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Catch Me If You Can - the Musical! |
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Written by Devyn Patmore
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On the evening of Tuesday, July 28th, 2009, I had the special chance to see the very first showing of the WORLD PREMIERE of Catch Me If You Can the Musical! It is currently performing at the 5th Avenue Theatre in Seattle with a pre-Broadway run, much like they did years ago with Hairspray, the hit show adapted for stage by Marc Shaiman and Scott Wittman, the masterminds behind this brand new musical. Naturally, I came to the theatre excited and full of high expectations (who wouldn't?). Thankfully, I wasn't disappointed.
If you are not aware, the musical Catch Me If You Can is based off of the major 2002 DreamWorks film of the same name starring Leonardo DiCaprio and Tom Hanks. Both the movie and musical are, in turn, based off of the true story of Frank Abagnale Jr., a handsome, cunning, and charismatic conman who posed as an airline pilot and a trained physician (among other careers), successfully stealing millions of dollars, all before he turned 19.
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The Unofficial Backstage Code |
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Written by triplethreat
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As we all know, not all (and for many of us, most) of our performing experiences are NOT in grand theatres with red carpets and private dressing rooms. One of my most recent performances was in a VERY small theatre with a house less than 100 seats.
Our backstage area was a single room that was dressing room, makeup area, and green room all rolled into one, in addition to also being storage for every costume the company owned. To say there was very little space would be a huge understatement.
When working in a space as small and cluttered as this, the behaviors of fellow cast members becomes much more noticeable and often annoying. As a result, I have written the Unofficial Backstage Code - a list of rules that, if followed, might prevent you from becoming a - forgive the pun - outcast.
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Book Review: What Would Barbra Do? How Musicals Changed My Life by Emma Brockes |
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Written by triplethreat
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From the back cover:
"Emma Brockes didn't always love musicals. One of her most painful childhood memories is of her mother singing "The Hills Are Alive" while young Emma crossed the street en route to a babysitting gig. Mum said the music would keep muggers at bay. Emma found it warded off friends, a social life, and any chance of appearing normal."
This book, essentially a memoir, is written as if a letter from one musical-lover to another, like a conversation between friends. If you grew up with musicals - whether singing along from the wings, or spending rainy days at the cottage watching movie musicals with grandma - you will appreciate the humour and affection with which Emma writes about her favorite art form.
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