All Entries Tagged With: "Matthew Risch"

More Award Nominations for Pal Joey!

From Variety:
Astaire Awards announce nominees

Choreographers of Broadway tuners “Billy Elliot” and “Hair” and pics “Slumdog Millionaire” and “High School Musical 3″ are among the nominees of the 2009 edition of the dance-centric Astaire Awards.
Director and choreographer Stanley Donen (”Singin’ in the Rain,” “On the Town”) will get the lifetime achievement award at the ceremony, set for June 1.

Nominees for Rialto choreographer are Andy Blankenbuehler (”9 to 5″), Karole Armitage (”Hair”), Peter Darling (”Billy Elliot”), Sergio Trujillo (”Guys and Dolls”) and Graciela Daniele (”Pal Joey”)…

Performer noms for male dancers went to Jeffrey Denman (”White Christmas”), Matthew Risch (”Pal Joey”), plus a shared nom for the three young actors who rotate in the title role of “Billy Elliot” and another for the two who alternate in the role of Billy’s friend Michael.

Matthew Risch Heading To Chicago….To Teach!

Following his extended run in Pal Joey, Matthew Risch will be headed to Chicago to participate in a one-day-only workshop presented by The Broadway Dreams Foundation. “Triple Threat Extreme - Legally Blonde Style” brings three of the original cast members of the hit Broadway Show Legally Blonde to instruct, encourage and inspire Broadway hopefuls of all ages to follow their dreams. Besides Risch, the faculty includes Nikki Snelson (Brooke, the fitness guru in Legally Blonde), and Paul Canaan (Legally Blonde ensemble, and a judge on the MTV series Legally Blonde: The Search For Elle Woods) as its Artistic Director.

The curriculum for this event emphasizes becoming a triple threat: a performer equally talented in singing, dancing, and acting. Something Matt has had much practice in for the past several months. Attendees to this workshop will certainly benefit from his recent experience in Pal Joey.

“Triple Threat Extreme - Legally Blonde Style” will be offered one day only: Sunday, March 29th at Giordano Dance School, 614 Davis Street, Evanston, IL 60201. For more information, you can visit www.mybroadwaydreams.com.

LAST CHANCE! Pal Joey Plays Last Show March 1

Only a few days left to catch Stockard Channing, Matthew Risch and Martha Plimpton starring in Pal Joey at the Roundabout Theatre Company’s Studio 54. The final curtain is Sunday, March 1, and tickets are available.

Matthew Risch, One Of The Hottest Guys In Theater

The website “afterelton” posted its picks for the 37 hottest guys in theater. Among the Broadway cuties is Pal Joey’s own Matthew Risch.

by Michael Portantiere
January 27, 2009

Matthew Risch was an ensemble member and understudy in the Broadway casts of Chicago and Legally Blonde, but he stepped up to the plate and took on the title role in the current revival of Pal Joey when original star Christian Hoff dropped out of that production shortly before opening. The lyrics to one of the show’s most famous songs describe Joey Evans as a “half-pint imitation,” but as far as we’re concerned, Matthew is the real thing.

To see the entire list of 37, click here to open the article in a new window.

Pal Joey Video Review

Broadway .com has a section titled “Word of Mouth” that allows real theatergoers the opportunity to give their opinions on what’s hot and what’s not on Broadway. In this segment, panelists Mark, Mary and Steven discuss their thoughts on Pal Joey. (The video also includes several clips from the show.)

Click here to watch the video in a new window.

The Reviews Are In….

Although opening night for Pal Joey was three weeks ago, the reviews just keep coming. And boy, are they mixed. We see comments all over the board, from “There is a lot to praise and be thankful for in this smartly refreshed and snappily staged production” (Total Theater); to “The new book… does little harm…Almost everything else, however, is just plain awful” (Village Voice). It’s hard to know who to believe. Why are the reviews so mixed? I believe Robert Hofler’s Variety article helps to put it all into perspective.

‘Pal Joey’ gets mixed response
1940 musical resists a definitive production
By ROBERT HOFLER

The new Joe Mantello-helmed revival of “Pal Joey” has received the kind of reviews that should send any serious theatergoer running to the Studio 54 box office. Not that those notices have been universal raves — such positive critical response is usually reserved for productions that meet expectations rather than challenge them.

Mantello’s “Joey,” on the other hand, is a defiant “Joey,” and the reviews have been all over the map — a fact that should serve as an indicator to legit avids that the material is gutsy enough to warrant attention.

In theory, theater people love this 1940 Rodgers & Hart tuner, but in practice it is one of those flawed shows (like Stephen Sondheim’s 1971 outing “Follies”) that resists a definitive production. Besides, the story of Joey the gigolo, out to bilk an older married lady named Vera, has always been one of the darkest tales to inspire a Broadway tuner. It makes Sondheim’s oeuvre look positively upbeat.

Still, it’s bizarre to see Mantello’s staging pejoratively described as “ruthless,” “joyless” and “unhappy” — as if such qualities don’t compute in musical theater.

One of the controversies of this “Joey” is that its leading man, newcomer Matthew Risch, the understudy who replaced Christian Hoff in the eleventh hour, fails to deliver the requisite dollop of charm to his catting around. Reviewers have compared him with actors they never saw in the role, namely Gene Kelly, or men who have never essayed Joey onstage, including Hugh Jackman, Harry Connick Jr. and, yes, Frank Sinatra, who insisted, among other woeful ideas, that he sing “The Lady Is a Tramp” in the misconceived (and far happier) 1957 film version.

Eric Sciotto; Pal Joey’s Gypsy Robe Recipient

Tradition has always been a huge part of the theatre. The Gypsy Robe is one of these traditions, and is reserved exclusively for the singing and dancing chorus in a Broadway musical. Members of the singing and dancing chorus, if they are lucky, go from one show to another, never staying in a show forever, reminiscent of the gypsies of old.

GYPSY ROBE HISTORY

The Gypsy Robe tradition started in 1950, when Bill Bradley, in the chorus of Gentlemen Prefer Blondes (the long-running smash hit of the day), persuaded a chorus girl to let him have her dressing gown. As a lark, he sent it to a friend on opening night of Call Me Madam (starring Ethel Merman), telling him it had been worn by all the Ziegfeld beauties. The friend added a rose from Ethel Merman’s gown and sent it to a chorus member on the next opening night. It was then passed from show to show in a haphazard way and was often presented to a friend of the previous recipient, or awarded to a chorus member based on popularity. Through the years the passing of the Robe became a specific ceremony with official rules stating how it is presented, worn and paraded on stage.

The ritual begins appropriately, with a cue from the stage manager: “On stage for the Gypsy Robe.” All members of the production (although one story I read stated only members of the chorus – no principals in the “circle”) - some already in make-up and costume - take a place forming a circle on the fringes of the stage. In the center of the circle stand two people; one is a representative of Actors’ Equity, the other, a performer, an honored gypsy, from the previous musical that opened on

Broadway. Those on the fringe listen and watch; for some this is their first experience; for others, it is a ritual they have participated in many times before as they listen anxiously in the event they will be the night’s honoree.

Bill Diehl, ABC News Radio, Interviews Matthew Risch

Click HERE to visit the ABC News site and listen to Diehl’s interview.

Stockard Channing “Bewitches” in ‘Pal Joey’

Pal Joey’s Official Opening Night, December 18th

I’m just back from a fantastic trip to New York for the “official” opening night of Pal Joey at the Roundabout Theatre Company’s Studio 54. In case you’re wondering, the difference between the show on December 11th, which was the original opening night, and December 18th, the “official” opening night is that now the press is allowed to write reviews. That’s right, all that stuff you’ve read in the press the last month wasn’t “reviews”, but just “opinions” - officially.

I am not by any means, a Broadway critic. So the thoughts you are about to read are just that - my random thoughts as I watched the show. And as always, I invite, even encourage you to share your thoughts.

This was not my first visit to Studio 54, but it certainly wasn’t the same place I remembered. Well, it was 25 years ago and a very different venue! The theatre is gorgeous, with old ornate woodwork and a very intimate feel to it. The orchestra was located in balconies on either side of the stage and sounded beautiful. I don’t imagine there was a bad seat in the house.

I forced myself to put all thoughts of Christian Hoff out of my mind…no comparisons, no what-could-have-beens…just watch the show and enjoy. I thought it would be hard to do, but when Joey (Matthew Risch) entered (or was thrown onto) the stage, I was captivated by him. He’s good looking, sexy, and he could really dance. I noticed I had a huge smile on my face at the end of “Chicago”. Off to a good start. I even found myself believing he was falling for Linda (Jenny Fellner), and really enjoyed their duet of “I Could Write A Book”. Jenny’s voice is flawless, and I could sense the innocence, as well as the desperation, in her character.

Stockard Channing’s portryal of Vera Simpson was harder for me to categorize. Yes, Vera is supposed to by cynical and hard, but I couldn’t decide if Ms. Channing was playing the part to perfection, or was just a little bored with the whole thing. Either way, the audience loved her, and Joey’s first encounter with Vera in the nightclub was quite entertaining. I didn’t totally buy into her passion for Joey, but her rendition of “Bewitched, Bothered and Bewildered” gave the audience a glimpse into her “troubled soul”. The talk-singing I had heard so much about fit beautifully with her voice and her character, and I thouroughly enjoyed it.

The audience favorite, by far, was Gladys Bumps, played superbly by Martha Plimpton. Her sultry, smoky voice and great comedic timing made for a terrific “Zip”. I only wish we could have had more Martha, as the second Act dragged a little bit for me. My husband was very entertained by the “chorus girls”, who I suspect were his favorite part of the show. And we both enjoyed the voice of Daniel Marcus (as Ludlow Lowell). Wish we could have had more Daniel Marcus. Besides “Zip”, my favorite song of the second act was “Take Him”, performed beautifully by Fellner and Channing.

The costumes by William Ivey Long were perfection. Linda English was suitable dowdy, the chorus girls were just tacky enough, Joey was smashingly handsome in his well tailored suits, and Vera’s gowns and pant suits were beautifully rich without going overboard.

The stage was dark and smoky, which I suppose was appropriate for the gritty Chicago setting, but was a bit disctracting to me. And I thought the cast managed the stairways with great agility - not an easy feat. And Chez Joey was just tacky enough!

The show is helped along by a very strong supporting cast. Robert Clohessy and Steven Skybell (Mike and Ernest, respectively) could have handled parts with a little more meat to them, but both actors got the most out of their characters, and gave terrific performances.

I give Matthew Risch a great deal of credit for coming as far as he has in such a short time. He wasn’t quite the “leading man” this show needed, but I can certainly see it in his future. I found myself singing several of the songs in my head the next day, which is a good sign. I suspect that Pal Joey will have a great run, despite (or perhaps because of) all the drama surrounding it.

Jimmy Merrill Interviews Patricia Clarkson, Tony Roberts and Matthew Risch

Continuing his coverage of the Pal Joey Opening Night Celebration, contributing correspondent Jimmy Merrill talks with Patricia Clarkson (Good Night and Good Luck, Vicki Cristina Barcelona), Tony Roberts (Annie Hall, Xanadu on Broadway), and Joey Evans himself, Matthew Risch.

Interviews from the Opening Night Celebration

Click here to see contributing correspondent Jimmy Merrill’s interviews with the Pal Joey stars and other celebrities–exclusively on the Pal Joey Blog. The five segments are listed in reverse chronological order based on when they were posted. The total running time is around 25 minutes.

Pal Joey Opening Night Celebration

Although the official Opening Night for Pal Joey isn’t until next week, the “Opening Celebration” was held last night. Pal Joey Blog contributing correspondent Jimmy Merrill covered the event, and we will have video up soon. In the meantime, here are some pictures from last night (December 11th).

Great Pal Joey Show Pictures!!

Thank you “mrmidwest” for posting these great photos on livejournal.com.

Excerpt From Riedel’s Latest NY Post Article

Michael Riedel’s latest NY Post article, “WHEN ‘EX’ MARKS THE PLOT”, which maligns playwright David Mamet citing various “sources” sound familiar?), ends with, almost as an aside, a follow up of his ‘Great Boy But No Pal‘ article. While not exactly a retraction, Riedel must admit that not all his information was accurate: (red type indicates Catherine’s personal comment)

EXECUTIVES at the Rodgers & Hammerstein office called to say that, contrary to the rumors swirling around “Pal Joey,” they weren’t the ones who knifed poor Christian Hoff.

The Tony-winning actor left the Roundabout revival a few weeks ago. He suffered a minor foot injury, but when he asked to return to the show, he was told that he’d been replaced by his understudy, Matthew Risch.

“The Roundabout asked us if we were OK with the change,” says an R&H source. “We certainly did not push for it. We did not have a problem with Christian.”

Whoever did him in, it looks as if Hoff has dodged a bullet. Word of mouth on “Pal Joey” is pretty poisonous. (We’ll let the critics be the judge of that next week.)

Risch gets high marks for energetically jumping into the fray, but “the chorus boy is still a chorus boy,” says a source.

The one bright spot: Martha Plimpton, who, although not exactly known for her singing abilities, is stealing the show with her rendition of “Zip.” Look for her to walk off with the reviews next week as well.

Well, Michael, I can only hope you learned a valuable lesson - check your sources! And Pal Joey and Christian Hoff fans, remember - don’t believe everything you read!