Hmm. Interesting. That'd most likely mean the next few seasons are going to mainly comprise of adaptations, jukebox musicals and revivals, no? Huh. Where are all those original works??
I feel like people just copy/paste this several times every season. We get more revivals of this particular moan than we do of any revivals or jukebox shows on Broadway. And yet somehow, we still get original works every single season.
I saw some cosplay at Tanz der Vampire in Berlin. When the lights go down and the show starts, it was in no way distracting to anyone. If you are cosplaying a show, just use the common sense God gave an onion and don't wear anything huge that might block sightlines or encroach into another persons's seat.
If seeing someone somewhere in the audience dressed in cosplay is enough to distract you from enjoying the show once the show has started, and the costum
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