The set doesn't allow for the full acrobatic flying around the platforms that Gene Nelson did, but Yazbeck's dancing and acting ability allow the darker colors to come through. It's the closest we'll get to the Michael Bennett/Gene Nelson original until Tony Yazbeck us cast in a full production.
Thanks, PalJoey, for encapsulating what I feel about FOLLIES and Prince in general, and my subsequent disappoint
Hathaway proved to be a disappointing Lili in the Encores CARNIVAL some years ago, with a very colorless soprano. A good actress, though, and certainly a big ticket draw. Still hoping for Kelli, who was so amazing in the concert version some years ago, and just finished her Williamstown concert with "I Could Have Danced All Night" that blew everyone away.
Not long before he died of AIDS-realted complications, David came to sing with the New York City Gay Men's Chorus, and he was amazing. He was funny and playful, and sounded great. Sadly, the apparent infighting of the GRAND HOTEL creatives delayed the OCR for way too long, by which time David was too ill, and he died at the recording session. Only his performance of "Love Can't Happen," taken from a live recording, is included on the album.
Sorry, but my second attempt at seeing this show (first time in 1991) did not convince me of its greatness. It all felt fairly tedious, and with so few musical numbers, the nearly two hours felt interminable. The book scenes, even the "funny" ones with Sara Jane Moore, become repetitive, and the production seldom feels cohesive enough to carry the evening along. Some of the singing, notably Pasquale and Hensley, was fine, but other roles seemed undercast musically.
I had always been a big fan of Peters, but her performance as Sally was a total washout. Sad and weepy from first to last, and her singing was not up to the demands of the score. And it didn't help that Schaeffer is not a good director, and didn't have a clue as to what this show should look or sound like. You haven't lived (?) until you've seen his first attempt at FOLLIES, with Florence Lacey and company in zombie-white makeup...
Yes, Rudin is a sleaze bag. He knew the cast was leaving when he announced the extension, and when Metcalf won the Tony, lots of tickets were sold on that basis. The Telecharge site says nothing about a new cast. I thought I had time to see this, perhaps during the summer, but now I had to race to see this cast, and I live out of town. Love Julie White, and might see it again when she takes over, but of course I want to see the Tony-winning performance.
Kimbo said: "jayinchelsea said: "The best show of this past season, by far, was THE NEW YORKERS, from Cole Porter. Were there really no better choices, or is Jack Viertel just too lazy to do the work? "
Your message is condescending and self-contradictory. "The New Yorkers" was the most lavish restoration job Encores has ever done, for which Jack Viertel himself (for whom it had been a passion project for years) wrote the new book adaptat
JSquared2 said: "Because they have a LOT of tickets to sell, and it's Show BUSINESS, not Show "Let's Produce a Bunch of Old Forgotten Shows That No One Except For A Few Dozen Old Theatre Queens Care About" !!
Wow, what the f**k is your problem? To quote Encores! mission from their website, their aim "celebrates the rarely heard works of America’s most important composers and lyricists" and has generally been to
Totally bummed about the choices, talk about lazy! Neither ME AND MY GIRL or GRAND HOTEL are great shows, or have great scores, so why these choices? Where are the still unproduced shows of Rodgers and Hart, or Jerome Kern? Or WIDCAT or some of the other shows of the 40s, 50s and 60s that are waiting to be seen? The best show of this past season, by far, was THE NEW YORKERS, from Cole Porter. Were there really no better choices, or is Jack Viertel just too lazy to do the work? Yes, some of th
I appreciate reading the differing opinions of Doyle's work on the show, and I assume that Sondheim and Weidman have agreed to them. Doyle is a variable talent, imo; he truly brought THE COLOR PURPLE to life, but his work on THE VISIT, which I saw years ago at Signature and loved, did not help the piece at all.
PACIFIC OVERTURES is a difficult show; over the years I have come to admire and even love it. I am seeing it later this month, and am hopeful that this version respects
Hopefully this will die where it begins. The director is not the second coming, and why doesn't he pick on someone else, for example, Neil Simon? His work reminds me of theatre 20-odd years ago, when every "serious" play ended with deconstruction. Nothing really revolutionary, just pretentious. And no, Arthur Miller would not have applauded what has been done, and neither would Joe Mankiewicz.
Sure that Henry and Mueller will be fine, but have been hoping that someone would do CAROUSEL with Pasquale and Osnes, who were amazing in the Lyric Opera production. And if that had not been totally misdirected by the awful Rob Ashford, we would have gotten this much sooner. Here is the clip from youtube of the "bench scene" from Chicago, and watching it makes me wish for Steven and Laura to do these roles.
I am so heartsick to hear these comments about PO. While it is not my favorite Sondheim show (I've been watching it since its tryout in Boston in 1975), it sounds as though Doyle has eviscerated the show. And I love watching the original on youtube. Hoping that Weidman can effect some changes on what Doyle has wrongheadedly wrought.
The PR folk at AVENUE Q ran a brilliant campaign, and it rightfully won over WICKED, which is a loud, bloated musical loaded with Stephen Schwartz anthems (yes, I like "For Good" too, but not much else). AVENUE Q, may I remind everyone, is still running, albeit off-Broadway, after doing 2534 performances on Broadway, and it has already racked up several thousand more at New World Stages. So take that, WICKED!
For a bit more background on this play: I saw the famous Mike Nichols staging at Lincoln Center back in the 1960s, and Anne Bancroft as Regina and Margaret Leighton as Birdie were memorable (as was George C. Scott as Ben). The next major production with Elizabeth Taylor was better than anyone expected (her non-award-acceptance speech at the Tonys was hilarious), and although Maureen Stapleton as Birdie was the standout, Taylor held her own. The last LC production with Stockard Channing as Reg