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
I am still hoping one of the networks brings A CHRISTMAS STORY: The Musical to the small screen. Such a beloved and well-known title would seem like a no-brainer. So far, we've got NBC and Fox entering the live musical TV event; can ABC and CBS be far behind?
I saw this show a few weeks ago at the Ogunquit Playhouse in Maine. The production and performances were all top notch, but the material was difficult to connect to and follow. I am really not sure why --the material was very dense, with lots going on, similar to LES MISERABLES. But the creators were not able to make it all work. Too bad
I am wondering if the actors playing the children are actually child actors or young adult actors (say 18 to 21) who look like children. It is hard to tell from the pictures but I would think with the very strict laws in the UK governing child actors (much more strict than Broadway) and the fact that they probably don't want to take a chance that a 13 year old playing Albus will suddenly hit his growth spurt that they would cast young looking adults in those roles. Does anyone
I don't think it should be limited to just Broadway productions. How about the current Papermill production of WEST SIDE STORY (which is completely sold out)? Or the Ogunquit PH production of ANYTHING GOES with Andrea McCardle and Sally Struthers?
I'm afraid I have to agree with Esther. What I saw in Hartford was pleasant, but nothing to write home about. The primary romance story is right out of a 100 musicals that have come before it, many of which did it much better than ANASTASIA does. The true drama in the show comes from the conflict between Anya and her possible grandmother. That really was more interesting than the somewhat bland, traditional love story.
I was never a big fan of the movie as it always came across as too "jokey" and self-aware (wink, wink, nudge, nudge). But I absolutely loved the musical and was very surprised at how good it was, and especially how emotionally moving some of the material was (since the movie always leaves me cold).
One of my favorites was in the Broadway revival of THE SOUND OF MUSIC. When Maria is leaving the Von Trapps to go back to the Abbey. She sneaks out of the Von Trapp house and down the stairs while the orchestra plays a light version (flute maybe?) of "How Do You Solve a Problem Like Maria?". Then the string section comes in as Maria reaches the bottom of the stairs, turns and looks at the VT house as it is slowly pulled back into darkness. She turns and exi
"What exactly does "out of place" mean? Does it mean that you would not hear this type of music in this period of history? Or something else. Inquiring minds want to know.."
It sounded like bubble-gum pop music. I think I remember at the time commenting that it sounded like music you'd hear on one of those "Kidz Bop" releases. Wouldn't it have made sense, since Barrie was Scottish, to write a score with that kind of influence? Tha
Having seen it on Broadway and at ART I can only say that the show improved a great deal from what I saw at ART which was truly bizarre. The Broadway version was still very bland, with a score that is so out of place with the source material that it was like seeing two different shows at once, neither of which really worked.
At ART the show was so outlandish that it garnered laughs and almost jaw-dropping glances to those in my party. I mean, dancing ladybugs? I
bwayphreak234 said: "One of the (many) major problems I have with this production is the use of the white hot beams of light inflicted upon each character when they die. It is truly a horrible directorial/lighting decision IMO.
Of course, you are not just referring to the 25th anniversary staging as that technique was used int the original staging as well.
Not sure where this came from but it was just uploaded to YouTube two weeks ago. Looks like it was shot through the in-house video camera at the Winter Garden. It is the late, great Laurie Beechman singing MEMORY during a performance of CATS. Apparently it is one of her final (of many) returns to the show. She is certainly not singing it quite as well as when she was in good health, but still, it's Laurie Beechman singing MEMORY so who cares! Sadly, she would die
I always got the impression that the creative team capitulated to the folks at the RSC. After all, the S in RSC stands for "Shakespeare", so they MUST know what they are doing. I think the RSC version had a few nice little changes (like the Lily's line in "How Could I ever Know?" being changed from "How could I ever know?" to "Now, you must let me go".)But for the most part, it was dismal and nowhere near as moving as the Broadway version. &nb