Tony Awards Stars respond to Tracy Morgan rant

Direct and to the point. Smart people, these Broadway folk.

Broadway: Million Dollar Quartet to move off-Bway

Million Dollar Quartet, the Broadway jukebox musical about the infamous 1956 recording session that united Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins, will end its run June 12 prior to an Off-Broadway transfer to New World Stages in July, producers announced June 7.

The Tony Award-nominated musical opened on Broadway April 11, 2010, at the Nederlander Theatre following an acclaimed Chicago run, where the musical continues to play the Apollo Theater. When it closes, Million Dollar Quartet will have played 34 previews and 489 regular performances.

Performances are expected to begin at New World Stages in July.

The Off-Broadway transfer will allow producers to continue the run in a smaller venue with less overhead expenses.

Million Dollar Quartet is among a handful of Broadway productions to transfer Off-Broadway recently. Avenue Q and The 39 Steps both made the leap Off-Broadway to extend their New York runs. In addition, the Broadway production of Rock of Ages transferred from the Brooks Atkinson Theatre to the smaller Helen Hayes last winter to streamline costs.

For more information visit MillionDollarQuartetLive.

Broadway Bares XXI: Masterpiece

A sneak preview to whet your appetite for Broadway Bares XXI: Masterpiece, which takes the stage June 19, 2011.

Broadway Bares, conceived by Tony Award-winning director and choreographer Jerry Mitchell, is Broadway's hottest night of the year, featuring more than 200 of the sexiest dancers in show business in an eye-popping spectacular revue of song, dance and burlesque.

Since 1992, the 20 editions have raised more than $7.4 million for Broadway Cares/Equity Fights AIDS.

FOLLIES: a reunion of a "reunion"

In 2001, I was cast in the Broadway musical "Seussical" before it closed.

I had been working in Philadelphia at the Walnut Street Theater assisting a director and acting as dance captain for a production of "A Chorus Line." Shortly before opening in Philly, "Seussical" called and, having previously auditioned for the choreographer Kathleen Marshall, offered me a job. I knew "Seussical" wasn't doing well in terms of ticket sales, but it was limping along. And I had recently returned to NYC from the West Coast with the intention of performing on Broadway again. But before I said yes, my agent asked about the show possibly closing and the casting director said "we wouldn't be hiring Randy if we were closing."

So for the first time in my life, on a Sunday night, I gave my notice. The next day Walnut Street Theater found my replacement and sent out contracts. The next day, my replacement signed the contracts and sent them back. And on Wednesday, as Walnut Street received my replacement's contracts, I got word - three days after I had given my notice - "Seussical" posted it's notice. No way out - I was out of both jobs. I had to leave four days later.

For a week and a half I wandered around NYC depressed that this "thing" had happened to me. I whined in my head as I walked the streets of the upper west side - "but I'm a good person... woe is me..."

Then, as I was leaving an audition for Susan Stroman's "Thou Shalt Not" (the casting folks seemed to like me, then they did not) I got a call from the Roundabout Theatre Company. Aldrin Gonzalez had given his notice to leave "FOLLIES" and when asked, Kathleen Marshall remembered me getting the short end of things said "Call Randy Slovacek" (I had auditioned for "FOLLIES" back in the original auditions). They called, said if I fit the costumes the job was mine. I quickly - and hopefully - asked 'who is leaving?' (Please please please let me fit the costumes...)

Upon hearing Aldrin's name, I literally ran that minute the two blocks from the audition from which I had just been cut to the Belasco Theater on 44th Street to try on the costumes, knowing they would fit.  (Thank you Aldrin, thank you Aldrin, thank you Aldrin...)

Not only did the costumes fit, but the show was a great fit for me. I LOVED joining such a wonderful company. I had replaced in Broadway shows before and it's not always the case that you are so warmly welcomed into an already running show. Everyone was so supportive and friendly. I thoroughly enjoyed doing "FOLLIES" - the material was intoxicating just to be a part of. But more than that, I loved the company.

For one week, I rehearsed during the day and watched the show at night from the back of the house. And then it was show-time.

A funny story about my first performance: Rehearsals had been very low-key as I was only in three numbers in Act Two and had about six slow crosses through the "party" as a waiter in Act One. So the stage manager would walk me through my crosses and directed my moments of interacting with the other actors. Easy-breezy.

One more thing: I would be one of the first actors to enter at the top of the show after a brief prologue featuring Judith Ivey. After her short first scene, a door would open and I was to lead the "party-goers" onto stage as I carried a 40 pound party table that was awkward due to a car battery underneath it's table cloth that powered the lamp on the table.

So, on my first night in the show, as Judith gave the cue and the huge upstage door slid open, I took a deep breath and stepped forward with my table - thrilled to be back on Broadway. HOWEVER, one thing we had failed to make note of during those low-key rehearsals: there was a step up of a few inches as you stepped onto 'the deck' of the stage. I missed that. And as I missed it, I tripped, and fell forward. For the longest 8 seconds of my life I did an heart stopping impersonation of Jerry Lewis as I lurched and slipped and saw my life flash before my eyes. All in front of a Broadway audience. With the entire cast behind me. As I lurched practically alone on center stage, I finally - miraculously - found my balance and snapped to upright posture dead center stage, and continued as if nothing had happened. In the back of the theater I saw Rod McCune, our dance captain, toss his notepad in the air and fall out of sight to the floor. Ah, well. Life. Welcome back to Broadway. :)

Throughout the run, I took every chance to watch the cast's beautiful performances from the wings. Magic. The words, the music and the crush of youthful memories.

And, because I was finished for Act One before Polly Bergen's "I'm Still Here," I would head to the back of the house via the basement and watch her at least six times a week. I never got tired of watching her show-stopping anthem to survivorship. We closed on my birthday, btw, which I share with Polly Bergen.

From the Tony Awards that year (Polly and Blythe were nominated, as well as Theoni Aldredge for costumes, Jonathan Tunick for orchestrations and also for Best Revival):



This past Monday, the cast gathered together for a 10th Anniversary reunion, prompted in part by the passing of our dear cast member Betty Garrett.

I flew across the country purely to attend what would be a genuinely warm, comfortable and loving gathering of a cast; while we may have only spent about five months together in 2001, you'd never know it from the energy at Judith Ivey's home. Just as "FOLLIES" explores, this production represented special memories for the performers who lived it, and we were coming back to "glamorize the old days, stumble through a song or two, and lie about ourselves... a little.” Except there were no lies, only love.

Within seconds of walking into the party I saw beautiful Blythe Danner, who caught my eyes, immediately took my hand and hugged me. I was in heaven. I've loved Blythe's work for so long - Will & Grace, Huff, Streetcar Named Desire - but this was a moment made of friendship.

Years fell away and I felt family around me.

As I moved through Judith Ivey's wonderful home, I was greeted by smiles and "hellos" and hugs. Everyone in the room was beaming wherever they looked.

Seeing Gregory Harrison was a special smile to share as not only had we done "FOLLIES" together but we played in the musical "CHICAGO" together for a year soon after the "FOLLIES" run. I had seen "FOLLIES" many times before I joined the Broadway revival but never really understood the open truth and honesty of the song "The Road You Didn't Take" until I saw him in our show.

Judith Ivey, besides being the picture of talent, was the most wonderful hostess. I have indelible theatrical memories of Judith from her recent triumph of "Glass Menagerie" to our run of "FOLLIES" and going back to her moving yet funny turn in "Precious Sons" on Broadway with Ed Harris in the 1980s. (Actually the first time I introduced myself to Judith backstage at "FOLLIES" I recalled to her one of the funniest moments I'd ever seen on Broadway from her performance in "Precious Sons." She squealed that I remember it.)

Then there's Treat Williams. What a great star, but moreso, what a great actor. I knew of his work as a strong Hollywood leading man. Handsome, sometimes quirky. But in "FOLLIES" he brought not only his leading man qualities, but a "hang-dog" vulnerability that was disarming. And then getting to know him backstage, he was and is approachable, smiling and open to getting to know everyone.

Not only did the cast come together but our director - Matthew Warchus - and choreographer - the fantastic Kathleen Marshall - came to celebrate this theatrical family.

I caught up with so many people I loved working with: Alison Tucker, Joey Sorge, Richard Roland, Sally Mae Dunn, Joe Langworth, my dear T. Oliver Reid,...

I could honestly go on and on and on.

I thought I would be at the party for a few hours, but at 1AM I started following folks out as the party wound down. Much like the party-goers from our show, except in this instance at the end of the evening there were no regrets. Just joy.

And we headed out into the night floating on the gift that was "FOLLIES."

In my mind I always think of them as "the Follies fab four" - Gregory Harrison, Blythe Danner, Judith Ivey and Treat Williams

With Blythe Danner.  Words won't do justice to how happy I am in this photo.

With Gregory Harrison.  I also played in CHICAGO for a year with Greg.

Judith Ivey in a dramatic pose.

With Treat Williams.  What more do I need to say?

With the wonderful Polly Bergen.  We share the same birthday!

Me with Blythe and Gregory

Blythe, me, Gregory, Dorothy, Richard, Treat, Nancy, Matt, Joey and Alison

I think you can get the sense we all like each other, no?

Blythe, me, Dorothy, Nancy, Richard, Matt, Joey and Alison

The ladies of FOLLIES

Anatomy of a Showstopper

The NY Times has a terrific slide show with commentary from Jerry Mitchell (the choreographer of CATCH ME IF YOU CAN), Rob Ashford (director/choreographer of HOW TO SUCCEED...) and Kathleen Marshall (dir/choreographer of ANYTHING GOES) on how and why a show-stopping number is built.

Great photos and great to read what the underlying ideas are in each.

Go! See and read!

Arthur Laurents on NY1 talking about GYPSY

Just fascinating to hear how this great artist directs and explores even his own work.

RIP Mr. Laurents and thank you.

Arthur Laurents passes away at 93

Reports are out saying that legendary director and writer Arthur Laurents has passed away at 93 years old, dying in his sleep.

He wrote his first musical, West Side Story, in 1957, followed by Gypsy and others.

His first screenplay was The Snake Pit in 1948, followed by others including Rope, Anastasia, The Way We Were and The Turning Point. His own play, Invitation to a March in 1960, was the first of several he directed. I Can Get It for You Wholesale in 1961 was the first musical he directed, followed by others including La Cage aux Folles and Gypsy with Angela Lansbury, then Tyne Daly and most recently, Patti LuPone.

In 2000, he wrote a memoir, Original Story By. His latest book, Mainly on Directing: West Side Story, Gypsy, and Other Musicals, was published in March 2009. Most recently, he was writing a new book, The Rest of The Story and working on a potential deal for a film version of Gypsy starring Barbra Streisand.

Established in 2010, The LAURENTS / HATCHER FOUNDATION AWARD is an annual prize to be given for an un-produced, full-length play of social relevance by an emerging American playwright. In addition to being one of the country's largest grants for new work, The Laurents / Hatcher Foundation Award is the first major award for playwrighting to be named in honor of a gay couple: Tony Award winning playwright and director Arthur Laurents and his partner of 52 years, Tom Hatcher.

Tom Hatcher, Laurent's long-time partner died in October 2006. Hatcher had begun his career as an actor but moved into real estate as a contractor and then as a developer. He created the private park adjoining the house in Quogue, Long Island that was home for the couple.

On a personal note, my very first musical I ever performed in was "GYPSY".  It changed my life.  I got my Equity card performing in "WEST SIDE STORY" and had the great gift of performing in the ground-breaking show many times.   His direction of "LA CAGE AUX FOLLES"  brought a new advancement to the LGBT community by being portrayed on a major Broadway stage.

Mr. Laurents' talents were vast and great.  He will be missed.
(via broadwayworld.com)

Let Me Entertain You - Reinking, McKechnie and Rivera

I remember when this first aired. I loved when TV had specials like this with Broadway stars.

Never in my wildest dreams did I ever think I would end up working with all three of these fantastic Tony Award winners. And in some of their biggest successes. I performed in CHICAGO with Chita in the National company; performed in CHICAGO for Ann on Broadway; and performed in A CHORUS LINE with Donna in the National company. How cool is that?

Take a second and enjoy - this was a good time. And great talent.

Priscilla Queen of the Desert on THE VIEW

I saw the show in NYC last week. Had a great time.

Tony Sheldon was nominated for an Outer Critics Circle Award this week as the older, transexual drag queen. The whole cast does a terrific job - the principals AND the ensemble (or as I like to call them - "the backbone of the American Musical theater").

I have to give a special shout-out to Nathan Lee Graham who took every moment on-stage and made the most of it. Creative, engaging and committed, Nathan had me howling through the whole show on his own.

If you're in NYC go see this show. It's not "Medea" but it's a great time.

With Nathan Lee Graham backstage after Priscilla Queen of the Desert on Bway

"Carol Channing: Larger Than Life"

In late May 1994, I was an unemployed actor - again - in NYC. Upon checking the mail on a Wednesday morning, my last unemployment check had arrived and I had no acting job in sight. For years I had worked steadily and supported myself as an actor. It looked like that career was about to take a break.

It seemed clear I was headed back to "table-waiting" land. I had spoken to friends who owned a successful candle store on the upper west side of manhattan who offered a part time job.  Thankful but not thrilled.

I opened the trade papers and saw a casting call for a last minute replacement for the upcoming Broadway revival of "Hello, Dolly!" starring Carol Channing. The show would tour for several months but would come into Broadway. I was avoiding touring at that time as I was becoming the 'National Tour King' with six National tours under my belt but no Broadway debut yet at that time.

But finances are finances. Mr. American Express wrote me every month and always expected me to write back.

I headed to the audition because, well,  that's what unemployed actors do.

Over 125 dancer/actors showed up for that one position. We danced one combination and the creative team quickly cut to 30.

We danced another combination, and another cut - to 15.

We were asked to sing next. It was about this time I heard people saying plans had been made for this slot already and so they were looking for someone the same size as the guy originally cast - who was six feet tall. (p.s. I'm 5'8").

Great.

I headed in to sing for the director, Lee Roy Reams, and the choreographer, Bill Bateman. I have a fairly big voice and with nothing to lose I sang with abandon and no fear knowing I was soon to be 'candle shop bound.'

Upon finishing my song, I started walking towards my dance bag near the door. Lee Roy said "wow - where were you in February?" and out of nowhere I replied, "well, I was working then but my last unemployment check is in that bag on the way to the bank and 'baby needs a new pair of shoes.'"

Lee Roy screamed with laughter.

I smiled and exited the room. Least I got a laugh.

A quick subway ride home and I was soon laying on my couch thinking about candles and looking for a table waiting job.

The phone rang - on the other end of the phone I heard "are you sitting down?"

I paused and said "I'm sorry?"

"Are you sitting down?"

I looked out my living room windows thinking I was being watched as in Hitchcock's "Rear Window."

"Are you sitting down? - You got it!"

It took about four seconds and I suddenly thought "Dolly?"

"You got it - rehearsals start in five days!"

And so began a surprise journey that Cornelius from "Hello, Dolly!" would have said "it's an adventure, Barnaby!" - an adventure that introduced me to Carol Channing, Lee Roy Reams,  Jerry Herman, a new theatrical family,  "Hello, Dolly!" and my future husband.

Over the next 22 months not one member of the show left - we were all a very happy company. The show was beautiful, audiences loved it and Carol Channing was every inch the great Broadway star you wanted her to be.  And warm.  And very funny.

Carol joked and laughed with all of us.  She always made time to meet our husbands, wives, girlfriends, boyfriends and families.  When time permitted she would plan and pay for events for the whole company as we traveled all over the country.  She would buy out seatings of movies complete with all the treats you could eat; a cruise down the River Walk in San Antonio;  Thanksgiving and Christmas dinners; so many things she didn't have to do but would as the the star of the show and matriarch of the family.

Finally landing in NYC on Broadway, we had a dream opening night where New York audiences gave Carol and the show standing ovations, and Lee Roy stopped the band playing at the opening party to read the rave review from the NY Times declaring among other things "Celebrate her!" referring to Carol.  As an actor you dream of things like this.

After Broadway, I was asked to stage the choreography for the post-Broadway national tour. I supervised the tour and among my duties was giving notes to Carol - imagine that.  I have to say she welcomed any input I might have, although believe me, it was never more than small technical notes about spacing or some such thing.  She was always gracious and the picture of professionalism.  And funny.

"Hello, Dolly!" would remain a part of my life for all the years after.  In the past 14 years I've staged several companies of "Dolly" and a few months ago Jerry Herman - the gentle giant - called me to personally ask me to choreograph the upcoming Broadway revival. More on that when it happens.

This past December, I got the chance to dance again on Broadway in a tribute to Carol at the 'Gypsy of the Year' event with several former cast members from "Dolly."  During rehearsals, we were asked to share some memories of working with Carol for a documentary being made about Carol's life.  What I thought would be a few minutes turned into a three hour "love fest" about Carol.

Halden, Bobby, Bill, me and Julian at the first screening

I was emailed a few weeks ago by the director of the documentary that the film would make it's debut at the Tribeca Film Festival.  Back again to NYC to attend the world premiere. This past Saturday afternoon, I got to sit and watch the documentary with the very first audience - including my former "Dolly" cast mates Julian Brightman, Halden Michael, Bobby Randle, Bill Bateman and Kevin Burrows.  Over and over throughout the film we grabbed each other's knee or nudged one another when Carol would do something so "Carol";  when pictures or video of our "Dolly" company came on screen we all straightened up, so proud to have been a part of a great adventure.

"Carol Channing: Larger Than Life" is a fantastic love letter that beautifully captures not only Carol's amazing career, but her love of the theater, love of life and love for her husband. Dori Berinstein, the director, did a terrific job presenting the story that IS Carol Channing. I, and the audience, loved it. And yes, several parts of our "love fest in December" were used. I'm so glad we got to have our love for her captured forever.

After the screening, the "Dolly" boys were invited to come on stage and share in the love.  It was very, very cool.  And wonderful to celebrate Carol again.

"Hello, Dolly!" was my first Broadway experience and that cast was truly a family. We still are today.  Every Broadway cast doesn't find the connection we did.  I love how comfortable I am with my "Dolly" family.  I know these guys.  Theater just does that.  We worked hard together doing what we love to do.  "Hello, Dolly!" was a tough show to do - this wasn't a walk in the park.  But the people, personalities and talent inspired me every day.  Even when I stage the show today, it's their faces I see - that was Julian, that was Bobby, that was Kevin…  I see them the whole time.

I love to say "Hello, Dolly!" is the gift that keeps giving.  In addition to many gifts, like Carol finding the love of her life, I found mine through "Dolly." A great adventure that is still ongoing.

I love these folks.  I'm reminded of that every time I walk into a room and see them.  No matter how many years pass - I smile.

And no one more than Carol.  We love her.  We love being near her.  And so do the audiences.  Still.

(yeah, yeah, yeah - kinda sappy.  But it's my blog - my rules.  Your regularly scheduled sassy American blogger will return in the next post).

The men of "Hello, Dolly!" with Carol at Gypsy of the year

Rehearsals for Gypsy of the Year with Julian Brightman and Bill Bateman

Rehearsals for Gypsy of the Year with Bobby Randle

Dancing with Carol and the guys at Gypsy of the Year in Dec 2010.
This was used by the NY Times to promote the documentary.

The "Dolly Boys" - Me, Bill Bateman, Julian Brightman, Bobby Randle, Halden Michael and Kevin Burrows
at the party after the premiere of "Carol Channing: Larger Than Life"

Julian, Bill, Halden, Dori Berinstein (director of the film) me, Bobby and Kevin at premiere

Broadway: Reviews for "Catch Me If You Can"

"Nobody’s going for a long con here. They’re all just looking to get you through the night, and this they achieve (“in style,” as Frank promises) with flying colors and a few bonus miles left over.  Seized by the acrobatic nostalgia of Jerry Mitchell’s excellent choreography, (the female chorus) uncurl like newborn butterflies who’ve been doing nonstop Pilates in the chrysalis.  By the time the orchestra goes silent and things get dark for swingin’ Frank, their relationship feels a lot more earned than I’d ever expected. Maybe I got conned. If so, I didn’t mind." - NY Magazine

"Marc Shaiman and Scott Wittman again prove themselves an ace songwriting team. Their score evokes cocktail lounges, glitzy floorshows, Rat Pack suaveness, mellow jazz and energized go-go, all wrapped up in Shaiman and Larry Blank's silky-smooth ‘60s-styled orchestrations. Jerry Mitchell's choreography puts a vigorous period-appropriate spin on every number. As Hanratty, Butz (a Tony winner for Dirty Rotten Scoundrels) does nuanced work balancing the jaded, paunchy slob with the wisecracking professional, driven in his quest to catch Frank. The boyishly handsome Tveit, who turned heads in Next to Normal, graduates to a lead role with sparkling self-assurance, strong pipes and natural charm." - The Hollywood Reporter/Reuters

"Mr. Butz so completely takes on the stoop, shuffle, mumble and pallor of an overworked, middle-aged man, stopped the show with “Don’t Break the Rules,” a number about how Carl got into police work.  Holding on to his character’s sad sack mannerisms, and leading with his convex belly, Mr. Butz works the friction between Carl’s dumpy, arthritic form and the jivey spiritedness of the song to create a witty portrait of the passion that pulses within one gray, weary soul." - NY Times

"Conductor John McDaniel presides from a perch in the stage right corner, bobbing along to swinging orchestrations by Shaiman and Larry Blank. That musical sound and the perfs from Butz and Tveit (with assists from the briefly seen Butler and Hart) offer considerable entertainment value." - Variety

"Book of Mormon" opens on Broadway

The new Broadway musical "The Book of Mormon" opened to rave reviews last night.

The NY Times Ben Brantley wrote: "This is to all the doubters and deniers out there, the ones who say that heaven on Broadway does not exist, that it’s only some myth our ancestors dreamed up. I am here to report that a newborn, old-fashioned, pleasure-giving musical has arrived at the Eugene O’Neill Theater, the kind our grandparents told us left them walking on air if not on water. So hie thee hence, nonbelievers (and believers too), to “The Book of Mormon,” and feast upon its sweetness."

The New York Daily News wrote: "Matt Stone and Trey Parker, the envelope-pushing pair behind "South Park," and Robert Lopez, the composer of "Avenue Q," delivered this baby. And, oh boy, it's a real winner. The show is blissfully original, irreverent, outspoken and hilarious. And all that's tucked inside good -- no, great -- old-fashioned musical."

The New York Post wrote: "Sure enough, “The Book of Mormon,” which opened last night, is all that — and much, much more. It’s a fiendishly well-crafted, hilariously smart — or maybe smartly hilarious — song-and-dance extravaganza. The show’s a hoot. The show’s a hit."

So there you have it kids. Go see a real, bonafide Broadway hit with wit.

"HAIR" National Company joins Chicago actors for marriage equality fund-raiser

The National Tour of the 2009 TONY Award winning Best Musical HAIR will join forces with several local Chicago actors to stage a "Be-In" during their stop in Chicago.

The concert event will benefit the non-profit Broadway Impact, a marriage equality organization founded by original tribe member and TONY Award nominee Gavin Creel.

The National Tour tribe has helped keep the spirit and the legacy of HAIR alive with three hugely successful be-in performances in D.C, Seattle, and Los Angeles and is pleased to welcome some of the Chicagoland area's finest local actors into their commune as part of their efforts. The night of music will feature cast members singing their favorite tunes to benefit and raise awareness to the fight for equality.

The event will be held from 6:00-8:00p.m. on Monday, March 14, 2011 at Sidetrack Chicago located at 3349 N. Halsted in Chicago. General Admission tickets are $25 and will be available at the door.

From Broadway's upcoming "Catch Me If You Can"

Fun video and music from upcoming Broadway Musical "Catch Me If You Can"

Kickstarter & The Broadway Warm-Up

I love when ideas beget new ideas and someone is continually coming up with an idea I wish I'd had. Kickstarter is the new kid on the block with a great idea.

This website a great way for artists, filmmakers, musicians, designers, writers, illustrators, explorers, curators, performers, and others to bring their projects, events, and dreams to life.

The word “project” is just as important as “creative” in defining what works on Kickstarter. A project is something finite with a clear beginning and end. Someone can be held accountable to the framework of a project — a project was either completed or it wasn’t — and there are definable expectations that everyone can agree to. This is imperative for every Kickstarter project.

The way it works is: you post your project on the site and come up with different "rewards" at different levels to encourage funding. Some "rewards" can be a simple as "At $10 you receive good karma for helping foster creativity" to "At $50 you get a copy of the finished CD autographed by the artist" to "At $1,000 you get VIP seating at the first screening of our independent movie and Associate Producer credit." You choose the most interesting "rewards" you can think of, pitch your idea on the site and go.

And here's the one caveat: If funding fails, all pledges are canceled and that's that. There are good reasons for this.

1. It's less risk for everyone. If you need $5,000, it's tough having $2,000 and a bunch of people expecting you to complete a $5,000 project.

2. It allows people to test concepts (or conditionally sell stuff) without risk. If you don't receive the support you want, you're not compelled to follow through.

3. It motivates. If people want to see a project come to life, they're going to spread the word.

There are lots of great success stories already.

A friend of mine from Broadway, Deidre Goodwin, is currently raising funding to develop a DVD called "The Broadway Warm-up" with her partner Kim Stern. Both are Broadway veterans and understand the need to warm-up thoroughly before a show. In addition to avoiding injuries, it gives you a time to center yourself before a performance. I think the idea is excellent - it's a 30 minute combined vocal and physical warm-up. Efficient and focused. The girls tell the story much better than I do. I really encourage anyone - whether you're a college performing arts student, a community theater participant or a theater professional - to check it out.

And if you feel it, donate something. I did. And it doesn't have to be a lot. Even a little gets the "producers" of these projects to their goal. And you get to be a part of someone's creative journey. AND at the very least you receive good karma in doing so.

Even if you only pitch in $15, that's the cost of a cocktail or two. I say, sometime this week when you sit down to have a drink or dinner, order a club soda and lime, send the money you saved in that one sitting to The Broadway Warm-up and toast the creative spirit of Deidre and Kim. And feel good you did something to help.

Most of the people who read this blog have some creative or entrepreneurial spirit. Kickstart someone else's dream today, then start your own. Get out there and make something happen instead of waiting for something to happen.

To see more about The Broadway Warm-up, click here. From there you can explore other projects and what Kickstarter is all about.

Carol Channing turns 90 today!

My dear Carol Channing celebrates her 90th birthday today.  I recently performed with her again last month (picture above) in the opening number of the Gypsy of the Year competition, which is a major charity event for Broadway Cares/Equity Fights AIDS.  She brought the house down as only she can.

For those that don't know, I spent two and a half incredible years performing with Carol in the last Broadway revival of Hello, Dolly!.  I eventually became the production supervisor where she would ask me for notes - on how to perform the role of Dolly Levi!  As if I could tell her anything she didn't already know.

A quick Carol story: when I was supervising Dolly on tour, one day we had a particularly long and dreadful travel day - two planes, a bus, a train and a donkey or two - to get to what Carol called "a soccer arena" where we would perform the show that night.  In the sound check Carol looked down and realized that the musician's pit was 25 feet beneath us.  This was the pit that I had to leap over every night in the middle of the Hello, Dolly! number.  For the first time in 30 years of doing the show she decided this was dangerous.  After the sound check she came looking for me to ask if someone could put a net or something between the pit and the stage in case those of us who jumped over the pit happened to fall into it.  At this point, I had 30 minutes before the performance and was taking a long shower to rid myself of the long travel day.  This being a "soccer arena" the showers where open showers in a locker room.  Covered in soap and standing under the water I suddenly heard a very low baritone voice say "Randy".  I turned and there was Carol, in the open showers with me, smiling.  She waited for me to turn and went into her concerns about the pit, a net and all sorts of other things as I stood there completely naked.  When she finished expressing her concerns I said "Absolutely Carol.  But right now I'm soaking wet, taking a shower."  She looked me up and down, smiled and said "Oh! Yes, of course.  Well, you know - we're all just show folk" and then turned and left me to finish my shower.  Nudity was nothing to this old pro who had changed costumes in the wings for decades.

Carol recently gave an interview about her 90th birthday and her thoughts on stage fright, losing the movie role of Dolly Levi to Streisand and getting the arts back into public schools.  She is truly a national treasure.

Celebrate our fabulous Carol Channing today.  As she likes to say - the first 90 years are the hardest...