Patti LuPone FANatic said: "I find it highly ironic that this show will have some talented professionals singing "live", something that the artist in question lacks the ability to do."
BritCrit said: "After all, Max Martin, the guy who wrote many of her hits has a jukebox musical of his own arriving in the West End soon called “& Juliet”..."
I'm all for "the Max Martin musical." I guess it's just a matter of semantics for me. I sincerely hope Once Upon A Once More Time is a smash hit that finds more to bill itself as than "the Britney Spears musical." I hope it brings more exposure, royalties, and appreci
Tag said: "Mamma Mia has nothing to do with ABBA, but it's the ABBA musical. And it did...well."
But ABBA actually wrote the music, so that did made sense. ABBA controls ownership and has a say in rights to their work, so there likely won't be a competing musical with several of the exact same songs ever made (at least in this generation). Britney only sang her songs and doesn't "own" them (I've already acknowledged there may be a vanit
I understand that it's using Britney's catalog and for lots of people that's a selling point (I can also name a fair number of people where this would be an instant turn-off regardless of how good the show may be). But this show being billed as "the Britney Spears musical" is so frustrating for me. She didn't write any of her hits (as far as I know - she may have a generous writing credit somewhere like many other "artists," but she's not doing the bulk
I love that everyone has differing opinions on this! I've always been disinterested in the sugary coating and distraction that the songs provide, so I'm really looking forward to this new spin on it!
What other shows could/should receive this same treatment? I saw a production of Man of La Mancha set in an ICE detention center, maybe something like that???
For the record, I'm not in the theatre, just a casual fan trying to spread a positive message about alternatives to getting too wrapped up in fandoms and unhealthy obsessive behavior, having had personal experience. The most dangerous obsessive fan likely started as just a causal fan with an genuine admiration. Obviously, this doesn't apply for every single person but I think it's fair to always bring it up until it stops being a problem we read about consistently on these bo
I never said enjoying art, even if you don't make it, is wrong. Obviously, that's foundational to our society. However, fandoms often take it to extremes and then it becomes a problem.
What I said, and this is from my own experience which is just as valid as anyone else's, was activity beyond fan worship seems like an investment with higher returns. I've invested way too much in some heroes and been terribly let down, regretting the time and energy I invested in th
I'm very glad I missed social media. As an outcast theatre-obsessed kid with very few friends, I totally would've gone out of control with these fandoms. I would've gone from casual to obsessed to deranged very quickly, so I can understand why it happens.
I really wish people would get back to their interest in the ART and making it - participate in theatre yourself, write your own musical (or a parody), go to a tap class, read Uta Hagen, draw new set designs, watch movie m
Quite honestly, the only thing that saved this from being a mildly amusing funny farce was James breaking the fourth wall and making everything seem hilarious and unrehearsed (which he is BEYOND amazing at)! That was a truly legendary performance!
I don't understand how this would work without that part of the show. I will wait to be astounded by some drastic reimagining that somehow mines the comedy elsewhere...
I just bought full sticker price for the front row! Although it's spendy, this is the type of production I want to support. I hope it is a huge success!
If you can't afford full price, I think row K would be fine. You're so close at Circle, you'll see everything!
It's never less than thrilling to see a true legendary moment captured on film. I really thought the retellings over the years were making it more and more grandiose, but it's exactly as everyone describes it.
In some way, I appreciate Merrick thinking ahead to invite the press to capture the announcement. And I'm sure that was the best publicity in the world for the show (much like Jonathan Larson's passing was to Rent). They became more than just good shows, they
The Mean Girls cast recording was actually extremely well engineered and a great technical achievement given it's blend of electronic/pop/traditional orchestrations. Stephen Oremus & Mary Mitchell Campbell have done some great talk pieces about this. I think based on technical merit and sound quality, that album probably should've won the Grammy. However, it usually goes to the Best Musical winner (or cultural juggernaut) by default simply because most of the voting body doesn'
I think big credit should be paid to the producers & engineers of the Mean Girls cast recording, however. They did a really great job of incorporating modern technologies with the more traditional Broadway cast album approach on that album, and did it brilliantly. Sadly, there is no technical merit award for cast albums.
I have one of the Norma portraits from Glenn's run! It's one of my most prized possessions and I bought it from a nice seller on here. Love saying goodbye to her every morning on my way to work!
darquegk said: "Greens, I'm not convinced regional theatres will take to it as readily: this is a massively visual production, and it's likely that only the biggest and best companies will have the budget and resources to stage it adequately.
And if you can't do the big visual feats of Beetlejuice (a property not only defined by but almost ABOUT splashy visuals), why do Beetlejuice?"
Oh, I said AMATEUR theatre would eat this up. They don't
I put Julie Andrews and the original song back in with Ariana and added some nice orchestral parts. It's a club mix though so, as I always warn BWW, it's not for everyone. :)
Catherine Zeta Jones is an established actress and I believe she more than proved herself with Night Music. She is perfectly capable of delivering a full musical performance and leading a show. The one I attended was lovely and her voice, although not Bernadette Peters', was more than fine. She made up for any issues with acting and personality, just like Glynis (and SO MANY performers) do on Broadway. The witch has a few money notes, but is it really that hard to sing? A lot of
Just bought my ticket for 2nd week previews. I, for one, am interested to see this. And, regardless of how good or bad it is, this will have legs forever simply based on the property alone. Amateur theatre will eat this up for years.
