I am a producer of world class media (stage, film, TV, audio recording), and in addition I develop and produce original, indigenous talent in all areas of media production, in concert with production possibilities in major U.S. cities. In my spare time, I screw around on the Internet.
I used to post here as gvendo2005, but in turning over a new leaf with regard to my Internet persona, I felt a new account was needed. And... here I am!
Andre and Jim have enjoyed a long association dating back to Jim's first musicals in the early Seventies. It continues to the present; as recently as 2008, Andre played the role that later became known as Falco (opposite Justin Vivian Bond of Kiki & Herb fame as a prototype of Sloane) in one of the earliest readings of Bat Out of Hell.
Lot666 said: "Bruce Springsteen, Morrissey, and now Barry Manilow have staged "concerts masquerading as revues" of their respective catalogs on Broadway."
Categorically wrong. They were never advertised as book musicals or revues. You bought a ticket to Springsteen, Morrissey (though dear God, why would you, the weepy bastard), or Manilow, you know what you were expecting. Whatever they want you to believe, calling Bat a book musical with a str
Rocky Horror could, but not successfully; it flopped both times round. And I can't imagine that Bat, struggling as it is to sell full-price tickets at City Center, would be able to weather the same commercial reception on Broadway.
As for what I thought, sorry to disillusion you, ggersten, but I actually wasn't there; a friend caught the picture of Meat a couple rows behind her, and I've never been able to resist telling a story even if it's not my own
ukpuppetboy said: "I was lucky enough to have seen both and I definitely fall into that category of preferring the Berlin version. The songs and orchestrations were my favourite representation of the score. Though I preferred the set design and removal of the gargoyles at the Papermill. Much as I like “A Guy Like You” as a song their presence in Berlin did confuse the tone that adaptation was striving for."
With and without Fosse's involvement, the studios tried to put together the picture several times back in the day. Goldie Hawn was the one fixed element every time it was discussed, which leads me to believe she may have sought out the rights and tried to put together the deal as a vehicle for her.
Among the rumors that got the strongest press:
* Liza Minnelli and Hawn were supposedly attached at one point, and it's rumored that Aug 14
2019, 10:32:27 AM
Never mind difficult to work with. I return to the general reaction that I reported earlier in this thread from people in my office:
"From the producer of Spider-Man and the people behind Dance of the Vampires... a Meat Loaf jukebox musical!" (Which, for anyone who doesn't know about the 50-year saga that led to this show, it is.)
This thing had an uphill battle and a downhill slide ahead of it from day 1. Can't be that surprised it's goin
I got your point, I'm just saying if it was to come, it wouldn't have come from him anyway. Part of the point of the thread was whether or not the show would move forward.
Elfuhbuh said: "Dance of the Vampires revival with a proper script/translation of the original German lyrics, with a lusciously grand and gothic set/costumes."
Believe it or not, still working on this (though admittedly luscious production values aren't my first priority -- keeping costs tight returns the money much more quickly, and reverses the flop stench).
Honestly, no. (Not for any politically correct reasons; just not a fan of Showboat. And before you start, yes, I know its importance, but I'll live just fine without having seen it.)
temms said: "Not a whole song, but when I saw THE PRODUCERS with most of the OBC (Matthew was out, but at this point you usually got only one lead or the other), the black male ensemble member was also out, so they cut the “Credits all de mornin’/And I debits all de evenin’” section of “I Want To Be A Producer”."
Honestly, while I understand what it's meant to reference, I've always felt sort of uncomfortable about that bit
Step 1: Obtain the lease on the former Liberty Diner within the Dave & Buster's / Applebees complex on West 42nd St.
Step 2: Convert into suitable box office / lounge area for...
Step 3: ...the restored Liberty Theatre (which would be a considerable job, but would preserve the ornamented balconies, proscenium stage, and box seats, and would ensure better access to the balcony and gallery levels from the main floor th
Step 2: Re-negotiate contracts with the unions accordingly.
Step 3: We have a new 500-seat, Tony-eligible Broadway theater to which productions with a smaller capitalization can be diverted. Things that would work better in an Off-Broadway venue of similar size don't have to lose their intimacy and can possibly enjoy a healthy run in Midtown; a lot of transfers will immediately fill the waiting list.
Lot666 said: "Can anyone verify that there have been no plot point changes, specifically, that the emotional fallout from Tink's "relationship" with Strat is still the motivation for giving him up to Falco [i.e., "Not Allowed to Love"]?"
Per the ongoing list of changes on a Steinman fan wiki, that has not been altered.
