schubox said: " Standout because he played the character so much differently than Uranowitz. The rest of the cast were great, but didn’t really do anything different than Rannells, Borles, and Block did."
I think what posters are talking about above is a standard clause in the production contract for authors that says a show has to play a certain number of performances for the producer(s) to retain his/her/their rights in subsidiary productions. Some shows are run at a lost for a few weeks because the producer believes the show will have a more profitable life outside of New York.
I can't remember the details (which may have changed over the years) such as whether previews count tow
Hal Prince was rather famously caught running the original FIDDLER at a loss (and misreporting the grosses to VARIETY) for many months so it would become the all-time longest running musical over HELLO, DOLLY!
I don't know how that was financed, exactly, but as Jarethan points out, Prince had made his investors rich many times over so I doubt they were quick to complain if they lost a little ground in the last year of the run.
Mike Barrett said: "That wasn't my point. Kids these days only see straight couples in movies, rom com's, Broadway, etc...."
Apparently you don't watch commercial television. I'm surprised by how many ads--from IKEA to Jarrod's jewelry--feature a gay male and/or a lesbian couple as just one more in a group of normal couples. The same is true with minority couples and racially mixed couples.
When I was young, corporations were timid and lagg
Facts are facts, nobody, and arguments are arguments. I never even look at the categories based on how many times the poster has posted. And since I don't read every thread, I don't make any assumptions about how long it has been since someone else posted.
To me the post stands on its own, nobody has to "earn the right" to correct me or disagree with me.
rpvee said: "They described a score heavily influenced by a foreign culture’s music as being a messy, nonsensical combination of notes that shouldn’t even be considered music. It’s at least sheer ignorance and closed-mindedness, racism at worst. "
You think maybe we should save the "r-word" for more important expressions of hatred?
I do know what you mean and "ignorance" is indeed the word. But I have to admit I'v
Kids, this isn't a big deal, but to avoid confusion, there have been two Broadway revivals of THE MUSIC MAN: first in 1980, starring Dick Van Dyke and with Christian Slater as Winthrop, and then in 2000, starring Craig Bierko (and directed by Susan Stroman). (These are full, open-run, Broadway revivals and do not include any City Center, Encores!, etc., special productions.)
So simply referring to "the revival" may puzzle those of us old enough to remember disco.
Just to be clear, I LOVE Stephanie J. Block. In fact, I just rewatched FALSETTOS on the dvr for the umpteenth time.
But I wonder what people expect to get from THE CHER SHOW OBCR that they can't get from Cher's actual recordings? I have THE JERSEY BOYS OBCR, but I'm more likely to listen to a Frankie Valli and The Four Seasons greatest hit recording.
And I wouldn't dream of listening to MAMMA MIA instead of ABBA GOLD.
devonian.t said: "Oliver! has a horrible book. It is far from great.
If you like The Boyfriend, try Valmouth by the same writer- just as tuneful but with a wonderfully saucy and subversive book."
I've only seen OLIVER! once on stage, in London in 1979 (IIRC) with a couple of the stars from the film. I agree the book is problematic. As somebody pointed out in another thread recently, it doesn't always juggle the two moods (cute/light and dark) o
THE YEARLING "probably had the best score of any flop"?
Not as long as CANDIDE, THE GOLDEN APPLE and STREET SCENE exist.
For me, your mention of Jess Richards overshadowed the items on your list. Jess and I were "out of town" friends when he was performing at theaters where I worked in South Florida. I'm sure you'll agree he's one of so many we lost too soon.
BTW, do you recall a song Jess sang in an original revue at
You and your puzzled party do understand that the "classic Robert Preston march down Main St with the '76 Trombones'" is the ending of the MOVIE, not the STAGE MUSICAL, yes?
The KC production has apparently added a coup de theatre to their curtain call, which people seem to enjoy. I'm pleased they delayed it until after the plot has ended. Some productions overstage the ending by making the boys' band (or just Winthrop in the 1980 Dick Van D
KJisgroovy said: "While I'm happy to see a Hercules musical... partnering with Disney seems like a complete betrayal of everything The Public stands for. I mean. Not to be hyperbolic. But. It seems real lame."
Exactly my thought. And Oskar Eustis is not just an enormous influence on me personally, but in my experience an artist of unquestionable integrity.
Isn't The Public awash in HAMILTON money? Do they really need the money they'll make