In Memoriam: Micki Grant

Tony-nominated composer Micki Grant died on Sunday. Born Minnie Perkins in Chicago on June 30, 1941, Grant was encouraged in the arts by her parents. She began with the double bass in elementary school, then added piano at 8 and acting lessons at 9, giving some of her first performances with Center Aisle Players. At 18, she wrote the pop hit “Pink Shoe Laces,” a Top Five hit for Dodie Stevens, which you can watch below. Following graduation from Englewood HS, Grant studied at Chicago School of Music and University of Illinois, which she left after three years to move to Los Angeles.

While in L.A., Grant was cast in Fly Blackbird (1962), moving with the show to New York to make her Off-Broadway debut in the Obie-winning musical. In New York, she also earned her bachelor’s in English and theater from CUNY’s Lehman College and began studying acting with Herbert Berghof and Lloyd Richards. Grant returned Off-Broadway in the revue Brecht on Brecht (1963), soon making her Broadway debut in Langston Hughes’ Tambourines to Glory (1963). She also acted in Hughes’ musical Jerico-Jim Crow (1964) and the Off-Broadway revival of The Cradle Will Rock (1964), from which you can watch Grant singing “Joe Worker” below.

For the next decade, Grant portrayed attorney Peggy Harris Nolan on Another World (1965-73), in the first story line written for an African-American on a daytime soap opera. She also began working in director Vinnette Carroll’s Urban Arts Crops. Their first collaboration was the musical Croesus and the Witch (1971), followed soon after by Don’t Bother Me, I Can’t Cope (1972), which earned Grant two Tony nominations, two Drama Desk Awards, a Grammy, and an Obie. Below is the 2018 Encores! Off-Center revival company in a medley from the show.

Grant continued to collaborate with Carroll over the next ten years, including the musicals Step Lively, Boy (1973), I’m Laughing But I Ain’t Tickled (1976), The Ups and Downs of Theophilis Maitland (1976), Your Arms Too Short to Box with God (1976, Grammy nomination), and Alice (1978). Grant also wrote The Prodigal Sister (1974, with JE Franklin) for Woodie King and three songs in Working (1978, Tony nomination) for Stephen Schwartz. Below is Patti LaBelle singing “Cleanin’ Women” in the PBS broadcast of the latter show.

Grant’s later work included lyrics for Eubie! (1978), scores for It’s So Nice to Be Civilized (1980) and Phillis (1986), the revues Step into My World (1989) and Looking Back (1994), and the musicals Carver: Don’t Underestimate a Nut (1996) and Springtime in Alaska (2002). Below is Charlayne Woodard’s recent interview with Grant for the Dramatists Guild’s Legacy Project.

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Cinderella Review Roundup

The new original musical adaptation of Cinderella opened to near universal acclaim August 18 on the West End, after an interrupted preview period that began June 25 at London’s Gillian Lynne Theatre. The creative team includes Emerald Fennell (book), Andrew Lloyd Webber (music), David Zippel (lyrics), Laurence Connor (direction), JoAnn Hunter (choreography), Gabriela Tylesova (set and costumes), Gareth Owen (sound), Bruno Poet (lights), and John Rigby (music supervision). The cast features Carrie Hope Fletcher (Cinderella), Victoria Hamilton-Barritt (Stepmother), Ivano Turco (Prince Sebastian), Rebecca Trehearn (Queen), Georgina Castle and Laura Baldwin (Stepsisters), and Gloria Onitiri (Godmother). 

Daily Mail (Patrick Marmion): Joyously vulgar. Endlessly camp. Fabulously catty — especially in the feuds between the show’s two glorious divas: the Queen of Belleville (a gleefully giddy Rebecca Trehearn) and Cinderella’s stepmother (played by Victoria Hamilton-Barritt). … We’re treated to a glittering parade of glorious kitsch, with wobbly cartoon sets for the chocolate box of Belleville. But it’s Lloyd Webber’s music that does the heavy lifting, with one of his most varied scores. … A glitterball hit! 4 out of 5 stars

The Evening Standard (Nick Curtis): Cinderella has a terrific palette of songs, a snappy contemporary edge, and a star (Carrie Hope Fletcher) whose voice is both beautiful and powerful enough to knock down walls. … It’s not perfect. The slang and the subtext will date quickly. The costumes and choreography are sometimes fabulous, sometimes meh. The story stutters to an awkward halt. But you forget all that in the bigger numbers, and whenever Fletcher takes the stage and opens her heart. 4 out of 5 stars

The Guardian (Chris Wiegand): Connor’s production starts with a salvo against fairytale bunkum: the shock news is that Prince Charming is dead. Moreover, someone has graffitied his memorial statue. Fennell is up to something similar as she defaces and rewrites myths about femininity, masculinity, and heroism. … Silly but warm and inclusive, with relatable, down-to-earth heroes and pertinent points about our quest for perfection and our expectations of each other and ourselves. 5 out of 5 stars

The Independent (Isobel Lewis): The production is driven forward by high-camp visuals, incredible comic talent, and an electric ensemble cast. But look below the surface (as is Cinderella’s whole message) and you’ll find something more muddled. … Sometimes it’s fun to go to the theater and watch a high-camp, brightly colored musical, but in this case the confused political slant muddles things. It’s a shame because, for sheer spectacle, you won’t get a more impressive show. 3 out of 5 stars

The New York Times (Matt Wolf): Cinderella is a big, colorful production, painted in deliberately broad brushstrokes … that turns a time-honored story (somewhat) on its head. The result may not be quite the theatrical equivalent of its heroine’s cut-glass slipper, but it nonetheless looks set for a sturdy West End run. Best of all: Cinderella is fun. … Its fairytale rewrite feels like a happy corrective to grim times: Cinderella arrives at the ball, by which point the audience has had one, as well.

Time Out London (Andrzej Lukoski): Remaking Cinderella into a takedown of human superficiality is a nice enough idea, but there’s something a bit self-defeating about hiring a cast of hot young buff people to send up the idea of hot young buff people. … Nonetheless: it really is fun. … As his cursed ’00s output fades from human memory, [Webber] seems to be entering a phase of his career where he just wants to entertain people — and that’s definitely a good thing.

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NYC Next New York State of Mind

Some two dozen New York City performers and other celebrities united for a music video of Billy Joel’s “New York State of Mind,” as part of NYC Next’s effort to encourage the city’s recovery from the pandemic. Featured among the array of artists are Tony winners Victoria Clark, Tom Kitt, LaChanze, Idina Menzel, Brian Stokes Mitchell, and Kelli O’Hara and fellow Broadway notables Sara Bareilles, Mario Cantone, Jerry Dixon, Joseph Joubert, Joan Osborne, Peppermint, David Rosenthal, Ben Stiller, and Suzanne Vega, as well as Zeshan B, Cautious Clay, Andy Cohen, Stephen Colbert, Chloe Flower, Alexa Ray Joel, The Klezmatics, Brian Newman, Angie Pontani, Anaïs Reno, Mark Rivera, Bobby Sanabria, and The Yankees. 

The performances were recorded in all five boroughs in venues such as Birdland, Brooklyn Museum, Columbia University, La Casita de Chema, Maimonides Park, NYU, Open Jar Studios, Red Hook Winery, Russ & Daughters, Steinway & Sons Factory, Tom’s Restaurant, and Wonder Wheel, among others. The creative team for the video includes NYC Next co-founders Andrew Lerner (executive producer), Tom Kitt (music supervisor), and Joshua Seftel (director). NYC Next’s previous videos include last year’s rendition of “Sunday” at TKTS and the concert We Will Be Back. For more footage and additional information, visit the NYC Next website.

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Respect Song Clip

MGM Studios has released an official clip of “Think” from the recent Aretha Franklin biopic musical, Respect, starring Oscar winner Jennifer Hudson. The cast also includes Forest Whitaker (C.L. Franklin), Audra McDonald (Barbara Franklin), Saycon Sengbloh (Erma Franklin),  Hailey Kilgore (Carolyn Franklin), Brenda Nicole Moorer (Brenda Franklin), Marlon Wayans (Ted White), Marc Maron (Jerry Wexler), Tituss Burgess (James Cleveland), Tate Donovan (John Hammond), Mary J. Blige (Dinah Washington), Heather Headley (Clara Ward), and Lodric D. Collins (Smokey Robinson).

Liesl Tommy directs the screenplay by Tracey Scott Wilson. The creative team also includes Kris Bowers (music), Kramer Morgenthau (cinematography), Avril Beukes (editing), Ina Mayhew (production design), Mark Dillon and MaryBeth McCaffrey-Dillon (art direction), Sarah Carter (set decoration), and Clint Ramos (costume design).

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The Crown Song Clip

Netflix has released the full scene from “Avalanche” (episode nine in season four of The Crown) that features Emmy nominee Emma Corrin as Princess Diana singing “All I Ask of You” from The Phantom of the Opera. The scene is based on a rumored event, when Diana supposedly recorded herself singing the show’s love ballad as a gift for Prince Charles on their seventh anniversary in July 1987, while in costume on stage at London’s Her Majesty’s Theatre, where the musical premiered in October 1986. Composer Andrew Lloyd Webber has denied the story, but the musical’s official Twitter seemed to confirm the event when “Avalanche” premiered last November. The episode, written by Peter Morgan and directed by Jessica Hobbs, also featured Corrin singing Billy Joel’s “Uptown Girl.”

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Schmigadoon! Episode 6 Preview

Apple TV+ has released a sneak preview of tonight’s new episode of Schmigadoon!, in which Melissa (Cecily Strong) and Josh (Keegan-Michael Key) face their true feelings for each other, while the town goes to the polls to choose between incumbent Aloysius (Alan Cumming) and rival Mildred (Kristin Chenoweth) for its mayor — and many long-held secrets are revealed. Directed by Barry Sonnenfeld and written by series co-creators Cinco Pual and Ken Daurio, “How We Change” is the final installment of the six planned for the series, which premiered July 16 on Apple TV+. Below is the cast in the finale.

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Public Theater 2021 Season

The Public Theater has announced its upcoming season, which begins October 7 with previews for the world premiere musical The Visitor, originally scheduled for March 2020. With a score by Tom Kitt and Brian Yorkey and book by Yorkey and Kwame Kwei-Armah, the musical is based on the 2007 film by Tom McCarthy about a lonely middle-aged man whose life changes with a chance encounter with an immigrant couple in post-9/11 New York. Most of the 2020 cast will return, including Tony winners David Hyde Pierce and Ari’el Stachel. Daniel Sullivan directs, with choreography by Lorin Latarro. The show opens November 4 and runs through November 21. Below is Stachel and the cast singing “Heart in Your Hands.”

Performer and writer Daniel Alexander Jones returns to the Public with his alter ego Jomama Jones in the new project Altar No. 1 — Aten, which will unfold in weekly online installments beginning September 22 at aten.life. This meditation on the Egyptian sun god Aten’s heliosphere, from the sun to Pluto, will ultimately result in a concept album of 15 original songs by Jones and Josh Quat. Below are Jones and Rhonda Ross in the video for the project’s first song, “Hymn to Promise,” an ode to the Earth.

In March 2022, the Public will present its other full-length musical offering, the world premiere of Suffs, a new musical about the women’s suffrage movement, with book and score by Shaina Taub. Leigh Silverman directs, with choreography by Raja Feather Kelly. Below is the cast, including Tony winner Nikki M. James and Tony nominees Jenn Colella and Phillipa Soo, singing “How Long.”

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Emerging Writers Program

Shrek (center) with hippo Gloria, lion Alex, and penguin Skipper.

DreamWorks Theatricals and Music Theatre International have announced their Emerging Writers Program, a new partnership that will select diverse individual writers and writing teams of librettists, composers, and lyricists to develop musical adaptations of DreamWorks Animation titles for the MTI catalog, specifically the Theatre for Young Audience and Broadway Junior collections. “We look forward to supporting and empowering an exciting new generation of musical theater talent,” said Universal Theatrical Group SVP Chris Herzberger, who leads DreamWorks Theatricals. MTI President and CEO Drew Cohen added, “Encouraging more diverse perspectives on the part of the authors who create these musicals is a positive way to connect with the performers and their audiences in a more meaningful way.”

Selected writers in this one-year, paid program will develop a DreamWorks title for the stage, guided by studio executives and industry ambassadors, on a work-for-hire basis. Applicants can’t have had work produced on Broadway, the West End, Off-Broadway, or major regional theater in the past five years. Applications will be accepted this fall, with specific dates to be announced later. For more information, visit the program’s website.

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Girl from the North Country Preview

Original Broadway cast members Kimber Elayne Sprawl, Austin Scott, and Rachel Stern from Girl from the North Country participated this month in Harlem Week 2021, presenting a special performance of the songs “All Along the Watchtower” and “Idiot Wind” from the show. With a book by Conor McPherson and score by Bob Dylan, the musical is set during 1934 in a time-weathered guesthouse in America’s heartland, where a group of wayward souls pass in and out of each other’s lives. The Broadway production began previews February 7, 2020, and opened March 5. One week later, the show shuttered due to New York’s pandemic restrictions, and it will finally reopen October 13, 2021.

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Love for Sale Preview

UMG has released the official music video for “I Get a Kick out of You,” the lead single from Love for Sale, the second collaborative album from Tony Bennett (his sixty-first and final one overall) and Lady Gaga (her seventh). Recorded between 2018 and 2020, the album is scheduled to drop October 1. It includes about a dozen jazz cover versions of classic Cole Porter songs. “I Get a Kick Out of You” was introduced by Ethel Merman in the 1934 Broadway musical Anything Goes. 

When Bennett and Gaga met in 2011, he asked her to sing with him on his album Duets II, for which they recorded “The Lady Is a Tramp,” from the 1937 Rodgers and Hart show Babes in Arms. Then between 2013 and 2014, the duo recorded the album Cheek to Cheek, which debuted at #1 on the Billboard 200 chart and won the pair a Grammy. “The day we released Cheek to Cheek in 2014,” Gaga tweeted, “Tony Bennett called me and asked me if I wanted to record another album with him, this time celebrating the songs of Cole Porter.”

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