THEATRE GOSSIP #566: Regional Theatre Survivor Edition

The season choices, naturally.

[quote]Sondheim toyed with doing a musical where sitcom characters converged and it turned into Into The Woods. So would an I Love Lucy musical succeed?

I can't wait for Ethel's big 11 o'clock number: "I Have Sufficient!"

Thanks, OP.

Watching Joseph at a local theater, could a broadway Joseph be successful with a boy bander like harry styles or someone like that? Isn’t that how the Brit’s do it?

[quote]Isn’t that how the Brit’s do it?

Oh, dear.

It's worked pretty well in the past, R4, even if we weren't exactly "boy banders."

David Archuleta also did Joseph in Utah to good reviews and would be a good idea for a Broadway revival.

And there's Nick Jonas who plays Frankie Valli in the screen capture of Jersey Boys if the Dodgers can ever get anyone to buy it.

Somebody find something for Marcia Gay Harden

Joseph was at its best when it was 17 minutes long and sung by a children's school choir.

[quote]Somebody find something for Marcia Gay Harden

MAME!

Hey DL can you please help me find that article from maybe a year or so ago that was a satire of a typical post-pandemic regional theatre season? It was pithy and pointed and widely circulated and my Google skills are not getting the job done.

R12 - not familiar with the article, but it sounds like something McSweeney's would publish?

I miss driving up to Williamstown for quality theatre. Niko may have been a controlling asshat, but he knew how to run a successful theatre. in the late 70's, the Second Company was stocked with actors like Amanda Plummer, Brian Benben, Jamie Sheridan, and Isaiah Whitlock, Jr. I watched Amanda in Midsummer Night's Dream while sitting next to her Mom.

This season's challenge: Can you survive without presenting a jukebox musical?

Okay, start a list. What are all the jukebox musicals out there right now you can get the rights to. There's Ain't Misbehavin'...

R15-The Prince musical is coming, and there's talk of a James Taylor musical, but he refuses to allow it. Then there's the fucking Dolly musical.

There's the Louis Armstrong musical, which will play at Studio 54.

Beautiful is available. One of our local theatres is doing it next month. I saw the original production and wasn't impressed. I don't think I have the fortitude to sit through a semi-pro take.

"Jersey Boys" is playing everywhere but Jersey next season.

Time's running out, Joni.

Community theaters across America are doing "Beautiful". That's how simple it is.

Oh for chrissakes, I had Tapestry, I had Music...but I have no interest in seeing Beautiful.

Uh, r20, Paper Mill is kicking off their season with JERSEY BOYS. Can't get more Jersey than that.

At least, with the decline in the artistry of the American musical we are getting exciting new plays on Broadway now.

Which will run for a season and wither.

That's a good thing, r26. Better that these theaters should get something new every season.

Joni had a jukebox show in LA decades ago. Hinton Battle and Ren Woods were both in it and Joni singled them out for their performances. She also said she became interested in writing a musical after seeing it.

Marcia Gay Harden *IS* Tuesday night Madame Rose!

Marcia Gay Harden and Alyssa Milano in The Rink at the Totem Pole Playhouse

Who's the hottest actor in Stereophonic?

R31 - Christ Stack, who plays the British drummer of the band. In one (partially) shirtless scene he also gives a glimpse of a surprisingly nice body. His accent work is pretty flawless. I thought he was British. I think he's a touch older than the other members of the cast?

A report from London about last night’s performance of HELLO, DOLLY!:

“This is not a revival of HELLO, DOLLY! but a production of a new version based on HELLO, DOLLY!. It has been quite extensively re-written. Starts with Dolly on her own in her room….and so on.”

Leave it to Imelda to drain all the fun out of "Hello, Dolly!" R33.

What good is Dolly, all alone in her room?

Having just finished reading Mel Gussow’s excellent biography of Edward Albee, I have another question: How did the Tony-nominating committee of 2018 determine that Three Tall Women, which had never been produced on Broadway before, was a revival? Given the history of the play (no one would touch it for Broadway) and the playwright’s emergence from Off-Broadway theatre to Broadway where for the next 20 odd years, he offered almost exclusively experimental, boundary pushing works, it seems strange that they would “imagine” something had happened that didn’t. (Almost in keeping with Albee’s own work.) Notably, this was two years after Albee’s death. I suspect had he been alive, he wouldn’t have allowed it.

The Tony Aware committee rules on whether a work is a classic, even if the show is receiving its first Broadway production. This has been in place since 2002. Recently, Appropriate was determined a revival under this rule.

Tony Award! Though Tony Aware is probably just as true.

R32, agreed. Chris Stack is definitely the best looking with a great body.

More Chris Stack.

In the old days of After Dark magazine the males of Stereophonic might have all posed semi-nude on the cover, showing their asses or a hint of bush.

Thanks, R37!

What was the cast 5hat did that? The Good News revival, wasn’t it? And Harvey Evans showed almost everything for another After Dark cover.

Also, the cast of THE CHANGING ROOM. Probably some others, too, it was a fairly regular After Dark feature.

,,,,,,

.....

......

Those theatreboard.com reviews of Imelda and DOLLY are fairly ecstatic so far. I really wish I was in London now to see it. But the reviews (or chat as I should rightly call it) are so good I can only think there will be a West End transfer and I'll catch it this fall when I can return.

So far, only a brief unflattering mention of the new DEVIL WEARS PRADA, which also began previews last night, on the same board.

I do love reading that site. It's so easy to maneuver through it (no ads!!) unlike the horrific BroadwayWorld.com chat board.

And speaking of the BWW chat board, has anyone checked in on the chat from Chicago's run of MIDNIGHT IN THE GARDEN OF GOOD AND EVIL? Oh dear. Seems like they left off all the GOOD.

Does Imelda clack her dentures and pop her eyes out of her head?

Of course - she always does.

I guess Jerry Herman's estate doesn't give a hoot if the properties are mangled.

R39 R40 R41

Soul Train is coming

R51....

The thing about Imelda is her reviews are always amazing and people say she is “brilliant”

Then we watch the films of Gypsy and Follies and her performances are mannered and as if she had just been diagnosed with Down’s syndrome prior to taking places.

So which is it?

It’s Down syndrome and it’s not funny.

Lesley Anne Down Syndrome.

You bitches have always hated Imelda Staunton because she dared to play Rose in Gypsy as something other than the torturous, cringeworthy, unwatchable psychodrama you NY theatre queens wet your pants over.

Get some therapy already.

R57, what was the Staunton GYPSY if *not* torturous, cringeworthy and unwatchable? DL tears into Betty Buckley's Rose as humorless -- Staunton makes BB look like the laugh riot of all time.

R54 “just been diagnosed with Down’s syndrome before taking places”? Really.

Not only is that a hateful way to insult disabled people, it also indicates you know nothing about how DS works.

I wouldn’t be casting aspersions on other people’s intelligence if I were you.

Bye Merrily!!!

R59 talk about humorless.

James Corden delayed the start of the play he's in to watch the end of a soccer match

R62 Jesus wept.

Will the birth of Lindsay's baby be front=page news?

What if the baby keeps calling out?

Could you imagine if the late, great Diana Rigg had been in that play? She would have smacked that fat fuck six ways to Sunday.

[quote]She would have smacked that fat fuck six ways to Sunday.

In her Emma Peel black leather.

It sounds like the audience and cast were on board with Corden’s stunt. Lighten up.

Picture them as a cheeky After Dark cover. Very mid-70s.

There was a recent two-part episode of Freakonomics that focused on the economics behind mounting Stereophonic on Broadway. REALLY interesting deep dive into the business side (with plenty of insights on the artistic, too.) I was surprised that the actors revealed their salaries on the podcast, too.

How much do the actors make, R70?

R71 - I'll answer. But....

SPOILER WARNING FOR ANYONE WHO WANTS TO LISTEN TO THE PODCAST ....

....THERE...

...I...

...WARNED...

...YOU!

$5,000/wk on Broadway, which they negotiated for collectively. That's gross, obviously. The actor who plays Peter said he estimated his actual take home (after taxes, representation etc.) is in the mid $2000s/wk. One of the producers interviewed noted that the actors would also get a kick-back of B.O. once certain targets were hit, but they didn't specify what those were or how realistic hitting them was.

Fuck off, R68, I missed me last train to Scunthorpe!

[quote]Will the birth of Lindsay's baby be front=page news?

Doubtful. But it's sure to generate more tiresome Lindsay Mendez snark on DL.

The cunt deserves it.

R72-You forget, if actors are also playing their own instruments, they get paid extra for that too. Not to mention their royalties from sales online of the cast album. Any actor who doubles as a musician gets extra. As ofr down the line, I hope they negotiated a nice package from the future productions of the play as well.

[quote]Although I don't think Jinx's "Somewhere That's Green" sounded so bad, I suppose we can all agree that she's much better casting as Mary Sunshine than as Audrey, for very obvious reasons.

Jinkx Monsoon, "One Day More" — MISCAST24 even the onstage cast is loving it.

ooops....

That Jinkx “One Day More”is pretty wonderful.

I liked it better when Cher sang all the characters in West Side Story.

Ok Jinkx that’s pretty awesome

I want Jinkx to do a one-person Follies. She can be a Sally AND a Phyllis!

I want Jinkx to stop whipping it out and pissing on musical theater.

[quote]I want Jinkx to stop whipping it out and pissing on musical theater.

The audience loved it, the cast on stage loved it and the YouTuber commenters loved it. OK then.

Tiny Tim did it first.

But worse.

[quote] if actors are also playing their own instruments, they get paid extra for that too.

They're not, R72. The only actual actor/musician among the actors is Chris Stack, and those probably aren't his drums.,

YAY to all of these!

[quote] The audience loved it, the cast on stage loved it and the YouTuber commenters loved it. OK then.—It's YOU.

The only one with good taste? Ok, I'll accept that.

Damn. Into the Schmoods could have been the best season yet.

Joseph Hardy Dies: Tony-Winning Broadway Director, Exec Producer Of ‘Ryan’s Hope’ Was 95:

More about the Into the Schmoods season of Schmigadoon which unfortunately won’t make it to production:

Loved season one of Schmigadoon, especially the “Corn Puddin’” number. I thought the humor and songs were inferior in season two. Jane Krakowski was great in season two, though.

Ana Gasteyer and Brooks Ashmanskas new cast in Mattress.

I think I read that Harriet Harris has signed on to some hot series (or maybe it was just the Frasier reboot?) so was unavailable for the MATTRESS move.

Ana's a great substitute.

r96

that would make sense

I think all of the new cast members announced for MATTRESS are excellent choices, every single one of them.

But Cheyenne is giving up a Broadway hit credit!

The MATTRESS producers must have offered those actors REALLY shitty deals.

At least Brooks Ashmanskas will only be able to overact silently.

The Wizard isn't silent, the king is.

Jinx did not play Mary Sunshine.

Mama Morton.

[quote]The MATTRESS producers must have offered those actors REALLY shitty deals.

Why do you say that? And are you saying that the actors who replaced the originals all accepted shitty deals?

It’s sweet that Once Upon A Mattress is coming back to Broadway but with this casting announcement sadly it is inevitable it will be a flop. SJP wasn’t the huge star she was in the 00s (or is?) but even then, 30 years ago, nobody cared. Sutton is fine but there needs to be a big name somewhere else and Ana Gasteyer ain’t it.

Yes, r105, that's what I'm saying. They lost 4 (or 5?) of their original Encores actors because of shitty offers.

Okay, R107. You seem to have inside info, so I'll take your word for it. But if what you say is true, then I would say the actors they got to replace the originals despite such shitty offers are very impressive.

Come back to the Five and Dime, Charlotte d’Amboise, Charlotte d’Amboise.

I Did it For You, Laura Linney.

‘Merrily’ Goes Out On A High, ‘Mary’ Arrives Big – Broadway Box Office:

Someone up thread claimed the actors in Stereophonic are not actually playing the instruments. That is patently false. They hired actors with experience as musicians and also got them dedicated music lessons during the Off-Broadway rehearsal period.

Someone also claimed they get paid double as actor/musicians. That's an interesting one. Are we SURE that applies to plays, as opposed to musicals? I ask because there was ZERO mention of them being doubly compensated in that Freakonomics episode on the economics behind Stereophonic. Unless their negotiated $5k/wk salary is inclusive of acting and musician fees.

R112, Will Brill had no previous experience with an instrument. I don't know that Pecinka did, either. One of the women could play keyboards. There was someone to help show Brill, for instance, how to believably hold it. There's a professional musician playing for them as well. Stack is the only actor who had proficiency with a music al instrument.

[quote]It’s sweet that Once Upon A Mattress is coming back to Broadway but with this casting announcement sadly it is inevitable it will be a flop. SJP wasn’t the huge star she was in the 00s (or is?) but even then, 30 years ago, nobody cared.

Once Upon A Mattress needs a clown actress like Carol Burnett. (Lucille Ball could have done it in her younger days). Sarah Jessica Parker did not have that quality. I think Sutton is not right for it either, but we’ll see. But the role needs someone who is not just musical comedy but has the physical comedy skills.

R113 - do you have a source for this information? I ask because, if what you say is true, you're also basically saying the actors were lying in the interview when they discussed their rehearsal process / band practice and described playing and singing live in the show. Also, why aren't these mystery musicians credited in the Playbill or on the website? I don't think the musicians union would allow that. I'm not saying you're definitely wrong, I'm just asking for a source on this information. I understand that things aren't always what they seem in the theatre. For example, I know that all of the actors playing Fela Kuti in FELA! were miming to the real saxophonist playing in the on stage band (aka members of Antibalas.) But, FELA! never hid this information.

Merrily's closing week made it the top earner last week and set another record for the Hudson Theatre and for Sondheim musicals. I wonder if it's close to a record for a non-holiday week in general, too.

One presumes Daniel Radcliffe was earning a % of B.O. Hopefully Groff and Mendez's agents negotiated the back end for them, too. (Though, maybe only for the performances Mendez actually showed up for?)

[quote]Maria Friedman's Tony Award-winning Best Revival of Stephen Sondheim and George Furth's masterwork MERRILY WE ROLL ALONG ended its historic run on Broadway on Sunday, July 7, 2024, once again shattering the Hudson Theatre box office record for the tenth and final time with a gross of $2,766,127.00, marking the highest grossing week ever for a Stephen Sondheim musical on Broadway.

Patti LuPone got paid extra for playing the tuba in Sweeney Todd???

Funny thing, R114 -- when I saw Sutton Foster in a MILLIE preview, one of my first thoughts was that she reminded me of Carol Burnett, specifically because of her physical skill. As I recall, she got raves for MATTRESS at Encores!, and it makes perfect sense to me.

[quote]As I recall, she got raves for MATTRESS at Encores!,

Encores is a very different situation. She had, what, six performances? She will have to do the same physical shtick eight shows a week for the next six months.

And I don’t know why Sutton in Millie would remind you of Carol Burnett. Carol is the queen of mugging (no insult there, she made it work as Eunice and Nora Desmond and several other characters).

[quote]r119 = She will have to do the same physical shtick eight shows a week for the next six months.

You may not be aware of this, r119, but Sutton is a dancer. She'd have no problem with that.

[quote]Sutton is a dancer. She'd have no problem with that.

Is she going to use her Edith Bunker voice like she did in Sweeney Todd?

The role is difficult because the actress has to get up on that pile of mattresses and make the going to sleep bit funny. It doesn’t matter that she was a dancer or singer or actress. She has to be physically funny on the level of Lucille Ball or Carol Burnett.

Fine, r121, whatever...have it your way.

Most of the cast of of "Bandstand" played their own instruments as well--no?

All three leads of Merrily received a percentage of box office, Some supporting actors also received percentages.

[quote]Once Upon A Mattress needs a clown actress like Carol Burnett. (Lucille Ball could have done it in her younger days). Sarah Jessica Parker did not have that quality. I think Sutton is not right for it either, but we’ll see. But the role needs someone who is not just musical comedy but has the physical comedy skills.

How was Tracey Ullman in the 2005 TV adaptation?

Carol Burnett played Queen Aggravain that time.

Both Sutton and Michael Urie were hilarious in the Encores production. All the ad lib type physical stuff were the best things about the show. Unfortunately, the book rewrites, IMO, sucked.

R124 - interesting. Not that I don't support actors earning the best that they can, but surprised to hear any of the supporting cast in Merrily received any percentages. They are total no names and, frankly, many of them were plain bad. The three leads were far stronger than the ensemble.

Young Liza should have done Mattress. In fact, it's pretty perfect casting.

[quote]Merrily's closing week made it the top earner last week and set another record for the Hudson Theatre and for Sondheim musicals.

Yes, we know. This news was trumpeted in YET ANOTHER press release about how the show "shattering" box office records. Yet there was not a single press release ever issued to give any explanation for Lindsay Mendez's chronic absences. And yes, of course I know press agents are paid to emphasize the positive and ignore the negative, but it's still annoying and dishonest.

The idiot above who keeps repeating "we'll see, we'll see" regarding Sutton Foster in ONCE UPON A MATTRESS insists on downplaying the fact that Foster did the show to rave reviews, ecstatic audience response, and sold-out houses for two weeks at Encores! Sorry, bucko, I think it's fair to say that we have already seen, and will see again.

[quote][R124] - interesting. Not that I don't support actors earning the best that they can, but surprised to hear any of the supporting cast in Merrily received any percentages. They are total no names and, frankly, many of them were plain bad. The three leads were far stronger than the ensemble.

It's called communism, where every actor gets paid the same regardless of talent or popularity.

[quote]Yet there was not a single press release ever issued to give any explanation for Lindsay Mendez's chronic absences.

You aren't *ever* going to get over it, are you, r129?

I say bravo communism.

R115, it was my understanding that Brill has no background as a musician. Ditto at least two of the others. I never suggested nor said any one of them was lying. And I never said anything about them as singers. Clearly they all sing.

There was a musician who appeared with the cast on Seth Meyers and played along with them. Watch it.

[quote]—Marc Blitzstein with a nickel underfoot

Featuring DL fave Vivian Vance and the gay commie Will Geer as husband and wife.

Today was the first day since February 5, 1979, that neither an Andrew Lloyd Webber nor a Stephen Sondheim show was playing on Broadway.

If I never see another production photo from that ugly MERRILY, I will be a happy eldergay. Or read about it.

Sooooooooooooo ugly. Good riddance.

r136

Hal Prince as well though not as long

Give me at least a week, R132. I don't think that's too much to ask

R48

I saw opening night of “Midnight in the Garden…” last night.

Truly atrocious - i think Taylor Mac’s inchoate book is mostly to blame, but the direction is lacking & Brown’s score is forgettable.

Boggess is funny & sings well.

Guy playing Jim Williams is charming

Ghee is allowed to suck all the oxygen out of the room.

Taylor Mac hasn't got the talent of both Landers sisters combined. What a fucking joke.

Taylor Mac wrote a play called Gary that sucked.

[quote]Most of the cast of of "Bandstand" played their own instruments as well--no?

Yes, r123, most of the cast were proficient musicians. One of them was a musician who subbed in in the final weeks of tech when the original actor was involved in a car accident.

The sole exception was Corey (sp?) Cott, who I think had to learn to play piano for the role - but he did his own playing in the show.

I hope MIDNIGHT IN THE GARDEN... finally puts to rest this ridiculous notion that Rob Ashford is a director.

Ashford has been kicking MIDNIGHT around for years and years. A friend of mine played the hustler in workshops 10 years ago, when the book was by Alfred Uhry and the cast included Roger Rees and Leslie Uggams (!). Can't remember whether JRB was on board back then.

[quote]I hope MIDNIGHT IN THE GARDEN... finally puts to rest this ridiculous notion that Rob Ashford is a director.

Let us pray!

I would like the negotiate Groff's back end - and I'm not even an agent.

I'm sure they'll be announcing a "Merrily" revival any day now.

Where's the taped version going, Netflix, PBS?

Anyone see Oh, Mary on Broadway yet? Wondering how the transfer is.

I don’t think there’s any reason for the completion of the movie version of Merrily. It’s irrelevant now,

And I will be really so completely dead when it does.

R151, it's a great concept. They'll complete it, even if a principle dies.

[quote][R151], it's a great concept. They'll complete it, even if a principle dies.

How will they do that? (And it's "principal.")

[quote]I don’t think there’s any reason for the completion of the movie version of Merrily. It’s irrelevant now,

Well, the video capture of the recent production will suffer greatly from the ugliness and boredom of the sets, such as they were. A movie of MERRILY would be nice if it were well done, because I think the piece would benefit greatly from having a real sense of these three people's lives passing in different locations over a period of 20 years.

Also, I cringe to think how some of the very broad supporting performances in the recent production will come across on screen, especially the ridiculous overacting of that woman who played Gussie

I hope Merrily does a tour. I saw it at NY theatre workshop and on Broadway…but my family didn’t see it and I would love for them to see this!

Well, R155, if MERRILY does tour, of course it will not have Groff, Radcliffe, or Mendez in it. So your family will have a choice of (1) seeing this so-so production without the stars who made it into an event, or (2) watching the video capture of the production with all three of those stars (because Mendez did show up for the video capture even though she missed SO MANY performances).

I'm sure flyover country is waiting with bated breath for the touring production of Merrily, starring Richard Thomas, Chris Colfer and Donna McKechnie

[quote]Today was the first day since February 5, 1979, that neither an Andrew Lloyd Webber nor a Stephen Sondheim show was playing on Broadway.

I can't relate.

[quote](because Mendez did show up for the video capture even though she missed SO MANY performances).

She missed a lot of performances? I had no idea.

I think all the slacker Lindsay threads were deleted because Muriel has a similar work attendance record and was getting pissed off.

How could any of us judge Muriel's "attendance record?"

[quote]Anyone see Oh, Mary on Broadway yet? Wondering how the transfer is.

I saw it downtown and just saw it on Broadway. It's still the same great time. They didn't change much, besides punching up the production values in a few key places. And I think there was a bit more musical underscoring than there was downtown.

Thanks, R162.

I disagree vehemently with the notion that MERRILY could be improved as film.

As a film with realistic locations, actors realistically ageing and hordes of extras it will only become a misanthropic soap opera with a few good songs.

It was written for the stage, and always be meant to be on a stage.

Look, the movie of Merrily has Ben Platt and Beanie Feldstein as Charlie and Mary. On that basis alone, it should be canceled.

[quote]Look, the movie of Merrily has Ben Platt and Beanie Feldstein as Charlie and Mary. On that basis alone, it should be canceled.

I don’t understand why Paul agreed to be in the picture with them. Neither has a face for the big screen.

If this movie gets released, I wonder if it will be as bad as A Little Night Music?

Well, in fairness, R166, neither Mary or Charley need to be beauties. That said, I have absolutely no desire to see, or hear, Beanie Feldstein as Mary Flynn on screen or on stage.

Hey, r166, A Little Night Music was "the most stylish movie musical since Gigi."

R164, I guess I can understand why you would say that, but I do think a film with the characters realistically aging, realistic locations, and a real sense of the passage of time MIGHT work very well. I also think those elements might actually decrease the soap-operaish elements of the piece, because it would give us more of a sense of the characters as part of the world at large, rather than focusing completely on their life dramas.

[quote]A Little Night Music was "the most stylish movie musical since Gigi."

Elizabeth Taylor’s off key singing made everyone deaf, so it was nice they had something to look at.

Now with AI in ascendancy, maybe they’ll “Marni Nixon” that movie and rerelease it.

I think Beanie is perfect as Mary always pining for someone(or something that she will never achieve)

[quote]I think Beanie is perfect as Mary always pining for someone(or something that she will never achieve)

But this Mary isn’t pining for Franklin. She’s more of a Gussie girl.

I would not complain if the Merrily pro-shot showed up on Great Performances on PBS. Throw its three remaining supporters a bone, producers!

r169, we will just have to agree to disagree, but I could point to an endless list of hit Broadway musicals from the 1950s to the present that failed as films, often because the realism of film did not meld kindly with the wonderment of live performance and the convention of real people breaking into song (and dance).

Of course, there have been exceptions, but few and far between. And Merrily sure doesn't seem like easily adaptable material under any circumstances.

The London production of "Merrily," which is supposedly pretty much the same as the Groff-Radcliff-Mendez version, was filmed shown in theaters. It's also availabe for streaming. Different actors, of course, but same director and concept, as far as I know.

If it’s shown on PBS, they won’t get any of the profits. I bet they shop it to Netflix, Apple or Hulu.

As much as I enjoyed the Beanie-bashing with FG, I can't forget how charming she was in Lady Bird and other films. So I'll bet she'll be just fine in MERRILY. But I too will be long dead when it's released.

[quote]I could point to an endless list of hit Broadway musicals from the 1950s to the present that failed as films, often because the realism of film did not meld kindly with the wonderment of live performance and the convention of real people breaking into song (and dance).

So could I, but as you yourself noted, there are exceptions. MAJOR exceptions. Like OKLAHOMA!, THE KING AND I, THE MUSIC MAN, WEST SIDE STORY, THE SOUND OF MUSIC, MY FAIR LADY, FUNNY GIRL, OLIVER! and several others. I would argue that if even ONE film version of a Broadway musical can be wonderfully successful -- and, obviously, there have been far more than one that fit that description -- then that alone would prove it can be done if it's done with skill and talent. In my opinion, there's nothing wrong with the film medium per se as a medium for adaptations of stage musicals, even though admittedly so many of those adaptations were royally screwed up.

For sentimental reasons, I think of Meet in St. Louis as the as the perfect movie musical (not a stage adaptation though). Of course I also love Till the Clouds Roll By.

Grease is proof that a director can take mediocre material and turn it into a hit.

Mame is proof that a director can take excellent material and turn it into a bomb.

But I'd still argue that the looming problem with MERRILY as a film is that it doesn't have the exotic setting or charming historical period of most of those film musicals. Musical numbers mostly happen, by necessity, in ordinary rooms and spaces and there's no opportunity for the cinematography of innovative dancing. There isn't even any sex in the story-telling. Yes, I suppose there could be scenes of Franklin in bed with Beth or Gussie singing to each other but wtf wants to see that?

But please don't misunderstand me. I'm a fan of the show. I just don't think it will translate into an interesting film.

[quote]I just don't think it will translate into an interesting film.

In the right hands, it could be good. It depends on how well it’s scripted.

For example, I’ve always hated the “Bobby and Jackie and Jack” song. But if it’s set in a Greenwich Village club, with a “Mrs Maisel” feel to it, then it might be better than on stage. I think if the director really opens it up and shows 1960s through 1980s NYC and Hollywood, it could actually be watchable despite having to look at Ben and Beanie’s faces on the big screen.

[quote]I think if the director really opens it up and shows 1960s through 1980s NYC and Hollywood, it could actually be watchable.

Yes, that's a major part of my point. One thing I find lacking in the stage musical is that, partly because of the limitations of the stage, there is really not a strong sense of the passage of 20 years' time during the show. But for the movie, even a few establishing shots of New York in 1957 for the Sputnik scene, Greenwich Village in 1960, Los Angeles in the mid '70s, etc. might really help in that regard. That plus very well done, realistic age makeup for the characters if the movie were being shot normally, or the actors actually growing older over a 20-year shooting period, which I think is a tremendous mistake.

R183-Realistic makeup can't disguise the fact that neither Ben nor Beanie could adequately deliver a believable "aged" performance if their lives depended on it.

In "Dear Evan Hansen" Ben was very believably aged.

What's also interesting regarding the Merrily movie is that film musicals tend to constantly go in and our of fashion (as Ben Platt very well knows...). It'd be unfortunate for a film two decades in the making to wrap up in 2039, only for the film musical to be in one of its unfashionable periods.

R185-HAHAHAHAHAHAHA

[quote]Grease is proof that a director can take mediocre material and turn it into a hit.

Grease is hardly mediocre material.

[quote]Mame is proof that a director can take excellent material and turn it into a bomb.

The quality of Mame aside, r180, it was old-fashioned by 1974 and the movie musical was going in different directions. I don't see any director being successful with it.

R184, you missed the point. There won’t need to be makeup because they will be filming those scenes when they are in their late 30s or early 40s.

[quote]What's also interesting regarding the Merrily movie is that film musicals tend to constantly go in and our of fashion

That's a fascinating statement, but is it true? Do they really go in and out of fashion as an art form, or do they just go out of fashion when a whole bunch of really bad ones are released at once?

R188, Grease was definitely mediocre. Even Broadway thought so. Ironic that the hit songs were all written specifically for the film.

Grease has sex appeal. Merrily does not.

[quote]Even Broadway thought so

You're an idiot, r191.

[quote]The first Broadway production opened on June 7, 1972; when it closed in 1980, Grease's 3,388-performance run was the longest yet in Broadway history

I wouldn't say GREASE was "mediocre." It was what it was, nothing more and nothing less, and it obviously appealed to a great many people during its very long Broadway run.

Most of the songs in Grease were parodies of actual songs from the late 1950s, very cleverly presented.

R191 makes up its own facts.

[quote]Most of the songs in Grease were parodies of actual songs from the late 1950s, very cleverly presented.

R193, you're the moron. Grease was never considered a great show on Broadway. It was a fun but dumb show that was very cheap to run, which is why it set so many records. This was especially true during the 70s when the trend was towards the Sondheim/Prince, Bennett and Fosse concept musicals. Nothing against it being a lightweight but it was never thought to be a great show. Despite the success of the movie, it has also never had another successful Broadway run.

I never said it was "great", r198, but to call it "mediocre" is moronic.

[quote]Despite the success of the movie, it has also never had another successful Broadway run.

That's because any revival tries to replicate the movie and the material doesn't support all of the excess on stage. Also, the audience that kept it running for years were of an age where they were seeing themselves on stage.

Nothing like that DL sweet spot of debating shows from 50 years ago.

oh God, a fight about GREASE!?

Yeah, but what about The Black Crook!?!

The stage show of Grease was very “of its time.” Whoever said above that it was fun but dumb is exactly right. Look at the silly commercial they used to promote it. It was intended to be a silly poke at the 1950s. For heaven’s sake, the one guy takes the old lady and turns her upside down. 😂 It’s silly.

The movie took the material more seriously. They weren’t poking fun at the 1950s, they were recreating the 1950s. The movie becomes very different from the stage show. And it didn’t hurt that it caught John Travolta and Olivia Newton John at peak beauty.

The first Broadway revival had Rosie O’Donnell screeching into a microphone about there are worse things she could do than have sex with guys. We have to believe that some horny high school student would actually want to have sex with Rizzo and everyone just assumed with RO playing the part that the show was a fairytale.

Oops, this is the commercial where he turns the old lady upside down.

I have no especial love for Grease, but "It's Raining on Prom Night" is a hilarious parody of those 50s teenage tragedy songs. That song isn't in the movie though.

I was seriously injured during the making of that "fun" commercial when a taxi swerved onto the sidewalk and ran over my feet. I finished the filming, but was then hospitalized for 3 years and struggled to learn to walk again for another 3 years. This was before physiotherapy, so I had to do it all on my own. I tried to sue the taxi driver, but he was long gone. I couldn't work and had to walk 40 blocks uptown on crutches to attend my weekly Mensa meetings. So, that was my glamorous start in show biz, kids.

"It's Raining on Prom Night" is the background music when Danny and Sandy are at the jukebox while she's out with Tom, R205.

[quote]The movie took the material more seriously.

Please tell me you're joking. That movie is moronic, with no sense of period whatsoever.

[quote]The movie becomes very different from the stage show.

Well, you're right about that....

[quote] Grease was definitely mediocre. Even Broadway thought so. Ironic that the hit songs were all written specifically for the film.

Or maybe not so ironic since you can't push songs not written specifically for a film for awards consideration. We get it, you think Grease sucked. But everything you've said so far has been wrong. Yes, there was even a successful revival that ran for close to four years.

The original production was a lot of fun especially since the majority of the audience lived through the 50s. The revivals were overblown and over designed.

R209, I never said it sucked, I said it was a fun, dumb show. It's an opinion, so it's not wrong. The original point was that the play was not great but made a great movie. I didn't say that but that's also an opinion. And oh, they released "We Go Together", "Summer Nights" and "Greased Lightning" all as singles. They all flopped. Nothing about promotion or push for awards. The audiences didn't like them as much as the new songs, even anachronistic ones like the title song which had nothing to do with the movie.

[quote] And oh, they released "We Go Together", "Summer Nights" and "Greased Lightning" all as singles.

The first and third were not released as singles. And even if they were, then there goes YOUR argument that they only released the songs written for the film. Make up your mind or take debating lessons. You suck.

R211, I seem to remember that the single of the movie version of "Summer Nights" was quite a big hit, along with the new songs "Hopelessly Devoted" and "You're the One That I Want."

R212, I didn't say that cupcake. I said none of the songs not specifically written for the movie weren't hits. And that's true. You must have been involved with the Broadway production to be so emotionally involved in a discussion about this show.

[quote]I seem to remember that the single of the movie version of "Summer Nights" was quite a big hit,

You are correct. It reached #5 on the Billboard Hot 100.

R214: you’re a real cunt aren’t you? Why so bitter, cupcake?

Thanks, R215. Someone who's posting here needs to get his facts straight (and take his meds).

All this Grease talk made me think of Over Here! which was supposed to do for the 40s what Grease did for the 50s but the Broadway run was cut short and the tour canceled thanks to bad decisions by the producers. I actually liked Over Here even more than Grease. The book is silly fun with corny jokes and the score is excellent. If they had kept it running on Broadway the producers could have brought in Martha Raye, Margaret Whiting, Alice Faye to name a few. Anyway, I thought it deserved a longer run and, sadly, it's pretty much forgotten.

Though OVER HERE had different composers, its score closely parodied particular Andrews Sisters hits just as GREASE had parodied particular 50s hits.

And Over Here! had a young John Travolta as a Gene Krupa wannabe. I saw both on Broadway and both were "fun but dumb." Over Here! had better choreography, though (unless you were Ann Reinking).

Girls, we are NOT arguing about Grease for rest of this thread.

[quote]Mame is proof that a director can take excellent material and turn it into a bomb.

A Chorus Line is an even better example of this. Who saw Ghandi and thought Richard Attenborough was the perfect director for a musical? It made no sense What a shame that Bob Fosse wasn't alive to direct it.

Fosse? It would have been better had Michael Bennett worked out the concept he came up for making it about a movie audition.

Bob Fosse directing the film of A Chorus Line, after his production of Chicago lost all of the Tonys in favor of Michael Bennett's ACL, would have been perfectly ironic.

[quote] Who saw Ghandi

Oh, dear.

R214, I was going to tell you what a dumb, incorrect fuck you were, but it seems several others beat me to it.

Thank you, others.

[quote]I said none of the songs not specifically written for the movie weren't hits.

Triple negative, r214?

Grease was written in 1971 in Chicago about 1959. It opened on Broadway in 1972. Odd to think that something equivalent today would be about 2011-2012.

Fosse did direct a movie version of A Chorus Line. It's about five minutes long and it's the opening On Broadway sequence in All That Jazz and it's far better than anything that made it into the A Chorus Line movie.

[quote]Grease was written in 1971 in Chicago about 1959. It opened on Broadway in 1972. Odd to think that something equivalent today would be about 2011-2012.

I saw a community theater production of "Hair" in 2020 and it really brought home the fact that the original production (and the time period in which it was set) was more than 50 years before. It made me realize that when I was the age of the performers in the show (late teens/early 20s), 50 years ago was around 1920, which I thought of at the time as "ancient history." It made me realize that these kids viewed the Vietnam war era the same way.

Who would Fosse have cast in the Chorus Line movie? I guess Gregg Burge would still have gotten in. I can see him having a three-way with Audrey Landers and Janet Jones and then not casting them.

Sandahl Bergman, of course.

Had Fosse directed, obviously, Ann Reinking would have been cast as Cassie (Attenborough passed on her in favor of Reed). Vicki Frederick probably would have been Sheila. Bergman as Judy, the role she played on Broadway.

For many of us, the GREASE movie was our first glimpse of hot young Lorenzo Lamas.

Watching those Lorenzo Lamas clips I'm sad that two TV huge stars of the1950s who were cast in the film of Grease for their well-earned nostalgia factor had terrible 1970s hairstyles/wigs.

Eve Arden and Sid Ceasar, I'm looking at you. It's not as if there wasn't tons of easily available research of them in the 1950s that couldn't have been followed.

Fosse was alive when the Chorus Line movie happened, and said if he'd been asked, he would have done it.

THR reviews "Oh, Mary!":

Deadline:

Christ, now we'll never get rid of him.

Ugh. Whatever. I'm happy for Cole's success!

[quote]Christ, now we'll never get rid of him.

Nothing irritates DL more than an out and successful gay man.

[quote]Nothing against it being a lightweight but it was never thought to be a great show. Despite the success of the movie, it has also never had another successful Broadway run.

The Rosie revival played 1525 performances and ran for almost four years. Three times longer than any solo Sondheim show.

Speaking of Rosie, when will she come back to Broadway?

Maybe she could be Tuesday night Rose?

She has the Rage, mother issues, and she can’t sing worse than Tyne Daly

I'm kind of sad I didn't see Oh,Mary! on my Summer Broadway trip a couple weeks ago. My partner loves the Who and wanted to see Tommy instead (fun, torturous, too damn loud) .

Oh, Mary! probably would have appealed to me more (I love Cole Escola's skits on Youtube), but isn't life about compromises?

The Queen of Versailles opens in Boston on Tuesday. Is anyone going?

FOLLIES!!!

[quote] Nothing irritates DL more than an out and successful gay man who isn't talented and has to do strerotypical drag to finally have a hit.

Fixed that for you.

I know I'm an outlier, but I found nothing remotely funny about Oh, Mary! Saw it at the Lortel and found it insufferably dumb. It made the Charles Busch plays look and sound like Shakespeare.

That looks an awful lot like a young Buddy Crutchfield with Sharon Stone in that Grease commercial.

I keep thinking it's Jeff Conaway.

Have no firsthand review yet of Staunton’s “Dolly!” from London, but the general gossip (forgive me if I’m repeating opinions already stated) is that those who know the Jerry Herman show hate it, but audiences new to this story are loving the show, though everyone agrees the choreography is terribly lame and hokey.

The extensive changes to the book were done partly to return to the original source material, Thornton Wilder’s “The Matchmaker.”

Speaking of which, Paramount did an all-star movie version of that play in (I believe) 1958 with Shirley Booth, Shirley MacLaine and Anthony Perkins, but as neither Paramount nor Universal (which owns most of the Paramount film library pre-1948) has the slightest interest in restoring or making available the less famous, sure-fire Paramount films from their holdings, we may never see it again.

[quote]r250 = we may never see it again.

What?

R244, I’m going a week from tonight. A friend told me he attended a workshop and thought it contained some of Stephen Schwartz’ best work. The first Broadway musical I ever saw was Pippin in October 1972 so this will feel a bit full circle.

In my two previous visits to Boston the Colonial was still shut down completely (summer 2021) and then only hosting magic acts, symposiums and bus and truck tours of shows like Fiddler on the Roof (fall 2022).

[quote]I know I'm an outlier, but I found nothing remotely funny about Oh, Mary! Saw it at the Lortel and found it insufferably dumb.

That kind of humor is certainly not for everybody, and obviously, you are one of the people for whom it doesn't work.

[quote]Speaking of which, Paramount did an all-star movie version of that play in (I believe) 1958 with Shirley Booth, Shirley MacLaine and Anthony Perkins, but as neither Paramount nor Universal (which owns most of the Paramount film library pre-1948) has the slightest interest in restoring or making available the less famous, sure-fire Paramount films from their holdings, we may never see it again.

I'm not sure of the source, but I know there exists an HD copy of THE MATCHMAKER, beautifully restored. So it would seem your information is not correct.

The self proclaimed Queen of Versailles is a slob. She must be pumping a lot of money into this show to make it happen.

I wonder if F Murray Abraham will still be in The Queen of Versailles when it finally lands on Broadway. I know he was in one musical before (Triumph of Love) but I have a feeling he won’t have the staying power. When is Steven Skybell’s contract up at Cabaret?

The Matchmaker is one of the most charming films ever.

YouTube does indeed have many bread-and-butter Paramount films from the ‘40s and ‘50s available But the prints are often terrible, and they can be interrupted with commercials.

They aren’t curated, don’t get the TCM/Criterion treatment and that’s what they deserve.

Such as “The Blue Veil” from 1951 which has a terrible print available.

[quote]which has a terrible print available

Where, r259?

Here you go, R260. (Also starring Vivian Vance).

[quote] Ugh. Whatever. I'm happy for Cole's success!

Did anyone see Cole in PRESENT LAUGHTER at Two River Theater about 10 years ago? My husband saw it and said he remembers the cast was really strong but didn't have a strong memory of Cole. ( who played Roland) Cast was Michael Cumptsy, Kaitlin Hopkins, Veanne Cox, James Riordan and Mark Capri

Paul Regina in the Grease commercial?

r262 here Looking at the program , Camille Saviola ( of NINE fame) was also in the cast

[quote]Paramount did an all-star movie version of that play in (I believe) 1958 with Shirley Booth, Shirley MacLaine and Anthony Perkins, but as neither Paramount nor Universal (which owns most of the Paramount film library pre-1948) has the slightest interest in restoring or making available the less famous, sure-fire Paramount films from their holdings, we may never see it again.

[bold]The Matchmaker[/bold] is available to stream in High Definition online from Amazon, Apple, Microsoft, and Fandango At Home (aka Vudu). It'll cost you about $4.00 to rent, $10.00 to buy.

Thank you, r261!

[quote] Anyone see Oh, Mary on Broadway yet? Wondering how the transfer is. [/quote]

It’s fucking hysterical, really made me root for Cole (whose prior work I did not like). It’s basically a stage adaptation of the most deranged DL threads mashed together, so I’m surprised there’s not more chatter about it here. But probably for the better. The bigger Broadway audience makes for louder laughs.

Jonathan Groff Eyes Broadway Return In Musical About ‘Mack The Knife’ Singer Bobby Darin:

Look at me, *I'm* Sandra Dee.

Is there some requirement that Bobby always be played by a gay actor?

Groff did a version of the Darin show at 92nd St Y a few years back. I admire him as a performer a great deal, have known him casually for years, like him very much, but he is in no way Bobby Darin and to return to this show in any way will not help his career.

Yeah, Jon Groff is certainly talented but couldn't be more wrong for the Italian American, hip, short, toupee-wearing Bobby Darin (if nothing else Spacey got the toupee-wearing right).

This project seems VERY misguided. Apparently, they've gone through a slew of writers and are still not happy with the script.

I'm assuming MARY will extend into an open ended run.

R271, I have to agree. When Groff did that early version of the Darin show at the 92Y, it was pretty much a revue featuring Darin's music. But the word on the upcoming production is that it will be more of a bio-musical with Groff actually "playing" him, and that does sound like a huge mistake.

DARREN (Criss) is (Bobby) DARIN! What could be more appropriate?

[quote]Jonathan Groff Eyes Broadway Return In Musical About ‘Mack The Knife’ Singer Bobby Darin

It can play in Rep with Kristin Chenoweth’s Dusty Springfield biopic, which thankfully never became a reality.

......

.......

[quote] Apparently, they've gone through a slew of writers and are still not happy with the script.

Maybe they should try that new book writer extraordinaire, Taylor Mac.

Collectively that trio fucked Debbie Reynolds, Liz Taylor, Katy Thompson, Ethel Kennedy, Sandra Dee, and Connie Francis.

*Kay Thompson

and we're chopped liver?

Bobby Darin’s son from a one night stand was adopted and leaned who his father was as an adult.

Has any of you see either of the two Cabaret lead understudies now that they’re on regularly? Looks like last week‘s gross suffered a bit from the new schedule.

Is the Hells Kitchen lead girl now showing up regularly or have they adjusted her schedule?

Is The Outsiders lead back in the show full time?

Oh, and how’s Kay Thompson?

Anyone seen Sara Porkalob's one wom.....um, person DRAGON MAMA show at WTF?

This, of course, prompts the question: "WTF is happening at WTF?"

R285. No but I hear the running time is 75 minutes

🥱 🥱 😵

[quote]Oh, and how’s Kay Thompson?

Still dead.

"And now, ladies and gentlemen - Bobby Darin!"

"Your toupee is on crooked." - Sandra Dee.

[quote]Oh, and how’s Kay Thompson?

In the pink, presumably.

Mama loved Kay Thompson. Her booksh were about me.

Miss Charlotte looking more like a drag queen than ever

R284 Saw Outsiders Wednesday and all the leads were in. Seems like whatever was happening there has blown over for the time being.

Did Bobby Darin dabble in the homosex? I thought there were rumors. Then the casting of Kevin Spacey and Jonathan Groff would make more sense.

Have no idea about Darin's sexuality, but he always seemed obnoxiously hetero to me.

Groffsauce would be better cast in a James Darren show.

Jonathan Groff for the new Darren McGavin bio musical. The Kolchak tap number in the second act is sublime.

You must see Jonathan Groff in the new Mario Lanza bio-musical.

With Lea as Ann Blyth.

[quote]You must see Jonathan Groff in the new Mario Lanza bio-musical.

I remember my mother saying he ate himself to death. I took it literally and thought he sat down and kept eating until he died.

Well, now I won't be satisfied until there's Seven, The Musical!

I hear Kevin Spacey is available to reprise his role

This just in-Lin-Manuel Miranda just got the OK from the Sondheim estate to provide “additional material” for a proposed 2025 revival of Assassins.

Gammon and falsehood, R304!

Sorry, I forgot the tenor of current events and completely missed the joke.

Please carry on.

This is joyous...

R307. I doubt this will come to Broadway so soon after the Midler revival but I hope they film it.

Maybe this is DL sacrilege, but I kind of like Imelda on stage. To quote Ethan Mordden, "her timbre lacks appeal," but she has a big voice, stage presence, she sells tickets, and she has great taste in shows. I mean, isn't playing Rose, Sally, and Dolly basically the triple crown of DL?

[quote]I mean, isn't playing Rose, Sally, and Dolly basically the triple crown of DL?

She was also Mrs. Lovett in the 2012 revival of [bold]Sweeney Todd[/bold] with Michael Ball.

Don't forget Martha.

She would only sell tickets to the deaf and blind folks.....and then only at a discount.

And in earlier days, Imelda was Miss Adelaide (twice) and The Baker's Wife.

Her Martha wasn't very good.

Her Mdme Rose was downright deranged.

They should bring Hello, Dolly! to Broadway with Dolly Parton. She would be perfect in the role.

I know it’s unpopular to say but I loved her Sally in the NT Follies.

Imelda's a puzzlement to her. I find her quite appealing in film and TV but absolutely awful in any theatre production I've seen -- and I've seen her theatre performances both live and on video.

A puzzlement to ME, that should be.

Watched "Dear Octopus" on National Theatre at Home yesterday. Written in 1938 by Dodie Smith (I Capture the Castle, 101 Dalmatians) about a large family gathering for the parents' golden wedding anniversary, it was apparently a huge hit at the time (Gielgud was one of the leads) and revived several times and then fell into obscurity. I can see why -- there's virtually no plot, and much of the dialog sounds awfully twee now. Still, the National gave it a beautiful physical production, and Lindsay Duncan as the matriarch managed to find some acid in her lines. Glad I saw it and glad the National produced it -- surely part of its remit is to occasionally bring back forgotten period pieces.

[quote]I know it’s unpopular to say but I loved her Sally in the NT Follies.

What did you like about her performance? I thought she was the weakest link of the production.

Staunton was a non-event as the Queen in The Crown--the most boring of all the actresses playing that part. It's true she had the least interesting scenes to play as opposed to the other two, but she was put in the shade by the other actors she was playing opposite.

[quote]Staunton was a non-event as the Queen in The Crown

Part of the problem with Season 6 was they focused so much on Diana.

But it was also poorly cast: Jonathan Pryce, Marcia Warren and Dominick West were all wrong for their roles.

I'd rather see Groff in a Liberace musical than a Bobby Darin musical.

Dear Octopus is an extremely stupid title for a play

Oh, really?

Imelda Staunton is a lot like Julia McKenzie.

Respected actress who always wins awards and critics praises.

Rachel York says that Julia McKenzie was a total cunt to her during PUTTING IT TOGETHER.

I saw DEAR OCTOPUS at the National last spring and wish I liked it more. It certainly had the potential to give me everything I look forward to in London theatre. But the play was simply too weak and irrelevant and so many roles were cast with mediocre actors. And I thought the design, in all that monochromatic sea green on the actors' costumes and sets was ugly and hard on my old eyes. It was fun to see Lindsay Duncan though, but she gave the only decent performance.

I completely agree, R320.

I saw it from an excellent seat acquired through a papering service, and for the price I paid found it a fascinating, handsome production - if severely outdated and dramatically underwhelming. (And perhaps I’d feel differently had I paid full price.)

I remember feeling the same thing after seeing the revival of Rodney Ackland’s ‘Absolute Hell’ in 2018, also in the Lyttleton: how fortunate to have a national theatre company that’s willing to fully stage these rarely-revived war horses.

[quote]Imelda Staunton is a lot like Julia McKenzie.

Imelda is nothing like Julia McKenzie. Julia has talent. Julia was a Sally.

[QUOTE] What did you like about her performance? I thought she was the weakest link of the production.

Staunton’s “Too Many Mornings” was very moving to me. And I really loved what she did when her character first enters the stage. I know it’s not a popular opinion, but it was a very memorable night in the theater for me and she had me every step of the way.

I still don’t understand why they put her in that green dress though which obviously makes no sense.

[quote]I still don’t understand why they put her in that green dress though which obviously makes no sense.

Especially because Sally has a line that says “I should have worn green.”

So that London “Dolly” curtain call footage : The chorus is old and fat, the supporting cast uniformly ugly and the costumes are garish and hideous.

Was this all calculated to try to make Staunton look younger and more attractive?

R334 worked for me!

I’m surprised at that Dolly curtain call. I didn’t think the Brits played music during bows.

[quote]Especially because Sally has a line that says “I should have worn green.”

Umm, R333, that's obviously what R332 meant.

‘Redwood’ Starring Idina Menzel Sets Broadway Opening Date, Venue:

Re Redwood: "Melecio Estrella and Bandaloop will provide vertical movement and vertical choreography."

Everyone's done lost their damn minds.

"Off-Broadway's HERE Announces 4 New Diverse Co-Directors"

What the hell are diverse co-directors?

[quote]Everyone's done lost their damn minds.

What's your problem with that credit, r339?

Scherzinger.... ah, publicity.

Idina's show sounds so boring and earnest.

Idina's voice is like nails on a chalkboard. She screeches.

I saw Zachary James in concert in London last night. A short, very nice programme of Broadway standards that he sang beautifully.

He is a sweetheart. And I want him in me quite deeply.

R345 Unfortunately, he's engaged to Mexican-American fashion designer, Manuel Tiscareño.

I’m going to shimmy over to the Village Gate and see One Mo’ Time. Who’s with me?

How contemporary is the score for Queen of Versailles? Kristin just posted a teaser ad with her and F. Murray that sounds like Wicked 2… since the show is set early 00s maybe that is the right choice, though Schwartz is not averse to incorporating very “of the moment” sounds in his scores, most particularly in workshops/flops (“Civilized Society” in the OLC Children of Eden and the original “One Short Day” from Wicked workshops). Since Schwartz has been bi-coastal (pun intended) for the Wicked movies and QOV perhaps they are overlapping.

IIRC Pippin's score did not recall the 700s.

As over the top late-80s/early-90s as this is… it’s sort of so bad it’s good in a Carrie sort of way. Too bad it was cut.

One more try…

‘Oh, Mary!’, ‘The Outsiders’, ‘Stereophonic’, ‘Hell’s Kitchen’ Sizzle With Sell Out Summer Weeks – Broadway Box Office:

I just watched Season One of SMASH on Peacock for the first time since it premiered. Yes, there are some WTF eye rolling moments but it's so much fun. Uma Thurman was great as a Hollywood star who can't sing yet somehow gets cast as Marilyn. I know I'm in the minority but I think McPhee was a more convincing Marilyn though I loved both her and Hilty. I'll probably skip season 2 because I remember it being pretty dreadful.

Carolee Carmello will be Kimberly Akimbo on tour. Was Joyce DeWitt unavailable?

I am NEVER unavailable.

I'M IN TECH WEEK!!!!

Joyce will be Matinee Kimberly for the blue rinse crowd who thought Three’s Company was just HILARIOUS.

Why are you cunts shitting on me? A tour of Kimberly Akimbo will need all the help it can get. You'd be lucky to get me (which is exactly what I told Ray Buketnica the night I met him).

THIS DAY IN BROADWAY HISTORY: In 2005, "The Blonde in the Thunderbird" opened at the Brooks Atkinson Theatre.

I like to imagine that Joyce's courtship of Ray went a little something like this ...

Poor Carolee. Truly C-list at this point.

R353; I’ve been rewatching Smash as well. Really enjoying it - and it’s so fun to see these NY performers show up: Leslie Odom Jr., Bernadette, Will Chase, Tony Yazbeck etc.

[quote]I'll probably skip season 2 because I remember it being pretty dreadful.

But Liza is in Season 2.

R363. But so is Jennifer Hudson. I stand by my choice to skip season 2 :)

R364, I get you. Season 2 was a nightmare. Poor Raza Jaffrey having to do that Bollywood dream sequence was cringeworthy and he deserved better.

BOOP! opens April 5 at the Broadhurst.

R366 So not excited!

Betty Boop? Hard pass.

I'm sure Deadline is already writing headlines about how Boop! is selling out.

Speaking of woke casting I was interested in seeing The Baker’s Wife at the Menier Chocolate Factory but Clive Rowe is playing the lead so no, thanks. He was one of the first major examples of woke casting in the UK when he played Mr. Snow (like a sitcom buffoon) in the Nicholas Hytner’s NT production of Carousel. He’s bearable as a pantomine dame in Hackney every Christmastime but that’s it.

EGOTs In The Building? Emmy-Nominated Songwriters Benj Pasek & Justin Paul Go For The Crown:

Just goes to show how little talent is required these days ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Didn’t one of those middling talents fuck Stephen Schwartz years ago?

r370 literally won't go and see a show because they cast a black man.

Reading is fundamental, R374. I see Clive Rowe in panto every Christmas. Do I want to see him play a French baker in the 1930s, though? No. Is Dreamgirls one of my favorite musicals? Yes. Is A Raisin in the Sun one of my favorite plays? Yes. So fuck off with your ignorance.

Yes I read your post, where the only reason you gave was "woke casting". But well done with your theatrical version of "I have a black friend"

Saw the Staunton Dolly and loved it overall but it isn't a patch on the recent Midler revival. It's a very different beast:

1. It starts with Dolly onstage alone at a cabinet - I couldn't see if it was supposed to be Ephraim's urn or just photographs she's looking at. No entrance applause because no 'reveal' of Dolly. It then moves into Just Leave Everything To Me - I love this on film, but onstage it doesn't work. It gives less of a sense of Dolly's character and feels too rushed.

2. More of The Matchmaker has been put into the script - most characters address the audience at some point. Mixed results, with the best moments being Dolly's - there's a longer version of the 'money is like manure' speech and it's excellent.

3. The train onstage for Sunday was impressive - was waiting for Dainty June to turn up and say she's staying here with Caroline.

4. Love Look in My Window, written for Merman, is in it - I loved this. It's delivered simply - Staunton in front of a mirror, seated like she's about to do Losing my Mind. Beautiful song, but it does mean the audience sees Dolly in act 2 before the Harmonia Gardens.

5. Penny in My Pocket is in - it's just not a good song, and delays getting back into things.

6. So Long Dearie is similar to the movie, fast tempo, and she sings it brilliantly.

7. I've never seen chorus boys sweat so much - the Waiter's Gallop is just...wet! Put on the air conditioning! And whilst the choreography for this part is great, it's horrendously pedestrian for Dancing - lots of the movements seem abandoned halfway through and it's just uninspired, there's a weird Latin (Tango maybe?) moment with red lighting as if it's a Dancing with the Stars invasion.

Overall Staunton plays it smaller than others - less the bawdy vaudevillian elements to her performance, and more exploring a grieving woman dipping her toe back into the world before jumping right in. Even in the title song she seems more grateful (and a bit surprised) that the gays at Harmonia Gardens are giving her such a welcome - she's nearly apprehensive at the start of the number and by the end is embracing being celebrated. It's a wonderful performance and really heartwarming.

r377, or anyone: Do you think this Dolly will move to the West End? Is it selling well? I'd love to see it in spite of the stated flaws.

Damn! I'm more upset about the cafe closing than the Beechman.

Me, too, R379. That sucks.

Their food was even good!

[quote]3. The train onstage for Sunday was impressive - was waiting for Dainty June to turn up and say she's staying here with Caroline.

Finally! A "Dolly" role appropriate for Beanie Feldstein!

R381-Not so much in the last few months.

That Boop shit has been circulating for years and years. Who is the audience for this? Of course Betty Boop is now being played by a black woman. Public domain material - let's throw millions of dollars at it and see what sticks (Great Gatsby and the 5 or six musicals now in development)

Will "Boop" go the way of "Hazel - the Musical"?

[quote]Of course Betty Boop is now being played by a black woman.

They cast her just to annoy you, r384.

Are you Ken Davenport or Bill Haber R386?

This may sound crazy but I always thought Betty Boop was black.

I can't recall who said it, but Hamlet: Poem Unlimited by Harold Bloom has a choice quote I'll do my best to paraphrase from memory:

"If Hamlet and Iago met, the prince would quickly see through the satanic villain and drive him to suicide through satire and ironic mockery."

Perhaps that tack would work better with certain posters here.

She started out as a dog, r388.

R377, what about the bit when Dolly is eating at the Harmonia Gardens? Bette turned it into a comic tour de force that went on far too long but nobody really cared about that,

R383, do you honestly feel that the quality of the food at the West Bank Care declined noticeably over the past few months, or did you make up something nasty to say just for the sake of being bitchy?

R391, that comic bit with Dolly eating non-stop at the Harmonia Gardens has been part of HELLO, DOLLY! since the original production with Channing, and every stage Dolly has done it.

But only Channing ate corn non-stop.

No extended comic solo eating scene. Dolly's table is moved to the usual spot stage right and Imelda continues to eat during all the chaos. As soon as that ends, the judge calls on "counselor-at-law" Dolly and, as always, she says, "Your honor, the defense rests."

Thanks, R395. So that's probably a first, for a stage production of HELLO, DOLLY! to eliminate that comic bit. One more example of people with limited talent trying to change or fix what doesn't need changing and isn't broken. And/or maybe Imelda just doesn't have the comic chops for it.

In Imelda's defense, it's hard to eat prop food when you've already inhaled the entire first act set.

R377 here - I don't see it transferring - the Palladium often has short runs of shows, especially over the summer, until the next open-ended run comes in.

If anything I think Staunton should tour it to a few of the large touring theatres - go out into the regions and it will sell well with older people.

Oh and Barnaby is a massive queen in this version. Also, when he shows off his skills in Dancing he does the most awkward jerky movements across the stage, one hand up in the air doing a sort of jazz hands gesture. I always thought the point of this moment (that most productions go in anyway) was to show Barnaby actually does have natural talent at dancing that Dolly taps into, but not here

Cheyenne just announced this on IG. It's being directed by Sam Pinkleton ([italic]Oh, Mary![/italic]).

Umm.... what? I like Cheyenne, but in what world is he a Georges? Or, frankly, an Albin? Who's producing this with Pasadena, Randy Blue?

R400 that's a porn site. I don't think they produce musical theater.

So let me get this straight. Cheyenne decided to forego a role on Broadway in order to do... the Pasadena Playhouse? In a role that would age him 20 years overnight.

What am I missing?

It’s a Treasure Island Media production, R400. Keep up!

Yes, r398, the discovery of Barnaby's dancing skill is noted by Dolly, "I think he's been holding out on us . . . " (at least in the film version).

[quote]Poor Carolee. Truly C-list at this point.

Doing a first national tour of a Tony winning Best Musical in a Tony winning role is hardly C List. If you pulled the Playbill out of your ass you'd see there are first class live theatres all over this country.

[quote] If you pulled the Playbill out of your ass

Pics please.

The reports from London I’ve heard about “Hello, Dolly!” suggest they’ve made some bonehead decisions is dispensing with some of the perfectly engineered showbiz razzle dazzle built into the original. And the look of the production is a sad thing.

But Imelda Staunton is a very big star there, well known for her work over many years, and much-loved. This was specially mounted for her, and she has a lovefest every night with the audience, who adore her, love her pluckiness, warmth and humor. It is a strictly limited run, will be out by mid-September. There are reportedly no plans to move to the West End.

And it would certainly never come to Broadway. Staunton is not a star here and wouldn’t sell tickets, and compared to Scott Rudin’s attempt to recreate the heart and lushness of the original 1964 production he remembered loving as a child, this is a cheapjack, tacky thing that wouldn’t survive scrutiny from NY audiences or critics.

[quote]There are reportedly no plans to move to the West End

Well they wouldn't have to, would they?

Staunton's clacking dentures and popping eyes keep me far away from anything she appears in....onstage OR on television.

Uhhhh, R407, Hello, Dolly! is already IN the West End.

No -- it's just on Foreign Broadway.

R392-Honey, I've been eating there for eons, and the decline in food quality is noticeable and stark. But that's been true of many theatre district restaurants of late. It's very sad.

And to what do you attribute this "stark" decline in food quality in "many theatre district restaurants of late?" Because they're suddenly unable to find good kitchen staff?

[quote] Honey, I've been eating there for eons, and the decline in food quality is noticeable and stark.

So why did you continue to eat there, R412?

R414, old people like their routines. And complaining.

R413,R414R415- Because I'm fucking loyal to a fault. No matter what you harpies might say. I ate just ok food BECAUSE I've been going there for eons.

END OF DISCUSSION.

Mandy Gonzalez To Guest Star As Norma Desmond:

[quote]END OF DISCUSSION

New here?

There's this musical from 1971 called Follies. Anybody hear of it?

Will Mandy Gonzalez be wearing that shake and go wig during her performances?

[quote]There's this musical from 1971 called Follies. Anybody hear of it?

R416, you forgot GET OFF MY LAWN!

From the SB website: Nicole Scherzinger stars as Norma Desmond. Absences are posted on a performance by performance basis on SeatGeek.com.Mandy Gonzalez will guest star as Norma Desmond at certain performances.

In other words Nicole will decide whether or not she'll perform based on how she's feeling that particular day?

I'm still bummed about the West Bank Cafe (and the theater).

Though I think the writing was kinda on the wall for a while.

Mandy celebrated by buying a new Party City wig!

R413 - yes, turnover in restaurant kitchen staff is really high now. Not sure why. Also, inflation has sent food costs sky high so chefs need to turn out quality food with less ingredients than before or less quality ingredients. If a dish pre-pandemic had 9 to 11 ingredients, it might have 5-7 now.

Cheyenne has two small children so I'm sure his decision to take a job closer to home in between his TV gigs has to do with that (though he's playing at 54 Below in September but that's only a handful of shows and I'm sure it's quick, easy money.)

R412/R416 is loyal to a fault, even if it means spending money on and eating food she doesn't like and bitching about it later--what a heroine!

It was said the producers of Mattress weren't offering great money, so that could have been a factor.

Pasadena Playhouse will do a concert version of Follies. We always get back to that. Cheyenne could be a very good Ben. They're also doing a concert version of Anything Goes with Jinkx.

Sure, it's a supply chain issue ...

The supply chain issue is there is a limited supply of interested patrons to see that mess....

It sounds like a modern day THEY'RE PLAYING OUR SONG!

[quote]It was said the producers of Mattress weren't offering great money, so that could have been a factor.

Also, the time commitment to MATTRESS may have been too much for Cheyenne Jackson and some of the others, especially considering that the show will be playing L.A. after Broadway.

Nothing, and I mean nothing, that Cheyenne Jackson has done suggests that he has anything like the acting chops to pull off Ben Stone. His assets are a strong pop baritenor, a pretty face and a rocking body.

Return of the Phantom?

R434 it's a concert but this is DL and there's more talk about Follies than Jinkx Monsoon playing Reno Sweeney.

[quote]This may sound crazy but I always thought Betty Boop was black.

Either light-skinned AA or biracial as I recall.

[quote]Nothing, and I mean nothing, that Cheyenne Jackson has done suggests that he has anything like the acting chops to pull off Ben Stone. His assets are a strong pop baritenor, a pretty face and a rocking body.

He does have at least one other major asset in that he's a very gifted comic actor. Don't take that away from him.

Ben's such a laugh riot, r438.

Cheyenne should do the Hollywood Bowl's Sweeney Todd because he already looks like a serial killer with those eyes.

I didn't say that Ben in FOLLIES is a laugh riot, R439. I agree that Cheyenne jackson would seem to be poor casting for Ben. I was just pointing out that the other poster left out comedy as one of Cheyenne Jackson's talents.

Unless Ben Stone is being rewritten as a power bottom

Why wouldn't Jackson be fine in a concert version of Follies? This show has been overrun with terrible casting choices over the years and at least he's the right age and look and could sing the score well.

R423, if it means what it meant in the UK, she won't do Wednesday matinees or Thursday nights. They were very good about being clear when she was in or out. I gather the website for US tickets already indicates at least some performances where she's out.

Cheyenne was the best Joey in The Most Happy Fella I've ever seen. He brought a smart self-deprecating humor to it, and of course looked great and sang it beautifully.

He was very funny in All Shook Up.

He was funny on 30 Rock, too.

Cheyenne is a Carlotta.

[quote]Cheyenne is a Carlotta.

Not yet he ain't.

Are you saying that Betty Boop is a ...... quadroon?

I believe that's the impolite term for it, R450.

Betty's skin was white as snow...

[quote]This is so great with Jeramiah who was standby for Arnstein. I had gotten a ticket to see Julie again as there was someone else covering for someone. I saw that Jeramiah was standbye and said I hope to see him do this. I got to know he was in Fantasticks and I was asked to photograph the cast at the time. anyway, I never noticed the slip in the Playbill at Funny Girl until the lights went down and he was doing the show the day. Got to see this.

Tom Viola Announces Retirement After 36-Year Leadership Of Broadway Cares/Equity Fights AIDS:

Jasmine Amy Rogers - the actress who played Betty Boop in Chicago last fall - is absolutely electric & perfectly cast.

The show, however, was a horrible mishmash of 1,000 different ideas - and a horrible waste of Faith Prince.

Needs lots of work.

R423 and R444. I saw the show three times in London, and NS performed every night and matinee except on Monday Night. I think that, except previously announced absences, she never missed a performance. Nothing to the number of absences that are becoming normal on Broadway. She had a spotless attendance record. And I do not understand how she pulled it off. Once you see the show, she sings the hell out of Norma. I went in with many reservations the first time but I loved it. I was there closing night and it was one of the best nights of my theatergoing life.

This is so great with Jeramiah who was standby for Arnstein. I had gotten a ticket to see Julie again as there was someone else covering for someone. I saw that Jeramiah was standbye and said I hope to see him do this. I got to know he was in Fantasticks and I was asked to photograph the cast at the time. anyway, I never noticed the slip in the Playbill at Funny Girl until the lights went down and he was doing the show the day. Got to see this.

R445, I saw Cheyenne in Most Happy Fella (at Encores!)... it must hve been in a parallel universe or your post was sarcasm.

He was awful in the show... Cheyenne just could not play a viable straight man.

r447 At least during the times the writers actually remembered he was a cast member

[quote]Mandy Gonzalez will guest-star as Norma Desmond at certain performances.

"Guest-star"? Like Jonathan Harris in "Lost in Space"?

Cheyenne was terrible on 30 Rock. He was given nothing to do and no character to play. It was a real fail for those fantastic writers.

I think Nicole skipped Monday evenings and Rachel Tucker filled in.

r463 Yes, you are right.

R457, R444 here. You are right. In any event they were very clear about who was on when - and yes she showed up exceptionally.

I went in really ambivalent about it and it turned out to be one of the best nights at the theatre I've had. I still don't think it's perfect (New Year's Eve, Joe's... costume change) but it's so inventive and somehow so raw and personal that it blew my mind, knowing what the original looked like. You couldn't get any more contrast. I don't know if Broadway will love it too or hate it because it was so acclaimed first elsewhere. There's a lot of fantastic creativity going on in every aspect, but the power of her voice, to me, makes the thing electric. Will watch the reaction with interest.

R457, thanks for your posts, but I am puzzled by your opinion that the role of Norma Desmond in SUNSET BOULEVARD is a difficult sing. I wouldn't describe it that way at all, and if it were a tough sing, Glenn Close could never have gotten through it even as well as she did.

[quote]Cheyenne just could not play a viable straight man.

I'm sure you don't realize that comment tells us a lot about you, with your childish prejudices, rather than anything about Cheyenne's performance. There was absolutely nothing about the way he cam across on stage in that role that was stereotypically gay or non-masculine.

Unlike the transfer of CABARET from London, I think this production of SUNSET BOULEVARD will get the reviews and good business — and the latter not just because of a big advance. Word of mouth on SB will be less mixed and equivocal than with CABARET.

Cheyenne was a very wooden Woody in FINIAN's RAINBOW.

[quote]Cheyenne was a very wooden Woody in FINIAN's RAINBOW.

I thought he was charming, looked great (of course), sang beautifully, and got some laughs out of a role that isn't exactly a comic showcase.

I wood, wood you?

Glenn Close did not sing her way through the role well. There are at least half a dozen Normas who sang it better than Close. Close succeeded because she channelled Carol Burnett.

THIS DAY IN BROADWAY HISTORY: In 1951, "Two on the Aisle" opened at the Mark Hellinger Theatre.

R472, I agree with you. But my point is that whether or not your or I or anyone else liked the way Glenn sang the role, she did get through it eight performances a week for many months without a lot of absences, and she would not have been able to do so if the role was as tough vocally as someone here is making it out to be.

The "LuPone" keys were lowered for Close. I don't know whether Paige or Buckley or anyone else sang them as originally written.

[quote]"Guest-star"? Like Jonathan Harris in "Lost in Space"?

No -- like Cloris Leachman on "Mary Tyler Moore."

R475, the fact remains that Norma's songs are not very demanding vocally, no matter what key they're in. Yes, there's the big belting moment at the end of "With One Look," and one or two big belting moments in "As If We Never Said Goodbye," but that's about it, and even those moments should not be difficult for anyone with a legit belt voice.

Nobody sang Patti's original keys until the tour with Linda Balgord.

I really hope Glenn gets to do the movie!

[quote]The "LuPone" keys were lowered for Close.

Close actually sang it in the same key as LuPone. Buckley and Streisand were the only ones who sang the high notes as originally written.

UK gay here. I think the Sunset revival will kick off a civil war in these theatre threads.

Personally, I thought Scherzinger gave a great performance, but the production left me cold. Not many props to speak of, so some lines made zero sense ("Looks like six importance pictures"), at times jarring choreography. It looks like a Vogue photo shoot - style over substance

When did Streisand play Norma?

[quote]Unlike the transfer of CABARET from London, I think this production of SUNSET BOULEVARD will get the reviews and good business — and the latter not just because of a big advance. Word of mouth on SB will be less mixed and equivocal than with CABARET.

See, I think it will do the opposite of CABARET, which was eviscerated by NY critics but is doing gangbuster business, mainly due to its star.

However, I think this barebones SUNSET will get praised by the critics but will be ignored by the public who don't want to see SUNSET scaled down.

Miss Balgord...

It will be interesting to see what happens to Cabaret after Eddie leaves (August?). The only possible replacement I've heard is Adam Lambert.

Eddie and Gayle Rankin have their last performances on Sept. 14. I also want to know what's going to happen to Water for Elephants after Grant Gustin leaves on Sept. 1.

R480 knows nothing.

[Quote] It will be interesting to see what happens to Cabaret after Eddie leaves (August?). The only possible replacement I've heard is Adam Lambert.

I wonder if they’ll go after Jake Shears who did it in London. I think he always sold really well when he did Kinky Boots here.

They should go after a name to play Sally.

[quote]When did Streisand play Norma?

It was a very limited engagement at the Little-Playouse-in-the-Mall theater.

[quote]They should go after a name to play Sally.

*ahem*

I don’t know if this belongs on the theatre thread or the Shen Yun one.

Neil Patrick Harris will replace Eddie.

Stage and screen star Linda Purl (Happy Days, The Office) will play Mame Dennis in Florida Theatre and Theatre Jacksonville's co-production of Mame: The Broadway Musical in Concert August 24 at 7:30 PM and August 25 at 2 PM at the newly restored Florida Theatre.

She's no Morgan Brittany.

r495 Florida is one of the places where "Mame" would not be seen as "problematic."

I think Floridians would burn the down theatre after this scene.

R497 MAME is only problematic to 'woke' far-left liberals in the Northeast and West Coast.

It's not offensive to most Americans.

R480, Close may have started "With One Look" in the same key as LuPone, but she certainly didn't end where LuPone did. Just play the last 30 seconds of each recording and hear for yourself. Different modulation.

The Streisand “Sunset” was great because if you were lucky enough to be invited you could get an Orange Julius.

[quote]It's not offensive to most Americans.

That's a pull quote if ever I've heard one, r499.

[quote]I think Floridians would burn the down theatre after this scene.

Is that scene in "Mame?"

[quote]MAME is only problematic to 'woke' far-left liberals in the Northeast and West Coast.

It's possible someone ciould find a way to make Ito less cringe-y, but you don't need to be woke to find a song celebrating the Ol' Plantation Days ("This time the South will die again!") distasteful - and its the title song!

r499 is also:

[quote][quote]As a Brit looking on at the whole fucking mess that is your political divide, it’s the Republicans and their reliance on a convicted felon/rapist/insurrectionist/p - - sychopath that leaves us horrified and …nobody is laughing.

[quote]Europeans only want Biden et al. because Democrats are such pushovers for Europeans.

[quote]As a Guatemalan who loves Americana, I am actually rooting for the Republicans to win the White House and Congress and preserve the America we have known and loved.

[quote]I especially despise what the Democrats have done to my beloved Hollywood and Broadway with the 'woke' politics. So much ugliness and pessimism.

[quote]—Chapín

The world almost ended today, and may have with the CrowdStrike debacle and you queens are concerned about Patti LuPone and Glenn Close. The big company I work for is still not up and running back to normal.

Whatever, r506.

I saw SUNSET BLVD. late in its run in London last year, and of 1000+ Broadway/West End productions I’ve seen it was undoubtedly in the top 10 most memorable. Nicole and Tom act the shit out of the material (not unlike Ramin & Sierra in Phantom 25) and the au currant avant garde style/direction with its actually useful and meaningful use of video/screens given the subject made it something greater than perhaps it would be otherwise. Also, what Nicole does with the role and the way she is performing the character/songs must be exhausting and certainly impossible for someone much older. The famous line has been changed, anyway, to suit Nicole - I believe it’s “there’s nothing wrong with being 40 unless you’re acting 20” or some such. Either way, it’s a brilliant and balls-to-the-wall theatrical experience - plus, a full 25+ piece orchestra that makes lack of a traditional set less of a disappointment - and I’m glad the entire foursome from London will be coming over and it will be what it is at the St. James if not as it was at The Savoy.

Hey everyone, R505 knows how to cut and paste!

According to Reddit, there was an incident at a preview of ALN with Kathleen Turner. After the gunshot, someone says something about how it was nothing, just an ear nick. Well, a Trumper was in the audience and felt it was a crack about him and caused a ruckus. He was ejected from the theater.

Saw JOB tonight and really enjoyed it.

R506, how brave of you take the far more meaningful step of logging onto DL, visiting a theater gossip thread and wagging your finger at the rest of us!

FOLLIES!

Nicole S, Ramin, Sierra—not an actor among them.

So Nicole's voice is so delicate she can't sing 8 shows a week like every other actress who has done the role? And there is absolutely nothing in the Emce role that needs a extra day off. Coddling these "stars" is getting ridiculous.

R506, it didn’t take down The Datalounge!

How can I unblock a user? I accidentally blocked someone when I just wanted to like their post.

DL THEATRE Thread fave Billy Porter is currently swanning around Provincetown. He’s extremely thin and last night seemed borderline out of it, like he’d taken too many “muscle relaxers”.

R517, Click on "Ignored" at the top of the page. When you see the post of the person you accidentally blocked, click on the X to the right of it. That will unblock the user.

I think Eddie played all 8 performances in London and Jessie (Sally) played 7. All of the replacement Emcees and Sally have played 7. Not sure why he can't do 8 here. As far as Nicole goes, having heard her sing the score, her voice is a powerful instrument and if she needs to protect it by taking an extra night off, then she should. I don't recall any talk of her missing performances other than her scheduled one night a week absence. In London, Rachel Tucker who has her own fan base was the alternate. Not sure how many tickets Mandy Gonzalez will sell.

[quote]I think Eddie played all 8 performances in London and Jessie (Sally) played 7. All of the replacement Emcees and Sally have played 7. Not sure why he can't do 8 here.

Maybe just a power play and an ego thing reflecting his stardom.

[quote]As far as Nicole goes, having heard her sing the score, her voice is a powerful instrument and if she needs to protect it by taking an extra night off, then she should.

But again, there's nothing in the vocal requirements of the role that should make it necessary for any Norma to take an extra performance off per week. It's not Evita or Bess or Cunegonde. Not remotely.

Depends on how many hours he's scheduled to work in the box office.

[quote]As far as Nicole goes, having heard her sing the score, her voice is a powerful instrument and if she needs to protect it by taking an extra night off, then she should

Then she shouldn't be working on Broadway. She dropped out of "CATS" revival that ALW chose personally to become a judge on "The Masked Singer" and now this. Perhaps she doesn't take the gig seriously.

Didn't the recent ST revival only play 7 performances a week to give Groban an extra night off?

Yes, R524, but there is no comparison between the vocal difficulty of the roles of Sweeney Todd and Norma Desmond.

Saw The Queen of Versailles last night. Kristin Chenoweth is fucking phenomenal. She is sensational. She is astounding. Is it one of the greatest performances I’ve ever seen in a musical (alongside Angela Lansbury in Gypsy and Julia McKenzie in Sweeney Todd? ) Yeah, I think it is.

The show itself is in remarkable shape considering it only started Tuesday night. It’s staged beautifully on an extremely complex set (basically a construction site of the Versailles residence in Orlando). A large TV screen is used effectively. The sets and lighting are truly amazing. The costumes (which are both modern and French 18th century) are fantastic. Wowza.

Pippin was the very first Broadway musical I ever saw (October 1972) so I couldn’t wait to hear what Stephen Schwartz came up with for this. It’s a strong score with witty, incisive lyrics but is it a truly memorable one like Pippin and Wicked? I honestly don’t know. I do know the orchestrations are wonderful and it’s expertly conducted. The songs aren’t listed in the Playbill, unfortunately. The two standouts are the anthem-ish “Caviar Dreams” (you can see Chenoweth singing it online) and a really lovely ballad Jackie sings to her newborn Victoria, which is the primary melody in the entracte. There isn’t an overture. The book is fine. Some good comic dialogue and the tragic twist near the end is beautifully written. This show has a lot to say. It starts out like Legally Blonde and ends up like Gypsy.

The supporting cast is great. The actresses playing the teen daughter Victoria (Nina White) and the filipina housekeeper (Melody Butiu) are outstanding. Stephen De Rosa, Greg Hildreth and Isabel Keating are excellent. As for F. Murray Abraham-nope. He’s too old for the role and he and Chenoweth have no chemistry. It’s a pretty thankless role, though. He pretty much only has one song called “Trust Me” and it’s not even entirely his. Tony Shalhoub and Henry Goodman could make much more of David Siegel but as I said, it’s a pretty thankless role.

But back to Chenoweth-the sheer force and energy she brings to Jackie Mallery Siegel is jaw dropping. She gets a “Rose’s Turn” 11 o’clock number called “This Time Next Year” and fucking knocks it out of the park. Audra and Nicole? Come Tony time you in danger, girls.

One thing I’d definitely fix-Chenoweth getting her own bow with nobody else onstage. At the moment it’s her and F. ascending a staircase. Fuck you, F. I guess it’s in his contract because he doesn’t get above the title billing.

Anyway, this was absolutely worth making the trek up from New York to see. I’d never seen Kristin Chenoweth perform live and good god I’m glad I corrected that.

That's Rex Reed reviewing Beanie levels of OTTness

Must be a different Kristin Chenowith than the one I've seen.

Frank Luntz has been wrong. Often. Just google "Frank Lutz wrong"

But is Frank Luntz a Ben or a Buddy?

Definitely a Buddy to Kevin McCarthy’s Sally.

Is Wicked truly a "memorable score"?

It's going to be a big year for Stephen Schwartz.

[quote]Must be a different Kristin Chenowith than the one I've seen.

That's because it's Kristin Chenoweth.

Hi Kristin! R526 sorry you lost the Tony to Idina in 2004, but even if still you would have lost to Tonya Pinkins!

As I posted earlier this show has a lot to say. Some of it is about the ugly underside of American society. It’s basically saying having big dreams doesn’t mean you get carte blanche to feed an addiction or allow yoursef to wallow in excess. There’s a sweet song called “Little Houses Have Big Hearts.” The filipina housekeeper Sofia has a strikingly powerful monologue about leaving behind her family in the Philippines, including a small child. There is a suicide in the second act. This is not a piece of fluff. There were a few young teen girls sitting in front of me and their mother and I think she thought she was taking them to see Legally Blonde but it is really not that kind of show.

In the first five minutes there is a song with King Louis XIV (very deftly played by Pablo David Laucerica) and the lyrics start with “I am King Louis Quatorze, my life is shinier than yours.” Haha. It leads to the fabulous reveal of Jackie on the set of the documentary The Queen of Versailles, setting the stage for the first showstopper of the evening which is a number called “Because I Can.” Although politics are avoided (I assume the Siegels are Republicans) Icould have done without an image of Sean fucking Hannity on the huge TV screen when it first appears.

I have to mention Michael Arden. His staging is wildly impressive. This piece is a runaway train with a thousand moving parts and he is really superb at keeping it moving at breakneck speed to keep up with the powerhouse who is Chenoweth,. This is in no way a dance show (although a tiny bit of Jackie auditioning for a named Broadway musical is funny as hell).

Chenoweth is hilarious and ultimately touching although Jackie is quite a piece of work. Her struggles to move up the economic ladder (including a highly amusing Mrs. Florida Pageant sequence) play a big part. Once she’s a billionaire’s wife it gets a bit tricky, especially when it comes to her relationship with her eldest child. Of course this show needs work but I had a genuinely great time and am very grateful to see Chenoweth show us how this all gets done. By the way the audience went bonkers at everything she did. And for the record yes, there were some gays in attendance but it was mostly male/female couples from about thirty years old upwards. The standing ovation at the curtain call began with Ms. Butiu’s bow (along with David Aron Damane who played Ray, a fellow employee) and the applause/whooping/hollering for Chenoweth became deafening. And it was richly deserved.

Nurse, he's started again

Thank you for your informative post, R536. I'm a fan of Chenoweth too (unpopular opinion on DL).

[quote]Is Wicked truly a "memorable score"?

[quote][italic]—A few songs maybe[/italic]

You answered your own question, R532. These days, ANY memorable songs in a score are a cause for celebration. Most new scores only manage a few pallid genre imitations ("Some Like It Hot") or park-and-bark dreary pop ballads (countless others).

That makes me happy for Kristin, r536, she deserves it.

I saw Jackie and her trashy family on the reality series Below Deck and they were horrible. As the parents were lamenting one child who died of a drug overdose they're underage son was a few feet away getting shit faced. Plus they left the crew a bad tip after working then to death and bragging about how much money they have. No, thanks.

[quote] It’s staged beautifully on an extremely complex set (basically a construction site of the Versailles residence in Orlando).

How would you compare the sets to Sunset Boulevard? It sounds similar.

R541, no, the sets are nothing like Sunset Boulevard. Most of the time it’s a construction site with moving metal work ladders (Chenoweth is constantly having to zip up and down on them, often in high heels). There is an 18th century French set which I don’t want to detail. And the final set (I think you can guess what it is ) is absolutely stunning. And it will never look as stunning as it does in the Colonial because the interior of the Colonial was also designed to be reminiscent of Versailles (lots of gilt, chandeliers and mirrors). So fucking gorgeous.

Isn't Queen of Versailles NOT slated for this coming season because there are no theaters big enough for it? Or is that just a rumor over at the BWW chat board?

It’s not coming in this season because no one wants the possible Kristin v Idina Tony bullshit. Coming in next summer after 2024 Tony deadline…..And they have a lot of work to do.

Is it correct that THE QUEEN OF VERSAILLES contains some fantasy sequences set at the court of Versailles in France back in the 17th and 18th centuries? I'm assuming there was nothing like that in the reality TV series, but if there are such sequences in the musical, that sounds like it might be a creative element of the adaptation.

Is Death Becomes Her in the same situation?

[quote]that sounds like it might be a creative element of the adaptation

And probably something that is ripe to be cut.

I know there have been a lot of jokes about Michael Arden and his sexual predilections here over the years, but do not discount him as an exciting and truly inventive director, more innovative than mostly anyone else considering the future of the Broadway musical.

I, for one, am really looking forward to The Queen of Versailles. And no, I'm not a shill, and don't even know Arden.

Yes, R535, those play heavily in this adaptation. Fifteen minutes before the show even begins the curtain rises and there is an 18th century French set with courtiers appearing setting something up for something which I don’t want to reveal. Of course there’s a scene where Jackie and David visit Versailles (out of her many costume changes the one for Jackie in this scene was one of my favorites). I thought this seemed the natural way to end Act 1 but it goes on for at least another half hour.

In the opening of Act 2 we’re in a fantasy 18th century French bucolic setting, Jackie is revealed and Chenoweth gets to do a bit of operatic trilling with Marie Antoinette. It’s hilarious and got huge applause. I really loved how the 18th century French Versailles stuff is weaved in and out of this show. It worked like gangbusters.

R540, the only one of Jackie’s kids who we see is her eldest Victoria (Nina White). All the other seven kids never appear and are only mentioned toward the very end by Jackie in passing. Yeah, that’s a bit awkward but this ain’t The Sound of Music. The focus is on Jackie’s relationhip with Victoria and also with her teenage niece Jonquil (Tatum Grace Hopkins, also quite wonderful). Victoria has been given an epic song called “Pretty Is Winning” about how she feels pressure from her mother to improve her looks. That’s where the Gypsy influence starts to creep in a bit. Victoria and Jonquil, after a rough patch, begin to bond and instead of a “When Mama Gets Married” type number there is a very sweet duet about the burial of a pet lizard. I’m not kidding. But it works! One of the only numbers I think might be cut is when Jonquil fiirst arrives and she has a “Girls Just Wanna Have Fun” number called “I Could Get Used to This.” The thing is that number, in addition to Viictiria’s and a few others, are necessary to give Chenoweth sone time to fucking catch her breath. I’m extremely interested in the cuts they do end up making.

This show looks EXTREMELY expensive. Of course there are a veritable battalion of producers/production companies listed in the Playbill. A delay to open on Broadway in the 2025/2026 season baffles me. How will they hold on to the cast? As I put it upthread I think F. Murray Abraham should be replaced. This damn thing is still buzzing around my head. It’s a genuinely dazzling production with very strong material and an unforgettable performer at its center.

I quit - call me when the Chenowith sow is through. Thanks.

What about the Marquis for the Queen of Versailles?

[quote]I am King Louis Quatorze, my life is shinier than yours.

23 years to write a new score, and Schwartz's lyrics still sound like a first draft.

[quote]I know there have been a lot of jokes about Michael Arden and his sexual predilections here over the years, but do not discount him as an exciting and truly inventive director, more innovative than mostly anyone else considering the future of the Broadway musical.

I was very impressed with his inventive staging of "Merrily We Roll Along" a few years back in LA. The one with Aaron Lazar and Wayne Brady.

[Quote] I quit - call me when the Chenowith sow is through. Thanks.

Yes for God’s sake let’s [italic] please [/italic] get back to Follies and The Black Crook.

R551, I think it’s too ugly and gauche for this particular show. I think the Imperial would be the best bet.

Fuck off, R550. I think there are a few here who are actually interested in what Kristin Chenoweth’s first musical since 2015 is like.

[quote]I quit - call me when the Chenowith sow is through. Thanks.

If there's only room for you OR Kristin, I'm pretty sure everyone will be fine with you bowing out.

[quote]I quit

This will go on your PERMANENT RECORD!!

Versailles will most likely play at the Marquis theater. It's the only theater that's big enough to support an expensive production like this, and it should be open next year.

I really don’t think so, R558.

I’m pretty sure they’re holding out for the Imperial (will Water For Elephants survive beyond New Year’s Eve?) or the Palace (if the Tammy Faye show flops). This show needs a very soecific theater. The Marquis is a vulgar, soulless barn.

[quote]a vulgar, soulless barn

So just the like house they made a show about?

R560. Nailed it.

[quote]I quit

Liar

Just two bits of Broadway on this week's talk shows: Sutton Foster and Michael Urie are plugging Once Upon a Mattress this week on Today and later, she's appearing on The Tonight Show.

Could Chenowith sing Norma Desmond, if the thing lives after Scherzinger departs?

R564, if you're asking that as a serious question, you're insane, and if you meant it as a joke, it's not remotely funny. Plus you spelled her name wrong.

[quote]I think Floridians would burn the down theatre after this scene.

[quote] Is that scene in "Mame?"

I believe it's in the sequel "Flame!"

The sequel was Around the World with Auntie Mame, r566.

above novel ..... Around the World with Auntie Mame...... available to read on archive.org

And we’re happily back in 1958

Happily, R569.

Safe and sound back in good old 1958.

The Last Five Years will play at the Hudson.

At $400 a ticket, no doubt.

I’m in the back of the dress circle and mine was $200.

This is insane for a two-handed with no set and minimal orchestration.

I saw the closing night of both off-Broadway productions and probably eight regional productions. No desire to even look at tickets for a Jonas brother Jamie.

jesse green briefly referenced this in the NYTimes,

what is DL story on this 20 year old feud anyway...

r77- Monsoon doesn't have the voice for Mary Sunshine. She played Mama Morton on Broadway.

Stereophonic doesn't get paid extra for playing instruments. It's not a musical. The characters are playing instruments as part of the story.

r88- the cast in Stereophonic is playing their instruments.

[quoted] jesse green briefly referenced this in the NYTimes, what is DL story on this 20 year old feud anyway...

Riedel has all the facts right in that story. It all unfolded pretty much as he laid it out.

That revival lasted about three more months

It’s a shame that Davis was such a jerk. I saw him in it (with Beach), and I thought Davis did a nice job with the less colorful role.

[quote] The Last Five Years will play at the Hudson.

I don't will them ill, but so far every promo video they're shown demonstrates zero chemistry between the two of them. Methinks Jonas isn't all that bright, and they come across practically as strangers.

That two-handed is utterly bourgeois. And how can a black woman be a shiksa goddess? Has anyone read the script?

Two-hander!

Girthy?

I have some Sarah Paulson tea I might spill in the next thread. This one is getting to close to the end.

[quote]I have some Sarah Paulson tea I might spill in the next thread.

Hopefully it doesn't involve Trish Hawkins.

[R567] I was making a punny joke, based on the comment on Floridians burning down the theater. “Flame” rhymes with “Mame.” See?

And I am well-acquainted with “Around the World with Auntie Mame.” I have my parents’ first edition copy which I read at about age 11 and re-read every few years.

R506 "The big company I work for is still not up and running back to normal" will be my new mantra!

Who/what should be the subject of the next thread title??

R591 I vote for

“I have juicy Sarah Paulson Gossip for next time”

Done R592. New thread.

It's time to wrap this mutha up.

Life’s a banquet….

Except on DataLounge….

Where it’s an early-bird special buffet….

With Jell-O!!!!

Buh-

Bajour

There's always room for Jell-O .... and BAJOUR!