Inside Theater

One of the few original musicals unleashed on Broadway in recent years — and one that will also be available in a DVD version filmed by Spike Lee — Passing Strange chronicles the life of a young musician who flees his stifling suburban Los Angeles environs to find himself and explore his musical artistry in Amsterdam and Berlin.

He’s worked with such theatre legends as Stephen Sondheim (writer, Sweeney Todd), Hal Prince (director, Guys ‘n Dolls) and Arthur Laurent (writer/director, Gypsy). His resume reads like the Who’s Who of Broadway productions. His gallery of Broadway show posters, many of them signed, spans three rows on three walls. His three-story New York City brownstone is filled with Broadway me-mentos and pictures from show openings. Displayed on top his bookshelf is an array of honors: an Olivier Award (Kiss of the Spiderwoman), a Dora Award, five Helen Hayes Awards, a Tony Award (Jersey Boys) and a Tony nomination for In the Heights. With an extraordinary lineup of six shows currently running on the “Big Street” (Xanadu, Avenue Q, Jersey Boys, In the Heights, Cry Baby, Gypsy) Broadway lighting designer Howell Binkley is at the top of his game.

When stage manager Michael Brunner worked on South Pacific in summer stock as a younger man, he had no idea that he would one day be tackling it full force at New York’s Lincoln Center. Now the 30-year theatre veteran is the production stage manager (PSM) for the first revival of the classic Rodgers and Hammerstein show in 53 years at the Vivian Beaumont Theatre. And as he has noted — with a production that includes a large cast, prop plane and two real Navy trucks converted for stage use — the larger scale “makes a difference.” Critics and audiences are agreeing, along with celebrities like Robert Redford, Jane Alexander and David Hasselhoff, all of whom have come to check out the show.

Broadway revivals have become so commonplace that a creative theatre team must think outside of the box and indulge in new ideas to make an old chestnut both exciting and refreshing for modern audiences. Debbie Allen’s interpretation of Tennessee Williams’ Pulitzer Prize-winning drama Cat on a Hot Tin Roof — starring Terrence Howard, Anika Noni Rose, James Earl Jones and Phylicia Rashad — faced such a scenario.  Beyond its powerhouse casting and acting and the overstated aspect of having an all-black cast, the show is a rarity these days: a three-act, three-hour show with one main set that does not change. Set designer Ray Klausen was up to the task of invigorating the look of the show to fit Williams’ cynical tale of a family whose sibling brothers — one an injured alcoholic and former athletic hero, the other a corporate lawyer — and their spouses are tussling over the inheritance of Big Daddy’s massive Southern plantation.

Scenic designer George Tsypin uses transparent and translucent materials to take the stage production for Disney’s The Little Mermaid under the sea.

Here, Sierra Boggess as Ariel ventures from a cool-lit underwater realm to bright sunshine.

Scenic designer Peter J. Davison brings new angle to classical approach

The persepective of the set plays a role in Mark Twain's Is He Dead?, shown here with, L-R, Norbert Leo Putz, Michael McGrath, Jeremy Bobb and Tom Alan Robbins.

Scenic designer Michael Hotopp and his creative partner/scenic designer Bill Hoffman have worked together for two decades on myriad productions — touring theatre shows, trade shows, and the Radio City Christmas Spectacular — but nothing could have prepared them for working during the last eight years on ice sculpture installations as part of the Ice series for the Gaylord Hotels. Working on Christmas-based themes, they have created walk-through attractions that depict famous holiday characters and events, but this past year they got a real treat — designing the Ice! How the Grinch Stole Christmas.

If you think working on a musical with multiple sets is tricky, try tackling a touring show where the venue changes almost daily, and the size of the venue expands or shrinks depending upon where you are. That’s the challenge that production stage manager Shawn Pennington and head electrician Lynnette Provost face on the current national tour of Gypsy. The show chronicles the rise of Gypsy Rose Lee, whose stage mother tried for years to make her a star until their waning fortunes landed their act in a seedy burlesque theater, where financial desperation and failed artistic aspirations transformed a sweet young woman into a seductive stripper.

Transylvania Meets Broadway

Look out Dorothy! Kansas is out — Transylvania is decidedly in! The team that created the mega-extravaganza The Producers is at it again, this time with the musical version of the 1974 Mel Brooks Academy Award-nominated hit film comedy Young Frankenstein.

When New York brain surgeon and professor Frederick Frankenstein inherits a castle in Transylvania from his grandfather, deranged genius Victor Von Frankenstein, he goes to Transylvania and carries on with his grandfather’s mad experiments in reanimating the dead. In the process, he falls in love with his sexy lab assistant, Inga. 

Quick and dirty on a budget for NYMTF

Think your plate is full? Try being Herrick Goldman for a week. A veteran LD with two decades experience, he recently designed three shows at the New York Musical Theatre Festival — he’s done 16 shows for them in four years — while also handling gigs for the Grammys and Emmys that same week. His company, HG Lighting Design Inc., handles “any live events,” although the company’s focus is on theatre and larger corporate events. And they are constantly working.