Monthly Archives: April 2010

Theatre Review: Steve Silver’s “Beach Blanket Babylon” @ Club Fugazi (SF), 04/24/10

Photo by Rick Markovich

Walter M. Mayes, Guest Reviewer

Like visiting Fisherman’s Wharf or Alcatraz, seeing Beach Blanket Babylon is one of those uniquely San Francisco experiences that many natives feel is more for the tourists—something wild but safe to do when Aunt Hannah comes to town; though I have lived in the city for nearly thirty years and entertained many out of town guests, I had never seen the show.

Of course, I knew about it—you’d have to be culturally comatose not to know of Steve Silver’s contribution to the arts in the city. Val Diamond! Snow White and Rob Lowe at the Oscars in 1989! Mr. Peanut! And those hats!!! So I had a pretty good idea what I was in for when I grabbed my friend Brett and headed to North Beach for the 9:30 show last Saturday.

Let’s just say that the show is completely reviewer-proof, and were I to spend time bemoaning the baseness of much of its humor or the fling-everything-against-the-wall-and-see-what-sticks-style of its staging, it would not sell one less ticket. I was shocked they offered review passes at all. Neither would complaining about uncomfortable cabaret chairs and ridiculous drink prices.

But this is all quite beside the point, because it is impossible not to have a good time at BBB! It has the hardest working cast I’ve seen in a long time, and they bring an energy that is just short of frenzied to every moment in the revue. Yes, dozens of pop culture figures of the moment make appearances (mostly limited to those who have made a lasting impact), and the jokes and song snippets fly fast and furiously (if you don’t care for one, just wait—there’ll be eight more in a minute), and the wigs and hats are the real star of the show (you may have heard about them or seen photographs, but you can’t fully appreciate them until you see the actors maneuver them on and offstage). But this amazing troupe of performers puts every bit of talent they have into selling this show, and I have no doubt that each audience is made to feel special and welcome, as if the show is being performed just for them, and that is an incredible rarity in any show.

The music relies heavily on rock standards of an earlier era, with just enough Broadway to add some flair, but there is always something more contemporary thrown into the mix, as in a mashup of Beyonce’s “Single Ladies” and American Idol’s “Pants on the Ground,” that was just one example of keeping the mix fresh. Of course, Elvis will never die, and neither will Tina Turner, Michael Jackson (I could watch the “Thriller” dance over and over), and Madonna, who all make wonderfully funny appearances. Every member of the cast of nine gets moments to shine, and every one of them is fabulous, though Caitlin McGinty and Ryan Rigazzi share my vote for best in show.

If you’ve seen BBB before, you know that they keep some of the best bits in forever, but that they regularly update the show and add new material. But if you haven’t seen it, you really need to—there is a reason it is a San Francisco institution, and the proof is on display every night at Club Fugazi.

Website | Tickets


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Bay Area Theatre: Weekend Picks, April 30 – May 2

Here are The Broadway Critic’s picks for Bay Area Theatre this weekend:

1. Peter Pan at Ferry Building (San Francisco) – While this hasn’t officially opened, (so therefore, I haven’t seen it) word on the street is that Peter Pan is a totally new and exciting theatrical experience – one that you won’t want to miss out on. I’m off to see this on May 9th. I’ve also heard that they should have made it into a musical. And all this time, I actually thought it was the musical. Make sure you get your tickets soon.

Website | Tickets

2. RENT at Palo Alto Players – Here’s another show that I haven’t seen, but recommend this weekend. RENT holds a special place in my heart, as it was the first Broadway musical that I couldn’t stop listening to. I’m intrigued to see this production. I’ve never seen anything at Palo Alto Players and I haven’t seen RENT for almost 3 years now (last time being on Broadway with Anthony Rapp and Tamyra Gray). I’m off to see this tonight! There’ll be a review up early next week. It closes May 9th.

Website | Tickets

3. Urinetown at Sunnyvale Community Players – Urinetown, the hilarious Tony Award winning musical, is closing out Sunnyvale Community Players’ 40th Season. I’d say, it’s a damn great choice. I love this show more than anything and I’ve been hearing that this production is pretty hysterical and well-worth your time. Again, another show that I haven’t seen but I’m interested in checking it out before it closes on May 9th. Plus, it has a few dear friends in it! Check out some reviews on

Website | Tickets

On My Radar:

  • Gypsy at Hillbarn Theatre - Gypsy opens on May 7th and runs through May 30th. It will prove to be an amazing production featuring actors Annmarie Martin, Milly Boyse, Dan Kapler, Patti Appel, Cheryl Ringman, and more… More info
  • Little Shop of Horrors at Busbarn Theatre – I hear they have the most amazing Audrey! (Apparently, she had a major callback with the folks down at GLEE and sang with Lea Michele for three days.) Yes, that’s how good she is. I will definitely not be missing this one. Opens on May 20th. More info

Until next week…


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Broadway News/Blog Round Up #18

Each week, The Broadway Critic will be featuring the news that you don’t want to miss! A lot has happened since we posted about Brian D’Arcy James starring in Next to Normal and American Idiot opening on Broadway.

  • Everyday Rapture released the new cast recording on Tuesday, digitally and in stores. You can check out some great photos on It opens on Broadway today, Thursday April, 29th. I’m super happy that Sherie Rene Scott gets this chance to shine on Broadway again! (Thank you, Megan for making that possible.)
  • Memphis is possibly becoming a movie musical. Really? I’m not happy about this one. There are so many other shows that I would rather see as a movie musical. But, I’m thinking – if done correctly – the movie could be much better than the Broadway version and maybe they’ll have time to fix that ridiculous ending. Or, it could just end up like the dismal, Nine. Thoughts?
  • interviewed Rebecca Naomi Jones (star of American Idiot) and found out that she wants Ben Fold’s music to be in a musical. Read some other great answers here.
  • Hunter Foster weighs in on this year’s Broadway season and talks about the lack of new Broadway scores. Interesting read.
  • Rumor Alert: Sutton Foster might be returning to Broadway next season in a new revival of Anything Goes. I’m really a fan of anything that Foster does, but I will say that “Sutton Foster/Cole Porter” combined seems like absolute bliss to me.
  • Last but not least, it’s Broadway Week with Regis & Kelly. More info on who’s performing, here.

Broadway Blog Round-Up:

  • Read all about Sarah B.’s adventures seeing a ton of Broadway shows, going to Sondheim’s birthday party and running to other fellow theatre bloggers in her “Catching up on some adventures…” post.
  • “Everything I Know I Learned From Musicals” finally weighed in on Next to Normal winning the Pulitzer Prize this year. “Is it possible for a show to be worthy of a Pulitzer Prize yet still espouse a viewpoint that I find questionable at best, dangerous at worst? Well, that’s free speech for ya. At the very least, Next to Normal provides the opportunity to create some dialog about the topic of mental illness.” Read and comment here.
  • Broadway Across America announced their next season in Boston and Gratuitous V covers the pros and cons about their decision. Read here.
  • Musicals in L.A. interviewed Erin Quill (Avenue Q) and talks about her new show, The Mikado Project.
  • Read Pataphysical Science’s view on American Idiot. She thought “Good Riddance” was cheesy. Do you agree? I don’t.
  • Stage Notes reviewed the new revival, Promises, Promises that’s starring Sean Hayes and Kristen Chenoweth. She seems to agree with all of the critics: “Katie Finneran is the surprising break out star who comes out of nowhere in this story as Marge McDougal. She is hilarious! She’s a genius with physical comedy and we were in stitches with her every line. What a natural!”
  • “But one thing stands out above all else, that is that Stephen Sondheim is a prolific genius, the likes of whom we may never see again.” – The Andy Gram reviews Sondheim on Sondheim.
  • Steve on Broadway celebrated four different milestones: 1. 4th year SOB blog anniversary, 2. Saw 200 shows on Broadway, 3. Seeing all of this season’s Broadway shows and 4. Interviewed Alicia Silverstone – his first formal thespian interview. Read here.
  • The Producer’s Perspective writes a great post about the how Broadway houses sell their house tickets. I think there needs to be a change as well. I’ve stopped buying my tickets ahead of of time because I hate all of the extra fees. They are ridiculous.
  • Stage Rush interviews the understudy, Charlotte Maier, of God of Carnage. Funny thing: my costume designer for The Wedding Singer – the show I’m directing and choreographing at my school - is Maier’s sister-in-law. Don’t forget to watch Stage Rush’s  video of Green Day showing up to the performance and playing an encore number on the night Stage Rush went to review American Idiot.

New shows that are starting previews, opening  and/or closing on Broadway in the next couple weeks:

  • 4/28/10: Collected Stories (opening)
  • 4/29/10: Everyday Rapture (opening)
  • 6/13/10: The 64th Tony Awards
  • 8/28/10: South Pacific (closing)

Until next week…


Posted by on 04/29/2010 in Broadway, News


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Concert Review: Audra McDonald @ SF Symphony, 4/26/10

Audra McDonald shined as she walked on to the San Francisco Symphony stage and sang her opening number, “Gorgeous” from the musical, The Apple Tree. McDonald really did look gorgeous in her bright beautiful gown. From that moment on, she had the entire audience captivated during her 2-hour concert. The combination of McDonald’s incredible vocals and the lush orchestral arrangements, played beautifully by the San Francisco Symphony, was simply stunning.

One of McDonald’s strength is choosing a wide-variety of material from different musicals and composers, ranging from standards like The Sound of Music to little gems from Anyone Can Whistle and Babes in Arms. Two of my favorites of the night were “Ribbons Down My Back” from Hello Dolly! and the lovely “Dividing Day” from Light in the Piazza. Nothing was as surprisingly beautiful as “Pure Imagination” from Charlie and the Chocolate Factory. (It was her first audition song when she arrived to New York City!) It was completely breathtaking.

Honestly, the entire show was perfection — even the group sing-along to My Fair Lady’s “I Could Have Dance All Night” was genius. McDonald’s charm and engaging stage presence was felt all the way up to the last row of the balcony. She had us on the edge of our seats the entire time.

Ted Sperling’s conducting was fantastic! The San Francisco Symphony sounded magnificent and I know it was because of Sperling’s orchestrations and direction that this one-night engagement came together so perfectly. I had goose-bumps for the majority of the evening.

It was an inspiring night of music – one that will soon not be forgotten.

Thank you, Audra, for sharing yourself with us! It was perfect.

Set list for Audra McDonald’s concert with the San Francisco Symphony: (thanks to Mike R. for posting this on his site)

1. “Gorgeous” – Bock/Harnick (The Apple Tree)
2. “I Have Confidence” – Rodgers (The Sound of Music)
3. “It Might As Well Be Spring” / “Hurry! It’s Lovely Up Here” – Rodgers & Hammerstein  (State Fair) / Lerner & Lane (On A Clear Day You Can See Forever)
4. “Will He Like Me?” – Bock/Harnick (She Loves Me)
5. “Can’t Stop Talking” – Loesser (from the film Let’s Dance)
6. “Happiness Is a Thing Called Joe” – Arlen/Harburg (Cabin in the Sky)
7. “The Glamorous Life” (film version) – Sondheim (A Little Night Music)
8. “Ribbons Down My Back” – Herman (Hello Dolly)
9. “There Won’t Be Trumpets” – Sondheim (cut from Anyone Can Whistle)

10. “The Carousel Waltz” – Rodgers (Carousel – just the orchestra)
11. “Pure Imagination” – Newley/Bricusse (Willy Wonka and the Chocolate Factory)
12. “A Little Bit in Love” – Bernstein/Comden & Green (Wonderful Town)
13. “I Wish I Were in Love Again” – Rodgers/Hart (Babes in Arms)
14. “Dividing Day” – Guettel (The Light in the Piazza)
15. “Moon River” – Mancini/Mercer (Breakfast at Tiffany’s)
16. “Old Maid” – Jones/Schmidt (110 in the Shade)
17. “I Could Have Danced All Night” – Lerner/Loewe (My Fair Lady)
18. “What Can You Lose” / “Not A Day Goes By” – Sondheim (Dick Tracy / Merrily We Roll Along)
19. “When Did I Fall In Love” – Bock/Harnick (Fiorello!)
20. “10,432 Sheep” – Styne/Cahn (from the film West Point Story)
21. “Edelweiss” – Rodgers/Hammerstein (The Sound of Music)
22. “Ain’t it de Truth” – Arlen/Harburg (cut from Cabin in the Sky)

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Listening to Glee: “Home” – Season 1, Episode #16

In this week’s episode, titled “Home,” the Glee cast lifts spirits with some of music’s biggest ballads from Christina Aguleria, Burt Bacharach and more!

Watch as Kurt attempts to fix up his dad with a date in hopes of having a regular family which reminds him that “A House is Not a Home”. April Rhodes (Kristin Chenoweth) returns this week to help Will realize that there’s “One Less Bell to Answer” as she attempts to help him get over Terri and save New Directions. Sue demands that the cheerios diet in preparation for a magazine interview which ultimately leaves Amber to question if she’s “Beautiful” or not? Rounding out the episode, April, with the help of New Directions, belt out a beautiful rendition of “Home”.

Tracks from this weeks “Home” episode include:

“Home” – The Wiz
“Fire” – Bruce Springsteen
“A House is Not A Home” – Burt Bacharach
“One Less Bell to Answer/A House is Not A Home” – Burt Bacharach
“Beautiful” – Christina Aguilera


“One Less Bell to Answer/A House is Not a Home” (Featuring Kristin Chenoweth)


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Posted by on 04/27/2010 in Glee, Music


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Invitation: Come to a Reading of “Holmes & Watson: A Musical Mystery” @ SJ Stage, 04/26

You are cordially invited to a staged reading of Holmes and Watson: A Musical Mystery at San Jose Stage Company on Monday, April 26, 2010 at 7:30pm.

This new musical comedy features Sherlock Holmes and his faithful friend, Doctor Watson. They find themselves trapped in a locked room, and they have until the stroke of midnight to solve the fiendish Moriarty’s deadly riddle. The musical features Michael Santo* as Sherlock Holmes and Richard Farrell* as Dr. Watson. (*AEA)

This staged reading is free to the public, but donations are accepted.

Unfortunately (or fortunately – however you are looking at it), I’ll be at the San Francisco Symphony watching the glorious Audra McDonald sing! If you didn’t get tickets to that, then be sure to support San Jose Stage Company this Monday. It’s rare that you can go to a staged reading of a new musical for free in the South Bay. Take advantage of the opportunity and of course, if you do attend, let us know what you thought!


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Broadway News Round Up #17

Each week, The Broadway Critic will be featuring the news that you don’t want to miss! A lot has happened since we posted about Catch Me if You Can and Addams Family.

Broadway Cast Poster

  • is reporting, “Brian d’Arcy James, who created the role of Dan Goodman in the original Off-Broadway production of the Pulitzer Prize-winning Next to Normal at Second Stage, will return to that musical on Broadway in May.” This just gives me another reason to revisit this show the next time I’m in New York. I think I can say for everyone, “Welcome Back!”
  • Rumor Alert: “Gwyneth Paltrow and her real-life mother, Blythe Danner, are being looked at as possible replacements for Catherine Zeta-Jones and Angela Lansbury in A Little Night Music, once the pair complete their run in the Sondheim revival after the Tony Awards in June.” (Via This would be an amazing replacement, if in fact, Paltrow can sing. I’d definitely buy a ticket for it!
  • Theatrefan555 posted a very interesting question on “If you see theatre with industry comps then…” Read more about this here.
  • The reviews have come in about Girlfriend – Berkeley Rep’s new two-person musical. You can read The Broadway Critic’s review here. There is also some more chatter about this on All That Chat.
  • American Idiot opened on Broadway on 4/20 (coincidental, I doubt it) and La Cage aux Folles opened on Broadway on 4/18. Both opened to stellar reviews! Read American Idiot reviews here and La Cage aux Folles reviews here. I have a feeling, that both of these shows are front-runners at the Tony Awards for Best Musical and Best Revival even though I want Finian’s Rainbow to win.
  • Photo Call: First look at Fences on Broadway.
  • Finally, “Sondheim on Sondheim, a unique musical that is part video documentary and part starry Broadway revue, opens at Studio 54 on April 22, offering the life story of Tony Award-winning composer-lyricist Stephen Sondheim.” (via Sondheim has had quite the year this year!
  • Last but not least, did anyone see a preview of Everyday Rapture yet? I’ve heard some mixed reviews on this one. Please comment and tell us what you think – inquiring minds want to know!

New shows that are starting previews and/or opening on Broadway in the next couple weeks:

  • 4/22/10: Sondheim on Sondheim (opening)
  • 4/25/10: Promises, Promises (opening)
  • 4/27/10: Enron (opening)
  • 4/28/10: Collected Stories (opening)
  • 4/29/10: Everyday Rapture (opening)

Until next week…


Posted by on 04/22/2010 in Broadway, News


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Interview with Chris Smith – Director of “Lady Be Good” @ 42nd Street Moon

This interview is a little delayed, especially since this particular production just closed over the weekend, but I thought I would publish it as it was fun getting to learn more about Chris Smith, the director of the Lady, Be Good! at 42nd Street Moon. I wasn’t able to check out this production, but I heard that it was stellar – some of 42nd Street Moon’s best work yet. They were selling out and heard it was hugely successful! Congratulations to everyone who worked on this production. I’m very sad I missed it!

Here are a few press quotes:

“Better than Broadway” – Janos Gereben, SF Examiner, for the complete review click here.

“Fine family entertainment” – Linda Ayres-Frederick, Bay Times, for the complete review click here.

Up next at 42nd Street Moon in May…

Here’s more info on this:

A Giddy romp with a glorious score! Very Warm for May takes the old “barn musical” plot and turns it on its head: an amiable screwball Long Island matron sponsors an avant-garde musical theatre director and his troupe of performers on her estate, with wildly comic consequences.

Kern and Hammerstein’s score soars with “All the Things You Are” (heard in a stunning arrangement unique to the musical), “All in Fun”, “In the Heart of Dark”, “Heaven in My Arms”, and “That Lucky Fellow”.

Buy tickets here


1. 42nd Street Moon’s mission is to perform rarely seen musicals. Why and how was “Lady Be Good!” chosen to be in this year’s season?

Lady, Be Good! is a show that Greg, Stephanie and 42nd Street Moon audiences really respond to. It’s a seminal piece from 1924 which both launched and cemented the Gershwin Brother’s creative teamwork, it’s bold jazzy sensibilities helped transform the musical theatre form, and it represents the start of a multi-season celebration at 42nd Street Moon of the works of Ira Gershwin. I was not part of the selection process, but it seems a logical and lovely choice.

2. 42nd Street Moon presented this musical back in 1996. How is this production different from 42nd Street Moon’s first time producing, “Lady, Be Good”? Also, were you involved in the 1996 production?

Our production is fully realized, with all-out dance numbers in addition to physical comedy and staging. The earlier presentation was a “concert reading.” I was not involved in the 1996 production, but have heard wonderful things about it. Another special link to it is that Bobby Weinapple, who played “Watty Watkins” in ’96, is stepping into the show to cover Charlie Boyer for a night.

3. The script has some glaring racial slurs? Have you updated the script in any way or did you keep it in its original form? Any other adaptations to the music or dance?

There are a number of small cuts, keeping in mind our modern multicultural sensitivities, primarily around the Mexican gangster storyline. We’ve made a more significant change by shifting the setting from East Coast New England to right here in the Bay Area. The first act takes place in Nob Hill and the second in Napa Valley. It required a small change to the second act opener “Linger in the Lobby,” changing “East Harbor” to “Napa Valley.” We’re fortunate to have good relationships with the Gershwin Trust, which authorized this adjustment. We’ve had tremendous freedom in terms of choreography and vocal arrangements, since they are not notated in a formal way. Dave and Zack, our talented MD and Choreographer, did a wonderful job and everything is true to its period roots yet feels fresh. “Little Jazz Bird,” “Swiss Miss” and, of course, “Fascinating Rhythm” are showstoppers in my opinion.

4. What was the most exciting thing about working on this particular show?

I’ve been thrilled to work with this talented company, they are fantastic to collaborate with and a joy to watch. Working alongside Greg has been a wonderful experience, his knowledge of musicals is encyclopedic! Then there is the joy of being with this material. It’s bold, funny, jazzy and engaging.


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Listening to Glee: “The Power of Madonna” – Season 1, Episode #15

On Tuesday, April 13, 2010, Fox’s hit comedy Glee premiered with its highest rated episode clocking in at 13.7 Million Viewers. The excitement continues this week with the mini-album release of The Power of Madonna, on Tuesday, April 20th, available everywhere.

The Power of Madonna marks the next official chapter in the Glee music songbook. This much talked about and highly anticipated mini-album, which received an A in this week’s Entertainment Weekly, features the cast of Glee’s distinctive and unique take on such Madonna classics.

The full track listing for “The Power of Madonna” is as follows:
1. Express Yourself
2. Borderline/Open Your Heart
3. Vogue
4. Like A Virgin
5. 4 Minutes
6. What It Feels Like For A Girl
7. Like A Prayer
8. Burning Up (iTunes only)

Listen to:

“Express Yourself” (Featuring Jonathan Groff)

“4 Minutes”

“What it Feels Like For a Girl”

“Like a Prayer” (Featuring Jonathan Groff)


Posted by on 04/19/2010 in Glee, Music


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Theatre Review: “Girlfriend” @ Berkeley Rep, 04/14/10

It’s been a big year for Berkeley Rep this year! Their fall musical, American Idiot, is opening on Broadway tomorrow, April 20th, 2010 and their world premiere of Girlfriend opened over the weekend on their intimate Thrust stage.

The story of Girlfriend is a simple one. Boy meets boy, boy falls in love, boy moves away and breaks up, boy finds him again (through fate), and everyone lives happily ever after. That’s it. The main conflict being that Will (Ryder Bach) and Mike (Jason Hite) are in love with each other but don’t know how to show it because they aren’t comfortable with their own sexuality. They struggle with communicating to each other and even being out in public together –  though they do go to the drive-in movies every night to see the same movie, “Evangeline”. Their struggle is only slightly resolved when they finally share a small sweet kiss one evening as they are stargazing. It’s only then do they realize that they have the confidence to do more but unfortunately the summer is almost over.

Most of the evening was filled with awkward pregnant pauses between Will and Mike as they try to generate conversation and express their feelings. Both actors are super successful as they milk every second and gesture into perfect awkwardness (quite comedically). Both of their unassuming and guileless performances sell Todd Almond’s script in a way that’s perfectly suited for the material and characters.

Almond’s insertion of Matthew Sweet’s music and employing most of the songs from his hit album “Girlfriend” might be seen as ground-breaking and über creative, but they are reaching far back to earlier musical theatre conventions of the 1900′s by inserting popular-styled music into a story line without really using the music as a plot-driven device. The music is still great though, especially if you love that 90′s inspired rock music. The all girl back-up band (drums, bass, guitar and guitar/keys) re-creates that 90′s sound almost flawlessly and effortlessly. Bach and Hite sing all of the songs with ease and both sounded great!

There were several emotionally charged moments that the music accompanied – the first conversation, right before the first kiss, the break-up, the make-up – that never seemed to fit with the emotionally charged script. It felt more like a soundtrack to a movie, rather than a musical. I do love the fact that the guys are able to express their feelings through music in almost a Glee-inspired way but because Almond had a limited musical catalogue to work with, some of the songs just didn’t seem to gel. (Three of the songs are pulled from Matthew Sweet’s other albums, Altered Beast and 100% Fun.)

There were a few lovely moments with the music: the first song, “I’ve Been Waiting” was uniquely integrated into the script and “We’re the Same” was a beautiful song at the end of Act I. The title song, “Girlfriend” started by using the Matthew Sweet recording as the two leads listened to it on the radio. About half way through, the band jumped in and Bach and Hite started singing. It was quite a fun way to present the most popular song of the night, but at the same time it felt extremely strange to see them break out in song half-way through. “You Don’t Love Me”, the break-up song, was not even sung by the two leads, rather this song was sung in entirety by the band. It truly became a musical soundtrack at that point. Each song approached the material in such a different way that it became disjunct.

I love that Girlfriend is trying to do something unique with it’s interesting portrayal of the story using Matthew Sweet’s music but I only wish that the music helped connect me more emotionally to the story more. While, I don’t foresee this being a Broadway blockbuster as American Idiot is turning out to be, I do believe the story - albeit a very simple one – turns out to be a sweet lovely story that you can’t help falling in love with.

Berkeley Repertory Theatre
2025 Addison Street,
Berkeley, CA 94704-1103
Administration 510 647-2900 / fax 510 647-2976
Box office 510 647-2949
Box office hours Tues-Sun, noon-7pm
Groups save up to 20% — call 510 647-2918

Make sure you check out The Broadway Critic’s interview with Jason Hite, here.


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