I have to say, I'm kinda baffled no one's mentioned Anita. The way I see it, if the production's Anita is good, she can very easily steal the show. So, I have to ask: how is Anita in this? Has the role been diminished in any way with the cuts?
This is in no way stunt casting - star casting, maybe, two can argue about how much star power he has. But he is certainly very capable of doing the role, which could make it star casting, not stunt casting. It's that good ol' discussion about star casting x stunt casting that always comes up in this board whenever someone famous or mildly famous is cast. It happened when Catherine Zeta Jones was cast in A Little Night Music and at pretty much every single time an actor stepped i
JuneJune said: "Just skimmed my POTO playbill from back in August and I noticed that Raoul had two alternates (for a total of 3 actors on the role). Is there any reason for that? Forgive me if I'm wrong, but the role of Raoul doesn't seem nearly as taxing as The Phantom, and even if it was, why would the role need to be shared among 3 different actors? The only thing I can think of is that they all have other obligations."
Also, didn't the male protagonist in Band's Visit have an alternate (at least for a few months, circa April 2018 )? I think it was due to prior commitment of Tony Shaloub, but still.
In the Hedwig tour, for the first months, Lena Hall, a female performer, played the title role (a character whose gender isn't simple at all) in the Sunday (night?) performance, while the role was regularly played by Darren Criss, so you could count that as well.
The role of Tony in the last West Side Story revival (2009) also had an alternate, I remember Matthew Singledecker replaced Jeremy Jordan as the alternate Tony.
Rob Evan was also the alternate for the title roles in Jekyll and Hyde.
I think a few Phantom productions have had an alternate Phantom, but that's probably due to prior commitment of the actor (or the fact he probably does not want to do 8 performances a week), because I can't imagine that role being very
This takes me back to when they announced Sutton as Reno in the Anything Goes revival and this board flipped, everybody said she was dorky and not sexy, therefore she was wrong for the role (as if an actor has to be the part they are playing, instead of... playing it). A few months later, she won the Tony for playing Reno.
Anyway, I, for one, would love to see it happen. She showed a lot of vulnerability and anger in her Violet, which I think could work for Rose.
So long as the filming isn't disruptive to other audience members (and most good bootlegs were shot without disrupting any audience members - and I should know, apparently I've sat very near a bootlegger once - more to follow), I really don't see the harm in bootlegs.
First, bootlegging isn't stealing. It's piracy, but it isn't stealing. There's a big difference: in stealing, a person loses something. When you record a show, no one necessarily has t
In Who Will Love me as I am from the Side Show OBCR, at 2:17, the pianist makes a mistake, playing a short sour note. I have never read the sheet music of that song, but those notes are very dissonant and are not played in the revival cast recording, so I can only assume it was a mistake.
I'd also mention the King in the King and I. In the few songs he's in, he doesn't do much singing, and he has only one solom which is sometimes spoken-sung instead of sung. It's a role that allows for much more stage presence than singing.
The title role in Billy Elliot doesn't sing much either, specially when you consider Billy's onstage for about 95% of the almost 3-hour musical. He sings Electricity (which doesn't have many lines to be
kdogg36 said: "helvizz said: "There's one I actually hate: in the second act, when Raoul is trying to convince Christine to go with his plan, and they play the same notes of Prima Donna. Makes no sense in my opinion."
Well, this may be a bit superficial, but in both cases the object is to persuade someone to do something they're reluctant to do: the managers want to overcome Carlotta's indignation and get her to appear on stage again, and Rao
Lot666 said: "kdogg36 said: "You can read about Sondheim's use of various musical themes in the relevant chapter in Sondheim on Music."
Fair enough, but what do you think ALW would say about his use of musical themes in Phantom, if asked?"
We don't have to ask the songwriter. It is the artist's job to convey their intentions through his art in a way that their intentions can be perceived by his art. We
As people have pointed out, there's the fact that Phantom likes repeating the same melodies over and over again without any meaning behind it (so they're not really leitmotifs), that's certainly something that could've taken some votes from them.
There's also the fact that the lyrics of Into the Woods are smarter than those of Phantom: the Sondheim musical has more word play, better rhymes, and the metaphors certainly are better developed.
The 'new' ending to Pippin is just the cherry on top. The finale completely subverts the entire play and is stunning in itself - I'm just talking about until the part the Leading Player leaves the stage. I remember when I was watching the 2013 revival, my first exposure to the musical, as soon as Pippin and Catherine walked out the stage but Theo remained, I thought to myself: "No, they aren't going to do what I think they're going to do. It would be too perfect&
You're not missing anything, that's just your opinion and I happen to agree with you to some extent. She does have a raspy edge to her voice that isn't everybody's cup of tea.
When I watched her in next to normal for the first time -my first time seeing her and the show-, I was mesmerized by her performance and loved every single detail about it. However, towards the end of her run, she'd started cracking her voice and my rewatch was nowhere near as excitin
Another example of a show that's changed its name is The Mad Ones, which was named 'The Unauthorized Autobiography of Samantha Brown' for about 8 years I think, until the 2017 Off-Broadway production, when the authors decided to change its name. Quite the name change, in my opinion (and for the worse, even though the original needed a name change too...)
Jun 26
2019, 08:48:55 AM
What about Sweet Charity? Didn't one of the producers of that 2016 Off-Broadway revival say in an interview they were going to transfer in for the 2018/2019 season, I think? Could they be still eyeing a transfer?
Completely agree regarding the reason why Ain't too proud is making more money. All one needs to know is look at the avarage cost of the ticket (Hadestown is near $160, Ain't too proud is near $130), and when you look at the house capacities of the theater it all adds up.
Fosse76 said: "It's likely that in Row D, you will need the booster seats for the kids. I'd go with first row."
Completely agree, most likely there'll be an adult sitting in the seat in front of your child, so that's bound to limit their eyesight. I'd go with the first row and get to the theater early to be able to snag a booster seat.
