Z2 Comics announced that the graphic novel, Among the Living which was inspired by Anthrax, and the titans of thrash metal’s landmark 1987 album of the same name, to be released in stores on July 6. In an effort to support the comic book specialty market, which had been hardest hit by the COVID-19 health crisis of the past year, Anthrax and Z2 shipped a surprise limited number of copies early that stores could make available for sale this week.
L-R: Jon Donias, Frank Bello, Charlie Benante, Scott Ian, Joey Belladonna Photo Credit: Jimmy Hubbard
2021 marks Anthrax’s 40th anniversary, during which time the band has released 11 studio albums, been awarded multiple Gold and Platinum certifications, six Grammy nominations, and a host of other accolades from the media, the music industry, and fans. In 1991, the band helped break down race and genre barriers when they collaborated with Public Enemy on the track “Bring The Noise,” and was the first metal band to have its music heard on Mars when NASA played “Got The Time” to wake up the Mars Rover in 2012.
I grew up with Marvel and DC, and they were part of my life from the time I was four or five years old. My mom worked at Primrose Bakery on Tremont Avenue in New York, and when I’d go to work with her, I’d sit in the back with the bakers. I’d read and draw the superheroes from the comics she would buy for me from this little shop just a couple of doors down. I’ve loved everything about comic books and the neighborhood comic book stores ever since.
-Anthrax’s Charlie Benante
Anthrax and their landmark 1987 album Among the Living influenced an entire generation of metalheads, cementing the New York band’s place in the Big 4 of Thrash alongside Metallica, Megadeth, and Slayer. The book pulls together a “who’s who” of names from the worlds of comics and music who created “bubble dialogue” and original artwork to express what the songs meant to them. Taking advantage of COVID-19’s prohibition of concert touring, the band has been hard at work writing the next Anthrax album. Check with your local comic shop for the availability of the standard TPB edition, with all editions available to order directly from Z2’s website now, with Charlie Benante’s Judge Dredd variant exclusive to preorders.
Acclaimed Utica-based guitarist and songwriter Joe Bonamassa has announced an extensive 33 tour dates for fall 2021. Bonamassa’s latest project, a live album entitled Now Serving: Royal Tea Live From The Ryman, comes out Friday, June 11.
Photo by Robert Sutton
Bonamassa will stop in New York twice on his fall tour. He is set to play the Capitol Theatre in Port Chester on November 22 and the Rochester Auditorium Theatre in Rochester on November 24. The full list of tour dates is listed below.
Bonamassa is one of the biggest modern names in blues-rock and was even named “the world’s biggest blues guitarist” by Guitar World Magazine. He, like other live musicians, is marking his return to the stage in over a year. The fall tour kicks off October 8 at the Ryman Auditorium in Nashville, where Bonamassa recorded his latest live album.
Throughout the pandemic and during the pause of live music, Bonamassa focused on raising money for his non-profit Keeping the Blues Alive Foundation through the Fueling Musicians Program. The nonprofit centers on providing financial assistance to touring musicians who had their income streams cut off in this tumultuous time.
Now Serving: Royal Tea Live From The Ryman comes out Friday and tickets for the fall tour will be available on the same day. Links for purchase can be found here.
TOUR DATES
October 8-9: Nashville, TN – Ryman Auditorium
October 11: Little Rock, AR – Robinson Performance Hall
October 13: Shreveport, LA – Shreveport Municipal Auditorium
October 15: San Antonio, TX – Majestic Theatre
October 16: Sugar Land, TX – Smart Financial Centre
October 17: Grand Prairie, TX – Texas Trust CU Theatre
October 19: Fayetteville, AR – Walton Arts Center
October 21: Tulsa, OK – Tulsa Theater
October 22: Memphis, TN – Cannon Center for the Performing Arts
October 23: Louisville, KY – The Louisville Palace
October 25: Evansville, IN – Old National Events Center
October 27: Fort Wayne, IN – Embassy Theatre
October 29: Indianapolis, IN – Murat Theatre at Old National Centre
October 30: St. Louis, MO – Stifel Theatre
October 31: Cincinatti, OH – Taft Theatre
November 19: Springfield, MA – Symphony Hall
November 20: Providence, RI – Providence Performing Arts Center
November 22: Port Chester, NY – The Capitol Theatre
November 24: Rochester, NY – Rochester Auditorium Theatre
November 26: Detroit, MI – Fox Theatre
November 27: Youngstown, OH – Covelli Centre
November 28: Columbus, OH – Palace Theatre
November 30: Easton, PA – State Theatre
December 1: Reading, PA – Santander Performing Arts Center
December 3: Roanoke, VA – Berglund Performing Arts Theatre
December 4: Baltimore, MD – The Lyric
December 5: Richmond, VA – Dominion Energy Center
December 7: Savannah, GA – Johnny Mercer Theater
December 8: Sarasota, FL – Van Wezel Performing Arts Hall
December 10: St. Augustine, FL – The St. Augustine Ampitheatre
Tanglewood, the home of the Boston Symphony Orchestra, has announced a significant increase in capacity from the previously announced attendance cap of 25% to 50% for the 2021 Tanglewood Season this July 9 – Aug 16.
The decision is in response to recent health and safety issuances by the Centers for Disease Control, Commonwealth of Massachusetts, and Berkshires’ Tri-Town Health Department, as well as feedback from the Boston Symphony Orchestra’s own team of experts – including 9Foundations.
In support of regulations set by the Tri-Town Health Department and the Lenox and Stockbridge health boards, Tanglewood will limit attendance capacity to 9,000—50% of its usual capacity of 18,000. With this significant increase in capacity, they will now be able to welcome up to 2,400 patrons inside the Shed and 6,600 patrons on the lawn. While physical distancing will no longer be enforced on the lawn, the approximate 50% capacity will ensure ample space for voluntary physical distancing should patrons choose that option.
Tanglewood will now maintain three-feet physical distancing between patron parties seated in the Koussevitzky music shed for all Boston Symphony Orchestra related performances, from July 9 through Aug 16. In addition, they will no longer require patrons to wear masks, though it is recommend masking and physical distancing for people who are unvaccinated based on Center for Disease Control guidelines.
The new 9,000 overall capacity limit also applies to the new 2021 Popular Artists schedule, though there will be no capacity restrictions in the Koussevitzky Music Shed. Performances that have been rescheduled for later this summer include:
Brandi Carlile, with opening artist Mavis Staples, originally scheduled for July 27, will now perform on Aug 21, with ticket sales resuming on Monday, June 21.
Judy Collins, Richard Thompson, and Jesse Colin Young, originally scheduled for June 20, will now perform on Aug 22, with ticket sales resuming on Monday, June 21.
Wait Wait… Don’t Tell Me will take place on the originally scheduled date of Aug 26,with tickets on sale now.
Performances by James Taylor, Ringo Starr, and The Mavericks & Los Lobos, originally scheduled to take place on June 17, June 27 and Aug 31, respectively, have been rescheduled for the 2022 Tanglewood Season. The Trey Anastasio concert Scheduled on June 19 and the John Legend concert on August 28 have been canceled.
Additional tickets affected by the 50% capacity change will go on sale to the public on Monday, June 21. Existing ticket inventory remains on sale now. To stay up to date on shows, see highlights from the season, and acquire tickets visit the BSO website.
For more information about safety guidelines and protocol visit the Safe and Sound section on the BSO website.
Bruce Springsteen will return to Broadway this summer for a limited run of “Springsteen on Broadway” performances at Jujamcyn’s St. James Theatre (246 W 44th Street). Shows begin Saturday June 26, with additional performances taking place through September 4.
Credit: Rob DeMartin
Based on his worldwide best-selling autobiography ‘Born to Run,’ “Springsteen on Broadway” is a unique evening with Bruce, his guitar, a piano, and his very personal stories. The show’s original run included 236 sold-out performances at Jujamcyn’s Walter Kerr Theatre, beginning in October 2017 and concluding in December 2018. Springsteen earned a Special Tony Award for the performances, which were later adapted into a film and a soundtrack album.
Proceeds from Opening Night of the show at the St. James Theatre will be donated to a group of local New York and New Jersey charities including the Boys and Girls Club of Monmouth County, Broadway Cares/Equity Fights Aids, Community FoodBank of New Jersey, Food Bank for New York City, Fulfill (Monmouth & Ocean Counties Foodbank), Long Island Cares, NJ Pandemic Relief Fund and The Actor’s Fund.
Anyone planning on seeing this show will be required to provide proof of full COVID-19 vaccination in order to enter the theater. Tickets for “Springsteen on Broadway” will go on sale Thursday, June 10 at 12 pm ET through the show’s official ticketing provider SeatGeek.
Fresh off a triumphant three-night headlining run at the world-renowned Red Rocks Amphitheatre the previous weekend, Philadelphia’s own Disco Biscuits took to the court at the new Westville Music Bowl in New Haven, CT.
Over June 4-5, an instant classic run took flight, with the venue making the best of the end of COVID-19 restrictions and raising the bar for outdoor venues everywhere.
The former tennis stadium that had seen the likes of tennis legends such as Andre Agassi and Martina Navratilova perform at historic levels seemed primed for a special weekend of the improvisational, electronic-rock hybrid, nicknamed “Trancefusion,” that the band invented back on Halloween night 1997 when keyboardist Aron Magner introduced his Roland JP-8000 synthesizer. This one piece of hardware threw the rulebook out the window. Old and new fans embraced and smiled everywhere as the band sauntered out onto the stage for the beginning of what will surely be a signpost of this wonderful post-COVID iteration of the band.
While everything felt new and refreshed, the connection between the band might be the very best that we know in the jamband scene (one cannot imagine how many in attendance had seen well over 100 concerts – when I say obsession I mean it). This was made increasingly evident by the fact that the set list for the evening had been co-written by two fans along with bassist Marc Brownstein. The opening “Safety Dance,” a Men Without Hats cover that has become a staple of the Biscuits’ live experience got everyone dancing right from the start.
As the first improvisation of the weekend coalesced, the slinky funk riffs of “Mr. Don” sprang from guitarist Jon Barber and already everyone in attendance was out of control with delight. The jam after the lyrical portion of “Don” started to slow in pace as the opening notes of “Rocket Science,” a newer Barber original instrumental created a long volley between band and crowd, a give-and-take of energy so crucial to the live experience and so missed over the last 18 months.
With a slick little change the band locked into the fan-favorite of “Aceetobee,” which with its message of newfound freedom rang much more true than any time this writer can remember. The juxtaposition of the jazzy, darker key of “Aceetobee” and the pure 1977 disco vibe of the Giorgio Moroder/Donna Summer classic “I Feel Love” was brilliant and worked as a nice way to tap into the glorious vein of tennis puns permeating the last few months since the show’s announcement. However, that cheery vibe was short-lived as the band had a change of plans up their sleeve and violently closed out the opening set with “Confrontation,” the climactic zenith of Brownstein’s rock opera, “Chemical War Brigade.”
After a comfortably long break in the action the band surprised the crowd with an opener of “Sister Judy’s Soul Shack,” a personal favorite that had not been played since 12/28/17. Now I know they tell you that you can’t always get what you want, but it seemed as though the entire venue was getting what it needed. This little gift was quickly forgotten for the intense jam into the Biscuits original “Helicopters;” a song close to my heart as it was played at my very first show 21 years ago a few miles down the road at another classic New Haven venue, Toad’s Place.
The band, keeping everyone on their feet, segued out of “Helicopters” into a massive, metal-styled intro to the maniacal tune “Munchkin Invasion” – the crowd erupted with delight. This segment of “Helicopters-> Munchkin-> Helicopters-> Munchkin” will surely be held high as a highlight of this magnificent run in the Elm City and explored the creative genius of keyboardist Aron Magner and drummer Allen Aucoin. With so many changes in both tempo and texture, this doubles team made it look easy.
As the set came to a close Jon Barber showed everyone why the return of “Sister Judy’s” was so special earlier as he shredded the ending and brought the crowd to ecstatic heights. A quick but happy run-through of the Brownstein tune “Naeba,” only its second encore appearance since being debuted back in ’09, sent the crowd out to chaotically search for Ubers and Lyfts with smiles on their faces – advantage, Disco Biscuits.
https://www.youtube.com/watch?v=whyagg28Djc
Saturday brought beautiful sun, slightly aggressive heat, but much less humidity – a perfect Connecticut day to enjoy the sights and sounds of the City while trying to consume as much a pizza from Sally’s, Pepe’s, Bar, and Modern as humanly possible (what can I say, I like the pie in New Haven). The party got started with “7-11” and never looked back. As the crowd settled into the stadium the band settled into a fierce jam that truly expressed the joy and elation painted across everyone’s face.
After such a whirlwind performance the night before it felt as though the atmosphere was super patient and had a delightfully old school vibe, nothing was out tonight, we were all just happy to be ‘relaxin’ with the Disco Biscuits once again. Slowly, like an old friend’s voice you hadn’t heard in years, the opening notes to another 1995 Biscuits original “Pat & Dex” reared its head for only the second time since late 2015 (last time played was 5/26/18) and the song never sounded so nice. Maybe this song has a brand new mission and this won’t be the last we hear of it this year, one can only hope.
Once the three-part jazz odyssey was finished the band took a much-welcomed break as fans could not contain their excitement anymore and let the four guys from Philadelphia know that the band they put together was serving up aces that some more pessimistic fans might not have thought possible after such a long layoff – the band had kept itself busy during COVID closures though and it showed. The Frank Zappa classic “Pygmy Twylyte” got the crowd right back into it as the venue security, who were amazing all weekend, desperately tried to stay the ever-vigilant line judges in the pit – but the emotions were just too high.
The jam out of the Zappa cover shape-shifted yet again, the guttural, repetitive bass line to the newer Barber instrumental “4th of July” gave the crowd a little bit of a respite before careening off into the ether itself in swirling synths delivered by Aron Magner – the guy is a mad scientist of melody and has more hooks than a New England fisherman. The patience was evident once again as Jon Barber waited just to the very last second of a beat to introduce the song “The Great Abyss,” an Aron Magner creation debuted once Allen Aucoin had taken his seat as Biscuit drummer previously filled by Dr. Samuel Altman. Barber’s two-note hook, affectionately named the “Beep Boops” by the crowd, was delivered perfectly on time and might be the smoothest segue I have heard in years. While short, the song propelled the Biscuits past all competition once again and found its denouement in the ridiculously well written Biscuit classic “Story of the World.” The energy in the stadium once again peaked and proved once this band just gets setlist development better than almost any other band I’ve seen outside of the Grateful Dead.
The final set of this instant classic run at the Westville Music Bowl began with “Strobelights & Martinis,” an instrumental harvested from a segment of improvisation the band first performed on September 1, 2001 in the famous New York underground venue The Wetlands Preserve. On Saturday, “Strobelights” served as the perfect opener to one of my favorite sets of music I’ve seen live from this band in over 200 shows.
The jam was instantly ratcheted up by drummer and rumored robot Allen Aucoin, the guy is a machine – do yourselves a solid and take a few moments every jam to listen to exactly what is happening behind that kit and thank me later. As the main theme to the ascending action of the song “Above the Waves” crested the crowd and the band found each other in the midst of one of the more interesting techniques of setlist magic the Biscuits have ever introduced to the music world – an inversion. An “inverted” version of a song occurs when the band jams from one song into the middle or end of another song (depending on the number of parts in said song).
Once that newly introduced song ends, the band slides back into its beginning without missing a beat – it’s something they have been doing since 1999 and a hallmark of their unique vision of the future of music. The peak of this “Waves” was skull-crushing and I am convinced that the Westville Music Bowl left the ground, ala the Hampton Coliseum’s nifty little trick down in Hampton, VA. This was Bisco, a term coined early on in the band’s tenure to explain the ineffable quality of their music to cleanse one’s soul and wash away the stresses of normal life even if only briefly; it’s what makes fans come back time and time again.
After the lyrical section of “Waves” was done (the only song with lyrics of the entire set) the jam took flight and once again Magner constructed a multilayered behemoth that ominously found itself toying with the penultimate jam song in the band’s catalog “Basis for a Day.” With its barbaric yawp of “lyrics,” the band and audience bellowed into the heavens and released so much pent-up energy that many were left stone still and gaping in disbelief at the level of intensity the evening had reached. The Tractorbeam jam, a dizzying use of samples and Ableton Live the band has been introducing in different ways, was vibrating the soul of everyone there. It’s better heard than explained.
With a sly return to the set opening “Strobelights” and an elated coda of “Basis,” the band closed what is going to be a fan favorite weekend for years to come. The whole deal was sealed with a note-perfect rendition of another new Barber instrumental named “Station” (perfectly suited as an encore) and a slide into the ending of the show opening “7-11.”
They say one should always leave them wanting more, but for Biscuit fans there is never enough – never enough.
Opera Saratoga has announced the concert series America Sings will return to Caffè Lena this month on June 19th for A JuneteenthCelebration, celebrating the end of slavery in the United States.
The program was curated by bass-baritone Carl DuPont, a distinguished alumnus of Opera Saratoga’s Young Artist Program who is now on faculty at Peabody Conservatory where he teaches voice and a survey course on Art Song by African American Composers.
Carl DuPont is a highly accomplished bass-baritone and vocalist equally engaged in performing, teaching, and research. Major operatic credits include productions at Opera Columbus, The InSeries, The Glimmerglass Festival, Opera Carolina, Toledo Opera, Opera Saratoga, Sarasota Opera, Cedar Rapids Opera, El Palacio de Bellas Artes, Opera Company of Brooklyn, and Leipzig Opera. His world premieres include the title character in Dennis Rodman in North Korea as well as Why Peace is Always a Good Idea at Carnegie Hall under the baton of composer Jacqueline Hairston.
In putting together the concert program, DuPont has included prose and poetry – along with an extraordinary selection of music by African American composers – to create a more comprehensive texture of why we celebrate Juneteenth. Musical selections include songs by H. Leslie Adams, Tim Amukele, Margaret Bonds, Uzee Brown,Moses Hogan, Betty Jackson King,Rosephanye Powell, Florence Price, and Hale Smith. Spoken word selections include excerpts from The Declaration of Independence, The Emancipation Proclamation, and The General Orders which actually notified the enslaved people that they were free. The program will also include first-hand diary accounts and poetry from formerly enslaved people, as well as newspaper copy of the observation of the first Juneteenth celebrations.
The program will be performed by Festival Artists from Opera Saratoga’s Young Artist Program, who include notable emerging Black singers alongside artists who come from a wide range of other racial backgrounds, many of whom are learning more about Juneteenth through the experience of putting together this program.
I am glad that the performers at this concert represent a wide variety of racial backgrounds. Some of whom might be performing art songs by Black composers for the first time. Many of the members of the concert-going public will also be hearing these wonderful songs for the first time. That will be a special moment, and I hope the singers feel inspired to continue to advocate for Black composers as well as other marginalized composers, themes, or causes in their careers. And, I hope the audience gains a window into the faith, hope, joy, dreams, suffering, consolation, and frustration of the Black American experience and of our shared history as a nation.
The two-time Grammy award-winning artist Patty Griffin and Grammy award-nominated singer-songwriter Gregory Alan Isakov have announced plans for the co-headline tour “An Evening with Patty Griffin and Gregory Alan Isakov.”
Marking the first live, in-person concert performances for both artists since early 2020, Patty Griffin and Gregory Alan Isakov will be kicking off their tour on October 5th. On the 14-date tour, they’ll make stops at Troy Savings Bank Music Hall and the State Theatre of Ithaca.
Patty Griffin and Gregory Alan Isakov
Patty Griffin is among the most consequential singer-songwriters of her generation, a quintessentially American artist whose wide-ranging canon incisively explores the intimate moments and universal emotions that bind us together.
Gregory Alan Isakov is a singer, songwriter, and performer, beloved by his devoted community of fans and critics alike. Since his debut, Isakov has released five full-length albums including his most recent, 2019’s Evening Machines, which was nominated for Best Folk Album at the 62nd Grammy Awards.
OCTOBER 5 – Knoxville, TN – Tennessee Theatre 6 – Chattanooga, TN – Tivoli Theatre 8 – Charlotte, NC – Knight Theater 9 – Saxapahaw, NC – Haw River Ballroom 11&12 – Alexandria, VA – Birchmere 13 – Charlottesville, VA – Paramount Theatre 15 – Troy, NY – Troy Savings Bank Music Hall 16 – New Haven, CT – Shubert Theatre 17 – Ithaca, NY – State Theatre 19 – Northampton, MA – Academy of Music 21 – Concord, NH – Capitol Center for the Arts 22 – Beverly, MA – The Cabot 23 – Portland, ME – State Theatre
HeadCount and their Vote With Pride initiative has launched a new program #TransPeopleVote, to prevent continued disenfranchisement of transgender and non-binary voters around the country.
Since 2004, HeadCount has registered over one million voters working with musicians and partners including Ariana Grande, Phish, Billie Eilish, the Disco Biscuits, Camila Cabello, RuPaul’s DragCon, and MTV., among others.
Vote With Pride was launchedto provide accessible, safe, and affirming resources for the LGBTQ+ community to vote. #TransPeopleVote has been developed in partnership with VoteRiders, the leading national expert in obtaining a qualifying ID to vote.
Currently, 22 states that have both a restrictive process for changing your name and gender marker on ID, and voter ID requirements to case your ballot. The name on your voter registration must match your legal name in all 50 states and Washington DC. #TransPeopleVote is a resource dedicated to supporting transgender and non-binary people as they navigate this complicated process.
This work is core to HeadCount’s mission to make elections accessible for all voters. Together with VoteRiders, we can reach transgender voters and help them overcome ID barriers that may prevent them from voting.
Voters can visit HeadCount.org/Pride to receive state-by-state information on what steps they need to take to obtain an updated ID to register and vote in their state. Additionally, VoteRiders has assembled the first-of-its-kind volunteer legal team to support transgender and non-binary voters in this process. To obtain support, voters simply need to call or text VoteRiders and they will be connected to an expert in their state for assistance.
VoteRiders is delighted to join forces with HeadCount to provide transgender voters with the support they need to make their voices heard. Given the logistical, financial, and legal challenges transgender voters might face in securing their ID, we hope they will contact us right away so they will have the documents they need in time to vote – and the confidence they do, knowing they cannot be turned away. We are grateful that HeadCount inspired this tremendous opportunity to identify and assist voters who just might need a helping hand in the face of all these complicated and ever-changing voter ID laws.
Kathleen Unger, Founder, and President of VoteRiders
#TransPeopleVote is being launched in honor of Pride Month and will become a staple of the Vote With Pride initiative. HeadCount and VoteRiders will continue to update the resource as state laws are rapidly changing what is required to change your name and gender.
For more information, read more about how voter ID laws disenfranchise millions of eligible voters. In addition to the 25+ million voting-age citizens who lack a current government-issued photo ID, confusion and intimidation serve to prevent millions more eligible Americans from voting, even though they have a valid ID – or do not need one – in their state. Even poll workers are confused and sometimes ask voters for ID when none is required.The Voter ID Helpline (844-338-8743) receives many calls and texts from people in non-voter ID states as well as states that do require or request ID at the polls or to vote by mail.
New York City-native and emerging R&B artist Diana Bidea is set to drop her newest single titled, “Would You Still” on Friday, June 11.
“Would You Still” is Bidea’s seventh overall single and third release this year, behind her January single “Forbidden Fruit” and March single “The Game.” She also has one EP album so far, Artemis in 2019, with five songs on the tracklist.
With a background in classical opera, Bidea’s music displays her full vocals, cushioned with bluesy melodies. Her passionate musical tone and meaningful, talented lyricism gives off the full contemporary R&B experience.
Bidea’s original songs seem to have similar themes, discussing self-worth, love, and devotion. Her most recent release, “The Game,” more specifically brings a sultry vibe with guitar riffs and raspy vocals. This single blurs the line between sexual references and casual relationship description with lyrics like “sweet pleasure is the game… my favorite pleasure is pain.”
“Would You Still” is more focused on the self, reconciling with carrying the burden of being the person everyone turns to for advice.
I think some people naturally fall into the role of being the person that everyone comes to for answers, empathy and a safe space to keep their secrets. But when it feels like you don’t have that safe space in return, it leaves you feeling heavy with responsibility and emotionally exhausted. (‘Would You Still’) is about searching for someone who can give you that safe space and they will still love you after they know you at your most vulnerable.
Diana Bidéa
“Would You Still” tells the story of a sensitive girl who wears the mask of a bold, put-together person. Described as a “hero complex,” Bidea highlights the importance of checking up on your friends, no matter how happy they seem on the surface.
Though her lyrics’ meanings are deep-rooted, they are anything but mournful. Bidea takes on an optimistic spirit, not questioning her personal worth; simply asking the question, “will you treat me at my true worth?”
The new single is also chock full of vocal riffs and runs, staying true to her soulful style.
On Tuesday’s The Tonight Show, Lin-Manuel Miranda joined Jimmy Fallonfor a musical tribute to all the Broadway shows they’ve missed in the last 16 months, and were joined by stage veterans during their song.
Filmed before a fully vaccinated audience in Studio 6B,”Broadway’s Back” paid homage to more than a dozen musicals, including Aladdin, Book of Mormon, Chicago, A Chorus Line, Come From Away, Company, Dear Evan Hansen, Hadestown, The Lion King, Moulin Rouge, Phantom of the Opera, Six, West Side Story and Wicked.
Fallon and Miranda were joined by Kristin Chenoweth, Christopher Jackson, Phylicia Rashad, and Laura Benanti were on hand to join in for a reinterpretation of Hamilton‘s “You’ll Be Back.” Also joining the performance were Jimmy Smits and Olga Merediz who star in the film adaptation of Miranda’s Tony Award-winning musical In the Heights, which releases in theaters and on HBO Max on Thursday, June 10.
