Tonight the whole family is going out trick-or-treating in our neighborhood. It's a great place for trick-or-treating because all the houses are decorated to the nines, and some even have haunted houses set up. Oh, and there is always the house that has a popcorn machine and a cotton candy machine going in the front yard. Boy things have changed since I was a little kid and had to make do with that awful mystery Hallowe'en candy in the black and orange wrappers. What was that stuff exactly? Is it still lying undigested in my stomach?

Anyways we are all going out with an Andrew Lloyd Weber theme. My husband will be THE PHANTOM OF THE OPERA, complete with mask and cape, and I'm wearing a fancy masquerade mask in salute to the masquerade number in the show. My youngest is giving a nod to CATS, going as a leopard, and my oldest daughter is giving a nod to STARLIGHT EXPRESS, going as a starry night (sans the roller skates...).

I sent my many-colored coat to the cleaners so JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT is out of the question, and I don't think I can keep my hands up over my head all night so EVITA is out of the question as well. We plan to sing selections for Andrew Lloyd Weber/Tim Rice musicals as we go door to door. Nothing says Hallowe'en like the music of the night.

Our costumes wouldn't be complete without bringing along a Comedy/Tragedy Pumpkins tote bag to gather up all that candy!

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Neither wind, turbulence or weight distribution problems will keep me from a musical!

I went down to see the opening night of the regional premiere of HAIRSPRAY at North Shore Music Theatre in Beverly, MA. I flew down to Manchester, NH (to stay with a friend of mine) in a turbo prop and there are only 18 seats and no flight attendant! Boy, can you ever feel the "motion of the ocean" in a small plane like that!

HAIRSPRAY was written by Marc Shaiman (Music and Lyrics), Scott Wittman (Lyrics), and Mark O'Donnell/Thomas Meehan (Book). NSMT's production was directed and choreographed by Barry Ivan, and music directed by Dale Rieling.

Jon Kimbell, the NSMT Artistic Director and Executive Producer, says in the Playbill:

It is such an honor to be the first regional theater in the country to produce HAIRSPRAY. Over the years, North Shore Music Theatre has built a strong reputation both regionally and nationally for taking Broadway musicals and tailoring them for the regional theater market. We introduced you to THOROUGHLY MODERN MILLIE and RAGTIME, both regional theater premieres, and next season we are one of only six regional theaters in the country, and the only one in the Northeast, to produce Disney's HIGH SCHOOL MUSICAL.

It's a relatively new phenomenon for licensing companies to allow regional theaters to produce musicals that are also currently running in New York, and North Shore music Theatre is leading the way in this new trend. HAIRSPRAY is a prime example.

Barry Ivan, Director/Choreographer of NSMT's HAIRSPRAY, says in the Playbill:

Whether it's a premiere or a revival, North Shore Music Theatre's unique space is a challenge, but it's one that I relish. HAIRSPRAY celebrates the concept of 'not fitting the mold', and NSMT's space couldn't be more appropriate. Being in-the-round may be unconventional, yet it provides an intimate experience that is unrivaled in proscenium theaters. In HAIRSPRAY the oddballs are the heroes, and that's unusual in musical theater. This musical is also about embracing tolerance and it's my responsibility to keep everyone in the cast focused and grounded because it's very easy to fall into a trap where campiness overwhelms the core themes.

This production starred Paul C. Vogt (from MAD TV) as Edna Turnblad, Bridie Carroll as Tracy, David Larsen as Link, Todd Dubail as Corny Collins, Dana Zihlman Harshaw as Amber Von Tussle, Sarah Elizabeth Nischwitz as Penny, Deb Lyons as Velma Von Tussle, Dick Decareau as Wilbur Turnblad, Dashaun Young as Seaweed, and Inga Ballard as Motormouth Maybelle.

I also recognized Valerie Fagan (who played a number of roles brilliantly, including the gym teacher and Prudy Pingleton) as one of the Paisley Sisters in the NYMF 2006 production of THE PAISLEY SISTERS CHRISTMAS SPECIAL!

This was a wonderful production of HAIRSPRAY. I saw a great production in Boston a long time ago and was anxious to see how it would be done "in-the-round". Just like Barry said, the in-the-round format provides a really nice intimacy, that draws you deeper into the story, and therefore lets you get past any campiness. I love it when the chorus is spread all over the theater, singing their back up parts. I especially enjoyed "Timeless To Me", the duet between Edna and Wilbur. In Boston it felt like a bit of a throwaway or "filler" number, but here it had great heart and it was a highlight of the show for me. Broadwayworld.com also gave it a rave review here, and I agree!

I'm looking forward to next year's season at NSMT, which includes CRAZY FOR YOU, SEVEN BRIDES FOR SEVEN BROTHERS, HIGH SCHOOL MUSICAL, THE THREE MUSKETEERS, FOREVER PLAID and the mystery "Broadway Blockbuster musical" which will be announced later in November...hmmm...

My flight back was on the same kind of plane, but this time we had so many bags that the pilot was having weight distribution issues. So they made all the "ladies" (I almost felt like saying, "I ain't no lady") board first and sit at the back and then the men sit at the front. That kind of spooked me since I'm not usually so intimately involved with the physics of the plane I'm in!

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"Somebody kill me please!"

I'm so bummed! THE WEDDING SINGER is going to close at the end of the year. I guess I better go and get one last hit of the 1980s...sniff...

From this article on Playbill:

THE WEDDING SINGER, the new musical based on the Adam Sandler film of the same name, will end its Broadway run at the Hirschfeld Theatre Dec. 31. The musical will have played 30 previews and 284 performances.

THE WEDDING SINGER, which played an out-of-town tryout at Seattle's 5th Avenue Theatre, officially opened on Broadway April 27; previews began March 30.

Producers of the musical are currently in discussion for a national tour that would begin in 2007. Productions in both Japan and Korea are also in the works, and a deal was recently made with Music Theatre International for stock and amateur rights.

Something tells me this show is going to have a very strong after-Broadway life!

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I went to my very first National Alliance for Musical Theatre (NAMT) Festival of New Musicals earlier this month (October 8-9) at New World Stages. This is an industry event where producers, directors, general managers, &c come from all over the country, representing regional theatres or as independents to see 45 minute presentations from eight new musicals that have been selected by NAMT. Each show is presented twice to give everyone a chance to see every show.

In addition, NAMT presents the Songwriter Showcase on the Sunday night which profiles one song each from a number of new musicals and writing teams who aren't in that year's festival. This year's showcase was hosted by Rebecca Luker (who I saw in THE MUSIC MAN and who will be Mrs Banks in MARY POPPINS this fall) and the hilarious Richard Kind (who I saw as Max in THE PRODUCERS). The Songwriter Showcase was produced by Jayson Raitt and directed by Dan Fields and featured songs by:

Scott Logsdon and Steve Marzullo
Adam Gwon
Chay Yew and Fabian Obispo
Barbara Anselmi and Carla Rose Arnone
Robert Maddock and Reza Jacobs
David A. Austin
Eleanor Albano, Anthony Barnao and Ron Abel
Neil Bartram
David Howard and Bret Simmons
Margaret Dorn and Janie Barnett

The highlight (for me) of the Songwriter Showcase was the presentation of the song "Mrs. Remington" from THE STORY OF MY LIFE, with music and lyrics by Neil Bartram and Book by Brian Hill. This show is being produced at Canstage in Toronto in November, starring Brent Carver and Jeffrey Kuhn.

From the program:

THE STORY OF MY LIFE
Thomas and Alvin were inseparable as boys until adulthood sent them in different directions. When Alvin takes his life, Thomas is left with the conflicting needs to celebrate his friend's life and understand his death. This one act, two character musical is a tender celebration of lifelong friends and the power of a friendship that can tie two people together forever.

"Mrs. Remington" is a beautifully written story song about how the two boys first met in Grade One during the Hallowe'en costume parade. This song lead the audience by the nose all through the song, making us laugh and tear up, right up until the killer ending. I won't spoil it and go into great detail, but Mrs. Remington is the beloved Grade One teacher who brings the two boys together. The song was performed by Christopher Fitzgerald who was absolutely mesmerizing. I saw him as Boc in WICKED, and he was also amazing in GUTENBERG -- THE MUSICAL!

I definitely want to go see this show now!

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Last week, while in town for the concert reading of NAKED IN AMERICA -- THE MUSICAL, I went to see THE PIRATE QUEEN at the Cadillac Palace Theatre. With book by Alain Boublil and Claude-Michel Schonberg, music by Claude-Michel Schonberg, andl yrics by Alain Boublil and John Dempsey, THE PIRATE QUEEN was directed by Frank Galati and Choreographed by Mark Dendy.

It was cool to find out that Schonberg was born of Hungarian parents! Not surprising that a Hungarian wrote the music for the most popular musical in the world, LES MISERABLES!

I was excited to see Stephanie J. Block as Grace O'Malley -- "Grania", the real-life 16th century pirate who fights for Ireland (and love, of course). I loved her as Liza Minnelli in THE BOY FROM OZ. She was unbelievable! Totally amazing. I wish I had seen her as Elphaba in WICKED. She has a an amazing stage presence, and a fabulous voice. She also is very physical and gets hoisted up, hanging off rigging a lot!

It was really fun to see Richard Todd Adams who played Brett Mansford in PLANE CRAZY at NYMF 2005. He's in the ensemble, and understudies one of the main characters, the evil Bingham. Canuck Jennifer Waiser, also an ensemble member, played Little Sally in URINETOWN in Toronto. I had first seen her in one of Michael Rubinoff's Cityscapes Cabarets in Toronto.

I was milling around the lobby waiting for the house to open when I spied my old tap teacher! She isn't old (she's younger than I am!) but it was a while ago that I took tap! I went up to her and said hello. I think I might have freaked her out a bit! Turns out she was working on the show. Tara Young is the associate director of THE PIRATE QUEEN! Wow, small world.

There is some amazing dancing in the show, especially the "River Dance" Irish dancing in the show. And what a cast -- by my count there are 47 people in the show! They are all superb. Grania's father, Dubhdara, is played by Jeff McCarthy whose voice sounded so familiar to me. Then I looked in the program and discovered he was Officer Lockstock in URINETOWN. Hadley Fraser who plays Grania's love interest Tiernan also has an amazing voice.

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WAY COOL Broadway episode!

I am so completely and utterly enjoying watching the DVD set of "That Girl", starring (oh, and produced by) Marlo Thomas. As you know it takes place in New York City in the 1960s -- yummy! Her character Anne, is an aspiring actress and in the episode I watched last night she becomes an understudy to her old school friend (a very young Sally Kellerman!) who is starring in a play on Broadway.

Over and above the usual yumminess of the whole sixties vibe, was seeing Anne outside walking past theatres -- The Majestic Theatre is playing FUNNY GIRL (now it's PHANTOM), and The St. James Theatre is playing HELLO DOLLY! (now it's THE PRODUCERS) -- get out! Too cool for words.

And eagle-eyed Suzy spotted a very young short-haired George Carlin in the role of Anne's agent. My husband kept saying it wasn't him, but I can tell that voice and face anywhere!

I guess the most unusual aspect of the episode were the three fresh-scrubbed "Ron Howard-like" little boys waiting outside the St. James Theatre, hoping to get an autograph from somebody famous. Unfortunately, I'm not sure you'd see that today...

Now, rush out and buy the "That Girl" DVD set...and they're now taking pre-orders for Season 2 at Amazon!...

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Here's the other leg of the "Holy Trinity" of children's theatre: The New Victory Theater in New York (on 42nd Street).

The theater itself has an amazing history. From the New Victory Theater Web site:

"...This is a good sophisticated mix that speaks up to young audiences instead of pandering to them." -- Frank Rich, The New York Times

The December 11, 1995 opening and dedication of The New Victory -- New York's oldest active theater -- has marked a new era for 42nd Street. For more than one hundred years, the theater has symbolized, and survived, the mercurial fortunes of this fabled street. Now as before, its reemergence -- this time as a theater for young audiences -- signals the next and newest wave of popular entertainment on the block.

Built as a legitimate theater in 1900 by Oscar Hammerstein, as the "Theatre Republic," it helped establish 42nd Street as the City's new theater district. In his own words, Hammerstein described it as the "perfect parlor theater...a drawing room of the drama dedicated to all that is best in dramatic and lyric art." Hammerstein's architects, J.B. McElfatrick and Sons, designed a Venetian facade with a grand exterior staircase on the front sidewalk, leading to the first of two balconies, and illuminated by cast and wrought iron lamps. Inside, the elaborately decorated interior was crowned by a large dome with plaster angels perched on its rim. The Republic's opening production, Sag Harbor, starred Lionel Barrymore.

In 1902, the impresario David Belasco took over the theater's stewardship. Belasco gave the theater his name; made extensive alterations to its interior, including more subdued colors and ornamentation; and placed a glass canopy in front of the entrance. A string of hits followed, showcasing such talents as George Arliss, Tyrone Power, Mary Pickford and Lillian Gish. After 1914, when Belasco moved on to other venues, a series of producers continued to mount plays and vaudeville shows. Renamed the Republic, the theater enjoyed its biggest hit ever in 1923 with Abie's Irish Rose, one of Broadway's longest-running shows. Legitimate theater at the Republic finally ceased in 1932, when Billy Minsky opened Broadway's first burlesque house there. Minsky accelerated the structure's already radical facelift. By that time, the front staircase had been demolished; a large marquee replaced Belasco's iron and glass outdoor canopy; and a showy sign concealed the front upper level doors. Minsky painted a brash checkerboard pattern on the facade, juxtaposed with the faces of his leading ladies, and installed a double runway down the middle of the auditorium. Burlesque shows continued to grind until 1937, when they were banned by Mayor LaGuardia. In a burst of wartime patriotism, the theater was renamed the Victory and showed second-run motion pictures over the next several decades. When 42nd Street's decline reached new depths in the 1970s, the Victory became the block's first XXX-rated movie house. Little changed until the late 1980s, when it became the setting for brief runs of two inventive, legitimate productions: En Garde Arts' Crowbar, and Theatre for a New Audience's Romeo and Juliet.

The City's First Theater for Youth
The New 42nd Street sparked the revitalization of the block when it renovated the Victory and reopened it in December 1995 as The New Victory--New York's first theater for kids and families. The street rapidly evolved after the debut of The New Victory Theater: in spring 1997, the Walt Disney Company opened the restored New Amsterdam Theatre; The New 42nd Street's Lyric and Apollo Theaters were leased to Livent and subsequently to Clear Channel Entertainment (now called Live Nation) to form the Ford Center for the Performing Arts (now called the Hilton Theatre), which opened in December 1997; the Liberty and Empire were leased to Forest City Ratner and then merged into an entertainment complex, which includes a 25-screen cineplex operated by American Multi-Cinemas and the renowned Madame Tussaud's Wax Museum; and, The New 42nd Street leased the Selwyn to the Roundabout Theatre Company, which opened the renovated theater in July 2000 as the American Airlines Theatre. In July 2004, the Times Square theater was leased to *ecko unltd. to develop a new flagship retail location.

Newsday raved that "sitting in The New Victory Theater is like being inside a treasure chest," and with just 499 seats in the house, audiences are guaranteed an intimate connection to world-class artists and their thoughtful, inspiring, sometimes gritty, sometimes hilarious productions.

For the past 100 years, Oscar Hammerstein's theater has remained a catalyst for change on 42nd Street. Under the direction of The New 42nd Street, The New Victory Theater launched 42nd Street as a premier destination, once again, for all of New York's citizens and visitors.

We hope you'll join us this season and see for yourself why New York Magazine dubbed The New Vic "New York's Best Theater for Kids!" With 12 productions to choose from, there's literally something for everyone -- theater, dance, circus arts, comedy, music and puppetry.

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An interesting link: Plays for Young Audiences (PYA) is a partnership venture between The Children's Theatre Company in Minneapolis (CTC) and Seattle Children's Theatre (SCT).

Here's how they describe themselves:

About Plays for Young Audiences
Plays for Young Audiences Plays for Young Audiences (PYA) is a partnership venture between The Children's Theatre Company in Minneapolis (CTC) and Seattle Children's Theatre (SCT), the two leading theatres for young people in the nation. In 2004, CTC and SCT created PYA to provide a centralized clearinghouse of scripts written for young audiences to professional theatres, amateur/community theaters and schools. Both CTC and SCT are well known for commissioning productions that are topical, contemporary, fantastical, and written by some of today's leading playwrights. The growing PYA customer base to-date includes all fifty United States and the following countries: Australia, Belgium, Canada, Croatia, Germany, Ireland, Kenya, Kuwait, Malaysia, Mexico, Philippines, South Africa, Spain and the United Kingdom. Through its service to the larger children's theatre community, PYA will be a catalyst to drive the field of theatre for young people to new heights.

Seattle Children's Theatre
Seattle Children's Theatre (Seattle, Washington) produces both new works and classics of children's literature on their stages. Founded in 1975, SCT's mission is to provide professional theatre and theatre education experiences to children of all ages, with affordable public performances and classes, as well as student matinees. SCT reaches 260,000 patrons each season.

The Children Theatre Company
The Children's Theatre Company (Minneapolis, Minnesota) is recognized as North America's flagship theatre for young people and families as well as a major cultural and artistic resource in Minnesota. Founded in 1965, CTC has set a standard for excellence in theatre for young people, the creation of new work, and arts education. A recipient of the 2003 Tony® Award for Best Regional Theater and the 2004 National Governors Association Award for Distinguished Service to State Government in the field of Artistic Production, CTC's programs serve over 350,000 people each year.

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Shannon Reynolds, the "new media" coordinator at Razor & Tie, sent me John Lithgow's new kids CD, THE SUNNY SIDE OF THE STREET. I hadn't any idea that John Lithgow had done so much in the kids entertainment area, but according to the press release this is his "third kids album".

From the press release:

John Lithgow is no stranger to the world of children's entertainment: He is the best selling author of six illustrated books, as well as instructional titles including LITHGOW PALOOZA: 101 WAYS TO ENTERTAIN AND INSPIRE YOUR KIDS, released in April 2004. He has also performed in numerous concerts for children across the country.

He's got a great Web site, which even includes a coloring page of downloadable animal drawings!

I really like this CD. I've always been a fan of John Lithgow as a singer (loved him in DIRTY ROTTEN SCOUNDRELS) He doesn't have a fabulous legit "voice" but he does know how to entertain with his voice and is eminently "listenable".

Despite his history of playing some real "baddies" in films like "Cliffhanger", and unscrupulous characters on the Broadway stage, he totally communicates a genuine love for kids and goofy friendliness on this CD.

Also from the press release:

This album features versions of classic songs from The Great American Songbook including "Getting To Know You" and "You Got to Have Pep", with decidedly animated performances geared towards children. Produced by JC Hopkins, the album features guest appearances by Madeleine Peyroux, Seinfeld's Wayne Knight, Broadway's Sherie Rene Scott and cabaret star Maude Maggart.

I love the fact they used classic songs originally written for adults. It makes the CD so much more endearing and enduring.

Lithgow himself says about the songs: "They came from the good old days of Tin Pan Alley...from vaudeville or from musicals of the twenties and thirties. They have a wonderful lightheartedness because people in those days didn't mind being silly. In fact, for a lot of singers and writers, that was their stock in trade. People listened for jokes and rhymes and wit in ways they seldom do now. So I thought, well, this is exactly the kind of music I'd love to introduce to kids today."

I know my kids would have loved it when they were younger, but I have no doubt that my nine-year old will be listening to this on her CD player at night at she falls asleep. My favorite tracks were "Getting To Know You", "Pick Yourself Up", "Inka Dinka Doo" and "Lullabye in Ragtime".

Thanks Shannon, and thanks John!

(P.S. Can't wait to see you as the unscrupulous Hollywood producer in the movie musical version of DREAMGIRLS...)

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We had a very successful concert reading of NAKED IN AMERICA -- THE MUSICAL Monday night at Theatre Building Chicago. We had a really good house which was great. But I think there were some disappointed people in the audience when they realized that this was just a concert reading and there wasn't going to be any nudity (which is against TBC policy)!

Don't worry folks -- the next production will let it all hang out!

This concert reading of NAKED IN AMERICA -- THE MUSICAL was directed by Matthew Gunnels with musical direction by Jeffrey A. Bouthiette. Our stage manager was Natalja Aicardi.

The very lovely and very talented (and very clothed) cast included:

Mark Bartishell
Moira Begale
Katherine Keberlein
Leah Morrow
Peter Oyloe
Luke Siddall
Tim Soszko
Bethany Thomas

The cast did an outstanding job. They had to play a number of roles and they did so with such ease!

These people could not only sing the heck out of the material, but they really got into the piece and brought some really great funny moments to the piece, some really nice business. I even laughed at stuff, which is unusual when I'm so familiar with a piece I've been working on for a while. So Kudos to y'all!

The reaction was really rewarding. The audience laughed, applauded and really seemed to enjoy the piece. And only a few people threw stones, and they weren't even that big (the stones I mean...). I know the dynamic will change greatly when we do the show with nudity, but phase one went well!

People hung around for a long time after the show having wine and cookies. Everyone got evaluation/comment forms to fill out and there were tons filled out in the drop box. I'm can't wait to get the audience feedback!

Thanks to my co-writer Greg, and to the cast and crew and to everyone at Theatre Building Chicago!

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Ever since the fabulous opening night of Donny Osmond's star turn as Gaston in BEAUTY AND THE BEAST (see previous post 1 and previous post 2) I've become a member at Donny.com and it's GREAT!

Now I get "personal" messages from Donny Osmond! I would have DIED for this when I was in high school...

I probably shouldn't kiss and tell, but here's Donny's private message to me (BTW -- I love that he's using iChat to stay in touch with his kids -- that's what my husband and I do as well!):

DONNY'S MESSAGE
Hello Suzy,

I am having such a great time here on Broadway. Playing Gaston in Beauty and The Beast is so much fun. I really enjoy playing the bad guy for a change. :)

Debbie flew out last weekend with her dad and saw the show twice. It was great to have her here. The rest of my children will be coming out in the next couple weeks. I can hardly wait for them to see this show.

The cast and crew have been so wonderful to work with. Each one of them have made me feel so welcomed into their family. Those of you who have seen the show know how physical it is. The "Clink" routine in the Tavern scene is so complicated. The "Me" number is a blast. I'm quite mean in the "Mob" scene, but I think my favorite scene is at the end when I'm attempting to kill the beast and Gaston falls to his death. I also like the scene where Sara (Belle) slaps me. She got a little too close the other night and cut my chin with her finger nail when she slapped me. We had a good laugh at that one. I think Debbie told her to do that. :)

I have my recording studio all set up in my dressing room and have started selecting the songs for the next album. I will be recording my vocals there in the next few weeks. It's going to be fun to sing some of my favorite songs from the 70's.

This month begins the promotion for the Donny & Marie DVD. I will be doing some TV appearances and will let you know which ones as soon as they are all confirmed. The "in store" date is November 7th. It's been 30 years since the D&M show began. I can hardly wait to hear the reaction from people.

It's difficult to be away from home while doing B&TB but having my iChat video camera has made it all that much easier. Don and I don't just call home on the phone, we have video calls with my family at least twice a day. We are even setting a camera up at my Father's apartment so we can talk over the computer as well. It's such a great system. I love it so much that I'm going to add it to the "Donny Recommends" page. I can watch what is going on at home and be able to visit with the kids when they come home from school, before they go to bed, or at anytime. It's great!

That's all for now. Until next time, bye from Broadway.

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Hollie Howard -- actress, singer, dancer extraordinaire (she played Holly Banks in PLANE CRAZY at NYMF 2005) -- will be appearing in a one woman show January 6, 2007 at the Etta and Joseph Miller Performing Arts Center in Jefferson City, Missouri as part of "The Coming Home" Series.

Hollie tells me there will be a full night of fabulous singing and dancing completely put together by Hollie herself. I can't wait!

For tickets call the 24 Hour Information/Ticket Line: (573) 659-3599 or check out their Web site at www.themillercenter.org.

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I laughed, I cried, I gasped!

I went to see JAY JOHNSON: THE TWO AND ONLY! at the "intimate" Helen Hayes Theatre last Sunday afternoon when I was in New York for NAMT.

I went with the amazingly talented Hollie Howard, who played Holly Banks in PLANE CRAZY at NYMF 2005. I was a big fan of the TV sitcom "Soap" when it aired (1977-1981) during my formative years, so I was quite familiar with the duo "Chuck and Bob", but I hadn't really seen much of Jay Johnson since, although he has been performing constantly over the years.

The show (written and performed by Jay Johnson, directed by Murphy Cross and Paul Kreppel) runs for about 100 minutes without an intermission, and I was either laughing, or tearing up, or gasping the whole time. This is an amazing show, not to be missed by kids or adults. Run out and buy tickets to this show NOW!

This "one man/many puppets" show tells the story of how Jay got into the business of ventriloquism, following his career, mentor and influences, embellished with trivia on the art, science and history of ventriloquism itself, as well as purely zany bits with his puppets.

Did you know that ventriloquists were once thought either demon-possessed or mentally ill? Did you know that you always put away your puppet with a black cloth covering his eyes so as not to let his spirit disappear?

The puppets included Amigo, a sock-puppet snake; a vulture named Nethernore who sings a roadkill version of "My Way"; Jay's first real puppet (carved by Arthur Sieving) named Squeaky; the obnoxious Bob from Soap; a talking tennis ball, a talking cartoon, and the "Send In The Clowns"-singing monkey named Darwin.

The most moving part of the show is the story about Jay's mentor, Arthur Sieving, who he met by chance by calling the last name on a list of puppet carvers. He clearly had a special connection with Arthur Sieving and his puppet, "Harry O'Shea". When he describes the four of them chatting (Arthur and Harry, Jay and Squeaky) and Arthur's first wife walking in with milk and cookies "for everyone" it is such a wonderful moment. Or the bittersweet moment when Arthur's second wife gives Jay "Harry O'Shea" after Arthur dies (this was Arthur's dying wish).

There are some very funny anecdotes from the "Soap" such as when the sound man had trouble recording the sound of the dummy (Bob) but were picking up Jay's (Chuck's) voice loud and clear. Turns out they were moving the mike -- it was over Jay when "Chuck" spoke, but then they moved it over the dummy when "Bob" spoke. Too funny. Or when Jay gets the job on "Soap" but Squeaky doesn't...

I wish I could properly describe the absolute craft and art with which Jay Johnson performs. It is breathtaking, causing myself (and Hollie) to actually gasp in amazement! His love for his puppets and for performing is so contagious that he creates a magical world for the audience.

There are some really cool old photos in the Playbill -- Big Jon and Sparky (the ventriloquist act that inspired the five-year-old Jay), Jay and his first Squeaky, and Arthur Sieving and Harry O'Shea.

Jay Johnson says ventriloquism is what he was born to do. What a joy to watch someone do something so well that they love so much. I hope one of the kids in the audience gets inspired by Jay to become a ventriloquist.

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