I'm here with a completely counter opinion to most of what I've read on this thread.
Saw the original company in '96, liked but didn't love, have waited 23 years to see a staging that matched what for me is a better album of songs than a real show. Last night I got that staging and my God, I thought it was magnificent!
The design scheme was thrilling from the get-go, the mix of street scapes and interiors and band placement and abstract scaffolding and audie
^ My feeling exactly. I have vivid memories of sitting in the orchestra watching the original Bway production and wanting to climb under my seat at the riotous laughter that greeted every homophobic line and lyric spouted onstage. I found it insulting and grotesque back in 1998. I expect it would come off even more so in 2019.
Why is no-one considering a revival of ANYONE CAN WHISTLE in the list of possible revivals? To my knowledge, it's never had a full commercial mounting in NY since the premiere in '64. The misanthropy at its core would seem very suited to our current age, no?
We were Mezz Row D far house left-- none of the staging is obstructed although we couldn't see the window wall at all. The real issue is those mezzanine seats are hopeless when it comes to knee room, and I'm only 5'-5"! My husband had it really bad at 5'-10". Be forewarned!
The Ferryman has about an hour and a half of great theater sandwiched within a 3-hour play. If that math works for you, go book your seats-- the acting and staging is admirable. For us frankly, that left a long Act I and much of Act III that we couldn't wait to be done with.
Dame asked: was your screening at the DGA a union screening?
Yep, it was, full of union members with many many children in tow (makes sense for a Disney movie smack in the middle of the Thanksgiving weekend). No question, I adored seeing Dick Van Dyke and Angela Lansbury onscreen too, all trotted out in quintessentially Dick- and Angela-appropriate roles with shtick that was a callback to their classic Disney movie musicals of the past. Each was onscreen for the le
I made it to a screening this past Friday at the Directors Guild of America on Sunset. Unlike the screening Dame attended on the Disney lot, mine was packed and jubilantly responsive. In fact they cheered like crazy when Dick Van Dyke and Angela Lansbury appeared, so you know the crowd was packed with either a lot of theater fans or fans of the original movie or both.
No-one could have been a bigger fan of the original movie than myself though. I was 8 when the original
Fortunately, the Broadway production did lead to a superb touring production that came to the Ahmanson in LA a couple years later, featuring much of the Broadway cast and Hal Linden in the John Cullum role. We felt privileged to get to see the piece that night. It's what we hope for every time we go to the theater.
We luckily recorded it Friday night-- caught all of Act I then and watched Act II last night. It reminded us all over again how very much we loved Act I (maybe one of the best nights of pure musical theater we've seen in the last dozen years), and how very, very much we detested Act II. Seeing closeups of Leslie and Robby were a swell treat, though we sorely missed all the other stars of the original Bway company who were replaced by the time of this taping.
Theater Darling is spot on. Those of you giving them him/her a hard time are REALLY on the wrong side of this discussion. Theft is theft-- what could be more immoral than stealing from the very actors you claimed to enjoy the night before? Stand back and look at yourselves for a minute.
The most recent Bway reimagining of a Robbins-directed classic I can think of was Bart Sher's FIDDLER with new choreography by Hofesh Shechter. Loved a lot of it, hated some (couldn't tell the Jews and Russians apart in "To Life", but generally found the new choreo one of the plusses in the otherwise discardable new production. I'm sure I'll feel the same with Van Hove's.
^ My 62-year-old eyes wanted to see what all the excitement was about over Lauren Ambrose's nuanced performance or the details in Catherine Zuber's costumes, none of which would carry without my Bi-nocks. Not sure what you're not sure about. I bring them along whenever I'm a ways back and I enjoy the show exponentially more.
That's not a diss. MFL is worth seeing only if you can take in the nuances of those performances close up. We brought our pair and enjoyed the show from Row C Center Loge as long as we were looking through the binoculars. Less so when we weren't.
West Side Story is a musical featuring the murder onstage of all 3 leading male characters, 2 by switch blade for God's sake. It's not a piece that requires kid gloves in the handling, and I'd be curious to see what a ballsy director could do with it. Stumbling over Arthur Laurents' faux-slang dialogue might be the biggest hurdle any new director would have to solve to get the show reconceived however.
Unfortunately I detested Van Hove's THE CRUCIBLE, so I fear he
On July 4th 1976, I was serving as a young inexperienced tech director in my first year of summer stock at the New London Barn Players in New Hampshire. Of course "1776" was the show we were doing that week. We had somehow borrowed every gong and chime and giant cow bell in the county and stashed them all on the theater's back porch for the climax of the show.
But at 3pm on July 4th that Bicentennial Year, all the church bells in the entire country started
I woke up to the charms of Bandstand too late to see it live-- only on the Tonys that year when they performed the powerhouse "Nobody" number and we all sat up and took notice. So I was super delighted to see it last Monday through Fathom at an art house in Beverly Hills.
As usual, the compulsive editing drove me up a wall when all I wanted to see was a few wide shots of the whole stage to understand how it would have felt to be there in the theater. That