Call_me_jorge said: "I hope in like 5 years LCT gets a hold of the rights, because I’d just love to see a bart sher interpretation."
Why? LCT did it once before and it served them well. They have no need to do it again. Also, Bartlett Sher is a very wrong choice for Carousel. I know he's deemed the master interpreter of Golden Age musicals, and most of his revivals have been triumphs, but not all Golden Age musicals are built alike.
EllieRose2 said: "Yes, international opera singer Nathan Gunn, gorgeous and ungodly talented, was a horrendous Billy. Nope. Watch the DVD sometime, his songs will gut you. He's incredible and his voice is tremendous. His chemistry with Kelli is something Joshua and Jessie will never, ever have."
Gunn has a beautiful voice. That's the only nice thing I can say about his performance.
BroadwayBaby6 said: "I haven't seen the production YET but I'd like to mention a couple of observations: - Some critics liked and some hated the new choreography. While Agnes De Mille's original choregraophy is iconic, it's of its time (1945). One could argue thatnew choreographycould make us see this show with new eyes.
- As wonderful as the Hytner revival was, most people forget that Billy was played by Michael Hayden, a wonderful actor but not a sin
The Distinctive Baritone said: "What’s cut again? Geraniums and Stonecutters?"
Musically: most of "Give it to 'Em Good Carrie," "Geraniums in the Winder" and "Stonecutters Cut it on Stone."
Text-wise (*SPOILERS* for a nearly 80 year old musical) and this is from what I can remember from a week ago: The entire Act 1 closing scene post "Soliloquy," Mrs. Mullin coming back and seeing Billy's dead body and Juli
Nothing happens "off stage." Read the script, the carousel is on stage for the "Carousel Waltz," as is the entire carnival. Just about every production includes the carousel in the opening, from the original 1945 production to the National/LCT, to the Arena Stage production. Even the disastrous movie included it. The only major presentation I can think of not to include it was the NY Philharmonic production, but that was a staged concert with a limited budget, stage s
An exceptionally brilliant man. He's also responsible for bringing mystical beauty to The Secret Garden, vibrant jazz hands to both Curtains and Crazy For You, and giving majestic life to classic musicals like Hal Prince's Show Boat, RNT's Oklahoma, and LCT's Carousel.
JBC3 said: "Piazza not selling well? Nonsense. The show extended multiple times and ran for more than 500 performances."
Yes. Re-read my post, I acknowledge it ran for over a year and had a successful national tour...AFTER its success at the Tony Awards. All it takes is a review on Playbill Vault to see that it wasn't until the beginning of June that Piazza saw a significant rise in its grosses and seeing high capacity. The week before the
If the question is did it have a chance: Sure. All shows that are nominated do. Was it anticipated to win? No, not really. To understand why, you'll have to put your personal opinion about the show (which I share) aside and look at it from a historical perspective.
Spamalot was the huge, and I mean HUGE, hit of the season. It had the highest grosses, it had generally the best reviews (including a rave from the NY Times), it had a company of actors that were well liked wit
aliciag3 said: "...Having not seen The Little Foxes, is it weird that Laura Linney was nominated in leading and Cynthia Nixon in featured...?"
The producers have made it clear to nominators that they are submitting Linney for Leading and Nixon for Featured, so it is the performances where Linney is on for Regina and Nixon for Birdie that nominators will be given tickets to. Nothing weird about it.
Soaring: Billy IS young. He's not a teenager, but he is not a commanding, powerful, intimidating presence. He is a man/child who was the big fish in very, very small pond who doesn't know the first thing about being an adult. Carousel post "If I Loved You" is the audience seeing the vulnerable, insecure person Billy is hiding behind the raw sexual charisma he presents at most times.
A booming, operatic voice offers wonderful thrills with this score (John Rait
CPD: I know what it was written for. I'm saying what a different sounding voice could add to the performance. Not that a tenor voice is vital, but that a youthful presence is. I'm also aware of the stigma that comes with the role, that it being a major singing role. It is a role with very heavy duty singing to it, but it's not the ONLY thing that defines it.
No, Sher would've been the wrong choice for this. Carousel is hot blooded passion, intensity and life and death stakes. Sher would've brought a gentle, subtle hand to a piece that needs heat. O'Brien is a risky choice given his track record of late, but apparently his Porgy and Bess many years ago was something to behold and I've heard very positive things about his Sound of Music.
Still wish it was Phillipa Soo as Julie Jordan, but Mueller is a phenomenal talent and ac
muscle23ftl said: "Right, Billy Wilder himself said the show was a 85% just like his movie. I think the other 15% is even better than the movie, because the musical and the dramatic symphonies and the color of the music make it a 15% better. "
If you think some of it is better than the movie, well that's your opinion. But you misquoted and misinterpreted what Wilder said. When asked what he thought of the musical at the opening night party
QueenAlice said: "Every time I see a blurb about a "Carousel" revival, I get excited thinking they may some day bring back Nicholas Hunter's glorious RNT revival."
Would love a remount of the Hytner production, too. But since that's pretty much a pipe dream, I'd be on board with an O'Brien revival. I maintain that Phillipa Soo is the only option for Julie Jordan, but Jessie Mueller would certainly be lovely.
Trish2 said: "It's sad that Debbie Reynolds passed away today. Her work in the film, Singin' in the Rain, is sublime.
For all of you who commented on the "gorgeous dance sequences" in La La Land, why don't you take a look at Singin' again. The dance sequences in that musical are stunning and luckily preserved forever on film . They're lit beautifully, the actors have musical talent, the score is top-notch and the choreography is gl
If number of performances is how they measure success then they shouldn't be Broadway producers. An American in Paris and Something Rotten will have technically out-run Fun Home in terms of performances, but FH is the only musical production from the 2014-2015 season to have recouped its investment. And at the rate AAIP and SR's grosses are going it looks like it will remain that way.
As someone mentioned, that revival and CZJ have their fans, but there are just as many who did not care for any of it. I saw the production at the Menier and found it to be a missed opportunity, albeit with two fantastic central performances in Hannah Waddingham as Desiree and Maureen Lipman as Mme. Armfeldt. On paper, the Broadway company seemed perfect and I figured in that year since Menier, Nunn might have learned from his mistakes. But when I went to see the Broadway production two month
JayG 2 said: "AC126etc. Foster comes across as a nice little soccer mom with few traces of being used time and time again. The antithesis of Charity. "
Sutton Foster is the exact age Gwen Verdon was when she originated the role. She'll even have a few months on Verdon by the time this opens. She's the right age, she has the talent, and she has the same director who led her to give one of the best performances I have ever seen. Plus, she has Ber