little_sally said: "Really? I've never heard this one before. Seems odd they went with Laura (who I didn't think was a perfect fit in the role) over Amy Adams, who was already an Oscar nominee by then."
Or it could be a case that Laura Benanti was the second choice when a deal couldn't be worked out with Amy Adams (just a thought as to why, not a statement of fact).
I'm not sure what would be gained by a story focusing on Harry's life pre-Hogwarts. Two hours of seeing the Dursleys treat him like dirt? Not exactly an evening of great entertainment there, and of course even harder to build up any real tension in the story.
The Other One said: "Tennessee Williams wrote the role of Serafina in The Rose Tattoo for Anna Magnani, but she turned it down because she didn't think she could handle the English language on stage. Maureen Stapleton did the role on stage and won a Tony (as best featured actress, which makes no sense) and Ms. Magnani, less intimidated by the camera, did the film and won an Oscar (as Best Actress, which does)."
I have not read the libretto, though I know of its reputation for being built so specifically around Burnett. I'm aware that a full revival would be pretty much impossible without doing some major rewrites, but I still think it would be a good choice for Encores, if only to hear that Styne score with a full orchestra, since it does indeed contain a number of gems.
Fade Out - Fade In was written very specifically for Carol Burnett. It was hugely successful while she was in the show and reportedly outgrossed both Hello, Dolly and Funny Girl, but it never saw that same level of business during Burnett's leaves from the show (one was a medical leave after she injured her neck in a taxi accident, the second was when she left the show to go work on a show that her then husband was producing). The show s
I've said it before, and I'll say it here again: The Addams Family. This is a case where I think it was a huge mistake to not adapt the 91 film. The movie had a fun story that would have worked very well on stage and a great film score containing several themes that Marc Shaiman could have easily expanded on to craft a fantastic stage score (especially the waltz he wrote for Gomez and Morticia and "The Mamushka"
Leaf, the 60 minute version has been a huge success for Theatreworks and the tour has been extremely well received and in demand since its run at the Lortel back in 2014 (to the point where they had two companies of the show out on the road at the same time last spring and probably would have done again this spring if it weren't for the fact that they are developing this two act version). Fans of the book have praised the show and it sticks closer to the source material than the movi
QueenAlice said: "I think the issue with the Times Square Theatre loading dock and the Lyric are pretty insurmountable. When it was renovated, the Lyric combined two buildings and that new infrastructure completely land locks The Times Square Theatre by entire buildings on 3 sides. There is no way that any renovation could be made to make the Times Square Theatre accessible on 43rd Street unless they blew out the walls separating the back of the Times Square Theatre a
Since TodayTix upped their service charge (I believe it's at $12 now) it's becoming much more cost effective in many cases to check for discount codes on BroadwayBox or Playbill and purchase directly from the box office and avoid excessive service fees. Wednesdays in January are not particularly in high demand, so getting day of tickets should not be a problem to the large majority of shows.
chernjam said: "I thought that there were stories of ALW entering a recording studio with the new Grizabella. The whole thing's kind of surprising. We got a full Broadway revival recording of Evita when they had made a London one with the same Eva (Elena Rogers) - bizarre"
Not too bizarre at all. They had a record charting pop superstar in the cast on Broadway. They knew that all the people who were flocking to see the show because of him woul
disneybroadwayfan22 said: "Russell Harvard from the SA revival (I just worked with him) told me it's still happening and it will begin to tour next year"
And the cast of Shrek were all constantly assured that they would be staying open until at least the release of Shrek Forever After, right up until their closing notice was posted a good six months before the movie's release. Point being, unless that actor
GavestonPS said: "Is it still the rule that an agent must negotiate a fee above minimum in order to collect a commission? It used to be, which gave agents all the incentive they needed. Before we start telling agent jokes, I knew many who worked with clients on minimum contracts as an investment in talent, even though they themselves saw no money from doing so."
On Broadway the agent's commission is taken for a certain time frame (I think a year) af
I agree, as long as it's not a surge/peak price I generally pay less using Uber or Lyft. Lately I've been using Lyft more since Uber changed their privacy policies and will track you for "up to five minutes after your ride" if you're using location services.
jimmycurry01 said: "We are, after all, talking about a show that was already a hit on the West End. People want to see that hit recreated."
Except the producers clearly did not want to see that version recreated, seeing as how they brought in a new creative team and have put out the money to workshop major changes to the book and score. You can debate about whether or not it would have been more expensive or not to use children, but it certainly would h
I've never heard of a performance being cancelled to film for the Archive, so my guess would be some other purpose. I would assume that it would be for either Great Performances or Live from Lincoln Center, as I can't see there being much success in a commercial release (though stranger things have happened in regards to what somebody decides to film and release).