doubtful priest so when a theatre company member who presents a directorial challenge for Alfie. There’s also fine performances from Coffel because the dependable Baldy and Jennings as Rasher and in addition as Breton Beret, an enigmatic figure who Alfie meets inside a pub. Jennifer Theby-Quinn, in a comparatively small role as church member Mrs. Patrick, gets some terrific solo vocal opportunities, aswell. It’s an excellent cast throughout, bringing energy and style plus a believable Irish flair towards the story.
The technical areas of this show may also be strong, which has a believable lived-in turn to the set (designer not listed), in addition to colorful costumes by Amanda Brasher. Nathan Schroeder’s lighting and Heather Tucker’s props also enhance the overall atmosphere especially well. There’s also a fantastic band led by music director Curtis Moeller, who also plays several smaller roles inside the show, plus a few other band members. The music sounds great, although sometimes they are able to overpower the singers. A GUY of No Importance is really a show you might not have heard about, but in the event that you don’t know it, you need to! It’s a well-constructed story with some important themes of community, self-expression, family relationships, and much more, in addition to an overarching tone of sheer love for that theatre. At R-S Theatrics, director Christina Rios and company have staged another memorable, thoughtful success. It’s Rios’s last production as director because of this company, and she’s venturing out on a particularly high note. Go see this when you can.
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The American Masters documentary Charley Pride: I’m Just Me, about Pride we were young a sharecropper’s son in Mississippi prior to making it as a trail-blazing country music superstar, airs on PBS Feb. 22. Barbara Hall directed, and Michael Kantor may be the executive producer with respect to American Masters. Before his music career kicked in, Pride also had a run like a baseball player inside the Negro leagues. The film includes interviews with Garth Brooks, Dolly Parton, Brad Paisley, Darius Rucker, Willie Nelson and Marty Stuart. “At the same time when African-American singers were more notable for R&B hits, Charley Pride followed his passion for country music, overcoming obstacles through determination and raw talent to produce a lasting effect on the genre and develop a legacy that continues today,” said Kantor. I’m Just Me and Sammy Davis, Jr.: I’ve Gotta Be Me, which premiered Feb. 19, will be the American Masters projects linked with Black History Month. Robert Shaw – Man of several Voices, concerning the actor, rolls in summer or fall, and N. Scott Momaday: Words From the Bear, concerning the Native American author, premieres inside the fall.
Now nominated for your 2014 Tony Award for Best Play, few plays on Broadway today speak as urgently to your times as “Mothers and Sons,” the 20th Broadway production from legendary 4-time Tony Award-winning playwright Terrence McNally, now playing on the Golden Theatre. Inside the play, Katherine — portrayed by Tony- and Emmy-winning Tyne Daly in perhaps her most formidable role — visits the former lover of her late son two decades after his death, and then find him now married to some other man and raising a little child. A funny, vibrant, and deeply moving take a look at one woman’s journey to acknowledge how society has evolved — and exactly how she might, “Mothers and Sons” is for certain to spark candid conversations about regret, acceptance, plus the evolving definition of “family.” Daly is joined by Broadway vet Frederick Weller (“Take Me Out”), Tony nominee Bobby Steggert (“Ragtime”), and newcomer Grayson Taylor, beneath the direction of Tony nominee Sheryl Kaller (“Next Fall”).