Pops Night of Broadway Hits and Timeless Standards with Megan Hilty and Brian Stokes Mitchell!
Pacific Symphony Pops brings two award-winning Broadway superstars—Megan Hilty and Brian Stokes Mitchell—together for an evening of unforgettable music from the Great White Way! With stunning voices and booming careers on Broadway, television and concert stages, Hilty and Mitchell join the 88-piece orchestra to knock socks off with Broadway hits and timeless standards, including music from Cole Porter, Duke Ellington and George Gershwin. Hilty dazzles with songs such as Gershwin’s “Someone to Watch Over Me,” “They Just Keep Moving the Line” from the TV series “Smash” and “The Rainbow Connection” from her album “Live at the Cafe Carlyle,” while Mitchell belts out stunning renditions of “Stars” from “Les Misérables,” “The Impossible Dream” from “Man of La Mancha” and “It Ain’t Necessarily So” from “Porgy and Bess."
Led by guest conductor Albert-George Schram on April 21-22, at 8 p.m. in the Renée and Henry Segerstrom Concert Hall, the concert opens with a short program of light classical music and Broadway tunes. Tickets are $35-$167 ($195 Box Circle). For more information or to purchase tickets, call (714) 755-5799 or CLICK HERE.
“Megan Hilty and Brian Stokes Mitchell are both world-class artists,” says Maestro Schram, “and I’m looking forward to working with them. With Broadway, there is already so much beautiful music written for orchestra, so our arrangements will be top notch!"
Schram then says of the first half: “The musicians of Pacific Symphony are so outstanding I wanted to show off the orchestra with a few virtuosic pieces some maybe haven’t heard for a while. Tchaikovsky’s ‘Slavic March’ and Verdi’s Overture to ‘La Forza del Destino’ offer exciting music that people will love hearing. Cole Porter’s ‘Begin the Beguine’ and Andrew Lloyd Webber’s ‘Jellicle Ball’ from ‘Cats’ are both Broadway classics that will complement our star performers. And ‘Tico Tico No Fuba’ is just plain fun. Overall, I just want everyone to have a good time!"
An extremely versatile and in-demand singer, Mitchell’s talents span the worlds of jazz, opera, pops, country and musical theater worlds. He has worked with greats like John Williams, Marvin Hamlisch, Michael Tilson Thomas, Leonard Slatkin, The Smithsonian Jazz Masterworks Big Band, The Mormon Tabernacle Choir and The Muppets. Mitchell has made multiple appearances at Carnegie Hall including his debut with the San Francisco Symphony, a televised performance in “South Pacific” and a sold-out solo concert. He has been invited twice to perform at the White House and has performed for Presidents Clinton and Obama.”
The Salt Lake City Tribune wrote: “Mitchell was the ultimate showman, commanding the stage with his roof-rattling renditions of Broadway favorites.” Dubbed “the last leading man” by The New York Times, Mitchell has received Tony, Drama Desk and Outer Critics Circle awards for his role in “Kiss Me, Kate.” He also gave Tony-nominated performances in “Man of La Mancha,” “Ragtime” and “King Hedley II.” Other notable Broadway shows include “Kiss of the Spider Woman,” “Jelly’s Last Jam” and “Women on the Verge of a Nervous Breakdown.” His extensive screen credits include seven years on “Trapper John, MD” and appearances on PBS’ “Great Performances,” “Frasier,” “Glee,” “Jumping the Broom” and most recently, “Madam Secretary,” “Mr. Robot” and “The Path."
Hilty has been a star since her Broadway debut as Glinda in “Wicked,” opposite Idina Menzel, which led to her role in the TV series “Smash,” nominated for a Golden Globe for Outstanding Musical or Comedy Series. She then became a regular on “Sean Saves the World,” and has guest-starred on “Project Runway,” “Difficult People,” “Brain Dead” and “The Good Wife.” Her role in “9 to 5: The Musical” garnered Drama Desk, Outer Critics Circle, Drama League and Ovation awards nominations. Her performance in “Noises Off” earned a Tony Award nomination for Outstanding Featured Actress, as well as Drama Desk and Drama League Award nominations. She also starred in “Gentlemen Prefer Blondes,” which led The New York Times to call it “one of those single, golden nights, so cherished by theatergoers that thrust its leading lady into the firmament of musical stardom.”