TIME celebrities

Cabaret’s Joel Grey Comes Out: ‘If You Have to Put a Label On It, I’m a Gay Man’

Actor Joel Grey attends the 73rd Annual George Foster Peabody Awards at the Waldorf Astoria on May 19, 2014 in New York.
Actor Joel Grey attends the 73rd Annual George Foster Peabody Awards at the Waldorf Astoria on May 19, 2014 in New York. Debby Wong—Corbis

"All the people close to me have known for years who I am," Grey tells People

Broadway icon and award-winning actor star Joel Grey is speaking publicly about his sexuality for the very first time.

“I don’t like labels,” Grey tells People magazine, “but if you have to put a label on it, I’m a gay man.”

The 82-year-old won an Oscar and a Tony for his role as the Master of Ceremonies in Cabaret (Grey has also appeared on Private Practice and Buffy the Vampire Slayer.) He was married for 24 years to actress Jo Wilderand and raised two children, a time period he calls the “happiest of my life.”

“All the people close to me have known for years who I am,” Grey says. “[Yet] it took time to embrace that other part of who I always was.”

The announcement kicks off a busy year for the actor: his memoir and a new photography book are due later in 2015.

Read more excerpts from the interview at People.

MONEY Super Bowl

The 5 Best Deals If You’re Not Watching the Super Bowl

"The Book of Mormon" on Broadway at Eugene O'Neill Theatre in New York City
"The Book of Mormon" on Broadway at Eugene O'Neill Theatre in New York City Stephen Lovekin—Getty Images

Lower prices and shorter lines await those who skip watching football on February 1 in favor of other attractions.

If the only hawks you care about seeing Super Bowl Sunday have wings and feathers, there’s a good chance your wish can come true—for cheap, no less.

Thanks to the one-third of the U.S. population that will be parked in front of their TVs watching football on February 1, it will be easier for the rest to snag discounts at zoos, ski resorts, spas, and other attractions—not to mention score seats at otherwise unavailable shows and restaurants.

Here are five suggestions for Super Bowl-skippers in search of good deals.

1. Take in a show

Super Bowl Sunday is a great time to see musicals and other popular shows that are normally hard to get into. For example, as of January 21, $99 evening tickets to perennially sold-out Broadway show “Book of Mormon” were still available for February 1 directly through Telecharge. And even if tickets to a hit show are all sold out at the box office, you’re still likely to get a discount on the resale market: Tickets on Stubhub for the same February 1 “Book of Mormon” performance are $40 cheaper than those for the following Sunday.

To look for theater performances near you, check Ticketmaster.com.

2. Finally eat at that restaurant you’ve been wanting to try

While everyone else has to settle for mediocre tailgate snacks, you have a much better shot than usual at scoring an enviable meal at some of your city’s hottest eateries. Restaurant reservation site OpenTable.com typically seats only about half the number of bookings on Super Bowl Sunday as on the Sunday before or after.

Some cities offer even better odds. In Philadelphia, reservations are typically down 60%, OpenTable found. But even major markets like New York City and Boston experience a pronounced dip: 30-40% fewer people will dine out in those cities on February 1.

A word to the wise: Even though your chances improve dramatically on game day, “some of the hottest and most acclaimed restaurants can still be tough to get into,” says Tiffany Fox, a spokeswoman for OpenTable. “So people shouldn’t wait to the last minute to book if there’s a special spot they’ve been dying to get into.”

3. Enjoy zoos and theme parks without the crowds

While Disney World spokespeople claim the event has no impact on park attendance, Disney vacation planning sites like EasyWDW.com and TheMouseForLess.com recommend visiting the parks on Super Bowl Sunday because you can expect far less company.

The game “keeps many locals away and is usually a great time to tour the parks,” notes TheMouseForLess.com, and Disney’s Hollywood Studios was “virtually dead on Super Bowl Sunday each of the last three years,” according to EasyWDW.com.

If you’re not going to be in sunny California or Florida come game day, try your local zoo or wildlife park. The Nashville Zoo, for example, is offering a “Zooperbowl Deal” this year that cuts admission by half. And last year the Virginia Zoo offered 50% off to anyone wearing merchandise from a Super Bowl participating team.

4. Hit the slopes

Skiers and snowboarders hitting the slopes instead of the sofa over Super Bowl weekend are in for a treat: Lift lines will be scant, and many ski resorts plan to roll out deep discounts that day.

The average booked savings on Liftopia.com during last year’s game day was 29% off window rates, making it the best value of any Sunday during the regular ski season. Prices are expected to drop similarly this year, but you will need to book in advance to take advantage.

The Arapahoe Basin Ski Area in Colorado, for example, has cut lift tickets to $57 this year, or 33% off, according to Liftopia. Utah’s Snowbasin slashed rates by 29% to $63. And in Vermont, Okemo Mountain is offering tickets for $73, or a 21% discount.

5. Have a spa day

If you’d literally rather stare at the ceiling than watch football, you can do exactly that—while getting a discounted massage or facial. You’ll find deals all across the country as spas promote their services for so-called Super Bowl widows (and widowers).

“If you don’t see a special at your favorite spa, just ask,” says Beth McGroarty, research director at spa directory site Spafinder.com. “Bookings may be lighter, and under-the-radar deals may be available—especially group discounts.”

If you don’t have a particular spa in mind, browse ratings on sites like Spafinder and Yelp and make calls to compare prices. Some examples of Super Bowl spa deals currently available include 15% off regular services at Clay Health Club + Spa in New York City; 25% off services at Kohler Waters Spa in Kohler, Wisconsin; and $50 off massages at The Palms Spa in Miami Beach, Florida.

TIME Theater

Clinton the Musical Set for Off-Broadway Premiere

US-THEATRE-CLINTON
Karl Kenzler, left, Alet Taylor, right, and Duke LaFoon, center, perform a song from Clinton: The Musical during the New York Musical Theatre Festival special preview on July 2, 2014. Timoth A. Clary—AFP/Getty Images

Official opening on April 9 at the New World Stages

Clinton the Musical, which debuted last summer at the New York Musical Theater Festival, is set for an Off-Broadway premiere this spring.

The New World Stages theatre, with 349 seats, will host the musical that pokes fun at the scandals from the Clinton administration, the New York Times reports. Former President Bill Clinton is split into two characters — a tough-minded Bill and an easily-tempted one — while Hillary plans for her own Senate run amidst the Monica Lewinsky scandal.

The musical was created by Paul Hodge and Michael Hodge, two brothers from Australia, and is directed by Dan Knechtges, of Tail! Spin! fame, another political comedy that debuted last fall.

Clinton the Musical will begin performances on March 26 with an official opening on April 9.

[NYT]

TIME Theater

Cold Weather, Hot Shows: Honeymoon in Vegas and Constellations

"Honeymoon In Vegas" Broadway Opening Night - Arrivals & Curtain Call
From left: Matthew Saldivar, Tony Danza, Rob McClure, Brynn O'Malley, Nancy Opel and David Josefsberg with the cast during the Broadway Opening Night Performance Curtain Call for Honeymoon in Vegas at the Nederlander Theatre on Jan. 15, 2014 in New York City. Walter McBride—Getty Images/WireImage

Broadway's bleakest month is brightened by two very different shows

“Opening in January.” They’re the three most depressing words in movies — a telltale sign that the lame action film or Jennifer Lopez thriller you’re being touted is a sorry leftover, dumped by the studio in the fallow month following the big holiday releases. It’s not much different on Broadway, where big shows tend to close, not open, during the most low-trafficked month of the year. Two recent openings, however, are making this January a happy exception.

Honeymoon in Vegas, a long-aborning musical that opened last night at the Nederlander Theater, is based on the 1992 Andrew Bergman movie about a marriage-phobic guy who takes his fiancee to Vegas to tie the knot, only to see her fall into the clutches of a lovelorn gambler. With a book by Bergman himself and songs by the prolific Jason Robert Brown, it makes the screen-to-stage transition better than a lot of recent musicals (like last season’s Bridges of Madison County, which Brown also scored). The show is splashy and fun, and I’m betting it’s a hit.

Fans of the movie, it must be said, will notice a few deficiencies. As the nervous bachelor Jack Singer, Rob McClure (so wonderful in the title role of the musical Chaplin) settles for generic Broadway spunk, a far cry from the frantic angst that Nicolas Cage brought to the movie role. And the show’s biggest star, Tony Danza, is just a TV-bland smoothie as the gambler, with none of James Caan’s intriguing mix of menace and vulnerability on the big screen.

But hey, this is a Broadway musical, where production ingenuity, not character subtlety, is the coin of the realm. And by that measure, Honeymoon in Vegas is in the chips.

The story, for one thing, has more heft and coherence than most musical-comedies. Jack’s resistance to marriage stems from a promise to his dying mother (Nancy Opel), who pops up throughout the show, amusingly, as a nagging dybbuk. Then, just when Jack is about to break the curse and get Betsy (Brynn O’Malley) into a Vegas wedding chapel, he loses $58,000 in a poker game to the gambler — who offers to forgive the debt in exchange for a weekend with the girlfriend.

Director Gary Griffin (Broadway’s The Color Purple) takes all this seriously enough that the slick, Vegas-style production numbers don’t render the moral dilemma meaningless. Brown, one of the new generation of theatrical songwriters indebted to Stephen Sondheim, here seems to be channeling Jerry Herman instead, with bright, listener-friendly tunes full of big-band sizzle and lounge-show steam.

And then there are the flying Elvises. In the film’s most famous scene, Jack hitches a ride back to Vegas with a band of skydiving Elvis impersonators and parachute-jumps to Betsy’s rescue. The pompadoured Elvii — dressed in gold spangled leisure suits, grunting in unison — are a real hoot, and the skydiving sequence is done with such witty, low-tech stagecraft that it instantly earns a spot (along with “The Telephone Hour” from Bye Bye Birdie, and Susan Stroman’s walker-tapping grannies in The Producers) on my list of Broadway’s great comic production numbers.

Nothing could be further from the splashy Honeymoon in Vegas than the spare, mystical, two-character play Constellations, which also opened this week in a Manhattan Theater Club production. But if the first is an affirmation of the pleasures of old-fashioned Broadway professionalism, the second is heartening proof that Broadway can still, occasionally, find a place for serious and challenging new work, too.

Nick Payne’s one-act play, first produced at London’s Royal Court Theatre, is the chronicle of a couple’s life together, told in brief, time-jumbled scenes that recount the key moments of their relationship, from their first meeting (at a rain-soaked barbecue) through various crises, reconciliations and turning points. The gimmick (and I mean that in the nicest way) is that each scene is replayed several times, often in short, repetitive snippets, representing various alternate scenarios. A first night at Marianne’s apartment, for example, ends abruptly (“I’m not asking you to understand, I’m asking you to leave”), then warily, then tenderly, depending on each new iteration of the dialogue and tone of voice.

The point, we are told a little more explicitly than you might expect, lies in Marianne’s work as a theoretical physicist. She expounds on something called the “quantum multiverse,” where “every choice, every decision you’ve ever and never made exists in an unimaginably vast ensemble of parallel universes.” Scientifically speaking, there’s probably less here than meets the eye, but it’s a neat artistic construct to bring home the randomness of life, the way our personal histories can turn on the thinnest of dimes.

It wouldn’t work, however, without the exacting direction of Michael Longhurst (who directed the original London production). Each scene and time change is signaled with a quick change of lighting and a Law and Order-style sound burst. Just as important is the fine-grained acting by Jake Gillenhaal (doing an acceptable British accent) and Ruth Wilson (doing her real one), who register each emotional shift with precision and feeling.

I could have done without one major plot turn — a health crisis — that takes the play in a more conventional (if undeniably affecting) direction. Yet Payne sustains his conceit to the end, and manages to complete a theatrical high-wire act with breathtaking skill. Even the flying Elvises would be impressed.

TIME Theater

Broadway’s Second Season: 10 Shows to Watch For

From left: Broadway bound cast of Finding Neverland Jo Lawry, Tata Vega, Darlene Love, Gary Barlow, Aidan Gemme, Hayden Signoretti, Sawyer Nunes, Alex Dreier and Laura Michelle Kelly after performing songs on ABC's 'Good Morning America' on Nov. 27, 2014 in New York City.
From left: Broadway bound cast of Finding Neverland Jo Lawry, Tata Vega, Darlene Love, Gary Barlow, Aidan Gemme, Hayden Signoretti, Sawyer Nunes, Alex Dreier and Laura Michelle Kelly after performing songs on ABC's 'Good Morning America' on Nov. 27, 2014 in New York City. Jenny Anderson—2014 Getty Images

Big musicals, British imports and Larry David highlight Broadway's winter-spring semester

Correction appended: Jan. 14, 2015

The first half of the Broadway season has been, at best, a disappointment. Only one new musical — The Last Ship, which has already announced its closing later this month — along with a surfeit of big-star revivals (It’s Only a Play, with Nathan Lane;The Elephant Man, with Bradley Cooper). But Broadway’s season, now more than ever, is heavily backloaded, with most of the high-profile shows waiting until closer to the spring and Tony-nomination time.

Among the most promising shows waiting in the wings:

Honeymoon in Vegas (opening Jan. 15). Big musicals generally don’t like to open in the frigid, audience-challenged month of January. But last year’s Beautiful: The Carole King Musical bucked the conventional wisdom, opened in January and became one of the season’s unexpected hits. Trying to duplicate that feat this year is Honeymoon in Vegas, based on the 1992 movie about a guy who takes his fiancee to Vegas, then has to keep her out of the hands of a smooth-talking gambler. Jason Robert Brown (last season’s Bridges of Madison County) wrote the score, and Tony Danza stars in the show, which got good reviews in a pre-Broadway run at New Jersey’s Paper Mill Playhouse.

Fish in the Dark (Mar. 5). The publicity campaign is already in high gear for the Broadway debut — as both star and playwright — of TV’s favorite comedy sourpuss, Larry David. The Curb Your Enthusiasm star and Seinfeld co-creator has divulged few details of the story — it’s about a death in the family and centers on a character very much like Larry David — but has surrounded himself with a formidable cast of TV and Broadway vets, among them Rita Wilson, Rosie Perez, Jayne Houdyshell and Lewis J. Stadlen.

The Audience (Mar. 8). Helen Mirren, who at this point could probably fill in for Queen Elizabeth at knighthood ceremonies, once again plays the British monarch in Peter Morgan’s historical drama, which imagines the conversations between the Queen and a succession of British prime ministers, from Winston Churchill to David Cameron. Stephen Daldry (Billy Elliot) directs the production, which was a hit at London’s National Theatre, as well as in a live movie-theater presentation in 2013.

The Heidi Chronicles (Mar. 19). The first Broadway revival of Wendy Wasserstein’s Pulitzer Prize-winning 1989 play, about an art historian whose life mirrors the ups and downs of the women’s movement from the 1960s through the ’80s. Elizabeth Moss (Mad Men) stars as the confused feminist, and director Pam MacKinnon (who won a Tony for the recent revival of Who’s Afraid of Virginia Woolf) will help us determine whether the play holds up as more than a period piece.

Skylight (Apr. 2). Bill Nighy and Carey Mulligan star in a revival of David Hare’s 1995 play about a restaurateur who pays an unexpected visit to the flat of his former girlfriend. Another British import (directed, again, by the estimable Stephen Daldry) that arrives here following rave reviews and sellout crowds in London.

Wolf Hall, Parts 1 & 2 (Apr. 9). A double dose of British history: the Royal Shakespeare Company’s acclaimed adaptation of Hillary Mantel’s bestselling novels about intrigue in the court of Henry VIII. The two plays, adapted by Mike Poulton and originally titled Wolf Hall and Bring Up the Bodies, were hits in London, but whether they can entice Americans theatergoers to spend two music-free evenings at Broadway’s Winter Garden Theater (longtime home to Cats and Mamma Mia) remains to be seen.

Finding Neverland (Apr. 15). The critics were mixed when this musical based on the movie about Peter Pan creator J.M. Barrie premiered last year at the American Repertory Theater in Cambridge, Mass. But producer Harvey Weinstein, overseeing his first Broadway show, is a determined man, and he’s corralled star Matthew Morrison (Glee) and director Diane Paulus (who helmed the hit revivals of Hair, Porgy and Bess and Pippin) to try to transform it into a Broadway smash.

The King and I (Apr. 16). The lovely, creamy-voiced Kelli O’Hara continues her march through the Rodgers & Hammerstein songbook, starring in a revival of the team’s beloved 1951 show about a British schoolteacher and the King of Siam. Director Bartlett Sher, who guided O’Hara in the successful 2008 revival of South Pacific, is again at the helm, and Japanese actor Ken Watanabe makes his Broadway debut as the king.

Fun Home (Apr. 19). The critics have already given a big thumbs-up to Lisa Kron’s heartfelt musical, with songs by Jeanine Tesori, based on graphic novelist Alison Bechdel’s memoir of her troubled family life. The question is whether this very downtown show, transferring to Broadway after its acclaimed 2013 run at the Public Theater, can win over a mainstream audience.

Doctor Zhivago (Apr. 21). Either the biggest hit or the biggest joke of the spring season: a lavish musical (with songs by Lucy Simon) based on Boris Pasternak’s famed novel about the Russian Revolution. Critics who saw the show in Australia were impressed, but the lack of stars and a poor track record for foreign-born musical spectacles on Broadway (see Rocky) could make it a Russian white elephant.

Correction: A previous version of this story misstated the first name of the playwright for Wolf Hall. He is Mike Poulton.

TIME Theater

The World’s Longest-Running Musical Started Small — and Stayed Small

Liza Minnelli
Liza Minnelli in a scene from a 1964 stock production of musical The Fantasticks Ray Fishe—The LIFE Images Collection/Getty

Jan. 13, 2002: 'The Fantasticks' ends its off-Broadway run of 42 years and 17,162 performances

Few thought it could ever compete with the Broadway musicals.

Its tiny cast comprised eight actors and an orchestra of two — a pianist and a harpist. The set was Spartan: a small wooden platform, a bench, a trunk and a cardboard moon hung from a pole.

When The Fantasticks made its off-Broadway debut in 1960, at the Sullivan Street Playhouse in Greenwich Village, the reviews were bad enough that the show’s writer, Tom Jones (not that Tom Jones), spent the rest of the night drinking heavily and throwing up in Central Park, he later told the Associated Press.

The story itself was “slight,” according to the New York Times review, which summed up the plot thus: “A boy and a girl, who are neighbors, are in love as long as a wall separates them and they believe that their fathers disapprove. Actually, their fathers want them to marry. To create an irresistible romantic mood, the fathers arrange a flamboyant abduction scene in the moonlight.”

But the slight story, simply staged, became the little musical that could. When it closed on this day, Jan. 13, in 2002, it ended a run of 42 years and 17,162 performances, making it the world’s longest-running musical. Nothing on Broadway even comes close to its tenure: the nearest is The Phantom of the Opera, which opened in 1988 and played its 10,000th performance in 2012. The London production of The Mousetrap, now in its 63rd year, with more than 25,000 performances, is the only play to outdo The Fantasticks in longevity. The Agatha Christie whodunit is the world’s longest-running show of any kind.

Despite its dismal opening, The Fantasticks managed to get under the skin of critics and theatergoers. Five years after it opened, TIME heralded the musical as one of Broadway’s sleeper successes:

After losing money the first nine weeks, it managed to set up a love affair with its audience, kept everything cozy and intimate in a 150-seat, off-Broadway house. Fans of the show began going back again and again; one critic comes back every anniversary.

Its slow-but-steady success paid off for the 52 investors who gambled on the show in 1960. One investor, Ira Kapp, told the New York Times in 2010 that he’d only paid up in the first place because he felt guilty for nodding off during a run-through of the musical.

“That’s the luckiest investment I ever made in my life,” he said.

The show’s 2002 closing, as it turned out, was just an intermission: A revival opened four years later at the Snapple Theater Center — still off-Broadway, but now in Midtown, with the same small cast and sparse set. Tom Jones reprised the minor role he had played nearly half a century earlier, but with one tweak: the character once billed as “Actor” was listed instead as “Old Actor.”

Read TIME’s original assessment of The Fantasticks, here in the archives: Broadway: What Makes Some Run

TIME Theater

The Surprising Fact About History’s Most Famous Stripper

Gypsy Rose Lee
Gypsy Rose Lee at home in New York City on May 7, 1940 New York Daily News Archiv / Getty Images

Jan. 9, 1914: Gypsy Rose Lee, the burlesque star famous for her wit, is born

Gypsy Rose Lee’s astronomical fame as a stripper is perhaps even more impressive considering one surprising aspect of her routine: the act that made her name didn’t actually feature getting completely naked.

She objected to “theatrical nudity,” according to her 1970 obituary in the New York Times, not on moral grounds, but because it made for bad theater.

Bare flesh bores men,” she’s reported as saying.

But crowds didn’t flock to her shows just to see nudity. They came for her wit as much as her reputation for “disrobing gracefully.” When overeager members of the crowd urged her to show more, she disarmed them with humor, according to an NPR interview with the author Karen Abbott, who wrote a biography of the burlesque star.

“Oh, boys, I couldn’t,” Gypsy would say. “I’d catch cold.”

She was born Rose Louise Hovick on this day, Jan. 9, in 1914 — at least according to the Times; different birthdates appear in different news outlets, probably because Hovick’s mother reportedly carried multiple birth certificates for her two young daughters, to get around child labor laws when they appeared in vaudeville acts. As a child, with an overbearing stage mother (the larger-than-life Momma Rose from the musical Gypsy, which was based on Hovick’s memoir of the same name) she was known as the shy, bookish one in the family. “Rose in those years was a pudgy, lonely girl who found solace between one-night stands in reading Shakespeare,” her obituary recounted. But Gypsy developed an undeniable talent for burlesque. She put the “tease” in striptease, with a slow, deliberate style that captivated her audiences.

“One of my grandmother’s cousins saw Gypsy perform,” Abbott told NPR. He reported back that the star “took a full 15 minutes to peel off a single glove — and that she was ‘so damn good at it that he gladly would have given her 15 more.’”

She also grew up to be similarly skilled, if less celebrated, as a writer. She applied her literary talents to her memoir and two murder mysteries, The G-String Murders and Mother Finds a Body, drawn from her life in the burlesque world.

TIME’s 1941 review of The G-String Murders sums up the storyline succinctly: “Two bitchy strip queens are murdered with their own G-strings.” While the plot may have been pulpy, the writing shone, according to the review, which described the novel in glowing terms that could have applied equally to Gypsy’s stage performances: “lurid, witty, and highly competent.”

Read the full book review, here in TIME’s archives: For the Publicity

Read TIME’s original review of Gypsy, here in the archives: New Musical on Broadway

TIME Theater

Broadway Loses Its Faith in Sting: Singer’s The Last Ship to Close Early

Sting and the cast of 'The Last Ship' host a CD autograph signing for the Original Broadway Cast Recording of 'The Last Ship' on stage on Dec. 21, 2014 in New York City.
Sting and the cast of 'The Last Ship' host a CD autograph signing for the Original Broadway Cast Recording of 'The Last Ship' on stage on Dec. 21, 2014 in New York City. Walter McBride—Getty Images

The Broadway musical will finish its run on Jan. 24

The Last Ship will have its last performance on Broadway later this month, as the New York Times reports that Sting’s musical is headed for closure. In an email obtained by the Times two of the show’s producers wrote: “We have been bewildered and saddened by our inability to sustain an audience for this musical that we deeply love.” The show will end its run Jan. 24.

This news comes after Sting, who wrote the show’s music and lyrics, tried to help save the show about shipbuilders by joining the cast himself in December. According to the Times, the show was selling better following the addition of Sting, though not spectacularly, and would start losing substantial sums again once he departed.

In their email the producers explained that “Sting’s herculean participation on stage since December 9th has lengthened our run, filled the theater with enthusiastic audiences and helped to burnish ‘The Last Ship’ in the canon of beautiful, original new musicals.”

The musical has an autobiographical bent for Sting and takes place in his hometown of Wallsend.

This article originally appeared at EW.com

TIME Theater

Broadway Sees Record-Breaking Year

From left: Anthony Heald, Bradley Cooper and Patricia Clarkson during the Broadway Opening Night Performance Curtain Call for 'The Elephant Man' on Dec. 7, 2014 in New York City.
From left: Anthony Heald, Bradley Cooper and Patricia Clarkson during the Broadway opening-night-performance curtain call for The Elephant Man on Dec. 7, 2014, in New York City Walter McBride—Getty Images/WireImage

Last year was good to Broadway

Broadway grossed more and had more attendees than ever before in 2014, with 13.1 million people attending shows last year and netting a record $1.36 billion.

The unprecedented figures represent a 13% bump in attendance and a 14% increase in grosses from 2013, reports Reuters, citing the Broadway League, the trade association that represents the New York City theater district.

Meanwhile, the week ending Sunday, Dec. 28, was the best-attended and highest-grossing Christmas week ever recorded on Broadway with 36 shows. The figures owe a lot to Wicked, The Lion King and Book of Mormon, which each brought in more than $2.2 million, as well as star-studded top sellers, including The Elephant Man, which stars Bradley Cooper and reaped more than $1 million.

TIME Theater

Andrew Lloyd Webber Says Cats Will Return to Broadway

bows at the curtain call during the press night performance of "Cats" as Nicole Scherzinger joins the cast at the London Palladium on December 11, 2014 in London, England.
Nicole Scherzinger bows at the curtain call during the press night performance of "Cats" at the London Palladium on Dec. 11, 2014 in London. David M. Benett—Getty Images

And he wants to cast a Pussycat Dolls singer in the production's lead role

Andrew Lloyd Webber wasn’t pussyfooting around when he announced Monday that his hit musical Cats will return to Broadway.

Webber did not specify run dates or divulge further details about a New York production, though he did say he hopes to replicate the success of a recent revival of the musical in London’s West End, after a 10 year hiatus, the Guardian reports.

Webber added that he “greatly hoped” to introduce U.S. audiences to the newest performer in star role of Grizabellar, Nicole Scherzinger, a former singer for the Pussycat Dolls.

“She is what you might call an American theater babe,” Webber said of Scherzinger. “I do believe she is the most exciting musical theater artist I have found – well, that I have worked with – in very, very many years. I really do.”

Let the memory live again.

[Guardian]

 

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