Well, this is about the nicest review anyone (who isn’t my mother) has ever written about anything I’ve done on stage. “Roy Sexton is outstanding as Buddy. He has some of the most complex songs exploring the most complex emotions. His takes on ‘The Right Girl’ and ‘Buddy’s Blues’ are vocally strong and emotionally engaging as he conjures up a dialogue with his girlfriend while still yearning for the love of his wife.” Read more: https://pulp.aadl.org/node/399787. Theatre Nova’s Follies in Concert runs ONE more weekend, starting Thursday: http://www.theatrenova.org
“Follies” continues Thursday-Saturday, Nov. 14-16, at 8 pm and Nov. 17 at 2 pm. Theatre Nova, 410 W. Huron St., Ann Arbor. For tickets, call 734-635-8450 or go to theatreNOVA.org.
Follies’ premise – aged alumni of the Weisman (think Ziegfeld) Follies reunite at their derelict theatre to relive their youth and ponder their life choices just before the place is leveled for a parking lot – is challenging to stage for any theater because of the intermingling of time, but Theatre Nova carries it off. …
Dramatic highlights of this show are “Losing My Mind,” a solo performed by Sue Booth, as Sally, and “Live, Laugh, Love” by Thomas Murphy, as Ben, and the ensemble.
Comic highlights are the rollicking “Buddy’s Blues” by Roy Sexton as the sad sack traveling salesman Buddy Plummer, and “I’m Still Here,” performed by Olive Hayden-Moore as Follies veteran Carlotta.
Diane Hill, who directs the play and co-stars as Phyllis Rogers Stone, also performs two of Follies’ funniest songs, “Could I Leave You” and “Lucy and Jessie” with spot-on comic timing.
Follies’ famous mirror number, “Who’s That Woman,” is given nice treatment by Carrie Jay Sayer, as showgirl Stella.
The most effective time-splicing number in the show is probably “Waiting for the Girls Upstairs.”
Eddie Rothermel, Kryssy Becker, Connor Thomas Rhoades, and Annie Kordas do a fine job of portraying Ben and Phyllis, Buddy and Sally in their younger years.
Theatre NOVA presents “Follies in Concert” book by James Goldman, music & lyrics by Stephen Sondheim Nov. 7 – 17, 2019
ANN ARBOR, MI (Oct. 8, 2019) – Theatre NOVA, Ann Arbor’s professional theatre with an exclusive focus on new plays and playwrights, presents a limited engagement of “Follies in Concert” book by James Goldman, music & lyrics by Stephen Sondheim.
Sondheim’s Broadway smash-hit musical concerns a reunion in a crumbling Broadway theatre of the past performers of the “Weismann’s Follies” that played in that theatre between the World Wars. Presented in concert, Follies is a glamorous and fascinating peek into a bygone era, and a clear-eyed look at the transformation of relationships over time, with countless songs that have become standards, including “Broadway Baby,” “I’m Still Here,” “Too Many Mornings”, “Could I Leave You?” and “Losing My Mind.”
Directed by Diane Hill, with Music Direction by Brian E. Buckner, “Follies in Concert” features Sue Booth, Thomas Murphy, Diane Hill, Roy Sexton, Annie Kordas, Kryssy Becker, Eddie Rothermel, Connor Rhoades, Harold Jurkiewicz, Olive Hayden-Moore, Carrie Jay Sayer, Emily Rogers-Driskill, Gayle Martin, and Edith Lewis.The production and design team includes Monica Spencer (scenic design), Jeff Alder (lighting design), and Briana O’Neal (stage manager).
“Follies in Concert” will run for two weeks only, Nov. 7 through Nov. 17, 2019, at Theatre NOVA (410 W. Huron, Ann Arbor), a downtown performance space. Performances are Thursday through Saturday at 8:00 p.m. and Sunday matinees are at 2:00 p.m. Theatre NOVA features free parking for patrons, as well as quick access to the city’s restaurants, bars, bakeries, and coffee shops.
Tickets are $30 for this limited engagement fundraiser for Theatre NOVA. For tickets, visit TheatreNOVA.org, call 734-635-8450 or buy them in person at the box office one hour before showtime.
Theatre NOVA is Ann Arbor’s resident professional theatre company. Its mission is to raise awareness of the value and excitement of new plays and playwrights and provide resources for playwrights to develop their craft by importing, exporting, and developing new work.
Stephen Sondheim wrote the music and lyrics for “Saturday Night” (1954), “A Funny Thing Happened on the Way to the Forum” (1962), “Anyone Can Whistle” (1964), “Company” (1970), “Follies” (1971), “A Little Night Music” (1973), “The Frogs” (1974), “Pacific Overtures” (1976), “Sweeney Todd” (1979), “Merrily We Roll Along” (1981), “Sunday in the Park with George” (1984), “Into the Woods” (1987), “Assassins” (1991), “Passion” (1994), and “Road Show” (2008). Sondheim also wrote lyrics for “West Side Story”(1957), “Gypsy”(1959), and “Do I Hear a Waltz?”(1965) and additional lyrics for “Candide” (1973). Anthologies of his work include “Side by Side by Sondheim” (1976), “Marry Me a Little” (1981), “You’re Gonna Love Tomorrow” (1983), “Putting it Together”(1993/99), and “Sondheim on Sondheim” (2010). He composed the scores of the films “Stavisky” (1974) and “Reds” (1981) and songs for “Dick Tracy” (1990) and the television production “Evening Primrose” (1966). His collected lyrics with attendant essays have been published in two volumes: “Finishing the Hat” (2010) and “Look, I Made A Hat” (2011). In 2010 the Broadway theater formerly known as Henry Miller’s Theatre was renamed in his honor.
James Goldman was born in Chicago and graduated from the University of Chicago; he did postgraduate work at Columbia University. He has written numerous plays, including “Blood, Sweat and Stanley Poole” (1961; co-written with his brother, William Goldman), “They Might Be Giants” (1961) and “The Lion in Winter” (1966). In addition to “Follies” (1971), he has been the bookwriter of “A Family Affair” (1962; co-author with William Goldman, music by John Kander), the television musical “Evening Primrose” (1967, music and lyrics by Stephen Sondheim) and “Follies” (1987, London – a re-conception of the original piece). His screenplays include “The Lion in Winter” (1968 – Academy Award; British Screenwriters Award), “They Might Be Giants” (1970), “Nicholas and Alexandra” (1971), “Robin and Marian” (1976) and “White Nights” (1985, co-writer). Goldman’s work for television has included an adaptation of “Oliver Twist” (1982), “Anna Karenina” (1985), “Anastasia: The Mystery of Anna Anderson” (1986). He is also the author of a novel, “Waldorf.”
Diane Hill (director) is a Producing Artistic Director at Theatre NOVA and was founder and Artistic/Executive Director of Two Muses Theatre, a nonprofit, professional theatre in West Bloomfield. Diane was a professor at University of Detroit Mercy and Oakland Community College, where she originated and designed the Theatre degree program. She has a Ph.D. in Theatre from Wayne State University and a Bachelor of Music and Master of Arts in Theatre from the University of Michigan. She has performed at many professional theatres in southeast Michigan, including the Fisher Theatre, Meadow Brook Theatre, Masonic Temple, Michigan Opera Theatre, Detroit’s Gem Theatre, Purple Rose Theatre, Tipping Point Theatre, Encore Musical Theatre, Croswell Opera House, Open Book Theatre, The Ringwald, and Cherry County Playhouse. She was awarded a Wilde Award for her portrayal of Professor Vivian Bearing in “Wit,” a Rogue Critic’s Award for her work as Mama in “’night, Mother,” both with Breathe Art Theatre Project, and an Ann Arbor News Award for her work as Agnes in “I Do! I Do!” at Kerrytown Concert House. At Theatre NOVA, she directed “Clutter” and “Kill Move Paradise.” Theatre NOVA audiences saw her play Olympe de Gouges in “The Revolutionists” (Wilde Award Best Production), Zelda in “The How and the Why” (Wilde Award Best Actress), and Penelope Easter in “The Totalitarians.”
Brian E. Buckner (Music Director) is an active actor, pianist, composer, arranger, vocal coach, choreographer and music director based in the Ann Arbor, MI area. A versatile talent, he works comfortably in all genres and is director of music of several local ensembles including Wild Swan Theater and the Episcopal Church of the Incarnation, in addition to having performed in Canada, China, and Mexico. Favorite recent productions include “Murder Ballad” (The Penny Seats Theatre Company), “The Devil’s Music” (Theatre NOVA), “Peter and the Starcatcher” (University of Michigan) and “Rock of Ages” (The Dio). Brian composed the original music used in Theatre NOVA’s production of “Kill Move Paradise.”
FACT SHEET WHO: Cast: Sally Durant Plummer: Sue Booth Benjamin Stone: Thomas Murphy Buddy Plummer: Roy Sexton Phyllis Rogers Stone: Diane Hill Young Sally: Annie Kordas Young Ben: Eddie Rothermel Roscoe, Young Buddy: Connor Rhoades Young Phyllis: Kryssy Becker Dimitri Weismann, Theodore Whitman: Harold Jurkiewicz Hattie Walker, Carlotta Campion: Olive Hayden-Moore Emily Whitman, Heidi Schiller: Edith Lewis Stella Deems: Carrie Jay Sayer Young Heidi: Emily Rogers-Driskill Solange La Fitte: Gayle Martin
Sondheim’s Broadway smash-hit musical concerns a reunion in a crumbling Broadway theatre of the past performers of the “Weismann’s Follies” that played in that theatre between the World Wars. Presented in concert, Folliesis a glamorous and fascinating peek into a bygone era, and a clear-eyed look at the transformation of relationships over time, with countless songs that have become standards, including “Broadway Baby,” “I’m Still Here,” “Too Many Mornings”, “Could I Leave You?” and “Losing My Mind.”
Directed by Diane Hill, with music direction by Brian E. Buckner, “Follies in Concert” features Sue Booth, Thomas Murphy, Diane Hill, Roy Sexton, Annie Kordas, Kryssy Becker, Eddie Rothermel, Connor Thomas Rhoades, Harold Jurkiewicz, Olive Hayden-Moore, Carrie Jay Sayer, Emily Rogers-Driskill, G-jee Martin, and Edie Lewis. The production and design team includes Monica Spencer (scenic design), Jeff Alder (lighting design), and Briana O’Neal (stage manager).
Thursday, Friday and Saturday @ 8 p.m. Sun. @ 2:00 p.m. Click here for tickets! Sunday, Nov. 10 is SOLD OUT Special $10 off Preview Thursday, Nov. 7 at 8:00pm
Opening night ticket includes an afterglow reception with the cast and crew!
Perhaps Dark Phoenix was a creative casualty of corporate wrangling via the finalized Disney/Fox combination that brought the previously Fox-licensed X-Men characters fully back into the Mouse House’s Marvel Cinematic Universe. Perhaps the X-Men movies should have called it a day (no pun intended) with the far superior Days of Future Past. (Don’t get me started on the candy coated cluster that was its follow-up Apocalypse.) Perhaps longtime writer/new-time director Simon Kinberg should have just stuck with the writing (though that isn’t very good either in Dark Phoenix and not up to par with his previous work). Or perhaps we all are just (finally) suffering from movie superhero fatigue.
All I know is that Dark Phoenix is a soapy bore, not unwatchable by any means, but not a hellvua lot of of fun either.
I began this week taking in erstwhile Wolverine Hugh Jackman’s sunny, zippy one-man The Man. The Music. The Show. at Detroit’s Little Caesars Arena, and I ended the week with this X-Men: Last Stand retread that made me long for Hugh to show up and sing a few more Peter Allen-penned show-tunes while swiveling his bedazzled 50-year-old-hips. Hugh was a wise man to finally walk away from this sputtering franchise and spend the summer doing what he does (and loves) best. Thank you, X-Men, for giving Hugh his start in this country … and, 20 years later, for setting him free.
Dark Phoenix attempts to right the wrongs of Last Stand, an over-baked muddle from 13 years ago that first told the tale of mutant Jean Grey’s descent into madness via a cosmic-based parasitic “Phoenix force.” I know to non-geeks it sounds absurd, but the original “Phoenix/Dark Phoenix” story-line by Chris Claremont and John Byrne from the late 70s is a beloved one, revolutionary in its day for its exploration of gender issues, agency/autonomy, and how absolute power can corrupt absolutely.
[Image Source: Wikipedia]
Don’t get me wrong. Dark Phoenix tries. Really, really hard. And that’s part of its problem. Too self-serious by half, yet slapdash in its execution, the film takes a solid cast – Michael Fassbender, James McAvoy, Nicholas Hoult, Jennifer Lawrence, Jessica Chastain, Evan Peters, Alexandra Shipp, and Sophie Turner (as the titular antihero) – portraying classic Marvel characters, all lovingly re-established in a fresh, postmodern way with X-Men: First Class, and squanders the whole shebang with heaps of illogical character motivation and turgid dialogue. As Fassbender’s Magneto cautions his bromantic rival James McAvoy’s Charles Xavier: “You’re always sorry. And there’s always a speech. But we no longer care.” True dat.
It’s a shame. It truly is. The series could have gone out on a high-note, pulling all the topsy turvy threads of time travel, lost souls, and marginalized identity into one super nova of an ending … if they’d just have followed the blueprint of the original damn comics. Seriously, look at how many Oscar winners/nominees are in the cast; yet, at times, I thought I was watching Guiding Light: The Mutant Years.
[Image Source: Wikipedia]
C’est la vie. The plot, as it is, details how young Jean Grey was orphaned (or was she?) by telepathic powers run amok. Charles Xavier rescues her (or does he?) and raises her as his own, always wary of the limitless powers at her disposal. One epic space shuttle tragedy later, a now-adult Jean Grey finds herself imbued with the nuclear power of a thousand solar systems, but she really just wants to mope around, glare a bit, and throw her enemies into the sides of buildings. Chastain as some alien despot with the albino aesthetic of Edgar Winter seeks Jean’s newfound power for herself. And, blah, blah, blah … more moping, more glaring, more throwing.
Jennifer Lawrence’s Mystique notes to Xavier, “By the way … we women are always saving the men around here. You might want to change the name of this group to X-WOMEN.” Now, THAT’s a movie I think I would have preferred to see. And, as poorly written as that line is, it says something about Lawrence’s uncanny abilities that it lands like the best zinger you’ve ever heard from a Noel Coward comedy. Otherwise, Lawrence is clearly just collecting a paycheck here, waiting for her contract obligations to final run out.
Photos taken by my parents Monday night in Detroit
Back to Hugh. If Dark Phoenix truly is the death knell of the X-Men movie universe, perhaps the rest of the cast should follow suit and launch their own respective concert tours. As noted here earlier, his show is an absolute delight … and also a bit surreal, given that it is the culmination of Jackman’s wildly varied career, plus a melange of influences and experiences close to his heart. It is, in essence, a two-hour midlife crisis, Vegas-style, but a kicky, charming, loving, unmissable one. [Photo album here.]
What I also learned this week is that there are two kinds of people: those who know that Hugh Jackman sings … and those that don’t. As to the former, all I had to do was mention I saw him in concert, and they rattled forth rapturous perspectives on which songster Hugh they loved the most: Les Miserables, Greatest Showman, Oklahoma, The Boy from Oz … all of which were featured in Monday night’s show. As to the latter, I was met with a quizzical gaze and a “what did he do for two hours?!”
Ah, what didn’t he do? Tap dancing to AC/DC’s “Thunderstruck”? Check. Channeling his best Gene Kelly for a Singin’ in the Rain homage? Check. Working through what felt like some Freudian confessionals about family, romance, and fatherhood? Check. Offering a salute to the atrocities experienced by the aboriginal peoples of his Australian homeland, complete with didgeridoo? Check.
There were some missteps Monday night. A blown mic … or three. Some faulty projection screens. Heartfelt but at times overly fawning tributes to Detroit (we ate it up … but at times it got a bit thick). A strangely sequenced second act that seemed to jettison the chronological overview of the first act for a random grab-bag of themes and ideas. I also admit that I wouldn’t have minded a bit more attention paid to his Tony-winning role in The Boy From Oz. The medley of Allen’s more obvious (for American ears) pop tunes was understandable as was the Rip Taylor-style vamping in the audience; yet, I longed for more of Peter Allen, the brilliant singer/songwriter and a bit less of the theme park character flash on display. That said, these are all minor quibbles in an otherwise extraordinary evening.
My hunch is that our singing, dancing, jazz-hand flinging former-“Wolverine” will be riding this arena-gig until the wheels fall off. The Hugh Jackman on display Monday night was simply too exquisitely blissed out not to, and, as a result, I’m sure he will be playing every arena, concert venue, and state fairgrounds into which he can get his twinkly visage booked. Given what I just experienced this afternoon watching Dark Phoenix, that’s one damn smart career move!
Hugh Jackman is nothing but pure joy. That is all. A more extensive review is likely forthcoming when (and if) I ever recover from being utterly awestruck… in the meantime, enjoy these clips and photos.
In sum, know this about The Man. The Music. The Show.: Hugh is living his best inner 8-year-old’s Golden Age-musical-loving life onstage in arenas this summer. And we are all the better for it. His thesis seems to be “reconciliation through culture,” and a more kindhearted and inclusive affair (a loving throwback to sunny variety shows of our youth) you’d be hard pressed to find. Lord knows we all need some vintage TLC these days.
Part autobiography, part greatest hits, part retrospective, part therapy session, this show is all heart. Don’t miss it.
When the entire universe seems to loooooooove some performer or movie or show or play. And I mean in that show-offy, fawning, “you MUST see … you mean you HAVEN’T seen?!,” clutch the pearls kind of way? I make up my mind that I’m 110% certain I WON’T like it. And I won’t try it. Nope. Not never.
It’s a pretty stupid and annoying personality trait for me to have, TBH.
Thank heavens we have friends like Rob Zannini and Aaron Latham to kick me in the pants (and buy tickets) when I’m being a stubborn idiot.
This brings us to Hamilton, the national tour of which ended its month-long residency in Detroit yesterday (Easter Sunday) at the Fisher Theatre.
You certainly don’t need my validation to tell you the show is well worth the hype. Just ask the American Theatre Wing. Or the Grammy organization. Or the Pulitzer committee. Or that bragging neighbor/coworker/friend who saw it in New York four years ago (and has seen it six more times already).
Sigh. They are ALL spot on.
The show is a brilliant, clever, pointed, sassy, dare I say, frothy overview of the life of spiky, complex, groundbreaking Founding Father Alexander Hamilton (!). And nary a dancing cat or crashing chandelier in sight. “I’d rather be divisive than indecisive,” Hamilton observes at one point. Amen, brother. And, damn, do we need some of that informed moxie in our politicians now (more than ever).
Based on the 2004 biography that turned our collective view of America’s birth on its head, Hamilton gives us a warts-and-all review of the “young, scrappy, and hungry” Hamilton and colleagues like Washington, Jefferson, Madison, Burr. Classic musical 1776 also has great fun with the challenges (and infighting) at the beginning of our nation’s great democratic experiment. But Hamilton is less decorous and revels in the raw and ugly street fighting at play. And makes it all seem fun.
Imagine the Revolutionary War staged by West Side Story-era Jerome Robbins, but with the technical wizardry (and turntable) of Cameron Mackintosh’s Les Miserables and a musical score by Stephen Sondheim, Eminem, Kander & Ebb, the Brill Building songwriters, Beyoncé and Jay-Z. Oh, why not throw in a touch of Andrew Lloyd Webber’s and Tim Rice’s Jesus Christ Superstar for good measure. Creator/wunderkind Lin Manuel Miranda wears his influences proudly on his sleeve, openly referencing Broadway’s vibrant history lyrically, musically, visually.
It doesn’t get much more American than that.
Add in color-blind casting and a steampunk approach to costuming and set design, not to mention evocative, lithe choreography (nary a gymnastic tumble to be seen … thank God), and you have a three hour spectacle that never bores for a second and zips by in a flash.
(I would recommend scanning the show’s Wikipedia entry before viewing, if, like me, your memory of American history from your high school coursework is far away in the rear view mirror.)
The first act takes us through the Battle of Yorktown; the second addresses the much messier work of building a new nation, and the spiraling life of a man (Hamilton) who gave far too much to his work and far too little to those who loved him.
Our cast (below) included understudies Tre Frazier and Wonza Johnson in the pivotal Jesus/Judas roles of Alexander Hamilton and Aaron Burr respectively. They were phenomenal, bringing nuance, empathy, heart, and fire to their depictions.
Other standouts were the commanding and wry Paul Oakley Stovall as George Washington (we had the pleasure to meet this gracious actor and his lovely family after the show – learn more about him here); luminous Stephanie Umoh as Angelica Schuyler; impish and adorable Bryson Bruce as Marquis de Lafayette and Thomas Jefferson; riotous and effete Peter Matthew Smith as the Elton John-esque King George; and heartbreaking Hannah Cruz as Hamilton’s long-suffering yet stoic wife Eliza. Cruz brings down the house with her turn in the second act, wronged repeatedly by Hamilton’s high-minded, myopic ways. If you aren’t a puddle when she “removes herself from his narrative,” you ain’t human.
Hamilton repeatedly asks the audience to consider “who tells YOUR story?” All I can say is that if someone decides to do a show about my life (cue laughter now), I sure as hell hope Lin Manuel Miranda is still around to write it.
P.S. We ended our day with an astounding dinner at Lady of the House, a Beard Award-nominated restaurant in Detroit’s historic Corktown district. OMG. I’m no “foodie” (reference the sentiments of my opening paragraph above), but this place (veg friendly BTW) is to die for. Our server eventually became accustomed to (possibly amused by?) my plebeian ways. She wanted to “sequence” our “courses” of innumerable shared plates. I wanted a grilled cheese.
Perhaps inspired by the political wrangling in Hamilton, we found our common ground (though I never got that grilled cheese). Nonetheless everything we consumed was out of this world, with locally sourced flavor combinations to knock your socks off. Run don’t walk to this fab, shabby chic establishment. And be prepared to pay a pretty penny. It ain’t cheap, but like the pricey Hamilton, well worth the outlay.
Thank you, Rob and Aaron and our pal Rachel Green for an incredible, enriching Easter in Detroit!
…this year, I perceived a seismic shift in Atlanta.
If there is one thing you can count on following the Legal Marketing Association’s annual conference, it is a sparkling flood of think pieces, inspired by a collective gathering of the best and brightest our industry has to offer.
Sometimes, I fear my own conference reminiscences bear the uncanny resemblance to “what I learned on my summer vacation” essays written in grade school days. So be it, as these annual sojourns are among the most energizing three days legal marketers spend each year. A “listen to me, please” summer camp for sharp, creative souls who may spend the other 362 days a year talking lawyers out of sponsoring church basement banquets and holiday baked good distributions.
But this year, I perceived a seismic shift in Atlanta.
I felt like we’d been heard. Solidly. This year, post-conference, I no longer had the urge to complain about being dubbed a “non-attorney.” Nor did I want to tap dance urgently to justify the need for social media in legal.
Perhaps, it’s been this way all along, but this year it seemed like we finally arrived. This year, our capstone session / general counsel panel – rife as always with old saws of “give me value, not trinkets” and “don’t take me to a football game, make my job easier” – added something new: “I don’t just want to talk to your attorneys. I want to talk to YOU. You, legal marketers, with your data, and your insight. YOU … you get my business. Now, can I go home to my kids, please?”
Others have captured the details of the panel, far better than I (here and here). I walked away with sense memory. And a feeling of professional pride, one which, yes, LMA has always engendered, but which arrived this time with no apology nor rationalization.
Yes, true culture change remains mired in what sometimes feels like “death by a thousand cuts” miasma. That’s corporate life. Yet, we left LMA this year with as recognizable a mandate as I’ve heard. As one GC intoned, gesturing to the assembled marketing pros, “I predict this room will double in size in five years.”
That said, here is my obligatory “book report” on what I learned – and what inspired me – at #LMA19:
– We are in an industry in need of radical transformation.
The large consulting firms and other alternative legal service providers will avail themselves of any client frustrations over pricing, transparency, access, and responsiveness to shift clients away from traditional legal services to integrated consultancies. We must pitch as a team with predictable pricing models and measurable outcomes.
–GCs are not interested in being entertained.
They want value add, user-friendly analysis and advice. They get plenty of client alerts. They want insight and anticipation and, chiefly, an understanding of their business priorities. The data is available and apparent. The law firm that will win their business doesn’t invest in tickets or gifts or parties but in actionable intelligence that helps them achieve their business objectives. Do not speak in “if/then” statements.
– The conversation is increasingly occurring online.
Create a digital footprint that is accessible and speaks in the language of the purchaser, not the purchased. Attorney profiles should show expertise and humanity. Furthermore, those purchasing legal services are looking for diversity and representation. They want to see themselves in their legal providers.
–Law school grads are increasingly going in-house for work-life balance.
Money is not their sole draw. With that in mind, these individuals will be making more of the hiring decisions. On average, it costs a company $174/hour for in-house legal counsel. They are also continuing to develop AI solutions. GC is tasked as much with controlling costs as ensuring positive outcomes for their organizations. Transparency of pricing and differentiation of value for increased outsourced cost is essential in order to land business.
So, there you are. My annual tithing to the gods of legal marketing in gratitude for three days that fill my intellectual and emotional coffers for the rest of the year. We legal marketers work hard, play hard, care hard. This year’s GC panel felt like a long-overdue external recognition of that.
It’s nice to have someone else write your “book report” for once.
P.S. I’ve got the best mom. Susie Sexton. Don’t be jealous. Hoppy #Easter!
Lights. Camera. Cure. – a special theatrical event held on Wednesday, February 6, that featured classic film hits as sung by local performers at The Village Theater at Cherry Hill – was a sell-out success with a capacity crowd of 400 patrons. The show raised over $20,000 for the American Cancer Society Relay for Life Canton-Plymouth.
Producer/director Denise Staffeld of Lake Michigan Credit Union observed, “Last year, we had a vision to do a Cancer Society fundraiser that celebrated the healing power of Broadway. We sold out the house, and raised over $15,000. I had hoped this year would exceed last, both financially and artistically, but I never anticipated this. I am so very grateful.”
Roy Sexton, director of marketing for the Clark Hill law firm, emceed the evening as well as performed. A published author of two books of film reviewsReel Roy Reviews, Sexton noted in his opening remarks that “film is a great unifier, helping audiences to escape the troubles of daily life and to aspire to something greater.”
The cast was comprised of semi-professional and professional talent from throughout Southeast Michigan’s theatre community: Shirley Auty, Denise Staffeld, Aimee Chapman, Christina Bair, Cathy Golden,Cathy McDonald, Caitlin Chodos, Noel Bittinger, Julzie Gravel, Bethany Basanese, Keri Mueller, Janine Creedon, Tracey Bowen, Diane Dimauro,Roy Sexton, Jeff Steinhauer, AJ Kosmalski, Bruce Hardcastle, Tim Chanko, Kurt Bowen, Tracy Neil, Carl Nielsen, Anna Nielsen, and David Dilsizian.
Kelvin Elvidge served as sound designer/engineer. Lia DeBiasi was the production’s stage manager, and Daniel Pocock assistant stage managed. There were special appearances by Tom Cassidy and Canton Township SupervisorPat Williams opening remarks by Kim Scartelli, and event support by Megan Schaper (American Cancer Society) andTammy Brown and Marion Rozum (Chicks 4 Charity.
American Cancer Society Community Development Manager Megan Schaper noted “This event truly embodies the motto attacking cancer from every angle. I was in awe of the show and I can’t wait to see and support what this show inspires these communities to do next.” Schaper supports Canton, Plymouth, Westland, Wayne, Ypsilanti, Livonia and Redford.
Enjoy our version of #CarpoolKaraoke for #LightsCameraCure. In part one, my carpool buddies Bethany Basanese, Aimee Chapman, and I take on #JustinTimberlake, #MoonRiver, #CelineDion, and #Detroit’s own #Eminem. Thanks to Lia De Biasi, our director, for figuring how the tech on this and to our cabaret queen Denise Isenberg Staffeld for the idea! 🎶
“Lights. Camera. Cure!” is NEXT WEEK, benefiting The American Cancer Society – Relay For Life of Canton and Plymouth. Tickets are going quickly! Order yours today! Purchase here.
“Lights. Camera. Cure.” is a special theatrical event to be held Wednesday, February 6, 2019 at 7:00 p.m. (doors open at 6 pm) – a musical fundraiser featuring classic film hits as sung by local performers at The Village Theater at Cherry Hill. Learn more here.