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This week in theater news...

Published April 17th, 2015 by | No Comments

Each week we're going to keep you up-to-speed with the latest Broadway and theater news. Check back every Friday to see what you missed this week, and to catch a glimpse of what's going on at Playhouse Square and beyond. Enjoy!

Josh Groban, Kelly Clarkson

Theater happenings...

Kelly Clarkson and Josh Groban sing Phantom’s “All I Ask of You”
There’s nothing better than finding out Josh Groban and Phantom of the Opera will both be in CLE in the coming season. Check out this special collaboration Groban sang with Kelly Clarkson of “All I Ask of You” in honor of his arrival in October and Phantom’s in 2016 in CLE this year. (Well, maybe it wasn’t just for us, but it sure was just in time!) ( Listen here…

Time’s 100 Most Influential People List gives nods to Broadway stars
Broadway stars Bradley Cooper and Audra McDonald are among the stars named on Time’s Most Influential People list. Cooper recently starred in Elephant Man, and McDonald is a six-time Tony winner. ( Read more…

Wondering how Darren Criss is doing as Hedwig?
It was big news when Darren Criss took over for Neil Patrick Harris as the lead in Hedwig and the Angry Inch, and now he’s sharing his experiences in makeup and heels. ( Read more…

Speaking of Neil Patrick Harris…
Did you hear he WON’T be hosting this year’s Tony awards? After recently hosting the Academy Awards, an event he called a “beast,” Harris has decided to take a step back from his roles as a host. ( Read more…

Playhouse Square happenings...

The Screwtape Letters
Fair on the Square
Partners Mixology Class
Disney's Beauty and the Beast

This week in theater news...

Published April 11th, 2015 by | No Comments

Each week we're going to keep you up-to-speed with the latest Broadway and theater news. Check back every Friday to see what you missed this week, and to catch a glimpse of what's going on at Playhouse Square and beyond. Enjoy!


Theater happenings...

Matilda’s second birthday
Matilda the Musical celebrated its second birthday as a Broadway show this week. Don’t miss the touring show when it makes a stop in CLE for the 2015-16 KeyBank Broadway Series in May, 2016! ( Read more…

Groundhog Day stage adaptation
The creative team that brought us Matilda has created a stage adaptation of the Bill Murray classic film, Groundhog Day. Show dates have been set for 2017 at a theater TBA. ( Read more…

Mamma Mia sets closing date on Broadway
It’s been 14 years since Mamma Mia opened on Broadway, and the show has officially announced a closing day on September 5, 2015. No need to worry, the touring show will make its way to CLE Mar. 8-13, 2016! ( Read more…

Playhouse Square happenings...

Celtic Thunder
Classic. Elegant. Timeless. A Cleveland Ballet Youth Company Performance
America's Got Downton


An Interview with Sarah Wolfe from Kinky Boots

Published April 10th, 2015 by | No Comments

Our Buzz Extra writer, Alicia Hansen had the exciting opportunity to interview Kinky Boots’ Touring Makeup Supervisor/Hair Stylist Sarah Wolfe. As part of our Broadway Buzz program, Alicia will take you behind the scenes of each KeyBank Broadway Series show and interview a member of the show’s cast, crew or creative team.


Kinky Boots arrives in Cleveland a part of the 2014-2015 KeyBank Broadway Series this month. As it turns out, moving this production from stop to stop on its tour around the United States takes quite the amount of manpower – and even more skill to then provide a first rate production to entertain audiences. Kinky Boots’ Touring Makeup Supervisor/Hair Stylist Sarah Wolfe (of took time to chat with our Broadway Buzz blogger Alicia Hansen to share how she consistently works her craft in an environment of constant change.

Tell us how you started in the theater and how discovered your talent in makeup and hair design.

My parents were heavily involved in theater from the time they met. They started a community theater in Placerville, a small town in California, where I grew up. I spent a lot of time on stage performing or at rehearsals. I found out later that I did like the behind-the-scenes work a lot. When I was 15, I had a dance injury that changed everything. My dance teacher encouraged me to start thinking about designing makeup for the recitals we would produce. That was just the beginning.

During school, I was always into painting, but I fell behind in math and other subjects. I tried to go to college for psychology and journalism, but I was instead always doing all these creative things. I found out about a makeup school in Los Angeles called Make-up Designory. It offered everything: beauty and character special effects, hair styling, behind-the-scenes work and more. At the age of 18, I moved and joined that program, jumping both feet in. Upon graduating, I took every freelancing job I could. I was working on everything. I freelanced for five years and sometimes it was a struggle. I knew that’s what I wanted to do, and I’m glad it’s been my life thus far.

After a few years of freelancing, I started working at Sacramento Music Circus. I had actually done a summer internship there when I was 15. I have now been working there for the past six summer seasons. Because of that, wig styling is now a special niche that I have in the makeup and theater world. It is where I learned how to do really fast wig changes, and learned how to work with big name actors. It provided so much of that experience in that specific area of my craft.

With so much to keep track of as you move from town to town, how do you stay organized as you tour Kinky Boots around the country?

I oversee all makeup for the entire show: there are six drag queens called the Angels, all the ensemble women and all the ensemble men. There’s a big binder I call “The Bible,” and it keeps all the plots for all the cast members organized. It has each of their foundation colors, their eyes, their lips – every single detail. Additionally I have this big box that I also keep super organized. It comes around to every city with me, with everything I need.

Even though every city is totally different, I have all these systems that I set up exactly the same in every city. For example, the factory workers have fake tattoos, which I apply on those actors every performance. A company prints the custom tattoos with the ink and send them out to me as I need them. To do so, I have a tattoo station where those actors get their custom tattoos applied. They know where to go!

Can you provide a glimpse into what a run of a single performance is like for someone in your position?

I have an hour-and-a-half call before each curtain, every single show. I arrive for what we call “Continuity Hour” where we get organized and touch up wigs. Then at an hour before, I go up to Lola’s room where it takes about a half hour to do her first full drag look. Now I have it down to a routine, and we have a good time with it: we turn on music, we chat if the actor wants. From there, I apply a few more wigs to other actors. At five ‘til curtain, I apply Lola’s lips, which is a five-step process – it’s meticulous. We then put Lola’s wig on next, then the show starts. I run the show with cues, following Lola the entire time. She has five different looks, so I’m constantly changing hair and makeup in between. If Lola’s not on stage, he’s in my chair! At the end of the show, I collect wigs, and we clean and lock everything up. That’s all about three hours... so picture doing that twice on a Saturday and twice on a Sunday!

One could imagine all the effort it takes to move a production from one city to another. Can you share how that takes place for the Kinky Boots tour?

After the performance on Sunday night, we pack up everything. Our show travels eight trucks to transport it all, so it takes a lot of people to move it. We load out through early Monday morning with the crewmembers working all night long. Monday, we go to the airport and get on the flight to our next stop around 8 or 10 a.m. We fly to the next city as the trucks are traveling. Usually the carpenters and the electricians go in Monday nights to start load-in at the new venue. I go in on Tuesday mornings after all the stuff is off the trucks. We meet three local hires in every city that morning. As a newly formed team, we start taking wigs out, washing them and breaking down things. Then we reset the wigs: we put them in curlers, do blow outs, as well as set up the makeup. We spend all of Tuesday working on this from 10 a.m – 5 p.m. Then, we take an hour break before running the show for our first performance in that new city.

Is there one of Lola’s looks that is your favorite? Is there one that is more challenging for you?

My biggest challenge for each show is when we go from Lola in full drag to Lola as a man. That change all happens during just one song. We just don’t wipe all the makeup off and make a big mess. I strategically take off certain things, like the eyeliner underneath her eye, half the eyebrow, I powder over the blush… really specific changes. Not only am I doing a makeup change and ripping the lashes off while he’s tying his shoes, I also take the wig off. It happens like a choreographed dance now, but when I first learned it, I would have butterflies in my stomach. In live theater, the music is not going to stop if I forgot something. There’s no running back to the dressing room. That transition just has to be seamless.

During intermission, Lola goes back into a drag look with a full eye, a contour face, a full lip, and no wig. In the second act, there’s this look call the “Hold Me” change – for “Hold Me In Your Heart,” which I think is my favorite song in the show. When I first learned it, they called it the “Whitney Look,” as in Whitney Houston. It is really pretty. He’s in this beautiful cream and yellow hombre dress. I apply a little shimmer across collarbones. I pack the lip-gloss on to give it a really nice shine. Whenever I finish that, I think “perfect.” I’m always really proud of it. When he walks out on the stage in that look, he’s by himself with just the spotlight and he steps forward singing his song, I feel that choked-up, want-to-cry feeling. It makes me happy every single night. This is what I get to do – and if it moves me, maybe the other people in the audience will be moved by it.

Out of all the productions that you worked on during your career, what makes Kinky Boots stand out for you?

There’s nobody doing anything like this. Yes, there are other shows with beautiful costumes, and scenery and lighting. But Kinky Boots has such a different message. It’s not only the family of the entire cast, but the family of the entire crew. We all have to get along and accept each other’s differences, and we do. We work together to create this huge art piece every night. I have chills just talking about it.

What’s been a highlight of your career and where do you see yourself headed next in your life?

This year, I joined the Local 706, the Make-up Artists and Hair Stylists Guild. I submitted for the Guild Awards that recognizes every area of the industry in Hollywood – from feature films, commercials, television and live theater. I ended up winning in the live theater category! Sometimes winning something and being recognized for your work makes it almost bittersweet. It makes you look back on how far you’ve come to get to where you are now. It’s been almost ten years, but I’m excited for the next ten years!

Looking forward, I want to start my own line that is strictly professional theatrical makeup that is free of synthetic ingredients. There was a specific time in between not having much work during the winter and starting another summer season, I had four months to kill. I decided to get my esthetics license. I knew I would have a lot more knowledge about skin and what I am doing and what these products are doing for people’s skin. From there, I went crazy studying ingredients and skin care. In 2008, I started really getting into wanting to change the theater makeup industry with providing theater makeup without garbage in it. I continue to be super focused on morphing the theater makeup industry in that way. It’s a huge part of what I’m doing in the future.

Kinky Boots plays in Cleveland April 7-19 at the Connor Palace at Playhouse Square. For more information, please visit the show’s page on the Playhouse Square website.


Alicia Hansen is the writer behind Poise in Parma, a healthy balance blog for Clevelanders. A graduate of Baldwin-Wallace College’s theatre program, Alicia is a yoga teacher at Evolution Yoga, an event and marketing professional and proud Northeast Ohio arts supporter. Follow her on FacebookTwitterInstagram and Pinterest

A Mother and Daughter’s Sensory-Friendly Experience at Playhouse Square

Published April 9th, 2015 by | No Comments


I have always loved the theater. Going to Playhouse Square with my family and on school trips are among my favorite childhood memories. When my daughter was born, I looked forward to sharing the magic with her. Her first experience was with her preschool. It was not at all what I dreamed it would be. I was told she cowered in her seat, covered her ears with her hands, and rocked back and forth, crying. She ended up sitting in the lobby, with a very sweet usher, until the performance was over. Six months later, Maddie would be diagnosed with Aspergers, now known as the umbrella diagnosis, Autism Spectrum Disorder. Given her prior encounter with theater and our new diagnosis, the thought of attending another performance was intimidating. Until Havana Hop.

A friend approached me and shared that Playhouse Square would be featuring a sensory-friendly performance - a performance geared towards those with exceptional needs. I had heard of sensory-friendly performances and knew, with Maddie now being almost 11, it was time to raise that curtain.

I had Maddie do some research on the Playhouse Square website so she would have some background information before going. I was amazed to learn the play was written and performed by the same person, Paige Hernandez. Paige plays the role of three women, focusing on young Yeila, who embarks on a journey to discover her heritage and incorporate it into her dancing. I was also excited to see that the performance encourages audience participation. Knowing Maddie wouldn’t be expected to sit still in her seat was relieving. I eagerly ordered our tickets.

Upon entering the Ohio Theatre, we were greeted by many smiling faces. There were display tables set up by local organizations, providing lots of goodies for the children. Maddie happily accepted a drawstring backpack and proceeded to fill it with treasures. Two different organizations had fidgets available, not just for use during the play, but for children to keep. A basket of noise-canceling headphones was supplied by Playhouse Square, as well as a quiet room for those in need of a break. A sense of calmness enveloped me. Not only was it apparent that Maddie, and all of her quirks, would be accepted here, she would be welcomed.

Havana Hop was everything I wanted a theater experience to be for Maddie. She was transported to another place, chancing upon the magic I hoped she would.  Paige taught the audience dance moves that were used throughout the play. I watched as Maddie danced along, no hands covering her ears, but lost in Cuba and salsa music. My heart danced along with her. Paige called volunteers on stage with her and it was refreshing to see her unphased by children trying to touch her, talking loudly over her, and even someone running up from the audience and behind the stage. Maddie wasn’t hushed when she frequently talked, out loud, about what was happening or asked questions. I was able to enjoy the play without having to constantly apologize to our neighbors for Maddie’s outbursts. This was a theater experience far better than any I could have ever imagined. I applaud Playhouse Square for increasing access and including our exceptional children through sensory-friendly performances. All children should be afforded the opportunity to experience the wonders of theater in a nonjudgmental, welcoming environment. Maddie and I look forward to our next sensory-friendly performance at Playhouse Square.

Written by Lisa Perna

Learn more about sensory-friendly programming at Playhouse Square.

This week in theater news...

Published March 27th, 2015 by | No Comments

Each week we're going to keep you up-to-speed with the latest Broadway and theater news. Check back every Friday to see what you missed this week, and to catch a glimpse of what's going on at Playhouse Square and beyond. Enjoy!


Theater happenings... 

The hills are alive!
Julie Andrews has announced she will release her second memoir in 2017, telling the backstory of Mary Poppins, Sound of Music, and other works from her early years. ( Read more…

17-year-old will pen Tom Sawyer on Broadway
What had you accomplished by the age of 17? Senior Noah Altshuler of Cambridge, MA, has been tapped to write the stage adaptation of Mark Twain’s Tom Sawyer. Altshuler is a Playwright-in-Residence at the Mark Twain House & Museum in Hartford, CT, which will commission the work. ( Read more…

Seinfeld’s Jason Alexander takes over Fish in the Dark on Broadway
As Larry David prepares for his last performance in his self-penned Fish in the Dark, Jason Alexander is getting ready to take his place. Alexander has played on Broadway before, with a Tony Award for Jerome Robbins’ Broadway, as well as other stage credits. ( Read more…

Pretty Woman becoming a musical
As Pretty Woman turns 25, director Gary Marshall confirmed that the movie will become a Broadway musical. It’s sparked the question: who will play Julia Roberts’ role as Vivian Ward, or Richard Gere’s part as Edward Lewis? ( Read more…

Playhouse Square happenings...

alt-J with special guest Tycho
Vanya and Sonia and Masha and Spike – Cleveland Play House

This week in theater news...

Published March 20th, 2015 by | No Comments

Each week we're going to keep you up-to-speed with the latest Broadway and theater news. Check back every Friday to see what you missed this week, and to catch a glimpse of what's going on at Playhouse Square and beyond. Enjoy!

Theater happenings...

Idina Menzel takes a bow
March 22 will be Idina Menzel’s last performance as Elizabeth in If/Then. But no need to worry, her summer tour will make its way to CLE this summer and she has worked on new music. We’ll be keeping an eye on her! ( Read more…

So. Fetch.
Word on the street is a Mean Girls musical is 60% complete with readings expected to begin this summer. Tina Fey and husband Jeff Richmond have worked on the project, along with composer Nell Benjamin. Unfortunately, we will not see a number called, “Fetch.” ( Read more…

Kevin Kline joins Beauty and the Beast
Lately it feels like everyone has jumped on the Beauty and the Beast cast bandwagon. This week two-time Tony winner Kevin Kline joined in, cast the father to Belle (Emma Watson.) What’s more, the movie is set to release on St. Patrick’s Day in 2017. We’re in this two-year wait together. ( Read more…

Playhouse Square happenings...

Playhouse Square Partners Trivia Night
The Sing-Off Live Tour
CIFF: Still Dreaming
CSU Spring Dance Concert
Potted Potter
CIFF: Teacher of the Year
The Peking Acrobats

This week in theater news...

Published March 15th, 2015 by | No Comments

Each week we're going to keep you up-to-speed with the latest Broadway and theater news. Check back every Friday to see what you missed this week, and to catch a glimpse of what's going on at Playhouse Square and beyond. Enjoy!

bbcnewsbrightmanphotoPhoto by BBC News

Theater happenings...

The Music of the Night in… space?
While many have booked their flights for summer vacation, The Phantom of the Opera’s Sarah Brightman has booked her trip to space. Brightman will take off September 1, 2015 for a ten-day trip out of this world for the chance to sing from the International Space Station. Back on land, a chorus or an orchestra will be ready to perform along for a live, televised broadcast. The trip has a price tag of tens of millions of dollars. ( Read more…

Frozen 2 is in the works! At a shareholder meeting March 12, Bob Iger made the announcement. More details are to come. ( Read more…

Audra McDonald returns
Six-time Tony winner Audra McDonald will return to Broadway to lead Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed, set to open at the Music Box Theatre April 21, 2016. ( Read more…

Playhouse Square happenings...
Dirty Dancing
Sesame Street Live

An Interview with Michele Lynch from Dirty Dancing

Published March 14th, 2015 by | No Comments

Our Buzz Extra writer, Alicia Hansen had the exciting opportunity to interview Michele Lynch, the Dirty Dancing tour choreographer. As part of our Broadway Buzz program, Alicia will take you behind the scenes of each KeyBank Broadway Series show and interview a member of the show’s cast, crew or creative team.


With the arrival of Dirty Dancing in Cleveland this month as a part of the 2014-2015 KeyBank Broadway Series, Northeastern Ohioans are already enjoying this theatrical re-telling of the 1987 film. From the memorable soundtrack to the classic story now on stage, audiences are captivated by the choreography set to tunes such as "Hungry Eyes," "Hey Baby," and "(I've Had) The Time Of My Life." The tour’s choreographer, Michele Lynch, shares some insight on her own path as a professional in the field while giving Clevelanders a look into the process of bringing this piece from the screen to the stage.

How did you discover dance, and how did it and the theater become a part of the path that lead to where you are today?

I took an unconventional route by starting later than most in this profession. I saw a show that inspired me and I felt like it spoke my language. I thought, “I’m going to be a choreographer,” even though I had never taken a dance class. I knew I wanted to choreograph, so I just started taking classes and then fell in love with it. I started as a dancer – landing my first job at Disney. I made my way to Broadway, then started assisting choreographers. I have been choreographing on my own for about the past ten to twelve years.

I went to school for something else, but made my way back to dance. I always think that if people want something badly enough, it just comes back to them. I tried to quit many times but it always came back because deep down, I just loved it. So I just started pursuing it. That is really the heart of what drives me and got me to where I am today.

It must have been intimidating working on such an iconic piece, especially Dirty Dancing.  Can you speak to your process about the creation of the choreography: how you can be your creative self while honoring an existing piece, but making it something new at the same time?

I actually found this to be one of the most enjoyable and educational experiences: not in any way that you would normally expect, but because I had to put my ego aside. I think years ago I would have never said yes because I feel like I loved the movie so much and it spoke to me so much. There was a template that had been set because the movie was so iconic, and the stage version had been done before about ten years ago with an Australian choreographer. We were making it new for the US and were creating a cut-down version with new songs and new music, but I would still have to use some existing choreography.

I had tricked myself into thinking that this was going to be one of most challenging things I would ever have to do, and it really wasn’t. I just had to remember that I had to get out of my own way. Going into it completely egoless and just serving the piece freed me up in the most creative way and enabled me to just be there for all the right reasons. I thought it had been that way on other projects, but that reaching that level in this process was pretty remarkable to me. It was such a great experience.

I think this movie makes it okay to dance, to dance in a sexy way and to fall in love doing it. That is why it is such a huge hit because dancing is such a primal thing that we all do and this movie just normalizes it in a way. Also, I think it empowered men to be cool as dancers. There can be a stigma to dance and it is something I experienced in pursuing it.

As the show is up and running, touring throughout the world, how does your role as choreographer continue to come into play?

I do not tour with the company, but I do check on it periodically. I do enjoy visiting the tour when it is out on the road. We have two dance captains that look after it. They are so good at maintaining the specifics. They are in the show, and have a couple parts, so they are often busy.

Things can change gradually without anyone noticing because they are “in” it every single day, so they do not notice the movement of the slightest inch. But an inch over three months? I am going to notice. I see those changes, so I go in and I try to re-inspire the company, adjusting as needed or changing it back to what it was. For example, we have so many lifts through partner work in the show and it’s been taking a toll on the guys. We are in the process of modifying and taking out some lifts, and so I will work with the dance captains on how we keep the intention in tact while the show’s dynamics change.

That is the big picture, but it is a lot of storytelling. Everything is driven by the story. Sometimes the performers just need a reminder of why they are in a number, and a fresh eye to come and talk to them.

Are there specific moments of the show that are favorites for you? For the audience?

The part that gets me every time is when we go into “Do You Love Me?” and the first time the audience sees the dirty dancing. It is in your face. It is exciting and thrilling. I have worked on so many shows in theater where you are not allowed to dance like that. There is a style to it – a technique even. We’ve taken it to another level, which you don’t always get to see in any other show. I love to be in the audience and feel the audience – especially if you’re in a very conservative city and perhaps an older demographic that wasn’t exposed to this type of dance in their day – get a little uncomfortable, but also see them enjoy it at the same time.

Of course, the moment everyone looks forward to is when Johnny lifts Baby during the last dance number. That iconic lift at the end, to this day – even when I see the show or rehearsing it – is still exciting to me. That excitement never fails – even though you know it is coming – because it is not easy! It is as hard as it looks. It is always thrilling when that goes up, every night, even during rehearsal. I remember when we were in Australia with our very first audience, the actors playing Baby and Johnny did not get the lift, and the audience screamed, “try it again!”  They tried it three times and they did not get it! It was devastating. Even when they were taking their bows, there were people around us saying, “try the lift!” You know if it does not work, there is a part of them that does not feel satisfied, so that last scene seems like the most important thing in the show.

What makes Dirty Dancing stand out from everything else that you worked on over the years?

I love that it was different from anything else that I had ever done. I think it is unlike anything you will ever see because it is not in typical theater format. It’s not your typical musical. It’s a theatricalized version of the movie. Baby and Johnny do not sing, so people who expect a musical in that way can get disappointed. We were making new rules in storytelling and parts of the story that didn’t make the movie are on stage. I think that is unique.

Also, working on a show that has been done before is another way Dirty Dancing stands out in my career. I’ve done productions like Little House on the Prairie and Happy Days, but those were shows that didn’t have iconic choreography that came with them. So I was able to invent it, but that comes with expectations. You have to be sure you meet those expectations, so that can be challenging. But I think we do – the audience reaction is unlike any show I’ve ever been on. They go nuts!

Dirty Dancing plays in Cleveland March 3 – 22 at the Connor Palace at Playhouse Square. For more information, please visit the show’s page on the Playhouse Square website.


Alicia Hansen is the writer behind Poise in Parma, a healthy balance blog for Clevelanders. A graduate of Baldwin-Wallace College’s theatre program, Alicia is a yoga teacher at Evolution Yoga, an event and marketing professional and proud Northeast Ohio arts supporter. Follow her on FacebookTwitterInstagram and Pinterest

A dream is a wish your heart makes...

Published March 13th, 2015 by | No Comments

Disney’s live-action Cinderella opens in theaters right before the Broadway Tour makes its way to CLE this summer. And you’re jealous you don’t have a fairy godmother, or a handful of singing mice, or a horse-drawn carriage, let alone a pumpkin, right?! Not to worry, dear, you can become a Cinderella in your own right.

Impossible, you say? Not with these all the Cinderella-inspired gear out there!


Kohl’s has become a one-stop Cinderella shop for all ages of royalty. Dress for the grand ball with Lauren Conrad’s Cinderella collection, or Disney’s lines for juniors and little ones.


If you’re feeling a little edgy, you can also try Hot Topic’s Cinderella-inspired line. Who knows, Cinderella could have been a punk rock princess.


Marrying Prince Charming this year? You can buy the dress fit for a queen. Designer Alfred Angelo is creating a Disney Fairy Tale Wedding collection  – of course including Cinderella’s gown! Step out of those rags, and into something a little more fitting. And yes, it’s identical to the real thing.


Get the complete look with MAC luxury cosmetics Cinderella line. Pastel blues, pinks, and shimmery golds will pull any glamorous look together.


Cinderella might have left behind her glass slipper, but you sure don’t have to. Designers like Jimmy Choo, Nicholas Kirkwood and Alexandre Birman have all created their own unique Cinderella shoes.

It looks like you have some primping to do! Get ready for Rodgers + Hammerstein’s Cinderella when it waltzes into CLE July 21-Aug. 2! For even more style ideas like the Cinderella Alex and  Ani bracelet, visit our Pinterest board.

This week in theater news...

Published March 6th, 2015 by | No Comments

Each week we're going to keep you up-to-speed with the latest Broadway and theater news. Check back every Friday to see what you missed this week, and to catch a glimpse of what's going on at Playhouse Square and beyond. Enjoy!


Theater Happenings...

Sara Bareilles writes musical score to Waitress
Sara Bareilles, we choose you! “Brave” and “Love Story” singer Sara Bareilles will write the score for the musical adaptation of Waitress (You mean, that ’07 movie with Kerri Russel? That’s right!) developed by the American Repository Theater. If the musical’s schedule runs as planned, Waitress will premier in the ’15-’16 season at ART. ( Read more...

Dan Stevens will be the Beast
Downton Abbey’s Dan Stevens will star opposite Emma Watson in Disney’s live-action Beauty and the Beast. He’s recently starred in movies like Walk Among the Tombstones and The Guest, but Beauty and the Beast will be his most high-profile role to date. If you don’t remember the storyline, what better way than to see it when Broadway Tour makes its way to CLE? ( Read more...

Ron Swanson headlines A Confederacy of Dunces
At least Nick Offerman is! A Confederacy of Dunces world premier will take place Nov. 11 at the Huntington Theatre in Boston. Directed by David Esbjornson, this will open the ’15-’16 season at Huntington. Originally based on John Kennedy Toole’s Pulitzer Prize-winning novel, Offerman will star as the arrogant Ignatius J. Reilly. ( Read more...

Bruce Willis makes Broadway Stage Debut
Steven King’s Misery stage adaptation will be making its debut this fall in a theater TBA, and Bruce Willis is set to star. Two-time Oscar winner William Goldman wrote the play based off of the novel, which also was adapted for film in 1990. ( Read more...

Playhouse Square Happenings...

Dirty Dancing
Flanagan's Wake
The Pink Floyd Experience 
Andy Jeselnik
Celtic Woman 

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