""It is a show that would not resonate with todays theatergoers unfortunately. Great score but I simply do not think it would succeed even though it should. Add to that, it is not on the list of musicals that are OK for revival.10 or 15 musicals are on it. All the great shows not on that list will never be revived. It is a shame but there it is ." Does this list actually exist? What are the musicals listed on it? I've never heard of this list before. "
You've apparently ignored Mr. Roxy then, since anytime there's any mention of a revival of any show we get a post about this "list." Of course, the fact that just off the top of my head I can think of numerous revivals we've gotten (Promises, Promises, The Apple Tree, On a Clear Day, Side Show, Gigi) and upcoming revivals for this season alone (She Loves Me, Dames at Sea, Falsettos, The Color Purple) that would not appear on this list in his mind kind of negates his point. Yes, there is another upcoming revival of Fiddler on the Roof, and Gypsy is always going to be a popular choice for a revival as well (both because of the potentially thrilling star turns that can come out of them), but we definitely see more than the 10 or 15 musicals he continually claims are the only ones we ever see revived.
The number I mention was not meant to be taken literally. I meant you just get tired of seeing the same shows over and over again being revived while a ton of shows will never see a revival.
I thought you would have been smart enough to realize this.
I think it needs someone with real ability for line delivery. Mame's line readings need to invoke the right mixture of sophisticated wit and pure absurdity. Can Kristen Wiig sing?
It would absolutely need huge star power to cover what would be a huge budget. MAME is a very large show, along the size of the R&H shows. Many sets, huge ensemble, etc.
I remember a few years back Herman was intrigued by the idea of Queen Latifah, whom I think would be great, but Latifah doesn't want to do the B'way schedule, as of now.
Unfortunately, it can probably never be revived again because the triumphant title song is an ode to Old South, the musical-theater equivalent of waving the Confederate flag.
It was originally intended as satirical, but the satire would be lost on contemporary audiences, and the song would be seen as a nostalgic tribute to slavery, with a cutesiness about being a Rebel and "the South reviving again" that would be seen as whitewashing violence and degradation:
You coax the blues right out of the horn, Mame, You charm the husk right off of the corn, Mame, You've got that banjoes strummin' And plunkin' out a tune to beat the band, The whole plantation's hummin' Since you brought Dixie back to Dixie land.
You make the cotton easy to pick, Mame, You give my old mint julep a kick, Mame, Who ever thought a Yankee would put A little Dixie mouse to shame. You've made us feel alive again, You've given us the drive again, To make the South revive again, Mame.
Beauregard: You've brought the cake-walk back into style, Mame You make the weepin' willow tree smile, Mame, Your skin is Dixie satin, There's Rebel in your manner and your speech, You may be from Manhattan, But Georgia never had a sweeter peach.
All: You make our black-eyed peas and our grits, Mame, Seem like the bill of fare at the Ritz, Mame, You came, you saw, you conquered And absolutely nothing is the same. You're special fascination'll prove to be inspirational, We think you're just sensational, Mame.
Who ever thought a Yankee would put A little Dixie mouse to shame. You've made us feel alive again, You've given us the drive again, To make the South revive again, Mame.
I just don't think there is an audience for this. At least not to the tune of the $15 million it would cost to create a first class revival. As Pal Joey writes, the musical is also very much of its time. If I were Catherine Zeta Jones, I'd rather star in something someone wrote specifically for me.
“I knew who I was this morning, but I've changed a few times since then.”
Political issues aside, I just never liked that song. I've only listened to the score once but it seemed like the play/movie but with needless songs slowing down the pacing.
I don't want to come off as rude, and I might be old-fashioned and against changes, but there is no-one who could really take on that role nowadays. The kind of star-quality that Mame Dennis requires cannot be found anymore in actresses. And please, Mr. Herman, please don't change the lyrics! Leave it as beautiful as it was originally:
Because its a stale, endless, dated show with a terrific score. Maybe Encores could do it.
"Impossible is just a big word thrown around by small men who find it easier to live in the world they've been given than to explore the power they have to change it. Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.”
~ Muhammad Ali
Special Guest Star Kristin Chenoweth as the screechy soprano in the chorus singing "Mame!" "Mame!" "Mame!"
If anyone ever tells you that you put too much Parmesan cheese on your pasta, stop talking to them. You don't need that kind of negativity in your life.
Really, as much as I want to love it because the score and orchestrations are so thrilling....the show itself is a slog and a half. There are holes everywhere.
Reidel reported a few years ago that a prominent producer (who he never named, but I always assumed it was Scott Rudin) pitched a full scale revival to Bette Midler, but she wouldn't agree to do it long enough to make it financially viable. I *think* it would have had to run a year at sell out business to work, and Midler only wanted to do 6 months.
ETA I found a bunch of interviews with Midler from 2013 where she talks about being approached for a revival, but reveals she was hesitant because of the energy involved in committing to 8 shows a week in a musical. She mentions it's "always in the back of her mind" though, so who knows.
The show, as fun as it could be, needs a phenomenal star to work.
By which I mean a great actress and personality with musical comedy chops, style, sophistication, warmth, vulnerability and madcap flare. It might have been a fabulous show for Ann-Margret when she was the right age for it.
Toni Collette, so long overdue for another major musical role, seems an ideal choice. Kristen Johnston could be an absolute hoot as Vera as could Spencer Kayden or Sarah Stiles as Gooch.
any good actress should play the role. Angela doesnt possess all of the qualities that Mame has but she's a brilliant actress and transformed herself. Meryl Streep would be amazing, and i would like to see Jessie Mueller take a crack at the role in 10-20 years