It looked like a big budget drag contest. But that's the thing with The Cher Show - it has some substance, but it's all in the book, not in the numbers. I would actually avoid the show after seeing that performance. But I would be wrong. As an attempt to sell the show to audiences, I would say it was a fail. As an attempt to explain why Stephanie J. Block won the Tony, it was also a fail. To see the magic of TCS you have to let people see the Follies-li
barcelona20 said: "I wish the producers could explain their decision making not to go live for the whole show. Seems like it would have been simple enough for someone to push Roger in a wheelchair if needed. Or at least performed the non-Roger songs live."
Did you see that set? Up and down stairs and ladder ceilings around the environmental playing space - no way could that be done in a wheelchair, or even crutches. From the look of that cast he was wearing
Why do people keep calling for understudies? Who uses understudies for a one-night-only event? You hire understudies so you can run. A show doesn't even put understudies on their feet until after it opens. For a special event you adapt - which is what they are doing.
By the love - love the set! Very cool. Ensemble is great. Mark, Roger, and Tom Collins all doing well. We'll see how Maureen does,
Anyway I'm enjoying this. It's a shame they weren't able to put their best version out there in time capsule. It will always e this compromised performance.
musikman said: "...The Mary Poppins character felt so superfluous and pushed to the side here. Clearly the kids could get by on their own. They didnt need her lol."
The story isn't about the kids - it's about Michael. He is the protagonist. He has the problem that Mary Poppins comes back to fix. That's also why I say that there was one too many musical production numbers with Mary and the kids. They weren't the heart of the story.
Ho-ly crap! I was thrilled. That nine-year-old kid inside me that saw the original movie was over the moon. It was both bigger and deeper than the original film and it stands beside it really well - they compliment each other.
Nobody has mentioned the rock solid actor that holds the overall plot together - and that is Ben Wishaw. My god, this whole thing could have gone south so easily (ask Christopher Robin) if he had not been able to carry the big bag of
Jarethan said: "... I also admit that I never loved the score -- especially 'What I Did for Love' --so i am probably a lost cause."
Well I love the show, but I am in total agreement that "What I Did for Love" is the low point. It is this sentimental Micky Rooney / Judy Garland moment in an otherwise tell-it-like-it-is unsentimental musical.
poisonivy2 said: "Can't believe no one brought up the fact that Edward Kleban, James Kirkwood Jr., Nicholas Dante and of course Michael Bennett all died of AIDS..."
Just an addendum: Edward Kleban did not die of AIDS, and he was straight.
SomethingPeculiar said: ""The Telephone Hour" would just be kids sitting on a silent stage texting each other!"
That's actually not bad - you could do it with screens a la Evan Hansen. That's the modern visual equivalent.
However, while there will always be pop stars, there is no real contemporary parallel to the Army because there is no draft that would force a young man in. Maybe the pop star is a Mormon Justin Bieber type tee
PatrickDC said: "HUNCHBACK: ...The other criticism was there was lots of chorus people telling us the story instead of playing it out on stage."
Yes, you hit the nail. I'm guessing that structural issue was the main sticking point. To get around that you need a new book and maybe a new directorial approach, which would mean back to the drawing board with the workshop process.
But still for me, the music, the story and the performances were unforgettable -
alex814 said:Hi there.Long time lurker, first time poster here. I'm really intrigued by your anecdote about the stateof the show after theoriginal cast had left New York. Is there a source where I can read more about this?"
I guess you need to have the "before" and "after". So, here are two books. You can probably find them in your local library system or cheap used copies on Amazon or eBay.
The gentle sadism of Zach and the desperation of the dancers torn between pleasing him and protecting themselves and each other dissapated after the cast split up. The ones that went to LA and SFO kept some of that quality on the road, but it was gone in New York.
The show quickly devolved into a line of performers each biding their time until their big number or scene.
That's
Riedel on other musican residencies following Springsteen Nov 23
2018, 07:36:46 PM
I agree Streisand is a both a big enough name and also talented enough to make the evening much more than a concert. But who in their right mind thinks that she wants to be chained to a Broadway theater for six months doing exactly the same thing night after night? That's why she fled to Hollywood in the 60's and why Funny Girl was torture for her after the first month.
Even if she was desperate for cash (which I don't think she is) there are easier and faster ways for her to get almos
Gotta say "Circle of Life" from The Lion King brings tears to my eyes every time. I could watch that number and then just go home a happy customer.
FUNNY GIRL - cinemas Oct 27
2018, 11:48:56 AM
I went to the showing in Pittsburgh, but the hard drive crashed and they couldn't show the movie. Bummer. I hope they schedule another release.
FUNNY GIRL QUESTION - Which Henry Street? Oct 27
2018, 11:42:36 AM
Fania Borach (Fanny Brice) was born and grew up in Manhattan, which is where her parents's saloon was located. She did not grow up in Brooklyn.
adamgreer said: "This is intriguing, for sure, but I'm shocked the Robbins Estate agreed to allow new choreography. I was always under the impression that the Robbins choreography had to be replicated in all productions."
Well the 2015 Fiddler broke free and Hofesh Shechter was allowed re-imagine the choreo. I am hoping something similar can happen here.
