Lincoln Center has the script in their archives and it's hilariously awful- the best part is when the 11 year old girl comes out in a sexy peignoir and tries to seduce the frumpy babysitter. Gwen's character spends the rest of the time answering obscene phone calls and trying to rescue a wet cat she finds on the street- popping pill after pill in the process. I wouldn't have begrudged Ms. Version for doing the same thing to make it through the run of this show.
For anyone in the city who wants to brave the cold,I have an extra rush ticket for the first preview of the new Duncan Shiek musical, ALICE BY HEART at MCC tonight - Newman Mills Theater at The Robert W. Wilson MCC Theater Space is located at 511 West 52nd Street, New York, NY 10019.
Show is at 7:00 PM and the ticket (including all fees) is $32.50. The site says all rush tickets will be partial view. PM
Jordan -- My complaint is ultimately with the director of the show, who I think wasn't really able to bring the actors in this large ensemble piece to a unified place of continuity in style, tone, etc. Perhaps it could get there with more rehearsal. I agree that Dvorovensko has a naturalism that is hugely appealing. But - for me - she doesn't yet have natural authority as an actress, which is where I think her inexperience (without the help of great direction) wasn't always
Irina Dvorovenko actually did ON YOUR TOES for Encores a few seasons ago. I think she is fascinating and has a lot of potential, but she is clearly new to the world of acting, and I think needs stronger direction than what she has currently in this production. The two scenes between The Ballerina and The Baron fell unusually flat - though the actors were not helped by the unnecessary ttrims to the script and score.
I'm not going to say that I agree that last night's performance is ready to transfer lock-stock-and barrel to a Broadway run, but I thought for a concert staging with limited rehearsal, Encores and Josh Rhodes did an excellent job creating an evening (very much inspired by Tommy Tune's original production) that gave audiences a taste of what this musical should be.
I have a lot of nit-picks. I couldn't stand the unnecessary cuts to the score and script -does Encores
“It is possible for someone to hit you. Hit you hard and not feel it at all.”
There really is only one way for the line to work, and it is the correct way the authors intended. It is a moment of ephiphany. It is a moment of insight and understanding and clarity. It is a moment when it is understood completely that love must triumph over violence. That It is the only way forgiveness can happen, it is the only way redemption can happen and it is t
CAROUSEL (2018) Previews Mar 2
2018, 12:55:29 PM
I don’t believe there has been a Broadway revival of Rogers and Hammerstein show that hasn’t had at least some cuts and edits since the 1960s. So I don’t think we are necessarily advocating for a CAROUSEL that is exactly as originally written, but it would be nice to see that any changes made were to support the story and a very clear vision by the director for the material.
There were black actors who understudied and performed as Billy in the RNT production both in the U.K. and NYC and I don’t believe race ever became an issue. But again, that production was more abstract than what is on Broadway now, and had a truly diverse palette, with people of color playing (at one time or another) each of the principal roles.
I do feel like there perhaps wasn’t an ample conversation or cohesive vision on how Mr. Henry’s casting could/ wou
CAROUSEL (2018) Previews Mar 1
2018, 11:44:03 AM
As a director, I 100% believe in color blind casting when a show’s story or theme having nothing to do with race. The RNT CAROUSEL is also probably one of the best examples of “true” color blind casting being effectively utilized in a golden era piece of musical theatre writing.
That said, I’m going to say something controversial. Based on what I saw last night, I don’t believe this production is truly utilizing color blind casting. I actually think the creatives are (painfully) aware t
Newintown -- I truly wish more footage existed of Joanna Riding's Julie at the RNT, which remains, probably the greatest acting performance I've ever seen in a musical. She was somehow able to take Julie from a sexually curious, naive, full of optimism, (clearly) blue-collar girl, to a wisened matriarch toughened by life, only to be broken at the seams by the love and understanding she discovers in the moments of Billy's return. That porch scene on youtube gives you a touch of her
I think people are understandably comparing this CAROUSEL to DOLLY simply because its the same producer, some of the same designers and the same epic size musical being presented in lavish revival.
But unlike HELLO DOLLY, CAROUSEL, in my opinion, because of its deeper themes and darker subject matter, is a piece that must be continually reconsidered in order to resonate with contemporary audiences. At the very least, it has to have a smart director who understands what he wishes a cont
The part of Julie is not small. THEY JUST CUT JUNKS OF HER MOST IMPORTANT DIALOGUE IN THIS REVIVAL.
And again, I'm sorry to groan on -- but the other problem is that this production has ZERO sex. Mrs. Mullins and Billy are fcuking. If you don't get that, you don't get their relationship. The bench scene is also all about sexual tension. Not tonight. These characters didn't seem like real people at all to me, and say what you want about the singing in
I thought the RNT production was the greatest revival of a musical so I was bound to be disappointed, but I found Justin Peck's work just endlessly repetitive. There was no story telling to his dance and because there was so much unnecessary dance added, it greatly lessened the impact of the ballet. And why was Louise smiling the whole time? She was about as troubled as a wrinkled sundress.
More than the songs, you should be concerned that they just obliterated the porch scene. Billy now slaps Louise....on the wrist. And gone is Julie's explanation to Louise that it is possible for someone to hit you and for you not to feel it.
This, from the last revival, is essentially how that scene can work and be incredibly powerful. The entire evening for me was a blanched out bore. But I suspect I will be in the minority.
Returned to the production again last night, and It was even more magical the second time. Not surprisingly, things have tightened significantly since the first preview, and Bette Midler has already grown significantly in the part. Gavin Greel was indeed out last night, but dare I say it, I actually preferred his understudy. Golden voiced Christian Dante White exudes wide eyed joy. It was also nice seeing one of the leads played by a person of color.
The original 1964 production didn't have an overture. The overture printed in the piano score is (I believe) one that was released specifically for stock / amateur roll-out. The Pearl Bailey cast recording includes an overture, but I'm not sure this was actually heard in the theatre (Dollypop would likely know the answer to that). The overture in this production is entirely new.
Sauja said: "Robert16 said: "yes, the plot is silly and the jokes are corny - it's Hello Dolly for God's sake"
I get that, but as someone who didn't know the show going in, I found the piece to be a bit of a let down. I love classic musical comedies. From On the Town to How to Succeed to Guys and Dolls...they're shows that are so perfect that even as they age, they feel evergreen. By contrast, this just felt a litt
I'm not posting on the board much these days, but how could I not share in the joy of last nights' love-in at HELLO DOLLY!
Yes, the old girl is back -in a new production that very much pays homage to the original. Jerry Zaks, Warren Carlysle and designer Santo Loquasto are here musical theatre curators of the most loving and respectful pedigree, taking Gower Champion's glorious original production and giving it a light dusting, a bit of touch up color, and a