According to the NY Times "The show was capitalized for up to $15 million, according to a filing with the Securities and Exchange Commission; it has not recouped its capitalization costs."
Actually kind of surprised with this choice... I would've thought they would've lined up with a bigger voice from the Wildhorn-world: Ryan Silverman, Rob Evan, Jeremy Jordan, etc
Scarlet Leigh said: "philly03 said: "My last comment is on the tone - is this supposed to be satire (all the political books)? Comedy? "Historic-fiction" drama? There doesn't seem to be a clear idea of what this is."
The tone of the MOVIE is very much the last one,"Historic-fiction" drama. And the LAST thing the movie was was a satire. I'm curious as to what on the show caused satire to be the thing that came to mind FIRST wit
Saw this tonight - still needs tweaking. Score is wonderful! I went in completely blind (never saw the movie)... The pacing was fine until mid-second act, then its a bunch of random scenes quickly on top of each other, with bad staging on the finale.
Sierra Boggess is fantastic, as is Rachel York, Terry Rogan and Jenny Ashman.
However, there are two big dance sequences (one at the end of Act 1, one during the "reveal" scene in act 2) that seem they a
Linda never wanted to be famous, nor was she ever set on being a "Broadway star" (that was Frank Wildhorn's idea). She had a lot of high profile fans too - Rosie O'Donnell, Kathy Lee Gifford, I even sat next to Larry King once at Feinstein's at one of her concerts.
Years ago with WONDERLAND she was asked to be The Mad Hatter (the role would go to Kate Shindle for the second Tampa/Broadway run), but the story is she didn't want to be out of town for months
ALW's Whistle Down the Wind could not sell tickets, even with promo for Andrea Ross (she must have been 16/17 at the time?) who was being hailed as Andrew's next prodigy at the time. It was also one of those "rumored for Broadway" tours.
SomethingPeculiar said: "The show's history is kind of amazing. In 2018, a musical could NEVER do what The Scarlet Pimpernel did:
• Got mixed reviews but ran fora year • Took a week hiatus to make changes (changesthat included a new director/choreographer) • Ran 7 more months before closing • After a short tour, openedagain4 months laterat a different theater, with even more revision
I saw this in Atlanta about a week ago - I thought it was a total snore. I remember getting really excited for this back when it was announced/recording released in 2009/2010... The British's press "Paint Never Drives" couldn't have been more correct back then. Apart from "Till I Hear You Sing," "Beneath A Moonless Sky/Once Upon Another Time," and the title song; the design and performers were only other highlights. I was surprised there was no prologue o
Other trivia - Jekyll & Hyde was the only musical not nominated for "Best Musical" in the 96-97 season (out of 5) and was the longest running of them all (4 years). Titanic won that year (and ran for 2 years).
"And yet we know someone had because, by opening (as opposed to the preview version), "Carpe Noctem" -- at least -- was a dead rip of the original."
Kunze was brought in I believe just prior to previews, and was likely him. Jim Steinmen was going to do original "translation" prior with another book writer... and the producers, if I remember the quote "wanted 10 jokes on each script page."
Kunze wasn't that much involved with Broadway Dance with Vampires either until VERY late into the game...
The only musicals I can think of that were done by non-Americans abroad that tried to go to Broadway or the West End would be Napoleon (Canadian writers, tried out in Toronto then tanked on the West End); The Ten Commandments (French, w/ Val Kilmer and Lauren Kennedy in LA from the French production - such a disaster never even made it to Broadway); Notre Dam
Sorry if I wasn't clear with that - those musicals will never play in English language productions. My point was after the Dance fiasco they are very protective of the look, content, etc. of their productions.
They've learned a lot from properties like Sister Act, which ironically VBW was hoping something like Rebecca could turn into something like what that did for Stage Entertainment (which brought Rocky to Broadway as well).
VWB won't give in the rights to Sprecher I don't think again (they extended at least 4 times to my knowledge through the entire ordeal - going back to 2008!!!). Their two largest titles on Broadway (and likely their only two that could be performed in NY, both with lyrics/book by Michael Kunze) have terrible reputations now: Dance of the Vampires and Rebecca.
They globally have been very protective of their other properties (Mozart (also Kunze & Levay), Rudolf (Wildhorn/Mur
