Yes. Roundabout was going to do it 2 years ago, but then Chenoweth booked GCB and decided to do that instead. They then came VERY close to having it in the Sondheim this spring but that fell through at the last minute.
The true star of the original production was the set. OMG! The open sequence in the first act and, She's a Nut, in the second were over the top design wise. I would love to see, On The 20th Century again, and I think both Gallagher and Chenoweth would be great, but its the production values that will be the draw for me. Who's designing?
ARTc3 formerly ARTc. Actually been a poster since 2004. My name isn't Art. Drop the "3" and say the signature and you'll understand.
I'm SO obsessed with this cast recording. I pretty much play "I've Got It All" and "Veronique" everyday on my way to work! And I love Cheno. And Peter. I've been waiting for this ever since the stupid rumors started. Hopefully this won't fall through again!
In most cases, I would love a brilliant original set - even prefer it as it would bring a fresh take on the production. With, On the 20th Century, how do you improve on spectacular perfection? Okay, I'm sure there is room for a new scenic interpretations, but this was perhaps one of the greatest Broadway designs of all times. It would be near impossible to compete with my memory of Robin Wagner's amazing sets. Definitely on the top or near top of my best sets list.
Stevie72, did you see the original production?
ARTc3 formerly ARTc. Actually been a poster since 2004. My name isn't Art. Drop the "3" and say the signature and you'll understand.
the set was amazing / The true star of the original production was the set / spectacular perfection / that beautiful original set / I will never forget that set. EVER! / yes, the set was amazing
Somebody describe the set, please!
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The opening was a series of many set pieces all smoothly transitioning from one to another. It was the process of the company boarding the train. It started in a grand train station (Union Station in Chicago?), transitioning to the platform and then the train itself. The train split down the middle and opened up like a book. Ultimately the main set - the train cars - wagoned on. Each piece was more spectacular than the next and there were many to make up just this one number. In fact, in just the opening sequence more scenery moved on and off (in all directions) than most shows have all night.
The body of the act takes place in a series of train cars that were gorgeous and elaborately built. They ranged from the fancy private cabin that Lily (a movie star) is staying in, to a lounge car, etc. The cars wagoned across the stage placing the car where the scene is played usually center stage.
In act two, there is a brilliant and funny number, She's a Nut, which topped the opening. She's a Nut, takes place all over the train and its a sort of a madcap romp performed at fever pitch. The train cars would pull on and off during the crazy action that was onstage. These moments were divided by a huge and elaborate automated drop of the front of the train which transitioned to the caboose. Both positions had the ability to showcase, Imogene Coco (the nut) - first in the conductor's window and then against the back of the train. Between, this drop and the train cars the staged cleared and a miniature train traveled across the stage against a night sky. Each piece was spectacular, but in just that one number, the stage picture changed and transitioned itself countless times. It was over-the-top spectacular.
And, as enthusiastic as I'm typing here, it doesn't do it justice. It was a WOW!!!!!
ARTc3 formerly ARTc. Actually been a poster since 2004. My name isn't Art. Drop the "3" and say the signature and you'll understand.
Those production stills of the set are amazing!! It sounds like it was one gorgeous production!! The detail alone! I can't imagine how much it cost to mount the original production. I really hope if they go forward with a revival they replicate the original...I would love to experience that.
Set or no set, ON THE TWENTIETH CENTURY can work really well with the right stars. The Actors Fund production, a one-nighter several years ago, featured Marin Mazzie and Douglas Sills, and they sang and performed brilliantly, hitting every note and getting every laugh. Oh, and very little set.