Mean Girls musical cast prepares for visit to Denver, demonstrates popular dance from show
Katie Yoemans and Kabir Ghandi are two of the talented performers who are on tour with the production. Before they arrived in Denver for their stay they met up with CBS News Colorado's Dillon Thomas at the Mathnasium in Fort Collins.
The show also plays into the idea of "mathletes," much like the original film from 2004, setting up the Mathnasium as the perfect place to meet up with Thomas.
"We are so happy to be playing these really fun characters in a super high energy beloved show," Yoemans said.
"The biggest addition from the original movie to our musical is the great dancing and singing. It does a good job at giving you what you love but giving it that big Broadway feel," Ghandi said.
Both Ghandi and Yoemans joined the musical tour in November of 2024 and have already toured to places like Mexico, and Alaska and from coast to coast of the lower 48 states.
However, they did not have much time to learn every step of the show before being put on stage.
"Learning on the road was definitely a new challenge," Yoemans said.
"I think we learned the whole show within a week," Ghandi said.
The duo gave Thomas a crash course lesson on how to do one of the popular dances from the production, which you can see by watching the video attached to this report.
Both Ghandi and Yoemans said the show is a great time for people of all generations.
"It is a good time for the family, it is a good laugh," Ghandi said.
Tickets to Mean Girls at the .
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Yahoo
23 minutes ago
- Yahoo
The 37 definitive rules of going to the theater
Even the most sporadic theatergoer already knows how to act. People come to see the show, not listen to their seatmate yammer on FaceTime or harmonize with every number. Still, there are ways to optimize theatergoing for all involved. How do you pick a show that fits your fancy without going into debt? What's the best way to snack without drowning out the dialogue? And do bathroom lines ever end? (Yes, but by then intermission is usually over.) 'I want theater to be a place where people feel comfortable and can be who they want to be,' says Chris Jennings, executive director of Manhattan Theatre Club, which oversees Broadway and off-Broadway venues. 'But that's juxtaposed with respecting people around you.' Here is your cheat sheet for making the most of your time at the theater while not accidentally becoming the drama. Sometimes the choice will be obvious: You want to see the show that everyone's raving about or that's so on-brand for you it's scary. It's still best to peruse the listings (Playbill is good for Broadway, off-Broadway and London; Theatre Washington for D.C.; other cities typically have their own), read reviews and ask around. Be true to yourself and don't pick on FOMO alone — take some risks. And when you find a theater company you like, subscribe or become a member for the best deals. Shows' official websites often offer a calendar flagging dates with the best availability and alert you to scheduled absences for above-the-title stars. But if you're bargain hunting, check online services such as TodayTix (for deals on select seats), BroadwayBox (discount codes on official tickets), the Theatr app (for reselling seats at face value) and StubHub (yes, it has theater tickets too). A TDF membership gives you access to discounts, or you can head to its TKTS booths (at Times Square and Lincoln Center in New York and Leicester Square in London) to line up for same-day discounted tickets. Or go to a theater's box office at opening in search of standing room or rush tickets, listed at You can try to land affordable tickets by winning a show's lottery, typically conducted online the day before the show. And keep an eye out for pay-what-you-will performances, pay-your-age tickets and other promotions beyond Broadway. Many productions spell out age restrictions and recommendations on their websites. The 'Gazillion Bubble Show'? Fine for all ages. 'Oh, Mary!': Not so much! 'There are some very precocious children who have the ability to sit through a two-hour show, but most don't,' says Fiona Howe Rudin, a board member at New 42, which runs a youth theater in Times Square. 'That's really just knowing what you're seeing.' Typically theaters will offer services such as open captions, or performances with ASL interpreters or audio description. Some offer autism-friendly (or 'sensory-friendly') performances of shows that reduce loud noises, eliminate blackouts and/or leave the house lights on. 'Our audiences call those performances a 'no judgments, no apology zone,'' says Deeksha Gaur, executive director of TDF, an organization that can help connect theatergoers to special services. She recalls a recent autism-friendly performance of 'Hamilton' in which a boy danced in the aisles from beginning to end, to the delight of the audience and the actors. 'The performances are really electric because we allow ourselves to redefine the rules.' 'Accessibility can help more than the people it's designed for,' says Brandon Kazen-Maddox, who creates inclusive theater experiences and also works as an ASL interpreter. Over his career, he has seen many people realize that supertitles or closed captions helped them enjoy a show more even if they are not deaf or hard of hearing. Kazen-Maddox adds that if you buy a ticket near an ADA-accessible seat, expect that there might be assistive practices happening nearby. And if you don't need accommodation, leave the designated ADA seats for someone else. 'To be a good audience member means to give space where it's needed and take up only the space that you need.' Depending on the theater, you might be crammed into a seating situation tighter than the cheapest seats on Spirit Airlines. Leave the bulky backpack behind (many theaters don't have a place to check them). Opt for an aisle seat if you're tall. Theaters generally do not allow outside food or drinks. But bringing water bottles, and even your own candy, is totally fine. Go with quiet options that don't squeak or rustle when you open them. (Mentos are silent and delicious!) You can also try emptying candy or snacks into a cup, where you can pluck them out with minimal ruckus. Don't bring a plastic grocery bag, which will rustle every time you breathe. 'Theater is just not the place for crisps — or chips, for my American cousins,' says Zoë Roberts, a writer and star of 'Operation Mincemeat.' 'Unless you wanna suck them until they are soft like baby food, and then you can chew them down. The crunching, the crackling — it's just the worst thing in the world.' Some may lament the days when going to the theater meant getting spiffed up. You still can (and should if you want!), but casual dress is the norm, so don't sweat it. 'Come as you are,' says Glenn Davis, an actor in 'Purpose' and co-artistic director of Chicago's Steppenwolf Theatre Company. 'Wear sweats if you want — just come and have an experience.' Sneakers and shorts are fine — just remember, some theaters are walk-in refrigerators. Select your meal with an eye toward sitting still and staying awake. On Broadway you'll probably be asked by security to chuck any doggie bags on the way in, which is just as well — fellow audience members didn't pay good money for free smells. And if you get sick, go home. Most Broadway houses open a half-hour before curtain, and it's best to aim for that as your arrival time to account for any weather- or transportation-related delays, says Johannah-Joy Magyawe, house manager of the Lunt-Fontanne Theatre (currently hosting 'Death Becomes Her'). That said, Magyawe concedes you can often evade security lines at their longest by cutting it close — even though she advises against it. (Although shows often start five to 10 minutes later than advertised, some are on time — yes, even if there's still a line.) 'I know a lot of theater industry people will be like, 'I'm showing up right at curtain,'' Magyawe says. 'But if there's any sort of delay with getting people in, that can backfire.' 'You're not going to enjoy the show if you're coming in late,' says actor Conrad Ricamora, a Tony nominee for 'Oh, Mary!' 'You knew when you bought the tickets what time it started. You had all the opportunity in the world to prepare — to get a sitter, to get your check at dinner. I want you to have the best experience possible, so show up on time.' You may need it to reenter if you step out for air. If people need to stand up so you can shuffle past them, that's fine! They're in your way! Say 'excuse me' if you feel inclined, but no need to grovel. If you couldn't get tickets together and ask someone else to trade places, accept that they might say no. This isn't a plane, where no matter your seat, the end result (reaching your destination) is the same. The options (and prices) can vary widely. When an NBA-height guy takes the empty seat in front of the vertically challenged in your party, offer to switch if you're taller. No one wants to spend hundreds just to crane their neck for three hours. We disagree with Larry David. Your jacket shouldn't flutter above someone's feet. If it's a pain to put it right behind your back or use the coat check (which many theaters don't have), stick it in a bag under your seat. If you know about a big plot twist, avoid broadcasting it. Gossip about the Tonys race is acceptable. If you snag a front-row seat in an upper level, you'll have a rail or ledge in front of you instead of someone's head. Don't mistake that as a spot to rest your program. Ushers will tell you not to place items there, but it's easiest to keep the space clear from the start. You knew this was coming. And you know the right thing to do. Airplane mode or all the way off are acceptable. No matter how creative preshow announcements get, rings and dings will cry out like chaotic clockwork until the end of time. Be part of the solution! That means: If someone doesn't seem to know how to work their phone, help them if you can. (And remember that some people use apps such as GalaPro to access closed captions or audio description.) But if their phone use appears flagrant, kindly ask them to mind the disturbance. If their defiance is truly beyond the pale, you may want to go a step further. 'Someone who's literally answering the phone during the play probably is not going to respond well to gentle pushback,' says 'The Band's Visit' book writer Itamar Moses. 'So I think signaling an usher to intervene might be the right thing to do.' 'There's a lot of entitlement that sometimes people feel when they bought a ticket,' says Magyawe, the house manager. 'People become very selfish, like it's only their experience that is worthy. It's not. It's everybody around you.' If you need to text the babysitter, be discreet. 'Emergencies happen, but for people with their phones out, turn the brightness down,' says Joy Huerta, co-composer of 'Real Women Have Curves.' Phone-free time is precious! Don't let your device or anyone else's get in the way of a good time. We love standing room. If you're sufficiently able-bodied to make it work — enjoy yourself! You paid less than everyone else and are less constrained. But don't rest your chin on that fluffy perm in the last row or plop down on the stairs like a fire hazard. Dinner theaters, immersive productions and others are likely to have specific guidelines — as in the handout at Studio Theatre's recent, all-enveloping version of 'Paradise Blue,' which included: 'Please don't touch the performers.' You can clap when George Clooney enters, or refuse on principle and feel superior. To each their own. 'Don't ask for a double when a single will do,' suggests Diep Tran, the editor in chief of Playbill. (For several years, the company's programs included behavior guidelines in response to reports of unruly patrons.) If you're a sleepy drunk, passing out will lead to an expensive nap. But it's better than causing a disruption, or worse, stumbling in the aisle. 'If you're drinking, you should be an adult and know what your limit is,' says Michael Composto, general manager at the Eugene O'Neill Theatre, home to 'The Book of Mormon.' As overindulgences go, weed at least seems more chill. In rare cases when patrons at 'Book of Mormon' have outdone themselves, Composto adds, 'most of the time it is somebody who voluntarily tells us that they need to go because they're in their own world.' Some moments may be better for a nosh than others. Says 'Maybe Happy Ending' sound designer Peter Hylenski, 'In a musical there are certainly louder scenes where you can probably get away with a little more.' Just move on, you'll figure it out. Some shows say beforehand that you can't come back if you leave. But assuming you can, there are times when you just have to bust past people's feet and go. Remind yourself: This is my life. Just do it. The grumblers on your aisle should understand. Try to ask an usher on your way out how best to reenter. Like hollering at television or live sports, theater can inspire unpredictable responses, involuntary or otherwise. Playwright Dominique Morisseau includes commonsense tips in a program note for her plays that encourages participation in moderation: 'This can be a church for some of us, and testifying is allowed.' Amen! At Kabuki theater in Japan, shouting encouragement at the actors is part of the fun. How to know if it's too much? 'Theater is a shared experience and you can laugh with your neighbors, but maybe don't sing along,' says Julia Mattison, co-composer of 'Death Becomes Her.' Adds the musical's book writer, Marco Pennette, 'I feel like tapping people sometimes and saying, 'You know, I worked on that joke for three days and you just talked through it.' If the loudmouths around you are responding to the show, let them be. If they're chattering off-topic or in excess, make a brief and graceful attempt to quiet them down. To alleviate intermission chaos, some Broadway theaters and D.C. companies such as Arena Stage, Shakespeare Theatre Company and Olney Theatre Center allow audiences to preorder snacks and drinks so that they're waiting for pickup between acts. It's the fastest route to a Zen respite. At a musical, check the list of songs in your program and note the Act 1 finale. When that last chord hits, get ready to join the scramble (but please, watch where you're going). If you want to avoid bathroom lines entirely, take a minute on your way in to clock which nearby restaurant, bar or coffee shop bathrooms might be open during intermission. Some Broadway theaters (especially the geriatric ones with fewer toilets) even have agreements with neighboring businesses to let you do your business — ask an usher which ones. Those primo vacancies you're eyeing might belong to latecomers. But if intermission arrives and they still don't, you might have a shot. 'Wait until intermission, then check in with a staff member,' says house manager Composto. 'We can direct you into the best seat to move into.' Yes, now is the time to apologize. Clapping at the end is only polite. But joining the herd mentality to stand (for just about anything, these days) isn't required unless the spirit moves you. The same goes for mid-show ovations. Theaters increasingly embrace curtain call photos and videos — going as far as to repost them on social media. Productions such as 'John Proctor Is the Villain' on Broadway and 'The Curious Case of Benjamin Button' in the West End have actively encouraged the practice via signs and program inserts. So unless a theater says otherwise, don't feel skittish about grabbing that digital keepsake — but wait until the bows. For you, a Broadway show might be a special occasion. For actors, it's a job — that comes with a noncontractual, fan-demanded requirement to make a personal appearance after a long shift. Keep that in mind when you line up at the stage door to greet them, and don't be surprised if your favorite star keeps it brisk. If you want an autograph, have your program ready. (Theaters are often prepared with buckets of Sharpies, but feel free to bring your own.) Cheer for unsung heroes (ensemble members, swingers and understudies) too. Gifts are nice, but be mindful. A handwritten note? Great! A lock of your hair? Probably not. Also: Know when to give up. No use waiting for a performer who might have sneaked out another exit. Plus, some might choose to stay in the theater after a matinee, especially if they're heavily made-up. If you've been there an hour, actors might be on their couches. 'Maybe they're having a rough day or something's happened,' says Composto. 'Folks can't take it personal if they don't get an autograph.' When greeting a friend involved with a show you dislike, think of something nice to say. Highlight a favorite scene, or something that moved you. You don't have to lie or put on a show — leave that to the pros, who'll see right through you — but prioritize your friendship over brutal honesty (unless they really asked for it, and you believe they meant it). Trashing the show to someone who poured themselves into it is all downside. Who cares about being right? And if you don't catch them afterward, sending a nice note is even easier. Refrain from dissing a show while in spitting distance of the theater. Most insiders are cautious about this (it's a small industry), but everyone could stand to be mindful — especially at the beginning of the run, when you never know who might be around to overhear. Sometimes your companion will come out playing it cool and give a quick goodbye. But don't be embarrassed if a show moves or excites or infuriates you so much that you want to unpack it. A sidewalk chat works, but if you push to get a drink or dessert, usually you'll be glad you did. A lot of the best theater runs on word of mouth. Be that person who tips off your group chats to a must-see show. They'll thank you. Illustrations and design by María Alconada Brooks. Development by Katty Huertas. Design editing by Christine Ashack. Copy editing by Anne Kenderdine. Solve the daily Crossword
Miami Herald
34 minutes ago
- Miami Herald
A tribute to the Miami Northwestern teacher who changed my life
Charlette Seward, a four-decade public school drama teacher and coach, died last month in Miami. Her obituary will tell you she was also a successful professional actress and Broadway veteran and that she left behind former students to reflect on the immense influence she had on their lives. I am one of those students. Ms. Seward came into my life when I was 14 — and changed it forever. To many, she was a legendary drama teacher. To me, she was a lifeline, a builder and the woman who saw something in me before I could see it in myself. I was just a poor Black girl from Liberty City, moving in and out of family homes and foster care, convinced my path was already written. I grew accustomed to being in the dark, behind the scenes, so I naturally gravitated to technical theater, a little broken tomboy covered in baggy clothes to mask my fears of becoming somebody. In high school, working behind the scenes in the drama class, I was safe, unseen. But Ms. Seward had a way of pulling you into the light. I'll never forget the day she found out I could sing. That I could really act. She said, 'Erica, how long have you been hiding this voice, this talent from me?' That moment altered the course of my life. From then on, she refused to let me play small. She pushed me to audition for my first national tour, where at just 15 years old, I earned my first professional role and job. Later, she prepared me for competitions, late-night rehearsals and the discipline of the stage. When I was 17, she stood proudly by my side as I won a 2003 state-wide high school theater competition, taking the Best Actress category with her favorite 'Ma Rainey' monologue, beating seniors across the state. Afterward, she whispered in my ear, 'I told you.' Ms. Seward was more than a teacher— she was a builder of character. She demanded discipline, humility, professionalism and grit. Crisp polos, polished shoes, memorized lines — her standards were non-negotiable. She taught us that we weren't just representing ourselves. We were representing Liberty City, showing the world that inner-city drama students could break every stereotype as Troupe 1684. Because of her, I became the first in my family to graduate from college. It was her last promise to me. 'Come hail or high water, you're going to college.' Deep in my soul, I didn't believe it. But I got accepted into six schools with scholarships in theater programs. I graduated from Florida A&M University and eventually earned a master's degree from New York University and an MBA from Southern Methodist University. Because of her, as a member of Troupe 1684, got my first passport to perform in London and Scotland. Ms. Seward had connections so we performed in New York and even on a Carnival Cruise that same year. Because of that trip to New York, I fell in love with my dream city and ended up living there for almost 10 years. Because of her, when I entered the corporate world, I found the courage to enter boardrooms with the same confidence she demanded on stage. By 37, I became a vice president of communications and marketing, always carrying the lessons she instilled. I am not unique in this story. I am one of hundreds of students she built, molded and pushed into their destinies. Each of us carries a piece of her legacy into the world. Miami has lost a true legend. Rest in peace, Ms. Seward. Thank you for seeing me. Thank you for building me. Thank you for saving me. Erica Hicks Anderson is a strategic communications and marketing leader. Born and raised in Miami, she now lives in Dallas with her high school sweetheart and two daughters.
UPI
35 minutes ago
- UPI
Watch: 'Satisfied' shows Renée Elise Goldsberry's 'Hamilton' panic attacks
1 of 5 | Renée Elise Goldsberry, seen at the 2023 Critics Choice Awards in Los Angeles, stars in the documentary "Satisfied." File Photo by Jim Ruymen/UPI | License Photo Aug. 21 (UPI) -- Aura Entertainment released the trailer for the documentary Satisfied on Thursday. Fathom Entertainment releases the film in theaters Sept. 30 to Oct. 2. Named after her song from the Broadway show Hamilton, Satisfied follows Renée Elise Goldsberry from her auditions for the show through winning the Tony Award for it. As Hamilton mania built, Goldsberry opened up about struggles during performances. "Sometimes now when I'm doing the show, I keep having panic attacks throughout the number," Goldsberry confesses on camera. "This is starting to feel like a runaway train overwhelming everything else in my life completely." Goldsberry speaks in the film about her dual dreams to have a family and be an actor/singer. She wonders sometimes if those dreams are mutually exclusive. Cameras inside her home show her children missing her while she is rehearsing and performing, and her husband, Alexis Johnson, stating they are creating a home where everyone thrives. The documentary also shows Goldsberry trying to get pregnant. Her son, Benjamin, was born in 2009 and the trailer shows her embarking on her sixth pregnancy. She and Johnson adopted Brielle in 2014. Hamilton creator Lin-Manuel Miranda also participates in the documentary, praising Goldsberry's fast rapping skills and confirming the demands the show places on performers. Satisfied premiered at the 2024 Tribeca Film Festival. Chris Bolan and Melissa Haizlip directed.
