William Selby remembers well when he first heard about a little cabaret show that was generating buzz among New York theater fans. “I was a full-time actor at the time, and I had a roommate who was a waiter at this place – Palsson’s (Supper Club) on West 72nd Street,” Selby said. “He came home one night raving about something called ‘Forbidden Broadway’ and did a number for me. “I fell off the bed laughing – I knew I loved it right then and there.” Selby wasn’t the only one who embraced Gerard Alessandrini’s concept of a satiric revue that both celebrated and skewered musical theater. Since its opening 30 years ago this month, “Forbidden Broadway” played almost continuously in New Yor

An impression that a lot of folks have about musical theater is that it is lighthearted, fun stories with popular, hummable songs and not a lot of substance. While this is true of many great musicals, there are many substantial productions that have been wildly successful and continue to be staged as highly successful revivals. “South Pacific,” which deals with racism, and “West Side Story,” which deals with racism and gang violence, are some examples. Playwright and lyricist Alan Jay Lerner and composer Frederick (Fritz) Loewe, longtime friends and collaborators, were two of the most powerful creators of Broadway musical theater in the ‘40s and ‘50s, starting with their first big hit, “

Opening its 61st season with a highly popular contemporary musical with good casting has paid off for California Musical Theatre’s Music Circus. “The Producers,” which opened Tuesday night, involves a failed Broadway producer whose most recent show closed on opening night. A passing remark by the low level accountant sent in to audit the books puts the plot in motion. If the producer would have a guaranteed flop, they could bank the investment, close the show and keep the money. They set out to find the worst play, a lousy director and terrible actors. Many complications and much humor ensue, along with lots of great songs and dancing. “The Producers: the new Mel Brooks Musical,” while b

Cindy starts her work day at the laundromat. It’s her birthday. It’s going to be a great day. Then the mailman arrives. Letter one is from the IRS. Her aunt has died, and somehow Cindy is on the hook for back taxes. Letter two is from her pen pal boyfriend saying he has fallen in love with someone with better handwriting and is leaving her. Letter three informs her that her cat is sick. Cindy’s response: tie one leg of a pair of leggings to her neck and the other around an agitator. Suicide by washing machine. So begins “Suds, The Rocking ’60s Musical Soap Opera.” The play is well into its run at California Musical Theater’s Cosmopolitan Cabaret. As with most Cosmo Cabaret productions, t

“Funny Girl” is a star maker. It made a star out of Barbara Streisand first on Broadway, then in film. Vicki Lewis most certainly shines as Fanny Brice the title “Funny Girl” in this the latest Music Circus production of the show. Everything in the play centers on the character of Fanny Brice. Brice herself was one of the biggest stars of her time. From 1910 through the 1930s on stage, screen and radio, Brice was wildly popular and influential. Legendary Broadway producer David Merrick worked with lyricist Jule Styne and equally well-known composer Bob Merrill to turn what had started as a screenplay into a Broadway musical. Having seen Streisand in her first role on Broadway in “I Can

 Monty Python’s Spamalot opened the 60th season of the California Musical Theater Music Circus on Friday. This, the 500th show produced by Music Circus, makes it is easy to see why the theater has not only survived but thrived for 60 years. The book and lyrics by Eric Idle take the best of the popular Monty Python movie Monty Python and the Holy Grail to another level. While much of Spamalot spoofs the Broadway Musical genre, Idle has created a great Broadway Musical. The Music by John Du Prez and Idle is classic Broadway Musical style and in this case it is a very good thing. Everything in this Music Circus production shines, starting with Glenn Casale’s direction. Much is made in theat