The original show with Fosse's brilliant choreography and staging -- some of the best of his career -- was a classic. This "new" version tosses out everything Fosse created and replaces it with new choreography by Wayne Cilento (whose work thus far in his career has been, to be kind, anything BUT "brilliant"). We shall see whether or not Cilento is up to the task (personally, I'm not very optimistic).
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Cilento had some mixed success, I think, taking on a Fosse show with How to Succeed in Business. His stuff wasn't as witty and stylized as Fosse's choreography for that one, but it was at least a level better than the Aida and Wicked choreography. I'm hoping he'll rise to the challenge, but I share Margo's trepidation.
I agree, Margo and Magruder, I'm not a big fan of Cilento's work thus far.
CHARITY is dangerous, as well, because much of Fosse's original choreography was preserved in the film ("Big Spender" and "Rich Man's Frug" in particular). Where as Ann Reinking got away with doing "Fosse Lite" for the CHICAGO revival, that original work isn't as well known as his choreography for CHARITY.
It's going to be very difficult for anyone to compete with Fosse. But we'll see.
The three strengths of the show were Fosse, Verdon & Coleman/Fields.
But the story is very weak. To modern eyes, Charity is both a doormat and nincompoop. I can't help feeling Jane Krackowski had the right idea when she bailed.
But the presence of O'Hare and Sabella do give me some hope for this production.
I think it could be a success. I'll see it when it opens just out of curiousity. And I like Applegate, so I'm looking forward to seeing her as Charity.
I'm a fan of the show, but can't imagine it without the Fosse choreography. The Frug is my favorite number of all time and I just feel like I will be dissapointed by whatever is done with it. I'm hoping that the show does well, but I don't really know how I will feel about it when I see it.
Everything I have seen Cilento do has been awful, so I am joining the skepticle group - I would have rather seen Kathleen Marshall or even Jeff Calhoun take it on - atleast their choreography is actually dance. Anne Reinking wouldn't be a bad choice either.
And, contrary to others, I am not at all excited about Sabella or O'Hare. Sabella irritates the hell out of me, and O'Hare is quickly becoming the same in everything he does. Hopefully he will be different here.
"If you are going to do something, do it well. And leave something witchy."-Charlie Manson
Okay, the choreography is very VERY important. Don't get me wrong.
But if they get the leading lady wrong the whole show will come crashing down. Verdon was irreplacable, but others have played Charity successfully (Helen Gallagher, Juliet Prowse, Donna McKechnie, Debbie Allen). If they have erred in the casting of Applegate, if the choreography is somehow brilliant, the show will still lose a lot. This is a monster role. So enormous that the one costume change Charity has had to be made onstage in the original production.
But I'll also voice concerns about Cilento. He's no HORRIBLE, but he is no Fosse and up until now I haven't seen anything from him that wasn't merely adequate.
I think Christina is a good choice from a looks/acting/type perspective. Just hope her singing/dancing holds up. Wishing her the best! Any reviews from out of town?
They JUST started rehearsals last week (12/27) so, no there aren't any reviews from out of town.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Did anyone else catch that SWEET CHARITY concert a few years ago at Avery Fisher, where Charity was split between Donna McKechnie, Debbie Allen, Ann Reinking, Gwen Verdon, Chita Rivera and others who had previously played Charity?
It was a fascinating evening. Gwen did the closet scene (she didn't sing, she just did the scene), and the makeshift closet set that they used fell down on top of her. She laughed it off and kept on going. I think that may have actually been her last public performance in a musical.
What a great evening that was, Veuve. Verdon was hilarious doing the cigarette bit in the closet -- unzipping the garment bag, blowing in the smoke and then zipping the bag up again. What a treasure she was. That night may have had the greatest assemblage of Broadway dance talent ever put together on a single stage.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
I believe Jim Dale, Brian Stokes Mitchell and John McMartin (the original) shared the role of Oscar.
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
First of all, Christina is a GREAT choice for that role. She is a very talented actress who has grown with her abilities over the years. The singing isn't as important as the dancing, and you know that she has to be a great dancer to have gotten the part. As for Cilento. People! Have you forgotten the Who's Tommy??? One of the most choreographed shows, ever!?? Wayne has a signature (and that's pirouette's, because he uses so many of them in every show he has done.) and his choreography is not terrible. True, he's no Bob Fosse, but is Fosse putting on this show? Let's not forget Rob Marshall in the film version of Chicago, who did a wonderful job. Let me just say, part of the reason I will not see Fiddler is because it is in the contract to use Robbins' choreography very time someone does that show. I've seen that choreography. I would like to something different. Variety. As for the show, I think it's gonna be great.
"Do you know what pledge time is, Andrew"? said the PBS Executive.
"Yes", Lloyd Webber replied. "My 50th birthday special must be one program that gets done a lot."
"No", mused the man from PBS heedlessy. "Not so much. Our Stephen Sondheim Carnegie Hall concert. That's a big one."
Spoons, forks and knives seemed suddenly to suspend their motion in horror, all around the table.
Really, Margo? Wow, I have no recollection of Jim Dale or Brian Stokes Mitchell being on the stage. (I remember McMartin being there in some capacity).
I guess with all those dazzling ladies on the stage, none of the men could possibly make an impression. Well, that and the fact that my memory isn't what it used to be.