Bye, Bye Amélie!

Tony’s season is often an exciting time in the Broadway world but not for every show.

After receiving absolutely no nominations for the 2017 Tony Awards, the new musical Amélie will see its demise on May 21, closing prematurely. The show will lose its $12M capitalization as a result.

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The musical is based off of the 2001 film of the same name.

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In a review of the musical in The New York Times, writer Ben Brantley says, “In other words, ‘Amélie’ the movie was très, très Français. ‘Amélie’ the musical seems to have no nationality, or sensibility, to call its own.”

Though the Times was not the biggest fans, some musical theatre fans weep at the show’s near end.

Bye, bye Amélie. You will be missed… by some.

‘Til next time.

2017 Tony Award Nominees

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This post has been copied over from LA Times. The original post can be viewed here.

Best musical

“Come From Away” | Review | Critic’s Notebook | Interview

“Dear Evan Hansen” | Feature | Interview

“Groundhog Day the Musical” | Review | Feature

“Natasha, Pierre & the Great Comet of 1812” | Interview

Best play

“A Doll’s House, Part 2,” Lucas Hnath | SoCal review | Broadway review

“Indecent,” Paula Vogel

“Oslo,” J.T. Rogers

“Sweat,” Lynn Nottage | Interview | Critic’s Notebook | News

Best book of a musical

“Come From Away,” Irene Sankoff and David Hein | Review | Critic’s Notebook | Interview

“Dear Evan Hansen,” Steven Levenson | Feature | Interview

“Groundhog Day the Musical,” Danny Rubin | Review | Feature

“Natasha, Pierre & the Great Comet of 1812,” Dave Malloy | Interview

Original score (music and/or lyrics) written for the theater

“Come From Away,” music and lyrics by Irene Sankoff and David Hein | Review | Critic’s Notebook | Interview

“Dear Evan Hansen,” music and lyrics by Benj Pasek & Justin Paul | Feature | Interview

“Groundhog Day the Musical,” music and lyrics by Tim Minchin | Review | Feature

“Natasha, Pierre & the Great Comet of 1812,” music and lyrics by Dave Malloy | Interview

Revival of a play

“August Wilson’s Jitney”

“Lillian Hellman’s The Little Foxes”

“Present Laughter”

“Six Degrees of Separation”

Revival of a musical

“Falsettos” | Critic’s Notebook

“Hello, Dolly!” | Review

“Miss Saigon”

Actor in a leading role in a play

Denis Arndt, “Heisenberg” | Feature

Chris Cooper, “A Doll’s House, Part 2” | SoCal review | Broadway review

Corey Hawkins, “Six Degrees of Separation”

Kevin Kline, “Present Laughter”

Jefferson Mays, “Oslo”

Actress in a leading role in a play

Cate Blanchett, “The Present”

Jennifer Ehle, “Oslo”

Sally Field, “The Glass Menagerie”

Laura Linney, “Lillian Hellman’s The Little Foxes”

Laurie Metcalf, “A Doll’s House, Part 2” | SoCal review | Broadway review

Actor in a leading role in a musical

Christian Borle, “Falsettos” | Critic’s Notebook

Josh Groban, “Natasha, Pierre & the Great Comet of 1812” | Interview

Andy Karl, “Groundhog Day the Musical” | Review | Feature

David Hyde Pierce, “Hello, Dolly!” | Review

Ben Platt, “Dear Evan Hansen” | Feature | Interview

Actress in a leading role in a musical

Denée Benton, “Natasha, Pierre & the Great Comet of 1812” | Interview

Christine Ebersole, “War Paint”

Patti LuPone, “War Paint”

Bette Midler, “Hello, Dolly!” | Review

Eva Noblezada, “Miss Saigon”

Actor in a featured role in a play

Michael Aronov, “Oslo”

Danny DeVito, “Arthur Miller’s the Price”

Nathan Lane, “The Front Page” | Critic’s Notebook

Richard Thomas, “Lillian Hellman’s The Little Foxes”

John Douglas Thompson, “August Wilson’s Jitney”

Actress in a featured role in a play

Johanna Day, “Sweat” | Interview | Critic’s Notebook | News

Jayne Houdyshell, “A Doll’s House, Part 2” | SoCal review | Broadway review

Cynthia Nixon, “Lillian Hellman’s The Little Foxes”

Condola Rashad, “A Doll’s House, Part 2” | SoCal review | Broadway review

Michelle Wilson, “Sweat” | Interview | Critic’s Notebook | News

Actor in a featured role in a musical

Gavin Creel, “Hello, Dolly!” | Review

Mike Faist, “Dear Evan Hansen” | Feature | Interview

Andrew Rannells, “Falsettos” | Critic’s Notebook

Lucas Steele, “Natasha, Pierre & the Great Comet of 1812” | Interview

Brandon Uranowitz, “Falsettos” | Critic’s Notebook

Actress in a featured role in a musical

Kate Baldwin, “Hello, Dolly!” | Review

Stephanie J. Block, “Falsettos” | Critic’s Notebook

Jenn Colella, “Come From Away” | Review | Critic’s Notebook | Interview

Rachel Bay Jones, “Dear Evan Hansen” | Feature | Interview

Mary Beth Peil, “Anastasia”

Direction of a play

Sam Gold, “A Doll’s House, Part 2” | SoCal review | Broadway review

Ruben Santiago-Hudson, “August Wilson’s Jitney”

Bartlett Sher, “Oslo”

Daniel Sullivan, “Lillian Hellman’s The Little Foxes”

Rebecca Taichman, “Indecent”

Direction of a musical

Christopher Ashley, “Come From Away” | Review | Critic’s Notebook | Interview

Rachel Chavkin, “Natasha, Pierre & the Great Comet of 1812” | Interview

Michael Greif, “Dear Evan Hansen” | Feature | Interview

Matthew Warchus, “Groundhog Day the Musical” | Review | Feature

Jerry Zaks, “Hello, Dolly!” | Review

Scenic design of a play

David Gallo, “August Wilson’s Jitney”

Nigel Hook, “The Play That Goes Wrong”

Douglas W. Schmidt, “The Front Page” | Critic’s Notebook

Michael Yeargan, “Oslo”

Scenic design of a musical

Rob Howell, “Groundhog Day the Musical” | Review | Feature

David Korins, “War Paint”

Mimi Lien, “Natasha, Pierre & the Great Comet of 1812” | Interview

Santo Loquasto, “Hello, Dolly!” | Review

Costume design of a play

Jane Greenwood, “Lillian Hellman’s The Little Foxes”

Susan Hilferty, “Present Laughter”

Toni-Leslie James, “August Wilson’s Jitney”

David Zinn, “A Doll’s House, Part 2” | SoCal review | Broadway review

Costume design of a musical

Linda Cho, “Anastasia”

Santo Loquasto, “Hello, Dolly!” | Review

Paloma Young, “Natasha, Pierre & the Great Comet of 1812” | Interview

Catherine Zuber, “War Paint”

Lighting design of a play

Christopher Akerlind, “Indecent”

Jane Cox, “August Wilson’s Jitney”

Donald Holder, “Oslo”

Jennifer Tipton, “A Doll’s House, Part 2” | SoCal review | Broadway review

Lighting design of a musical

Howell Binkley, “Come From Away” | Review | Critic’s Notebook | Interview

Natasha Katz, “Hello, Dolly!” | Review

Bradley King, “Natasha, Pierre & the Great Comet of 1812” | Interview

Japhy Weideman, “Dear Evan Hansen” | Feature | Interview

Choreography

Andy Blankenbuehler, “Bandstand” | Interview

Peter Darling and Ellen Kane, “Groundhog Day the Musical” | Review | Feature

Kelly Devine, “Come From Away” | Review | Critic’s Notebook | Interview

Denis Jones, Holiday Inn, “The New Irving Berlin Musical”

Sam Pinkleton, “Natasha, Pierre & the Great Comet of 1812” | Interview

Orchestrations

Bill Elliott and Greg Anthony Rassen, “Bandstand” | Interview

Larry Hochman, “Hello, Dolly!” | Review

Alex Lacamoire, “Dear Evan Hansen” | Feature | Interview

Dave Malloy, “Natasha, Pierre & the Great Comet of 1812” | Interview

CRITIC’S NOTEBOOK: Why Hillary should speak at the Tonys »

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Tony nominations count by production

“Natasha, Pierre & the Great Comet of 1812,” 12

“Hello, Dolly!” 10

“Dear Evan Hansen,” 9

“A Doll’s House, Part 2,” 8

“Come From Away,” 7

“Groundhog Day the Musical,” 7

“Oslo,” 7

“August Wilson’s Jitney,” 6

“Lillian Hellman’s The Little Foxes,” 6

“Falsettos,” 5

“War Paint,” 4

“Indecent,” 3

“Present Laughter,” 3

“Sweat,” 3

“Anastasia,” 2

“Bandstand,” 2

“The Front Page,” 2

“Miss Saigon,” 2

“Six Degrees of Separation,” 2

“Arthur Miller’s The Price,” 1

“The Glass Menagerie,” 1

“Heisenberg,” 1

“Holiday Inn, The New Irving Berlin Musical,” 1

“The Play That Goes Wrong,” 1

“The Present,” 1
So… what do you think, kids? How do you feel about these nominees? Let us know in the comments below.

‘Til next time, kiddos. 

12 Tips for Nailing Your Audition

Many theater fans dream of someday performing on the Great White Way. Whether you’re auditioning at an open call, were scouted and have a private audition, or you’re trying out for a school or community production, we’ve got you covered with these 12 tips for nailing your audition (narrated by some cool ClipArt from the Web).

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  1. Read everything carefully.
    • From the audition flyer to the materials given, read through everything.
    • Understand exactly what commitment this audition may lead to and what will be expected of you.
    • Be aware of any scheduling or technical conflicts you may run into down the line.
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  2. Practice, practice, practice.
    • Whether you’re given a script and song in advance or you have to choose your own, make sure you practice.
    • For music: pick something that suits your voice, is fairly well-known and from a reputable show or composer. Don’t pick a Broadway standard your casting directors will have heard 30 times before you that day.
    • For scenes: if you are given a script, practice the script in and out. If you are not given a specific scene or the script beforehand, you will likely do a cold reading audition. In that case, practice by reading a lot of scenes from similar shows cold. You need to practice getting something and performing it spur-of-the-moment.
      • You also may have to prepare a monologue of choice. If this is the case, do your research and pick one that will showcase your strengths as an actor, and is not too removed from the show you are auditioning for.Image result for study clipart
  3. Study your materials.
    • As previously mentioned, practice anything handed to you prior to your audition. Practice different scenes and different songs.
    • Study the play and the characters. From reading scripts to watching performances, video or live, you need to have a fair idea of how different roles have been played over time and how your performance should align with those examples.
    • Know about the history of the show. They may not quiz you on this, but the more you live and breathe the show, the more comfortable and confident you will be in your audition. Know enough to answer some obscure trivia questions about it. Know about the writers, the story, the characters, the original players, the composers (if applicable).
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  4. Be early.
    • This always seems obvious but give yourself plenty of time to arrive at your audition. Whatever your call time is, prepare to be anywhere from 15-30 minutes early. You may end up waiting longer, but always better safe than sorry.
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  5. Dress appropriately.
    • If you’re given specific instructions on what to wear, obviously follow that.
    • Consider what your audition consists of.
      • Cold reading? Monologue? Singing? Dancing?
      • Comfort, professionalism, movement. There are many different things to consider.
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  6. Smile the nerves away.
    • Yes, the audition will probably be nerve-wracking and you will be nervous. Your casting directors already know that. They want to see how you perform under pressure. Therefore, smile it out! When you’re reading, singing, or dancing, only smile when it is appropriate. Otherwise, smile the rest of your time there.
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  7. Be kind, courteous, and friendly.
    • To casting directors and staff:
      • Obviously you want to have a good rapport with the people you hope to work with.
      • Show them you’re grateful for their time and that you really are pleasant to work with.
    • To performers and other hopefuls:
      • It can get heavy in the waiting room. It can get heavy in group auditions. You want to make a positive lasting impression on everyone.
      • Stand out by being kind and amicable to others whenever possible, even if they don’t treat you with the same respect. You never know who is watching.
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  8. Show off your passion and excitement.
    • Would you want to see a show where the actors hate performing and have no interest in what they’re doing? Probably not. So don’t be that actor.
    • You worked hard to be standing in your audition, prepared to knock the socks off of the casting directors, so make sure they know it.
    • Be happy and excited to perform. If you aren’t interested in a role or show, that will likely showcase during your audition and you probably wouldn’t get the part. Don’t waste your time on performing endeavors you wouldn’t enjoy.
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  9. Stay on your toes.
    • You probably have your scene/monologue, song, dance routine, whatever, down pat. You probably nailed it too.
    • But be prepared to sing a new song, sightread music, cold read, or learn a new routine. It doesn’t mean your audition was bad, it doesn’t mean you chose a bad monologue or song. It just means they need to see you do more. If anything, take it as encouragement.
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  10. Be open-minded and susceptible to critique.
    • A lot of the time, you may not receive critique during the audition. But sometimes, especially on a lower scale production, you may. You need to have an understanding of what you can improve upon for future auditions.
    • If they do not give you any criticism in person and you do not get the role, consider following-up with one of the directors. If you’re friendly, thank them for their time, explain that you really love performing and would like to continue it, there shouldn’t be a problem with asking for some pointers on what could have been better in your audition.
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  11. Prepare for rejection.
    • Auditions tend to be a “hope for the best, expect the worst” sort of experience.
    • Most of the time, rejection is impersonal. It has little to do with you and very much to do with someone else. Use it as the driving force for your improvement.
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  12. Work harder.
    • Whether you get the part or not, you need to work harder.
      • If you didn’t get the part: work harder at preparing your materials. Push yourself as hard as you safely can to get the best results.
      • If you did get the part, congratulations! But be ready to work 1000x as hard as you did for your audition for the show. Show everyone you’re working with that you’re even better than the audition that got you the part.

 

Now, go kick some booty!

The Best Way to Buy Tickets

Seeing a Broadway show forces you to stand in line more often than you’ll probably want to– waiting for the doors to open, waiting to go to your seats, using the restroom, getting a souvenir, getting a snack or drink, leaving the theater, and unfortunately, sometimes, purchasing your tickets.

Don’t get it wrong, going to see live theatre is a great privilege and don’t let the lines change your mind about seeing a show. Whatever Broadway show you see will be worth the wait and worth enduring the lines. It’s just important to remember it might be a little overwhelming–you should know what to expect when you plan a night in the theatre.

If you haven’t picked your next show to see, take a look at our first post here. That will tell you every musical showing this year that has been announced. Now that you’ve looked at that, do you know your next show? Got it? Good.

Once you know the show you want to see, you have to weigh your options on how to purchase tickets. The play’s website should offer a “tickets” link to their official ticket provider. Those sites are usually Telecharge, Broadway.com, or Ticketmaster. Be weary of other sites. You don’t want to buy counterfeits. That doesn’t make a fun trip to New York at all.

We’ll pick an example for you to see. We’ll go to The Great Comet of 1812‘s website.

Once you click “get tickets,” you’ll be taken down here.

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This show uses Telecharge, a ticket vendor often used for Broadway shows. Don’t worry, these tickets are genuine. Telecharge is a reputable site. You can definitely buy your tickets here. Here’s what that page will look like when you click on a show (we chose a show for you, it’s Saturday, March 25 at 8PM):

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If you’re like us, you’re probably doing this on somewhat of a budget. We always recommend that if you have the money–invest in your experience! Splurge on the tickets you want when you can but a lot of the time, you might not be able to. These tickets range supposedly from $59 to $399 for this performance. Those prices are subject to change and never guaranteed. On average, when purchasing Broadway tickets online, you should expect to spend near or more than $100 per ticket with fees. For many shows, this doesn’t even get you spectacular seats. It is totally normal to spend about $100 or more for seats in the rear mezzanine, especially for popular or new shows. A great resource for anyone interested in scoring good tickets at a fair price is Broadway for Broke People. The site itself looks like a 1999 HTML class project, but its content is helpful and is updated pretty regularly. You can learn about different options there.

We know what you may be thinking… $100+ per rear mezzanine ticket doesn’t seem worth it! Are there any other options? Fortunately, there are.

We cannot guarantee that these options will necessarily be less expensive or even guaranteed, but depending on the show of your choice, we can say there are multiple options if purchasing online doesn’t sit well with you.

For Natasha, Pierre, & the Great Comet of 1812, you can purchase tickets online, in-person at the box office, enter a lottery, do rush, or same-day tickets at a TKTS booth. That’s a lot of ways to get your tix-fix. We already discussed buying tickets online, so let’s go through the rest of your options.

Box Office:
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The beautiful theaters of Broadway all have box offices. This one is apparently on the 45th street entrance. On the play’s site, box office hours can be found. You may be able to score tickets to that day’s show, but that is unlikely. Checking the box office is great if you have a specific day in the future you know you’d like to go. However, it is only an option if you can frequent Manhattan, or you live here. Tickets at the box office are not discounted typically, but they do lack many of the restrictive fees online retailers place on the tickets, making them a better deal.

Lottery:
Great Comet has a digital lottery (as do many shows nowadays). This is a great way to throw your hat in the ring and potentially win great tickets to the show! For this show, tickets run at $39 each, you can only win up to 2 tickets, and there are certain deadlines you have to enter by to win. Each lottery is different in regards to exactly when you have to enter by, and what you have to do to enter, but they are free. You put your name in with no card information up front or anything. Then if you win, one of two things may happen. You have to purchase the tickets in an hour of receiving the email notifying you of your win. Or you have to follow the email’s directions and respond accordingly–usually going to the box office and retrieving them as well as paying there. You also must have ID showing that you are the person who entered the lottery.
This, unfortunately, is one of the least guaranteed ways to get tickets and is an option that works best for those who reside in the immediate NYC area. Do not come into NYC for the day and make plans around possibly winning tickets to your show. We’ve been trying to win tickets to Hamilton for the past year and nothing.

Rush:
Rush tickets are leftover tickets that have yet to be sold for a day’s respective performances available for purchase as soon as the box office opens. If you decide to wait in a rush line, it might look something like the pic below. Or you might luck out. Or you might be out of luck.
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For most shows, rush tickets are never guaranteed but there are typically some available for most performances. So basically, for the best chance to get the best possible seats, being the earliest pays off. Most theater box offices open at 10AM, but double check your show’s theater ahead of time to secure this. Do a little (or a lot) of research before deciding if rush is right for you. Check the show’s official site as well as its references on broadwayforbrokepeople.com. Check out some message boards like this one to read through other people’s experiences. Figure out if you’re willing to commit to seeing the show.
Popular shows, classics, and new shows with rave reviews often attract long rush lines. This can mean bad things for you and your beloved show. But, some fans will arrive at the theater in the wee hours of the morn to secure a spot by the box office to get the first tickets available. Many rush stories we have heard suggest getting to the box office at 5AM and sometimes, that isn’t even early enough (don’t worry, we’ll share about this experience in a later post that you will [then] be able to find here). This differs show-to-show but as we said, the earlier the better. If you can go to your theater at 4AM because you need those tickets, you should do it. If you can wait in line with the person you’re seeing your show with, even better. You may need to trade off to use a restroom, get food or beverages, or just stand up and walk around. Frigid temperatures don’t stop the rush line either. Be prepared.
Make sure you have the correct payment method (most will accept cash and card, but double check). When the doors open, the line will filter into the box office lobby. Be mentally prepared to not get tickets. Big shows will sell out quickly and they do not always have a large number available to begin with. Also, weigh your options. If the show is more important than the day to see it, consider purchasing your tickets for a later date at the box office if rush tickets are no longer available.

TKTS Booths:
Similar to rush tickets, theatre-goers can purchase tickets to day-of show performances at the TKTS booths located around NYC. There are a few locations, but their main one is in Times Square.
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Ya know, that thing?
Underneath those stairs are discounted ticket box offices. But again, you will often deal with a crazy long line.
tkts
This works a little differently from rush so don’t be scared yet. This is a great alternative to rush tickets if you have multiple shows you are willing to see, and definitely want to see a show that day. Nearly all shows will have tickets for sale here, but again, none are guaranteed. Maybe you really want to see Great Comet, but you heard School of Rock: The Musical was good too. If they’re out of your first choice, they may have your second choice available. A live ticker bulletin is also posted to view which shows have tickets available and for which time, as well as a real-time app displaying that same information. You’re bound to find something if you’re interested in seeing a show that day.
Tickets sold are the leftovers at the lowest possible prices. They do give you the best available seats first, so it may not be a huge discount. However, it is still less expensive than purchasing online. If you get in the line at a reasonable time, you’re bound to walk away with tickets for a show.

So, after all of that you may still be wondering–what is the best way to buy Broadway tickets!? Unfortunately, the answer isn’t so black and white.

The best way for you to purchase tickets may not be the best for everyone. And for that reason, here is a summary of our recommendations:
Planning a trip to NYC for a limited amount of time? – Buy online.
Spontaneously want to see a show? – TKTS.
Local to NYC area and are dying to see a specific show? – Rush/box office.
Price-buyer looking for the best deal? – TKTS/rush.
Local with no plans and some pocket change? – Digital lottery.
Worried about counterfeits? – Box office/verified ticket website.

  1. Buying online gives you more control over the show you see and when you see it. You may sacrifice price but that may be worth it if you get to see the show you want at the best time for you. Remember, always purchase tickets off of the play’s verified online ticket vendor. Do not trust all ticket-selling websites.
  2. You are least likely to win tickets via digital lottery. Don’t plan your whole day around winning tickets.
  3. Do research on the show you’d like to see’s box office, rush policy, and TKTS availability before investing money, time, and energy in waiting for tickets.
  4. Never trust unverified ticket retailers. Theaters are never responsible for faulty tickets purchased from outside vendors and you will not get your money back.

Hope y’all enjoyed this guide to buying Broadway tickets. We hope you found it helpful. Don’t forget to follow Playbill Playboy for more information and more great posts.
Later, babez.

A List of Every Musical on Broadway (this year)!

Hey there, kids!

Thanks for checking out Playbill Playboy! We’re gonna post a lot of great info for you all about the hottest shows, actors, and guides for anyone out there trying to make it out there. To welcome you all to our blog, we’re starting you all off with an alphabetized list of every show currently playing on Broadway with links to the show’s websites!

A Bronx Tale

Aladdin

Amelie

Anastasia

Bandstand

Beautiful: The Carole King Musical

Cats

Charlie and the Chocolate Factory

Chicago

Cirque du Soleil PARAMOUR

Come From Away

Dear Evan Hansen

Frozen

Groundhog Day

Half Time

Hamilton

In Transit

Kinky Boots

Miss Saigon

Natasha, Pierre and the Great Comet of 1812

On Your Feet!

School of Rock – The Musical

Sousatzka

Sunday in the Park with George

The Book of Mormon

The Lion King

The Phantom of the Opera

Waitress

War Paint

Wicked

This list of shows is from Broadway.com. Take a look at some of their sites. Never heard of some of the shows? Check out some of their music, check out their sites and cast. We have way more info to come for you.

‘Til next time, babes.