GreasedLightning said: "I don't understand this Rudin trend. These Playbills are fine for his plays, but they just don't make sense for musicals."
I respectfully disagree. I think these Rudin bills hark back to an era of Broadway where the emphasis was on actors and acting instead of marketing and commerciality. I support this trend and I wish more producers would follow suit.
I absolutely adored this production, but I think the negative criticisms are fair. Most of the concerns from the critics stem from the weaknesses of the book, not on the theatrics or design of the production (which we can agree are stellar!). One of the things that makes Dickens such an effective storyteller is that his plots are air-tight. Even the most minute of details always play a significant role to the plot, and I think this is especially true in A CHRISTMAS CAROL. So to change th
WEST SIDE STORY 'S Playbill cover was up on Playbill's website, but has since been taken down. (It's in the vintage, "Rudin" style.) It seems that Scott Rudin doesn't allow for Playbill covers to be made public until the night of first previews.
I think this relationship between Broadway and Hollywood is worth examining. In the old days, Hollywood got most of its source material from Broadway. Nowadays, the trend has reversed as most Broadway productions originate in Hollywood and get adapted for the stage afterwards.
I'm generalizing of course, but perhaps transferring a stage play to film does not affect its quality as much as taking a cinematic story and adapting it to the stage. Film offers a limitless space, whil
msmp said: "BroadwayConcierge said: "bwayphreak234 said: "^ Absolutely dreadful. Just like the production itself."
I just don't know why they wouldn't use their beautiful key art that's on the marquee and every other promotional material across the city. Seems like a no-brainer to me."
This is my question. It's some of the nicest key-art of any show currently running on Broadway, and yet they have gone out of
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