I just got home from Sacramento, where I went to see the FINAL show in the FINAL CITY of the Rent Broadway tour, which is the FINAL time Anthony Rapp and Adam Pascal will ever be in the show.

The crowd was electric, filled with many former cast members, and people who flew from all corners of the globe to be there.

When Adam Pascal walked out with his guitar, the crowd erupted. It seemed like it couldn't get much louder. Then Anthony walked out, and I realized I was wrong. The crowd was on its feet before they could even hit their marks, and they stopped and gave the crowd the time to calm down.

Anthony didn't start in with his normal opening line and instead said that this show, like every show, is dedicated to the memory of Jonathan Larson. Then it began.

By Jeff Walsh

I was interested to see the wildly-popular revival of Hair on Broadway because I think the gay and hippie movements are intertwined, as both really got started in the late 60s. While the history of the gay rights movement links the Stonewall Riots to the death of Judy Garland, as they happened during the week of her funeral, to me it's always seemed like the culture was already shifting sexually, spiritually and culturally in ways that demanded that homosexuality express itself more naturally.

In the 40-odd years that have passed since Hair first played Broadway, hippies have become a bit of a cultural joke, but a lot of their legacy is still with us: the sexual revolution (including LGBT acceptance), health food, drug culture, expanding consciousness in other ways such as eastern religions, and of course, the music.

So, it is interesting to see Hair through that lens in its current revival, as a snapshot of a huge cultural shift. Of course, if you could care less about any of that, you'd still be in luck, since it's just a fun time capsule of a show brought expertly to life with an exuberant young cast.

By Jeff Walsh

"In The Heights" seems like a Broadway show that shouldn't exist. A show about relationships, family, and community without an ounce of cynicism that tells heartfelt stories of Latino immigrants living in Manhattan? How is this even onstage, let alone winning Best Musical for 2008?

After nearly two years of anticipation, I finally got to see "In The Heights" on Broadway in December. Months of "Abuela" and "Piragua casting reality show parody" YouTube videos, and watching heartwhelming videos the cast made with a 10-year-old fan, and listening to the cast recording on my iPod was a lot more information than I usually have before seeing a show. I usually wait to get the cast recording after a show.

So, it was a bit strange to finally enter the theater on 46th street, and see the songs come to life, the dialogue that never existed on my iPod, the dancing, and… I just can't recommend it highly enough. To see show creator Lin-Manuel Miranda onstage as Usnavi surrounded by the amazing vision he has given to the world was a true gift.

By Jeff Walsh

The last time I reviewed Spring Awakening, it was a week into its Broadway run. Since that time, it went on to become a runaway hit, netting 8 Tony Awards (including Best Musical) and recently started its national tour in San Francisco.

Reading my old review again after seeing the touring production on opening night, my issues with the show remain. It hasn't lost any of its intensity and the songs are very familiar to me, but the dual nature of the show still never really gels to me, but I like both halves enough to still consider it a nice night out. Since I haven't really changed my mind on the show, you can read that original review for the show details and such.

The only other issue I had with the show are nothing new when seeing a touring show after first seeing the original cast on Broadway. When the people on the cast recording match the people you saw onstage and visualize when you're listening to the CD, it is always odd to see these "other" people saying the same lines, wearing the same clothes, and singing the same songs. That's nothing new with this show, and only happens when you strongly identify with the people you saw first perform the roles.

By Jeff Walsh

When I last interviewed Robin De Jesus in February 2007, it was the afternoon before the opening night of the Off-Broadway run of In The Heights. The show has since shut its doors Off-Broadway, retooled for a proper Broadway run, and has since swept the Tony nominations in the musical category, with 13 nominations including Best Musical, Best Book of a Musical, Best Original Score, Best Performance by a Leading Actor in a Musical (for show creator Lin-Manuel Miranda), Best Direction and Best Choreography.

But the nomination that brings us together here is Best Featured Performer in a Musical, for which Robin is one of the five nominees. I've been a fan of Robin's since first seeing him in the sweet movie Camp, where he played a gay teen with a straight crush. I'll be seeing In The Heights the next time I'm on the east coast (the show was dark between its Off-Broadway and Broadway runs when I was there last time).

So, between feeling so happy for Robin and figuring I should jump on any chance to feature a 23-year-old openly gay actor nominated for creating a role in a hot show on Broadway, we jumped on the phone recently to capture his life in this unique window before the awards air on CBS on June 15.

First of all, I love the idea of a Broadway show making cool viral video to promote themselves, like this:

By Jeff Walsh

Xanadu, the new Broadway musical based on the old train wreck of a 1980s Olivia Newton John movie, is hard to pin down. It's definitely a campy, amusing time at the theater. It has an excellent cast and staging. And it calls to mind other jukebox musicals like Mamma Mia, Footloose, Saturday Night Fever, only it never really lives up to all you hope it might be.

To be fair, the entire premise didn't leave writer Douglas Carter Beane all that much to work with. Sonny spends his time drawing chalk murals on Venice Beach sidewalks. He draws a picture of Greek muses, which comes to life, and the Greek goddess Clio becomes his muse and inspires him to follow his dream, which is to open a roller disco. That's pretty much it, as well as a score by the Electric Light Orchestra.

The show doesn't put on any airs, though. It is completely aware of its frivolity, one character even refers to the show onstage as "This is like children's theater for 40-year-old gay people!"

By Jeff Walsh

Naked Boys Singing is coming out on DVD just in time for the holidays, so if you weren't aware you still have time to adjust your gift lists. Alternatively, it makes for a good item to put on your own list if you want that extra shove to make your Mom ask you directly.

Now, I just reviewed this movie back in September, so little has changed since that time. The bulk of the review is there.

However, the DVD also includes a documentary on the making of the movie that plays almost as long as the movie itself. It was actually an interesting watch, just to see the insanity they put themselves through to make it. You learn that the movie was shot in less than four days, that some cast members didn't know they planned to film in front of a live audience, and also cast members freaking out about doing the nudity (which you'd never suspect from seeing the finished product).

By Jeff Walsh

Alan Cumming does it all well: actor, screenwriter, director, novelist, singer... hell, he even has his own fragrance. I got the chance to sit down with Cumming (that's my hand on his shoulder) when he was in town for the showing of Suffering Man's Charity at the San Francisco gay film festival back in June.

As these things often work, the interview is done in the afternoon on the day the movie is screening, so you basically interview him about a movie you haven't seen, and then once you see it, he's out of town. I was holding the interview to time it with the long-passed DVD release of "Rick & Steve: The Happiest Gay Couple In All The World," which never seems to show up in my mailbox. So, I figure, we'll just run the interview on Thanksgiving, since Alan is someone for whom the community is thankful.

In Rick & Steve, Cumming plays the elderly, HIV-positive Chuck, who adds a lot of un-PC color to the amazingly funny proceedings. Back when I reviewed that, a few of you did the math regarding his four-year relationship with his 19-year-old boyfriend, and were rightfully appalled. Hopefully LOGO goes for another season of Rick & Steve, which is just amazing work from queer cinema wunderkind Q. Allan Brocka.

Of course, like a true theater queen, I start the interview with the Cumming that I know best, the one who injected an amazing amount of fresh energy into Cabaret for its restaging on Broadway a decade ago. His Tony-winning role as the emcee ratcheted up the role's sex appeal and the good news (possibly an Oasis exclusive?) ... he might be hitting the boards again for the show's anniversary:

By Jeff Walsh

It's hard for me to review the Oprah Winfrey-produced touring production of "The Color Purple" without starting at the end and working backwards.

I should point out that since this musical is based on a 24-year-old novel by Alice Walker and a 22-year-old movie by Steven Spielberg, I will be making no attempt to write around "spoilers." If you don't know the story, and don't want to, stop reading.

I don't know that I have ever seen a more compelling musical to trumpet atheism than "The Color Purple," though it is packaged as a spiritual show. The final words sung in the show are "Look what God has done. Amen."

To which the only rational response could be: If that's God, you can keep Him.

by Jeff Walsh

Naked Boys Singing.

Whatever thought pops into your head when you think of that phrase, it's probably a good idea to pay close attention to it.

If the notion of a bunch of naked theater boys singing phallus-centric songs for 90 minutes makes you smile, then you'll probably want to give this movie a tumble. If it sounds like torture, it probably won't win you over.

I must confess, I did see the live stage show twice, once in Los Angeles and once in San Francisco. As soon as I heard there was a Naked Boys Singing movie, my fear was they were going to try and reinterpret it for the screen -- a ghastly, incomprehensible idea. Thankfully, the movie (which is playing major cities this fall and coming to DVD in December) is just a filmed version of the stage show in Los Angeles. But it does bring up an interesting issue.

Honestly, it's a GLBT forum. So:

ZOMFG TONY'S!!!!

Spring Awakening is three for three!!! YAAAAY!!!! I've been jumping up and down and screaming this entire time (and when Idina and Taye came on... <333 ) Not the best idea, because I've got a chorus performance in two days, but still... OMGOMGOMGTONYS!!!! BROADWAY, YOU ARE THE LOVE OF MY LIFE!!!!!

By Jeff Walsh

After seeing some Broadway shows over the holidays, one of the truly breakout performers I got to see was Howie Michael Smith in Avenue Q. In the dual role of Princeton and Rod, Smith is a flurry of activity. You can see his pure joy of being up onstage and bringing two distinct personalities and voices to his characters in the show.

Princeton is the character that moves to Avenue Q at the start of the show, wondering what he can do now with his B.A. in English. He started apartment hunting on Avenue A, but couldn't afford any of the rents until he got way out until Avenue Q. He falls in love with Kate Monster, and even has a sex scene during the show.

Rod is the older, closeted character that sits home and reads books about Broadway musicals. He seems to be fashioned after Bert, with a hidden crush on Nicky, his Ernie. (Not that Bert and Ernie are gay or anything!).

By Jeff Walsh

With "The Little Dog Laughed," Douglas Carter Beane got his play about a closeted gay celebrity, the hustler he falls in love with, and the actor's domineering chatterbox of an agent on Broadway. The show explores the fascination we all have with the sexuality of celebrities, and the pains people will go through to make sure stars are seen as heterosexual by the majority of the ticket-buying public.

Beane is best known for writing, "Too Wong Foo, Thanks for everything, Julie Newmar," which had Wesley Snipes, Patrick Swayze, and John Leguizamo in drag back in the 90s. No matter how successful he is with "Little Dog Laughed" or "As Bees In Honey Drown," To Wong Foo will always serve as his calling card for many people. In a few short months, Beane's book for a Broadway restaging of the Olivia Newton John's camp classic "Xanadu" will also hit the stage.

Beane recently chatted with me about Little Dog's closing on Broadway, fatherhood, Xanadu, gay porn, actors' bad taste, Perez Hilton, and celebrity closets.

By Jeff Walsh

Like many people, I first saw Robin De Jesus when he played the lead role in the movie Camp, which continues to be one of my favorite gay movies. The movie features teens dealing with their emotions, crushes, and sexualities at a summer camp that puts on different plays and musicals the whole time. I felt that he was the heart of the movie, and beautifully captured the awkwardness of that age.

Since that time, I've kept tabs on Robin, seeing if he's in any shows whenever I'm planning to go to New York City and such. This past trip, when I saw the Rent theater, for a moment, I wondered if he was still in the company, but I already had tickets for other shows.

The day before I flew back west to San Francisco, Robin posted a bulletin on MySpace that previews for the new show he's in were starting the following day, so while I was landing in Oakland, he was performing in "In The Heights" at the first preview. The show opens tonight Off-Broadway (Break a leg tonight, Robin!) and sounds like a fun night out at the theater. I'll let you know in a few months.

By Jeff Walsh

With an opening song entitled "Omigod You Guys," Legally Blonde: The Musical clearly establishes itself as the latest offering in the trend of popular movies being turned into Broadway musicals. Whether or not you think that's a good idea overall, the real question is whether it will be the next Hairspray or The Wedding Singer? The Producers or High Fidelity?

But, having just gone to the show's opening night in San Francisco, two months before it opens on Broadway (it plays at the Golden Gate Theatre through February 24, details here), the show was certainly a crowd-pleaser. As much as I love to go to the theater to watch an emotional journey, learn about myself, and watch characters make breakthroughs that speak to the universal truths that we all know, well... that kind of expectation would make this show lethally bland. Besides, who would expect anything like that from Legally Blonde?! Duh!

The source material itself was a breezy movie starring Reese Witherspoon that sold itself largely on the spirit of her character and the way Witherspoon sold it so convincingly.

By Jeff Walsh

I've already reviewed "Spring Awakening" back when I was on the east coast for the holidays. The Broadway show has really stuck with me, both the music, the story, the visuals, everything... so, I was pleased to find out that Gideon Glick, 18, whose character Ernst is seduced by another boy in the show, is openly gay and willing to chat with Oasis.

We spoke recently about the show, his thoughts on being an openly gay actor, and how his desire to see Queer as Folk brought him out of the closet in the seventh grade.

But, of course, we start off with Spring Awakening...

What a great show you ended up in there...

Yeah, it's quite fun!

Were you in it from the whole Off-Broadway production and everything?

Yeah, I got in on the Off-Broadway production. There were workshops and all beforehand, but I started Off-Broadway.

By Jeff Walsh

Spring Awakening: A New Broadway Musical features music by Duncan Sheik, with book and lyrics by Steven Sater.

The caveat is that I can only review this from the perspective of having heard it after seeing the show on Broadway. So, in my mind, many of the songs have choreography, lighting, and visuals, which augments my enjoyment of the CD.

Right up front, I will say that John Gallagher Jr. as Moritz was my favorite lead performer in the show. He also does the most rocking songs in the show, so I have heard his stuff most often while working out at the gym. But his tracks, such as "The Bitch of Living," "And Then There Were None," and "Don't Do Sadness" are some of my favorite up-tempo songs, along with "Totally Fucked," where the entire ensemble erupts to release their pent-up angst in a burst of dance and song.

By Jeff Walsh

Anyone who knows me realizes me objectively reviewing the New Cast Recording of A Chorus Line is silly. When it comes to this CD, they had me at "Again...," the first word spoken in the opening number.

This is one of my favorite shows of all time, if not my absolute favorite. This show was Broadway's version of reality TV back in the 70s. The stage is bare, a line runs parallel to the edge of the stage, as dancers tell their life stories in prose and song to try and find work. Seeing it onstage always inspires me. There is no artifice in Chorus Line, no chandelier falling in Act Two, no revolving stage, and no helicopter coming down from the rafters. Whatever happens onstage is there because of bodies, breath, heart, sweat, and yearning, and the result is always magic. The songs are their stories, and by the end many of them are our songs and stories on some level, too. It shows the true power of theater.

Umm... anyway, this is a CD review...

By Jeff Walsh

Going into "Company," I had a lot of questions running around my head. Chief among them was: How can I be a theater queen and only now be seeing my first Sondheim show? When I looked in the Playbill, I was surprised how many of the show's musical numbers sounded familiar. Even though I hadn't been to a proper Sondheim production before, I've been to enough piano bars, cabarets, and Elaine Stritch one-woman shows to ensure more than half of the songs were known quantities.

The other pre-curtain pondering was about director John Doyle's staging, whereby there would be no orchestra (repeating the formula he recently used for his restaging of Sweeney Todd). The actors all play instruments onstage to accompany themselves and others during the songs. When I mentioned how this would be a strange hurdle to absorb, to a friend who isn't that fond of musicals, he said, "Oh yeah, unlike them all breaking into song randomly..." Point taken.