I remember there was a rumor published in some Australian entertainment thing the day the revival closed on Broadway that they would be opening in Sydney or Melbourne I think early 2018.
As for extending the Broadway run with another leading lady - I think the investors for this really saw it as replicating the ENO experience with Glenn and the Symphonic orchestra on a Broadway stage. I would've loved it extending and would definitely have continued going to see it, bu
Giants - not recording that 2017 revival infuriated me. Close and the entire cast sounded so much fresher backed by that symphonic orchestra was a real shame. Worse yet, they had initially planned on doing that when they were in London with the ENO - (pretty sure it was a video shoot) - but when Glenn was sick for three days and Ria Jones had to go on, that thwarted the recording.
As for the set being re-created - if I win the Mega Millions I might go crazy and make a true
greensgreens said: "Wish I could've seen Cher or, recently, Alice Ripley... I have a feeling Cher actually would've been an incredible fit, especially at that stage in her life & career. She was basically Norma during that time, although just a few short years later, she'd seeher Salome ("Believe" hitting top of the charts!"
Alice Ripley is starring as Norma in a few weeks up in Massachusetts. Had contemplated taking the trip to see he
JBradshaw said: "I have many articles and most of the NYT full page ads.
I write some of my personal sunset stories later....but a
why didn’t some of the other Norma’s never come to broadway? Diahann Carroll and Rita Moreno."
Was never a fan of Diahann - and I think she took the Canadian role as it was being run independent of ALW for the most part. Livenet and RUG had some sort of agreement and by the Canadian premiere, the sh
What was interesting about it was 1 - ALW or RUG could've purchased those tickets and given them away to schools, students, etc and that would've kept the receipts at the same level 2 - the Karen Mason weekly grosses weren't that bad. It was in the 500-600 K range (as opposed to 800K with Close) which wasn't bad for what was an announced vacation. (People knew Glenn was out for those two weeks)
AEA AGMA SM said: "It wasn't so much that he praised her understudy, but the claim was that her name was not having any effect on ticket sales and the strength of them was due to the show alone. I can't remember if they tried to pad the numbers while she was out on that vacation, but it became clear that, at least at that point, the show did need true star power in the role and she essentially demanded an apology for Lloyd Webber trying to diminish the effect her presence had
OK - let me see if my recollections are accurate. They had initially planned the American Premiere Recording (not a Broadway cast, since at that point LuPone and Anderson were still contracted to do Broadway) and did a day of recording shortly after the LA debut. LA had a terrible earthquake that whatever they had done on that first day was lost and they had to start over again a few weeks later. It might have been February at that point . But the LA cast was expected
theatreguy12 said: "I know there will always be those who critique Close on her camp-liketake on the role, and her voice,
But I will say that the only time I saw Sunset Boulevard was during its pre-Broadway run at the Shubert in L.A. and Close's performance just floored me. From beginning to end I was captivated by both her voice and her interpretation of the role.
When It got to that point in "As If We Never Said Goodbye" where she hits that line
The young woman was "Amy Powers" - who was thanked for her contributions in the original production. I think her lyrics were something like "Just One Glance" which became "With One Look" and similar types of things as the show was re-written between the first and second Sydmonton workshops.
David10086 said: Thanks for sharing this! WOW, I could've written this myself - though I'm a few years older than you. LOL
ASPECTS was my first B'way musical in 1990, though I was so bored with it. I did buy the double cassette of the cast recording, and hardly ever listened to it. Not my favorite. PHANTOM was my next Broadway show in 1991, and my faith was restored in ALW.
Like you, I went to Colony Records in the summer of 1993, and I was lucky to find
For memory the last time I saw Patti was in January ‘94 and Kevin Anderson’s name on the posters and in the programme had been replaced by Gerald Casey (his understudy), meaning he only did 6 months.This seems to be a little before the NY casting was announced officially (and things started getting ripped from the wall in Patti’s dressing room) but you may well be right with your reasoning.
ukpuppetboy said: "I saw each of the London Normas (at least once) during those glorious days, but Patti was far and away my favourite. Really missed the look and sound of the show once they retooled it for Betty Buckley/John Barrowman. Of the three times I saw Patti I will cherish her Charlie Chaplin routine mid-song in The Lady’s Paying which didn't make it past previews - and her stunning final “With One Look” reprisein that original key (mercifully givingthe
So hadn't been on these boards in the last few weeks and was doing a search to see if any updates on the Movie-musical had popped up and stumbled on here...
So many memories. I still am unsure how/why Sunset Blvd holds such a huge place in my mind and heart. I'm not a rabid musical theatre fan (don't mean that in a derogatory way) In fact, I haven't seen a musical since the Sunset revival closed (which I saw 5 times). Probably part of the rea
nasty_khakis said: "I wonder what today was like in the Really Useful offices. The internet has torn this thing apart and there is almost ZERO "this looks AMAZING" reactions. I wonder if Hooper/Universal will retool anything since they have months to adjust and change the effects."
First off RUG is fine... this is a Universal Pictures Production. RUG will have royalty checks coming one way or the other - the risk/profit factor is really for Universal.
OK the marketing people at Universal definitely got me interested -- dare I say -- excited for this. Just hearing the music with new orchestrations underneath it and some of the set designs, it has a feel of a completely new approach
Yeah - ALW was speaking about the trailer this morning in an interview in the UK about how he and Taylor Swift watched it over and over about 10 times - so I would think that's to get the hype going for the trailer coming out
I'll look through my box of news clippings (seriously, a copy-paper-size box of clippings and articles) but I thought I remembered reading that when NY closed (and it was announced the US Tour and London would as well) in the NY Times that one of the sets was going into storage. But it would seem bizarre all these years later that it hadn't resurfaced or even been mentioned in light of the London and Bway revivals. My guess would be that if they kept them, they trashed the