Posts Tagged ‘Durham’

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The Carolina Theatre of Durham presents:

Pat Benatar & Neil Giraldo – 35th Anniversary Tour

When: Wednesday, July 1 | 8PM
Where: The Carolina Theatre, 309 West Morgan St  in Durham
How: Send your Name, Telephone Number and Email Address to
Contest@EasternCarolinaStyle.com
Winner will be drawn on Monday June 29th!

Pat Benatar: she’s always been a rule-breaker and a trail-blazer, she remains a bold and distinctive artist both on stage and on record, and now, after more than three decades in rock ‘n’ roll, she’s a bonafide living legend. Songs like “Love is a Battlefield”, “Hit Me with Your Best Shot”, “Heartbreaker”, “Promises In The Dark” and “We Belong” are as unforgettable now as they were at the dawn of MTV, when Pat emerged, fearless, fighting and forging a path for other female rock stars around the world.

Benatar’s life was to change dramatically once again in 1979, when she was introduced to a fiery and inspiring guitarist and multi-instrumentalist, named Neil Giraldo, who shared the singer’s passions and used his skills as an innovative arranger and producer to help design, from its inception, the now renowned Benatar-sound. Giraldo and Benatar’s vision merged explosively on her 1979 debut album, In The Heat Of The Night, which, thanks to the feisty sass of Top 40 hits like “Heartbreaker” and the Giraldo-penned “We Live For Love”, ultimately went platinum.

Giraldo began his career in 1978, as a key member of the Rick Derringer band, after beating out 200 other guitarists for the position. It wasn’t long before Rick discovered Neil’s piano-playing prowess and quickly put those skills to work in the studio as well, while recording Guitars and Women.

As their thirty-five-year anniversary approaches, Benatar and Giraldo still hit the road every summer, thrilling audiences just as they always have. Whether, it’s in support of the vocal, or a guitar solo, or jumping from piano to guitar and back again, Giraldo’s gift is knowing how to always up the power in a song, increase the excitement and keep himself and Benatar as creative as they’ve ever been.

For More Information or To Buy Tickets:
Carolina Theatre of Durham: Pat Benatar & Neil Giraldo – 35th Anniversary Tour
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I have a confession. I have sinned against Dionysius and Stephen Schwartz. I openly and loudly sang during the performance of Pippin. I loudly and joyfully applauded during musical performances and hooted and hollered between numbers. Once was a mistake, twice was a choice. When Adrienne Barbeau said “Sing along” I listened. I followed her directions to a “T”…after all, I am a trained professional. What makes my sin even more grievous is that I know what it feels like to be on stage, in the moment, only to be stopped by rude or obnoxious audience members. As such, I vowed at the age of 8 to NEVER be that person.

In an effort to be the ideal theatre patron I have developed a bit of a ritual that I stick to when attending a show:

  • First, I conduct research of the show before I go to see it. I try to know, at least, a synopsis of the show before the curtain opens.
  •  Second, I am in my seat promptly when the house opens and I have consumed the amazing, mouthwatering, probably really bad for me, cashews before the house lights dim. I sit quietly and with an open mind waiting for first measure of music to fill my soul.
  •  Finally, I quietly, and inwardly, applaud the musical numbers so as not to break the momentum of action on stage. I laugh at the appropriate moments, and stand for the entire cast during the curtain call.

Last night was very different for me, because, damn it all to hell, I was forced out of my ritual while watching Pippin at DPAC!

After seeing this show, I am torn. I don’t know if I should be praising Stephen Schwartz as a musical genius or if I should be singing the praises of Diane Paulus for the revival and new concept for Pippin.

Director Diane Paulus’ revival of this modern classic has brought Pippin into the present time. She has successfully adapted the show to audiences that are more attracted to spectacle than they are with the plot and the subsequent meaning of the lines. She has created a world that allows characters to interact with audiences who, instead of witnessing the actions, become a part of it. Her new direction adds a combination of raw athleticism, musical talent and a dash of fascinating technology to the original choreography of the late Bob Fosse. Throw in some magic for good measure and you have the stunning staging of Pippin.

Even though the show is written in such a way that modern amenities are available, the storyline of this brilliant musical takes places during the Carolingian Renaissance,

Picture this; the stage is engulfed in an epic battle scene between the Catholic Army of Charlemagne and a group of Non-Believers. Instead of violence of sword and shield this fight is contested through acrobatic feats and other daring moves using hoops large and balls as large as a person. Teams of acrobats were climbing up a red pole that was symbolic of soldiers being cornered. Those same acrobats would perform a maneuver that saw them sliding down the pole at full speed only to stop themselves inches from the ground. The maneuver left the audience loudly gasping and in awe. Once the battle is over, we are left with a distraught Pippin and the illusion of a talking man whose head has been magically separated from the rest of his body.

Kyle Dean Massey plays the title role of Pippin and will not disappoint you in his performance. Every note, laugh, smile, dance move, and breath he takes draws an audience into his internal struggle between good and the perception of evil.

The Leading Player was portrayed by the understudy of the regular owner of the role Sasha Allen, who was out due to injury, Lisa Karlin stepped in and played the role for the DPAC audience. I will admit I was a bit disappointed in learning that I wouldn’t see the originally cast Lead Player. But, holy flying acrobats, Lisa Karlin was AMAZING. If she was that amazing, it makes me wonder if Sasha Allen is as commanding of the stage or was she merely brought in for the namesake. With every line delivery, movement, and song Lisa Karlin takes over the entire stage, demanding the audience to watch every magical move she makes.

Stephen Schwartz has created a masterpiece that literally and figuratively supports the idea that theatre is merely a memory. It is there for the moment, but must move on, leaving us with only the emotions that we felt during the performance. In this day and age we can go onto Google or YouTube and watch the videos of the performances, but that will never replace the joy and raw emotions that are felt “in the moment.”

Schwartz has helped to teach me, with Pippin, that theatre can be an alternative to life. It can serve to blanket us from the unwanted. It allows us to leave our lives of anger, frustration, sadness, and disappointment behind as we travel to a place where none of those things matter. If only for a few hours, the world that exists in our imaginations can be allowed to take place before our eyes…on stage.

 

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GRAMMY® Award-winner and music superstar, Ricky Martin, announced additional dates for the upcoming North American leg of his ONE WORLD TOUR in support of his brand new album, A Quien Quiera Escuchar, out now. The tour, promoted exclusively by Live Nation, will now take the acclaimed entertainer to 24 cities throughout the U.S. and Canada starting on Sept. 15 in Las Vegas, Nev. with shows already lined up in New York City, Los Angeles, Toronto, Washington D.C., Chicago, Miami and new dates added in Tucson, Montreal, Durham and Hidalgo.

Ricky Martin will play the Durham Performing Arts Center on October 21.

Tickets go on sale April 11 at www.livenation.com, via the Live Nation app, at the DPAC Durham box office, all Ticketmaster outlets, or by phone 800-745-3000.

Ricky also recently debuted his brand new single, “Mr. Put It Down” featuring Pitbull. The song is the first release from his forthcoming English language album due out Fall 2015. To listen to “Mr. Put It Down” featuring Pitbull.

 

The multi-platinum award winning artist’s highly-anticipated 10th studio album, A Quien Quiera Escuchar, available in all distribution formats, and in two versions – original and deluxe – is possibly the most personal and intimate to have been released by the acclaimed singer, philanthropist, author, actor and businessman.  The lead single, “Adios,” has already amassed over 14 million views on Vevo since its release in October. Produced by Colombian composer, arranger, and pianist Julio Reyes Copello and recorded between Australia, Puerto Rico, Los Angeles and Mexico City, A Quien Quiera Escuchar showcases his vocal maturity and depth of artistry.

Ricky Martin has sold nearly 85 million albums worldwide including six Billboard #1 albums, launched several world-spanning tours selling out shows in nearly 60 countries and has won numerous accolades including six GRAMMY Awards, ten Billboard Music Awards and has earned worldwide recognition for his humanitarian work.

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By Alisha Zygmuntowicz

When the movie Dirty Dancing came out in 1987, I was starting my sophomore year of college. I found myself drawn to Baby Houseman’s idealism and desire to make the world a better place. Fast forward twenty-seven years and I find myself reminiscing of how carefree my life was and how anxious I was to get my grown up life started, much like Baby. As I was preparing to attend Dirty Dancing – The Classic Story on Stage at DPAC, I was thrilled with the prospect of getting to see the story unfold in person. Eleanor Bergstein, the screenwriter for the film and book writer for the musical, was able to enhance the original movie experience by adding “more Baby and Johnny scenes, more about the family, more songs I couldn’t afford the last time, and, most exciting of all-more dancing.” She recognized the audience’s desire “to step through screen and be there while the story was happening.” She hit the target.

Dirty Dancing opened in November 2004 at the Theater Royal in Sydney, Australia and toured throughout Australia and New Zealand, boasting eighteen months of sold out performances. A new performance followed in March of 2006 at the Theater Neue Flora in Hamburg, Germany. The production was a huge success achieving the highest advance in European history. In October of 2006 performances opened on London’s West End and become the longest running show in the history of Aldwych Theater, closing in July 2011. It went on to tour UK for an additional two years. The world tour has performed on stages from Toronto, Canada to Cape, South Africa. DPAC is the stop after the official opening at The National Theater in Washington D.C. for the current US tour.

The story follows Frances “Baby” Houseman’s family vacation in the Catskills the summer of 1963. You experience a love story, sexy dancing to everything from rock and roll to R & B, and the clash of two very different worlds. Baby is drawn in by the Kellerman’s staff’s boisterous after hour’s activities and the resort’s dance instructor, Johnny Castle. As she becomes involved in their personal lives, you see her idealism and naivety drive her choices. She falls in love, fights with and grows closer to her family, all while learning to dance to help out the female dance instructor, Penny.

As the first act opened I found myself absorbed by the music. The echo of This Magic Moment sung by Jennlee Shallow is still in my mind, where I am sure it will stay for a while. The music, as iconic as it is for the movie, was chosen by Eleanor Bergstein before writing the story so it fit the stage even better than it did the screen.

Much like Baby, played by Jillian Mueller, I was enthralled by the dancing. To add to the overall nostalgia of seeing the dance routines was Mueller’s striking resemblance to Jennifer Grey’s as Baby in the original film. Johnny and Penny, portrayed by Samuel Pergande and Jenny Winton, made ballroom dancing look as easy as walking for you or me. The ensemble’s dirty dancing in the staff quarters was raunchy but fabulous.

To add to her uncanny resemblance to Grey, Mueller portrayed the role of a girl blossoming into a woman, pushing the limits while seeking her father’s approval in a way that would have made even the toughest of movie fans happy.

Doug Carpenter, portraying Billy Johnny’s cousin, caught my attention as well as the rest of audience’s attention in the second act. His performance of In The Still of The Night was stirring. The audience cheered with the “No one puts Baby in the corner” line. Shallow and Carpenter stole the final act with The Time of My Life confirmed by the standing ovation during the final bows.

An aspect of the show that I truly appreciated was the clever set changes, props and projected backgrounds. Positioning the orchestra above the stage moved them from an unseen support role to at times a more central focus to add to the flow from scene to scene. The props used were just enough to set the scene and not distract from the actors; a bed and chair in Johnny’s room, barn doors, stairs and small stage for the staff quarters. The projected backdrops completed the scene.

Another positive was the lighting. The design kept you focused on the action, created the ambiance of the scenes. At the end of Act 1 the lights moved to the audience, it was like starlight moving across the crowd, a nice touch.

Throughout the show, the crowd was absorbed and engaged erupting into applause at all the big scenes in the story; Carpenter’s In The Still Of The Night, Rice’s Lisa’s Hula, and the unforgettable line “no one puts Baby in the corner.” Carpenter and Shallow also got a huge applause at the end.

In the end, I left DPAC feeling that this was a wonderful show that left me wanting to see it again, soon. It allowed me to leave real life for two hours and get lost in wonderful music and dance.

DD

 

 

 

 

 

 

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When I go to the theatre for a show I arrive with a set of expectations that comes from decades of Broadway show patronage. I expect to see a show that has an established story; musical arrangements that progress and add to the story are also a must. I also appreciate a well thought out visual experience made by dynamic sets and lighting. The most important aspect of the experience has to be the performers that take the stage. A good cast can bring even a mediocre show up to new levels, most of the time.

My most recent Broadway show experience was with Mamma Mia at DPAC. The show is the product of playwright Catherine Johnson with music composed by Benny Andersson and Bjorn Ulvaeus of the 70s and 80s Pop group Abba. The show is comprised of the international chart topping music of the band. Since the show debuted on London’s West End in 1999 it has gone on to be performed around the world to much fanfare and acclaim even receiving 5 Tony nominations in 2002. In 2008 the musical was adapted into a feature length movie starring Amanda Seyfried.

As I waited for the show to start, I found myself “people-watching”. I surveyed the audience as they came in and attempted to figure out just who they were. I saw, numerous young fans that I called Teenie Boppers, a few fans that felt the night was right for full length feather boas, and I was even graced by the presence of a local drag queen. To call the audience an eclectic mix would be an understatement, maybe that should have been a warning to flee.

I admit, I went to DPAC as a Mamma Mia virgin, I had never seen the stage version or even the movie. I knew the ABBA songs; my mom would sing them while working around the house during my childhood. What I did know, I liked the songs and I loved theatre. There was a great potential for me to have a good night.

As far as the show goes, I had a hard time with it. As I have felt with other shows like this, American Idiot comes to mind; it felt much more like a rock concert than a Broadway show. The story seemed like it was a bit underdeveloped with some details overlooked. The lack of emphasis on actual story led to some awkward moments. She mails letters to her dads to invite them to her wedding the day before the wedding? Wait Huh?

Much like you would expect at a live rock concert, the volume of the music was set at a level that was bordering on “too damn loud”. It was a reprieve for the show that the audience knew all the words to the songs and sang along, because hearing the singing voices of the actors onstage was not possible. At the start of Act II the music hits so fast and so loud. It is unpleasantly alarmed you and pins you in your seat as you try to figure out if someone messed up or if that was supposed to happen.

In contrast to my auditory experience, the visuals were quite nice. The lighting design was simple yet effective. A very simple Greek style beach inn is the only set piece used. The revolving set pieces help travel between interior scenes, courtyard scenes, and straight to the front door of Donna’s Inn. Well-choreographed set changes utilized the ensemble to help the transition from scene to scene. Simple white stucco walls, small rust stains from metal meeting sea breezes, and a beautiful teal backdrop completed the set. A huge moon was projected to appear and fade giving us the appropriate time changes.

The cast had its highs and lows as well. Chelsea Williams carried the role of Sophie well. Her performance of “I Have a Dream” was impressive. Donna, played by Georgia Kate Haege had a decent singing/acting moment halfway through act II. Her performance of “Slipping Through my Fingers” in Act II had me thinking I was actually in a Broadway show, if only for that moment. The roles of the male characters would have to be the lows. Michael Colavolpe, who played Bill Anderson, had this creepy quality to him that really just made him hard to enjoy.

I know I’m not alone in this opinion, but I believe that the reason this show does well in so many different locations is merely because the audience is coming to an ABBA rock concert. There is a very shaky plot that attempts to weave the songs together, but it was clearly evident that this was just for show. It is impossible to have the words of the songs match 100% to the plot that we are provided. To me, that detail just kills the idea that this show is a true Broadway show. I can hear the audience at the water cooler at work saying, “I went to this ABBA concert” and a Broadway play tried to break out.” DPAC was able to bring a concert to North Carolina that many seemed to enjoy, but is it a true Broadway musical just because there are lines that attempt to connect the songs together? I don’t believe so.

 

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 Ace Young as Joseph and Diana DeGarmo as Narrator. Joseph and the Amazing Technicolor Dreamcoat National Tour 2014. Photography by Daniel A. Swalec

Joseph and the Amazing Technicolor Dreamcoat National Tour 2014. Photography by Daniel A. Swalec

 

As the audience waited in great anticipation for the 2 millionth visitor to enter DPAC last night, I quietly sat in my seat. I sat mesmerized by a smoke screen shielding the view of center stage; behind it was the colorful production of Joseph and the Amazing Technicolor Dreamcoat.  As the 2 millionth visitor award was presented, I watched a lifeless smoke stack begin to take on recognizable shapes; shifting shapes from giant ships to trains to crayons.  The journey through the biblical story of Joseph and his 11 jealous brothers begins with a simple alarm clock, jolting Joseph out of bed.

When I found out that the roles Joseph and The Narrator would be played by the husband and wife team of Ace Young and Diana DeGarmo I was anxious.  I found solace in the thought that, “If their fellow American Idol alumni Clay Aiken, Fantasia, and Carrie Underwood can do Broadway…so can Ace and Diana.”  I was half right, sorta kinda.

Diana DeGarmo brings a high energy character to life on the stage, keeping us informed of the story through her narration and song. However, I do question the use of a handheld microphone for her character. Yes, it gave her a prop, but it reminded me of when she competed on American Idol.  I wish she could have had both hands free to use to interact with the cast. All things considered, Diana DeGarmo is the anchor of the cast; she also carries the duo of leads onstage with a powerful personality, energetic smile, and phenomenal voice.

Ace Young has his strengths and weaknesses; he is an amazing dancer, but only an average actor. That dichotomy made me question the casting of him as Joseph.  He would have been able to “rock out” in one of the brother roles.  It is easy to see him as the lead in Rock of Ages or maybe even Roger from Rent. That being said, I don’t believe Ace’s style of singing was what Sir Webber had in mind for Joseph. His voice was once described by, former American Idol judge, Simon Cowell as “nasal”. I have to agree, he voice sounded very nasal in all of the songs he performed.

Andy Blankenbuehler takes the beautiful music from Andrew Lloyd Webber and lyrics of Tim Rice and creates a new production for the Broadway Tour.  His directorial concept takes the Book of Genesis story from clothing of the biblical times to clothing of the modern age.  Mix in some amazing Technicolor lighting, simple yet wesome moving set pieces and the journey is set. And thank you Andy for making the opening overture not boring and the curtain call the most amazing one I have ever experienced!

It is impossible to write about the show without mentioning the high energy choreography.  For the final number of Act 1, I felt that I was watching a high impact jazzercise video. I found myself I was waiting for Richard Simmons to prance on the stage to begin Sweatin’ to the Oldies.  Heck, I wasn’t even on stage and I was out of breath and sweating from their routines!

The words on this page will never be able to do justice to the set and lighting design.  Such great detail was put into the backdrop. Much thought was put into the multiple uses of the muslin curtains hanging from the fly system.  The quick transitions from one scene to the next were flawless and created beautiful scenes.

Although the characters of the 11 brothers are inherently bad because of their actions in selling Joseph into slavery, I still I fell in love with each and every one of them.  I wouldn’t mind if those cast members had a spin-off musical entitled 11 Cool Brothers and a Dude with a Coat.  The contrasting styles of song that each brother brings are unique; the audience is left wanting to hear more of their tales.  From back-woods country, to Parisian flair, to the Reggae beats; we witness the unique contrasting personalities that the family members possess.

One of the fascinating things about seeing and performing in live theatre is the ability to escape reality, and Joseph helped create that parallel universe.  Random singing, dancing, flashy costumes, and an Elvis sighting help me forget that I was sitting in Durham, NC and transplanted me to ancient Egypt.  I’ve known the music, known the story, but had never experienced a live performance of Joseph and the amazing Technicolor Dreamcoat.  I’m truly glad that I went and witnessed this Webber classic.

 

 

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Dan Tracy (Tunny) in AMERICAN IDIOT (Photo by Jeremy Daniel)Dan Tracy (Tunny) in AMERICAN IDIOT (Photo by Jeremy Daniel)

Billie Joe Armstrong is the lead guitarist and front-man of one of the most successful rock bands of all time, Green Day. Armstrong is accompanied in Green Day by childhood friend, co-founder, and bass guitarist Mike Dirnt, drummer Tre Cool, and guitarist Jason White, who officially joined in 2012.

As a group, Green Day is one of the best-selling musical groups of all time having sold over 75 million albums worldwide. The band has released a total of 11 studio albums and has been RIAA certified Platinum over 20 times. Their 1994 major label debut album, Dookie, is listed as one of the 500 Greatest Albums of All Time by Rolling Stone Magazine. The group has been honored with 5 Grammy Awards and is one of VH1’s 100 Greatest Artists of All Time.

As impressive as their list of musical accomplishments is on its own, there is one additional piece of acclaim that Armstrong and Green Day can lay claim to that VERY few other rock musicians can. The members of Green Day created and produced a show that made it from a small regional theatre in Berkeley, CA all the way to Broadway. That show was eventually nominated for a Tony Award for Best Musical and won two Tony Awards for Scenic and Lighting Designs.

Green Day’s American Idiot, which is based on the Green Day album of the same name, is the story of three young men, Johnny, Will, and Tunny, who attempt to escape the confines of suburbia. Johnny flees to the city and embraces drugs, Tunny chooses the military life, and Will has to accept the role of father. The three young men are forced to face the lives they have and the lives they have lost.

American Idiot opened at the St. James Theatre on Broadway in the spring of 2010. The show ran for almost exactly one year with 400+ shows when it closed on April 24, 2011. It was directed by Tony Award winner, Michael Mayer with music composed by Green Day and lyrics by Armstrong. The cast of the original Broadway production included members of previous Broadway productions Spring Awakening, A Man for All Seasons, Journey’s End (2007 Revival), Avenue Q, and Rent.

After American Idiot closed in 2011 it almost immediately went on tour and has since spanned the globe.The touring cast has changed over the years as the various tours began and ended. The current cast has been together since October of 2013 and will be making a stop on April 29th at the Durham Performing Arts Center for two nights. After the Durham, NC show, the tour will move on to Atlanta, GA and then to the west coast for a series of shows in California. The current tour is scheduled to conclude at the end of May in Denver, CO.

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In advance of the show Eastern Carolina Style’s Michael Smith spoke at length with Dan Tracy. Tracy plays one the three leads, Tunny, and gave some poignant perspective and insight on the show…

MAS – This show is so different from traditional musical theatre in so many ways; why not try something, “safer” as your first?

Dan Tracy – I think that taking risks is one of the most exciting things about doing this. And having the taste of what it is like to be a member of Green Day also doesn’t hurt.

MAS – The show has won so many awards and has been loved by so many since it opened back in 2009, did that acclaim add any extra pressure?

Dan Tracy – No, any good show is going to have won awards. You definitely do your homework and put the time in to give the detail that it deserves. That is a big part of my job; it doesn’t add any pressure at this point.

MAS – How do you ready yourself for a show? Touring shows have to take a lot out of you, what do you do to make sure every performance is the best it can be?

Dan Tracy – I do a lot of reading to keep my brain excited and learning about the craft of acting. I keep researching different things. I stay up to date with the news to try and get myself in the mindset for the political side of the show. From there it is about keeping my body, voice, and mind clear and open and executing what I know is supposed to be the show.

MAS – Tell me about you character, Tunny. What does the audience need to know about this young man?

Dan Tracy – Tunny is a confused guy; he grew up in a tough family situation in suburban California. He is looking for an answer to make the pain go away. He’s got a rich emotional rift that he tries to hide from everyone. He decides after taking a trip to New York with his best friend Johnny to enlist in the military. He persuaded by this character called the favored son. The military poses that answer for him, kind of giving him a purpose. He has a difficult time with that too; he can’t seem to catch any breaks. He ends up seeing through all of the darkness into more positive light.

MAS – What do you want the audience to leave the show with, in regards to Tunny?

Dan Tracy – It’s about a person who has almost everything taken away from him and then still be able to move on and find the good. I think that a lot of people can relate to that in whatever way they personally see that story. Not many people have experience losing a limb in the middle-east during a very violent war. But, a lot of people have lost loved ones or they are dealing with addiction or the other themes that this deals with. My character can help contribute to that; as does Will and Johnny.

MAS – How do you, and the rest of the cast, handle questions and criticism from people that come to this show thinking they are getting something closer to the album than what it is? Considering the album has sold 15 million copies worldwide, there is a lot of room for lofty expectations from audiences.

Dan Tracy – There is a pressure on us, at the back of your mind. Every time I stand out and look at the audience when I am singing “Are We the Waiting” there is a lot of my emotional journey, my actions through the story of the show that are on the forefront of my mind. In the back of my brain is that fact that this song could very well be the favorite song of somebody out there in the audience. You try and think of that so that you know that you are putting in the work that you should. It is another way to motivate yourself to do your job every night when you have to do it 150 times in a row.

I have never heard anyone say that they didn’t like the changes that have been made from the original album to what you hear now. They are not even really changes. It is not like anything is gone, nothing is missing they have only added things. I think some of the orchestrations have really added significant richness to certain songs.

People had no idea of what they were going to get, they come to the show, they don’t know what it is about, and they are just taken aback.

MAS – To build on the criticism that I have seen and heard. Some people have said that this type of show is really just a concert trying to be a musical, how do you respond to that?

Dan Tracy – It doesn’t look like a golden-age book musical; it has the form of something you would see in an avant-garde movie. It is not very linear, there are so many things happening at once, there are so many pieces, there are a lot of metaphors happening, there is a lot of interpretation of different moments and there are a lot theatrical devices being used. Some people don’t see the richness when they walk in and see it the first time.

It is the type of show that every time you watch it you see something deeper and more complex. It is a lot for people to take in on their first watch

The cast of the show that will be appearing in Durham:

Main Cast:

Jared Nepute Johnny
Dan Tracy Tunny
Casey O’Farrell Will
Olivia Puckett Whatsername
Taylor Jones Extraordinary Girl
Mariah MacFarlane Heather
Carson Higgins St. Jimmy


Ensemble and Understudies:

Alex Boniello
Liam Fennecken
Sean Garner
Francesca Granell
Antwaun Holley
Andrew Humann
Alison Morooney
Johnny Newcomb
Michael Pilato
Eric Presnall
Turner Rouse, Jr.
Josephine Spada
Chelsea Turbin