ESCAPE TO MARGARITAVILLE to Take the Marquis Theatre in Spring 2018

[mlsheehan]

@A Canadian - that's really the only reason to go is for the "fun of it".  It will never be an important, or, maybe even, memorable night in the theater.

Five years from now, I'm sure what I'll remember is that Jimmy Buffet came out at the curtain call.  It probably be the only time that I will ever see him in person.  Obviously, not a Parrothead!

[A Canadian in NYC]

mlsheehan said: "@A Canadian - that's really the only reason to go is for the "fun of it".  It will never be an important, or, maybe even, memorable night in the theater.

Five years from now, I'm sure what I'll remember is that Jimmy Buffet came out at the curtain call.  It probably be the only time that I will ever see him in person.  Obviously, not a Parrothead!

 

I do like Jimmy Buffet. I listened to his music a lot growing up but definitely not. a Parrothead..  When I come to town I'm always trying to juggle as many shows as possible and there ends up being a lot that I don't see. This will probably be one of them as I'll get tempted by others. But if I did go I'm sure I would like it on par with ABBA.   As always I'll wait until previews so I can get a sense of it from other theatregoers. 

 

[GavestonPS]

green waver said: "South Fl Marc said: "No condescension. Jukebox musicals are to theatre what "Survivor" or "Honey Boo Boo" is to TV. They have an audience but are not to my taste.

 

"So you know before you even see a musical, if it contains pre existing well known pop songs, that you're going to hate it? Even if its as well executed as say, Jersey Boys? That's quite a pre judgement, or more simply, a prejudice.

 

 

"

No, it's based on the artistic belief that songs should arise from the plot rather than dictate the plot. It's a central principle of the American musical since OKLAHOMA!

And while I had a surprisingly good time at JERSEY BOYS last week, it was partly because that show makes no attempt to suggest the songs and book are organically integrated. (The exception is the anachronistic use of OH, WHAT A NIGHT! to musicalize the loss of Frankie Valli's virginity, even though the song wasn't a hit until 20 years later, in the late 1970s. I found it jarring.)

What is being described by the poster who saw the show in La Jolla is more akin to MAMA MIA, which could have been replaced by an ABBA tribute band for all I cared about what was happening on stage. This isn't a prejudice, just a fact in terms of my reaction (I realize others felt different).

ETA I should have added that I am in no way doubting the show's commercial appeal. I think Buffet is a fine writer of pop songs and "Margaritaville" is damn near a perfect pop song. Pop songs and theater songs, however, are two different things.

[green waver]

Ah, Gaveston... your defense of a prejudice of a prejudice is scholarly and thoughtful. I would expect no less from you. But its still a prejudice to consign "jukebox musicals" to a lower order of theater before we even open a script. I'm glad you enjoyed Jersey Boys. Marshall Brickman's book totally transformed those  ancient pop songs into something more meaningful. Was it Sondheim or Tesori?  No, but it succeeded on its own terms. BTW, Oh What a Night was used to celebrate Bob Gaudio's loss of innocence in the show, not Valli's.

 

 

 

 

 

 

[Call_me_jorge]

If someone were to gauge with what we've got so far next season, could Alison Luff get a tony nomination/win with this? It's her first time originating leading role on Broadway and I'm ecstatic to see how much her career grows from this. 

[mlsheehan]

GavestonPS, I am in complete agreement with you from a personal preference stand point.  I didn't get to Mama Mia until the sit down in Las Vegas when a couple of friends were looking for something fun to see.  In about 10 trips to New York (while it was playing), I had no interest in seeing it there.

The vibe of this show is so similar to Mama Mia in feel and tone, that it's almost like they were working off a checklist.  I completely had a wonderful time as part of my season package to La Jolla Playhouse (which costs me less than $50 a ticket).  Would I pay Broadway prices for this show?  Absolutely not.  However, I'm not the demographic for this show (right age and I love me some margaritas, but that's about it).  I probably only know the title song and one other in show, and other Buffet hits are unknown to me.  I will say, I will probably buy the cast recording as they are very strong, and most of the songs are truly enjoyable and well crafted.

My previous comments were more from an observation about whether the there are enough folks in the target audience? And whether they would like it?  And in my opinion to both of those is a "yes".  I do not expect it to have the legs that Mama Mia had (it's a more limited audience, not sure how many foreign tourists would go, "Jimmy Buffet Musical! I have to see that!".  I do think there are enough though to make it a "mild" success.

I've seen many try outs in San Diego and Los Angeles (Amelie, Indecent, Guns and Money, Junk, Dirty Rotten Scoundrels, Cry Baby, Curtains, Jersey Boys, and Hunchback of Notre Dame and many others), and I would say I have been right about their New York success pretty often.  I wish I had the money to be a producer!

This show will never appeal to most of the folks on this board, but that doesn't mean it can't be a success.  Okay, I've talked more about this show than it truly warrants.  You all can go about your business of dishing it and tearing it down.  

[mlsheehan]

Okay, one last comment, and I swear I'm done.

Re:  Allison Luff, I'd say a nomination is possible, but I can't really see a win (unless it's a really weak year).  She was very good, but that's my inexpert opinion on that subject.  This is an area where I'm not usually in accordance with the Tony nominating committee and voting block, so I could be radically wrong.

[dented146]

I pretty much echo what misheehan had to say. The show is fun. It will never be mistaken for Hamilton but it will likely have a pretty good run and make plenty of money even after the reviewers take their swings at it. The people who want to see it will leave with a smile. The serious theater people on this board who go looking to hate it will have their negative opinions validated and wonder why so many people are having a good time as they lament the downward spiral of quality theatre.

[GavestonPS]

green waver said: "Ah, Gaveston... your defense of a prejudice of a prejudice is scholarly and thoughtful. I would expect no less from you. But its still a prejudice to consign "jukebox musicals" to a lower order of theater before we even open a script. I'm glad you enjoyed Jersey Boys. Marshall Brickman's book totally transformed those  ancient pop songs into something more meaningful. Was it Sondheim or Tesori?  No, but it succeeded on its own terms. BTW, Oh What a Night was used to celebrate Bob Gaudio's loss of innocence in the show, not Valli's.

 

 

 

 

 

 

 

"

Yes, I believe (artistically) successful shows allow songs to serve the story rather than the story to serve the songs. If that's a "prejudice", then all knowledge and opinion are "prejudices". I'm certainly in good company with everyone from Hammerstein to Brecht to Sondheim to Jason Robert Brown.

I did surprise myself with JB, but I thought Brickman's book was the most obvious thing in the world, something you and I could have whipped up in an afternoon, since it is the exact same story as that of every other doo-wop group from Philly to the Bronx. Fortunately, book is kept to a minimum and I always did like the group's songs. (I saw their first "farewell tour" in 1975!)

Can you name a jukebox musical that isn't second-rate artistically when compared to the great book musicals? I can't and nobody has done so in this thread. (This isn't to say there's never been one that was fun. Nor is it to say MARGARITAVILLE won't make a bundle.)

I appreciate the correction re Gaudio's sex life.

CONFIDENTIAL TO MLSHEEHAN: I, too, avoided MAMMA MIA until the Vegas sit-down. A good friend of mine played the gay "father" for years. God, what a snooze (until the curtain call)!

[Call_me_jorge]

I just realized Betsy Wolfe was in the workshop/lab for this show. I assume in the  role Alison Luff is in now. Talk about not continuing with two different Broadway bound shows.

[Popular]

I agree with whomever posted that the naysayers underestimate the loyalty of parrot heads. They were in full force last night and LOVING the show!! As someone who was only familiar with one or two of the songs I have to say I enjoyed it as well. Escape to Margaritaville is just that - an ESCAPE. Breathe in, breathe out, move on if you're looking for anything else but a silly (yes, sometimes cheesy) good time. 

[darquegk]

I'll defend "Rock of Ages" as the best of the jukebox shows: it's gleefully metatheatrical in a way not a lot of other successful shows touch, and it works pretty well as a smart deconstruction of the jukebox musical genre at its peak (while also functioning as a jukebox musical itself). Sadly, I suspect the lowbrow movie has tarnished its reputation.

Back in high school, I read two of Buffett's novels, and enjoyed them for the loose stoner-Vonnegut surrealism of the rambling narratives. I get that his fiction isn't exactly commercial if you take his name off it, but I wish they had stayed true to Buffett and went a little more "weird" with this show. It sounds awfully safe and conventional.

[BroadwayConcierge]

Cast for the Broadway run was announced in the Broadway Briefing this morning. I'm excited by it, especially Nolan, Luff, Howard, and Webb!

Paul Alexander Nolan will lead the company as Tully, and will be joined by Alison Luff as Rachel, Lisa Howard as Tammy, Eric Petersen as Brick, Rema Webb as Marley, Don Sparks as J.D, Andre Ward as Jamal, along with Matt Allen, Tessa Alves, Sara Andreas, Marjorie Failoni, Steven Good, Angela Grovey, Albert Guerzon, Keely Hutton, Justin Keats, Mike Millan, Justin Mortelliti, Ryann Redmond, Ian Michael Stuart, and Brett Thiele.

[raddersons]

Call_me_jorge said: "I just realized Betsy Wolfe was in the workshop/lab for this show. I assume in the  role Alison Luff is in now. Talk about not continuing with two different Broadway bound shows."

It's not that she didn't want to continue. She probably got replaced. Kerry Butler was in readings/out of town tryouts for Ariel in The Little Mermaid, Elle in Legally Blonde, Julia in Wedding Singer, and a ton of other shows, and got replaced in all of them. Same probably happened to Betsy.

[ACL2006]

That's a super talented cast. Hope this show isn't as bad as it appears.

[RippedMan]

That sounds awful. He lost a salt shaker...so they sing a huge number? Awful. And I LOVE me some Mamma Mia and Rock of Ages. But that sounds really stupid. And I hope they upgrade the sets/design a bit. I hope we don't get cheap looking touring sets.

[raddersons]

GavestonPS said: "Can you name a jukebox musical that isn't second-rate artistically when compared to the great book musicals? "

The closest I can come are Beautiful and Rock of Ages, the former for having a pretty good book to tie the songs together (even though all of the songs are 'sung' by the characters, instead of being emotional outbursts), and the latter for being openly self-aware of it being a jukebox musical and shining because of it. I really expected to hate Rock of Ages but I can't say I didn't have a good time. They are still second-rate musicals.

[HennySlay]

Super happy that Ryann Redmond will be coming back to Broadway! I assume she will be covering Lisa Howard.