Aaron Tveit
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Aaron Tveit at 54 Below - Review
Broadway heartthrob Aaron Tveit made his New York City cabaret debut in a sold-out limited engagement at 54 Below beginning May 3. After the pandemonium surrounding the rapid and rabid ticket sales, the much anticipated show was met with the expected reception of cheers and tears (on behalf of Beiber-esque fangirls).
Aaron Tveit first took to the Broadway stage as Link Larkin in Hairspray in 2006. He also played leading man Fiyero in Wicked and originated the role of Gabe in the award-winning musical Next to Normal. Tveit also created the Broadway role of Frank Abagnale Jr. in Catch Me If You Can and portrayed Roger in both the national tour of Rent as well as the 2010 Hollywood Bowl production of that musical, directed by Neil Patrick Harris. Most recently, Tveit was seen on the big screen as revolutionary leader Enjolras in the film adaptation of Les Misérables. His upcoming USA TV series, Graceland, premieres on June 6.
The audience at 54 Below was surprisingly subdued considering Tveit's usual excited following. Attendees at the performance I reviewed included Broadway notables Tom Kitt (Bring It On) and Lin-Manuel Miranda (Bring It On) along with the dozens of teenage girls and their reluctant chaperones. The swanky, warmly lit cabaret space was the perfect locale for the dapper Tveit. The small stage was filled with what happened to be the original band from Next to Normal. Tveit worked the intimate space, addressing the entire room throughout.
He began the evening's performance with fan favorite "I'm Alive" from Next to Normal, which was met with thunderous applause and squeals of delight as well as sighs of regret that there were no poles from which he could to re-create his Next to Normal performance. Tveit told the story behind each piece, ranging from high school memories, to his college days, up to his recent work, with personal stories and shoutouts to friends and family.
Songs included classics "Something's Coming" from West Side Story, "If I Loved You" from Carousel, followed by contemporary showtunes "There's A World" from Next to Normal, "Goodbye" from Catch Me If You Can, a tearful rendition of "One Song Glory" from Rent, and a cut song from The Last Five Years: "I Could Be in Love with Someone Like You." Tveit also performed popular, swoon-worthy songs including Bruno Mars' hit "When I Was Your Man," "Hero and Leander," "My Romance," "I Remember You," Bob Dylan's "To Make You Feel My Love," Billy Joel's "She's Always A Woman," Joni Mitchell's "A Case of You," and Craig Carnelia's "What You'd Call a Dream" from the musical revue Diamonds.
For the fans who were not lucky enough to score tickets to this sold-out show, don't worry. You will be able to hear all of Tveit's belting, runs, riffs, and vocal embellishments thanks to Broadway Records. A live solo album, "The Radio In My Head: Live At 54 Below," will be released soon .
Aaron Tveit at 54 Below continues on Friday, May 17, and Saturday, May 18 at 11:00pm.
Source: http://www.theatermania.com/new-york-city-theater/reviews/05-2013/aaron-tveit-at-54-below_65167.html
Broadway heartthrob Aaron Tveit made his New York City cabaret debut in a sold-out limited engagement at 54 Below beginning May 3. After the pandemonium surrounding the rapid and rabid ticket sales, the much anticipated show was met with the expected reception of cheers and tears (on behalf of Beiber-esque fangirls).
Aaron Tveit first took to the Broadway stage as Link Larkin in Hairspray in 2006. He also played leading man Fiyero in Wicked and originated the role of Gabe in the award-winning musical Next to Normal. Tveit also created the Broadway role of Frank Abagnale Jr. in Catch Me If You Can and portrayed Roger in both the national tour of Rent as well as the 2010 Hollywood Bowl production of that musical, directed by Neil Patrick Harris. Most recently, Tveit was seen on the big screen as revolutionary leader Enjolras in the film adaptation of Les Misérables. His upcoming USA TV series, Graceland, premieres on June 6.
The audience at 54 Below was surprisingly subdued considering Tveit's usual excited following. Attendees at the performance I reviewed included Broadway notables Tom Kitt (Bring It On) and Lin-Manuel Miranda (Bring It On) along with the dozens of teenage girls and their reluctant chaperones. The swanky, warmly lit cabaret space was the perfect locale for the dapper Tveit. The small stage was filled with what happened to be the original band from Next to Normal. Tveit worked the intimate space, addressing the entire room throughout.
He began the evening's performance with fan favorite "I'm Alive" from Next to Normal, which was met with thunderous applause and squeals of delight as well as sighs of regret that there were no poles from which he could to re-create his Next to Normal performance. Tveit told the story behind each piece, ranging from high school memories, to his college days, up to his recent work, with personal stories and shoutouts to friends and family.
Songs included classics "Something's Coming" from West Side Story, "If I Loved You" from Carousel, followed by contemporary showtunes "There's A World" from Next to Normal, "Goodbye" from Catch Me If You Can, a tearful rendition of "One Song Glory" from Rent, and a cut song from The Last Five Years: "I Could Be in Love with Someone Like You." Tveit also performed popular, swoon-worthy songs including Bruno Mars' hit "When I Was Your Man," "Hero and Leander," "My Romance," "I Remember You," Bob Dylan's "To Make You Feel My Love," Billy Joel's "She's Always A Woman," Joni Mitchell's "A Case of You," and Craig Carnelia's "What You'd Call a Dream" from the musical revue Diamonds.
For the fans who were not lucky enough to score tickets to this sold-out show, don't worry. You will be able to hear all of Tveit's belting, runs, riffs, and vocal embellishments thanks to Broadway Records. A live solo album, "The Radio In My Head: Live At 54 Below," will be released soon .
Aaron Tveit at 54 Below continues on Friday, May 17, and Saturday, May 18 at 11:00pm.
Source: http://www.theatermania.com/new-york-city-theater/reviews/05-2013/aaron-tveit-at-54-below_65167.html
USA_Network USA Network 2h
. @GracelandTV stars Aaron Tveit and @SwanSerinda chatting with reporters at the #USAupfront. pic.twitter.com/kyzpgC6SnD
Source: USA_Network via Twitter
Source: Bilal Mian
. @GracelandTV stars Aaron Tveit and @SwanSerinda chatting with reporters at the #USAupfront. pic.twitter.com/kyzpgC6SnD
Source: USA_Network via Twitter
Source: Bilal Mian
Last edited:
I don't know why they keep photoshopping his wrinkles out. Graceland promotional shot.
via: antiquitea
via: antiquitea
May 17, 2013
An Interview with Aaron Tveit of USA's 'Graceland'
By Kaylee Hultgren
USA Network’s upcoming summer scripted drama “Graceland” (premieres June 6), follows a group of undercover federal agents living together under a single roof, and the struggles that ensue while attempting to maintain a sense of normalcy in their lives. At a pre-upfront press event Thursday, we caught up with lead actor Aaron Tveit, who plays rookie FBI agent Mike Warren. Tveit most recently starred in the film “Les Miserables” as the student revolutionary “Enjolras” and is an accomplished theater actor as well (“Catch Me If You Can,” “Next to Normal,” “Wicked”
. Here’s Tveit on what drew him to the role, working with creator Jeff Easton (“White Collar” and moving to TV from Broadway.
What attracted you to this role?
I really like the character because [with] the other television I’ve done, I didn’t always get to play such great guys. And I really liked how much of a “winning” guy Mike was. He goes about everything in a really smart way. But also, with the little bit at the time that I knew about undercover work, I thought it was going to be very interesting, potentially, to see his goodness being pushed to the limits by the experiences he was going to go through. And that is what happens, especially later in the season. My morality gets tested a lot because I want to do the right thing all the time, but in undercover work, to get to that big goal you have to let all these things go and let all these other bad things happen. People get hurt and [you have to] be ok with it. When you’re undercover with a drug lord, you’re letting these things happen. So at the end of the day, what makes you different from the guy? A lot of moral issues come into question. Also, immediately in the pilot you get a sense of who all the characters are and their relationships.
Your character is sort of set up from the beginning as someone who has to go through a transition. He’s very green.
They say all these things about him—that he’s a brilliant student and the top of his class and he’s obviously very smart. But he doesn’t have the field experience. He kind of gets dropped in a pool and they say “swim.” We just finished the season, and to go back and watch the pilot now from where we finished, there’s a big change that happens—for everyone—but especially my character. He has to grow up very fast.
I’ve only seen the first episode, which obviously deals with a lot of exposition. But other actors in the series have characterized it as “dark.” Would you agree?
It’s dark, but they wanted to make it —at least our work outside of the house—a realistic take on undercover work. Bad stuff happens. It was neat reading the scripts every week. USA was saying they wanted to expand their brand and go outside of what they do, but I have to give them credit. Saying it is one thing, but reading scripts every week and saying, “Wow, that’s really what we’re going to do? Ok great!” They stuck to what they said, which is exciting. It’s great to be a part of that.
How much interaction did the network have with the show?
Obviously they were seeing and watching everything, but they kind of just let us do our thing. It didn’t feel like they were micromanaging. Of course, they were doing their job and [we were] getting network notes and the script had changes, but on set they weren’t really putting pressure on us. They trusted everyone. Also, Jeff Easton, the writer/creator of White Collar, told me this from day 1 he’s very open to us changing our lines. We don’t have to stick to what’s on the page. There’s very much a sense of—in a lot of the group scenes especially—that we really got to bring a lot of ourselves to the characters. It didn’t feel like they were lurking over us. We knew that they were there supporting us, but we got to really do our thing and be left alone.
Will another season of Graceland, if it’s renewed, impede your Broadway career?
I would like to do this more, but we’ll see what happens. The thing is for musicals, for instance, you have to develop them for years and years. So it is hard for me right now to be developing a new musical. But, the nice thing about this schedule personally for me is that even if the show runs for four or five years, we only shoot for about six months, so every years I have about a six-month hiatus where I can come into a play or do a musical, so it does leave those options open for me. I was never trying to jump away from theater. I’m dying to get back on stage.
Source: http://www.cablefax.com/cfp/just_in/An-Interview-with-Aaron-Tveit-of-USAs-Graceland_58155.html
An Interview with Aaron Tveit of USA's 'Graceland'
By Kaylee Hultgren
USA Network’s upcoming summer scripted drama “Graceland” (premieres June 6), follows a group of undercover federal agents living together under a single roof, and the struggles that ensue while attempting to maintain a sense of normalcy in their lives. At a pre-upfront press event Thursday, we caught up with lead actor Aaron Tveit, who plays rookie FBI agent Mike Warren. Tveit most recently starred in the film “Les Miserables” as the student revolutionary “Enjolras” and is an accomplished theater actor as well (“Catch Me If You Can,” “Next to Normal,” “Wicked”
. Here’s Tveit on what drew him to the role, working with creator Jeff Easton (“White Collar” and moving to TV from Broadway.What attracted you to this role?
I really like the character because [with] the other television I’ve done, I didn’t always get to play such great guys. And I really liked how much of a “winning” guy Mike was. He goes about everything in a really smart way. But also, with the little bit at the time that I knew about undercover work, I thought it was going to be very interesting, potentially, to see his goodness being pushed to the limits by the experiences he was going to go through. And that is what happens, especially later in the season. My morality gets tested a lot because I want to do the right thing all the time, but in undercover work, to get to that big goal you have to let all these things go and let all these other bad things happen. People get hurt and [you have to] be ok with it. When you’re undercover with a drug lord, you’re letting these things happen. So at the end of the day, what makes you different from the guy? A lot of moral issues come into question. Also, immediately in the pilot you get a sense of who all the characters are and their relationships.
Your character is sort of set up from the beginning as someone who has to go through a transition. He’s very green.
They say all these things about him—that he’s a brilliant student and the top of his class and he’s obviously very smart. But he doesn’t have the field experience. He kind of gets dropped in a pool and they say “swim.” We just finished the season, and to go back and watch the pilot now from where we finished, there’s a big change that happens—for everyone—but especially my character. He has to grow up very fast.
I’ve only seen the first episode, which obviously deals with a lot of exposition. But other actors in the series have characterized it as “dark.” Would you agree?
It’s dark, but they wanted to make it —at least our work outside of the house—a realistic take on undercover work. Bad stuff happens. It was neat reading the scripts every week. USA was saying they wanted to expand their brand and go outside of what they do, but I have to give them credit. Saying it is one thing, but reading scripts every week and saying, “Wow, that’s really what we’re going to do? Ok great!” They stuck to what they said, which is exciting. It’s great to be a part of that.
How much interaction did the network have with the show?
Obviously they were seeing and watching everything, but they kind of just let us do our thing. It didn’t feel like they were micromanaging. Of course, they were doing their job and [we were] getting network notes and the script had changes, but on set they weren’t really putting pressure on us. They trusted everyone. Also, Jeff Easton, the writer/creator of White Collar, told me this from day 1 he’s very open to us changing our lines. We don’t have to stick to what’s on the page. There’s very much a sense of—in a lot of the group scenes especially—that we really got to bring a lot of ourselves to the characters. It didn’t feel like they were lurking over us. We knew that they were there supporting us, but we got to really do our thing and be left alone.
Will another season of Graceland, if it’s renewed, impede your Broadway career?
I would like to do this more, but we’ll see what happens. The thing is for musicals, for instance, you have to develop them for years and years. So it is hard for me right now to be developing a new musical. But, the nice thing about this schedule personally for me is that even if the show runs for four or five years, we only shoot for about six months, so every years I have about a six-month hiatus where I can come into a play or do a musical, so it does leave those options open for me. I was never trying to jump away from theater. I’m dying to get back on stage.
Source: http://www.cablefax.com/cfp/just_in/An-Interview-with-Aaron-Tveit-of-USAs-Graceland_58155.html