OKLAHOMA! is my favorite musical, and while I agree with most of the posters here that this concept is not needed to elevate the story in any way, shape, or form, as the show itself stands, I applaud OSF for being willing to take such a bold stance on something that is such a definitive piece of American culture, and in fact, the crown jewel of the art; as it was the first, after all; fully realized piece of the musical theatre as
In response to everyone else, I think I caught the drift of the survey. I would not like to color in any way the OP's survey with my opinion, however so I'm not gonna say anything here. But PM me if you wanna chat about it for whatever reason, because I believe she has a very specific goal here.
I was at the performance where Wayne Brady went out and Carl Clemons-Hopkins took over mid show. Brady had a weird thing happen during Schuyler Sisters - completely blanked during the bit where he hits on Angelica - and then next scene he was gone and Mr. Clemons-Hopkins was on.
If you go to see the Chicago production and he is on...you are in for a treat.
(though, to be fair, distractingly tall...possibly even taller than W
I saw it. It was fine. Nothing mind-blowing. Christiane Noll and Bobby Steggert were phenomenal, the rest...just meh. Didn't care for Stephanie Umoh.
Design was fine, orchestrations were fine...it was just so unremarkable in so many ways. Very much felt like a great regional production of the show you could see anywhere, so how did it justify Broadway prices?
It also opened my eyes to the weaknesses of Ragtime in general - while it has a great score and message, it is
CindersGolightly said: "That's about two weeks pay as a regular principal on Broadway. Not the best but certainly not the worst."
Far from the truth. A principal role on Broadway makes far more, particularly if you are a "name" like Chenoweth or Cumming. "Unknown" names on national tours playing principal roles often make at least 25% more weekly than $2700.
To me, this sounds like they made SAG-AFTRA scale. Wh
Morrison did the workshop and is a major TV star that makes himself (and more importantly, other people) hundreds of thousands of dollars. Actors of that bankability don't (or shouldn't) participate in limited budget workshops without a right of first refusal to be given the right to choose whether or not they will participate in the production that HAS a budget that will actually make
Saw the show last night, and enjoyed it very much. It is a darker take on the material...it opens with the offstage voices, and then a moment where Jeff fires a rifle and wakes Tommy, played for full realism...a pretty sobering start to a romantic musical. Everything (with the exception of the Meg Brockie scenes, which are overplayed) is played very naturally and with great complexity.
The biggest revisions that I noticed: "Almost Like Being in Love" is n
The Perfect Musical? Jun 24
2014, 09:11:16 PM I agree with jnb9872's sentiments. True, being "about something" (which it certainly is, I think it's a momentous work of art with a terrible reputation) does make OKLAHOMA! better and more palatable of a show overall, but what makes OKLAHOMA! perfect is that it defined a formula - it is meticulously constructed so that every moment not only informs the plot but moves it forward. Every dance move, every word, every note.
The Perfect Musical? Jun 24
2014, 09:02:53 PM I believe that there are five perfect musicals, with a couple that are close.
In my opinion, the "perfect" musical is defined by the following categories: every moment, whether sung, acted, or danced, MUST move the story forward in an actionable way. In addition, it is entertaining, and if well cast, is pretty near impossible to mess up as the material can carry itself...you could do them on a bare stage with a piano and a good cast and the material would still stand.
Benanti, Jackson and Hensley to star in MOST HAPPY FELLA at Encores! Mar 6
2014, 09:40:19 PM I adore this show. Definitely in my top ten shows ever and the OCR is in the top three. Very pleased with this casting, I think Benanti and Hensley have become renowned for playing characters with deep insecurities, (Louise, Jud) and it doesn't hurt that they both sing magnificently.
Jackson's hot, but I'm a bit over him. I'd rather see Matt Cavenaugh, or Josh Young.
Fiddler on the Roof Returning to Broadway Mar 6
2014, 09:29:19 PM I personally don't feel the time is right for a revival of FIDDLER, but who am I? think Burstein is very right for this, but nothing immediately excites me about this.
I will say, to entertain this "massive star" rumor... if Bette Midler went full circle and played Golde....THAT I would not miss.
Shenandoah also has a great leading man baritone role.
Karen Olivo on the Kennedy Center Honors Jan 2
2014, 11:05:40 PM I was thrilled to see Karen, particularly singing such a lovely song. I'm not surprised she's taking a break...every time I've come in contact with her she has seemed withdrawn and unsatisfied (no offense meant, just an observation). I hope she's feeling better.
Contrary to popular opinion, I found Anna Kendrick to be particularly magnetic and her voice to be gorgeous. In fact, I thought that as the tribute went on, the ladies got more interesting (ie: Sutton doing her same-old, culmi
Falls's direction is astounding, and the set design is literally breathtaking. Lane gives his whole soul in a performance that is, in my opinion, maybe the most naked and honest he has ever been as an actor ever. Dennehy is breathtaking and grounds the show.
But most of all, the supporting performances...the tight cohesive ensemble that supports the pair...Patri
Ok, this is really starting to bug me. Literally every moment that didn't work in Chicago is STILL there...wtf?
PS: Dollypop, I don't think there is anything that would be considered inappropriate for an 8 yr old, maybe some cursing...but i doubt an 8-yr old would have the resolve to sit through the show, which is long, and more contemplative and introspective than you'd expect.
Big Fish Preview Thread Sep 6
2013, 12:56:54 AM Thanks for that, Kad...the Witch number, when I saw it, was FULL of Katie Thompson riffing her butt off, reaching for multiple notes in full belt above a high A or even multiple high Cs...it was clearly very difficult for her to sing, and it's intention was to be loud and show-y...and I just don't believe that moment is intended to be so LOUD and "BAM!"...you know what i mean?