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 been hemorrhaging millions since it premiered, largely due to the cost of the video projection system. People don't throw good money after bad. I highly doubt this was filmed; if it was, I don't believe PBS is involved at all. Probably a Lincoln Center thing.
If someone were to engage in this highly unlikely production, I'd personally only be interested if it included the two songs Sondheim contributed that Melina was unwilling to keep in the show because he didn't visit her every night after a performance.
The original MGM motion picture is owned by Turner Entertainment Co., which in turn is owned by Warner Bros. Pictures Group, a subdivision of Warner Bros., a subsidiary of Warner Media LLC.
In other words, it's possible, as they do with Warner Bros. made content for television, that they may license any putative live musical of Oz to other networks for broadcast, if not development and production; however, highly unlikely when they could decide to compete the
All I have to say about this is to repeat Laurence Olivier's words to Dustin Hoffman: "My dear boy, why don't you try acting?" With all the digital effects they can do these days to age/de-age performers, what's the point of drawing this out? To get more life experience out of the performers? What if that life experience doesn't match up with their character's? It's a ridiculous and unnecessary approach, no matter how much people are amazed
SmoothLover said: "My neighbor said that her son was in the Times Square area and was offered free tickets to Bat Out Of Hell but he turned them down because of his work schedule."
A close friend picked up some free tickets at work offered to the boss in a similar fashion.
Untapped Cities also has a fair amount to say (and display) about the Liberty. Funny someone brings it up now, as I was just talking in the "Dream Production" thread about reviving the place.
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
