Audrey Liebross retired in 2014 from writing legal briefs for a federal agency in DC. She now works as a writer in Palm Desert, California, where she can visit Disneyland to her heart's content. She is also a student at the College of the Desert, where she is studying voice and acting. Audrey has an obsession with "The Phantom of the Opera," and is hoping to finish her musical based on the Leroux novel between semesters. Audrey and her husband have three grown sons and two terrific grandkids. Her philosophy of life is to leave the world a better place than you found it, make lemonade out of lemons, and let your soul take you where you long to be.
I definitely agree with Rebecca and Love Never Dies. In addition, I wish Yeston & Kopit's "Phantom" had made it to Broadway. It's a lovely show, with a lovely score. The success of POTO might help the Y&K version if they were running at the same time. Phans like me would be in 7th Heaven if we could see versions on Broadway at the same time!
I'm looking for information on the Frankenstein off-Broadway musical by Eric Sirota that is currently running on a limited engagement. Broadway World's reviewer loved it. I'm writing a paper on why most horror novel adaptations don't do very well (with the obvious exception of "The Phantom of the Opera". I'm curious if anyone has seen this new "Frankenstein," and, if so, wha
Wilson, Fayetteville is an atypical venue for a tour -- they don't have a lot of theaters, to say the least! However, I just got back from there and heard about the Coliseum for the first time. Their Web site is http://www.crowncomplexnc.com .
Being a Phantom of the Opera maniac (in most of its incarnations -- not just ALW's, although that is my favorite), I've collected a bunch of the cast albums. I'm not sure which productions I have in each case, because, sometimes, there is more than one in a language; I think there may be two German versions. I have official versions in Spanish, Korean, Russian, Swedish, German, Dutch, Italian (the dubbed 2004 soundtrack), and Japanese. I'm most impressed with the Dutch version
I haven't been on this board in probably two years, and quickly logged on when I read about "Carousel's" demise. I saw a revival about 50 years ago and adored the show. However, if they started chopping scenes and numbers, it's unsurprising that the show didn't last. I hope "My Fair Lady" has a solid run -- it's another show that I'm hoping to see when I make it back to NYC, probably next year. At least "Hamilton" will still be running --
Phantom Broadway 30th Feb 28
2018, 06:53:21 AM
I would love to see Derrick Davis back in the role. IMO, he is an extraordinary Phantom, although he is on the young side. Even though I’m not too fond of the touring version of the show, he was extraordinary.
I also think Katie Travis is a top-notch Christine - better than almost all the other Christines. She has already joined the NY company, and a promotion could be in the cards.
I haven't been on this board for about a year, but I HAVE to check in about the Phantom 30th. I'll be at Broadway Con, but so far, they're not doing anything about POTO's 30th, and they don't know how to get tickets. No one seems to know if there will be any available for the public.
I'm going to keep checking here, because you guys all seem to have pretty good intel about what happens on Broadway.
JimmyCurry01, Raoul does not pull Christine back now. He calls to her from upstage, where he is searching for the echo, which, of course is no echo at all, but really the Phantom.
Lot666, you say that "Chris Mann was easily the worst - and most ridiculous - Phantom [you'd] ever seen/heard." For me, he's only the second worst. The dubious honor of worst has to go to Peter Joback, whom I saw only in the final, post-show number at the Broadway 25th anniversary. That was
Lot666, the powers-that-be have used their brains in casting Derrick Davis. He is younger than most Phantoms, but he has major Broadway credentials (e.g., Mufasa and Scar, in TLK). Here are some links:
Regarding the changes, they're still using the silly wigs, including the side-parted Phantom's wig, but the costumes seem different from before, although they're definitely not the original designs. I think the Phantom is wearing the traditional mask, although he might have been doing so before. The main changes are in the staging and stage business.
During the overture, if I recall correctly, in the old version of the tour, there were people rushing back and forth wit
I originally posted this in the thread on decline in quality, but it seems to have killed the thread. Since I really do hope to get some information from the numerous experts on this Board, I thought I would give the post its own thread.
A few days ago, I saw the touring version of Phantom in Las Vegas. Not only was I blown away (in a positive sense) by Derrick Davis's performance, but I noticed
MCFan2, if you've got a fanfic story in you about Eliza, HH, and the ring from Brighton, go ahead and write it. I'm sure you'd find a bunch of willing readers on this board who will be happy to critique it. Just make sure to tune out the snarky comments and consider the helpful ones. I find that critiques and revision are what turns good writing into great writing. Don't sell yourself short!
I was going to start a new thread for a few questions, but they seem to fit into this one. Two days ago, I saw the touring version of Phantom in Las Vegas. Not only was I blown away (in a positive sense) by Derrick Davis's performance, but I noticed that there have been major changes in the staging of the touring version since I last saw it at the Segerstrom Center in Costa Mesa. These changes, in my opinion, vastly improve the show, to the point that it is now every bit as wonderful as t
ScottyDK2, I'm with you that there is a great deal in the subtext of "My Fair Lady." Alan Jay Lerner violated the rule of writing that you have to show every important bit of information instead of merely telling about it, when Eliza talks about the ring HH bought her in Brighton. The "violation" works perfectly in this context -- all of a sudden, we realize that Higgins does not merely see Liza as a piece of furniture. In a way, it is a plot twist because it shows tha
We're a year late for its 60th anniversary, but I'd love to see a revival of My Fair Lady (premier: March 15, 1956, at the Mark Hellinger Theater). I would want a youngish, charismatic actor to play Higgins, rather than the old geezers that have been cast lately.
AdoAnnieD'Asquith writes: How is it that all these commercially-viable shows belong to one composer...it never ceases to amaze me.
AAD'A, I have a theory about why Andrew Lloyd Webber has managed to write so many commercially viable shows. Specifically, although his music within a show, often repeats or riffs on the same themes (MOTN and AAIOY, for example, in POTO), the music from each show usually differs significantly from his other shows.
After seeing the Tony awards and watching "A Musical," I decided I HAD to see the show when I went to New York. I laughed my head off. My favorite piece of silliness (other than "A Musical" and Shakespeare's song about how difficult it is to be him) was Shylock's comment about how Shakespeare already promised to use his name in a play, and would make his character a "nice Jew." I hope to write a musical version of "The Merchant of Venice" from S
I haven't heard anything about "Amelie" other than what I've read on this board. However, I have my doubts that it will work if it closely follows the movie. While I enjoyed the movie, and thought it was sweet, I didn't like the gimmick of the narrator, and I thought the reason that she stopped and then started aging again to be lame. I just don't think there was enough "there" there to support a musical. Hopefully, I'll turn out to be wrong.