Billy JoelShirley MacLaine

Five Artists Honored by Kennedy Center Under Revised Selection Process

Published: September 12, 2013


WASHINGTON — When Herbie Hancock learned he was one of the five artists to be honored this year by the John F. Kennedy Center for the Performing Arts, the surprise, he said, brought him to the verge of tears. “And that doesn’t happen to me very often.”

“To think that they would put me on the list with people I have loved and respected for so many years, it’s shocking,” said Mr. Hancock, a 73-year-old master jazz pianist who has played with Miles Davis and won 14 Grammys and an Oscar. “It was like a dream, hard to believe and humbling.”

Herbie Hancocl


 The musicians Billy Joel and Carlos Santana, the actress Shirley MacLaine and the opera singer Martina Arroyo will also receive the 36th Honors medal in December, the Kennedy Center announced Thursday.

The annual award is presented to artists for lifetime contributions to American culture in the fields of dance, music, theater, opera, motion pictures or television. David M. Rubenstein, the Kennedy Center chairman, said the honorees “have spent their lives elevating the cultural vibrancy of our nation and the world.”

The class of Honors recipients is the first since the Kennedy Center revamped its selection process this year, in response to criticism that the process lacked transparency and had yielded only two Latino winners.

The Honors medals will be presented at a dinner at the State Department on Dec. 7, followed the next day by a reception at the White House and tribute performances at the Kennedy Center. The performances will be taped and broadcast on Dec. 29 on CBS.

“It’s better than Fourth of July, Christmas, Thanksgiving and Valentine’s,” said Mr. Santana, 66, who is receiving the award 50 years after he arrived in San Francisco from Tijuana, Mexico.

carlos santana


 He made a name for himself in the Bay Area at a time, he said, when it was “ground zero for the consciousness revolution.” But he shot to fame after his band performed at the Woodstock concert in upstate New York in 1969. Since then, he has racked up 10 Grammys and sold more than 100 million records with music that blends Afro-Cuban styles with blues, jazz, and rock.

Ms. MacLaine, 79, has won an Oscar, several Golden Globes and a lifetime achievement award from the American Film Institute for a career full of notable performances in films like “The Apartment” in 1960 and “Terms of Endearment” in 1983. But the Kennedy Center medal, she said, is special recognition.

“The others are for a part you did or for how you interpreted a character, but this is about how you’ve interpreted yourself,” she said.

Mr. Joel’s lyricism and skills on the piano earned him the nickname “Piano Man” — also the title of his signature song — as he churned out decades of hits like the single “It’s Still Rock and Roll To Me.” Mr. Joel, 64, said in a statement that he was honored to be among an “illustrious roster of outstanding musicians.”

Mr. Hancock pushed jazz into the electronic age and fused it with genres like funk, hip-hop and pop.

Martina Arroyo


 Ms. Arroyo, 76, pursued opera against her mother’s urgings to find a more practical skill. She became a star in 1965 after she replaced Birgit Nilsson in a production of “Aïda,” and has performed around the world.

The Kennedy Center has been criticized for using a selection process that is too secretive and has yielded too few Latino recipients. Before Ms. Arroyo and Mr. Santana, the actress Chita Rivera and the opera star Plácido Domingo were the only Latinos among 185 artists who had received the award since it was created in 1978 with a single criterion: excellence.

After an internal review, the Kennedy Center expanded its artists’ committee, which picks the nominees, and began accepting recommendations from the public. It also created a committee that includes two previous winners, Ms. Rivera and the cellist Yo-Yo Ma, to narrow the list of nominees for the Kennedy Center board of trustees, which makes the final decisions.


Stacy Sulliav B

Stacy Sullivan


It's A Good Day: A Tribute To Miss Peggy Lee


Metropolitan Room

Reprising her Peggy Lee show, A Tribute To Miss Peggy Lee, Stacy Sullivan has been packing them in at the Metropolitan Room with her run in what has,arguably, become the show of the year. And, with good reason. The show has legs and will be as fresh ten years from now as it is today. It's that good. It's one of those rare cabaret shows that has staying power. Naturally, this is mainly due to its subject - Peggy Lee who remains one of the most influential jazz/pop stylists of the last 100 years. That asunder, there's Stacy Sullivan, who, after a sabbatical, has returned full circle to the Manhattan cabaret scene and is well on her way to the kind of recognition that will keep her before the cabaret public for a long time.She makes it all happen and is worthy of the many kudos she's received over the last year.

At the top of her set, Ms. Sullivan notes; “Peggy Lee had a big voice, but she chose to sing softly.” The original “less is more gal,” Miss Lee learned early on that, “... if I sing softly, they will listen - to the words.” That sounds like Cabaret 101. It is.

Peggy Lee

In this celebrated showcase of Lee's songs, Sullivan wisely doesn't try to emulate Lee's inimmatible sound or her penetrating, yet subtle, sexiness. Rather, she lovingly remains true to herself and swings the program with incandescent arrangements by the brilliant jazz pianist Jon Weber. His jazz-tinged charts and keyboard riffs cannot be overstated enough. And, those musical designs play a huge role in the success of this show with deft assists from bassist Steve Doyle. It all makes for the type of show where stars are born - in another era. And that's quite a compliment these days. In todays schizo music world, this show will likely make waves in the cabaret arena alone. And for that, the genre must be grateful.

Vocally, with her expressive, soft soprano (used sparingly) in top form, Sullivan's presentation of bits and pieces of this innovative blues artist reveals that Peggy Lee's life was, at times, as much theater as it was music.A lean but effective narrative frames this ethereal evening as Sullivan swings her audience down a musical memory lane. She does this and manages to eschew the drama that her mentor faced privately with health and personal problems throughout her career.

This journey begins with an inviting, gently seductive mix of enchanted melodies starting with Lee's I Don't Know Enough About You (written with Dave Barbour to whom she was married for several years) which segues into a medley of I Got Rhythm ( written by the Gershwin's) into My Romance (Rodgers-Hart) and a sophisticated One Kiss (Romberg-Hammerstein.) Sprinkled with brief anecdotes, it is all inviting and flows without effort. There's a lesson to be learned here as so many cabaret singers drag out their patter ad infinitim in tribute shows. The emphasis here is on terrific songs and the lady being honored not expansive annotations.

As previously noted, while Sullivan never imitates Peggy Lee's uniqueness, Lee reverberated throughout the room. In a show filled with so many musical highlights, Sullivan wisely keeps it tight and pays homage to the lady who left such a respectable legacy through her singing and songwriting. However, at  times, Sullivan did echo Miss Lee in her days at Mister Kelly's in Chicago or Basin Street East in New York. This was due, in part, to her intelligence, talent, and that epic backup team of Weber and Doyle (on her thrilling new studio CD on LML Music of songs from the show, Bucky Pizzarelli sits in adding just the right touch.)

Peggy Lee action

  It was all a special occasion that Stacy Sullivan beautifully created with her  team. And, it wasn't just the terrific singing. She entertained as well as recalled these stalwart songs which Lee used to achieve her star status. Lee was always mindful of recent trends, new composers and her own expanding catalog. She adjusted as well as crooners could in those days when musical tastes changed the face of American pop songs and the mores that took over the music business. Mostly, Lee was cognizant of the meaning of lyrics. And, like Lee, Sullivan conveyed all of that without being redundant or preachy. Perhaps the thing she shares mostly like Lee, in all departments, Sullivan is a consummate, intimate singer meticulous and confident. And, it was all there in this special show. In a world where girl singers are almost a thing of the past, replaced by loud belters who sound like they're auditioning for “Rent,” Stacy Sullivan paid respectful homage to the artistry of Peggy Lee. In doing so, she brought a new spin to classic old favorites. More importantly, she infused those songs with the same warm sensitivity with a wriy touch of humor that contributed to Lee's legend. A riveting reading of Angels On Your Pillow (Lee/Horner) fused with a teaser of Fever (Cooley-Blackwell) caps this perfect show by a lady who is a welcome entity in a genre that is too often mundane.  Brava Stacy! 




Chris Barrett: Here's To Life At La Rivista!


Chris Barrett's back in the theatre district


Chris Barrett 4











Chris Barrett is back doing what he does best - singing the great songbook of Broadway and popular American standards. Too, he's doing it in the center of the theater district. And, what a songbook it is! From an eclectic mix that includes the likes of so many greats from Cole Porter to Stephen Sondheim, Elton John and Noel Coward, etc., the list doesn't end, Barrett is among the last of his breed; a small handful left that recall those “good old days” when the likes of Danny Apolinar, Buddy Barnes, Marie Blake,Charles Deforest, Murray Grand and their ilk dotted the nightlife when packed piano rooms were as much a part of Manhattan nightlife as pizza and panhandlers. Once, in those piano rooms across the city such as One Fifth or The Lido, loyal denizens of the night flocked to enjoy good music played by master interpreters. Much of it is a distant memory. Some players switched gears to cabaret showcases like the late Bobby Short who added a band and attained legendary status and was ensconced at Cafe' Carlyle for over 25 years. Others found watering holes like saloons, piano bars or jazz clubs with mixed results. Some moved to more secure theatrical or coaching positions. Others jumped all over the place, took a sabbatical and resurfaced again. Chris Barrett, like a handful of respected peers, effortlessly became a fixture in Manhattan as well as Palm Beach and other haunts through the years. In doing so, he built a loyal following that has only grown. Through the years, good times and bad, he sits behind the keys and weaves his musical spell across a crowded room. He's got an amiable, compelling style that is welcoming and inviting. An evening with Barrett is like meeting that old friend you've been searching for. He's got style and pizazz. It's called panache. And, Chris Barrett practically invented it.


Chris Barrett 3



In today's high-powered, digital-tech world that we exist in, it's become much harder to find venues that cater to those who want to hear a familiar tune in a classy, intimate setting (and also enjoy a great meal.) And, try finding it in a place that's still affordable. Barrett's brand of casual, sophisticated fun and nostalgia has become a rarity. Enter La Rivista, the popular Italian eatery on Restaurant Row well known for its exquisite Italian dishes and old world style that is, at once, relaxing and warm. For years, this bistro restaurant has had intermittent piano entertainment mainly on weekends usually with mainstay Franklin Underwood (a beloved holdover from the great days) and a bevy of others. More recently, the very popular and talented singer/pianist Steven Lowenthal holds court on Fridays and Saturdays. Now, they're bringing back full time live entertainment on weekdays. Enter Chris Barrett.

With Barrett at the keys, the visitor is guaranteed a good time. His repertoire is eclectic and filled with obscure surprises like Cole Porter's 1933 Georgia Sand from Nymph Errant or Arthur Hamilton's true beauty Rain Sometimes, an almost forgotten melancholic love ditty first recorded in 1967 by Matt Munro and later by Peggy Lee (1979) as well as other renowned artists like: Marlene Ver Planck, Hadda Brooks, Barbara Carroll and Nancy Wilson. Where else can you find gems like this? Barrett's Broadway baritone also serves the great white way well with songs from an endless array of popular shows including: Unusual Way from Nine, Joanna from Sweeney Todd, Circle Of Life from The Lion King, The Colors Of My Life from Barnum and Song On the Sand from La Cage aux Folles. His popular medley of tunes from Jerry Herman's Mack and Mabel is a guaranteed crowd pleaser. The impressive list goes on – and on. And, so does Chris Barrett who makes it feel as though you're in his parlor.

la Rivisita

Familiar faces from cabaret and Broadway frequently drop in. Beloved stars like cabaret legends Marilyn Maye, Daryl Sherman, KT Sullivan and Julie Wilson as well as entertainment luminaries from around town pop in for supper and to savor the songs of Chris Barrett. It's no secret that he attracts a lively, tasteful crowd that basks in the glow he exudes from behind the piano. He also has something rarely found in a singer/pianist these days – humility. He is not there to stand on the piano bench or cry out loud for histrionic attention. The man is a consummate piano room entertainer who can create a pin-dropper mood or have half the room singing along with a familiar evergreen like Irving Berlin's How Deep Is the Ocean?  And, it all happens with two shows Mondays through Wednesdays at 8:00 and 10:00.

And,  just a bit about La Rivista. This has been a popular favorite for years on Restaurant Row and with good reason. It's very easy to get hooked on the food at La Rivista as it simply has - - the best Italian food in the Theatre District. It's that simple. The cuisine is authentic Italian and carefully prepared and served. Just a sample of some great menu treats include delicacies like Ravioli all Salivia (goat cheese ravioli with cream and sage,) Garganelli Araganelli alla Romana (garganelli with prosciutto, cream and peas, Timballo di zitti con Melanzane (penne with eggplant in a dome of zucchini,) penne All'Ortlana (penna with brocolli, eggplant, zuchinni and mushrooms and Risoto ai Porcini (Italian arborio with wild porcini mushrooms.) And, they serve the usual Italian favorites including a delicious meatball and spaghetti dish that's hard to resist. Mostly, in the food department, with such a magnificent cuisine, it's easy to get hooked on La Rivista.

And, more than that, it's even easier to get hooked on Christ Barrett. He's there Mondays through Wednesdays with shows at 8:00pm and 10:00pm. Follow the crowds. Savor the food and the great entertainment. And, there's no cover and no minimum. Go see what the fuss is all about as Chris Barrett brings back a piece of olde New York and that favorite song  - when it's needed most.

La Rivista is located on Restaurant Row at 313 West 46th street (Between 8th & 9th Avenues.)
For more information: (212) 245 1707 / This email address is being protected from spambots. You need JavaScript enabled to view it.




Marvin Hamlisch 2






The life of Marvin Hamlisch, the highly decorated composer of “A Chorus Line” and “The Way We Were,” among numerous other works, will be commemorated at visitations and a funeral service, his press representatives said on Thursday. Public visitations will be held at the Frank E. Campbell Funeral Chapel at 1076 Madison Avenue, at 81st Street, in Manhattan, on Sunday between 2 p.m. and 5 p.m., and between 7 p.m. and 9 p.m., and on Monday during those same hours.

The funeral, which is also open to the public, will be held on Tuesday 11 a.m. at Temple Emanu-El at 65th Street and 5th Avenue in Manhattan.


(Reprinted from the NY Times)

August 8:   They dimmed the lights on Broadway; this time for a singular sensation.  

The Broadway and film communities were stunned to learn on Monday of the unexpected passing of Marvin Hamlisch.  He was a giant in his field and one of the most prolific and beloved contemporary composers and arrangers. He collapsed and died early Monday at 68, after a brief, unspecified illness.  A New York native and resident, he is survived by his wife Terre.

Marvin Hamlisch was associated with so many iconic musical theatre, film and pop musical works and performers and was a highly respected, multi-award wining figure in the entertainment industry for decades. Perhaps best known for his work on the legendary musical A Chorus Line and the movies: The Way We Were and The Sting, Hamlisch also wrote the scores for celebrated films such as Ordinary People, Sophie's Choice and Take the Money and Run. He also contributed to the James Bond hit The Spy Who Loved Me, co-writing the seductive Nobody Does It Better with Carole Bayer Sager. The song reached No. 2 on the international pop charts recorded by Carly Simon.

A Pulitzer Prize-winning composer, Mr. Hamlisch infused all his movie and Broadway scores and songs with a generous dose of commercial appeal, razzle-dazzle and catchy melodies. He often found his unlikely songs wound up at the top of the pop charts, like the theme from the movie, “Ice Castles” (Through the Eyes of Love.”)   There were several years, beginning in 1973, where Mr. Hamlisch practically spent as much time receiving awards for his compositions as he did writing them. He is one of a handful of artists to win every major creative prize, some of them numerous times, including an Oscar for “The Way We Were (1973,) shared with the lyricists Marilyn and Alan Bergman), a Grammy as best new artist (1974), a Tony Award and a Pulitzer Prize for the beloved musical “A Chorus Line” (1975,) shared with the late lyricist Edward Kleban, the late director Michael Bennett and book writers James Kirkwood Jr. and Nicholas Dante).

Collectively, he won three Oscars, four Emmys and four Grammys. His habitation on awards and talk shows made him one of the last in a line of celebrated composers that included Henry Mancini, Burt Bacharach and Stephen Sondheim. The gawky stance and signature glasses gave him a dorky look that he poked fun at. To some, he appeared to be the stereotypical music school student. Ironically, at 7, he was the youngest student to be accepted to the Juilliard School at the time. Quickly, his demeanor belied his intelligence and sharp adeptness to converse loosely and very well with talk show hosts like Johnny Carson, Mike Douglas and Merv Griffin. Musically, his melodies were grounded and sometimes progressively rhythmic as in the infectious “One,” from “A Chorus Line,” with strong,  throbbing lines that defined the essence of a Broadway showstopper.

“A Chorus Line,” the backstage musical story where Broadway dancers told personal and trenchant stories, began as a series of workshops. Then, through the late Joe Papp along with late director Michael Bennett, unfolded into the show that opened at the Public Theater in 1975 and soon moved to Broadway later that same year. It ran for 6,137 performances, the most of any Broadway musical until it was surpassed by “Cats.”

Chorus Line pic

 “I have to keep reminding myself that ‘A Chorus Line’ was initially considered weird and off the wall,” Mr. Hamlisch told The New York Times in 1983. “You mustn’t underestimate an audience’s intelligence.” Another songwriting legend, the late Alan Jay Lerner called “A Chorus Line” - “the greatest show business story of our time.”

Mr. Hamlisch was often associated with Barbra Streisand. This began when he was only 19 years old and became a rehearsal pianist for her incoming show, “Funny Girl.” In 1976, he told Current Biography that Streisand was reluctant to record what became the pair’s greatest collaboration, “The Way We Were,” the familiar theme from the 1973 movie of the same name in which Streisand starred with Robert Redford. Initially, she preferred the first version of the song that he composed prior to the shooting of the film.

“I had to beg her to sing it,” he said. “She thought it was too simple.” Mr. Hamlisch won the argument and the song became a Number 1 pop single, an Oscar winner and remains a signature song for Ms. Streisand. They continued to work together; Mr. Hamlisch was musical director for her successful 1994 tour. He later received an Emmy award for his work.

Barbra Streisand issued a statement through her publicist saying, “The world will always remember Mr. Hamlisch’s music, but that it was his brilliantly quick mind, his generosity and delicious sense of humor that made him a delight to be around.”

Mr. Hamlisch had his second-biggest pop hit with “Nobody Does It Better,” the theme from the James Bond film “The Spy Who Loved Me,” written with the lyricist Carole Bayer Sager. Carly Simon’s recording of the song reached No. 2 in 1977. Thom Yorke, the lead singer of the band Radiohead, which has performed the song in concert recently, called it “the sexiest song ever written.”

Yet for all Mr. Hamlisch’s pop success, along with Carol Bayer Sager he also wrote a No. 1 Soul hit for Aretha Franklin, “Break It to Me Gently.” However, his first love remained writing for theater and the movies. His brilliant score for “The Sting,” which adapted the infectious ragtime tunes of Scott Joplin, made him a household name in 1973.

Despite such acclaim, he often said he thought his background scores were under-appreciated. He said he would love for an audience to “see a movie just once without the music” to appreciate how the experience changed. He wrote more than 40 movie scores in his life.

Marvin Frederick Hamlisch was born June 2, 1944, in New York . His father, Max, was an accordionist, and at age 5 Mr. Hamlisch was recreating tunes on the piano; songs he heard on the radio. Juilliard soon followed. According to his wife, Terre Blair, he was then being groomed as “the next Horowitz,” but when all the doors were closed and he was alone, he would play show tunes. He performed at scattered concerts and recitals as a teenager and at venues such as Town Hall and other Manhattan auditoriums. Ultimately, he gave up thoughts about becoming a solo performer.

He is quoted as saying, “Before every recital, I would violently throw up, lose weight, the veins on my hands would stand out.” He moved on. .

He had no such reaction when his song Sunshine, Lollipops and Rainbows,” with lyrics by Howard Liebling, became a Top 20 hit in 1965 for Lesley Gore. Mr. Hamlisch was 21. Movie producer Sam Spiegel heard him playing piano a few years later at a party and as a result Mr. Hamlisch scored his first film, “The Swimmer” (with Burt Lancaster.)

With his move to Los Angeles, his successes exploded. But he proudly remained a New Yorker through and through returning often and maintaining close ties to professional and personal friends always.

After “A Chorus Line,” Mr. Hamlisch scored another Broadway hit, “They’re Playing Our Song,” based on his relationship with Ms. Bayer Sager (who wrote the lyrics,) in 1979. It ran for 1,082 performances. After that, the incredible accolades slowed down a bit but the work didn’t. He collaborated with various lyricists on subsequent musicals, including “Jean Seberg” (1983), which was staged in London but didn't make it to Broadway, and “Smile” (1986), which played Broadway for a very brief run. His most steady work continued to come from the movies. He wrote background scores for “Ordinary People,” “Sophie’s Choice” and, most recently, “The Informant.” His later theater scores included “The Goodbye Girl” (1993), “Sweet Smell of Success” (2002) and “Imaginary Friends” (2002). He had also completed the scores for an HBO movie based on the life of Liberace, “Behind the Candelabra,” and, more recently, for a musical based on the Jerry Lewis film “The Nutty Professor,” which opened in Nashville last month. At the time of his passing, he was also working on other musical scores.

According to his official Web site, Mr. Hamlisch held the title of Pops conductor for the Pittsburgh Symphony Orchestra, the Milwaukee Symphony Orchestra, the Dallas Symphony Orchestra and others.  In more recent years, Mr. Hamlisch became an ambassador for music, traveling the country and performing and giving talks at schools. He often criticized the cuts in arts education.

“I don’t think the American government gets it,” he said during an interview at the Orange County High School of the Arts in Santa Ana, Calif. “I don’t think they understand it’s as important as math and science. It rounds you out as a person. I think it gives you a love of certain things. You don’t have to become the next great composer. It’s just nice to have heard certain things or to have seen certain things. It’s part of being a human being.”

Ms. Blair said he was always appreciative of his gift: “He used to say, ‘It’s easy to write things that are so self-conscious that they become pretentious, that have a lot of noise. It’s very hard to write a simple melody.”

While Mr. Hamlisch's soaring, unabashedly sentimental or schmaltzy style didn't always earn him rave reviews from elitist critics, he was quite content with the wide “people appeal” that so much of his music retained over decades.

Hamlisch - Streisand - by Alex J Berliner

Babra Streisand said on her website post:  "He was a true musical genius, but above all that, he was a beautiful human being. I will truly miss him."


 Marvin Hamlisch: "I don't think there's anything wrong with doing a very wondrous, fabulous, commercial show," he told in a 2010 interview.  He proudly said, "There's nothing wrong with the word 'commercial.' "


 (Historical facts of this article were extracted from the NY Times with permission)

Donna MurphyJust announced: Tony Award winner Donna Murphy will play the Witch in the Public Theater's Shakespeare in the Park presentation of the musical, Into the Woods, to perform at the Delacorte Theater, July 23-August 25, with an opening on August 9. The production will be directed by Timothy Sheader with co-direction by Liam Steel  

Stephen Sondheim and James Lapine's beloved musical combines the classic stories of Little Red Riding Hood, Jack and the Beanstalk, and Cinderella, with an original fairy tale about a childless baker and his wife, to explore the meaning of  happily ever after.

As previously anounced, the cast will also include Amy Adams (The Baker's Wife), Jack Broderick (Narrator), Gideon Glick (Jack), Cooper Grodin (Rapunzel's Prince), Ivan Hernandez (Cinderella's Prince/Wolf), Tina Johnson (Granny), Josh Lamon (Steward), Jessie Mueller (Cinderella), Laura Shoop (Cinderella's Mother), and Tess Soltau (Rapunzel).

The production will feature scenic design by John Lee Beatty and Soutra Gilmour; costume design by Emily Rebholz; movement direction by Liam Steel; sound design by Acme Sound Partners, orchestrations by Jonathan Tunick; and musical direction by Paul Gemignani.

Tickets to Shakespeare in the Park are FREE and are distributed, two per person, at the Delacorte Theater in Central Park the day of the show. The Public Theater will again offer free tickets through its Virtual Ticketing lottery at on the day of the show.





(Olivier AwardWinner making her Broadway debut in the title role of Eva Perón)

Grammy Award-winning Superstar RICKY MARTIN as Ćhe

Tony Award Winner MICHAEL CERVERIS as Juan Perón


Lyrics by Oscar, Grammy & Tony Award Winner TIM RICE

Music by Oscar, Grammy, Tony & Olivier Award Winner ANDREW LLOYD WEBBER

Choreographed by Tony & Emmy Award Winner ROB ASHFORD

Directed by Tony & Olivier Award Winner MICHAEL GRANDAGE



With rehearsals now underway for the new Broadway production of Tim Rice and Andrew Lloyd Webber’s legendary seven-time Tony Award-winning musical, Evita, the Marquis Theatre Box Office (1535 Broadway –entrance on 46th Street between Broadway and 8th Avenue) officially opened on Monday, January 30 at 10:00 am.

 The musical stars Olivier Award-winning Argentinean actress Elena Roger making her Broadway debut as Eva Perón, world renowned music artist Ricky Martin as Che and Tony Award-winner Michael Cerveris as Juan Perón.

The cast will also feature Christina DeCicco as the alternate for Eva Perón (Weds eve; Sat mat), Max von Essen as Magaldi and Rachel Potter as the Mistress. Directed by Tony and Olivier Award-winner Michael Grandage and choreographed by Tony Award-winner Rob Ashford, Evita begins previews on March12 and Opening Night is set for April 5, 2012

The Evita performance schedule is Monday – Saturday at 8:00 pm, with matinee performances on Wednesdays and Saturdays at 2:00 pm. At Wednesday evening and Saturday matinee performances, the role of Eva Perón will be performed by Christina DeCicco (Glinda in Wicked, Sister Act,) with the exception of Wed. March 14 and Wed. April 4, when Elena Roger will play both matinee and evening performances.

Beginning April 10, Tuesday performances will start at 7:00 pm. Beginning September 2012, the performance schedule is Tuesday at 7:00 pm, Wednesday–Sunday at 8:00 pm,with matinee performances on Wednesdays and Saturdays at 2:00 pm, and Sundays at 3:00 pm. Christina DeCicco will then perform the role of Eva during Wednesday and Saturday matinees.

The cast of 36 also includes Ashley Amber, George Lee Andrews, Wendi Bergamini, Eric L. Christian, Kristine Covillo, Colin Cunliffe, Margot de La Barre,Bradley Dean, Rebecca Eichenberger, Melanie Field, Jennie Ford, Maya Jade Frank, Bahiyah Sayyed Gaines, Constantine Germanacos, Laurel Harris,

Nick Kenkel, Brad Little, Erica Mansfield, Emily Mechler, Isabela Moner, Sydney Morton, Jessica Lea Patty, Aleks Pevec, Kristie Dale Sanders, Timothy Shew,Michaeljon Slinger, Johnny Stellard, Alex Michael Stoll, Daniel Torres and Matt Wall.

The creative team includes Tony Award-winning Scenic and Costume Designer Christopher Oram (Red,) Tony Award-winning Lighting Designer Neil Austin (Red),Olivier Award-winning Sound Designer Mick Potter (Woman In White,) Wig and Hair Designer Richard Mawbey (Frost/Nixon), Projection Designer Zachary Borovay (Rock of Ages,) and Music Supervisor/Director Kristen Blodgette (Mary Poppins.) Orchestrations are by Andrew Lloyd Webber and David Cullen (Sunset Boulevard), and dance arrangements are by David Chase (Billy Elliot).

Eva Perón used her beauty and charisma to rise meteorically from the slums of Argentina to the presidential mansion as First Lady. She won international acclaim and adoration from her own people as a champion of the poor, while glamour, power and greed made her the world’s first major political celebrity.

Evita tells Eva’s passionate and tragic story through Tim Rice and Andrew Lloyd Webber’s most dazzling and beloved score, including Don’t Cry for Me Argentina, Another Suitcase in Another Hall and High Flying Adored together with You Must Love Me, the Oscar-winning hit from the film Evita.

After researching the life of Eva Perón for many years, Tim Rice and Andrew Lloyd Webber released Evita in 1976 as a concept album with Julie Covington as Evita and it became a world-wide hit. Soon after, the production debuted on stage in London's West End starring Elaine Paige and directed by Hal Prince. The production transferred to Broadway and opened in 1979 starring Patti LuPone, who went on to win one of the seven 1980 Tony Awards the show earned. A major 1996 film of the musical was made starring Madonna as Evita and Antonio Banderas as Ché. Michael Grandage’s production of Evita, which opened in 2006, took London by storm and garnered critical acclaim for the show and its leading lady, Elena Roger.

TICKETS: Tickets range from $67-$142, and are on sale now. Purchase online at, by phone at 1-800-745-3000, or by visiting the Marquis Theatre Box Office at 1535 Broadway (entrance on 46th Street between Broadway and 8th Avenue) in New York City.



Roslyn kindRoslyn Kind in concert

Saturday, April 28, 2012 at 8pm

At Brooklyn Center for the Performing Arts at Brooklyn College

Forget that she is Barbra Streisand's kid sister. She is too good

- and too special - to have to worry about comparisons. --

Los Angeles Times


Brooklyn Center for the Performing Arts at Brooklyn College concludes its 2011-2012 Solo Sensations series with Roslyn Kind in concert on Saturday, April 28, 2012 at 8pm.

 A dynamic, multi-talented entertainer and a native Brooklynite, she has forged a successful career in all facets of entertainment from critically acclaimed recordings to sold-out performances on Broadway and in top concert venues and nightclubs the world over. The New York Post summed it up best: "She's so good on so many levels; it's difficult to categorize her. This elegant, beautiful, petite, dynamo delight rules the stage with a royal command that demands adoration from every seat in the house."

Read more: Roslyn Kind At Brooklyn Ctre. For Perf. Arts: April 28







Read more: Casting Announced For Broadway's Newsies