Personally, I think the movie is rather deadly idiotic pasteurized dreck, flavorless fodder for the booboisie, but I could see some good writers making a fun show from it. If they jettisoned the entire screenplay and just kept the basic idea. Maybe.
Let me get some facts lined up before I ask - this show ran for a brief four months in an open-ended commercial Off-Broadway production three years ago with 19-count'em-19 producers credited. It received few award nominations, and won none. The Times did it few favors, saying that it "isn’t as savvy or mordant as the film that inspired it," that it had a "sort of bubbly generic score" and "sassy sendup lyrics now common to musical adaptations
Who exactly is/are the Albee Estate? He had no children, his long-term partner predeceased him. Who are these people who speak for him, and how reliable are they as representatives of his wishes and opinions?
In the 90s, I saw two separate regional (non-Equity) productions of Woolf; one had an African American Nick, the other an African American Honey. Neither production was particularly good, but the flaws had nothing to do with anyone's race
I get the distinct impression that you believe that you have nothing to learn about anything from anybody (and that, in fact, you feel its your mission to go out of your way to try to insult those who may know something you don't, or at least have differing information from yours), but if my instincts are wrong, then thank you.
UncleCharlie, as a playwright, I think it needs to be acknowledged that your dialogue is greatly lacking in coherence and verisimilitude. And wit. And sense. It may have a bit of value as a good example of non sequitur, but not in a comically effective way. Perhaps it could be used as an example of "what to avoid."
But keep trying; I wouldn't want to stifle your voice.
Kad asked "Why the hell would an anonymous woman say she was physically abused?"
It doesn't seem to take great imagination to visualize a Munchausen syndrome kind of person (or someone suffering from some degree of paranoia, schizophrenia, or the like) who creates imaginary tales of illness or victimization. I'm not saying, of course, that this is the case here. But we all are, I think, given the ability to imagine any sort of plausible
There is a boot of the full Broadway version, which is my benchmark. The (unmiked) voices are unmatched, and Ballard's is the only version of Lazy Afternoon I've heard that sounds as though it's about screwing.
I only mention it as almost everyone involved is long deceased.
I think you have not yet quite mastered the definitions of "communism" and "capitalism."
Dolly is a textbook capitalist - she doesn't want to redistribute capital, she wants to invest it to "encourage little things to grow." As she tells us at the very beginning of the show, she arranges things "for the pleasure and the profitthey derive."