rattleNwoolypenguin said: "Every moment of Gypsy is in theatres, hotels, restaurants. All of these can be shown and replicated on a stage. The medium of film adds nothing to this story. "
I agree. It's a great piece for live theater, and it gets revived all the time because of that. We really don't need a movie. I'd get more excited if some of the great names floated here came and did a Broadway production.
These discussions are good to have, but always make me worry that musicals as a genre are becoming defined in the popular imagination as children's entertainment; also, that for most people "family friendly" means only the most anodyne theater possible. I'm sure I'm not the only one here who's parents took me to lots of "grownup" theater when I was a kid, and it didn't ruin me or bore me (usually).
mfaye9 said: "and something is done musically (which I don’t really want to spoil) at the end of Our Time which was absolutely brilliant and probably the best part of the entire production."
Very intriguing! Now I must go and see what they've done. I always fantasize about how *I* would stage this scene if I were a director. It's such a searing number after all the cynicism and heartbreak of what comes before, and the anthem treatment, when the whole ca
Exciting news! A-R Editions has published a full score, libretto, and critical notes for Shuffle Along based on the original materials. (Hopefully a vocal score will follow.)
From the publisher: "The Broadway musical Shuffle Along—with book by Flournoy Miller and Aubrey Lyles, lyrics by Noble Sissle, and music by Eubie Blake&m
This production had the charm I thought was missing from the 2006 revival, and I was impressed by how good things were musically. Dared? It always strikes me as a snapshot of 1975, and personally, I just love it for that.
^getatme said: "There's an interview I watched with Natalie Cortez from the revival a couple years ago and she talks about how on the first day of rehearsal, right in the script the cast receives it says something to the effect of "Never forget: A CHORUS LINE is a tragedy. At the end of the day, you become a member of the chorus and you are no different than anyone else onstage with you." Paraphrased (and probably made a bit harsher, apologies if anyone knows the exact
Three things related to this that always puzzle me, especially in the era of Google: that people will shell out large sums of money for tickets to shows they haven’t bothered to learn a thing about; that people assume all Broadway shows are appropriate for children; and, conversely, the idea some parents have that their children must be protected at all costs from difficult or grownup subjects, or even just everyday bad language (good luck with that). So I
“The warning sign was just outside the theater door. ‘Please be advised,’ it cautioned, in capital letters. ‘This production contains: Strobe lighting effects. Sudden loud noises. Theatrical fog/haze. Scenes of violence. Adult language. Sexual situations. Adult humor and content.’”
ScottyDoesn'tKnow2 said: "AEA AGMA SM said: "From some of the comments here you would think that the original film was a complete hatchet job to both the book and score."
I don't think anybody said anything like that. They're just wondering if they will put things back in from the original Broadway version that the 1961 film version cut out and are a bit excited about it. I admit that I never got the full effect of "Somewhere" until
Spielberg's West Side Story Oct 24
2018, 10:00:46 PM
It sounds exciting! Basing it on the Broadway version is great. I’d be thrilled if they use the original stage orchestrations (Bernstein himself didn’t like the “enhanced” arrangements for the film), include the ballet, and restore the awful cut in “A Boy Like That.”
I was happy to buy the digital album today, but I noticed the New York Philharmonic put the entire album on YouTube for free (for the time being, anyway).
Glad to see “Wit” mentioned. I think it’s just superb.
There have been so many excellent adaptations. Looking at comedies alone, three of my favorites are “The Man Who Came to Dinner,” “The Philadelphia Story,” and “Auntie Mame.”
