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Meet Somal Harman (@somalharman), a self-made model from #Chandigarh, Punjab. 💃💁‍♀️ A self-made girl, she has made it into the industry without any background or external support. Snippets from a quick chat with @somalharman: 🧩 IAD: What gives you confidence to pose for the camera? Somal Harman: I have been always been natural in front of the camera and my passion grew with about being in front of the camera since the age of 5! And that gives me natural confidence. IAD: What is your biggest dream? Somal: To live the life that my heart desires. IAD: A fun memory from your childhood you'd like to share? Somal: Once I failed in an exam. I got so scared that I hid in my own house for hours. I was super tensed and when my parents found me, I got more scoldings for hiding more than for failing! IAD: What do you think is most important quality of an actor? Somal: To be natural and to learn new things every day is one skill every actor has to develop. You have to meet and talk to people from different walks of life, backgrounds, and life experiences to play a character well. IAD: What has inspired you to become an actress/model/artist? Honestly, it's all the Bollywood movies that I watched growing up. Whenever I watched the television, I used to dance a lot. I always believed I'd be on TV one day! 6. What is one message you would give to your fans? Don't be afraid of taking risks. :) #chandigarhmodels #indianaddivas #indianads #featuredinterview #talent #modelinterview #modelsofinstagram #chandigarh #chandigarhblogger #somalharman #mumbaimodel #bombayactor #chandigarhgirls #indianactress #buddingactress #indianmodel #modelsofindia #brownmodel #modelinterview (at Mumbai, Maharashtra) https://www.instagram.com/p/CEhMKB0ptRj/?igshid=1xxizrusgknuh

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Interview with Pulitzer Prize Winning Playwright TONY KUSHNER

Known for his groundbreaking works including the Pulitzer Prize-winning Angels in America and the Olivier-awarded Caroline, Or Change, Tony Kushner has become one of the most prolific playwrights of our generation. I sat down with Mr. Kushner who was in Chicago to receive the Chicago Tribune Literary Prize as part of the Chicago Humanities Festival. MJR:Let’s talk about The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures, a new work that you developed at the Guthrie Theatre in Minneapolis this past year. How did the concept come to fruition for you? TK: The way all ideas come about. I had been thinking for a very long time about writing it a play that dealt specifically with LGBT issues and I had also been thinking of dealing with Marxism onstage in the Perestroika era. I’ve always wanted to do something about American Marxism or American Communism specifically so all of that came together when Joe Dowling asked me to do a new play for the celebration that the Guthrie did of my work. They performed Caroline, Or Change and 5 short plays last spring. MJR: Speaking of Caroline, Or Change, the Chicago production mounted by Court Theatre won four Joseph Jefferson Awards including Best Musical was an unequivocal success. Tell us about your partnership with Jeanine Tesori during the development of Caroline. TK: Jeanine is an amazingly talented composer. In my opinion the best composer writing for the theatre living. I am enormously happy and consider myself very fortunate that we hooked up. I never enjoyed working with anyone as much as I enjoyed working with Jeanine. We’re currently working on a new piece together. MJR: Story-wise, Caroline, or Change explored your upbringing in Louisiana. What was the process of transferring a semi-autobiographical narrative to the musical stage? TK: Well of course Caroline is a fictional character. The character is loosely based on the woman who worked as a maid for my family when I was a kid. It was actually dedicated to her. She just turned 80. There are episodes and certain details in the play that are absolutely from my childhood. I grew up in Louisiana. But the piece is not autobiographic in any kind of reliable sense. The character of Caroline is some degree based on but many of the details of her life are different.

Jeff Award Winner E. Faye Butler in CAROLINE OR CHANGE MJR: As a playwright, what was the most challenging component of musicalizing text to propel a narrative? TK: I wrote the whole thing before I started working with Jeanine so in a way it was like writing a play. It was in a loosely rhymed and metered verse. To some degree it’s like learning a new language because there’s a lot about musical theatre that requires very specific skills that I do not have. I have very little experience working with the form. So I was guided to a great extent by Jeanine and by George Wolfe . But there was a lot that I had to learn about how to construct a moment with music. Caroline is essentially an opera, it’s through-composed. We were both learning a lot while we were doing it. I’m working with Jeanine now on a new piece and I’ve already begun things I didn’t know. In some ways Caroline was easier than most of the plays that I’ve done because it was so much more collaborative. Once I had written a libretto in the first draft I began to work with Jeanine very closely; I wrote the words, she wrote the music with much overlap. We went through every word and every note very thoroughly. I had to learn a very different tempo in terms of how to do re-writes because if you’re doing a musical and you exchange a line, that changes any of the music. And in previews you’re dealing with giant and very cumbersome machinery, and orchestrations. The singers have to learn the music which is a very different process than just learning a new line so it was complicated. MJR: The musical spurred quite a reaction here at Chicago’s Court Theatre. Have audiences received the show differently in varying parts of the country? TK: I actually haven’t seen it in the South yet. It’s been done in a few places including Lake Charles. Everywhere that it’s been done it’s been very successful, people have responded with great enthusiasm. It was a big hit in London, it won the Olivier award. It’s done very well everywhere. Certainly there are times when it’s felt very different. Jeanine and I came out to see it in Chicago right before the election, right down the street from the Obama house. That was certainly a different kind of feeling, kind of an electric and exciting feeling to be let into the Court in the anticipation of the election. Last spring when it was at the Guthrie it was interesting to see the play post-Obama. Obviously the line when Noah says Caroline is the President of the United States meant one thing 45 years ago. Now when there actually is an African American president in the United States it has a slightly different quality. That’s true for most plays today; the surrounding context changes in locale and time, and they become different.

MJR: HBO has been showing Angels in America for the past month. That dramatic sequence was groundbreaking for several communities. How do you think LGBT issues have shaped theatre in the past two decades, and how has theatre informed the community? TK: Well I don’t think my play . I think that one could say that with Larry Kramer’s The Normal Heart. It coincided with relating to the AIDS epidemic for our community. Angels in America came around later. I have no idea what Angels did or didn’t accomplish beyond the fact that it’s a good play. And that’s the most I ever hoped for. The question of the relationship between LGBT politics and theatre is an interesting one. Obviously an enormous number of people who work in theatre are from the sexual minority area and community. I think there’s a reason for that. It’s where we’ve been contributing to theatre in percentages disproportionate to our percentage in the normal population. And I think that on one hand it’s the case that communities of the oppressed very often find a home in the theatre because people who are oppressed learn the difference between what something seems to be and what it actually is; irony, which is an important ingredient in the theatre, the shaking of reality- these are all things that are part of the everyday life of everyone who has a lived experience of oppression. So I think it makes sense that we would be found in greater numbers in the theatre. Theatre is always very quick to respond to moments of social crisis because it doesn’t take any money or particular organization of capital to make a play. You just find a good writer, actors, director, and a theatre willing to do it and you can put together a play about any subject fairly quickly, certainly much more quickly than you can with most instances of film or television. Theatre is always a good quick response. It is also the place that we go to in order to grapple with social issues of real moment. If you allow Angels to be anything other than a good play, it allowed for a moment in the early 90s at the end of the first chapter to provide a public place for mourning the people who had died in the phase of the epidemic. It was also way of celebrating the end of the Reagan era; there was a great deal of release when Clinton beat the first Bush. We thought, however incorrectly, that we had closed the door on the nightmare of Reaganism which was a pernicious ideology that appeared at the same time as the AIDS virus. So I think that the play was about those things, connected to those things, and provided a public opportunity. MJR: You just finished wrapping up a new screenplay on both the life and work of Abraham Lincoln for Steven Spielberg. What provokes your interest in this particular era of our nation’s history? TK: I worked on for the last three years. We’re working on moving it into the next phase. It’s the time period where every tension and every unresolved conflict in American history prior to the Civil War came to a boil, and eventual explosion. Everything that this country is struggling to become emerges from the crucible of the Civil War. I think Abraham Lincoln, in my opinion, is inarguably our greatest president and one of the greatest people that ever lived- just a completely remarkable figure. I am tremendously interested in him and in his era. MJR: Your stage works are inherently both dialogic and dialectic in form. What keeps your interest in film as a narrative medium, especially since it is often one that focuses on the monologic story? TK: I think film is an extraordinary medium. Many great works of art in the 20th century were created by filmmakers. I feel that’s it’s more narrative driven than theatre, it’s certainly more all-encompassing kind of illusion. I think it doesn’t play as much as theatre does with questions of illusion and reality. To a certain extent I feel as though film is a degree more isolating, it’s perhaps less of a communal experience, though certainly the thing that all the audience’s attention is focused on does not respond to what the audience is telling it. It’s the same from one showing to the next. Obviously there are some stories that cannot be told onstage that can be told on film, there’s just a mathematical question of how many individuals can be reached by a film or television show as opposed to theatre. For me there’s a certain pleasure in surrendering the absolute authority; a playwright in the theatre has, if nothing else, the authority that comes from property ownership. I own the play, I rent the play to the producers, directors, and actors to perform, but it’s mine. When people get together to do a play one of the only common grounds they have to stand is the script. In film, it’s much more the director. The playwright doesn’t own his or her own words. It’s interesting to me and in some ways enjoyable to hand that authority over to somebody else and to be one person among a number who is working to create this final product, but not the person who finally has the decisive say in what it’s going to be. I’ve gotten to work with a few artists I admire enormously Steven Spielberg, Mike Nichols…that’s been thrilling. I got to watch both of them make a movie and I’ve learned a lot from doing that. MJR: You’ve noted before your concern of reducing characters, specifically individuals like Lincoln, into dramatic figures. Do you employ a different approach in humanizing characters for the stage as opposed to a screen medium? TK: Hamlet is a dramatic character, but there’s no reduction in Hamlet. I could think of a dozen film characters as rich as any human being could be. Lincoln is a genius on the level of Mozart or Shakespeare and it’s very difficult and possibly impossible for someone who isn’t a genius to come to any kind of understanding of how Lincoln did what he did. I think that it’s probably impossible for us to know those things. To try and create a dramatic device that is going to deliver the secret of Lincoln’s inner genius or the secret of how Mozart wrote the Requiem or how Shakespeare wrote Hamlet is kind of nonsense. You can’t do that. These are leaps of the human imagination that are so vast and so extraordinary, and rare, that they’re really in a certain sense immeasurable and incomprehensible. What we have is the consequence which is somewhat immeasurable and incomprehensible. There is no one who will ever say everything there is to say about Hamlet, it’s infinite as much as any human creation can be called infinite. I don’t feel that there is any necessary for dumbing down or reducing my ambition as a playwright because I am writing a screenplay. I feel that I can write characters that are just as rich onscreen as they are onstage. There are certain requirements that the forms have that are very different; language is different, the way you construct a character for a script that hopefully many different people will use or perform is different than when you’re writing a script for a director for one movie. So you have a sense that what you are doing is much more for a specific moment.

Tony Kushner, Jeanine Tesori at Court Theatre's CAROLINE OR CHANGE. MJR: Tell us about your process of developing a new work for stage production. TK: I don’t feel that I ever get inspired to do anything. Various impulses come at me during the course of a day just as they came at anybody. I read stories or I remember things that I’ve seen that seem of interest to me because I’m a playwright, that’s my job. I take note of those things and I write them down. If something that I’ve seen or been intrigued by sticks around, I’ll start to wonder if there is something in it that might become a play. If I feel clearer and clearer about why it’s interesting to me- whether it be a person, image, or event in history- I’ll start to keep a separate notebook about it and start to think of what could come as the basis of a play. You mull over five or six things at a time and for one reason or another one of them will the surface. MJR: Do you often find yourself become reclusive during this process? TK: I certainly try to . You should. It’s a good idea to do that. It’s always a mistake to not make that kind of time, but it’s one of the hard things about being a playwright. Part of our time is spent in rooms with a lot of people. Isolation is hard for everybody but for some people it’s easier. If you can’t handle isolation you certainly should not be a novelist or a poet. Playwrights I think in general have a tricky balancing act to do between providing material for the excitement and electricity and sexual heat of a rehearsal room-also the fun and terror of being in the theatre with an audience- and being alone in a room. When I’m really deep in the first draft of a play or screenplay I become slightly antisocial. It’s very hard to talk to people, to be out in the world. I think that everybody who writes experiences this to some extent. You have to kind of smooth your skin away and become available to becoming other people, so you lower boundaries and you remove skin and you make yourself slightly less well-organized than you are in everyday life. It’s hard to go out in public that way. I think it’s easier if you can get the play done in the first draft and then resume your public life; otherwise I think you feel sort of unpresentable and you probably are . Read the full article

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Interview with Stage & Screen Icon CONRAD JOHN SCHUCK

CONRAD JOHN SCHUCK discusses his extraordinary career in film, stage and television including M*A*S*H, McMillan & Wife, Star Trek, Roots and of course....Annie. Mr. Schuck returns to Chicago as General Waverly in IRVING BERLIN’S WHITE CHRISTMAS. The classic holiday production will play Broadway In Chicago’s Cadillac Palace Theatre (151 W. Randolph) for a limited one-week engagement from December 10 – 15, 2019. Mr. Schuck’s credits include: Broadway: Annie With Sarah Jessica Parker, Annie Get Your Gun With Reba, Nice Work If You Can Get It With Matthew Broderick. London: The Caine Mutiny With Charleton Heston. Film: M*A*S*H (Painless), Star Trek IV And VI (Klingon Ambassador), Outrageous Fortune With Bette Midler, Woody Allen’s Curse Of The Jade Scorpion. Tv: Sgt. Enright In McMillan & Wife with Rock Hudson And recent guest roles in Law & Order and Law & Order: SVU. ABOUT THE PRODUCTION Broadway In Chicago is delighted to announce that IRVING BERLIN’S WHITE CHRISTMAS, the stage adaptation of the beloved classic film, will bring holiday cheer to Broadway In Chicago’s Cadillac Palace Theatre (151 W. Randolph) for a limited one-week engagement from December 10 – 15, 2019. IRVING BERLIN’S WHITE CHRISTMAS tells the story of a song-and-dance team putting on a show in a magical Vermont inn who fall for a stunning sister act in the process. Full of dancing, laughter and some of the greatest songs ever written, including “Count Your Blessings Instead of Sheep,” “Happy Holiday,” “Sisters,” “Blue Skies,” and the unforgettable title song, IRVING BERLIN’S WHITE CHRISTMAS promises to be a merry and bright experience for the entire family! The New York Times exclaims “this cozy trip down memory lane should be put on your wish list.” And, the New York Daily News hailed IRVING BERLIN’S WHITE CHRISTMAS as “a holiday card come to life.” IRVING BERLIN'S WHITE CHRISTMAS features music and lyrics by Irving Berlin with book by David Ives and Paul Blake and is based upon the Paramount Pictures film written for the screen by Norman Krasna, Norman Panama and Melvin Frank. IRVING BERLIN'S WHITE CHRISTMAS is produced by Work Light Productions. The creative team includes direction and choreography by Randy Skinner, scenic design by Anna Louizos, scenic adaptation by Kenneth Foy, lighting design by Ken Billington, and sound design by Keith Caggiano, orchestrations by Larry Blank with vocal and dance arrangements by Bruce Pomahac, music direction by Michael Horsley, and associate choreography by Kristyn Pope. For more information on IRVING BERLIN’S WHITE CHRISTMAS, please visit www.whitechristmathemusical.com. Follow IRVING BERLIN’S WHITE CHRISTMAS on Instagram, Twitter and Facebook. TICKET INFORMATION Individual tickets for IRVING BERLIN’S WHITE CHRISTMAS range in price from $14.50-$85 with a select number of premium tickets available. Individual tickets will be available by calling the Broadway In Chicago Ticketline at (800) 775-2000 or by visiting BroadwayInChicago.com. Tickets are available for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing [email protected]. ABOUT BROADWAY IN CHICAGO Broadway In Chicago was created in July 2000 and over the past 19 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining more than 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including CIBC Theatre, James M. Nederlander Theatre, Cadillac Palace Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre. Broadway In Chicago proudly celebrates 2019 as the Year of Chicago Theatre. For more information, visit BroadwayInChicago.com. Read the full article

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Interview with POTTED POTTER star JAMES PERCY

Actor/Comedian JAMES PERCY on playing the iconic Harry Potter for over five years and the continued international success of Potted Potter: The Unauthorized Harry Potter Experience – A Parody by Dan and Jeff. The show returns this holiday season for a four-week engagement at the Broadway Playhouse at Water Tower Place (175 E. Chestnut) Dec. 11, 2019 – Jan. 5, 2020. ABOUT JAMES PERCY James was born and raised in Doncaster, England. Following a law degree at the University of Liverpool, he attended Birmingham School of Acting. Since then, James has starred in various productions in the UK and USA, as well as working internationally as a stand-up comedian. In 2010 James became the youngest actor to ever play the role of 'Wilbur Turnblad' in Hairspray, a role he reprised in 2011. James has also starred in a variety of productions including title roles in Julius Caesar and Romeo & Juliet, Algernon in The Importance of Being Earnest (Derby), Sleeping Beauty (Tivoli Wimborne), Edward VIII (National Trust), Dick Whittington (UK Tour), St. Trinian's The Musical (Pacific Playhouse), The Memory of Water (Birmingham) and Iago in Othello (Birmingham). James also appeared in the comedy improv show, Throw Me A Line and was recently the resident comedian on the world's largest cruise ship, Royal Caribbean's Oasis of the Seas. @james_percy PERFORMANCE INFORMATION Broadway In Chicago, Starvox Entertainment and Potted Productions are delighted to announce the return this holiday season of the hit off-Broadway show, Potted Potter: The Unauthorized Harry Potter Experience – A Parody by Dan and Jeff, for a four-week engagement at the Broadway Playhouse at Water Tower Place (175 E. Chestnut) Dec. 11, 2019 through Jan. 5, 2020. A Critic's Pick by the Daily Herald, The New York Times, New York Magazine, Time Out London, Washington Post and Boston Globe, the show won the prestigious 2012 Olivier Award nomination for Best Entertainment & Family Show, playing to sold-out houses worldwide. The current Las Vegas engagement of the show is the recent recipient of several Best of Las Vegas awards, including the 2019 Gold Winner for the Best New Production in Las Vegas. Created by former BBC Television hosts Daniel Clarkson and Jefferson Turner, the play takes on the ultimate challenge of condensing, or “potting,” all seven Harry Potter books into 70 madcap minutes, aided only by multiple costume changes, brilliant songs, ridiculous props and a generous helping of Hogwarts magic. The show also invites audiences to engage with a real life game of Quidditch, but according to Clarkson and Turner’s unique set of rules. Whether you camped outside a bookstore for three days awaiting the release of the Deathly Hallows or you don’t know the difference between a horcrux and a Hufflepuff, the comedy, magic and mayhem of Potted Potter: The Unauthorized Harry Experience – A Parody by Dan and Jeff makes for an entertaining and hilarious visit to the theatre. The fast-paced show, which has made audiences aged six to Dumbledore (who is very old indeed) roar with laughter all over the world, is perfect for the entire family. TICKET INFORMATION Individual tickets for Potted Potter: The Unauthorized Harry Experience – A Parody by Dan and Jeff range in price from $39.95 - $79.95 with a select number of premium tickets available. Individual ticket will be available by calling the Broadway In Chicago Ticketline at (800) 775-2000 or by visiting BroadwayInChicago.com. Tickets also are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing [email protected]. ABOUT BROADWAY IN CHICAGO Broadway In Chicago was created in July 2000 and over the past 19 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining more than 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including CIBC Theatre, James M. Nederlander Theatre, Cadillac Palace Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre. Broadway In Chicago proudly celebrates 2019 as the Year of Chicago Theatre. Read the full article

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Milwaukee Premiere of HAMILTON Ignites The Power Of Theatre At Its Full Potential

Theater has the power if used to its full potential, to leave powerful and indelible images on the mind of the theatergoer. And, it was more than obvious one rainy night in downtown Milwaukee that the theater did reach its full potential, thanks to the teaming of an extraordinary cast with amazing technical artistry that brought Lin-Manuel Miranda’s Tony Award-winning cultural phenomenon, Hamilton, to life for its Milwaukee premiere in Uihlein Hall of the Marcus Center for the Performing Arts. Milwaukee was pumped up for Hamilton, ready to experience what other cities have already experienced. The applause and shouts of approval started early, right after Joseph Morales, in the title role, finished singing his first song, to be exact. Hamilton takes a page out of our nation’s history book, reconnecting us to one of our Founding Fathers, Alexander Hamilton, a West Indies orphan that rose to become George Washington’s righthand man during the Revolutionary War and the country’s first Secretary of the Treasury. His tumultuous life – through war, career and love – culminating in an infamous duel with longtime acquaintance Aaron Burr, is told through a melodious, broad-ranging score that blends hip-hop, jazz, blues, rap and Rhythm & Blues with Broadway.

Nik Walker - HAMILTON National Tour - (c) Joan Marcus 2018 The plot of Hamilton covers his arrival in America’s colonies as an immigrant that readily supports American independence, his dedication to General Washington during war, his love for Eliza, his wife, his later career as a lawyer and his role in government, and, finally, to the tragic duel with Burr that leaves those surrounding Hamilton with regret and much to think about. Since the drama-rich story is told through the musical score, my advice to those who haven’t seen Hamilton is to find a plot synopsis on the Internet and read it before going to the theater so that you can enjoy the music without having to struggle to understand the ins and outs of the plot. Never mind about the historical accuracy of Hamilton; what is important that we develop an appreciation of our colorful history, and that’s certainly an enjoyable feat with this superb production at the Marcus Center. The cast is first rate, and diverse, too, bringing together white, African American and Oriental performers to give Hamilton that edge of inclusion, so important in today’s America where division is now sadly the norm. Joseph Morales, who was a Hamilton alternate in the original Chicago run, along with Nik Walker as Aaron Burr, Marcus Choi as George Washington and Warren Egypt Franklin as Thomas Jefferson, all gave powerful, memorable performances that earned thunderous applause. But the standout performance on opening night belonged to Neil Haskell, who delivered a delightfully flamboyant portrayal of King George that bought down the house with loads of laughter. Haskell’s sparkling crown and vibrant, ruby red costume aided beautifully in his characterization.

Shoba Narayan, Ta'Rea Campbell and Nyla Sostre. Photo Credit Joan Marcus The choreography, nothing short of amazing, and the lighting, which was simply dazzling, contributed to those indelible images that lingered in my mind as I made my way out of the theater after the performance. Hamilton at the Marcus Center ignites the imagination with an unforgettable musical score, awe-inspiring choreography, a dazzling light show and magnificent performances delivered by an excellent cast. It’s definitely a must-see. Hamilton continues at the Marcus Center through Nov. 17. For tickets, call the Marcus Center Box Office at (414) 273-7206, or visit Ticketmaster.com or MarcusCenter.org. Feature Photo: Elijah Malcomb, Joseph Morales, Kyle Scatliffe, Fergie L. Philippe & Company. Photo Credit Joan Marcus Read the full article

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Interview: THOMAS SCHUMACHER - President & Producer of Disney Theatrical Productions

Thomas Schumacher, President and Producer of Disney Theatrical Productions returns to Showbiz Chicago to discuss all things Disney, Broadway and beyond! Since 1988, Thomas Schumacher has worked with The Walt Disney Company, setting new standards of excellence in film, television, and theatre. Having spent much of his tenure as president of Disney Animation, Mr. Schumacher currently serves as President & Producer of Disney Theatrical Group, where he oversees the development, creation and execution of Disney's legitimate stage entertainment around the globe, including Broadway, touring and licensed productions; as well as Disney on Ice and Disney Live! shows produced in partnership with Feld Entertainment. The division's Broadway, West End, touring and international production credits include Beauty and the Beast, King David, The Lion King, Der Glockner von Notre Dame, Elton John and Tim Rice's Aida, On the Record, High School Musical, Tarzan® , Mary Poppins , The Little Mermaid , Peter and the Starcatcher , Newsies , Aladdin , Shakespeare in Love, and Frozen. The company has collaborated with the country's leading regional theatres to develop new stage titles including The Jungle Book, The Hunchback of Notre Dame and Freaky Friday. Most recent projects include the in-cinema Fathom Events release of Newsies, and the new live-action film Beauty and the Beast and Disney Channel musical adaptation of Freaky Friday, for which he served as Executive Producer. With more than 20 productions currently produced or licensed, a Disney musical is being performed professionally somewhere on the planet virtually every hour of the day. Intensely passionate about theatre from an early age, Schumacher recognized the impact that theatre has on the lives of young people and developed a licensing program with Music Theatre International to make select Disney theatrical titles available for performance in schools and amateur theatres throughout the world. Schumacher's career at Disney began in Walt Disney Feature Animation producing the animated classic The Rescuers Down Under. He was ultimately named President and oversaw some 21 animated features, including The Lion King, The Nightmare Before Christmas, Pocahontas, The Hunchback of Notre Dame, Mulan, Tarzan, Hercules, and Lilo & Stitch, and worked closely with Pixar on their first five films. Prior to joining Disney, he was associate director of the 1987 Los Angeles Festival of Arts, presenting the American premiere of Cirque du Soleil and the English-language premiere of Peter Brook's The Mahabharata. Previously, he spent five years on staff at the Mark Taper Forum, served as a line producer on the 1984 Olympic Arts Festival, and served as assistant general manager of the Los Angeles Ballet. Mr. Schumacher is the author of the book How Does the Show Go On? An Introduction to the Theater, as well as a member of the Board of Trustees for Broadway Cares/Equity Fights AIDS, the Board of Directors for Lincoln Center for the Performing Arts, the Tony® Administration Committee, the College of Fellows of the American Theatre, and was a longtime trustee of the Actors Fund, now serving as a member of the Chairman's Council. He is a former mentor for the TDF Open Doors program and serves as an adjunct professor at Columbia University. He is currently serving as the Chairman of The Broadway League. Read the full article

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Kinosian & Moss Are A Tour De Force In Milwaukee Rep's 2 PIANOS 4 HANDS

Big-scale entertainment, full of laughs! Sensational acting! Dazzling piano playing! Talk about the best way to kick off a new theater season, and that’s just what the Milwaukee Repertory Theater did when it opened its popular Stackner Cabaret series in early September with 2 Pianos 4 Hands. The show, written by Ted Dykstra and Richard Greenblatt, has played on five continents and in over 150 cities since 1996, before arriving in Brew City. It’s easy to see why 2 Pianos 4 Hands has been popular across the globe: billed as a comedic musical duet about two childhood pals who dream of making it big as concert pianists, the show is a vehicle for multi-talented performers who can play different characters, use a myriad of accents and, of course, play the piano. On opening night, a jam-packed crowd witnessed Joe Kinosian and Ben Moss deliver a pair of unforgettable, tour de force performances, then rewarded them for rising to the challenge presented by the material with a standing ovation. As they follow their dreams of keyboard wizardry, Kinosian as Ted and Moss as Richard assume dozens of roles, all played brilliantly. We see interactions between Catholic nun and student, student versus student, student versus parent, and visits to auditions and shows, and we hear the painful words many would-be pianists dread, such as “You don’t have the commitment, the desire,” and “You’ll never be a classic pianist.” Yes, 2 Pianos 4 Hands offers its audience loads of fun interspersed with a lively, diverse musical score, but it also strikes a hurtful chord of sweat and sorrow that many of us who have attempted to master a musical instrument, along with those of us lucky enough to have mastered one, already know all too well. There was a time or two during the show when the dialogue became a bit heavy, causing the audience to grow restless. You wanted to shout, “Enough talking! Play!” After all, who wouldn’t want to revel in the show’s musical score, which includes Bach, Beethoven, Chopin, John Lennon (Imagine), Vince Guaraldi (Linus and Lucy), Richard Rodgers and Lorenz Hart (“My Funny Valentine”) to mention just a few. At show’s end Ted and Richard ask themselves whether they’re good enough to continue to pursue their dreams. It is here that 2 Pianos 4 Hands asks a pivotal question: Do you necessarily have to be the greatest pianist in the world in order to continue playing and making your dream come true? By hearing Ted and Richard perform a memorable, show-ending duet by pouring out their hearts and souls, they answer that question for us. And we hope they will both continue hitting those ivories for a long, long time. The scenic design for the Rep’s production of 2 Pianos 4 Hands is done by Michelle Lilly, a Chicago-based designer. 2 Pianos 4 Hands runs through Nov. 3. For details, www.MilwaukeeRep.com or (414) 224-9490. Feature Photo: Joe Kinosian (left) and Ben Moss (right) by Michael Brosilow Read the full article

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Interview with OSLO’s STEF TOVAR

Showbiz Chicago favorite STEF TOVAR returns to discuss his upcoming role as Yossi Beilin in OSLO. Winner of the 2017 Tony Award for Best Play by J.T. Rogers, OSLO focuses on the back-channel negotiations in the development of the pivotal 1990s Peace Accords between Israel and the Palestinian Liberation Organization. It is a humorous, surprising, and inspiring true story about the people inside politics, and the incredible progress that is possible when we focus on what makes us human—together. OSLO will make its Chicago premiere with TimeLine Theatre’s production at Broadway In Chicago’s Broadway Playhouse (175 E. Chestnut) for a limited six-week engagement from Sept. 10 – Oct. 20, 2019. For more information, visit BroadwayInChicago.com or timelinetheatre.com. Interview with OSLO's STEF TOVAR from Showbiz Media Group on Vimeo. STEF TOVAR (Yossi Beilin) returns to TimeLine, where he appeared in BOY and ENRON. This season, Stef was seen in MAMMA MIA! (Drury Lane) and THE ADVENTURES OF AUGIE MARCH (Court). Chicago credits include APPROPRIATE (Victory Gardens); THE MUSIC MAN (Paramount); SOUTH PACIFIC (Jeff Award nomination – Supporting Actor in a Musical; Marriott) and A TWIST OF WATER for Route 66 Theatre Company, where he is the founder and co-artistic director. Film and television credits include PROVEN INNOCENT, CHICAGO FIRE , CONTAGION, and WIDOWS. Stef is also a professional on-camera acting coach. For more, visit steftovar.com. The Tony Award® Best Play Winner OSLO will make its Chicago premiere with TimeLine Theatre’s production at Broadway In Chicago’s Broadway Playhouse (175 E. Chestnut) for a limited six-week engagement from Sept. 10 – Oct. 20, 2019. OSLO received the 2017 Tony Award for Best Play, as well as New York Critics, Outer Critics, Drama Desk, Drama League, Lucille Lortel, and Obie awards—a sweep of the 2016-17 New York awards season—and was nominated for the Olivier and Evening Standard awards. OSLO is a remarkable story about the unlikely friendships, quiet heroics, and sheer determination that pushed two foes to reach something neither thought truly possible—peace. When the Israeli prime minister and the chairman of the Palestine Liberation Organization shook hands on the White House lawn in 1993, the world had no idea what it took to orchestrate that momentous occasion. Behind the scenes, a Norwegian diplomat and her social scientist husband hatched an intricate, top secret, and sometimes comical scheme to gather an unexpected assortment of players at an idyllic estate just outside Oslo. Far from any international glare, mortal enemies were able to face each other not as adversaries, but as fellow human beings. J.T. Rogers’ OSLO is a humorous, surprising, and inspiring true story about the people inside politics, and the incredible progress that is possible when we focus on what makes us human—together. The cast will star Scott Parkinson as Terje Larsen and Bri Sudia as Mona Juul, with TimeLine Company Member Anish Jethmalani as Ahmed Qurie and Jed Feder as Uri Savir, and Bernard Balbot, Ron E. Rains, Amro Salama, Stef Tovar, Bassam Abdlefattah, Tom Hickey, Victor Holstein, and TimeLine Company Members Juliet Hart and David Parkes. The creative team includes J.T. Rogers (Playwright), Nick Bowling (Director), Jeffrey D. Kmiec (Scenic Designer), Jesse Klug (Lighting Designer), Christine Pascual (Costume Designer), Katie Cordts (Wig and Hair Designer), André Pluess (Sound Designer), Mike Tutaj (Projections Designer), Amy Peter (Properties Designer), Eva Breneman (Dialect Designer), Deborah Blumenthal (Co-Dramaturg), Maren Robinson (Co-Dramaturg), Jonathan Nook (Stage Manager) and Mary Zanger (Assistant Stage Manager). TimeLine’s Chicago production of OSLO is the Chicago premiere. It premiered in fall 2016 in a sold-out run at New York’s Lincoln Center and opened on Broadway in April 2017. It then played at London’s Royal National Theatre in September 2017 before transferring to the West End in October 2017. TICKET INFORMATION Individual tickets for OLSO range in price from $30 - $75 with a select number of premium seats available. Tickets are available for groups 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing [email protected]. For more information, visit BroadwayInChicago.com or timelinetheatre.com. Read the full article

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Interview with Pulitzer Prize Winning Playwright TONY KUSHNER

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Interview with Stage & Screen Icon CONRAD JOHN SCHUCK

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Interview with POTTED POTTER star JAMES PERCY

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Milwaukee Premiere of HAMILTON Ignites The Power Of Theatre At Its Full Potential

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Interview: THOMAS SCHUMACHER - President & Producer of Disney Theatrical Productions

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Kinosian & Moss Are A Tour De Force In Milwaukee Rep's 2 PIANOS 4 HANDS

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Interview with OSLO’s STEF TOVAR

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