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.
Interesting that some praise the score but are critical of the book, referring to it as "clunky". If I recall, Marsha Norman won a Tony for "Best Book of a Musical".
I think it is unfortunate to drop the songs "Round Shouldered Man" and "Race You To the Top of the Morning" as they are both lovely songs and they flesh out the relationship between Colin and his father, which is pivotal to the plot.
The original film did not really "Americanize" the story. They purposely filmed in Germany not only because it was cheaper, but because director Mel Stuart liked the "ambiguity" of the location. Stuart liked the idea of the location being a place that would not be easily pinpointed by many, giving the film a fairy tale quality and the sense that it does not take place in any particular place or era. He felt that would give the film a "timelessness&qu
To the people on this thread who keep saying that the adults as kids casting was "common knowledge", obviously this is not the case since this thread started yesterday.
If this production is going more towards the movie, then there will be no Mr. Bucket, and Mrs. Bucket might even sing the song "Cheer Up, Charlie" which, while not a great song, is still MILES better than anything new written for the London show.
According to the flyer I got in the mail, this production will be using the "beloved songs from the original film, including "Pure Imagination" and "The Candy Man" alongside a brand new score. " I assume they will also be using the Oompah Loompah songs from the film, since that tune is featured rather prominently in the TV ad. I hope they bring in more elements from the Gene Wilder film as that film is sort of iconic here in the states (more than it
I still don't understand why they ever needed three or four Matildas. Sorry, but it is not THAT challenging of a role. Surely no more work than an actress playing Annie, or Mary Lennox. With BILLY ELLIOT it made sense because the role had such huge physical demands with all the dancing and acro. But Matilda?
And then when they all received a "special" Tony, that REALLY iirked me. Especially since it was the same year that another famil
I wonder if they will change the lyrics to "Candy Man" for this production since Wonka is singing them and the lyrics seem to be very "un-Wonka". Lyrics like "Who can take a sunrise, sprinkle it with dew?" or "Who can take a rainbow, wrap it in a sigh?", or even worse, "The Candy Man can 'Cause he mixes it with love And makes the world taste good". I am not knocking the lyrics as sung by the candy shop owner in the film, but pu
So, that "Charlie and the Chocolate Factory" teaser certainly made one think that the Broadway version might be more similar to the movie "Willy Wonka and the Chocolate Factory". The license plate says "Candy Man" which is one of the songs from the film, and the whistle you hear at the end is....well, do I even need to say? Plus, director O'Brien referred to the character being more like the Gene Wilder character from that film. If the