Broadway Theater
(tryout at the Paper Mill Playhouse in Fall 2023)
Opened April 2024- Currently Running
Music by Jason Howland
Lyrics by Nathan Tysen
Book by Kait Kerrigan
Choreographed by Dominique Kelley
Produced by Chinsoo Shin/OD Company
Set and Projection design by Paul Tate DePoo III
Lighting Design by Cory Pattak
Costume design by Linda Cho
Sound design by Brian Ronan
"A great, big Broadway extravaganza that explodes with life and energy” (Entertainment Weekly)
Theater Raleigh
Reynolds Theater at Duke University
Broadway, West End, First and Second National North American Tours, UK/Ireland Tour, Australia, Japan
Winner of 2 Tony Awards, 2 Laurence Olivier Awards, 3 Drama Desk Awards, 1 Grammy Award, 5 Helpmann Awards (Sydney Awards) including Best Director of a Musical, and 5 Green Room Awards (Melbourne Awards) including Best Director of a Musical
27th Longest Running Broadway Show
For the Original Broadway Cast Recording, click here
Choreography by Josh Prince
Scenic Design by Derek McLane
Costume Design by Alejo Vietti
Lighting Design by Peter Kaczorowski
Sound Design by Brian Ronan
“Carole King fans will love it! With Marc Bruni’s crisp direction and Josh Prince’s precision choreography, the song hits segue seamlessly on Derek McLane’s grid set — from drab office to glittery concert stage — with the efficiency of one of librettist Douglas McGrath’s snappy lines.”" - Newsday
“Instantly joins the ranks of the irresistible. Take my word, the earth under the theater moves, it moves!” - The Huffington Post
“Out of control amazing. This is one of those special performances you really remember. Jessie Mueller becomes a star right before your very eyes.” - The Wall Street Journal
“Beautiful is a joyous celebration! Douglas McGrath’s smart, well-crafted, and funny book cleverly threads together a memorable catalog of early rock hits. BEAUTIFUL also boasts a winning central performance by Jessie Mueller as the shy Jewish girl from Brooklyn who only gradually comes into her own as a headlining voice of a generation. She’s as beautiful as she feels.” - Entertainment Weekly
“A must-see! It’s a rich thrill to see the new musical BEAUTIFUL, whether you’re a King fan or you’re fascinated by the music business.” - NBC, New York
“Everything about the production seems fresher, lovelier and livelier than on Broadway. It’s a feast for eyes and ears and, when it is done, the feeling of elation is irresistible. I can count on one hand the number of musicals which have tempted me to dance along with the final tune, after the bows, but this show is another. And at its heart is the phenomenal Katie Brayben. This is the kind of musical one can see every week and not regret spending the time or money in so doing. Fundamentally fabulous and perfectly executed.” - BritishTheatre.com
“This show is sweet and happy as pie. It milks the tear ducts, gives you a long list of searing songs and will send many a couple home arm-in-arm to the very suburbs Carole King adored.” - Daily Mail
“Marc Bruni’s staging is slick and witty, Douglas McGrath’s book nicely highlights the industrial efficiency of the music business, and Derek McLane’s sets reinforce the impression of a world in which musicians are treated as soulless hirelings.” - London Evening Standard
“The story is equal parts funny, heart wrenching, tragic and thought provoking. Beautiful challenges ideas of what it means to be successful, what role women should play and what society will find acceptable in an era when the music scene was coming of age.” - West End Magazine
“Beautiful is a stunner. Not to be missed.” - The Courier Mail
Broadway Center Stage @ The Kennedy Center
Choreography by Denis Jones
Scenic Design by Lee Savage
Video Design by Nathan Scheuer
Lighting Design by Cory Pattak
Costume Design by Linda Cho
Sound Design by Hayley Parcher
"the Marc Bruni-directed production feels like a well-oiled, extravagant machine, complete with outstanding choreography by Denis Jones, colorful and innovative scenic design by Lee Savage, and a lively orchestra led by music director John Bell. It rivals much of what’s on Broadway stages today." Theatremania
"Broadway Center Stage’s production of Bye Bye Birdie, the 1960 musical comedy smash currently at The Kennedy Center, is delightfully corny, schmaltzy, and yes, hysterically funny. Broadway superstars Christian Borle as the goofy, lovable Albert Peterson (originally played by the now 98-year-old Dick Van Dyke) and Krysta Rodriguez as his sultry but frustrated love interest Rose Alvarez are a match made in heaven. The large accompanying cast is phenomenal, including Richard Kind and Caroline Aaron. Chita Rivera, the original Rose and to whom this production is dedicated, would be proud. If you packed an ounce more fun into this summer sizzler, it would explode. But it only runs through June 15, so if you want to see a sublime production that rivals anything on Broadway, act fast before it says bye bye." Stage and Cinema
"Bruni, who has directed past Broadway Center Stage iterations with The Music Man and How to Succeed in Business Without Really Trying, fully asserts himself as a master of this presentational style." DC Theater Arts
Broadway Center Stage @ The Kennedy Center
Choreography by Chris Bailey
Scenic and Video Design by Paul Tate DePoo III
Lighting Design by Cory Pattak
Costume Design by Amy Clark
Sound Design by Kai Harada
“You’ve got tickets to “The Music Man” at the Kennedy Center? Lucky you. Willson’s love for River City, Iowa — a fictionalized version of his northern Iowa hometown, Mason City — is so apparent in Bruni’s affectionate revival that you’re compelled to a belief that the spirit of America is alive and well. For 2½ hours in the Eisenhower, anyway.” - The Washington Post
“You’ll be in trouble (with a capital T!) if you don’t catch Broadway Center Stage’s production of “The Music Man,” playing now at the Kennedy Center’s Eisenhower Theatre. No seriously, this staging of the great American musical stars the Norm Lewis as the title slick-talking salesman, with tour-de-force Jessie Mueller playing opposite him as Marian Paroo. As if that’s not enough to make an incredible show, add in a stunning orchestra, vivid settings, and the University of Maryland’s stellar marching band. It’s just that good. Standout performances and swelling music make this production a privilege to watch from start to finish (and be sure to stay until the end of the curtain call). Trust me, when Iowa looks like this, you really ought to give Iowa a try.” - MD Theatre Guide
“Director Marc Bruni has done a masterful job working on the small part of the huge stage since the 19-piece orchestra is situated in full view at the rear. Somehow, he has worked the 28-person cast successfully on this tiny part of the stage.” - Broadwayworld
“THE MUSIC MAN offers up a big dose of lightness and joy. This production is a breath of fresh air at a time when it is greatly needed.” - Onstage Blog
Marc’s Director’s Note:
The pitch: “Curtain up on a xenophobic midwestern town tempted by a con man who whips up a false crisis in order to further his own self interest…oh, and before that, we do a five minute number about economic anxiety told entirely in rap.”
Sorry, Lin Manuel Miranda, but Meredith Willson got there first.
Despite winning the Tony Award for Best Musical over West Side Storyin 1957, The Music Manhas never achieved the elevated status reserved for its competitor that year. Based on Meredith Willson’s own youth growing up in Iowa in 1912, the show has a reputation for gauzy Americana- a squeaky-clean valentine to an America that never really existed. Frequent presentations in high schools and amateur groups perhaps have contributed to this perceived lack of sophistication. (Plus there’s “Shipoopi” which perhaps doesn’t help matters...)
Looking at the show anew through the lens of 2019, I see a far more sophisticated and prescient show, however. Willson’s uses music in ways far ahead of his time. He set out to “write the dang songs as dialogue”- to set the words in the way Iowans speak. Thus unlike some other shows of the Eisenhower era, his lyrics use rhymes only sparingly throughout the patter songs, barbershop quartets, Sousa style marches, and piano exercises that make up the timeless score. Further, many of the songs ingeniously link to each other- when first introduced, “Goodnight My Someone” and “76 Trombones” feel unrelated musically, yet they are actually built on the same tune- one as a waltz and one as a march. As the characters connect, so do the songs.
Willson’s forward thinking extends to his depiction of Marian Paroo, the smartest woman in town (and only woman notably with a job) who remains steadfastly single, insisting: “A girl’s future doesn’t depend on encouraging every fast-talking, self-centered, woman-chasing travelling man who comes to town.” Marian makes her own rules (a progressive thought for 1912 and 1957), and it’s only when she sees the positive effect Harold has on the town (and especially her terminally shy brother) that she develops feelings for him.
But the true brilliance and relevance of the show for me lie in what it says about the nature of belief. The citizens of River City listen to outsider Harold Hill not because they are rubes too gullible to see through his fanciful promises, but because deep down, they wantto be conned. In his plan to save them from the non-existent disaster of his own making, Harold Hill offers two things Americans have always loved: fame and a shortcut. Harold’s “think system” offers something for nothing- proficiency without practice. And in this fever dream of wish fulfillment, facts become irrelevant. At the end of the show, the parents of River City see and hear only what they want to hear.
The more things change, the more they stay the same.
I hope our company—filled with the finest musical theatre talents reflecting the America of today—helps amplify the timeless brilliance of this Great American Musical. Enjoy!
Stage 42 - NYC
Choreography by Josh Prince
Scenic Design by Donyale Werle
Costume Design by Mara Blumenfeld
Lighting Design by Peter Kaczorowski
Sound Design Brian Ronan & Cody Spencer
Photo Credits - Joan Marcus and Tricia Baron
““HILARIOUS, MOVING and ALTOGETHER FABULOUS! The cast is extraordinary and the message is simple — love yourself, be yourself, and screw what other people think.” - TheaterMania
“The production looks great overall, and goes by swiftly; director Marc Bruni and choreographer Josh Prince, who also collaborated on Beautiful: The Carole King Musical, keep everything moving at a rapid clip but give the emotional moments room to land.” - Time Out New York
“The Off-Broadway premiere of Trevor is entertaining and important, with a theme that can open conversations and a message that can continue to save the lives of affected LGBTQ youths. Go see it with your class, friends, or family, enjoy it, and be sure to talk about it.” - DC Metro Theatre Arts
“The musical Trevor is here, and the answers, happily, are yes, yes, and yes. Librettist/lyricist Dan Collins and composer Julianne Wick Davis have fleshed out Celeste Lecesne’s story about a middle-school lad grappling with his sexuality in 1981 suburbia, and turned it into a show that is at once breezily entertaining and genuinely heartwarming. This feat is all the more impressive in light of current tensions concerning issues of sexual orientation and gender. In less intuitive hands—or under direction less adroit than that provided here by Marc Bruni—the results could have seemed preachy, or cloying, or quaint. Instead, the creators and Bruni have retained the poignance with which Lecesne and the film’s director, Peggy Rajski, told their protagonist’s story…“ - New York Stage Review
A LITTLE NIGHT MUSIC (In Concert)
Lincoln Center- Geffen Hall
Orchestra of St Luke’s (53 pieces)
Conducted by Jonathan Tunick
Singer preparation by Rob Berman
Choreography by Josh Prince
Lighting Design by Ken Billington and Anthony Pearson
Sound Design by Dan Moses Schreier
By Anna Deveare Smith
La Jolla Playhouse
Set Design by Robert Brill
Costume Design by Ann Hould Ward
Lighting Design by Jiyoun Chang
Projection Design by S. Katy Tucker
Sound Design by Darron West
Wig Design by J. Jared Janas and Cassie J. Williams
https://www.youtube.com/watch?v=rK5NO7fk2N4
“An inspiring story of a gifted athlete’s heroics on and off the court”
— LA Times
“Insightful and funny…Capturing the honest, fiercely driven personality of tennis superstar Billie Jean King”
— The San Diego Union-Tribune
“Editor’s Pick”
“Hilariously fierce Frankie Durr (Lenne Klingaman)”
— San Diego Magazine
“La Jolla Playhouse Scores with Premiere of Billie Jean King Bio-Play”
— San Diego Story
“Hard to imagine almost anyone not enjoying Love All…or raving about it”
“Gives us reason to more fully appreciate the role this civil rights leader played in creating the kind of equality in recognition, opportunity, and funding that we’re closer to seeing today….”
— Stage and Cinema
50 Years of Broadway at the Kennedy Center
John F Kennedy Center for the Performing Arts - Opera House
Choreography by JoAnne M. Hunter
Scenic & Projection Design by Paul Tate dePoo III
Lighting Design by Cory Pattak
Costume Design by Alejo Vietti
Sound Design by Dan Moses Schreier
Additional photos by Paul dePoo, Cory Pattak, and Scott Suchman
“Under Marc Bruni’s direction and James Monroe Iglehart’s narration, this little night of music became a resounding success. Encore!” - MD Theatre Guide
“Director Marc Bruni kept this star-studded concert afloat with expert pacing and a marked theatrical sensibility. One number after another whirled by with simulating show biz electricity or pensive longing as the mood demanded. This extraordinary concert is the embodiment of the Broadway Musical's potential and promise.” - Broadwayworld
“Anyone who was in the Opera House last weekend knows what I mean when I say: You should have been there.” - The Washington Post
Manhattan Theatre Club
Winner Outer Critics Circle Award for Outstanding New Off-Broadway Play, Nominated Drama Desk Award for Outstanding Play & Outstanding Set Design
Scenic Design by Donyale Werle
Costume Design by Anita Yavich
Lighting Design by Phillip Rosenberg
Sound Design by Darron L. West
“Benjamin keeps things bubbling nicely, with matters growing funnier rather than the opposite. She is abetted by director Marc Bruni, who keeps serving up jokes and sight gags. Bruni…has devised a brandy-delivery system of increasing complexity that received well-earned cheers at the performance attended. For those who appreciate the finer things, though, Nell Benjamin’s Explorers Club is deliciously daffy and downright dandy.” - Huffington Post
“In her hijinks-happy cocktail, "The Explorers Club," Nell Benjamin follows this recipe: To a starchy bunch of science geeks bemoaning the worst barkeep in London, add a plucky adventurer and her discovery, a trouble-making tribesman. Then shake, stir, serve in an eye-catching vessel and brace for laughter. Credit Mark Bruni's assured direction, a bit of impressive physical comedy that gets a workout in the second act, and an ace ensemble led by Westfeldt.” - Daily News
“Helmer Marc Bruni mows down these poseurs with a sterling cast of thespians who can deliver an idiotic line with an elegant sneer and perfect enunciation.” - Variety
“…an ace cast hell-bent on ham. As a sweet summer concoction, this one goes down easy and gets you happy.” - Time Out New York
“The director, Marc Bruni, has assembled an accomplished cast!” - The New York Times
Lyric Opera of Chicago
Choreography by Denis Jones
Scenic Design by Michael Yeargan
Lighting Design by Duane Schuler
Costume Design by Alejo Vietti
"...Lyric Opera continues to prove that melding musical theatre with grand opera only adds to the truth of a piece. This has never been more true of The Sound of Music which was in desperate need of a quality revival. Who knew that the Lyric would do more than just revive the musical but give it the definitive production that the stage show has always deserved." - ShowBizChicago
"...Billy Zane's Captain von Trapp comports himself with dignity, but also a touch of hesitancy; we don't see much of a journey from strict and stolid to softened by Maria, and there's not enough stirring behind his "Edelweiss" at the play's crucial moment. But one might not find so much to quibble with if Zane weren't surrounded by remarkable talent, including the altogether outstanding collection of young actors melting hearts as his children. Keep an eye on which mountains these kids climb." - Time Out Chicago
"...In its second of five planned spring productions of classic musicals by Richard Rodgers and Oscar Hammerstein II, the Lyric Opera of Chicago finds a sweet Alpine spot with director Marc Bruni's admirably lively new production of "The Sound of Music," a lavish yet accessible and family-oriented affair that features the kind of gorgeous picture-book design from Michael Yeargan that would delight the Austrian Tourist Office. There's an orchestra of 37 players under the baton of Rob Fisher, more singing nuns than anyone has the right to expect in this economy, a steep mountainside down which Maria can gambol (warbling all the way) and the Family von Trapp can make its escape, and an intermittently insouciant and wholly lovable Maria from the oft-underrated Broadway veteran Jenn Gambatese, an experienced but vulnerable performer in her vocal prime." - Chicago Tribune
"...Director Marc Bruni and conductor Rob Fisher, playing to a crowd of all ages, have salted this Rodgers and Hammerstein fairy-tale romance based on historical fact with sly wit and solid musical values. The nuns' choruses, led by dramatic soprano Christine Brewer as the Mother Abbess, resounded as in a cathedral. The orchestra had lushness only strings can give. Scene shifts were presto change-o and flowed as smoothly as the seven von Trapp children on their sized-right” - Chicago On the Aisle
Berkeley Rep
Directed by Marc Bruni and PigPen Theatre Co.
Scenic Design by Jason Sherwood
Costume Design by Anita Yavich
Lighting Design by Donald Holder
Sound Design by Nevin Steinberg
Shadow Sequences and Puppetry Design by Lydia Fine and Nick Lehane
Choreography by Jennifer Jancuska
The Old Globe
Directed by Marc Bruni and PigPen Theatre Co.
Scenic Design by Jason Sherwood
Costume Design by Anita Yavich
Lighting Design by Isabella Byrd
Sound Design by Nevin Steinberg
Shadow Sequences and Puppetry Design by Lydia Fine and Nick Lehane
Choreography by Jennifer Jancuska
Golden Gate Theatre
Choreography by Alex Sanchez
Scenic Design by Todd Rosenthal
Projection Design by Sven Ortel
Lighting Design by Peter Kaczorowski
Costume Design by Catherine Zuber
Sound Design by Brian Ronan
“ROMAN HOLIDAY is a sweet confection of a show” - Broadwayworld
“The physical production is indeed handsomely awash in Mediterranean colors, with attractive costumes and fluid set-pieces of faux stone and statuary.” - Variety
“Director Marc Bruni assembles all the ingredients for a hopelessly romantic evening of musical theater escapism: a gamine ingenue, an infectious score, even a vintage Vespa on stage.” - Mercury News
“Director Marc Bruni’s staging deserves credit for allowing the space of a proscenium stage to feel like an adventure through Rome,” - Theatre Arts Daily
Writers Theatre
2018 Jeff Award for Best New Work
Nominated for 2018 Jeff Awards for Best Director of a Musical, Best Choreography, and Best Performer in a Principal Role
Choreography by Josh Prince
Scenic Design by Donyale Werle
Costume Design by Mara Blumenfeld
Lighting Design by Peter Kaczorowski
Sound Design by Ray Nardelli
For more information on TREVOR, click here
“Hugely likeable! TREVOR THE MUSICAL deserves all of the audience acclaim it surely will enjoy. I suspect Trevor’s story…will turn into the biggest hit in Writers Theater's history.” - Chicago Tribune
“Director Marc Bruni guides a terrific young cast!” - Variety
“Four Stars! A mix of winning Julianne Wick Davis original songs
and Diana Ross classics.” - Time Out Chicago
“A breathtaking piece of theater! TREVOR is filled with such genuine feeling.
I was instantly pulled into the show and held rapt until the end.” - Performink
“[Trevor is a] show . . . that you will undoubtedly leave smiling.” - The Hawk Chicago
“Five Stars! [An] exquisite production!” - Around the Town Chicago
New York City Center Encores!
Choreography by Denis Jones
Scenic Design by Allen Moyer
Lighting Design by Paul Miller
Costume Design by Alejo Vietti
Sound Design by Dan Moses Schreier
Read more about the show in Marc’s “The Ensemblist,” article
“…starting with a scene from Cy Coleman’s “Wildcat” and the title song performed by Carolee Carmello and Britney Coleman. That was just the beginning of a parade of musical theater superstars. Vanessa Williams sizzled in a couple of numbers from Harold Arlen’s “Jamaica;” Judy Kuhn and Reed Birney (he sings!) were heartwarming in the lovely “Once Upon a Time” from Charles Strouse’s “All American;” Douglas Sills killed it in “Movies Were Movies” from Jerry Herman’s “Mack & Mabel,” and Bebe Neuwirth brought out her comedic chops in “Why Do the Wrong People Travel” from Noël Coward’s “Sail Away.”” - Newsday
“…a game cast directed by Marc Bruni.” - Daily News
“Although to be sure, the talent taking part is strictly A-list! Another treat is the surprise appearance by an aged but forever young Broadway legend, reprising a role he originally played on Broadway a half-century ago. His exuberant star turn is an unalloyed delight.” - Hollywood Reporter
New York City Center Encores
Choreography by Denis Jones
Scenic Design by Anna Louizos
Lighting Design by Peter Kaczorowski
Costume Design by Alejo Vietti
Sound Design by Brian Ronan
For the Encores! Cast Recording, click here
“But the handsome score, divided between boisterous numbers for the all-male chorus and fine ballads, contains some serious riches, and they are delivered here by a well-drilled cast under the direction of Marc Bruni, supported by the ever-sumptuous playing of the Encores! orchestra under the lively baton of Rob Berman.” - The New York Times
“With this Paint Your Wagon incarnation, very little about director Marc Bruni’s treatment isn’t right up at the top of the Encores! highest standards.” - The Huffington Post
“But one thing's certain: This Encores! revival of Alan Jay Lerner and Frederick Loewe's curious but compelling 1951 show starring Keith Carradine nails the mission to showcase forgotten musicals.” - NY Daily News
“And yet, Paint Your Wagon turns out to make one of the best Encores! offerings to date.” - Vulture
The Muny
Nominated for 4 St. Louis Theatre Circle Awards: Outstanding Actor in a Musical, Outstanding Supporting Actress, Outstanding Set Design, and Outstanding Choreographer
Choreography by Rommy Sandhu
Scenic Design by Paul Tate dePoo III
Lighting Design by Nathan W. Scheuer
Costume Design by Tristan Raines
Sound Design by John Shivers and David Patridge
Video Design by Greg Emetaz
“5 Stars! Could be the crown jewel of Muny 100! Corbin Bleu brings the house down!” - KMOX
“Last night at The Muny, on a beautiful summer evening in St. Louis, the audience experienced pure, theatrical joy. Those lucky enough to be in attendance for the opening night of Singin’ in the Rain are able to say that they were there when it happened. Director Marc Bruni ensures that fans of Singin’ in the Rain, who have enjoyed the classic film and timeless songs for decades, will be wearing a smile for two-and-a-half magical hours of theatre. I can think of no better feel-good show than Singin’ in the Rain, and The Muny’s production is simply perfection. What a glorious feeling!” - ReviewSTL.com
“The stage version — now playing the Muny for the sixth time — has some legendary heft of its own. Singin’ in the Rain is not considered the Muny family show this season…but “Singin’ in the Rain” is so full of life, motion and color that no one’s too young or too old for it.” - The St. Louis Post Dispatch
“The Muny’s current production of “Singing in the Rain” thoroughly entertains with genuinely likeable characters, catchy melodies and spectacular tap-dancing.” - MAX
“Whether this will be your first time, or you've seen Singin' in the Rain many times, you'll want to see this production at The Muny in its centennial season” - Broadwayworld
Broadway Center Stage @ The Kennedy Center
Choreography by Denis Jones
Set Design by Scott Pask
Lighting Design by Peter Kaczorowski
Costume Design by Amy Clark
Sound Design by Brian Ronan
“The Kennedy Center advertises its Broadway Center Stage series as presenting shows in a “semi-staged concert format.” For Frank Loesser’s How to Succeed in Business Without Really Trying, that claim is too modest. What the enthusiastic full house at the Eisenhower Theater saw Thursday night was a fully realized production of a classic show from the “Golden Age” of Broadway musicals. Every aspect of the show – acting, singing, dancing, costumes, set, lighting – was brilliantly executed. The show was a hit from the beginning, garnering several Tonys and a Pulitzer as well as a four-year first run and a movie version. The Kennedy Center production makes it easy to see why.” - DC Metro Theatre Arts
““How to Succeed in Business Without Really Trying” at the John F. Kennedy Center is a delightful, high-energy production that can hardly be described as “semi-staged.” A fabulous cast and first-rate production team bring the whimsical and flirtatious story to life in the ample, but intimate space of the Eisenhower Theater.” - MD Theatre Guide
“This production is perfect for audiences wanting to let loose and have a little fun. Great music, great performers, a bunch of retro comedy - what more could you ask for?” - Broadwayworld
“Directed by Marc Bruni…this show is still winning over audiences when it comes to content and presentation!” - Theatre Bloom
Marc’s Director’s Note:
Welcome to Frank Loesser and Abe Burrows’ 1961 Pulitzer Prize-winning masterpiece, How to Succeed in Business Without Really Trying- based on Edward “Shepherd” Mead’s 1952 book of the same name. Writing his satirical “Dastard’s Guide to Fame and Fortune,” Mead drew from his own experiences climbing the ranks of a large advertising agency, and his skewering of corporate culture in the form of a “self-help” book immediately resonated with casual readers and businesspeople alike. The original Broadway production proved even more popular, running over four years and accruing numerous prizes, including seven Tony Awards. Though almost 60 years have passed, the piece's uproarious commentary on corporate America feels surprisingly resonant in 2018 - an indication of how little has actually changed since Loesser and Burrows first put pen to paper. In an increasingly corporate America focused on success, fame, and power, it serves as a reminder that the system is not the impenetrable behemoth most make it out to be.
Directors of revivals from the golden age of musical comedy often find themselves troubleshooting when contemporary sensibilities clash with worldviews from a time of different sexual politics. At first glance, How to Succeed might seem to have similar problems: After all, set in the sexist Mad Men era of “good old boys” behaving badly, it was written originally to appeal to the “tired businessman.” Yet, though still a product of its time, How to Succeed shines its satirical spotlight directly on the issue in a refreshingly progressive break from the tacit approval of other shows of the period. A bold statement in 1961, it both identifies sexual harassment as a common workplace occurrence and offers real consequences for transgressors: "They fired him like a shot/The day the fellow forgot/A secretary is not a toy." Even now, in a world with daily #MeToo revelations, it’s still clear not everyone is subject to that same rule.
Further, though the women of the piece are not afforded an equal opportunity to climb the corporate ladder, they are also not left without agency within their circumstances. Rosemary’s burning ambition takes the form of a romantic relationship, but we don't believe for a second that she will ultimately be "happy to keep his dinner warm." She and Finch share a willingness to work the system to get what they want - perhaps that's why they find each other and fall in love. From the start, Rosemary inherently understands how the building works and how to navigate the sticky wicket of 1960s corporate culture in a way that Finch still needs to learn. Perhaps she even might put that knowledge into a book someday!
Ultimately, the brilliance of How to Succeedlies in its timeless understanding of human nature within the corporate system and its sparklingly witty Frank Loesser score. As we watch Finch lie and charm his way up the ladder without repercussions - ultimately setting his eye on politics - perhaps the real accomplishment of the show is not as a time capsule but as a prophecy.
New York City Center Encores
Choreography by Kelli Barclay
Scenic Design by John Lee Beatty
Lighting Design by Ken Billington
Costume Design by Toni-Leslie James
For the Encores! Cast Recording, click here
“But as the endearing, wonderfully sung City Center Encores! production firmly proves, even second-tier Rodgers and Hammerstein musicals have their undisputable charms. The estimable Encores! orchestra, under the musical director Rob Berman, has never sounded more supple, flexible and musically engaged, while the cast, under the direction of Marc Bruni, is uniformly strong.” - The New York Times
“Leave it to the folks at Encores! to rescue the piece from oblivion and, in a careful and loving manner, demonstrate the strengths of this buoyant but irremediably flawed musical.” - Variety
“Kudos to Encores!, the invaluable concert series, for patching the work together. Marc Bruni’s flowing staging and Kelli Barclay’s high-spirited dancing are both great assets.” - Daily News
New York City Center Encores
Choreography by Lorin Latarro
Scenic Design by John Lee Beatty
Lighting Design by Ken Billington
Costume Design by Martin Pakledinaz
Sound Design by Scott Lehrer
“The enduring charms of Fanny are affectionately showcased in this beautifully sung staging, directed by Marc Bruni…” - The New York Times
“From the moment it begins, there’s a palpable sense of gentleness and delicacy…. it’s essentially impossible to not be entranced by this delectable and neglected musical theater gem” - Theatremania
“Crafted in the Golden Age of Broadway’s classic manner… Fanny rarely gets a hearing these days….It’s a pleasure to see the dear old thing again…. Under Marc Bruni’s smooth direction, first-class artists generate a good deal of magic.” - New Jersey News Room
“Fans of lush, romantic, big-voiced musical comedy of the mid-20th century should plan a quick trip to the Encores! staging of Fanny” - Variety
Westside Theatre / Royal George Theatre Chicago
Winner: Jeff Award for Actress in a Revue
Nominated for Drama Desk Award for Best Revue and 2 additional Jeff Awards for Outstanding Revue and Director of a Revue
Set and Video Design by David Gallo
Lighting Design by Jeff Croiter
Costume Design by Alejo Vietti
Sound Design by Richard Fitzgerald/Sound Associates
Animation by Steve Channon
"A winning concept executed deftly with affection." - The New York Times
“Director Marc Bruni's straightup staging makes deft use of a gliding and twirling video screen for animated images and titles. Read between the punch lines and "Old Jews" has a message about humor getting us through tough times. But the show really just wants to crack audiences up — and does. What's not to like?” - Daily News
“…all of the jokes are genuinely funny and land solidly thanks to the expert timing of the cast and the admirable pacing of director Marc Bruni. “Old Jews Telling Jokes” is a pleasant, enjoyable diversion. It’s like spending an evening with your favorite funny uncle. Will it solve world peace? No, but it couldn’t hurt. ” - Backstage
“There’s an artful simplicity to helmer Marc Bruni’s minimalist staging. Well-positioned in the venerable Westside Theater, this one could run forever.” - Variety
Conceived and Music by Jason Howland
Book by Kait Kerrigan and Rachel Axler
Lyrics by Nathan Tysen
Directed by Marc Bruni
Choreography by Sarah O’Gleby
Costume Design by Bobby Pearce
Music Produced and Mixed by Billy Jay Stein
Episode One Available Now!
For more info and to pre-order the whole season, streaming August 5th, click here!
The Jerry Herman Memorial Celebration
Lunt-Fontanne Theatre
Lighting Design by Paul Miller
Video Design by Greg Emetaz
Scenic Design Consulting by Paul Tate dePoo
Wardrobe Consulting by Alejo Vietti
Pictures from playbill.com
Roundabout Theatre Company Underground
Scenic Design by Lee Savage
Lighting Design by Jeff Croiter
Costume Design by Lisa Zinni
Sound Design by Daniel Erdberg
For the Original Off Broadway Cast Recording, click here
“…produced with an apt intimacy and expertly sung by an appealing cast, “Ordinary Days” introduces a promising newcomer to our talent-hungry musical theater…under the sensitive direction of Marc Bruni, the actors smartly pitch their performances to the intimacy of the theater…” - The New York Times
“Director Marc Bruni has paced the show well. It moves at a steady, unrushed pace, played out against a backdrop of brightly lighted squares that change color as frequently as the characters' emotions in this slight slice of big-city life.” - Associated Press
The Muny
Choreography by Chris Bailey
Scenic Design by Timothy R. Mackabee
Lighting Design by John Lasiter
Costume Design by Amy Clark
Sound Design by John Shivers and Hugh Sweeney
Video Design by Nathan W. Scheuer
“My Fair Lady is a classic musical, and a perfect opening show for The Muny's 97th season. The incredibly memorable score, in combination with a marvelous cast, makes for a full evening of wit and charm. Marc Bruni directs with just the right touch, slightly subtle at times, and broad when the action calls for it. The Muny's production is truly an elegant must-see presentation!” - Broadwayworld
“But director Marc Bruni tucks in subtle hints of the happy ending, especially in the lead-up to that great celebration of vowel sounds, “The Rain in Spain.”” - St. Louis Post-Dispatch
“…Bruni keeps the nearly three-hour musical by writer Alan Jay Lerner and composer Frederick Loewe briskly paced and enchantingly packaged. My Fair Lady remains a perennial favorite among Muny fans. This newest version reflects not only The Muny’s rich tradition but the creative work of inventive new artists in musical theater as well.” - Ladue News
North Carolina Theatre
Choreography by Denis Jones
Scenic Design by Lee Savage
Lighting Design by Jason Lyons
Costume Design by Alejo Vietti
Projection Design by Zak Borovay
Sound Design by Eric Alexander Collins and Brian Hun
“NERDS is a show with clear audience appeal and a bright future. The cast is stellar, the set is creative, and the writing is funny. All in all, it's a success.” - Broadwayworld
“NERDS is definitely worth watching and…could easily meet its goal of being the next Broadway smash-hit.” - Triangle Arts and Entertainment
Long Wharf Theatre
Nominated for 3 Connecticut Critics Circle Awards including Outstanding Director of a Play, Outstanding Lead Actor, and Outstanding Featured Actor
Set Design by Lee Savage
Costume Design by Anita Yavich
Lighting Design by David Lander
Sound Design by Brian Ronan
“As directed by Marc Bruni, this timely vestige of 1980s Wall Street chicanery is respectful and straightforward. “Other People’s Money,” is time well spent. It has currency and value in a time of change.” - Hartford Courant
“Bruni keeps his actors moving and speaking at a brisk pace while playing the scenes truthfully.” - New Haven Register
“Other People’s Money is now as scary as it is darkly funny.” - Connecticut Post
“Radically timely!” - New Haven Independent
Bucks County Playhouse
Scenic Design by Anna Louizos
Costume Design by Alejo Vietti
Lighting Design by David Lander
Sound Design by Dan Moses Schreier
“The Bucks County Playhouse has saved its best for last with this brilliant production of “I Hate Hamlet.” Marc Bruni could not have cast better or directed a more spot-on show. This show is what the Bucks County Playhouse is all about. Great actors telling great stories. At the end, the audience jumped to its feet. It stayed there and stayed there. It was worthy of a Barrymore.” - New Hope Free Press
“Heaven has blessed Paul Rudnick’s 1991 flapdoodle by putting it in the hands of director Marc Bruni and a marvelous cast who, with assured skill, wring every ounce of humor and every soup con of merriment from it at New Hope’s Bucks County Playhouse, where “I Hate Hamlet” generates fun…” - Princeton Info
“I Hate Hamlet by Paul Rudnick, now playing in a good-natured, silly, and uproarious production at Bucks County Playhouse. After the final bows, the crowd rollicked out into the street, still laughing, the ghost still haunting them all the way to their cars.” - The Inquirer
Berkshire Theatre Festival
Scenic Design by Lee Savage
Costume Design by Laurie Churba Kohn
Lighting Design by David Lander
Sound Design by Scott Kilian
“In the Mood had its world premiere on the Fitzpatrick Main Stage of the Berkshire Theatre Festival and it is a funny, winning evening of frothy comedy and farce. Marc Bruni kept the pacing tight, the movement lively and the focus rock solid. From the audience it appeared that playwright, actors and direction were a well oiled machine with no false notes.” - Berkshire On Stage
“Director Marc Bruni has served his cast well. There is never time for a dull moment. Each of the six actors, all in significant roles are well cast and throw themselves physically as well as vocally into their roles-ones that when they entered they did not always know they had. It all makes for an enjoyable evening!” - BerkshireLinks.com
Papermill Playhouse / Philadelphia Theatre Company
Choreography by Wendy Seyb
Scenic Design by Anna Louizos
Costume Design by Alejo Vietti
Lighting Design by David Lander
Sound Design by Nick Kourtides
“Did we like it? Yes, big time. It is a delightful, adorable, very funny play that isn't trying to be high-brow theater. It is pure fun, in the form of quirky characters, some silly costumes, and lines that generated many of the rarest of commodities, 'good old fashioned' belly laughs. This is a very, very pleasant way to spend two hours.” - New Jersey Footlights
“The even better news is that the cast is spectacular in Marc Bruni’s fleet-of-foot production.” - The Star-Ledger
“Director Marc Bruni has faithfully restored the physical energy, comedy and emotional sincerity that made the Broadway production so enjoyable. So let's spell it out; this Bee deserves an A.” - Theatremania
“Placed in the hands of super spell-checker director Marc Bruni this production's joy comes from the young adults playing the six contestants, all of whom will have you rooting for them. Overall this is one Bee that gets an A.” - CurtainUp
Barrington Stage Company
Nominated for 3 Berkshire Theatre Awards including Outstanding Production of a Musical, Outstanding Supporting Actor, and Outstanding Supporting Actress
Choreography by Chris Bailey
Illusions by Joseph Wartnerchaney
Scenic Design by Derek McLane
Lighting Design by Ken Billington
Costume Design by Alejo Vietti
Sound Design by Brad Berridge
For video of Presto Change-O, click here!
“…this new musical is entirely enjoyable, and don’t be surprised to find that inside this promising production there is a sleek musical waiting its turn in New York City.” - Berkshire On Stage
“…this is a show for adults and children to enjoy, with brisk dance moves, and terrific magic tricks…it is a sweetly nostalgic summer stock production which should delight all family members.” - CurtainUp
“Marc Bruni’s direction is clean and crisp and works exceptionally well. He shines throughout, but in the second act he moves the story along gracefully, allowing each actor to take a moment and shine with it and its newness. There was never a moment that felt forced or untruthful or anything but magically realistic.” - Berkshire The Edge
“Marc Bruni’s direction is thoughtful!” - The Westfield News
The Muny
Choreographed by Chris Bailey
Scenic Design by Michael Anania
Lighting Design by Seth Jackson
Costume Coordination by Tracy Christensen
Sound Design by Jason Krueger
“Under Marc Bruni's smooth direction, “Millie” turns prejudice on its head, without breathing a pedantic word.” - St. Louis Post-Dispatch
“This rousing musical, given first-class treatment by director Marc Bruni and an appealing, highly energetic cast, kick-starts the season with a flourish.” - Ladue News
“Director Marc Bruni keeps the pace brisk!” - Riverfront Times
The York Theatre Company Musicals in Mufti
Music Direction by Steven Freeman
“High Spirits, the 1964 musicalization of Blithe Spirit, which was revived for five performances last weekend as part of the York Theatre Company's Musicals in Mufti series, left me soaring.” - Time Out New York
The Oak Room
Choreography by Denis Jones
Scenic Design by Ted LeFevre
Lighting Design by Jim Milkey
Costume Design by Lisa Zinni
“This is one of the best new musicals I’ve seen in ages…A well-crafted, witty musical comedy…a sparkling valentine to the Jazz Age. Glimpses of the Moon has already bested most of the current crop of musicals for civilized entertainment.” - Broadwayworld
“Clever and intelligent…a droll comedy that makes a pleasant evening’s diversion.” - Variety
“It’s an off-Broadway musical in the way that off-Broadway musicals used to be - derived from lofty literary works and taking the high road in being smart.” - Theatremania
“I loved it! A dizzy delightful of a musical.” - Yahoo! Broadway
New York Musical Festival
Winner of the NYMF Directing Award!
Choreography by Wendy Seyb
Set Design by Jeff Hinchee
Costume Design by Lisa Zinni
Lighting Design by Jim Milkey
Sound Design by Nick Borisjuk
“...delivered a production that could move to Broadway right now. Right now. RIGHT NOW!...” (read the full review) - Peter Filichia's Diary
“Director Marc Bruni's production is full of moxie. “One of the best musical comedies I've seen in years!” - Broadwayworld
“Slickly directed by Marc Bruni and sparked by the star power of its leading lady, Liz Larsen.” - Backstage
The Monte Cristo Award Ceremony given by The Eugene O’Neill Center
Directed by Marc Bruni from 2008-2015
The Monte Cristo Award is presented to a prominent individual each year in recognition of a distinguished career exemplifying Eugene O’Neill’s “pioneering spirit, unceasing artistic commitment, and excellence,” and furthering the American theater.
Broadway Salutes
Directed by Marc Bruni from 2010-2018
Broadway Salutes, co-sponsored by the Broadway League and COBUG (Coalition of Broadway Unions and Guilds), honors actors, agents, attorneys, box office treasurers, casting directors, choreographers, composers, designers, directors, dressers, managers, musicians, orchestrators, producers, publicists, stagehands, stage managers, stylists, theatre owners, ticket sellers, ushers, writers, and many more theatre professionals who have dedicated their careers to the success of Broadway.
Video:
Laura Osnes’ - Blues Melody @ 2012 Broadway Salutes
Laura Osnes’ - The Other Side of the Tracks @ 2012 Broadway Salutes
Annaleigh Ashford - Don’t Rain On My Parade @ 2013 Broadway Salutes
Highlights from 2014 Broadway Salutes
Highlights from 2015 Broadway Salutes
Press Releases and Additional Photos:
2013 - Hosted by Holland Taylor
2014 - Hosted by Harvey Fierstein
2015 - Hosted by Bebe Neuwirth
2016 - Hosted by Alex Brightman
Galas and Benefits
Directed by Marc Bruni
(In Picture Order)
The “Mr. Abbott” Award Honoring Jerry Mitchell (Co-Directed with Denis Jones)
CSC Gala Honoring Walter Bobbie
20th Anniversary Encores! Gala
2010 American Theatre Wing Gala
2011 American Theatre Wing Gala
2011 New York City Center Gala Honoring Walter Bobbie, Kathleen Marshall and Jack Viertel
