Tag: Musicals

BLUE MOON (2025) – Review

Can there really be two music biopics opening this weekend? Yes, though they share little in common other than popular songs. The “Boss” flick is set in the early 1980s and zeroes in on a couple of years of his career. This film is set nearly forty years before, and it mainly (other than a brief prologue) happens during one fateful night. And it’s pretty much set in one place. Oh, and rather than the world of rock and roll, this comedy/drama is in the world of musical theater on Broadway (technically musical comedy, I suppose). You may not know the name of this film’s main focus, but after eighty years, much of the world is still singing his lyrics, especially the often-recorded and revived BLUE MOON.

Yes, you read that correctly. This film isn’t about a tunesmith, but rather a writer of lyrics. In that aforementioned prologue, we see a diminutive man shuffling and stumbling through a rain-drenched alley. That man is Lorenz Hart (Ethan Hawke). The story then shifts to a few months in the past, the evening of March 31, 1943, the opening of the classic Broadway musical, “Oklahoma”. Lorenz, along with his mother, watches from an exclusive “box seat” until he can stand no more of the “corn pone”. Telling his mom that he needs a drink, Hart sprints away to Sardi’s restaurant, where the show’s after-party will be held. In the first floor bar area, he begins to kibitz with his old bartender pal Eddie (Bobby Cannavale). He’ll only serve Lorenz club soda, as he has a big booze problem, though a bottle is keep near “for appearances”. Hart is both looking forward to and dreading a reunion with his old writing partner Richard Rodgers (Andrew Scott), now teamed with Oscar Hammerstein II (Simon Delaney). But Hart is ecstatic about a tryst with young Yale art student Elizabeth Weiland (Margaret Qualley). Eddie’s a bit confused, since he though Lorenz leaned toward another gender. Hart insists that he’s fluid and, despite their 27-year age difference, believes that tonight’s the big night for them. As he bemoans the impending demise of wit on the “Great White Way”, Hart notices a man writing at a table. It’s one of his favorite authors, E.B. White (Patrick Kennedy). The two bound over their love of language until Elizabeth arrives. As she regales Hart with stories of college “hook-ups”, the “Oklahoma” entourage dashes in for cocktails and to read the early rave reviews. Hart corners Rodgers to pitch a new pairing while discussing a revival of an older work. As the new Broadway “darlings” begin to depart, Hart ponders whether he’ll ever be back on “top”, in his profession and in his personal life.

This film is truly a tour de force showcase for the acting artistry of Hawke as he tackles a truly complex artist. His work goes beyond the “gimmick” of appearing to be a spin on Jose Ferrer as Toulouse Lautrec in MOULIN ROUGE and his severe “comb-over” to give life to a man riddled with insecurity, struggling to retain his dignity, all the while obsessively trying to regain the “brass ring”, be it Broadway success or the elusive young protégé. In Hart’s meeting with Rodgers, Hawke conveys that pleading sweaty desperation while acting as if nothing as really changed between. This might be the defining performance of Hawke’s impressive career. Luckily, the engaging Cannavale proves to be a superb scene partner as Eddie, who is alternately amused and disgusted by Hart’s antics (his “BS detector” is working overtime) while making sure he steers clear of the booze that will destroy him. Qualley is a wide-eyed, bouncy blonde dream girl as the effusive, but unknowingly encouraging Elizabeth.. She thinks of Hart as a mentor, while dismissing his often clumsy advances. Then there’s Hart’s other object of desire, a re-teaming with the “man that got away”, Rodgers, given a distracted air by the compelling Scott. Yes, he’s happy to be showered with praise, but he’s not entirely indifferent to his former partner. Scott shows us that as he tries to toss Hart a life preserver (a revival of their old show) while defending pointed barbs at his latest work (there’s a place for sentiment in the war-torn world) and trying to make it clear that he’s part of a different duo. Their interplay is both amusing and sad, much like the ending of a theatrical marriage.


Longtime Hawke collaborator Richard Linklater directs from a very literate script from Robert Kaplow that deftly balances comedy and tragedy in the tale of longing and regret. Hart had once had everything until he squandered it all due to his addictions and an ego bigger than his slight frame. Yes, it does often resemble a stage play after the brief alley prologue and the scene that follows during the finale of “Oklahoma”, but the character dynamics and bouncy retorts expand the confines of the bar (though we do explore the “water closet” briefly). The period costumes are quite stunning, especially Qualley’s gown, and the soundtrack filled with period tunes (from Hart and others) is very effective. Plus, this story is pure “catnip” for musical comedy buffs , especially when we get a brief moment with Oscar’s precocious young guest (stage fans will get it). It’s not a sprawling epic, but fans of the era, and the excellent cast, will be enchanted. Why, they might just be over the BLUE MOON about it.

3 Out of 4

BLUE MOON is now playing in select theatres

ON BROADWAY – Review

With Labor Day so close, and if you’d didn’t feel confident about a summer vacation, then here’s a bit of help in planning a Fall getaway. Sure, this could be considered a feature-length travelogue, but it’s a whole lot more than that. It’s certainly a history lesson with lots of “talking heads” sharing great insights and anecdotes. But really it’s a celebration and appreciation of a place we might not have fully embraced until it was withheld from us for nearly a year and a half. Ah, but it’s officially reopening this month, so prior to your travel itinerary why not head off to the local multiplex for a look back on all the wonders to be savored ON BROADWAY.


Talk about a “love letter”! The “big names” (above the play titles on the marquees) start things off with their childhood dreams and remembrances before the filmmakers begin hopping about, though there are lots of “ID” labels and dates (1969, 1972, etc.) for the stage novices. Now as for the history I mentioned, they really touch on the 1930s to 1960s “golden age”. Since there weren’t “archived performance videos” (which I believe is the standard now for all shows), we get some clips from the Hollywood adaptations, from A STREETCAR NAMED DESIRE to WEST SIDE STORY. The story of the big revival really begins with the slump of the late sixties into the early seventies as most of the big showcase theatres were dark as the 42nd Street hub was taken over by crime, porn, and decay. It’s amazing to see the NYC-funded printed brouchures warning tourists to avoid the area before 6 PM, adorned with a sketch of the Grim Reaper’s cowled head. This leads into the “sidebar’ on the theatre owners, the Shuberts, and the boardroom battles that “busted up” the near-monopoly. An abudance of new archival footage and a few home movies takes us back to that era, beginning with “Pippin’ and the Public Theatres, along with shows “workshopped” out of town. Several iconicic shows are highlighted as milestones and “turning points’, particularly “A Chorus Line”, “Rent” and “Hamilton”. As things were changing for the better, the “dark times” are not neglected. Beloved theatres, including the original home to “Death of a Salesman” are not spared by the wrecking ball. Even more devastating is the AIDS crisis of the mid 1980s. Happily we do get to see much of the original cast actors on stage in video clips along with performances on the Tony Awards. Plus, to give the film a bit of urgency and a sense of the current period, the cameras follow an original play, “The Nap” as it prepared to make its bow. Oh the “giddy tension”!

Needless to say, this fun flick is pure nirvana to theatre geeks, though there’s a lot in there for us “movie geeks” since, in its final chapter, the “white way’ needs big “stars”, especially those from the small and big screens, to get people to plunk down the big bucks for tickets (the top price for tix in the late 60s was $9.90). It’s compelling stuff, even though there’s not a clear villain, although many stage vets are not enamored of the British transplants that led to “spectacle shows’, or those gentrifying the area (one show scribe seems to prefer the aging hookers to the neon-lit chain shops). It’s great to hear from Hugh Jackman and Helen Mirren, but some of today’s Broadway royalty (Nathan Lane, Sutton Foster) are notable for their absence. At least the directors and writers are well represented with a keen focus on the prolific, much-missed August Wilson. My only complaint about director Oren Jacoby’s obvious “labor of love” is that it aspires to take on too much. The mounting of “The Nap’ is worthy of its own feature doc as we’re not with them for the length out-of-town “try-outs” or the previews before opening night. Ditto for a flick just with the actor interviews. Or on the “Brit explosion”. Ah, but what’s there is so “choice”, with the makers really trying to illustration the whole share experience of “live theatre”. And with its “happy ending” postscript, we even get something of an optimistic conclusion. And can’t we all use that now? That’s especially true for those folks following a dream that lands them ON BROADWAY.

3 Out of 4

ON BROADWAY opens everywhere in select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

Top Ten Tuesday: Magnificent Musicals

In honor of the opening of the film BURLESQUE, starring Cher, Christina Aguilera and Stanley Tucci, the Movie Geeks are presenting what we feel are the best motion picture musicals.

Honorable Mention: MARY POPPINS

“Practically Perfect in Every Way”, this is how the incomparably magical nanny Mary Poppins describes herself with nary a boastful smirk on a revealing tape measure in the still-charming 1964 Disney classic musical set in post-Victorian London circa 1910. MARY POPPINS is the first movie I can remember seeing in a theater as a child I still feel genuine warmth about this movie as an adult. Such was the impact of Julie Andrews in her big screen debut, as she epitomizes the title character with equal quantities of starch and sugar. There are so many delightful scenes in MARY POPPINS that it’s hard to choose which to highlight, though one of the best ones has to be the fantasy animated sequence where Bert, as played by the incomparable Dick Van Dyke dances with the penguins. MARY POPPINS is still one of the best family-oriented films to come out of Hollywood.

10. ROCKY HORROR PICTURE SHOW

THE ROCKY HORROR PICTURE SHOW is the essential B-movie: cheesy script, bad special effects, and odd costumes, characters, and plot lines. But despite the budget, it is a great movie. The songs are excellent, and although odd and cheesy, the script is solid. The quality of acting is strong across the board but when Tim Curry makes his entrance as Frank N Furter, you can’t take your eyes off one of musical cinema’s great characters. It’s become the definition of a midnight cult film and begs to be seen, like it is at the Tivoli theater in ST. Louis every October, with performers on stage and the audience joining in a collective send-up. It’s pure escapism so open your mind and give yourself over to absolute pleasure for THE ROCKY HORROR PICTURE SHOW never grows old.

9. CHICAGO

Seems as though every four or five years entertainment reviewers and reporters bemoan the death of the movie musical. Shortly after, a film is released that injects life into the “dead” genre. Such is the case of Rob Marhsall’s 2002 big screen adaptation of the Broadway smash, CHICAGO. The story of murder and fame was originally a 1920’s non-musical play, then a silent film, followed by a sound version(Ginger Rogers as ROXIE HART) in 1942 and finally become a stage musical in the 1970’s with Gwen Verdon and Chita Rivera. After a hit stage revival in the 1990’s the story kicked around Hollywood again until Marshall and screenwriter Bill Condon hit upon a way of adapting it for modern audiences. The big song and dance numbers would be fantasies in the mind of Roxie. And what glorious fantasies! Roxie sees herself taking over from Velma Kelly on “All That Jazz”. Queen Latifah as women’s lock-up matron “Momma” Morton” belts out “When You’re Good to Momma” in a smokey jazz club. The gals recreate the 70’s Bob Fosse choreography during “The Cell Block Tango”. Catherine Zeta Jones shows off the skills that earned her honors as the best tap dancer in Wales(and an Oscar) as she tries to sell Roxie on the idea of the two of them going on stage. Richard Gere joins the fun as the showboating defence attorney Billy Flynn and belts out one of Kander and Ebb’s (CABARET) signature tunes, “Razzle Dazzle”. The big numbers are superb, but what may resonate most with audiences is that original story from the 20’s. In the era of reality TV and tabloid stars, Roxie’s quest to become famous by any means seems more relevant than ever. Movie audiences(and Academy members) responded enthusiastically to this big, brassy musical and it took home six Oscars including Best Picture. Not bad for a “dead” genre.

8. LITTLE SHOP OF HORRORS

To this day, I find it difficult to imagine these words would pass through my lips… but, Frank Oz out did Roger Corman with a musical. Corman’s classic was a dark comedy, but what oz managed to do was to bring Little Shop to the forefront, maintaining the dark humor while adding the whimsical Broadway element. Combined with a somewhat recognizable cast for the time, the film became a cult classic, not on par with but akin to Rocky Horror Picture Show. Audrey was unforgettable, enjoyable and frightening, while the cast of mostly actors inexperienced in the musical genre, pulled off this feat with fantastic results. “Feed me, Seymour!” I want more!

7. CABARET

Prepare yourself. this will be the ONLY time you hear me say these words… Liza Minelli is brilliant [in CABARET.] Bob Fosse’s film adaptation of the Broadway musical is extraordinary on every level. The story of Sally Bowles, a burlesque entertainer in the midst of the Nazi party’s rise to power, comes to vivid life on screen. CABARET is one of those rare musicals that doesn’t feel like a musical, but maintains the magic therein. The audience is not bludgeoned repeatedly with hokey, cheesy songs that show up out of the blue, detracting from a wonderful story. Fosse was remarkably successful at conveying a sense of realism combined with the Broadway show spectacle.

6. WEST SIDE STORY

Based on the classic tragedy of Romeo and Juliet, West Side Story tells of the ill-fated romance between Tony and Maria, young lovers each associated with gangs at war with each other (the Sharks and the Jets). Everyone is familiar with the story, but what I really find interesting is some of the behind-the-scenes facts that many people don’t know.First of all, it needs to be pointed out that West Side Story was nominated for 11 Academy Awards and won 10, including Best Picture and Best Supporting Actor and Actress (Rita Moreno and George Chakiris). It still holds the record for most Oscars won by a musical.My other favorite trivia about West Side Story is all the actors in Hollywood that were either considered or campaigned for the roles of star-crossed lovers Tony and Maria. Elvis Presley was originally approached for Tony. However, his manager, Colonel Tom Parker strongly believed the role to be wrong for Elvis and made him decline in favor of other movie musicals. Several Hollywood men auditioned for the part, including Warren Beatty, Tab Hunter, Anthony Perkins, Burt Reynolds, Troy Donahue, Bobby Darin, Richard Chamberlain and Dennis Hopper. Most were deemed too old and the part eventually went to former child star Richard Beymer.Jill St. John, Audrey Hepburn, Diane Baker, Valerie Harper, Elizabeth Ashley and Suzanne Pleshette were among the many actresses who lobbied for the role of Maria. However, Hepburn later withdrew because she became pregnant. The producers had not originally thought of Natalie Wood for the role of Maria. She was filming Splendor in the Grass with Warren Beatty and was romantically involved with him off-screen. When Beatty went to screen test for the role of Tony, Wood read opposite him as Maria as a favor because she had been practicing with him. The producers fell in love with the idea of Wood as Maria but did not cast Beatty.Both actors Natalie Wood and Richard Beymer tried to do their own singing for the movie, but their voices were ultimately deemed to be too unrefined, and they were overdubbed by Jimmy Bryant and Marni Nixon, respectively. Wood’s contract stated that she would pre-record all her songs. When Wood struggled with the challenging soprano role her voice was blended with Marni Nixon’s. Natalie sang the lower portions and Marni’s provided the higher vocals. During production, she was led to believe that these versions would be used (with Wood singing the majority of the vocals), although music supervisors Saul Chaplin and Johnny Green had already decided her singing voice would later be completely dubbed by Marni Nixon.

5. FIDDLER ON THE ROOF

Filled with such memorable songs as “If I Were A Rich Man,” “Tradition,” “Matchmaker,” and “Sunrise, Sunset” FIDDLER ON THE ROOF is #5 on our list. The Norman Jewison directed musical centers on a poor milkman, Tevye (Topol), and his Jewish family living in the town of Anatevka, in Tsarist Russia, in 1905. Tevye’s focus is on his three daughters and who they’ll marry. The original Broadway production of the show, which opened in 1964, was the first run of a musical in history to surpass the 3,000 performance mark and held the record for the longest-running Broadway musical for almost 10 years. At the time, the decision to cast Topol, instead of Zero Mostel, as Tevye was a somewhat controversial one, as the role had originated with Mostel and he had made it famous. Surrounded by a supporting cast of Norma Crane, Leonard Frey, Molly Picon and Paul Michael Glaser, the robust Topol was only in his mid-thirties when he performed the role of an older Tevye. The film won three Academy Awards and two Golden Globes in 1971. It won Oscars for Best Song Score Adaptation, Best Cinematography, and Best Sound – including one for arranger-conductor John Williams. The cast looks realistically cold throughout seeing as it was lensed in Croatia: in Mala Gorica, Lekenik, and Zagreb. One of the more memorable scenes happens during the opening credits. While constantly talking to the audience (and God), Tevye sits outside his house explaining the importance of tradition and stability, otherwise his life would be like a FIDDLER ON THE ROOF.

4. THE WIZARD OF OZ

Ok… so, this one has a special place in my heart. (Melissa here). I grew up with THE WIZARD OF OZ, and I know you are all thinking the same thing… but did your mother have an entire room dedicated to it??? Filled with costumes from MGM on mannequins, or a cairn terrier named Toto? Oh good, I win! I can recite this movie the entire way through. Talk about a remarkable film that was adapted from books. Judy Garland, Ray Bolger, Bert Lahr, Jack Haley, Margaret Hamilton… they are all memorable characters that make you forget that they are actors. Sure, the silver make up was far from safe, and you can see the crew running around in the forest if you look closely, but it is still a timeless piece of history! My favorite scene was actually cut, but it can be seen in the extras… It’s the Jitterbug number. I wish they would have left it in, but it didn’t do much for the film as a whole.This movie still captures the hearts of little girls who are waiting to get swept away to Oz (that is, once they get over their fear of the witch!).

3. MOULIN ROUGE

In MOULIN ROUGE, director Baz Luhrmann combined the commercial (using modern music and a surprisingly heavy dose of comedy) with the artistic (the heavily theatrical stylings and loaded emotional content) to create a definitive pop-opera that was both unhinged and brilliant. With CG-rollercoaster shots through Paris, amazing production design and about as much edits you can fit into a two-hour film without driving your audience fully insane MOULIN ROUGE was a visual feast every second of its running time. Luhrmann used many different types of music and has everything from Diamonds Are a Girl’s Best Friend to Material Girl to Smells Like Teen Spirit to FatBoy Slim’s loose interpretation of The CanCan all in the first 15 minutes! Nicole Kidman was at the top her game as Satine and MOULIN ROUGE had great supporting work from Jim Broadbent and John Leguizamo.

2. THE SOUND OF MUSIC

SOUND OF MUSIC is #2 on our top ten musical favorites this week. I love this movie and I have loved it since I first saw it as a child. The film is based loosely on the life of the Von Trapp family the summer before the start of World War II. The mother has died and the father is trying to find a governess to care for his 7 children. Captain Von Trapp believes that the only way to maintain discipline is to run the house with strict rules. Maria has other thoughts on how to control the children. The household is transformed by Maria, and so is the audience. One great song after another is performed. The musical score is by Rogers and Hammerstein (you can’t possibly go wrong there). Put together their brilliant music and the talents of Julie Andrews, Christopher Plummer and the rest of the cast and the film is wonderful. The film won 5 Oscar Awards; Best Director, Best Film Editing, Best Music, Best Sound and Best Picture.

1. SINGING IN THE RAIN

During the “golden age” of Hollywood MGM Studios were the gold standard of movie making specially in musicals. In 1952 they released one of their crown jewels, SINGIN’ IN THE RAIN. After huge success of AN AMERICAN IN PARIS(1951’s Best Picture winner) producer Arthur Freed wished to mount another prestige production with it’s star, Gene Kelly. Freed and composer Nacio Herb Brown decided to utilize songs form the vast studio music library. They brought in Broadway’s Betty Comden and Adolph Green to write a story to link these standards. The duo decided to set the film during the advent of “talkies”. In 1928 many studios were in a panic when Warner Brothers brought sound to the the movies with THE JAZZ SINGER. Comden and Green concocted a loving, hilarious satire of early film making. AFI voted this the 16th funniest film of all time in a recent poll. But then, it’s the performers and musical numbers that cements it as a classic. Freed found two great partners for Kelly: relative newcomer Debbie Reynolds and a song and dance man who could more than keep up with Kelly, Donald O’Connor. How can you pick a favorite sequence? Don Lockwood(Kelly) and Cosmo Brown(O’Connor) rip up a vaudeville stage with “Fit as a Fiddle”. Later they tear up their teacher’s classroom during “Moses Supposes”. Joined by Kathe Selden(Reynolds) they careen over a couch singing “Good Morning”. Lockwood envisions a rags-to-riches fable with “The Broadway Melody” in which his naive hoofer is seduced by the ultimate femme fatale danced by Cyd Charisse(those legs!). Most people believe the greatest scene is Kelly solo on”Singin’ in the Rain” as he joyfully twirls his umbrella and bounces from puddle to puddle after Don has confessed his love for Kathy(aww, he gave that guy his umbrella!). For me, one of the greatest scenes in all cinema is when Cosmo tries to cheer up Don with “Make ‘Em Laugh”. Without the use of movie trickery(CGI was a loooong way off) O’Connor seemingly becomes a cartoon character as he literally dances up walls. You want to turn your frown upside down? Pop in the DVD and go right to this bit of pure magic! The musical stars are greatly helped by some terrific supporting actors. Future movie musical star Rita Moreno(WEST SIDE STORY) is the “Zip” girl. Jerry Lewis movie mainstay Kathleen Freeman(and the “Penguin” in THE BLUES BROTHERS) is a diction coach. Millard Mitchell elicits great laughs as R. F. ,the studio chief.  But the real stand put is Jean Hagan In an Oscar nominated performance as the egotistical, dim-witted, screen siren Lita Lamount(the hiss-able villain). Everything about this movie from the sets, costumes, and sparkling cinematography can’t be beat. Some may argue about it’s AFI rating as the number one movie musical of all time, but SINGIN’ IN THE RAIN stands as a testament to the glory of the Hollywood studio produced musical extravaganza! Truly tops in taps!

Yes siree… with so many from which to choose from, it was a difficult list to put together. What would your Top 10 List look like? let us know in the comments section below.

From Sony Pictures and Screen Gems, see BURLESQUE in theaters on November 24, 2010. You can find BURLESQUE on Facebook, on Twitter or visit the official site here.

SLIFF 2010 Review: MOST VALUABLE PLAYERS

Most of the general movie-going public perceives documentaries as somber, serious cinema that’s ‘gonna’ make you learn somethin’ cause it’s good for you”. More like the steamed broccoli or creamed spinach in the movie meal rather than the dessert. Well, here’s the film to shatter that notion: MOST VALUABLE PLAYERS. It’ll put a smile on your face, a spring in your step, and a song in your heart. And yes, you may learn a little something, but the lessons will go down as smoothly as any pastry.

The main focus of the film are three high school drama departments in the Lehigh Valley in Pennsylvania(lovely place and..hey, they make crayons there! Cool!). Turns out that each schools ‘ theatre productions are as competitive as the athletic departments. One reason may be the Freddy Awards which honor high school musical productions and are actually broadcast live on TV(like the Tonys) from the State Theatre. The main rivalry may be between Parkland HS and the smaller Emmaus HS since they both put on productions of “Les Miserables” on the same weekend! We’re treated to a montage of their drama directors slightly snipping at the other. The filmmakers follow both schools from rehearsals to opening night. Freedom HS is the other school profiled as director Jennifer Wescoe mounts a production of the high school perennial classic “Bye, Bye, Birdie”. Zach Gibson, Amanda Kostalis, and several other cast members are interviewed, but the most unusual story may be that of Conrad Birdie himself, John Andredis. After concentrating on soccer for most of his high school years, John(a senior) tried out for his first stage production. Surprisingly his father seems to be even more thrilled about this than John’s mother. Papa Andreadis proudly shows off the tiny paint brush he uses to touch up the gold “Birdie” shoes every night after dress rehearsal! Shortly after the shows have played it’s time for the announcement of the Freddy Award nominations! Students from the three schools gather around their sets to watch the news live over WFMZ,TV69. Then the rehearsals begin for the big broadcast.But one question consumes the young actors’ thoughts: Who will take home a Freddy?

Of course there’s plenty of surprises onstage as the different schools must come together for the opening and closing group numbers and backstage as one of the co-ordinators must deal with a medical crisis. I’d better confess something here: some of my fondest memories of high school are of being on stage and belting out tunes as Nathan Detroit from “Guys and Dolls” and Harry Mcafee from the very same “Bye, Bye Birdie”. This film completely captures that spirit of teamwork and the unbridled pure joy of musical theater. It shifts effortlessly between the three school aided by intimate, unobtrusive camera work and a sprightly original musical score. MOST VALUABLE PLAYERS may be the perfect remedy if you’re feeling down from the dismal news stories in newspapers and TV about America’s youth. To paraphrase the classic Who song(and a great movie from earlier in the year), the kids are all right. Heck, they’re not just all right they’re fantastic and more than a bit fabulous! What a treat!

MOST VALUABLE PLAYERS will play during the 19th Annual Stella Artois St. Louis International Film Festival on Wednesday, November 17th at 7:00 pm at the Tivoli Theatre.

‘Mamma Mia!’ Sing-Along on Labor Day Weekend

Mamma Mia

Break out your bell-bottoms and platform shoes! Universal Pictures has announced that starting on August 29th (Labor Day weekend) a sing-along version of the hit musical ‘Mamma Mia!’Â  will be playing in select theaters nationwide. According to The Hollywood Reporter the special showings will include printed subtitles during each ABBA song. Per IMDb.com, the film has currently grossed $323 million worldwide making it one of the highest grossing musicals of all time and it is showing no signs of slowing down. Contact your local theaters for show times.