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I adore Horrorpops! You should adore Horrorpops! How could you not with a name like that and the fun sound they do? Patricia is a lovely woman with superb talent. She’s an utter joy to watch onstage, whether she’s singing or thumping away on her stand-up bass. There’s just something about a woman that talented with a musical instrument that gives me an instant crush. The shows they put on are interesting and fun on many levels. First, you have to appreciate their fashion sense. They are really committed to carrying out the look their name and genre appreciates. They stay in character, if you will. It’s a gimmick perhaps but it’s a good one. The crowd usually dresses the same way, so enjoy people-watching when you see this band! You also have to appreciate that no matter how they play any of their particular songs, revved up harder than on the album or softer, they always work. That’s how good of songwriters they are. Also, Kim’s voice is always top-notch and dreamy live as it rides on the dark waves of morbidly fun, fast-paced music behind it. Did I mention the go-go dancers onstage?

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I heard almost a whole song .the girl in front of me smelled like she ate a cat turd .some boy who didn't look more than 15 moshed me so before I put my cane up his butt I left.walked back to the ferry.i did however meet a few girls that were friends of Franks and Dean .they were so nice .told me how cute I looked Not too shabby for 57. That was my highlight,for buying three tickets and going in alone.

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The HorrorPops current tour is covered by Billboard.com!

"We love touring," says vocalist Patricia Day, who also plays the upright bass. "Everything else like recording an album or doing photo shoots and interviews are all things we do in order to get the f*** back on the road."

The group, which hails from Copenhagen but is currently based in Los Angeles, has been able to do just that and more. HorrorPops is on its first U.S. headlining tour in support of "Bring It On!" which entered Billboard's Top Heatseekers chart last week at No. 23.

"It's really exciting, but it's a bit fuzzy 'cause there's lots of alcohol involved," she says. "The first few shows we played in the U.S., there were quite a lot of psychobillies at them because of the upright bass and our image. Now we hardly see any. Now there's a lot of punk kids and rock'n'rollers. Even the pretty, pretty girls with their Louis Vuitton bags are there, too! It's a very diverse crowd, which is so cool."

HorrorPops -- comprised of Day, guitarists Nekroman and Geoff Kresge, drummer Niedermeier and the "Bringin'it'on!" dancers, Kamilla Vanilla and NoNo --- smash together psychobilly, power pop, punk, ska and every genre in between.

"We started this band so we could actually play all styles of music and not limit ourselves to one little subgenre," Day says. "We were kinda like, 'OK, f*** that. We just wanna be able to play whatever we feel like.' You know how like in your record collection there's probably an album or two in there you don't show all your friends? We don't want to hide those records. If we want to play something inspired by Barry Manilow, we go out there and do it. We like having fun with the music."

Because of the members' campy appearances and the fact that Day uses an upright bass, the band is often labeled purely psychobilly, but Day doesn't want anyone getting the wrong impression.

"We do have a psychobilly background -- Geoff and Nekroman come from Nekromantix and Tiger Army, which are basically the two biggest psychobilly bands out there. So we know a lot about psychobilly. Enough to say we're not psychobilly," she says. "It's out of pure respect for the [genre] that we are so strongly against being called psychobilly.

"The good side of being called that, though, is that a lot of kids will start looking for other bands that play that style of music," she continues. "And they'll get introduced to a lot of our friends [laughs]."

Since the Sept. 11, 2001, terrorist attacks on the United States, it's been a struggle for the band to obtain the right paperwork in order to stay in the States. But Day says it's worth the struggle.

"C'mon, Denmark? Five million people, three rock'n'roll venues? It's a s***hole," she laughs. "Getting out of there was the best decision we ever made."

Indeed, Denmark, which is best known for helping break such dance acts as Ace Of Base and Aqua, isn't high on the list of places HorrorPops plans on touring any time soon.

"Let me put it like this," Day says, "we're going on a European tour and we're not even playing Denmark. There's no reason to go there at all, it's all about dance [there]."

So how did a bunch of psychobillies team up in such a dance-oriented country?

"That was really easy," she says. "There would be us and only us that liked the music that we're into and looked the way we did. We basically met each other by saving each other's asses from getting beat up. Then we kind of stuck together because there's safety in numbers. It was like living in the Midwest or something."

In the end, that small town safety net turned into a raucous rock'n'roll band that has toured the world, and they don't plan on turning back any time soon. "We're best friends, we travel all over the world, we get s***faced every night and we get paid for it," Day says. "It doesn't get any better."

HorrorPops are currently on tour with Roger Miret & the Disasters and Left Alone.

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Live At The Wiltern

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Horrorpops Denmark

Danish punk band that formed in 1996. The band's sound is rooted in psychobilly, rockabilly, and punk rock.

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Patricia Day of HorrorPops Discusses Highly Anticipated “Live at the Wiltern” Release

Monday, June 21, 2021 | Interviews

By RACHEL REEVES

For those who hit their teenage years in the late 90s and early 2000s, punk bands didn’t get much cooler than the HorrorPops. Fusing elements of psychobilly, punk, surf, ska and even new wave into one infectiously raucous sound, the Danish band easily racked up fans around the globe. Consisting of drummer Henrik “Niedermeier” Stendahl, lead singer/bassist Patricia Day and guitarist Kim “Nekroman” Gaarde, the band toured heavily during this time period. Known for their incredibly energetic stage presence, the HorrorPops often accompany their high-energy sound with theatrical wardrobe choices, Go-Go dancers and of course, Day’s iconic upright bass that may as well be the unofficial fourth member of the band.

After being signed to Hellcat/Epitaph Records in 2003 off of the strength of their demo tape alone, the band released three well-received albums over 4 years. They played hundreds of shows and became a familiar presence on the Warped Tour roster. Due to their popularity and strong fanbase, it came as a subtle shock to many when the band simply never followed up their 2008 release of Kiss Kiss Kill Kill with another album. Although Nekroman could (and still can) be found on stage alongside his band the Nekromantix, it seemed like the HorrorPops may have quietly retired as a band. However, everything changed when the band announced they would be reuniting for a short run of shows in early 2020. 

A true force to be reckoned with, the HorrorPops delighted fans and sold out venues once again. Further maximizing on the magic contained in this historic HorrorPops moment, the band decided to use this opportunity to release their very first live album. Filmed and recorded in early 2020 at The Wiltern in Los Angeles, the release features 19 tracks of classic HorrorPops hits and a newly recorded interview. To celebrate this highly anticipated release, Rue Morgue spoke with the one and only Patricia Day all about the HorrorPops return to the stage, her Danish upbringing, how the global pandemic is still affecting musicians, and so much more.

Thanks so much for taking the time to speak with me today Patricia! I’m so excited to chat with you.

I’m so happy to be talking to Rue Morgue again! It’s been 10 years since the last interview with you guys. 

I definitely wanted to ask you a little bit about that. It’s been awhile since the last album and the band took a little hiatus for a while. What was it that prompted this return of the HorrorPops?

We never decided to stop being a band or stop touring, and we also never really decided to start touring. So, hiatus…that’s been the word to use I guess, but nothing in the HorrorPops is ever planned. I don’t know what made us want to do a few shows again. Henrik Niedermeier moved back to Denmark about eight or nine years ago. He became a father and well, you know how that goes. Then, a few more years passed and we actually started missing each other a lot. Henrik and I have known each other since I was 12 or 13. He’s like my brother from another mother. We just missed each other! So, I was like, “Should we try and see if there’s any interest? It could be fun getting on the road!” Then we were checking around to see if anybody was interested in seeing the HorrorPops at all. We really didn’t know, but our booking agent was convinced that he could set up shows for us and sell some tickets. And he was right. We did!

That has to be a strange emotional crossroad to navigate, not knowing how a band reunion will be received. What was the general vibe from the fans once you did announce the new show dates? Were you at all surprised with the fan reception?

Yes! Super surprised! We were thinking, “Oh, we’re just going to do tiny clubs.” You know, 200 capacity rooms just for our own sake. But then it turned out to be bigger rooms and these rooms were selling out like, so fast. We were all speechless. We couldn’t believe what was going on, but it’s also a difficult edge to walk. On the one hand it was, “Wow.” With this kind of response, all these people coming to these shows, it’s great. But does that mean there’s a constant need for the HorrorPops? Or was that just because people were excited to relive a ‘high school days’ kind of situation? It’s hard to judge. To continue to the next logical question, are we now fully back as a band? I don’t know if we are. It depends. If people want us to play, we’ll play. But are we going to record a new album? Well, if people really want one, maybe. But we’re not really going to plan things. We’re going to do what feels right, when it feels right. 

I love that. It seems very organic, and, I would imagine, helps keep it fun.  

Yeah, definitely. 

While a future studio album is still up in the air, you recently released your first live album and concert video, Live at the Wiltern . Tell us a little bit about this release and why you chose to return with your very first live album. 

So there’s a couple of things. For one, it’s weird how our generation of bands, like bands that came out basically in the late ’90s and early 2000s, there’s not a lot of stuff about them online. Then Myspace started happening, which then died of course, but, we were in our prime when Myspace was at its peak. So anything that’s ever been about HorrorPops was basically on Myspace, and there was a lot. You know, people didn’t have the iPhone yet so there wasn’t a lot of filming the band live. You can’t find a lot of old, old tour stuff on YouTube. There’s certainly not a lot when compared to other bands. There’s some, but really crappy quality because it’s that old. So it’s like, “You know what? We should have something.” 

It’s kind of sad, you know, because we should have something online that shows who we are as a band live. I always thought that HorrorPops is a live band, a band you want to go see. It’s not just listening, it’s also watching. So I thought, “Let’s just record this so there is something out there for people to watch.” Basically that was the thought process. Again, it’s HorrorPops – we don’t really think that deep about any decisions that we make, but if I have to try and explain it, that would be my kind of excuse as to why we did it.   

You’re so right. HorrorPops is so wonderfully theatrical. I vividly remember the first time I saw you play at Warped Tour. To be honest, between you and Brody Dalle (of the Distillers), you were really the first live female fronted groups that I had ever seen and that ultimately had a huge impact on me. That makes me curious, who are some of the women who have inspired you along the way or are still inspiring you?

Well, it’s weird because being Danish means that I’ve grown up in a time, in a country, where there is no difference between men and women. Like, men don’t see women as any less than themselves. In Denmark, there’s also equal pay and equality is a real thing. So, you know, even though I chose a career in music where it’s very male-dominated still, being a Danish woman, it didn’t hit me in the same way as it has for a lot of American girls who still have this weird way of seeing themselves. 

And there’s this weird way that men see American women. For example, the whole engagement ring thing. Like, what the hell is that? You want the man to buy you? Is that what it means? There’s some cultural things there that are different being Danish. So, I didn’t really need to have girls to look up to in order to do what I did. That was the thing, I’m a person picking up an instrument. I’m not a gender, you know? It doesn’t matter for playing. I’ve been extremely lucky in that way. Of course, moving to the U.S, I started experiencing a lot of this basic sexism. But luckily, not in my formative years. But, who do I look up to today? Well, there’s not a lot of women in this business that are above even 30. Having a career doing this, there’s this idea that it’s only for young girls with bouncy body parts. Mine are more droopy than bouncy, but that happens with age. So, who do I have to look up to? What woman has done this, let’s say past 50 or 60? You’re getting down to less than five women, you know? There’s Dolly Parton. There’s Tina Turner, but that’s not a lot is it. So, I don’t really have anybody to look up to. 

“…even though I chose a career in music where it’s very male-dominated […], it didn’t hit me in the same way as it has for a lot of American girls who still have this weird way of seeing themselves.”

Well, you’re paving your own road and that’s part of what makes you such an icon. Also, thank you for calling me out: I told on myself and my own subconscious, culturally-ingrained thinking by asking that question, so I appreciate you discussing it a bit. The fact that you were raised in a culture that’s so much more progressive in regards to gender equality, I’m quite jealous of that. Poly Styrene from the X-Ray Spex once wrote about how she got into punk music because she thought it was this really inclusive creative space. But then once she got into it, she realized it was just as misogynistic as any other industry. Having that gender-neutral background, do you think that strong foundation helped you navigate the music business when you came over to the U.S.? Was there anything that surprised you about how you were treated over here?

Yeah, of course. And luckily for most things I just think they’re hilarious. Like, I actually enjoy standing on stage for a soundcheck and there will be some local sound engineer that will not communicate with me about what I need because I’m a woman. Like I don’t know any technical details of what I want in my monitors. They’ll communicate with Kim or Henrik like, “What does she want in her monitor?” And I’m just dying laughing because first of all, Kim and Henrik don’t know how to handle that situation at all. Because the last thing you want to do is fuck around with the local sound guy. That can ruin the night for everybody, you know? So, watching them trying to navigate this timebomb between them, dealing with it, and keeping on the good side of the local sound engineer and not having me either fucking die laughing or throw a fit, that’s always an entertaining moment. 

I don’t know if it helped me navigate anything. It’s like asking, “What’s it like being a woman?” I can’t answer that question. I have my own perspective. However, I was surprised when we went into recording the second album Bring it On! , Brett Purvis was producing it, and Brett was talking about [how] he was going to release a Suicide Girls DVD. And what I thought about that, again, this says something about how long ago it was, was, it’s weird because I have all my tattoos and all that. I didn’t want to be a sex object. I wanted to be one of the guys or whatever. It was considered very unfeminine to be heavily tattooed. And now, all of a sudden, it’s becoming sexual and objectified and I’m not sure I like that turn. Then Brett said, “Wow, you’re a feminist.” And I was like, “I didn’t know that was being feminist. I thought it was just not wanting to be objectified.” So that’s an example of, “Okay. What am I going to do in this situation?” Other than going like, “Well, that says more about you than it does about me.”

The HorrorPops have been together for nearly 25 years now, which is a feat for any band. What do you still love about creating with Kim and Henrik after all this time?

Well, our 25th anniversary is coming up in August. That’s when we started at the first practice, Kim, Henrik, and I. That’s how we started out, and we are truly the best of friends. Like, we were the best of friends and we’re all kind of like an old marriage. We all know what each other’s thinking. Half the time we’re laughing without even having to say what is making us laugh because we all know, you know? It’s so bad that people will say, “We don’t understand hanging out with you guys.” [Laughs] It’s not just the language barrier most of the time either. We’re just non-communicative because we just know. It’s very, to use a Danish word, hygge [ a quality of coziness and comfortable conviviality that engenders a feeling of contentment or well-being]. It’s very, very comfortable and homey to just be the three of us. It’s such a joy and personally, I could spend the rest of [my] life on the road with Kim and Henrik without it being any kind of a problem. I love them.  

That dynamic really translates. It genuinely seems like you three are always having the best time on stage.

We are! And we’re pointing and laughing at each other a lot . [Laughs] 

So, on this new release, there’s a little interview, and you were asked a question, but I wanted to re-ask you the same question because so much has happened over the last year and a half. The question was, why does the world need this type of art right now?

So, why do we need live music? I think COVID really answered that question for us. We need to be together in a room with a lot of people singing the same tune or you know, moving to the same beat. It’s just, what’s the word…primal. We just need that. As human beings, we connect on a different level when we are together with people that like the same music as we like. There’s just a connection. But why do we need HorrorPops as a live band right now? I don’t know. I hope somebody needs us to play. That would be nice. I cannot say that we have more to offer than any other live band, but that would be a question to our fans, not us. 

Between the HorrorPops and Kim’s other band the Nekromantix, there’s a lot of spooky and horror imagery present. Are you or any of the other band members fans of the genre?

First of all, if we’re talking horror movies, that’s definitely Nekroman’s department. And Niedermeier. There’s a generational shift between them too that’s interesting. Like, Nekroman loves all the, you know, the early horror movies— Suspiria , the ’70s and ’80s. Also, he’s into the end of the ’80s stuff where it’s what was then called splatter and where Evil Dead came from. But, I’m not into horror movies. They don’t do shit for me. I don’t need to get scared and I do get scared watching horror movies. I actually do jump and scream and pee my pants. I don’t find it funny. Horror is for people who have, I believe, a secure life where they haven’t experienced a lot of actual horror. But that’s just my personal theory. Now, if we are talking books, that’s definitely my department. Especially horror that crosses with sci-fi. Like, The Bible for example. No, I’m kidding. [Laughs] But if you’re talking Lovecraft, that’s more down my alley. 

So, right after this 2020 tour that we see on the Live at the Wiltern release, the world shut down due to COVID. As musicians, I imagine that had a huge impact on you and a lot of people that you know. How did the global pandemic end up impacting you and how did you all end up coping career-wise?  

It’s interesting because you’re asking that question in the past tense. 

Oh wow, you’re right. Yikes. I’m so sorry.  

It’s just that it’s not. It’s not past tense for us. Not for me personally anyways. The Nekromantix played a show right as California opened up and allowed outdoor shows. Like, two days later, he was on stage. Lucky him. But that doesn’t happen for a lot of people. For most musicians, they’re starting now to book shows, but tours usually book six months in advance, that’s just industry standard. So, you’ve got every fucking band at every level who wants to go out and play every venue. Plus, a lot of them have closed and have not survived. Then, the ones that have survived don’t have any personnel because they had to fire everybody. Now they’re having to rehire people for everything. So when a venue is ready to say, okay, we can start booking bands, it’s tough. 

Even six months from now when you start seeing shows, since everybody wants to play, every venue has at least a hundred bands each night to choose from. Each musician is in a hardcore competition with each other and the venues know that. And, they’re going to do everything they can to save money because they’ve had it fucking tough too. But that means the offers for bands to play are very, very low. So as a musician, when you do get the chance to come out and play again, you’re going to be playing for a lot less money. Now, the fan going into the show ain’t going to see a difference. They’re still going to pay the same ticket price as they did last time they went to a show. But the band now only gets maybe a third of what they used to because the venues need to make that profit. And there’s a whole thing about that that pisses me off. 

Long story short, the venues asked fans to please help out in this crisis. Asked musicians, “Please help us.” There was this whole thing called Save Our Stages. I don’t know if you’ve read about it or heard about it, but that was a thing. So, every band that could did a live stream or whatever and made fans donate. Right. So now business is coming back. Now, every venue that’s out there—including venues that were asking musicians to help—now these venues are putting in clauses into the contracts saying basically, if tickets don’t sell as they were expected to, they can cut whatever fee. So now there’s nothing called a ‘guarantee.’ You’re not guaranteed any kind of pay any longer as a musician. You can be having to drive a thousand miles across the country to play a show and you don’t know what you’re going to get paid. It can be nothing. 

Yeah, that’s messed up.

It’s so messed up. But, there’s so much of this industry that…oh, it makes me so angry. And I guess that was the reason why I needed a break from it. Because I’ve always been very heavily involved in everything that we did. We never had managers or management of anything. I’ve done it all. Which then means I dealt with all these assholes taking advantage. It makes me so tired. Another example is that most fans don’t know, and I wish more people were aware, that every venue that a band plays charges 20% minimum for the band to sell their t-shirts. Now, that 20% is before costs. So the whole cost of the shirt or whatever is on the band. I mean, the venues are actually making more per shirt sold than each member in the band is making per shirt sold. That’s just how the industry worlds.      

I’m really glad you’re talking about this. I think fans deserve to know where their money is going. 

Yeah. But I mean, there’s not a musician’s union and it’s the name of the game. Everybody’s competing with each other, so there’s not really going to be any chance. All the venues can figure it out together and band together to make an industry standard, but we musicians can’t because we’re hungry. We’ll take whatever we can get. So, we always end up fucking ourselves. That’s just the name of the game I guess. 

The HorrorPops Live at the Wiltern is out now. You can purchase the Blu-ray/DVD and CD set via MVD Entertainment Group or snag a limited vinyl version of the release from Cleopatra Records. Rue Morgue is also giving readers a chance to win a copy for FREE! Click here for further details. 

Subscribe today to win a copy of Horrorpops – Live at the Wiltern Blu-ray/DVD courtesy of MVD Entertainment Group and Cleopatra!

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Horrorpops Tour Dates

So far there haven't been any upcoming Horrorpops concerts or tours planned for America. Sign up for our Concert Tracker to get alerts when Horrorpops shows have been planned to the itinerary. Follow us on Twitter @ConcertFix for announcements regarding Horrorpops. In the meantime, take a look at other Pop / Rock performances coming up by Clive Bunker , Jason D. Williams , and The Struts .

Horrorpops Concert Schedule

No events =(, about horrorpops tour albums.

Horrorpops arrived on to the Pop / Rock scene with the release of tour album "Bring It On!", released on N/A. The song instantly became a success and made Horrorpops one of the newest great concerts to experience. After the debut of "Bring It On!", Horrorpops revealed "Hell Yeah" on N/A. The album "Hell Yeah" is still one of the higly regarded tour albums from Horrorpops. The Tour Albums three top tunes included , , and and are a crowd pleaser at every concert. Horrorpops has published 5 more tour albums since "Hell Yeah". After 0 years of albums, Horrorpops best tour album has been "Bring It On!" and some of the top concert songs are , , and .

Horrorpops Tour Albums and Songs

Horrorpops: Bring It On!

• Freaks in Uniforms
• Bring It On!
• It's Been So Long
• Crawl Straight Home
• Walk Like a Zombie
• Where You Can't Follow
• Caught in a Blonde

Horrorpops: Hell Yeah

Horrorpops: Kiss Kiss Kill Kill

• Thelma & Louise
• Heading for the Disco?
• Kiss Kiss Kill Kill
• Everything's everything
• Hitchcock Starlet
• Horrorbeach, Part II
• Copenhagen Refugee
• Keep My Picture!
• Private Hall of Shame

Horrorpops: Hell Yeah!

• Drama Queen
• Girl in a Cage
• Where They Wander
• Kool Flattop
• Psychobitches Outta ...
• Dotted With Hearts
• Baby Lou Tattoo
• What's Under My Bed
• Emotional Abuse

Horrorpops: Bring It on

Horrorpops concert tour questions & comments, horrorpops tour and concert ticket information.

• Concert schedules for all Horrorpops concerts are revised constantly.
• Sold Out concerts will not be a problem, we always have terrific seats.
• Horrorpops concert schedule has finally been announced.
• Tickets for the future Horrorpops concert can be found here.
• Concert schedule for Horrorpops is located on top.

Horrorpops could be coming to a city near you. Check out the Horrorpops schedule just above and press the ticket link to checkout our big selection of tickets. Check out our selection of Horrorpops front row tickets, luxury boxes and VIP tickets. Once you track down the Horrorpops tickets you want, you can purchase your tickets from our safe and secure checkout. Orders taken before 5pm are generally shipped within the same business day. To purchase last minute Horrorpops tickets, look for the eTickets that can be downloaded instantly.

Horrorpops Top Tour Album

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THE WHO'S TOMMY To End Broadway Run In July; National Tour To Launch in 2025

The National Tour launches at the Providence Performing Arts Center (PPAC) in Providence, RI in the Fall of 2025.

The critically acclaimed production of The Who’s TOMMY will play its final performance on Broadway July 21. The National Tour launches at the Providence Performing Arts Center (PPAC) in Providence, RI in the Fall of 2025.

LATEST NEWS

The Who’s TOMMY opened on March 28, 2024 (previews began March 8, 2024), and as of July 21, will have played 20 previews and 132 regular performances at the Nederlander Theatre (208 West 41st Street).

Three decades after the epic pop-culture musical theatre sensation first bowed on Broadway, original Tony Award®-winning creators  Pete Townshend  (music, lyrics, book) and  Des McAnuff  (direction, book) have reunited to bring the story of Tommy Walker to today’s audiences.

The cast of The Who’s TOMMY features Ali Louis Bourzgui as Tommy, Alison Luff  as Mrs. Walker,  Adam Jacobs  as Captain Walker,  John Ambrosino  as Uncle Ernie,  Bobby Conte  as Cousin Kevin, and  Christina Sajous  as The Acid Queen. Completing the cast are  Haley Gustafson , Jeremiah Alsop ,  Ronnie S. Bowman Jr.,  Mike Cannon ,  Tyler James Eisenreich ,  Sheldon Henry ,  Afra Hines ,  Aliah James ,  David Paul Kidder, Tassy Kirbas,  Lily Kren , Quinten Kusheba,  Reese Levine ,  Brett Michael Lockley , Nathan Lucrezio,  Alexandra Matteo ,  Mark Mitrano ,  Reagan Pender ,  Cecilia Ann Popp ,  Daniel Quadrino ,  Olive Ross-Kline , Jenna Nicole Schoen , Dee Tomasetta, and  Andrew Tufano .

Myth and spectacle combine in The Who’s exhilarating 1969 rock opera, TOMMY—including the unforgettable anthems “I’m Free,” “See Me, Feel Me,” “Sensation” and “Pinball Wizard.” After witnessing his father shoot his rival, the young Tommy Walker is lost in the universe, endlessly and obsessively staring into the mirror. An innate knack for pinball catapults him from reticent adolescent to celebrity savior. 

In addition to Pete Townshend and Des McAnuff , The Who’s TOMMY creative team includes choreographer  Lorin Latarro , music supervision and additional arrangements by  Ron Melrose , music direction set design by David Korins, projection design by  Peter Nigrini , costume design by  Sarafina Bush , lighting design by  Amanda Zieve , sound design by  Gareth Owen , additional orchestrations by  Rick Fox , orchestrations by Steve Margoshes, and wig and hair design by  Charles LaPointe . Casting is by  Tara Rubin Casting/ Merri Sugarman , CSA. Additional Chicago Casting by  Lauren Port, CSA and  Rachael Jimenez, CSA .  Tripp Phillips  is the Production Stage Manager and Bespoke Theatricals is General Manager. 

The Who’s TOMMY is produced on Broadway by  Stephen Gabriel  and Ira Pittelman. Co-Producers include  Sue Gilad & Larry Rogowsky, Mary Maggio & Scott Abrams , Tom Tuft and Glenn Fuhrman, Batman Harris/Elliott Cornelious, Laura Matalon /Spencer Waller, Richard Winkler , Sheldon Stone , FireMused Productions/ Stone Arch Theatricals , LeonoffFedermanWolofsky Productions/Koenigsberg Batchelder, Roy Putrino /Narang Moran, Rich Martino , Aged in Wood /Lee Sachs, Paul and Margaret Liljenquist, R and R Productions, Marla McNally Phillips , Merrie Robin, O'Neill Snow, Work Light Productions, Nederlander Presentations, Independent Presenters Network , John Gore Organization, Palomino Performing Arts, Wavelength Productions, Robert Nederlander, Jr., Botwin Ignal Dawson, Jamie deRoy, Betsy Dollinger , Stacey Woolf Feinberg, Gold Weinstein, Tyce Green , Jenen Rubin, Jim Kierstead , Marco Santarelli , Nancy Timmers, Thomas B. McGrath, Olympus Theatricals , and Goodman Theatre.

Nominated for the Tony Award for Best Musical Revival on Broadway, The Goodman production of The Who’s TOMMY, which opened in 2023, won 9 Joseph Jefferson “Jeff” Awards, the most for any show this season, including Best Director for Des McAnuff and Best Production.

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Where to watch movies for free in Moscow this summer

People watching a movie in a Pioner 24-hour open-air cinema in Gorky Park.

Temporary cinemas will be popping up across Moscow very soon, starting from July 16. All of the spots are brilliant examples of either constructivist or avant-garde architecture, so expect striking settings. A selection of classic Soviet films will be aired using cinematic equipment from the last century. All the screenings are free although online registration is required beforehand, while there will also be guided tours of the spaces, organized by the “Moscow through the Engineer's Eyes” company.

Registration will be open soon at mos-kino.ru

Bread factory

Following the success of former factories transformed into art spaces (VinZavod, Arma, Trekhgornaya manufacture), Khlebzavod (“bread factory”) No 9 is one newly opened joint that is attracting creative types from all over the city. The movie Time! Forward! will be screened in the building’s boiler room on July 16. It follows workers from the Magnitogorsk Iron and Steel Works, one of the largest steel companies in Russia, and is based on a novel by Soviet writer Valentin Kataev.

What’s more, Khlebzavod is a monument to constructivist architecture. Where better to watch such a film?

Novodmitrovskaya St. 1

Roof of the Narkomfin Building

The Narkomfin Building was originally designed to house high ranking employees at the Commissariat of Finance. It was built by architects Moisei Ginsburg and Ignaty Milinis. Also a fine example of constructivism, it’s currently in a state of disrepair, locked down, and fairly difficult to get into - which is like a red flag to a bull for more adventurous types.

However, on July 30 the place will be opened up and people will be welcomed onto the roof to watch the film Faith and Truth.

Novinsky Blvrd . 25b1

Khrushchyovka courtyard

A courtyard located in the 9th experimental block of the Novye Cheremushki district will turn into an outdoor cinema this summer. Cheremushki is the first district where Soviet leader Nikita Khrushchyov decided to build the iconic Khrushchyovka apartment blocks in the 1950s. As a result, thousands of Russians were given their own pads after decades living huddled together in communal apartments known as kommunalka .

Cheremushki is the adapted film-version of Dmitry Shostakovich’s operetta and will be shown here on Aug. 6. The organizers of the multiple screenings - the Moskino cinema chain - say they will revive the Soviet tradition of neighbors meeting in courtyards for a good old tongue wag. There will also be a guided tour of the block.

Address to be confirmed at mos-kino.ru

Pioneers Palace

If you want a slice of the postwar Soviet avant-garde style, head to the Pioneers Palace at Vorobyevy Gory. Pioneers Palaces were youth centers for sport, creativity, and hobbies for Young Pioneers (a communist organization for children) during the Soviet Union. There were dance classes, martial arts, drawing, and many other activities.

To Love a Man , a movie about two young architects building a new town in Siberia, will be shown here on Aug. 22. There will also be a lecture about building experiments in the 20th century.

Kosygina St. 17b2

A secret place

The last cinema venue remains a secret. On Aug. 27 there will be a screening, but at the moment no one knows where. Information will appear on mos-kino.ru but those who attend all four screenings above will be able to guess the last location.

A talk about architecture and Soviet history also will be hosted here.

Read more: Relics of Constructivist Architecture in post-Soviet countries

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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• Electrostal History and Art Museum

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