Related Shows Show Closed This production ended its run on Jan. 3, 2016 View Comments Hand to God What the devil?! Bob Saget will start performances as Pastor Greg in Hand to God on November 3. The Full House and Broadway alum replaces original star Marc Kudisch in Robert Askins’ comedy at the Main Stem’s Booth Theatre. Saget is scheduled to remain in the company of the demonic puppet until the production closes on January 3, 2016.Saget is best known for playing Danny Tanner on Full House and as the original host of America’s Funniest Home Videos. Additional screen credits include The Aristocrats, Entourage and the upcoming Grandfathered and Fuller House. He made his Broadway debut in The Drowsy Chaperone.￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼￼In Hand to God, the good children of Cypress, Texas, are taught to obey the Bible in order to evade Satan’s hand. But when students at the Christian Puppet Ministry put those teachings into practice, one devout young man’s puppet takes on a shocking personality that no one could have expected.Directed by Moritz von Stuelpnagel, the cast also includes Steven Boyer, Geneva Carr, Sarah Stiles and Michael Oberholtzer.Still no word yet on casting for when Hand to God crosses the pond next year; the play will begin performances on February 5, 2016 at the West End’s Vaudeville Theatre.
Michael C. Hall is known for his award-winning work on TV’s Six Feet Under and Dexter but has been returning to the theater with increasing regularity of late, whether as one of Broadway’s Hedwigs or leading the starry ensemble of Will Eno’s The Realistic Joneses. He is currently making his London stage debut reprising the iconic part of Thomas Newton in director Ivo van Hove’s production of Lazarus. The David Bowie-scored musical, co-written by Bowie and Enda Walsh, is now previewing prior to a November 8 opening at the King’s Cross Theatre, so Hall was well placed to talk about picking up a part he played to acclaim off-Broadway last season.What is it like returning to the role of the resident alien Thomas Newton after the better part of a year away?This is something I’ve never really done before, and I was very curious as to how it would feel. What I’ve found is that the piece has been recontextualized doing it here in London and also, of course, by our performing it and [the audience] seeing it informed by David [Bowie’s] passing. [Bowie died in January, not long before the end of the off-Broadway run.]Did you expect an onward life for the production, once it finished at New York Theatre Workshop?Yeah, from the time of our opening there was talk of it having a life beyond the Workshop and that was something on all of our radars back then. When we did it for the last time [in New York], I very much had the sense that I wasn’t saying goodbye.How does it feel to have been described in this musical as “Bowie’s representative on earth”?I suppose it makes sense that someone would make that connection. I mean, talk about something beyond your wildest dreams!Has the show itself been changed by Bowie’s too-early passing, at the age of 69?On the surface nothing has changed: we’re still executing the piece that David initiated, and he was very much involved in its development. But inevitably there’s a sense of his presence as it pervades the piece and its message, whether implicit or explicit, is that much more potent now that he’s left us. It’s as if his presence is all the more palpable since he died.Did you have to prep for the role afresh?Well, I certainly made sure that I started singing more regularly and that I got the particular songs back in the groove of my voice, and then we had four weeks’ rehearsal to put it back together. A good amount of time had passed, but not so much time that I wasn’t still very pleased to discover that I had it in my muscle memory.Am I right that you’ve shaved your arms?I have! That’s something I did: nobody requested that. When I look down and see my hairless arms, it looks more like alien flesh to me.Do you agree with those who find the show’s tale of “the man who fell to earth,” to quote the title of the Bowie film that inspired Lazarus, to be “cryptic”?I feel that for Thomas Newton the piece is arguably all happening within the confines of his head and within the confines of his imagination and that he is not in complete control of those faculties, so the unfolding story and action of the piece are surprising and mysterious to him. If that makes [the show] “cryptic” from night to night, then that surely is appropriate. I’ve resisted the temptation to pin anything down so that I can allow what happens every performance to be continually and newly surprising.Has there been any confusion about what the audience thinks it’s coming to see—a David Bowie jukebox musical perhaps?I think there are people who come having no sense of what they’re going to see and inevitably—because this in many cases is known as “the David Bowie musical”—make inferences that are way off base.On a vocal level, how does this part compare, for instance, with the glam-rock challenges of playing Hedwig?It’s different. Hedwig is unique and I think from a physical standpoint was as comprehensively challenging as anything I’ve done: vocally, emotionally, cardiovascularly. This, in turn, requires a different kind of concentration insofar as everything is conjured by my character’s experience. And I do have seven numbers. I definitely need to get my rest.Is it difficult to come down, as it were, after each performance?It’s draining and exhilarating—an exhilarating drain. I step into the shower and wash off my milk—spoiler alert! [laughs]—and that kind of helps re-set everything. I certainly don’t struggle to fall asleep at night.Don’t you feel that David Bowie would have totally got the world of Hedwig?Very much so. I think if you made a list of the people to whom Hedwig owes a debt, Bowie would be first on the list, in terms of the glam sensibility and also the musical sensibility. “The Origin of Love,” which is the seed from which the whole of Hedwig and the Angry Inch grew, sounds like a Bowie song.Did you revisit the 1976 Nicholas Roeg-directed film that gave rise to Lazarus?I watched [The Man Who Fell to Earth] for the first time around 2005 and then again when we were in rehearsals in New York and yet again at the London Film Festival here when they had a new print of it. I was perplexed by the film when I first saw it, but it remains of its time in terms of the way it was shot and the drug-fueled atmosphere of the creatives. If nothing else, it’s such a wonderful chance to get an up-close look at Bowie at the height of his powers.How familiar were you with the London theater?It’s somewhat new to me, though not entirely. The first time I came [to London] was in eighth grade on a school-sponsored trip with my mother. She managed to get us tickets to the hot musical in town, which was Starlight Express. I remember sitting in the top balcony seriously jetlagged and every time I would start to nod off, these roller skaters would come whizzing by.Have you long had a desire to appear here on stage?I always loved the idea of finding a way to work here, and I couldn’t think of a better way to do it than via this sort of posthumous homecoming.Didn’t you make your Broadway debut in a British play?I was the understudy for Christian Camargo in Skylight [the David Hare play, first seen in New York in 1996], but I never went on. I would just call in at the theater each night at 7 30 and watch The Simpsons. That was the job that got me my Equity card and to sit in that theater and watch [leading man] Michael Gambon stalk that stage remains a highlight of my life: it was so incredible. I did later get to do the part in L.A. with Brian Cox and Laila Robins.Are you looking to increase the amount of theater you do now that you’re no longer in a TV series?I never planned to do 13 consecutive seasons of TV, which is what I did with five seasons of Six Feet Under followed by eight of Dexter and I had been acting more or less exclusively onstage before that. It was only when I got the chance to do The Realistic Joneses that I reactivated that love, that appreciation, for the theater and the immediacy of that experience. I certainly like to imagine that there will be further opportunities for me in other mediums, but the theater has always felt like home.How does it feel to be opening your show on Election Day—and away from home?I thought it might be odd, but with the internet, everything is so accessible and all the information is right there. I think, too, that Brexit has made the British perhaps less inclined to be pompous about what’s happening in the US. Besides, whatever happens on Tuesday isn’t the ending of something, it’s only the beginning—though I hope not. Michael C. Hall in ‘Lazarus'(Photo: Jan Versweyveld) View Comments
Share Share NewsRegional Rights Charter passed in Jamaica after 20 years by: – March 24, 2011 Share Sharing is caring! Tweet 28 Views no discussions Prime Minister Bruce Golding, whose administration was finally successful in passing the Charter of Rights Bill after 20 years of discussion and debate Fifty-one members of Jamaica’s Parliament on Tuesday voted in support of the Charter of Rights Bill, which has been the subject of intense debate for close to 20 years.The Jamaica Observer reported that the vote was taken at 5.59 pm without drama, when the Bill — An Act to Amend the Constitution of Jamaica to Provide for a Charter of Fundamental Rights and Freedoms and for Connected Matters — was given overwhelming support with 51 MPs voting in favour. Nine MPs were absent for the vote.The companion provision, an Act to Amend the Constitution of Jamaica, which was piloted simultaneously, was also approved with 50 votes in favour.At the end of the voting, MPs from both sides of the house rose to their feet applauding.Opposition leader, Portia Simpson Miller said, “We should do this more often.”Debate on the new Charter, which will replace Chapter III of the present Constitution, has crossed both political party administrations, with the Bruce Golding-led Jamaica Labour Party (JLP) government being the latest to resume the dialogue in October 2009 but even then there were setbacks.Caribbean News Now
Manchester City’s manager Manuel Pellegrini has blamed the congested Christmas fixture list for deepening injury crisis. The Chilean expressed his disgust over ‘too many’ matches played in during the Christmas period and believes that it could take a toll on Manchester City, given the amount of injury the Citizens have suffered, in recent weeks.Manchester City’s Sergio Aguero and Stevan Jovetic are already facing lengthy lay-offs due to injury. Skipper Vincent Kompany and Edin Dzeko have also joined the injury list, in recent times. Dzeko, was injured in a pre-match training session, minutes before Manchester City’s clash against Leicester City. Pellegrini, pointed fingers at the club’s congested fixture list, as a reason for enduring so many injuries.“I think the players play too many games during the year, especially the players of big teams because when they have an international break they must continue for their national squad,” he said. “Last year I remember playing nine games in December and nine games in January, it is difficult for the players to keep the high pace because in the Premier League the intensity of every game is very high.“I understand Boxing Day is important for English football, but Boxing Day is on December 26, I don’t know why we have to play the 28th and 1st January. Maybe we could play Boxing Day and one game more on the 30th before the end of the year. So one of the reasons may be that they play too many games, especially at the end of the year. Maybe it can also be the pitches are too hard, and a bit of bad luck. It is difficult to know exactly.”With Edin Dzeko, Sergio Aguero and Stevan Jovetic out with injuries and teenage Pozo, not the answer to Manchester City’s goal scoring worries,as showcased against Leicester City, Pellegrini could turn to midfielder James Milner, for providing a makeshift Center Forward. ”Milner can be an option and I have always said he is a very useful player for the squad. Maybe at some moments he wants to play more but whenever he plays in different positions, Milner is important. “That is why we keep him here and it is important he renews his contract with our team. Because inside and outside the pitch he is important to us.”Meanwhile, Manchester City concluded business as usual against Leicester City, as they defeated the foxes 1-0. A customary Frank Lampard goal in the 40th minute swayed all three points to Manchester City’s kitty. Manchester City meanwhile maintained their gap of three points with league leaders Chelsea FC, who sit comfortably with 39 points.