“I had said to Steve, I wanted to find a place (for ‘The Last Supper’) and he had suggested I go and check out SOPAC. So those shows have to find their place in those venues, in their normal schedule. Like, they have shows that they were supposed to do in 2020 and ’21 - shows they were originally, before the pandemic, preparing for ’22, ’23. “But because of the pandemic, most of those are backed up. “There are certain theaters, today, that are known to provide a hospitable environment for that, in terms of the audiences: that they’re interested in new theater and they like to go to Broadway, and the building has the right equipment, etc. SOPAC has never been used this way before: For an out-of-town tryout to get a new play or musical ready for Broadway. “The actors and the creative team are feeding off of the energy that is provided by the audience, and there is no better place that I’ve ever seen than SOPAC to provide that.” “You need an audience that’s highly engaged, because there is two-way communication,” said Schall. Kagan and Schnall say they hope to bring “The Last Supper” to Broadway, at some point, and that SOPAC represents an ideal place to get it ready. Steve Schnall, an old friend of Kagan’s who was a co-producer on “Pippin” and is on SOPAC’s board of governors, is one of the co-producers. Doubtfire” and “Waitress”) and Alex Newell (television’s “Glee,” Broadway’s “Once on This Island”). Two-time Tony nominee Charlotte d’Amboise (“Pippin,” “Jerome Robbins’ Broadway”) is co-starring, with other actors including Mark Evans (Broadway’s “Mrs. Washington, Wes Zurick and Alex Newell rehearse for “The Last Supper.” But I want to get back to humanity.’ ”įrom left, Megan Kane, Allan K. I might fight you and I might march against you and I might vote in a completely different way than you.
I may not agree with you, but I want to be able to see you as a human being. I think the lyrics are smart and clever, and it’s very individual in that, through these times we’re living in, it gives a lot of opportunity for laughter, for heart, and for listening.”īy “listening,” she said, she means “listening to other points of view than my own, and just listening to humanity: really breaking it down and saying, ‘We’re all human beings. “Howard called me and asked me if I would come and listen to a read-through of this musical, ‘The Last Supper,’ and I was sold by the third page,” said Kaller. Tony nominee Sheryl Kaller (Broadway’s “Next Fall” and “Mother’s and Sons”) is directing this production, and Lorin Latarro (Broadway’s “Into the Woods” and “Waitress”) is handling the choreography. “So the point of the show is not to lacerate conservatives or liberals in particular, but to illustrate the folly of going down a road where we’re one-upping one another on how ruthless we can be.” And once you get to physical violence, now you’ve got fascism. Because ultimately that leads to political violence.
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“The point of this show, and it’s also what the movie was about, is to caution against - through satire - the idea that we should just keep one-upping one another in terms of how bad we can be in terms of accomplishing our political goals. conservatives, but not in a way that takes sides. I hung up the phone, and he emailed me the script and the score and the next day I called them and said, ‘Let’s do it.’ Because it was hilarious. And during the pandemic, they had written a musical based on this film. “It turns out, he and Jeremy had been huge fans of this film. A musical comedy satire, like ‘Book of Mormon’ does for religion. “I said, ‘I really want to examine a way to get this whole story about what’s happening in American politics and how crazy it is, what’s going on in the world, and turn it into a political satire. And he said to me, ‘Well, is there anything you’re interested in? Maybe we’ll see if we’ll write something.’ “He’s a composer and he was pitching me something that I wasn’t particularly interested in.
“Jeff is someone I’ve been talking to, over the years, trying to find a project to work on together,” said producer Howard Kagan, a two-time Tony winner (for “Pippin” and “The Gershwins’ Porgy and Bess”). But it has been reimagined, improbably, as a musical, written by Jeremy Desmon and Jeff Thomson, and that musical was presented for the first time at the South Orange Performing Arts Center on July 27, and will run through Aug.
In 1995 - after she was in “The Mask” but before her breakthrough role in “There’s Something About Mary” - Cameron Diaz co-starred with Jason Alexander, Nora Dunn, Ron Perlman and others in the film “The Last Supper.” The black comedy didn’t make much of an impact. Charlotte d’Amboise, right, rehearses for the South Orange Performing Arts Center’s production of “The Last Supper.”