News Ticker

Articles by Chip Deffaa, Editor-at-Large

On the Town with Chip Deffaa… at “13” at Rider University

October 22, 2025

Paced by spirited performances by Max Ryon and Jake Ryan Flynn, Rider University’s production of Jason Robert Brown’s musical “13” is the best college show I’ve seen in years. And offers proof that this rarely revived musical—which was revised by its creators after its original Broadway run--is viable, relevant, and deserving of greater life. [more]

David Cassidy … Some Questions Answered

July 22, 2025

Some 30 years have passed since I ghost-wrote David Cassidy’s autobiography, “C’Mon Get Happy.”  The book continues to sell, and I continue to get questions from David’s fans.  If I so much as mention him on Facebook—perhaps offering a toast to his memory on his birthday—people will message me with inquiries.  I tried to answer some of the questions I got with a lengthy article that I wrote for this publication five years ago, “David Cassidy: Behind the Scenes.”  But I still continue to get all sorts of questions. [more]

ON THE TOWN WITH CHIP DEFFAA… FROM “THE LAST FIVE YEARS,” TO “TARTUFFE,” TO COHAN, AND MORE…

May 13, 2025

I don’t like the way the new Broadway production of “The Last Five Years” was directed. But that unique Jason Robert Brown musical—long a favorite of mine--still offers rewards aplenty…. And what a wonderful surprise the Sinatra School’s production of “Tartuffe” was—with a show-stealing turn by one Harrison Gan. I’m currently holding auditions for projects. If any newcomer that talented turns up, I’ll be more than satisfied. [more]

ON THE TOWN… WITH SWEENEY TODD… AND A SPIRITED SPELLING BEE…

March 18, 2025

Once or twice a year, I like to recognize exceptional work at the high-school or college level. The students of New York’s Frank Sinatra School of the Arts have outdone themselves with a masterly production of Sondheim’s “Sweeney Todd.” If you can get a ticket, go! It’s brilliant theater. And Connecticut’s Staples Players’ presentation of “Spelling Bee”--with some charming artists-to-watch and one extremely special surprise guest—had me beaming. [more]

ON THE TOWN… VISITING “SUNSET BOULEVARD,” RE-VISITING “DRAG” AND LOUIS ARMSTRONG”S WORLD

February 5, 2025

It’s always fascinated me, seeing how different actors can interpret the same material. In “Sunset Boulevard,” Nicole Scherzinger delivers a bold, bravura star turn I’d never have expected from a former pop singer making her Broadway debut. In “Drag: the Musical,” Remi Tuckman, with sensitive support from musical director Andrew Orbison, pierces our hearts with the show’s best song. And James T. Lane and company remind us why “A Wonderful World,” despite imperfections, is well worth seeing. [more]

ON THE TOWN… EXPERIENCING “AUDRA”/“GYPSY”

January 11, 2025

Audra McDonald is an American treasure—an artist with complete command of the stage. And if you’re thinking of going, remember that January and February are often the best time of the year to buy theater tickets. Many people choose to stay home on cold wintry nights. You can often get very good seats, at good prices, to the very best of shows. And this production is not to be missed! [more]

THE YORK THEATER COMPANY ANNOUNCES NEW LEADERSHIP TEAM

December 2, 2024

The York Theater Company--which has had only two Producing Artistic Directors in its 55-year history--has chosen Joseph Hayward and Debra Walton to head the company for now, following the recent resignation of longtime head James Morgan. [more]

HELEN GALLAGHER: AN APPRECIATION

December 1, 2024

Two-time Tony Award-winner Helen Gallagher, who just died at the age of 98, was a terrific musical-theater performer. Oh, she did work in television and film, too--winning three Emmy awards along the way. But it was in the theater, she felt, that she got to make the fullest use of her talents, and do her most memorable work. [more]

REMEMBERING GAVIN CREEL

November 30, 2024

His breakout role--the one that made him a "name" in the theater world--was playing "Jimmy Smith," the boyfriend, co-starring opposite Sutton Foster in the Broadway musical "Thoroughly Modern Millie." in 2002. [more]

HOW ACCURATE IS “A WONDERFUL WORLD: THE LOUIS ARMSTONG MUSICAL”?

November 30, 2024

"A Wonderful World: The Louis Armstrong Musical” gives Broadway a much-needed shot in the arm. From the clarion call of the first notes we hear to the final strains of the title song, there’s much to relish. And James Monroe Iglehart, as Armstrong, was born to play this role. But there are serious missteps along the way—significant factual errors and sins of omission. Armstrong deserves a more accurate telling of his story. [more]

ON THE TOWN WITH CHIP DEFFAA… AT “RAGTIME” AT CITY CENTER

November 5, 2024

Seeing this presentation of “Ragtime” was the most satisfying theatrical experience I’ve had in years. I hope a way can be found to bring “Ragtime” back to Broadway—ideally with full sets. But the show’s book, music and lyrics are so powerful that “Ragtime”-- even in the current bare-bones form at City Center--works its magic. [more]

JAMES MORGAN STEPS DOWN AS HEAD OF THE YORK THEATRE

October 12, 2024

For decades under James Morgan’s leadership, the York Theatre Company has occupied a unique spot in New York’s theater world—celebrating musical-theater, past, present, and future. Theater companies would come and go, but the York was always there, its presentations informed by Morgan’s knowledge of—and passion for—musicals. [more]

ON THE TOWN WITH THE “LAST OF THE RED HOT MAMAS” AT BUCKS COUNTY PLAYHOUSE

July 27, 2024

I just got back from the Bucks County Playhouse, which I always enjoy visiting, to catch the world-premiere production of “Last of the Red Hot Mamas,” a new musical about Sophie Tucker. The show’s not ready for Broadway yet. It’s got lots of flaws which need fixing, and I’ll get to those flaws shortly. But—and this is rarer and much more important--it’s also got lots of vitality. [more]

IN SEARCH OF LOST IRVING BERLIN  THEATER SONGS…

July 3, 2024

Berlin, incidentally, could not write music.  He could play piano—not too well, and in only one key.  He would play, sing, and hum songs that he created, which a musical secretary would then take  down and put into written form for him.  The typed lyrics that Shaw saved (with the words  “you’re a dumb kop”) may have been typed by Berlin himself or may have been dictated by Berlin  to a musical secretary. In any event, the songs “Angelo” and “It Can’t Be Did” have  survived only because Lillian Shaw happened to be  a “saver.”  By contrast, Shaw’s good friend, Fanny Brice, for whom Berlin also wrote  special material, was not a “saver.”  [more]

ON THE TOWN WITH CHIP DEFFAA … AT THE IRISH REP’S TOWN HALL GALA

June 11, 2024

They’ve created a theater that actors love to work in. And that was reflected by the terrific array of actors (including assorted Tony and Drama Desk Award winners and nominees), who gathered at Town Hall to reprise numbers they’d performed at the Irish Rep over the past 35 years. [more]

ON THE TOWN WITH CHIP DEFFAA: CATCHING THE VIVINO BROTHERS AT THE IRIDIUM

March 20, 2024

I’ve always loved their work, from the very start of their careers. Jimmy (on guitar) and Jerry (on tenor sax) have worked with some of the biggest names in the business--Tony Bennett, Bruce Springsteen, David Bowie, Wynton Marsalis, Keely Smith, Dr. John, Bette Midler, and many more. For a quarter-century Jimmy and Jerry were the heart of the band (which Jimmy wound up leading) on Conan O’Brien’s TV show. I once went to a taping of “Late Night with Conan O’Brien” just to see Jerry and Jimmy. [more]

ON THE TOWN WITH CHIP DEFFAA… AT CONCERTS HONORING BETTY BUCKLEY AND TONY BENNETT

November 9, 2023

This fall, I saw two of the most rewarding tribute-type concerts I’ve seen in recent years—one a glittering (if overlong), star-filled salute to “the Voice of Broadway,” Betty Buckley; the other a sincere tribute to the late master song-stylist Tony Bennett by young students from the school that he founded (and told me he was so proud of). Both of these very different events gave me some moments I’ll never forget…. [more]

REMEMBERING TONY BENNETT

July 25, 2023

He sang all his life. When New York's Triborough Bridge (known today as the RFK Bridge) opened in May of 1936, Tony Bennett--then a boy singer from Astoria who loved the work of Al Jolson and Eddie Cantor--sang at the opening. Mayor Laguardia, he recalled, patted him on his head! [more]

ON THE TOWN WITH CHIP DEFFAA… WITH MATTHEW BRODERICK, HARVEY MILK, AND HARRY HOUDINI….

June 28, 2023

As a lover of the performing arts, I’ll remember this month as when I witnesseed Matthew Broderick give one of the finest, subtlest performances of his career. I’ll remember, too, the uplifting idealism of Andrew Lippa’s I Am Harvey Milk. But I’ll also remember this as the month that some major cultural institutions were forced to make significant cutbacks because audiences have not returned to pre-pandemic levels. And that is worrisome. [more]

On The Town with Chip Deffaa: At “New York, New York,” “Some Like It Hot,” and Seth Sikes & Nicholas King’s Nightclub Act

May 14, 2023

In the last few weeks I feel like I’ve been stepping back in time—in a nice way.   I’ve enjoyed seeing the new Broadway musicals "New York, New York" (set in 1946-47) and (with some definite reservations, which I’ll get to shortly,) "Some Like It Hot" (set in 1933).  And although the current nightclub act of  Seth Sikes and Nicolas King is set in the present, most of the Great America Songbook numbers that they sing were written long before they were born; and they put those numbers across with  terrific razzle-dazzle showmanship—the kind you always hope to see in clubs but all-too-rarely do. [more]

On the Town with Chip Deffaa: “As You Like It” On Stage and “Banded Together” In the Movies

May 9, 2023

Each was an individual; I liked hearing all of the different voices and accents and inflections. Each one brought his or her own personality to the work.   But—and this is a compliment--they were all performing the play in the same fundamental manner.  As performers, they were all on the same wavelength.   (Kudos to director Kelly Brady and company.)   The characters were talking with one another--not offering orations directed at the audience.  The actors all knew the material so thoroughly, they were able to speak their lines easily to each other, with utter naturalness, in a conversational way. They were giving us Shakespeare’s words.  But they weren’t delivering speeches to us; they were interacting with one another the way people in real life do.  And that made the play come alive for us.  It wasn’t a historical relic.  The characters felt like human beings, with the same sorts of feelings we all have.  We could relate to them. [more]
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Copyright Jack Quinn, 2001-2023