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 Tom Hewitt to Star in The Boys From Syracuse

Tony nominee Tom Hewitt will star in the Roundabout Theatre Company production of The Boys From Syracuse, a source close to the actor confirmed to The revival of the Rodgers & Hart tuner is scheduled to begin performances at the American Airlines Theater in July.
Ken Mandelbaum first mentioned Hewitt as a possibility for the production on January 30. Hewitt earned a Tony nomination for his performance as Frank 'N' Furter in The Rocky Horror Show. His other Broadway credits include The Sisters Rosensweig, The School for Scandal, Art and The Lion King. Off-Broadway credits include Jeffrey, Beau Gest, Richard III and Othello. The actor starred in the La Jolla Playhouse production of Dracula and is expected to repeat his duties in the planned Broadway mounting.
Based on Shakespeare's The Comedy of Errors, The Boys From Syracuse tells the tale of two sets of identical twins and the women who can't tell them apart. The Roundabout production, directed by Scott Ellis, will use a new book by Nicky Silver based on George Abbott's original book.
A production spokesperson could not confirm the fact that Hewitt was committed, saying no deal with the actor has been set.
-Cara Joy David,

THE BOYS FROM SYRACUSE. Save up to 45% on Orchestra and
Mezzanine seats for performances July 24 through August 25.*

Shakespeare goes Greek and glamorous in an all-new Broadway production of
THE BOYS FROM SYRACUSE. Based on the bard's classic romp, "The Comedy of
Errors," this Rodgers and Hart gem is one of the brightest and most
celebrated musical comedies ever written. A riotous tale of two sets of
identical twins, the gals who can't tell them apart and the hilarious havoc
that ensues, THE BOYS FROM SYRACUSE features a new book by renowned
playwright Nicky Silver, inspired staging by Scott Ellis (The Man Who Had
All the Luck, The Rainmaker, 1776) and one of Richard Rodgers' most glorious

For tickets call Roundabout Ticket Services at (212) 719-1300 and mention
the code A4PBOL or print out this page and present it at the American
Airlines Theatre Box Office, 227 West 42nd Street (between Broadway and 8th
Avenue), NYC.

For further information, visit

*Offer restrictions: Select seat locations only. Subject to availability.
Not valid on previously purchased tickets or in combination with any other
offers. No refunds or exchanges. 6 ticket limit per order.

 Dracula Books Broadway Theatre for Spring Bow

Dracula, the Musical has not yet begun previews at California's La Jolla Playhouse, but producers are already looking towards New York. According to The New York Times, the musical has booked the Broadway Theatre for a spring debut on the Great White Way.
Dracula, The Musical is based on Bram Stoker's classic novel. The new tuner features music by Frank Wildhorn and book and lyrics by Don Black and Christopher Hampton. "I just love the gothic world," Wildhorn told while working on Dracula. "It's very sexy to me and it's very romantic to me. Dracula was just screaming to have a musical made out of it and I am doing it."

Jane Eyre -- Paper Mill Playhouse
"Tom Hewitt is sensational. Here is a wonderful actor perhaps born 50 or so years too late and in the wrong country. Those British movie melodramas of the '40s would have made Hewitt an International star, more Stewart Granger perhaps than James Mason, but certainly Hollywood bound. New York Post

Vanya -- Arena Stage
"Hewitt gives Astrov such a physical presence that you have only to look at him to understand what a tragedy his wasted life is. Hewitt makes the doctor intelligent, honest with himself and resigned, with periodic bursts of high spirits that must have once been characteristic of him." Washington Post

Blithe Spirit -- Guthrie Theatre
"Tom Hewitt's Charles combines suave charm, boyish befuddlement and infallible comic timing." Twincities Sidewalk

Death on the Nile -- Shakespeare Theatre
"Tom Hewitt makes a vital, intelligent, humorous Antony." Washington Post

Antony and Cleopatra -- Shakespeare Theatre
"In the role of Antony, Tom Hewitt makes for a strong counterpart to Cleopatra, with his resonant voice and decisive stage movements. His reaction to the trumped-up news of Cleopatra's death was a particularly impressive rendering, as was his own subsequent death scene. The role of Antony require a highly demanding duality of interpretation: One that shows his commanding presence among the triumbirate in Rome, and another for his scenes of hedonistic dalliance with the naughty seductress of the Nile. Mr. Hewitt conveys both with skill, though some excess of rage in the later scenes seems to obscure any spiritual awakening there may be been for this hubris-tormented soul." Review by Richard Gist -- December 8, 1996