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!
* It's got that slick polish that Webber needlessly sticks on most revivals of this show -- clean, more "pop"-sounding than "rock," kind of like most new-wave JCS in that respect.
* The orchestra has a very full sound because, for once, it is a very full orchestra (only an opera house has the kind of funding to pull that off).
* Singing-wise, this blows the NBC special out of the damn water. I like that they
Again leaving out the one-vote charlies, the new tallies are:
American Psycho (14 votes) Merrily We Roll Along, Carrie (tied for 6 votes) Groundhog Day (4 votes) Bright Star, Chess, Dance of the Vampires, The Bridges of Madison County, 1600 Pennsylvania Avenue, Pacific Overtures (tied for 3 votes) Caroline, or Change,&n
It may not necessarily have the same cast or orchestra, but it will be essentially the same production, based on the Regent's Park staging from 2016/17. The tour website listing the same creative team is a big clue.
Totting things up from this thread, a theoretical "flop rehab" facility would allegedly do great business if it presented (leaving out the one-vote charlies):
American Psycho (13 votes) Merrily We Roll Along (5 votes) Groundhog Day, Carrie (tied for 4 votes) Bright Star, Chess, Dance of the Vampires, The Bridges of Madison County, 1600 Pennsylvania
I think our believing that you take this seriously would be a lot easier were the subject of this thread not mocking its title openly on his Snapchat account.
Well, that seems about as pointless a choice as one could possibly make, but then again, the 2005 film of The Producers exists, so anything is possible.
Famebroadway2 said: "I had no idea they were even planning to tour this."
They've already got several dates booked, all for 2019:
February 6-17: Denver Center for the Performing Arts, Denver, CO February 26-March 3: Des Moines Civic Center, Des Moines, IA March 5-10: The Fabulous Fox, St. Louis, MO May 28-June 9: Belk Theater @ Blumenthal PAC, Charlotte, NC June 12-23: Ordway Music Theater, St. Paul, MN June 27-July 7: Winspear Ope
Oh yeah, Riedel said in his column a while back, around the time the Bat flew to Toronto, that Michael Cohl had in mind a national tour this fall and then maybe Broadway. My guess is, if it undergoes a national tour, they'll see exactly what kind of interest Meat and Jim actually hold with the general public in America, which is to say (as yankeefan7 put it) mainly a guilt
There are two new songs in the show, by which I mean they are new to anyone not familiar with Steinman's work since the early-to-mid-2000s. "Not Allowed to Love," previously a duet in the aborted Batman musical, is now a solo for the character of Tink, and "What Part of My Body Hurts the Most," previously a Rob Evan solo in the short-lived Over the Top / The Dream Engine revue, is now a duet for the characters o
Book, music, and lyrics. Stuart Beattie is credited in the programme for "additional book material," but the script I've seen has only Steinman's name on it, and it reads very like the type of stuff he normally writes. (It also, rather unfortunately, suggests maybe he was more responsible for DOTV than he has ever let on, if one compares the style of Ba
Fair warning if you're someone who likes a strong plot line: all the way back to its out-of-town run in Manchester, one could summarize every review, hit or miss, as "Great cast, terrific songs, you'll have a wonderful time, muttermutterstorywhatstorymutter." They still can. As a fan of Jim Steinman, who wrote the score, that bugs me a little bit.
Every Steinman fan I've ever known has talked for years about how all of Jim's music is, in so
To be fair, I could be wrong but I thought the article said that the person had already heard negative things about this actor and was looking for input from the author. Having said that, it is kind of ****ty to put it in such blunt terms.
And some more interesting writers. They never cover anything in any kind of depth; it's all too broad and general. At least have some stories that hold ****in' attention if you're gonna write like that, or at least something more dramatic than "One time I told a casting director that what they'd heard from other people about an actor was true."
Well, to be fair, there are still gargoyles in the Papermill script. They're just not used to the degree, or in the same way, as they were in the film or the Lapine version.
I remember hearing that "In a Place of Miracles" started as a song written for the film that was cut for time, but may have been intended for use in the ABC version. "Flight Into Egypt" was definitely written for ABC. I can't recall much else.
Scarywarhol said: "The Parnell book is such a precipitous downgrade from Lapine's. The Papermill production was just atrocious, despite the involvement of several fine actors. It's a crime that Schwartz Jr.'s undergrad concept is baked into the show for its whole licensing future now. Such an exciting property, with such a long wait...it's just such a sad waste that it was sunk by nepotism."
If it's any consolation, not all of the changes came
