Oh yes, Buckley's "New Ways To Dream" EP for the show is worth every penny, if you can find it. While I do love so many Normas for so many reasons, she really delivers it vocally/technically and theatrically, where others seem to find it difficult to deliver so well on both.
I CANNOT believe that the World Premiere Recording is even still a thing after all the changes that were implemented after. He must earn more from that recording or there is a definite reason why
I applaud FX for not giving us gay trash/reality tv with recycled stereotypes and actually presenting stories with depth, a point of view, and something to say. I cannot say that for the other "gay" networks that have been mentioned in this thread.
To bring it back to Fosse, "whatever happened to class?"
adamgreer said: "Leaked B-roll footage of the new production!
https://youtu.be/hZ22AejeSII"
OH WOW. Now that is a production I'm all for. I love when people get crazy and experimental with musical revivals and that is literally out of this world. I want to talk with the director and try to learn more about the vision and purpose behind this one!!! I know it was meant to be a joke, but I'm seriously curious about this one now!
OMFG! A signed Mackie sketch!!! That's incredible! May I ask how you scored that? Was it a favor, a simple mail-in request, a charity auction, or...? I would love to have something like that. I didn't really appreciate all that Bob did to help create CHER before this show and the costumes were on fire!!!
OK. Sonny literally has a line where he says "it's a man's world" when Cher finds out that he owns 95% of Cher Enterprises. Cher had an album titled (and the title track was a great cover of) It's A Man's World. Cher famously did her own song, It's A Woman's World. Why is this not a duet moment - Sonny with It's A Man's World, Cher with It's A Woman's World??? Talk about a fascinating opportunity for arrangement (they contrast each other
I'm certain that licensing also played a role in which new songs were selected and which old ones were axed. It would be naive to think that all parties would instantly approve of being included in the musical just because they approved of the film. That being said, extra negotiations/more lucrative deals would've been wise to do to keep some of the songs they've cut (assuming this was the reason they're excluded).
It almost doesn't matter what we think. Kinky Boots didn't change much at all and look how that went. Then again, it wasn't the mess this production is. The problem here is that you can see a wonderful show coming from all of this and it just isn't happening yet.
And yes, Dark Lady is about Cher supposedly after she ditches Gregg. Not sure why Sonny is there at all, as they are supposedly friends at this point chronologically. And that may be another problem. The chrono
I simply can't express what a let down this was. Everything is set for success - great costumes, sets, some book scenes, performances, looks, some arrangements (but why is B'way ok with making every synth virtual but heaven forbid they use a damn 909 or an 808 or something to provide some authenticity and give the music the beat it needs to be successful - Cher is now an electronic artist and that needs to be incorporated when appropriate on songs like Believe). But it just never
Sondheimite said: "Matilda was too smart for American Families and it's a shame."
No, you couldn't understand a single word most of the cast of the Matilda tour spoke or sang. No one had a chance to not "get it" and it wasn't a matter of intelligence. It was a matter of a poor sound design that no one bothered to correct. That was a problem that plagued this show in the US in every iteration.
Saw the first preview. I am so excited about all the potential here. It has a really modern message utilizing some very interesting, disparate parts that, if tightened and massaged more, could be a fascinating combination and breathe new life into the jukebox musical. But, the production needs to make sure the fanfare and buildup moments throughout the show actually deliver to expectation.
The book is riddled with cliches that I think are really working against it.
HAMILTON. Never had a desire to see it and never will. Every long-term theatregoer should have at least one show they have a personal ban on, so this one is mine.
It was actually very smart for Julie to rescind her nomination publicly. She NEVER would have won if they voted on the actual performance that year (Donna was giving a career-defining performance). While she's always a good actress, her voice was shot and this was not her best performance by a long stretch. If she had won, it would've been a "lifetime achievement"/honorary win, rather than for that individual performance. There was a big chance she wasn't ever going to w
I get the feeling that Cher doesn't like to talk about Chaz's transformation and Cher's personal journey with that. I think she considers it Chaz's story and wants him to tell that how/when he wants to. Although it would make a fascinating and very valid series of events in The Cher Show, I believe it has been left out on purpose. And, I respect her for that. I cannot believe that Rick Elice didn't ask or think about mining that for dramatic gold.
I get upset with the changing of official titles of works ALL THE TIME. My most recent was when Once On This Island became Once On This Island: The Musical. There is no other version of Once On This Island than the musical. Maybe you need to add that for audiences nowadays, but it just made me sad. It never needed that designation before, why now?
The Ordway in St. Paul is going to eat this thing alive, just like it did with August/Osage and Hedwig and nearly everything that plays there (the lone exception I can think of is Hal's Show Boat back in the 90s). It is the biggest, epic opera house in the area and they haven't been able to program a successful or even mildly interesting Broadway series since Seller left. They book one exciting tour a year and the rest is filler or their own "original" programming
Not a full production by any stretch, but I absolutely adore that Sunday Clothes/Before The Parade play on a nearly endless loop up and down Main Street at Disney Parks. It always brings a smile to my face and I'm glad Jerry gets probably a few hundred dollars a day from that alone. :)
I used to be one of those people that would stay regardless of how bad a show was, always clinging to hope that I will find a bright spot to keep me engaged.
That all changed when I fell asleep during Memphis because I was trying to stick it out. I still don't understand how I could sleep through the last half of act one all the way up to the finale when the cast stormed toward the edge of the stage. I'm not a quiet sleeper, but I guess no one was bothered enough to nudge me.
