I also doubt that Kroll and Mullaney are working for cheap; neither is what anyone would call wealthy, with limited television success up to now.
And although they wrote the show, it technically belongs to Patrick Catullo, Marcia Goldberg, Barbara Whitman, Marc Platt, Pierce Cravens, James G. Kernochan, Jonathan Reinis, Benjamin Simpson & Joseph Longthorne/Shira Friedman, Triptyk Studios, Bellanca Smigel Rutter, Nathan Vernon, Mike LaVoie and Comedy Central, the producers.
[please just kill us] – Hunter Bell, Jeff Bowen, Susan Blackwell, and Heidi Blickenstaff find themselves 60 years old and still carting [title of show] around to increasingly smaller venues, the most recent being a Red Roof Inn in Paducah, Kentucky. Rooting through their decaying luggage, they find a suicide pact they made in younger, happier days, with a manifesto that they would end it all if they were doing the same old thing at age 60. Comically, all their attempts
Mameleh! A prequel to Mame, in which we see her as a rich young girl in Chicago, at her scandalous coming out party, running away to New York, and getting laid by Mayor Jimmy Walker, Eugene O’Neill, F. Scott Fitzgerald, Al Jolson, Eubie Blake, and Elsa Maxwell.
Yonkers, Schmonkers, Bonkers - which follows the lives of Cornelius, Irene, Barnaby, and Minnie several years after Hello, Dolly! Boredom and familiarity have inspired them to start the
I thought it was easily the best show of the season, but it was about something real and ugly, and it was about race. A Broadway musical is only going to succeed if it appeals to the yahoos from the hinterlands (which includes New Jersey and Connecticut), and the yahoos won't go to an ugly musical about race; if you make race issues cute, like in Hairspray, or simpleminded, like in Memphis, they'll accept it, but not otherwise.
"You could hit the 50% the main and hardest role has been developed and ready. You need to train the lesser roles to work with Cynthia."
Well, it's certainly clear that you don't have the slightest clue how a show is developed or how rehearsals work. Do you think The Color Purple is merely a series of skits with Celie doing all the work and everyone else just fitting in around her at random?
"But the main role was already developed and ready and that is Cynthia Erivio who again learned her role for the Menier production, all other roles are secondary, so rehearsals could have been brought down to half the normal time."
If you really think that rehearsal time could be cut by 50% merely because one cast member knew her lines and songs, then I'm going to have to discard anything you have ever said and will ever say about theatre.
I found the extra choreography merely distracting; if Ilona is a dance role, the show would have been written with dance music for her. That whole silly dance felt just contrary (to me) to the spirit of the show, which is small, delicate, and non-showbizzy.
As for Krakowski, I agree that she delivers exactly what you expect, nothing more, and she does it pretty well. But I think she's really at her best on the small screen, in supporting roles.
"This production has "reclaimed" the luster of a work that many felt was shortchanged in the original production. It's made a star of Cynthia Erivo. It returned Heather Headley to Broadway. It attracted a diverse audience, including many, many African Americans who have not been a core constituency of Broadway audiences, and it is a quite correct point of pride in that community --whether someone saw the show or not. And now it might go out on th
I suppose they could have said, "due to the amazing material and our stellar cast, this will probably bring in 90% of the gross potential for at least a year." It would have been a lie, but it's the kind of lie that theatre-loving people with extra money might like to hear and believe.
As it turned out, it looks like it averaged about 65-70% of the gross potential for that first year. Not mega-flop numbers, but also not what looks like a financial succes
"My point in saying there was some "poor producing" going on is because I can't imagine that recoupment schedule would have been viable to potential investors if it listed statistics showing that the show would take over a year to recoup, but would only have a guaranteed bonafide 'draw' to sell the show for a few months."
I don't really see much sense in that statement; most Broadway shows don't recoup at all, and most shows that
As has been pointed out, Verdon was 30 when the show opened. It might be odd to have a post-menopausal Lola, no matter how well preserved her exterior may be. When her hip breaks during "A Little Brains, A Little Talent," it'll be a real downer for the entire audience.
That said, I would imagine a successful revival will require an actual star for the role, not a relatively unknown workhorse like Davi or Padgett. I don't even know who this Garrett C
Also interesting to note that this Color Purple revival ran only half as long as the original, and in a significantly smaller house. Despite good reviews and enthusiastic (but limited) word of mouth, it was, undeniably, a flop. Perhaps a flop respected by some (personally, I think the source is terrific but the musical adaptation is unbearably amateurish), but a flop.
Oh, it's always sad when a fictional character strays from their assigned parameters - After Eight has heretofore sounded like a fusty, effete academic; but in this conversation he's coming off more like a Hogarthian charwoman, Madame DeFarge, or some Una Merkel character.
Haven't seen it there, and probably won't. One viewing was enough for me. Happy to hear your opinion, but I'm skeptical. I found the sound good for The Visit, but that's the only Broadway show in the past few years that I would say was not over-amplified. However, those are my standards, and perhaps not yours.
"In all seriousness the score is kind of brilliant..."