italian chandeliers
Arts & Entertainment ALL STORIES italian chandeliers
by Eric Andrews-Katz - SGN A&E Writer EVITA PARAMOUNT THEATRE December 31, 2013 - January 5, 2014 The Paramount Theatre will be presenting the smash musical Evita. This controversial 'Pop-Opera' is based on the life of the First Lady of Argentina, and her husband, the dictator Juan Perón. At the helm of this production is Joshua Young playing the unofficial narrator of the musical, 'Che.' The Seattle Gay News caught up with this high-powered, talented individual: Eric Andrews-Katz: Who were your earliest influences in becoming a performer? Joshua italian chandeliers Young: As a singer, it was Michael Jackson and Placido italian chandeliers Domingo. I know they are so very different, but it works for what I'm doing now, legit musicals and rock musicals. They've influenced me with their versatility. In terms of my acting, my favorite actor is Mandy Patinkin. It's ironic, because he originated this role, and I'm sure people will draw parallels, but I don't mind, because he is amazing! I try to emulate his career as well. Andrews-Katz: What was your first professional audition like and for what show? Young: The first Equity Theater I auditioned for was Media Theatre in Pennsylvania. I was still in high school and I auditioned for Rolf in The Sound of Music. I remember that I was devastated that I didn't get the part. I was also 60 pounds overweight then, but I was still crushed. I didn't have another audition in Equity Theater until 2002, when I was in school at Syracuse University. There's a theater associated called Syracuse Stage. I was 22 years old and got the role of The Artful Dodger in Oliver! I looked young being real skinny and had curly hair. I was passing for 15. Andrews-Katz: What kind of before or after show rituals do you have? Young: Three hours before I have a production I play a warm up tape that my teacher in New York City gave me. I warm up doing scales and vocal exercises that she recorded. That's pretty much it, as I don't have any superstitious rituals italian chandeliers before italian chandeliers or after. I try to do physical exercise every morning, and that seems to help. Andrews-Katz: You played Judas Iscariot on Broadway. What was your experience like in Jesus Christ Superstar? Young: That production originated italian chandeliers while I was working in 2011 at the Stratford Shakespeare Festival doing Evita. The Shakespeare Festival announced they were doing Jesus Christ Superstar the next year. I asked the director if they would see me for Judas. I auditioned and got cast. Fast forward a year and we're at Opening Night. Tim Rice [lyricist for the J.C.S.] was in the audience and that was a huge deal for me! It was fully unexpected. He loved it so much that he contacted Andrew Lloyd Webber [composer of J.C.S.] and he came the following week. It snowballed from there with us going to Broadway. It was quite a ride. Opening on Broadway was rough for me, though; I had bronchitis the week before and the week following Opening Night. Overall it was a great journey and I love the show. Andrews-Katz: You've worked with the director John Doyle, in Kiss Me, Kate. What was it like to work with this distinctively styled director, and what instrument did you play? Young: There were no instruments in this show [played by the actors italian chandeliers on stage]. He didn't pull out any of those tricks. He just did Passion, italian chandeliers Off-Broadway in NYC, and didn't use instruments either, so I think it's something he tried and it worked. I saw the video of Company [where the actors played the instruments], but other than that, I don't know. This was a very straight forward production of Kiss Me, Kate. Andrews-Katz: How did you audition for the role of Che in Evita? Young: I actually didn't. The producer Hal Luftig saw me do it at the Shakespeare italian chandeliers Festival. italian chandeliers I was on Broadway doing Judas while Ricky Martin was in the revival cast of Evita. I think all the producers of the show came and saw me. That's how I got the offer for this production. Andrews-Katz: Did you do any kind of research for your role as Che? Young: I did when I first did the role. I did tons of research [and] was kind of an expert on Che Guevara. I don't play 'Che Guevara.' My character, italian chandeliers Che, is just a working class citizen italian chandeliers in Argentina at the time. I've done character work and get to make up whom this character is, since he's not the actual historical figure. I've decided he works in a leather italian chandeliers factory. Andrews-Katz: Why do you think the iconic name of 'Che' was used as a protagonist for the show? Young: 'Che' in Spanish means, 'Hey, Buddy,' or as we'd say, 'Hey, Man;' it's a casual greeting. Ernesto Guevara used to call everyone 'Che.' italian chandeliers When this production originated in the late '70s, it was Hal Prince's idea to name him 'Che.' He is the average working class Argentine citizen, and faces the effects of the Perónist Government. Andrews-Katz: Do you think the Perónist government helped or hindered the
Arts & Entertainment ALL STORIES italian chandeliers
by Eric Andrews-Katz - SGN A&E Writer EVITA PARAMOUNT THEATRE December 31, 2013 - January 5, 2014 The Paramount Theatre will be presenting the smash musical Evita. This controversial 'Pop-Opera' is based on the life of the First Lady of Argentina, and her husband, the dictator Juan Perón. At the helm of this production is Joshua Young playing the unofficial narrator of the musical, 'Che.' The Seattle Gay News caught up with this high-powered, talented individual: Eric Andrews-Katz: Who were your earliest influences in becoming a performer? Joshua italian chandeliers Young: As a singer, it was Michael Jackson and Placido italian chandeliers Domingo. I know they are so very different, but it works for what I'm doing now, legit musicals and rock musicals. They've influenced me with their versatility. In terms of my acting, my favorite actor is Mandy Patinkin. It's ironic, because he originated this role, and I'm sure people will draw parallels, but I don't mind, because he is amazing! I try to emulate his career as well. Andrews-Katz: What was your first professional audition like and for what show? Young: The first Equity Theater I auditioned for was Media Theatre in Pennsylvania. I was still in high school and I auditioned for Rolf in The Sound of Music. I remember that I was devastated that I didn't get the part. I was also 60 pounds overweight then, but I was still crushed. I didn't have another audition in Equity Theater until 2002, when I was in school at Syracuse University. There's a theater associated called Syracuse Stage. I was 22 years old and got the role of The Artful Dodger in Oliver! I looked young being real skinny and had curly hair. I was passing for 15. Andrews-Katz: What kind of before or after show rituals do you have? Young: Three hours before I have a production I play a warm up tape that my teacher in New York City gave me. I warm up doing scales and vocal exercises that she recorded. That's pretty much it, as I don't have any superstitious rituals italian chandeliers before italian chandeliers or after. I try to do physical exercise every morning, and that seems to help. Andrews-Katz: You played Judas Iscariot on Broadway. What was your experience like in Jesus Christ Superstar? Young: That production originated italian chandeliers while I was working in 2011 at the Stratford Shakespeare Festival doing Evita. The Shakespeare Festival announced they were doing Jesus Christ Superstar the next year. I asked the director if they would see me for Judas. I auditioned and got cast. Fast forward a year and we're at Opening Night. Tim Rice [lyricist for the J.C.S.] was in the audience and that was a huge deal for me! It was fully unexpected. He loved it so much that he contacted Andrew Lloyd Webber [composer of J.C.S.] and he came the following week. It snowballed from there with us going to Broadway. It was quite a ride. Opening on Broadway was rough for me, though; I had bronchitis the week before and the week following Opening Night. Overall it was a great journey and I love the show. Andrews-Katz: You've worked with the director John Doyle, in Kiss Me, Kate. What was it like to work with this distinctively styled director, and what instrument did you play? Young: There were no instruments in this show [played by the actors italian chandeliers on stage]. He didn't pull out any of those tricks. He just did Passion, italian chandeliers Off-Broadway in NYC, and didn't use instruments either, so I think it's something he tried and it worked. I saw the video of Company [where the actors played the instruments], but other than that, I don't know. This was a very straight forward production of Kiss Me, Kate. Andrews-Katz: How did you audition for the role of Che in Evita? Young: I actually didn't. The producer Hal Luftig saw me do it at the Shakespeare italian chandeliers Festival. italian chandeliers I was on Broadway doing Judas while Ricky Martin was in the revival cast of Evita. I think all the producers of the show came and saw me. That's how I got the offer for this production. Andrews-Katz: Did you do any kind of research for your role as Che? Young: I did when I first did the role. I did tons of research [and] was kind of an expert on Che Guevara. I don't play 'Che Guevara.' My character, italian chandeliers Che, is just a working class citizen italian chandeliers in Argentina at the time. I've done character work and get to make up whom this character is, since he's not the actual historical figure. I've decided he works in a leather italian chandeliers factory. Andrews-Katz: Why do you think the iconic name of 'Che' was used as a protagonist for the show? Young: 'Che' in Spanish means, 'Hey, Buddy,' or as we'd say, 'Hey, Man;' it's a casual greeting. Ernesto Guevara used to call everyone 'Che.' italian chandeliers When this production originated in the late '70s, it was Hal Prince's idea to name him 'Che.' He is the average working class Argentine citizen, and faces the effects of the Perónist Government. Andrews-Katz: Do you think the Perónist government helped or hindered the
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