A Director pretty much covered it, though I would point out that in "It's A Scandal", they did change "just one hen" to "just one cock". But how could you blame them? Really, it's the best Oklahoma I've ever seen. The show usually - and this is not a criticism, it's something that happens to a lot of pioneering shows - plays a little cheesy, a little trite. But this production really found the emotional core. And it wasn't just the "
Speaking as a high school theater teacher, I would say there are very few shows that SHOULDN'T be done in high schools. I can only think of three categories.
1 - Sexuality. This is not just rude jokes, people. Lots of the shows y'all have claimed are "too sexy" are able to be done with just some different costumes and choreography. But there is the occasional show where the sexuality is too present to avoid. Pippin is doable. Chicago is doable. Rocky Horror isn
Cordon could be Munkustrap. The character doesn’t have much of a personality, but does seem to be the one organizing everything. I can see Corden playing him as a sort of harried party planner type.
HEAD OVER HEELS Previews Jul 18
2018, 09:30:14 PM
I caught it last week, and I really liked it. On the other hand, I’m a soft sell for really weird shows, and an adaptation of Arcadia to the music of the Go-Gos definitely qualifies. It will either close in three weeks, or have a nice, respectable 2-3 years with occasional rock stars jumping in for a couple of months to boost sales.
I've always been convinced Bobby in Company is gay, and the first gay protagonist in a musical.
You're the second person I've heard say that, and the reasoning the first had was that since Sondheim is gay, Bobby must be too, which is terrible logic on all sorts of levels. Can you elaborate? It's an intriguing idea, but I don't see it myself.
"The songs were technically written for Bombshell, but also for Smash. "
No, the songs were *technically* written for Smash. They were, in fact, only written for Smash, on which Bombshell was a fictional show. Unless they wrote a LOT of new stuff, the score would be ineligible.
I'd say they were two different approaches for two different time periods. Curry's (magnificent) performance wouldn't have played well in that production at all. This was basically proven when Terrence Mann took over and did it very Curry-style. (As I knew he would, he's always been an exceptionally Tim Curry-ish performer. They even looked almost identical in the 70s.) He just didn't fit.
As to Helvizz's point, I'm not sure we can count Cabaret. A
I have to say, I think you are the first person I've ever seen claim that Frank is unequivocally the hero. He's depicted as a murderer and cannibal* who is violently abusive to his underlings and his lovers. Like many grindhouse horror films of the 1960s, which influenced the story even more than classic sci-fi did, I think there isn't a "hero" per se, just a desire on the part of the audience to see people make it to the end alive. I would say Frank is unequivocally the
Perhaps a better comparison, to keep it musical-related, would be "The Mikado" or "Flower Drum Song", and how cultural perception of Asian people has caused both of those shows to require pretty extensive changes in modern productions.
Point to consider, and I don't want to derail, but it's possible for Rocky to be both one of the first LGBT-affirming musicals AND to be transphobic. The problem you run into with that show is that what was once bold and transgressive has now become trite and yes, possibly offensive. Frank is a walking collection of "predatory trans/bi person" stereotypes, and while depicting him was, at one point, daring, it can be VERY tricky to walk that line in an era of more gay and tra
And this isn't the only time I heard that Chicago audiences loved Patchy. I really think it's the actor. If he had our attention from the start, we'd all love "Poor Pirates", but he just seemed to be going through the motions. I don't know, hopefully he'll settle into it after a few weeks of previews.