I was just reading about the history of Dreamgirls and saw it was once called "Big Dreams" and Effie died at the conclusion of act 1. I remember also reading that Evita was originally to be told through the eyes of Eva's hairdresser. This got me thinking ... what other shows were especially different during their early stages of development?
I was just listening to the recording from the 1994 London revival and forgot how wonderful this score is! Anyone know if there has been talk recently of a revival? I'd love to see a big, lush production in Lincoln Centre
I was watching a video the other afternoon about Broadway after 9/11. Nancy Opel and Brad Oscar were talking about how moments in their shows has to be changed given the circumstances; explosions were toned down in Springtime for Hitler, for example.
I got to thinking ... what other shows made changes to lyrics/lines throughout their run? Another I can think of is in The Book of Mormon the line referencing the president of the church of LDS was changed when the one originally
I doubt we'll ever see a revival of this, to be honest though I do really love the score (I'm a huge Dolly fan). It surprises me how many productions this has gotten following Broadway with different creative teams, new songs etc. and nothing has been done to improve the clunky (bordering on cringy at times) book
I caught one of the final performances in Boston and am excited to hear this news! I know a few people have mentioned the show has problems but I have to say, I found the whole thing to be absolutely thrilling.
Little late to the party but I saw Donna's final performance. Every so often I see a show and fall in love with theatre all over again - this was one of those experiences. I don't know how to put into words how much I enjoyed the show. Donna was sensational and I was on cloud nine leaving the theatre. Wish I had went earlier in the run so I'd have gotten the chance to go again and again
Hey everyone! I was watching some old theatre talk episodes and came across one where Terry Teachout mentioned Kenny Leon as an underrated director because he's not flashy or conceptual. Conceptual and flashy aside, what do you think makes a good director, especially in plays?
I've given it some thought though most of what I come up with refers to musicals - usually far more flashy than a play and where the direction is perhaps easier to spot.