how long did the musical cats run on broadway

As of 2016, Cats is the fourth-longest-running show in Broadway history, and was the longest running Broadway show in history from 1997 until 2006 when it was surpassed by The Phantom of the Opera. Cats is the sixth-longest-running West End musical. It has been performed around the world many times and has been translated into more than 20 languages. In 1998, Cats was turned into a made-for-television film.

Cats (musical)

Cats is a sung-through musical composed by Andrew Lloyd Webber, based on Old Possum's Book of Practical Cats by T. S. Eliot, and produced by Cameron Mackintosh. The musical tells the story of a tribe of cats called the Jellicles and the night they make what is known as "the Jellicle choice" and decide which cat will ascend to the Heaviside Layer and come back to a new life. Cats introduced the song standard "Memory". The first performance of Cats was in 1981.

Directed by Trevor Nunn and choreographed by Gillian Lynne, Cats first opened in the West End in 1981 and then with the same creative team on Broadway in 1982. It won numerous awards, including Best Musical at both the Laurence Olivier Awards and the Tony Awards. The London production ran for 21 years and the Broadway production ran for 18 years, both setting new records. Actresses Elaine Paige and Betty Buckley became particularly associated with the musical. One actress, Marlene Danielle, performed in the Broadway production for its entire run (from 1982 until 2000).

Composed by Andrew Lloyd Webber, the production of Cats is based on T. S. Eliot's Old Possum's Book of Practical Cats (1939), which the composer recalled as having been a childhood favorite. The songs of the musical comprise Eliot's verse set to music by the composer, the principal exception being the most famous song from the musical, "Memory", for which the lyrics were written by Trevor Nunn after an Eliot poem entitled "Rhapsody on a Windy Night". Also, a brief song entitled "The Moments of Happiness" was taken from a passage in Eliot's Four Quartets. Lloyd Webber began composing the songs in late 1977 and premiered the compositions at the Sydmonton Festival in 1980. The concert was attended by T.S. Eliot's wife, Valerie Eliot and she loved the songs that Lloyd Webber had composed. She gave her blessing for the songs to be adapted into a musical stage play. Rehearsals for the musical began in early 1981 at the New London Theatre. Due to the Eliot estate asserting that they write no script and only use the original poems as the text, the musical had no identified plot during the rehearsal process, causing many actors to be confused about what they were actually doing. An unusual musical in terms of its construction, the overture incorporates a fugue and there are occasions when the music accompanies spoken verse. The show is completely told through music with virtually no spoken dialogue in between the songs. Dance is also a key element in the musical especially during the 10-minute Jellicle Ball dance sequence. The set, consisting of an oversized junk yard, remains the same throughout the show without any scene changes. Lloyd Webber's eclecticism is very strong here; musical genres range from classical to pop, music hall, jazz, rock and electro-acoustic music as well as hymn-like songs such as "The Addressing of Cats".

Cats premiered in the West End at the New London Theatre on 11 May 1981. There was trouble initially as Judi Dench, cast in the role of Grizabella, snapped her Achilles tendon during rehearsals prior to the London opening. She was replaced by Elaine Paige. The musical was produced by Cameron Mackintosh and Lloyd Webber's Really Useful Group, directed by Trevor Nunn, with associate director and choreographer Gillian Lynne, design by John Napier, and lighting by David Hersey. The conductor was Harry Rabinowicz. It played a total of 8,949 performances in London. Its final performance in London's West End was on its 21st birthday, 11 May 2002, and broadcast on a large screen in Covent Garden to the delight of fans who could not acquire a ticket for the final performance. It held the record as London's longest running musical until 8 October 2006, when it was surpassed by Les Misérables.

The show made its debut on Broadway on 7 October 1982, at the Winter Garden Theater with the same production team. On 19 June 1997, Cats became the longest-running musical in Broadway history with 6,138 performances. It closed on 10 September 2000, after a total of 7,485 performances. Its Broadway record was surpassed on 9 January 2006 by The Phantom of the Opera. It remains Broadway's fourth-longest-running show in history. Lloyd Webber stated that when the original show was produced, it cost Â£900,000, but on Broadway, it cost $5 million.[1]

In 1998, Lloyd Webber produced a video version of Cats, based upon the stage version, starring Elaine Paige, who originated the role of Grizabella in London; Ken Page, who originated Old Deuteronomy on Broadway; Sir John Mills as Gus; Michael Gruber as Munkustrap; John Partridge as The Rum Tum Tugger; Jo Gibb as Rumpelteazer with many of the dancers and singers drawn largely from various stage productions of the show.[2] It was directed by David Mallet, with choreography and musical staging by the show's respected original creator Gillian Lynne in London's Adelphi Theatre, and was released on VHS and DVD, as well as broadcast on television worldwide. Lloyd Webber and others on the production team for the film wanted to keep the feeling that viewers watching the film could still get the sense of seeing the show live, by having all views be facing the stage, therefore, getting multiple views of the set, with several close-ups. Beyond the productions in England, the US, Canada, and Australia, the musical has been produced professionally in Hungary, Austria, and Japan, 1983; Sydney and Toronto, 1985; Germany, 1986; France, 1989; Mexico, 1991; Netherlands, 1992; Argentina, 1993; Hong Kong, 1994; Spain, 2003; Poland and Czech Republic, 2004; Russia and Estonia, 2005; Israel, Taiwan, Thailand, South Korea, China and Finland, 2007; Singapore, Hong Kong, Dominican Republic, Norway, Sweden, South Africa, China, Italy, Bulgaria and Japan, 2009; and Brazil and the Philippines, 2010. Cats has been translated into over 20 languages.[3]

It was announced on 3 August 2012 that a UK tour of the show would open on 9 February 2013, at the Edinburgh Playhouse.[4]

Stagecoach Theatre Arts schools celebrated their 25th anniversary by performing Cats in the Birmingham National Indoor Arena on 24 March 2013.[5] In association with the Really Useful Group, 3500 children from across Europe joined together with a virtual choir of many international Stagecoach students, and produced the largest production of the musical yet. 35 Stagecoach franchises across the UK performed the show on 7'stages' around the arena, with each school taking it in turns to portray a small section of the musical. In addition to this, 52 selected elite dancers, including 14 solo dancers who took the named parts, performed the whole musical on a raised stage in the center of the arena. The Really Useful Group, Andrew Lloyd Webber, Veronica Bennetts, Stephanie Manuel and Paul Leddington Wright all contributed and collaborated to bring this production together.

From 21 August through 11 September 2013, the Finger Lakes Musical Theater Festival in Auburn, New York, staged a production of the show with Taylor Dayne as Grizabella, KC Fredericks as Mr. Mistoffelees, Patrick Mellen as Old Deuteronomy, and Adam Ryan Tackett as Rum Tum Tugger.[6] Jacob Brent directed and choreographed the production.

In July 2014, Australia's Harvest Rain Theatre Company staged the biggest production of Cats in the Southern Hemisphere with over 700 performers. Produced by Tim O'Connor, the production was performed at the Brisbane Convention & Exhibition Centre. Callum Mansfield directed and choreographed it, and its record-breaking cast included Marina Prior as Grizabella.[7]

Royal Caribbean International announced in April 2014 that a fully licensed production of Cats will be performed regularly for guests aboard the cruise ship Oasis of the Seas beginning in fall 2014.[8]

It was announced on 27 June 2014 that "Cats" will be returning to London from December 2014 for a 12-week run at the London Palladium following the UK national tour with the original creative team featuring direction from Trevor Nunn, choreography by Gillian Lynne and design by John Napier.[9] The run was later extended through April 2015.[10] Along with this Andrew Lloyd Webber would be rewriting a number of songs from the musical. Speaking on the revival, Lloyd Webber himself said, "we wanted to do Cats again ourselves, then the Palladium came up and Trevor fell in love with it. We’re taking the Cats show that’s touring and working on it afresh." The musical returned to the London Palladium for a run lasting from 23 October 2015 to 2 January 2016 starring Beverley Knight as Grizabella.[11][12]

A Broadway revival opened on 31 July 2016.[13] Nicole Scherzinger, who played Grizabella in the 2014 West End revival, had originally agreed to reprise the role on Broadway, but her desire to return as a judge on The X Factor led her to withdraw.[14] Leona Lewis was cast to replace her[15] and was ultimately succeeded by Mamie Parris in October 2016.[16] The Broadway revival closed on December 30, 2017.

After the overture, the Cats gather on stage and explain the Jellicle tribe and its purpose ("Jellicle Songs for Jellicle Cats"). The Cats (who break the fourth wall throughout the production) then notice that they are being watched by a man, and proceed to explain how the different Cats of the tribe are named ("The Naming of Cats"). This is followed by a dance from Victoria the White Cat, who performs a ballet which signals the beginning of the Jellicle Ball ("The Invitation to the Jellicle Ball"). Munkustrap (the wise second-in-command of the Jellicle tribe) explains that tonight, the Jellicle leader, Old Deuteronomy, will choose a cat to be reborn into a new life on the Heaviside Layer.

Munkustrap introduces Jennyanydots ("The Old Gumbie Cat"), a large tabby cat, who "sits and sits and sits and sits" every day, while (every night) she teaches the mice and cockroaches various activities. However, when Jennyanydots finishes her song, the number is interrupted, with the music changing suddenly, when the Rum Tum Tugger makes an extravagant entrance ("The Rum Tum Tugger"). He is very fickle and unappeasable, "for he will do as he do do, and there's no doing anything about it".

As Rum Tum Tugger's song fades, a shabby old grey cat stumbles out and looks around (begging forgiveness of her sin she made before she was exiled from the tribe years ago); it is Grizabella. All the Cats back away from her in fear and disgust and explain of her unfortunate state ("Grizabella: The Glamour Cat"). Grizabella leaves and the music changes to a cheerful upbeat number as Bustopher Jones, a fat cat in "a coat of fastidious black", appears ("Bustopher Jones: The Cat About Town"). Bustopher Jones is among the elite of the cats, and visits prestigious gentlemen's clubs. Suddenly, a loud crash then startles the tribe and the Cats run off the stage in fright. All of a sudden, hushed giggling sounds signal the entrance of Mungojerrie and Rumpleteazer, a pair of near-identical Cats. They are petty burglars, very mischievous, and they enjoy causing trouble for human families ("Mungojerrie and Rumpleteazer").

Finally, the Jellicle patriarch, Old Deuteronomy, appears ("Old Deuteronomy"). He is a large old Cat that "has lived many lives" and "buried nine wives (And more, I am tempted to sayâ€”ninety-nine)". He is the Cat who chooses which Jellicle Cat will go to the Heaviside Layer every year. After rejoicing to their leader's arrival, the Cats put on a play for Old Deuteronomy, called The Awefull Battle of the Pekes and the Pollicles. It is a story about two dog tribes clashing in the street and subsequently being scared away by the Great Rumpus Cat, a cat with flashing red eyes. After a moral from Old Deuteronomy about the destiny of Jellicle Cats and Pollicle Dogs, a second loud crash, presumably from Macavity, sends the alarmed Cats scurrying. Old Deuteronomy calls the Cats back and the main celebration begins ("The Jellicle Ball"), in which the cats sing and display their "Terpsichorean powers".

During the Ball, Grizabella reappears and tries to dance along, but her age and decrepit condition prevent her from doing so. Once again, she is shunned by the other Cats, but that does not stop her from singing a short version of "Memory" while a guilty Old Deuteronomy looks on.

After the Jellicle Ball, Old Deuteronomy complains about "what happiness is", referring to Grizabella, but the Cats do not believe him, so he sends the message to Jemima (or Sillabub, depending on the production), the youngest of all Jellicles, who sings it in simpler terms ("The Moments of Happiness"). Gus — short for Asparagus — shuffles forward ("Gus: The Theatre Cat"). He was once a famous actor but is now old and "suffers from palsy which makes his paws shake." He is accompanied by Jellylorum, who tells of his exploits. Gus then remembers how he once played the infamous Growltiger, the Terror of the Thames ("Growltiger's Last Stand"). He tells the story about the pirate's romance with his girlfriend, Lady Griddlebone, and how he was overtaken by the Siamese and forced to walk the plank to his death.

Back in the present, after Gus exits, Skimbleshanks is seen sleeping in the corner ("Skimbleshanks: The Railway Cat"). He is the Cat who is unofficially in charge of the night train to Glasgow. Skimbleshanks is considered vital to the train, as without him "the train can't start". Within his song, a whole steam train engine is assembled out of objects in the junkyard: Various Cats spin wheels, hold up the structure, and light the headlights.

With a third crash and an evil laugh, the "most wanted" cat Macavity appears. He is a "master criminal" and is never found at the scene of the crime. Macavity's minions throw a net over Old Deuteronomy and capture him. As Munkustrap and his troops give chase to rescue Old Deuteronomy, Demeter and Bombalurina explain what they know about Macavity ("Macavity: The Mystery Cat"). When they are finished, Macavity returns disguised as Old Deuteronomy, but when Demeter blows his cover, Macavity ends up fighting with Munkustrap and Alonzo. Though the confused Macavity holds his own for a time, the rest of the tribe begin to gang up and surround him, but he shorts out the stage lights as an attempt to escape in the confusion.

After the fight, an honest Rum Tum Tugger suggests that the Cats should find a local magician named Mr. Mistoffelees (also known as "the original conjuring cat") for help ("Magical Mr. Mistoffelees"). According to Tugger, Mr. Mistoffelees is small and black and can perform feats of magic that no other Cat can do. Mr. Mistoffelees can also perform his own dance, which is often one of the most intricate and challenging dance solos in the show. As soon as he arrives just in time, the magical Cat restores the lights and brings back Old Deuteronomy, and all the Cats hail him as their emancipator. Now, the Jellicle Choice can be made.

After Old Deuteronomy sits down, Grizabella returns to the junkyard and he allows her to address the gathering. Her faded appearance and lonely disposition have little effect on her song ("Memory"). With acceptance and encouragement from Jemima and Victoria, her appeal succeeds and she is chosen to be the one to go to the Heaviside Layer and be reborn to a new Jellicle life ("Journey to the Heaviside Layer"). A large tire rises from the piles of junk, carrying Grizabella and Old Deuteronomy partway toward the sky; he then steps off so she can finish the journey on her own. Finally, Old Deuteronomy gives his closing speech to the human audience ("The Ad-dressing of Cats") and the show comes to a close.

A 1981 recording of the Original London Cast was released first on LP and cassette tape and later as a two-CD set.[17] It contains the following tracks:

Amblimation planned to adapt the musical into an animated film, but was abandoned with the studio's closure.

In May 2016, it was announced that Tom Hooper would direct a film adaptation of the musical for Universal Studios with Tim Bevan, Eric Fellner, and Debra Hayward serving as producers.[23] Production is planned for 2017 or 2018.[24] In January 2018, after the Broadway revival was closed, Lloyd Webber has written a new song for the film version of the film version of Cats (no title has been announced for the song, which will be sung by the kitten Victoria); he said that although the film has not been officially green lit by Working Title, casting is underway.[25]

Cats has undergone several revisions since its London and subsequent Broadway openings. The most current version, licensed by The Rodgers and Hammerstein Organization, is based on the recent UK tour. This score contains several small cuts, transpositions, additions, reassignment of vocal lines, and a reduced orchestration.

The original London production's version of Mungojerrie and Rumpleteazer is slower (in 12/8 time) and has a more jazzy sound, while the more common, newer version is faster and more upbeat (4/4 time, with the middle verse in 7/8 time). In the original London production, Mungojerrie and Rumpleteazer were characters in their own right and sang their own song; this was later changed in the Broadway production, where Mr. Mistoffelees sang Mungojerrie and Rumpelteazer in the third person, with Mungojerrie and Rumpelteazer as puppets being magically controlled by Mr. Mistoffelees. Eventually, the Broadway version of the song was rewritten to allow Mungojerrie and Rumpleteazer to once again sing their own song as full characters. In the 1998 film, the first stanza of the song was cut. In the current licensed version, based on the recent UK tour, the 7/8 section is reworked into 4/4 with triplet quavers that simulate the original 12/8 version.

The "Growltiger's Last Stand" sequence has also been changed multiple times over the course of the show's history. In the original London production, the "last duet" for Growltiger and Griddlebone was a setting of an unpublished T.S. Eliot poem, "The Ballad of Billy M'Caw". For the original Broadway production, the Ballad was replaced with a pastiche of Italian opera (reminiscent of Puccini's Madama Butterfly). This new version was subsequently incorporated into most productions of Cats worldwide. The Ballad remained in the London production until some time in the early 1990s when it was replaced with the Italian aria pastiche. "Billy M'Caw" was re-instated for the UK tours following the show's closure in London. Lloyd Webber has said that he is pleased with the reinstatement of "The Ballad of Billy M'Caw" as he didn't care for the "Italian aria" version.[26] The licensed version of Cats includes both songs, giving individual companies a choice as to which to include. The 2015 London revival and UK tour reinstates the Italian Aria, as well as rewriting the initial verses of Growltiger's Last Stand into a more jazz/blues sounding piece. In the 1998 video version, the entire scene featuring Growltiger was cut due to John Mills' (Gus) old age.

In recent productions, a lyric in "Growltiger's Last Stand" was changed to remove any racially insensitive language. "With a frightful burst of fireworks the Chinks they swarmed aboard!" became "with a frightful burst of fireworks, the Siamese they swarmed aboard!", although the lyric "Heathen Chinese" remains in the tale of the Pekes and the Pollicles.

The original London cast recording utilised longer versions of "The Old Gumbie Cat", "Old Deuteronomy" and "The Ad-Dressing of Cats" with verses and lines that were cut from later productions.

The US tour continues to use the original Broadway version of the score, including the Italian aria and material cut from newer versions. Only "Pekes and Pollicles" and one verse of "Mungojerrie and Rumpleteazer" are cut from performance.

The 2015 London revival and UK tour introduced numerous'modernizations' to the show, such as a rapped version of "The Rum Tum Tugger,"[27][28] whose character and costume is also completely reworked, changing him from a ladies-man "rock star" style character, to a "young urban" style cat, changing him also from one of the adult toms, to one of the kittens. The 2015 Australian tour and 2015 Paris productions also used the new Tugger; however, the 2016 Broadway revival does not. The 2015 London revival and UK tour also has a completely new piece of music used for the Beetles Tattoo segment of "The Old Gumbie Cat", a reworked jazz version of "Growltiger's Last Stand", and the reinstating of "Una Tepida Notte", replacing "The Ballad of Billy M'Caw".

In the 2016 Broadway revival, the "Growltiger's Last Stand" number was replaced by "The Awefull Battle of the Pekes and the Pollicles". With Gus remembering that he had played the part of the Great Rumpus Cat instead of Growltiger.


what are the features of ms word 2000

New features in Office 2000 include HTML document creation and publishing; Internet collaboration features such as integration with NetMeeting; roaming user profile support; an updated version of the Office Assistant; and new interface improvements including personalized menus and toolbars that omit infrequently used commands from the interface. Additionally, Office 2000 introduces PhotoDraw, a raster and vector imaging program; and Web Components. Office 2000 offers improved compliance with the year 2000 and is the first version of Office to use Windows Installer for the installation process.[6]

Microsoft Office 2000

Microsoft Office 2000 is a release of Microsoft Office, an office suite developed by Microsoft for the Windows family of operating systems. Office 2000 was released to manufacturing on March 29, 1999,[1] and was made available to retail on June 7, 1999.[5] It is the successor to Office 97 and the predecessor to Office XP.

Microsoft globally released five main editions of Office 2000: Standard, Small Business, Professional, Premium, and Developer.[7] An additional Personal edition exclusive to Japan was also released.[8] All retail editions of Office 2000 sold in Australia, Brazil, China, France, and New Zealand, as well as academic copies sold in Canada and the United States, required the user to activate the product via the Internet.[9] Microsoft extended this requirement to retail editions sold in Canada and the United States with the availability of Office 2000 Service Release 1.[10] However, product activation is no longer required since April 15, 2003.[11]

Office 2000 supports Windows 95, Windows NT 4.0 SP3, Windows 98, Windows ME, Windows 2000, Windows XP, and Windows Vista.[4] It is the last version of Office to support Windows 95, as its successor, Office XP, is not compatible.[12]

Microsoft released a total of three service packs for Office 2000 throughout its lifecycle. The first update was called Service Release 1 (SR-1), while subsequent updates were referred to as service packs.[2] Mainstream support for Office 2000 ended on June 30, 2004, and extended support ended on July 14, 2009.[13]

Five different editions of Office 2000 were available.[14]

Microsoft Office 2000 Personal was an additional SKU, solely designed for the Japanese market, that included Word 2000, Excel 2000 and Outlook 2000.[15] This compilation would later become widespread as Microsoft Office 2003 Basic.


who plays lauren tanner on make it or break it

Cassandra Lynn Scerbo (born March 30, 1990) is an American actress, singer and dancer. She was one of the members of the Slumber Party Girls in the CBS children's music variety series Dance Revolution. In acting, she starred as Brooke in the film Bring It On: In It to Win It (2007), as Lauren Tanner in the ABC Family comedy-drama series Make It or Break It (2009â€“2012), and as Nova Clarke in the Sharknado film series.

Cassie Scerbo

Scerbo was born on Long Island, New York. She is of full Italian ancestry.[1] Scerbo was raised in Parkland, Florida and played soccer for the Parkland Soccer Club. She lived in Florida from the time she was in kindergarten until she was cast in Make It or Break It. She attended Marjory Stoneman Douglas High School in Parkland. In 2006, Scerbo successfully auditioned for the Music Girl Group Slumber Party Girls. Scerbo was chosen as one of the five members out of over 1,000 fellow applicants. In September 2006, the group hosted the children's music variety series Dance Revolution which promoted nutrition and fitness to children. Slumber Party Girls' original songs were dominantly featured through the series run. The group's debut album Dance Revolution was released but failed to chart. The series was not renewed for a second season. In the midst of 2007 as the group began working on their second record the group was confirmed to have split. That same year, Scerbo signed a solo-recording contract with Geffen Records.[2] Her three original songs "Betcha Don't Know", "Sugar and Spice" and "Top Of The World" were all released to iTunes in 2008.[3]

In 2007, Universal Pictures green-lit a planned fourth installment of the Bring It On film franchise with Scerbo confirmed to star.[4] She portrayed the role of Brooke the team captain of the East Coast Jets Cheerleading squad who have won three-years in a row at Camp Spirit-Thunder. It was released direct-to-DVD in December 2007 to generally negative reviews from critics.[5] That same year, Scerbo appeared in the Disney Channel television pilot Arwin!.[6] The pilot was filmed in late 2006 but was not picked up by Disney Channel.[7]

In September 2008, Scerbo appeared alongside Missi Pyle and Emily Osment in the direct-to-DVD comedy film Soccer Mom. In June 2009, Scerbo was cast in the ABC Family teen drama series Make It or Break It which premiered to 2.5 million viewers.[8] Scerbo portrayed the role of a skilled gymnast named Lauren Tanner who aspires to make it to the Olympic Games.[9][10] Due to the series success ABC Family ordered an additional 10-episodes bringing the first season episode count to 20-episodes.[11] In January 2012, ABC Family renewed the series for a third and final season.[12] The series finale "United Stakes" aired in May 2012.[13] In April 2010, Scerbo also appeared with her Make It or Break It castmate Chelsea Hobbs in an episode of CSI: Miami.[14]

In 2011, Scerbo starred in the ABC Family original film Teen Spirit.[15] Scerbo portrayed the role of the Queen Bee of high school who is electrified to death and is not allowed to enter Heaven unless she helps the school's most unpopular girl become prom queen. Filming took place in Wilmington, North Carolina.[16] The film premiered in August 2011 on ABC Family.[17]

It was announced that Scerbo is the godmother to Tiffany Thornton's son.[18]

In 2013, Scerbo starred in the Syfy original movie Sharknado as bartender Nova Clarke;[19] she reprised her role in the sequel Sharknado 3: Oh Hell No! in 2015[20] and Sharknado 5: Global Swarming in 2017, of which her character has turned into a hardened sharknado fighter.[21]


how many emmys did the west wing win

The West Wing received 277 award nominations, winning 87 of them. This includes 95 Primetime Emmy Awards (with 26 wins), 20 Golden Globe Awards (2 wins), 20 Screen Actors Guild Awards (7 wins), 12 Television Critics Association Awards (5 wins), 12 Writers Guild of America Awards (2 wins), and 8 Directors Guild of America Awards (2 wins).

List of awards and nominations received by The West Wing

Allison Janney received numerous awards and nominations for her performance as Press Secretary C. J. Cregg

ACE Eddie Awards

ADG Excellence in Production Design Awards

American Film Institute Awards

Banff Rockie Awards

BMI Film & TV Awards

Cinema Audio Society Awards

Costume Designers Guild Awards

Directors Guild of America Awards

E Pluribus Unum Award

Environmental Media Awards

Family Television Awards

GLAAD Media Awards

Golden Globe Awards

Golden Nymph Awards

Golden Reel Awards

Make-Up Artists & Hair Stylists Guild Awards

NAACP Image Awards

People's Choice Awards

Producers Guild of America Awards

Publicists Guild of America Awards

Screen Actors Guild Awards

TV Guide Awards

Writers Guild of America Awards

Young Artist Awards

Total number of wins and nominations

The West Wing is an American political drama television series that aired on NBC from September 22, 1999 to May 14, 2006, broadcasting 156 episodes over seven seasons. Created by Aaron Sorkin and produced by John Wells Productions and Warner Bros. Television, the show follows the lives of White House staffers, including the President. The show starred an ensemble cast who portrayed various staff members of the federal government.

In addition to the cast winning the Outstanding Performance by an Ensemble in a Drama Series and the Satellite Award for Outstanding Television Ensemble, several cast and crew members received awards and nominations for their individual work, including Martin Sheen, Allison Janney, Bradley Whitford, Stockard Channing, John Spencer, and Alan Alda.

The Eddie Award is an annual accolade that was created by American Cinema Editors in 1962 to award outstanding achievements in editing in television and film.[1] The West Wing won two awards out of four nominations.

The American Latino Media Arts Award, commonly known as the ALMA Award, is an annual accolade bestowed by the National Council of La Raza recognizing American Latino contributions to television, film and music.[6] Martin Sheen received three nominations for Outstanding Actor in a Television Series, winning once. Jimmy Smits also won the award in 2006 while the series won for Outstanding Television Series.

Established in 2000, the American Film Institute Awards (AFI) is presented by American Film Institute and honors the best ten outstanding films and television programs of each year.[11] The West Wing won two awards for Television Program of the Year.

Presented since 1986 by the American Society of Cinematographers, The American Society of Cinematographers Awards is an annual accolade that honors work in theatrical features, television projects and student films, and cinematographers and other filmmakers for their career achievements.[15] During its tenure, The West Wing won two out of its six nominations, all awarded to Thomas Del Ruth.

Presented by the Casting Society of America, the Artios Award is an annual accolades honoring outstanding achievements in casting.[17] The West Wing received four nominations during its tenure, winning two awards.

The Cinema Audio Society Awards, commonly abbreviated as CAS Awards, was created in 1964 and honors outstanding achievement in sound mixing.[27] The West Wing received four award nominations, winning two awards.

Presented by the Directors Guild of America since 1938, The Directors Guild of America Award honors excellence in the field of direction.[32] The West Wing received eight nominations for the award for Outstanding Directorial Achievement in Drama Series, winning twice.

The Primetime Emmy Award is an annual accolade presented by the Academy of Television Arts & Sciences for outstanding achievement in American prime time television programming.[38] The award recognizes outstanding achievement in television aspects such as acting, writing, and direction. During its tenure, The West Wing received 95 nominations, winning 26 of them.[39] The series won the award for Outstanding Drama Series four times between 2000 and 2003, tying with Hill Street Blues, L.A. Law and Mad Men for the most wins in that category. Allison Janney won the most individual Emmy awards among the cast, winning two for Outstanding Supporting Actress in a Drama Series and two for Outstanding Lead Actress in a Drama Series. In the Outstanding Supporting Actor in a Drama Series category, the series won three consecutive times from 2000 to 2002, with Richard Schiff, Bradley Whitford and John Spencer receiving the award during the respective years. The show won a fourth time in 2006, with Alan Alda receiving the award.

The more technical aspects such as cinematography and casting are awarded at the Creative Arts Emmy Awards. The West Wing won 12 Creative Arts Emmy awards, including three for Outstanding Cinematography for a Single-Camera Series and three for Outstanding Casting for a Drama Series.

Presented since 1949, the Golden Globe Award is an annual accolade awarded by the Hollywood Foreign Press Association for outstanding achievements in film and television.[114] The West Wing received 20 nominations during its tenure, winning two awards for Best Actor – Television Series Drama, awarded to Martin Sheen, and Best Television Series – Drama.

Founded in 1953, the Motion Picture Sound Editors (MPSE) is an honorary society of motion picture sound editors. Since 1989, they present the Golden Reel Awards, in which honors the best work in the various areas of sound editing.[120] The West Wing received five award nominations during its tenure.

Awarded since 1974, the Humanitas Prize is an annual accolade that recognizes outstanding achievement of writers in film and television whose work promotes human dignity, meaning and freedom.[126] The West Wing received five award nominations, winning three awards.

The Imagen Award, also known as the Latino Golden Globes, is an annual accolade presented by the Imagen Foundation since 1985 that awards positive portrayals of Latinos in television, film, and the web.[131] The West Wing won four awards out of five nominations.

The NAACP Image Award was established in 1967 and is an accolade presented by the American National Association for the Advancement of Colored People to honor outstanding people of color in film, television, music, and literature.[135] The West Wing has received six nominations, with Dulé Hill receiving four nominations.

Awarded since 1940, the Peabody Award, named after American banker and philanthropist George Peabody, is an annual award the recognizes excellence in storytelling across mediums including television, radio, television networks, and online videos. The West Wing won the award for the year of 1999, with the award committee lauding it for "showing that audiences can be edified, as well as entertained, by the inner workings of a modern-day presidency." The series won again for the year of 2000, highlighting the cast and select episodes as evidence of "an intricate and noble series."

The Producers Guild of America Awards was established in 1990 by the Producers Guild of America, in order to honor the visionaries who produce and execute motion picture and television product.[143] The West Wing received eight award nominations, winning two awards for Best Episodic Drama, the award for Most Promising Producer in Television and the Vision Award for Television.

The Satellite Award is an annual accolade bestowed by the International Press Academy since 1997 in recognition of outstanding achievements in film, television and new media.[149] During its tenure, The West Wing received ten award nominations, winning five.

Presented by the Screen Actors Guild, the Screen Actors Guild (SAG) Award recognizes outstanding individual and ensemble performances.[154] The West Wing received 20 SAG award nominations, with Martin Sheen winning three awards for Outstanding Performance by a Male Actor in a Drama Series, Allison Janney winning two awards for Outstanding Performance by a Female Actor in a Drama Series and the cast winning two awards for Outstanding Performance by an Ensemble in a Drama Series.

Awarded by Television Critics Association since 1985, the Television Critics Association Award (TCA Award) is an annual accolade that recognizes outstanding achievements in television programming and acting performances.[162] The West Wing has received twelve nominations, winning two for Outstanding Achievement in Drama, an award for Program of the Year, an award for Outstanding New Program and Heritage Award.

The Q Award, presented by the Viewers for Quality Television since 1986, recognizes critically acclaimed programs and performers for their outstanding achievements in television.[171] The West Wing received five nominations, winning three awards.

Presented by the Writers Guild of America (WGA), the Writers Guild of America Award is an annual accolade that recognizes outstanding achievement of writers in film, television, radio, promotional writing and videogames.[173] The West Wing received twelve award nominations, winning two awards for Television: Episodic Drama.


who wrote the lyrics and music to kinky boots

Kinky Boots is a Broadway musical with music and lyrics by Cyndi Lauper and a book by Harvey Fierstein.

Kinky Boots (musical)

Based on the 2005 British film Kinky Boots, written by Geoff Deane and Tim Firth and inspired by true events, the musical tells the story of Charlie Price. Having inherited a shoe factory from his father, Charlie forms an unlikely partnership with cabaret performer and drag queen Lola to produce a line of high-heeled boots and save the business. In the process, Charlie and Lola discover that they are not so different after all.

Following the show's conception in 2006, the creative team was assembled by 2010. The original production of Kinky Boots premiered at the Bank of America Theatre in Chicago in October 2012, with both direction and choreography by Jerry Mitchell, and starring Stark Sands and Billy Porter as Charlie and Lola, respectively. It made its Broadway debut at the Al Hirschfeld Theatre on April 4, 2013, following previews that began on March 3, 2013. The musical began its US tour in 2014.

Having initially been less well received by theatre critics and at the box office than another 2013 Broadway production, Matilda the Musical, Kinky Boots entered the 2013 awards season as an underdog. However, less than a month after opening, Kinky Boots surpassed this rival with audiences in weekly box office gross and later enjoyed a post-Tony boost in advance sales. The production earned a season-high 13 nominations and 6 Tony wins, including Best Musical and Best Score for Lauper in her first outing as a Broadway songwriter, making her the first woman to win alone in that category. The musical's cast album premiered at number one on the Billboard Cast Albums Chart and number fifty-one on the Billboard 200 chart. In 2016, it won three Laurence Olivier Awards, including Best New Musical.

Kinky Boots is based on the 2005 British film of the same name,[1] which was in turn inspired by a 1999 episode of the BBC2 documentary television series Trouble at the Top. It followed the true story of Steve Pateman, who was struggling to save his family-run shoe factory from closure and decided to produce fetish footwear for men, under the brand name "Divine Footwear".[2][3] Daryl Roth, a Tony Award-winning producer,[4] saw the film at the 2006 Sundance Film Festival and fell in love with its "heart and soul". She felt that its themes resonated and thought that the story had potential as source material for a musical. Independently, Hal Luftig saw the film in London and agreed "that its heart and humanity (and bigger-than-life leading 'lady') would translate well to musical theatre."[5] Within a year, Roth secured the rights to adapt the film to the stage and partnered with Luftig, a Tony and Olivier Award-winning producer.[6][7]

By mid-2008, Roth and Luftig were in discussions with a potential director, Jerry Mitchell, but they still had not found writers.[8] When Roth sent Mitchell the DVD of the film, he was enthusiastic about it.[9] Roth and Luftig hired Mitchell to direct and Harvey Fierstein to write the book.[6][10] Mitchell knew that Fierstein and Cyndi Lauper were friends, and he thought they would make a good team to create the musical.[9] Fierstein agreed and eventually approached Lauper to write the songs[3] because he "saw in the adaptation an opportunity to work with someone with a big musical range,'somebody who could write club music,'... along with show tunes."[11] Lauper joined the creative team in June 2010.[12] Lauper's last project before Kinky Boots had been the album Memphis Blues, while Fierstein was working on Newsies when he began Kinky Boots.[11] The work marked Lauper's debut as a musical theatre songwriter,[10] although she had some theatrical experience, having performed on Broadway in the 2006 Roundabout Theatre Company production of The Threepenny Opera.[13] Among Fierstein's prior experiences were works about drag queens: La Cage aux Folles and Torch Song Trilogy.[14] Lauper has said that she identifies with drag queens.[15]

Fierstein and Lauper had both gained previous critical acclaim and honors in their respective fields. Fierstein had won four Tonys: acting and writing awards for Torch Song Trilogy, an acting Tony for Hairspray, and one for writing the book of La Cage; Lauper is a chart-topping singer-songwriter and actress who had won Grammy, Emmy and many other awards for her songs and performances.[16][17][18] Fierstein noted a change in focus between the film "about the saving of a factory" and the musical, which include "drag queens singing as they pass along the assembly line."[3][9] He said the main difference is that the musical is, "at its core, about two young men who come from seemingly opposite worlds who figure out that they have a lot in common, beginning with the need to stand up to their dads."[9] Lauper's inspirations ranged from listening as a child to her parents' recordings of South Pacific and West Side Story, as well as musical inspirations as diverse as Aaron Copland's "Appalachian Spring" and pop singer Lana Del Rey.[11] In a broadcast interview with Patrick Healy of The New York Times, Lauper and Fierstein said that, in adapting the film, they stressed themes of community and the universality of the father-son bond as vehicles to explore the issues of tolerance and self-acceptance.[19]

Kinky Boots was given a reading on October 6, 2011.[20] Lauper was actively engaged in refining the material once the cast began readings.[11] In January 2012, Roth announced that the show would be workshopped that month, and that Stark Sands and Billy Porter had been cast in the starring roles.[21][22] In August 2012, the producers announced the Broadway opening date of April 4, 2013.[10]

Charlie Price grows up as the fourth-generation "son" in his family business, Price & Son, a shoe factory in Northampton. Another young boy, growing up in London, is as fascinated by shoes as Charlie is bored by them, but in this case it is a pair of red women's heels that have attracted his attention, aggravating his strict father. Years pass. Charlie's father is aging and hopes that Charlie will take over the factory, but Charlie is eager to move to London with his status-conscious fiancÃ©e, Nicola, and pursue a career in real estate ("The Most Beautiful Thing").

Charlie has barely made it into his new flat in London when his father dies suddenly. Charlie hurries home for the funeral, where he finds the factory near bankruptcy. The factory makes good quality men's shoes, but they are not stylish and not cheap, and the market for them is drying up. Charlie is determined to save the factory and his father's legacy, though he has no desire to run Price & Sons himself. The workers, many of whom have known Charlie his entire life, do not understand why Charlie had moved away in the first place, and many are hostile and skeptical of the new management.

Returning to London, Charlie meets his friend and fellow shoe salesman Harry, in a pub, to ask for help with the factory. Harry can only offer a temporary solution and advises Charlie not to fight the inevitable ("Take What You Got"). Leaving the pub, Charlie witnesses a woman being accosted by two drunks. He intervenes and is knocked unconscious. He comes to in a seedy nightclub, where the woman he attempted to rescue is revealed to have been the club's drag queen headliner, Lola, who performs with her backup troupe of drag dancers, the "angels" ("Land of Lola"). Recuperating from his ordeal in Lola's dressing room, an uncomfortable Charlie notices that the performers' high-heeled boots are not designed to hold a man's weight, but Lola explains that the expensive and unreliable footwear is an essential part of any drag act.

Charlie returns to the factory and begins reluctantly laying off his workers. Lauren, one of the women on the assembly line, explodes at Charlie when given her notice, and stubbornly tells him that other struggling shoe factories have survived by entering an "underserved niche market". This gives Charlie an idea ("Land of Lola" reprise), and he invites Lola to come to the factory to help him design a women's boot that can be comfortable for a man ("Charlie's Soliloquy"/"Step One").

Lola and the angels arrive at the factory, and she is immediately unsatisfied with Charlie's first design of the boot. Quickly getting the women of the factory on her side, she draws a quick design of a boot, explaining the most important factor is by far the sex appeal ("The Sex is in the Heel"). George, the factory manager, realizes a way to make her design practical, and an impressed Charlie begs Lola to stay until a prestigious footwear show in Milan in three weeks' time, to design a new line of "kinky boots" that could save the factory. Lola is reluctant, since she is already receiving crass comments from some of the factory workers, but is flattered by Charlie's praise, and finally agrees.

Charlie announces that the factory will be moving ahead with production on the boots. He thanks Lauren for giving him the idea, and offers her a promotion. She accepts, and is horrified but thrilled to realize she is falling for him ("The History of Wrong Guys").

The next day, Lola shows up in men's clothes and is mocked by the foreman, Don, and his friends. An upset Lola takes refuge in the bathroom, and Charlie attempts to comfort her. Lola explains that her father trained her as a boxer, but disowned her when she showed up for a match in drag. The two discover their similarly complex feelings toward their fathers, and Lola introduces herself by her birth name: Simon ("Not My Father's Son").

Nicola arrives from the city of London, and presents Charlie with a plan for the factory that her boss has drawn up: closing it and converting it into condominiums. Charlie refuses, but is shocked to discover that his father had agreed to this plan before he died, presumably because Charlie was not there to run it. He refuses to sell, and soon the workers are celebrating as the first pair of "kinky boots" is finished ("Everybody Say Yeah").

Many of the factory workers are not enthusiastic about the radical change in their product line. Some of them, especially the intimidating Don, make Lola feel very unwelcome. Lola taunts him back, enlisting the help of the female factory workers to prove that Lola is closer to a woman's ideal man than Don ("What a Woman Wants"). Lola presents Don with a unique wager to see who is the better "man": Lola will do any one thing that Don specifies if Don will do one thing that Lola specifies. Don's challenge is for Lola to fight him in a boxing match at the pub. Charlie, remembering Lola's background, is horrified. Lola easily scores against Don in the ring but ultimately lets Don win the match ("In This Corner"). Afterwards, in private, Don asks why she let him win, and Lola replies that she could not be so cruel as to humiliate Don in front of his mates. She gives him her part of the challenge: "accept someone for who they are."

Charlie is pouring his own money into the factory to ensure it will be ready in time for Milan, and he is getting frantic that the product is not right, angrily forcing his staff to redo what he considers to be shoddy work. Nicola arrives, fed up with Charlie's obsession over the factory, and breaks up with him. Lola has been making some decisions about production and preparations without consulting Charlie. When he discovers that she has decided to have her angels wear the boots on the runway rather than hiring professional models, an overwhelmed Charlie lashes out at her, humiliating her in front of the other workers. Lola storms out, and the factory workers go home. Alone, Charlie struggles with the weight of his father's legacy and what it means to be his own man ("Soul of a Man").

Lauren finds Charlie and tells him to come back to the factory. It is revealed that Don has persuaded all the workers to return to work and to sacrifice a week's pay to ensure the boots can be finished in time for Milan. Charlie is astonished and grateful, and asks if Don has paid up on his wager by accepting Lola. Lauren explains that the person that Don has accepted is Charlie himself.

As he heads to the airport for Milan, Charlie leaves a heartfelt apology on Lola's voicemail. Meanwhile, Lola performs her act at a nursing home in her home town. After she leaves the stage, she speaks to her now wheelchair-bound father, who is dying in the home, and reaches a sense of closure ("Hold Me in Your Heart").

Charlie and Lauren arrive in Milan, but without models Charlie is forced to walk the runway himself. Lauren is thrilled by his dedication ("The History of Wrong Guys (Reprise)") but the show threatens to be a disaster. Just as all seems lost, Lola and her angels arrive to save the day. Lauren and Charlie share their first kiss, and the whole company celebrates the success of the "Kinky Boots" ("Raise You Up/Just Be").

In Lauper's first effort at writing for the stage, she found that it required a sustained effort to write songs for the different characters.[23] Lauper joked about the difficulty of writing her first score: "How much of a stretch is it for me to write songs about fashion, funny relationships, people changing their minds and shoes?"[9] The first song that Lauper wrote was the opening number, which included a wide range of voices.[18] Her process was to conceive a song and sing it into her iPhone, and orchestrator Stephen Oremus would write it down.[9] Oremus would then "'blow up' the vocal line into harmonies, create the incidental music that linked scenes and songs" and orchestrate the material.[24] The songs range in style "from pop to funk to new wave to tango, with highly personal lyrics".[11] New York Times critic Melena Ryzik wrote: "Though there are plenty of hooky, rousing numbers, the emotional heart of Kinky Boots is several ballads about the weight of parental expectations."[11] The musical uses a twelve-piece orchestra consisting of keyboards, percussion, bass, guitars, reeds, violin, viola, cello, trumpet, and trombone.[25][26]

The musical numbers from the 2013 Broadway production are as follows:

The musical numbers from the 2012 Chicago production are as follows:

West End Replacements:

On February 6, 2012, the Chicago Tribune reported that Kinky Boots' producers were considering taking advantage of an incentive program from the State of Illinois for out-of-town tryouts for Broadway shows.[35] The October 2012 pre-Broadway Chicago tryout was announced on February 22, 2012.[36][37] On June 28, 2012 the full Chicago cast was announced.[38] The production was rehearsed at the New 42nd Street Studios in New York City in September 2012. The show began its pre-Broadway run at the Bank of America Theatre in Chicago, on October 2, 2012, which continued until November 4, 2012.[9][17][39] The show was directed and choreographed by Mitchell; scenic design was by David Rockwell, costumes by Gregg Barnes, lighting by Kenneth Posner and sound by John Shivers. The music director and orchestrator was Stephen Oremus. The director and design team had gained previous critical acclaim and theatre or music awards. Mitchell had won a Tony Award for choreographing the 2005 revival of La Cage aux Folles; Barnes and Posner had won Tonys; and Rockwell had been nominated for Tonys and other theatre awards.[16][17][18]

Mitchell and Rockwell had previously collaborated on Hairspray, Catch Me If You Can and Legally Blonde.[40] Mitchell told The New York Times that the "Everybody Say Yeah" scene, in which the cast celebrates the creation of the first pair of Kinky Boots with a choreographed celebration on conveyor belts, required repeated innovations and adjustments like the eventual addition of safety rails and actor controls for the apparatus.[41] Designer Derek McLane commented that it is not uncommon for repeat choreographer/set designer collaborations to result in intriguing innovation like the conveyor belt dance scene in Kinky Boots. McLane was impressed with the "series of conveyor belts that came apart, moved around, and fit the context of the story" in order to accentuate the choreography of "a troupe of men in four-inch heels". With respect to the conveyor belts, he said, "They've never been used as dynamically as this, creating a series of surprises, with the kind of wild athleticism that actually looks dangerous. It's one of the more thrilling combinations of stage design and choreography that I can recall."[40]

After the tryout, the team went back to work, adding a new musical number for Charlie and a second song in the drag club, removing another song, and revising the book.[3] The Broadway debut started previews on March 3, 2013 at the Al Hirschfeld Theatre, with the official opening on April 4, 2013.[42][43] Both the Chicago and original Broadway casts starred Billy Porter as Lola, Stark Sands as Charlie and Annaleigh Ashford as Lauren.[17][38] Porter, in particular, was singled out for critical praise.[44][45]

The New York Times noted that in the 2012–13 season, most of the new Broadway musicals were "inspired by movies or books".[10] The paper found the show timely for its treatment of problems that paralleled those at the time of its production, including "chronic unemployment, financial distress and the collapse of manufacturing".[43] Prior to the June 9, 2013 Tony Awards, Kinky Boots had trailed its box office competitor, Matilda the Musical,[46] in advance sales.[47] However, less than a month after opening, Kinky Boots surpassed this rival in weekly box office gross.[48] Kinky Boots won a season-high six Tony Awards, including Best Musical. The next day, the show sold $1.25 million tickets, and its advance ticket sales for future dates became a hot commodity.[47] In the weeks following its Tony wins, the show became so popular that in the beginning of July a special ticket lottery system was created to keep fans from camping outside the theatre.[49] Kinky Boots set a new box-office record at the Al Hirschfeld Theatre,[50] and "recouped its $13.5 million capitalization in a relatively quick 30 weeks of performances",[51] which was "faster than any big budget musical in recent history."[52][53] In October 2013, Kinky Boots had the second highest premium-price tickets on Broadway behind only The Book of Mormon.[51] As of 7 May 2017[update], the show had grossed just over $235 million.[54] Following Balme’s commodification paradigm, one could suggest Kinky Boots’ unprecedented financial power is a consequence of the musical’s ability to “tap into aspects of a society's ideological make-up”,[55] such as issues regarding financial strife [56] and LGBTI discrimination.[57]

The musical’s economic clout empowers a shift in the American cultural climate, engendering acceptance of cross-dressing and transgender individuals.[58].For example, on November 28, 2013, members of the cast performed the finale of the show in the nationally televised Macy's Thanksgiving Day Parade. Many viewers commented that, in their opinion, the performance was inappropriate for a family program.[59][60] By contrast, some spectators applauded the performance for sharing messages of “inclusivity” and “diversity”. [61] Thus, demonstrating how the musical’s financial power played a strong role in “starting a dialogue”, both support and criticism, facilitating the necessary steps to “open peoples’ minds” [62] and hearts towards LGBTI Americans. Fierstein responded that the show's inclusion in the parade reflected decreasing prejudice and increased tolerance for LGBT people in society.[63] The performance of August 26, 2015 marked the 1000th Broadway performance for the production.[64]

The Toronto original cast, led by Alan Mingo Jr as Lola and Graham Scott Fleming as Charlie, began rehearsals with Jerry Mitchel and the Broadway creative team on May 4, 2015. It began previews on June 16, 2015 with its opening night coming on June 28 to critical acclaim.[citation needed]

Initially planned to run from June to September 2015 at the Royal Alexandra Theatre, with a mostly Canadian cast,[65] by the beginning of July, the run was extended to November.[66] The run was later extended to January 3, to March 6 and finally to May 15, 2016,[67][68] as the final show before the theatre closed for a major renovation.[69]

In January 2014, it was revealed Mitchell was planning a West End production and was negotiating to secure a theatre for 2015.[70] On February 6, 2015, it was confirmed the musical would begin previews at the Adelphi Theatre in London, on August 21, 2015, with its official opening night on September 15.[71] Tickets went on sale on March 2.[72] On April 23, 2015, it was confirmed that Killian Donnelly and Matt Henry would play Charlie and Lola respectively, with other cast members including Amy Lennox as Lauren, Amy Ross as Nicola, Jamie Baughan as Don and Michael Hobbs as George.[73] The West End production became London's first paperless and mobile ticketing operation.[74] Although the show is set in a British town, it took a concerted effort to remove Americanisms from the Broadway production.[75] On May 5, 2017 it was announced that Matt Henry will depart from the role of Lola after 2 years in the role. He performed around 750 performances by time of departure on July 8, 2017. The production is currently booking until June 30, 2018.[76] however, with the announcement of the UK tour beginning in September 2018, it was announced the West End production will continue to run alongside the tour. On January 15, 2018, the West End production celebrated 1000 performances. [77]

A US national tour began at the Smith Center for the Performing Arts in Las Vegas on September 4, 2014.[78] The role of Lola is set to be played by Kyle Taylor Parker.[79] Porter took a week off from the Broadway production to perform with the National tour when it visited his home town of Pittsburgh from August 4 through August 9, 2015, at the Benedum Center.[80]

A South Korean production is planned to run from December 2, 2014, to February 22, 2015, at the Chungmu Art Hall (충무아트홀 대극장) in Seoul.[81]

The Melbourne production is opened on October 12, 2016, at Her Majesty's Theatre.[82] [83] The cast includes Callum Francis, from the London production as Lola, Toby Francis as Charlie. Joining them are Sophie Wright (Lauren), Daniel Williston (Don), Teagan Wouters (Nicola) and Nathan Carter (George).[84]

MalmÃ¶ Opera House opened its 2016/17 season with the Scandinavian premiere of Kinky Boots on September 3, 2016.[85] It is sung in Swedish.

The show will premiere in Germany in Autumn 2017, with Gino Emnes and Dominik Hees leading the production as Lola and Charlie Price.[86]

A Polish production is set to premiere on July 7, 2017, in Teatr Dramatyczny w Warszawie.[87]

A UK Tour will start on September 19, 2018, at the Royal & Derngate in Northampton, where the show is set and will continue into 2019.[88]

Upon its October 2012 Chicago opening, Chicago Tribune critic Chris Jones described the show as a "warm, likable, brassy, sentimental, big-hearted and modestly scaled" production.[89] Another reviewer praised the score, book, direction and, particularly, Porter, before suggesting that, before opening on Broadway, it could use a more effective opening number, better pacing in Act 2 and "the budding romance between Charlie and coworker Lauren... needs more lead-in. In other words, give Ashford, a clear crowd favorite, more to do".[45]

The musical's Broadway debut received mixed to positive reviews.[90] The show was awarded a "Critic's Pick" designation by The New York Times, Time Out New York and New York Magazine, and was included in Entertainment Weekly magazine's "Must See" list.[91]

Ben Brantley of The New York Times gave a warm review, calling it "inspired" and comparing the work to other successful recent Broadway musicals: "Like The Full Monty (choreographed by Mr. Mitchell) and Billy Elliot the Musical, it is set in a hard-times British factory town, where jobs are in jeopardy and spirits need lifting. Like La Cage aux Folles and Priscilla Queen of the Desert, it presents drag queens as the show’s official spirit lifters. And like Hairspray, the musical this production most resembles in tone, Kinky Boots is about finding your passion, overcoming prejudice and transcending stereotypes."[92] Brantley wrote that Lauper's "love- and heat-seeking score" wowed with her "trademark... mix of sentimentality and eccentricity", and that the costumes and boots courtesy of Gregg Barnes made for "big red scene stealers". He also praised “Raise You Up/Just Be,” as "one of the best curtain numbers since 'You Can’t Stop the Beat' sent Hairspray audiences dancing out of the theater.” Brantley, however, did not extend his praise to Fierstein's script, writing that his "sticky, sermonizing side" comes through in the second half, where "all the clichés stand naked before you."[92]

The theatre critic for Time Out New York called the show "the very model of a modern major musical."[93] The Associated Press termed it "a big ol’ sweet love story about sons, the families we make and red patent leather.... Thank goodness for Harvey Fierstein – he spins theatrical magic", but despite criticisms of the script the “perpetual cheer-churning machine” that is Kinky Boots certainly serves an important end goal; to empower not just its central characters, but the entire audience, in the spirit of acceptance.[94] According to Grossman, Kinky Boots facilitates the retraining of the eye to gender conventions and “repositions the marginalised figure as central to the spectacle of mass theatre... enacting a shift in the perspective of the viewer”.[95] The finale “Raise You Up/Just Be” epitomises the empowerment of the individual, empowerment to “Just Be” regardless of the “oppressive gender roles directly connected to patriarchal views of legacy and inheritance”[96] under which Charlie and Lola initially suffer. Entertainment Weekly said "Cyndi Lauper's infectious score is cause for celebration."[97] New York Magazine,[98] The New York Post,[99] The Washington Post[100] and Variety all gave mostly favorable reviews.[101]

Los Angeles Times theater critic Charles McNulty criticized Lauper's "novice mistakes" with a score that "never establishes a compositional through line" and saying that while "Fierstein's heart is in the right place... the show's earnestness sinks it", adding that "if [the show] weren't such a cheesy commercial mess, it might actually be fun".[102] Joe Dziemianowicz of the New York Daily News wrote that while the "script has issues like a pair of shoes" that don't quite fit, "Mitchell's production moves lickety-split" and "Porter... is a force of nature as Lola." But, he added, Lauper's "multicolored, surprising and fun" score outshines the fancy footwear and proves to be the "real star of this show".[44] Writing for The Guardian, David Cote noted that the decision to use American actors for an adaptation that maintained the Northampton setting resulted in a disconcerting inconsistency in terms of accents.[103] The Wall Street Journal gave the show a negative review, calling it "an imitation heart-warming British working-class musical with a gay angle and a maudlin ending.... Kinky Boots is its own spoiler alert, the kind of musical in which you recite the dialogue a half-beat ahead of the actors.... [the score] sounds like... "Cyndi: The Deservedly Forgotten Late-'80s B-Sides."[104] A review in The Bergen Record said that the show "sorely lacks is a dramatic commitment to what it's doing. Which is why a show that seems to make few false steps is so relentlessly tedious," calling it "dull" and "synthetic".[105] Talkin' Broadway also gave the show a negative review.[106] The Village Voice,[107] AM New York,[108] and NBC turned in lukewarm reviews.[109]

In 2014, Kinky Boots began a United States national tour, which has also garnered mostly positive reviews.[110] Democrat and Chronicle[111] raved, “Flashy, funny and uplifting, Kinky Boots has appeal — and lots of it — for all ‘ladies, gentleman and those who are yet to make up their mind.’” BroadwayWorld Los Angeles[112] offered “praise to the entire triple threat ensemble!“ The Republic[113] countered, “Despite the fiery showstopper "Sex Is in the Heel," however, "Kinky Boots" is surprisingly short on sex appeal, and the cheerleaderish troupe of drag queens called Angels don't have any of the transgressive appeal of the Cagelles from Fierstein's earlier hit "La Cage aux Folles." CBS Minnesota[114] summed it up as “loud, proud and a tubular sensation.”

In Toronto, Canada, Kinky Boots opened on June 28 to critical acclaim. The Globe and Mail writing "Exuberant! Inspired! Terrific! Splendid fun! Excellent Canadian Cast...A tour de force!". The Toronto Star wrote "Kinky Boots is the spectacular celebration of song, dance and comedy you've got to enjoy this summer. Cue the dancing in the street. Bravo!". National Post said " THE BEST! The most inventive musical I've seen in ages. Joyous! Ingenious! Very funny!". And TVO stated "A complete triumph. One of the best musicals I've ever seen. Kinky Boots is crazy good."

The London production received mostly raves, with the London Evening Standard writing, "The thigh's the limit for this high-kicking London musical," calling it "a glorious high-kicking romp," and adding that "...its energy is infectious."[115] Time Out London called it "dazzling, fabulously sassy and uplifting," explaining "It's not all glitz and high-kicks...there are some grittier moments that give the show an edgier feel."[116] And Digital Spy proclaimed it "hilarious, heartwarming, and a hell of a lot of fun," offering special praise for the show's star: "Matt Henry...truly steals the show...He is utterly commanding in the role, and you instantly root for him."[117]

Kinky Boots adds to the public discourse of gender, and its flexibility and fluidity. The prevalence of drag culture in mainstream media has introduced a step of separation between femininity and “being female”.[118] While the show preaches a message of acceptance, this separation of impersonation and identity can cause issues for the transgender community.

Matilda had been the pre-Award season favorite, but as the season progressed, it became clear that Kinky Boots and the revival of Pippin would provide serious competition.[119] Early in the 2013 awards season, Kinky Boots did well, receiving Drama League Award nominations for Distinguished Production of a Musical and Distinguished Performance, for both Porter and Sands,[120] and winning for Distinguished Production.[121] The show received nine Outer Critics Circle Award nominations, winning three, including Outstanding New Broadway Musical, Outstanding New Score and Outstanding Actor in a Musical (Porter).[122] The musical received only two Drama Desk Award nominations, however, and only one win: Porter for Outstanding Actor in a Musical.[123] New York Times theatre writer Patrick Healy, however, reported that some Tony voters found Matilda "dark" and "a bit chilly", and accurately predicted that "while the cleverness of Matilda may be enough to win best book, the warmth of Kinky Boots will be enough to score an upset and take the top Tony for best musical."[119]

Kinky Boots received a season-high 13 Tony Award nominations.[124] Matilda, which The New York Times described as the "unalloyed critical hit" of the season, received 12 nominations, 11 of them in the same categories as Kinky Boots.[125] In addition to its critical success, Matilda had won the Drama Desk Award for outstanding musical and had set a record by winning the most Olivier Awards in history.[126] Nevertheless, Kinky Boots won a season-high six Tonys, including Best Musical, which the press described as an upset, and Lauper's win for Best Score made her the first woman to win alone in that category.[127] The creative team are Americans, and reviewer David Cote, an American writing in The Guardian, judged that the show's win was a case of "the balance of love going to a homegrown American musical, Kinky Boots, over the British import Matilda."[103] The other Tony wins were for best actor (Porter), sound design (Shivers), choreography (Mitchell) and orchestrations (Oremus). Fierstein, Sands, Ashford, Mitchell (as director) and the three other designers were all nominated but did not win.[124] Kinky Boots also won the 2013 Artios Award for Outstanding Achievement in Casting in the Broadway musical category.[128]

The West End production won the Evening Standard Radio 2 Audience Award for Best New Musical, which was based on voting by the public at the 2015 Evening Standard Theatre Awards.[129] The show earned seven nominations for the 2016 Laurence Olivier Awards, which was second to a revival of Gypsy, which earned eight nominations.[130] Kinky Boots won three Olivier Awards: Best New Musical, Best Actor in a Musical and Best Costume Design, trailing only Gypsy's four awards.[131]

A Broadway original cast album, produced by Lauper, Oremus and William Wittman[132] was released on May 28, 2013.[133] It premiered at number one on the Billboard Cast Albums Chart and number fifty-one on the Billboard 200 chart,[134] making it the highest charting Broadway cast recording since The Book of Mormon's album was released two years earlier.[135] Before the Chicago tryout, "Sex Is in the Heel" became the first Broadway song to reach the top 10 of the Billboard club charts in 25 years.[11] "Land of Lola" was released as a dance remix by Wayne G. & LFB in June 2013.[136] The album received a favorable review in Playbill from Steven Suskin[137] and won the Grammy Award for Best Musical Theater Album.[138]

A West End Original Cast Recording was recorded live at the Adelphi Theatre and released April 1, 2016.[139] The West End cast recording was nominated for a 2017 Grammy Award for Best Musical Theater Album.[140]


who sings don't give me no lines and keep your hands to yourself

The Georgia Satellites are a Southern rock band from Atlanta, Georgia. They are best known for their 1986 #2 single "Keep Your Hands to Yourself".

The Georgia Satellites

In 1980, Dan Baird (formerly guitarist for the Atlanta band the Nasty Bucks), along with lead guitarist Rick Richards, bassist Keith Christopher (formerly of The Brains), and drummer David Michaelson formed a band named Keith and the Satellites in Atlanta, Georgia. After performing in local Southern bars, the band's line-up changed. With a new bassist, Dave Hewitt, and a new drummer, Randy DeLay, they recorded a six-track demo at Axis Studios in Atlanta. During this time, the band changed their name to Georgia Satellites and played every Monday at Hedgen's, a beer-stained bar in the otherwise tony Atlanta neighborhood of Buckhead.

Jeff Glixman, who had produced, mixed and remastered artists such as Paul Stanley, Kansas, Gary Moore, Yngwie Malmsteen and Black Sabbath, was enlisted for production. However, soon after the demo was recorded, the band broke up in the summer of 1984. DeLay later performed with the Tony Sarno Band and the Hell Hounds around the Atlanta music circuit, before dying of cancer in 1993.

Although the band felt they were not making any progress on their musical path and had disbanded, their English manager, Kevin Jennings, took the demo to a small Yorkshire record label, Making Waves, who liked the material and released the demo as the Keep the Faith EP in 1985. The press response to the EP was positive and prompted the band to regroup in the United States. Baird had been playing with the Woodpeckers in North Carolina. Richards remained in Atlanta with the Hell Hounds, which included both Mauro Magellan (drums) and Rick Price (bass, who had replaced Keith Christopher in The Brains). With Baird essentially joining the Hell Hounds, the Georgia Satellites were reborn and American record labels started taking notice of the band.

In 1986, the group signed with Elektra Records and reunited with Glixman to record their debut full-length album at Cheshire Sound Studios in Atlanta. The album, Georgia Satellites, was their most successful LP; featuring the track "Keep Your Hands to Yourself". The song reached No.Â 2 on the Billboard Hot 100, topped only by Bon Jovi's "Livin' on a Prayer". It went into heavy rotation on MTV. Other lesser-known songs included "Battleship Chains" (#86), written by Terry Anderson and "Can't Stand the Pain", but the Georgia Satellites never had another Top 40 hit. That same year the MTV Video Music Awards came into being. Mary Deacon won for Best Art Director on the music video "Keep Your Hands to Yourself".

In 1988, the band recorded a cover of The Swinging Blue Jeans' 1964 hit "Hippy Hippy Shake" for the movie Cocktail. Released as a single, the song reached No.Â 45 on the Billboard chart. During that year, the band released their second album, Open All Night; which included a cover of the Ringo Starr-written Beatles song "Don't Pass Me By", although the album was not as successful as their debut. A single, "Open All Night" backed with "Dunk 'n' Dine", failed to chart.

A third studio album, In the Land of Salvation and Sin, was released in 1989, which included re-recordings of "Six Years Gone" and "Crazy" from the 1985 EP. Although the album received very positive reviews, it too failed to do well commercially, and Baird left the band in 1990 to pursue a solo career.

The band's 1993 compilation Let It Rock: The Best of the Georgia Satellites included a selection of the best tracks from the three studio albums and bonus material that had been released on the Another Chance EP (1989): "Saddle Up", "That Woman", and "I'm Waiting for the Man". Also included was a live version of Chuck Berry's "Let It Rock".

After a brief sabbatical following the departure of Dan Baird, the Georgia Satellites reunited in 1993. Their current lineup, led by original member Rick Richards (lead guitar, backing and lead vocals), along with Fred McNeal (lead vocals, rhythm guitar), Bruce Smith (bass, backing vocals), and Todd Johnston (drums) continues to perform live shows. The most recent album, Shaken Not Stirred (1997), was a mix of re-recordings of their earlier material and eight new songs: "Running Out", "Let It Rock (Bye Bye Johnny)", "Deep in the Heart of Dixie", "Anna Lee", "My Fault", "Shaken Not Stirred", "She Fades Away", and "Rain".

Baird performs with his band, Homemade Sin, which features three former members of the Georgia Satellites. Mauro Magellan joined The Crashers after moving to Wisconsin in the early 1990s. Mauro played on both of Baird's solo albums and continues to tour with him as a member of Homemade Sin, which also includes bassist Keith Christopher, formerly of Keith and the Satellites. In addition, Baird performs as a member of the country groups Trent Summar & The New Row Mob and The Yayhoos.

Along with his commitment to the Georgia Satellites, Richards also plays with former Guns n' Roses guitarist Izzy Stradlin in his band, Izzy Stradlin and the Ju Ju Hounds. They toured in the 1990s and have recorded seven albums. Richards, along with ex-Satellites manager Kevin Jennings, released an album entitled For Ol' Times Sake in 2013 as The Western Sizzlers, which enlisted the talents of Charlie Starr of Blackberry Smoke as well as seasoned Atlanta musicians Nicky Ford, Jeff Bakos, and Kevin "Snit" Fitzpatrick.

Track Listing: 1. Open All Night 2. Sheila 3. Whole Lotta Shakin' 4. Cool Inside 5. Don't Pass Me By 6. My Baby 7. Mon Cheri 8. Down and Down 9. Dunk 'n' Dine 10. Baby So Fine 11. Hand To Mouth

Track Listing: 1) I Dunno 2) Bottle O' Tears 3) All Over But The Cryin' 4) Shake That Thing 5) Six Year Gone 6) Games People Play 7) Another Chance 8) Bring Down The Hammer 9) Slaughterhouse 10) Stellazine Blues 11) Sweet Blue Midnight 12) Days Gone By 13) Crazy 14) Dan Takes Five


who plays sarah in cheaper by the dozen

Alyson Rae Stoner (born August 11, 1993)[1] is an American actress, singer, dancer and model. Stoner is best known for her roles in Cheaper by the Dozen (2003), The Suite Life of Zack & Cody (2005â€“2007) and the Step Up series (2006, 2010, 2014).

Alyson Stoner

She has been a dancer for several artists, such as Missy Elliott, Eminem, Kumbia Kings, Outkast and Will Smith. Stoner is also known for hosting Disney Channel's Mike's Super Short Show (2001–2007) and for voicing Isabella Garcia-Shapiro in Phineas and Ferb (2007–2015).

Stoner was born in Toledo, Ohio, the daughter of LuAnne Hodges (nÃ©e Adams), a former executive secretary at Owens-Illinois, and Charlie Stoner.[2] While growing up in Toledo, Stoner attended Maumee Valley Country Day School and studied ballet, tap dance, and jazz dance at the O'Connell's Dance Studio. She also modeled and trained at the Margaret O'Brien Modeling Studio. She won Best Model of the Year at the International Modeling and Talent Association Convention in New York City under O'Brien's studio in 2000.

In 2001, Stoner became the co-host of the Disney Channel Mike's Super Short Show along with Michael Alan Johnson, an infomercial segment regarding forthcoming Disney releases. In 2003 and 2005, she appeared as Sarah, one of the twelve Baker children, in the successful comedies Cheaper by the Dozen and Cheaper by the Dozen 2. She has also appeared in several television shows aimed at the preteen market, including The Suite Life of Zack & Cody, That's So Raven and Drake & Josh.

In 2006, she had a small film role in Step Up as Camille, Channing Tatum's character's younger sister. She provided the voice of Isabella Garcia-Shapiro and Jenny (until Season 4) in the Disney Channel animated series Phineas and Ferb from 2007-2015, and personally came up with Isabella's catchphrase "Whatcha doin'?". In 2008, she starred in the Disney Channel Original movie Camp Rock as Caitlyn Gellar, an aspiring music producer. Her reception in Camp Rock was particularly strong, with various media outlets suggesting it was about time she played a main character role having backed up for other big names such as Will Smith and Eminem. Stoner starred as Alice McKinley in the movie Alice Upside Down, based loosely on the Alice series, particularly The Agony of Alice by Phyllis Reynolds Naylor. This was her second starring role and, according to an interview that appears on the direct-to-DVD release, she states that this was the first time she has had to appear in every scene in a movie.

In 2008, she sang two songs, "Lost and Found" and "Free Spirit", from the soundtrack of the movie Alice Upside Down, in which she plays the lead role. She has also recorded a cover version of the song Dancing in the Moonlight for the 2009 Disney DVD/Blu-ray movie, Space Buddies.[3] In 2010, Stoner appeared in the third Step Up film Step Up 3D opposite Adam Sevani where she reprised the role. Stoner uploaded a video onto her official YouTube page of her final dance rehearsal which introduced other cast members.[4] The same year, Stoner returned to reprise her role as Caitlyn Gellar in Camp Rock 2: The Final Jam, a sequel to Camp Rock. Stoner also guest-starred in the television drama series House as a skater.

In 2011 Stoner started working with record producers, songwriters and a vocal coach to change her vocal style from "kiddie-pop" to a more soulful pop vibe with a little alternative edge for her first studio album.[5][not in citation given] On April 4, 2010 Stoner posted a video to her YouTube Channel announcing the release of her debut single, "Flying Forward" on April 20, 2010.[5] Stoner released her debut EP entitled Beat the System in 2011. She also appeared in Wii Fit related videos on the Nintendo Channel on the Wii video game console demonstrating balance exercises. She also replaced Hayden Panettiere as the voice of Kairi in Kingdom Hearts Re:Chain of Memories and Xion in Kingdom Hearts 358/2 Days. She voiced the character Opal in seasons three and four of The Legend of Korra.[6]

After choreography training in Los Angeles, Stoner appeared as a background dancer in several music videos, notably Missy Elliott's "Work It", "Gossip Folks", "I'm Really Hot", Eminem's "Just Lose It", and "No Tengo Dinero" by the Kumbia Kings. She has also been a back-up dancer for OutKast at the 2004 Kids' Choice Awards and for Will Smith at the 2005 show. Stoner danced with a dancing group called the JammXKids between 2003 and 2006. She quit the group in early 2006 due to scheduling conflicts, but continues to work with the individual kids on different jobs. She was also one of the dancers in the special features for the Shark Tale DVD.

Stoner teaches hip hop classes at the Millennium Dance Complex, and is credited as the youngest person to teach a master class there. She also recently appeared in Debby Ryan's "We Got the Beat" for Disney Channel's Radio Rebel. In February 2015, she released a dance tribute video to Missy Elliot featuring a mash up medley of Missy Elliot videos she had danced in when she was younger.[7][8] Within the first week, it received more than 12 million views.[7]

Stoner is the "dance editor" for KEWL Magazine. In February 2009, Stoner released the Alyson Stoner Project described as "a dance video hybrid — melding many styles of entertainment into one package".[9] It was directed by Kevin Schmidt, her co-star from Cheaper by the Dozen.[9]


who sings before you turn off the lights

After being released from CBS the WCWC went on to have their biggest hit ever "Turn off The Lights". WCWC was known as a dance and romance act with songs like Surgery, Juice, Cabbage Patch, Lovers and Turn Off The Lights.

World Class Wreckin' Cru

World Class Wreckin' Cru was an electro group, best known for its contributions to early rap and its association with Dr. Dre, DJ Yella, and Michel'le.[1][2][3][4][5][6]

World Class Wreckin' Cru debuted in a club owned by one of the early West Coast DJs, Alonzo Williams. Before he opened "Eve After Dark" in 1979, Alonzo was one of the most popular DJs in the Los Angeles area. He began producing dances under the name of Disco Construction, named after funk group Brass Construction. Seeing the popularity of this new craze, he entered the market of running nightclub performances. The club opened with Detroit-born Andre Manuel aka Unknown DJ directing the music program whose main influence derived from an east coast flavour, Soulsonic Force, Orbit and Scorpio.

As the 1980s arrived, so did electronic funk, sampling drum beats fused with old school rap format. Disco Construction created a sub group called the into Wreckin' Cru which were the Lonzos roadies and later adding World Class it became the name of the recording group. Lonzo hired local DJs Antoine "Yella" Carraby and Andre "Dr. Dre" Young who later became the original Mix Masters for KDAY. The Wreckin' Cru also performed in various shows around L.A. including opening for New Edition as well as multiple shows promoted by Lonzo.

Alonzo Williams created the label "Kru-cut" which began releasing The Wreckin' Cru music through the mid-1980's with very minimal resources through Macola Records", a local independent record manufacturing and distributing company. [7] The Cru released the single "Slice", followed by "Surgery" and a full-length album titled World Class. The success of their early releases led to a major record deal with CBS/Epic Records. [7] After being signed to CBS records Lonzo was asked if he had any other acts. After seeing Dre's cousin Jinx' group perform in a rap contest, a teenage group called C.I.A. (Cru' In Action) starring O'Shea "Ice Cube" Jackson, Dre’s cousin Tony ‘Sir Jinx’ Wheaton and Darrell ‘K-Dee’ Johnson, who with Dre would record a demo tape called "She's a Skag". The group was then signed to a single deal with CBS.

By 1985 Kru-Cut had produced World Classâ€™ debut album, World Class, with Cli-N-Tel leaving to control his own direction in life, leaving Shakespeare to step up to be the prominent MC as they signed with Epic Records.[7] With this they released a string of singles and also their second album, Rapped In Romance.

World Class’s success was building an army of fans in the underground scene and each member a valued reputation. At this stage the look of Prince and Michael Jackson’s Thriller outfits were cool, glitzy purple leather suits, sequin suits not unlike the glam-rock look running parallel to this scene, Dre was growing tired of the image and considered Lonzo’s direction to be soft and yearned to control his own expression in music. [8]

At this time Dre was working on side projects for local entrepreneur Eric ‘Eazy-E’ Wright in the Kru-Cut studio and Ice Cube was enlisted to ghostwrite for the World Class single ‘House Calls/Cabbage Patch’ single in 1987 and shortly after, featuring Michel'le, (Dre’s girlfriend) came out the slow jam hit "Before You Turn off the Lights", which peaked at #54 on the Billboard Black Singles Charts in April 1988. The last time Dre was arrested (after frequent visits) and thrown back in jail for failing to appear for multiple traffic violations, $166 was owed which would qualify for a warrant in 1986, Lonzo wasn’t going to bail him out a third time, Eazy-E paid this out in return for Dre’s production trade for E’s new record company ‘Ruthless Records’. Eazy and Dre’s combined collaboration of talent known as N.W.A. Lonzo released a further LP called ‘Phases in Life’ released in 1990 under Lonzo’s solo identity. Later, remaining World Class members, Shakespeare pursued a position as a pastor. Michel'le dated Dr. Dre and released an album on Ruthless Records. [9]


actor who plays julian in one tree hill

Austin Nichols (born April 24, 1980) is an American actor and director, known for his role as Julian Baker in The CW drama series One Tree Hill. He is also known for his roles in the films The Day After Tomorrow and Wimbledon. He starred as John Monad in the HBO drama series John from Cincinnati, and portrayed Spencer Monroe in the AMC horror drama series The Walking Dead.

Austin Nichols

Nichols was born in Ann Arbor, Michigan, and moved to Austin, Texas before his first birthday.[1] He was named after the Austin Nichols distilling company, producers of Wild Turkey bourbon.[2] His father, David Nichols, is a radiologist, and his mother, Kay (nÃ©e Vermeulen), was a professional trick water skier.[3] Kay was a national champion ten times and an international champion once.[when?][4] He has one older sister, Ashley.[4]

Nichols was raised near Lake Austin and attended Casis Elementary School.[1] Nichols began competitive water skiing from the age of two.[5] He represented the United States junior water ski team in the Pan-American Championships in 1997, and was also on the United States junior Olympic water skiing team.[when?][6] At age thirteen, he was ranked third in the world.[7] Nichols had intended to become a professional water skier until he injured his shoulder in Florida, and was forced to give up the sport.[2] While at McCallum High School in Austin,[1] he played basketball but was "absolutely awful".[8] Nichols' interest in acting was sparked when he was fifteen and began to take acting lessons.[9] He moved to Los Angeles after high school.[2]

His acting career began when he gate-crashed a party at the Sundance Film Festival and was signed by a manager.[clarification needed][10] Nichols initially wished to attend the University of Texas, but moved to Los Angeles after his signing and enrolled at the University of Southern California, graduating in 2002 with a Bachelor of Arts degree in English.[8] Although Nichols had guest appearances in Sliders, Odd Man Out, CSI: Crime Scene Investigation, Family Law, Watching Ellie, and Wolf Lake before his graduation, his big break came in 2002 when he appeared as Brenda Chenowith's lover in two episodes of Six Feet Under.[10] He had previously appeared in two films, Durango Kids in 1999 and Holiday in the Sun in 2001.

In his first critically successful film role, Nichols starred as a stereotypical "frat boy" in The Utopian Society, a 2003 independent film directed by John P. Aguirre, which won several awards and some critical acclaim.[11] One critic wrote that Nichols "transforms himself from a cardboard jock and frat boy caricature to a likeable vulnerable human being with surprising sensibilities."[12] Aguirre commended Nichols as a "stellar talent" able to play his character "with total abandon to self ego".[13]

In 2004, Nichols was cast as J.D., an intelligent rich kid and romantic rival to Jake Gyllenhaal's main character in the environmental blockbuster, The Day After Tomorrow. The film received negative reviews but was a box office success.[14][15] Also in 2004, he appeared in Wimbledon, opposite Kirsten Dunst and Paul Bettany. The film was well received by critics, though it was only a mild success at the U.S. box office.[16][17] Nichols' acting as Jake Hammond, an arrogant tennis pro, was described as "effectively unlikeable".[18] For the role, Nichols had to learn tennis from scratch; he was trained to look professional by Pat Cash, who was taken aback by Nichols' skill. Cash observed, "It's absolutely as good as anybody's on the circuit. I swear to God. He hits it like a bullet. He's our star pupil."[19] By the end of their training, Nichols and Bettany were able to have rallies and play points, although some of their more intricate exchanges were computer generated.[20]

After this success, Nichols then had a minor role in an obscure and panned 2005 film, Thanks to Gravity.[21] Nichols followed this with short guest spots on episodes of Pasadena and Surface, before being cast in a successful 2006 film, Glory Road.[citation needed] Glory Road, directed by James Gartner and starring Josh Lucas, is a film based on the true story of the 1966 NCAA Men's Division I Basketball Championship, in which Coach Don Haskins led a team with an all-black starting lineup, a first in NCAA history. Nichols played one of the few white players on the team; he trained heavily for the role and had to master basketball as it was played in the 1960s, saying "I'd never been so sore in my life."[6] The film made $42.9 million at the box office and received mixed reviews.[22]

Nichols' next film was the 2006 thriller The House of Usher, directed by Hayley Cloake, and based on the story by Edgar Allan Poe. He played the disturbed Roderick Usher, who was described by Nichols as a "twisted, terminally ill, fucked-up guy".[2] The House of Usher was released in September 2007. Nichols also portrayed Neal Cassady, with Will Estes as Jack Kerouac, in the short film Luz del mundo.[citation needed]

In April 2006, Nichols guest starred in Deadwood, an HBO Western series. Shortly afterward, Nichols signed a holding deal with HBO.[23] In August of that year, Nichols was cast as the lead in a new series, John From Cincinnati, a surfing drama created by David Milch, who also produced Deadwood. The series began airing in June 2007, but was cancelled after one season due to poor ratings and mixed critical reviews. Nichols played John Monad, a stranger who suddenly appears in a quiet surfing town. Nichols took up surfing and practiced every day for three months for this role.[24]

In 2007, Nichols appeared in a few episodes of the NBC drama series Friday Night Lights, before being cast as Julian Baker in The CW's teen drama One Tree Hill. He was upgraded to series regular for the seventh season.[25] He directed two episodes of the series including the seventh episode of the ninth and last season.[26] In 2013, Austin landed the role of Tommy Wheeler in the Showtime series Ray Donovan. Nichols then had a recurring role as Spencer Monroe in AMC's horror series The Walking Dead, before being promoted to a series regular.[27] He will recur as Sam Loomis in the fifth and final season of A&E's drama-thriller series Bates Motel.[28]

Alongside his acting career, Nichols maintains a strong interest in cinema. He keeps a log of every film he sees, "I take it to the movies and write down who does the music, edits, directs, and how long the film is."[29] Claire Oswalt, an ex-girlfriend, said in a 2003 interview that Nichols watches an average of 20 movies a week.[30] Nichols himself has stated, "If I'm not working, I spend almost half my day at theaters or watching DVDs at my house."[this quote needs a citation] He especially admires Hal Ashby, Sam Fuller, and John Ford.[31]

He was previously in a relationship with One Tree Hill co-star Sophia Bush, and took the role of Julian Baker in the series to be closer to her. Nichols has been friends with actor Jake Gyllenhaal since the two met on the set of The Day After Tomorrow in 2004. Nichols said in one interview, "I've learned a ton from Jake. He's a really sharp guy. He told me everything about acting, the business, girls, life."[2] His sister, Ashley, is married to director Rowdy Stovall.[citation needed]

In the early morning of August 24, 2007, Nichols was pulled over in Jackson, Michigan after driving the wrong way down a one-way street in his silver Mercury Mountaineer. His blood alcohol level was a reported.10 and he was subsequently arrested for driving under the influence.[32]


what is leader of the house of commons

The Leader of the House of Commons is generally a member of the Cabinet of the United Kingdom who is responsible for arranging government business in the House of Commons. However, the current incumbent, Andrea Leadsom, is not a member of the cabinet but does attend cabinet meetings.[1] This office does not attract a ministerial salary,[2] and as such it is usually held jointly with another ministerial position (often a sinecure). Historically, the position was usually held by the Prime Minister if they sat in the House of Commons; in more recent years, the post has been held jointly with that of Lord President of the Council, Lord Privy Seal, or First Secretary of State.

Leader of the House of Commons

The Leader is assisted in the Office of the Leader of the House of Commons by the Deputy Leader of the House of Commons. At times the nominal leadership was held by the Prime Minister but the day-to-day work was done by a Deputy. At other times a Deputy was appointed merely to enhance an individual politician's standing within the government. However, since 2010 the Deputy Leader of the House of Commons has been a ministerial role at the level of Parliamentary Under-Secretary of State.[3]

The House of Commons devotes approximately three-quarters of its time to Government business, such as bills introduced by the government and ministerial statements. The Leader of the House, with the parties' chief whips ("the usual channels"), is responsible for organising Government business and providing time for non-government business to be put before the House. The Leader of the House additionally announces the next week's debate schedule in the Business Statement every Thursday.

When there is either no Deputy Prime Minister or First Secretary of State, the Leader of the House may stand in for an absent Prime Minister at Prime Minister's Questions.

The Osmotherly Rules, which set out guidance on how civil servants should respond to parliamentary select committees, are jointly administered by the Office of the Leader of the House of Commons and the Cabinet Office.[4]