Much like the late night performance of Doll's House Part 2, part of the reason for the unusual scheduling is to allow Tony Voters who are only in town for limited amount of time for the Road Show Conference (??is that what it is called--sorry if wrong) to be able to schedule a show they otherwise might have missed. Personally it strikes me at less than ideal to ack the cast to perform at that hour, but Glenda Jackson probably has more energy even at that hour than I do in the m
He is most likely returning so Tony voter and see the original cast (and increase his own Tony chances). I would assume tickets could be hard to get for these performances due to holding back lots of prime seats for the Tony voters and their guests.
I am amazed at the number of premium seats still available for this weekend for the Hamilton tour in St. Louis. As of this morning 117 for this Friday and 181 for this Saturday matinee in the center section in the 1st 10 rows. Most of these tickets were $625 yesterday and just went down to $425 and $350 this morning (and I will assume keep dropping until they sell (a few tickets for the 1st 4 rows were $199 for shows at the beginning of this week before they sold). But don't worry ab
Part of the situation may be that Frozen in overexposed. The movie was a huge hit for Disney but they have franchised it in just about every way. There are currently no less that 4 stage versions of Frozen--on Broadway, on one of the Disney Cruise ships, at Disney World in a short sing along version and at Disneyland/California Adventure with a fully staged version (which does have a giant ice staircase). It is just possible parents (and even some little girls) are ready to 'let
Another question--being only familiar with the NTL broadcast--does the live show include the chapters & titles during the interludes (and if so, how so)?
Camelot is also regularly said to have received a major boast from the Ed Sullivan Show. Actually, I would think many shows were helped by the Ed Sullivan Show, which had a huge national prime-time audience.
How does the sound work with the audience and the stage separated by glass? Clearly with all the rave reviews, it is handled very well but I am curious (being only familiar with the NTL version) how the dialogue feels in an actual theatre?
I find this so disappointing, Fiddler on the Roof is all about family and generational issues. Non-union actor tours (I think we can safely assume the musicians and stage crew will be union) tend to be cast very young. For Fiddler it seems very important that the show should have parents and children not just some ensemble members with beards or hair up in a bun. I find it hard to believe that Bartlett Sher would be actively involved in the tour (all though it certainly would
Have any specifics been released on the choir contract? Is it a variation on the allowance for extras? The current AEA Production Contract does allows for extras and is unclear under what circumstances a choir would qualify. From pages of 43 & 44 of the current rule book:
28. EXTRAS Producer may employ Extras so long as the Extras comply with the following definition: Rule 28, EXTRAS Rule 29, GUARANTEED PERIOD OF EMPLOYMENT (A) Definition. T
#EquityWorks: Actors' Equity Reaches Tentative Agreement with Producers of Broadway Production Rocktopia
New Agreement Ensures All Cast Members and Stage Managers Will Be Covered by Equity Contracts
Actors’ Equity Association, the national labor union representing more than 51,000 Actors and Stage Managers, has announced that it has reached a tentative agreement with the Producers of the Broadway production Rocktopia to ensure the production will use wall-to-wa
Home for the Holidays was under an Equity Contract.
Does anyone remember the details of non-union performers in the marching band show Blast during its Broadway run (also at the Broadway theatre), I remember them being paid far below Equity scale (and this causing at least some controversy) but can't recall specifics or find any articles.
The troubled broadway production was never going to exactly duplicate the original production. The staircase and the fire were going to be (they are both central to the plot) but I'm pretty sure they weren't going to excavate under the Broadhurst, so no sinking into the basement. I sort of remember a proposed London production was cancelled after they started to dig down in the basement of the the theatre to accommodate the staircase and hit water. That staircase has a mind of its own
As for the original tour fitting into theatres--as I remember it, the 1st national tour (which started in chicago) required a fairly deep stage (I seem to remember about 36 feet) while the 2nd national tour (i think starting in Seattle) wasn't as deep (I recall 29 feet). Both tours were huge compared to most other shows and required the front of house rigging points discussed in previous posts and had an extended loadin time. (with some items duplicated for pre-loadin and the show ge
