I would love to see Erin Dilly and John Bolton reprise their roles from the Broadway production, especially since Bolton has such a long history with the show. He was a part of it before Pasek and Paul.
I imagine they will go with a well known name for Miss Shields, though it is hard to think of someone who could belt "You'll Shoot Your Eye Out" and tackle that number's tap dancing. And I wonder how big Luke Spring is now. He would probab
Laurie Beechman over Betty Buckley as Grizabella in CATS. And the fact that Beechman was asked to return to the role numerous times over the show's run would indicate that Lloyd Webber liked her better as well.
If you are a tenor that suggests that your voice has changed so roles like Oliver Twist or Young Patrick of Billy Elliot would not work for you. There is an awkward period in a young actor's age where they are very hard to cast. Too old to play a child but too young to play an adult. I would think that Scut Farkus in A CHRISTMAS STORY would work for you. Dodger in OLIVER! would also be a good role though again, it is a hard role to sing if your voice has changed (t
I would love to see the Hytner CAROUSEL again. The announcement of another revival of CAROUSEL makes me incredibly nervous as I simply can't imagine CAROUSEL being done better than Hytner did (though I am hoping).
If that is an example of Patti Lupone speaking her mind, she must have a very small mind. I would not call that a reasoned, articulate, logical and well thought out criticism of Pres. Trump.
And for those of you who call Trump a homophobe and say that he hates gay people, you do realize that he was in favor of gay marriage long before Hillary Clinton and Barack Obama changed their position for political expediency, right?
I absolutely fell in love with this show when I saw it on Broadway. I was never a big fan of the movie so I was a bit disappointed when my kids chose this show over MATILDA to see (we ended up seeing both because I really wanted to see MATILDA). I was not prepared for how much I liked ACS. I just remember having a huge smile on my face through the whole thing. And then there were those moments that I found emotionally moving which I was never able to find in the film.
How could Wildhorn be "on par" with ALW? ALW has had two of the most successful musicals in history, CATS and PHANTOM. In addition to other major hit shows like JESUS CHRIST, SUPERSTAR, EVITA, and JOSEF. He has also won numerous Tony and Olivier Awards and an Oscar. Wildhorn has not achieved anything like this. So again, how can Wildhorn be on par with ALW?
First off I agree with those who say that DEH will survive long after Platt's departure. The show is phenom similar to HAMILTON, which survived Lin'-Manuel's loss.
Second, I think Platt will most likely extend after November. He will have a Tony and will be able to demand a LOT more money which will be an incentive for him to stay (and the Tony will be an incentive to the producers to meet his price).
The book follows the same formula for each kid. Charlie is passive and "wins" by default. The movies both tried to give Charlie a moment of kindness. I'm not sure how the London book handles this but a stage version would want to give him an arc. Perhaps he tries to save Mike Teevee from one trap in Act Two only for Mike to charge into another. The rest of the Act would need to bring Charlie to some sort of catharsis as he finds he has something in common with Wonka. &
I saw this production on Broadway. I was taking my 8 year old son (who was a big Aaron Carter fan) to see SEUSSICAL with Aaron as Jojo (he was awful). I thought I had bought tickets to a matinee, but the show did not start until 7 PM. So we went to the matinee of TOM SAWYER (I think it was closing that very weekend). I had not heard good things about it and the fact that it had already posted its closing notice was not encouraging. However, I loved every second of it (
I was not overly impressed with O'Brien's SOUND OF MUSIC tour and thought it paled particularly when compared to that show's last Broadway revival and its subsequent tour. If he were to direct a CAROUSEL revival he'd better make sure it is at least on the same level as (if not better than) the Hytner production, which was simply ravishing in every possible way. I agree with others who have suggested they just bring back the Hytner production for a revival; it is h
I kept my fingers crossed that the John Tiffany Menagerie with Cherry Jones would get a worldwide cinema broadcast during its Edinburgh festival run; didn't happen. Is that production now gone forever? I thought I read that they were bringing it to the National Theatre where it has a more likely chance of a broadcast what with NT LIVE.
That version really was perfection and incredibly moving.
As mediocre as this show was on Broadway (there's a reason it got zero Tony nominations) it was even worse at ART. There were moments when myself and the person I was with looked at each other and mouthed "What the F*&%!" The dog was played by an actor in a cheap looking dog costume and at one point the dog actually came in riding a tricycle. Not to mention the dancing bumble bees. It was like something from some cheap Nickelodeon toddler show.