I finally watched this over the summer and found it to be mediocre, which means it was better than most of the live musicals. Probably because I saw the London revival that played the Chicago Lyric Opera before seeing this broadcast. It's the best production of the show I've ever seen and I highly recommend it everyone.
The UK especially has managed to churn out at least one stand out from each of these types of shows. Jessie Buckley, who’s currently a rising star in Hollywood, was a finalist in the search to find Nancy in OLIVER!
I much preferred the winner, Jodie Prenger, who I pegged to win from her initial audition in the first episode. I actually made a special trip to London just to see her in Oliver. I spotted her recently in the first episode of Years and Years.<
I'm curious to know if they plan on beefing up the production values for Broadway. It would add to the capitalization and potentially the running costs, but it could make seeing the Broadway production more attractive to new audiences as well as established fans.
Have you heard the revised US tour version of “The Beauty Underneath?” It’s basically the same but the lead in is different with a bit of music from the Phantom title song worked in and then I think it was the chorus section of the song that was rethought. Did you find that version any better than the original?
Yes, I saw the tour. The new staging wasn't quite as hideous as the original, but the song itself is just as bad as before, really
I actually prefer the title melody used as "Our Kind of Love" in The Beautiful Game.
Me, too. I actually saw both shows in London and Our Kind of Love received an ovation like I've never seen before or since. Hannah Waddingham had to discretely acknowledge the audience with a slight bow before they allowed the show to continue.
Love Never Dies does have some lovely music (Coney Island Waltz and Dear Old Friend are among hi
Though I have other favorites that I wouldn't consider "best" in terms of artistic proficiency, I would acknowledge them as "bests" in terms of entertainment for the pure joy they bring to me, which I consider a highly valuable trait in any musical:
Six Legally Blonde Two Gentlemen of Verona Mamma Mia
The 1981 Korean cast recording of Evita is a doozie. It sounds like the orchestra and voices were recorded on different tracks in different sessions and then just sort of layered on top of each other, despite being different tempi. At least, that's what I think may have happened. I don't know. During Requiem for Evita, the chorus is WAY off from the orchestra. But that's just the tip of the iceberg. I can't remember if I ever made it through
Samantha Pauly was the first Howard in Chicago but is performing Evita in London through September. She may be rejoining just as Adrianna Hicks has rejoined in Boston.
Keeping fingers crossed that Pauly rejoins for Edmonton, St. Paul and Broadway. She was a better fit with the rest of the cast.
but considering West Side Story has one of the most iconic marquees, nearly all productions using a similar font style, with most using the black, white, and red color scheme, this just seems boring.
I think you mean they all recycled the original film's marquee title. This was the actual original marquee:
Oh look, another thinly-veiled homophobic/racist/misogynist/ (interchangeable) piece of crap from Page Six and its toadies.
What makes it homophobic/racist/misogynist (interchangeable)? It looks like any other gossip article about backstage bickering with a high-profile celebrity and spouse. If anything, it's an equal-opportunity hack piece.
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