One thing to keep in mind is that the original London productions of Oliver and The Boy Friend were actually small and more intimate. The Boy Friend in particular was vastly changed and inflated into something of a spectacle for Broadway (and later by Cameron Mackintosh for a West End revival).
I really enjoyed Andrew Lloyd Webber's THE BEAUTIFUL GAME when I saw it in London. It had some great melodies (some of which ended up in other ALW shows or programs). I think the s
Great West End Musicals Feb 10
2019, 02:48:43 PM
Lord of the Rings Zorro Everybody's Talking About Jamie Buddy Mrs. Henderson Presents The Hired Man Moby Dick Soho Cinders Calendar Girls Mary Poppins Chitty Chitty Bang Bang Our House
I'm glad I got tickets to see it again in March. I have a very deep and personal emotional connection to this show, so I'll probably be a mess as soon as Fantine makes her ghostly appearance at the end of the second act.
So, I'm seeing Company and Les Miserables next month and have an additional slot to fill for a show on a Saturday evening. I was hoping for Betrayal or All About Eve, but it's either Premium Package or very restricted view. The Great Gatsby looks intriguing. Has anyone seen it?
Best Feb 2
2019, 02:28:56 PM
Everybody Wants to do a Musical - Nick & Nora Twenty Million People and Larger Than Life - My Favorite Year Backstage Babble and She's No Longer a Gypsy - Applause Intermission Talk - Me and Juliet Babette - On the Twentieth Century We Open in Venice - Kiss Me, Kate I Know What's Gonna Happen, What She's Doing, Unstoppable and The Most Important Night - Tootsie The Alto's Lament by Marcy Heisler (popular cabaret solo)
Franka Potente Sheridan Smith I second Catherine O'Hara and Julia Louis-Dreyfus
Benedict Cumberbatch is overdue. He's done a lot of work on the London stage, but never in New York, to my knowledge. Same goes for Tom Hiddleston. I imagine both have gotten offers many times that didn't pan out.
Tom Hiddleston will be starring in a revival of Betrayal in London starting in March. Maybe it'll transfer?
2019, 02:32:42 PM
Oh, the critics would love that. They would be racing to see who could make the obvious joke first.
Exactly my point.
I fear there will be a day when no-one is writing new and accessible scores for Broadway because all people want is music they are already familiar with.
There haven't been enough successful jukebox shows to make that assumption. Especially the bio musicals.
I also saw the tour in Chicago and though it was far from great, I enjoyed it more than I thought I would. The ensemble and most of the supporting cast were strong. I loved the Oompa Loompas! I really didn't care for Noah as Wonka. Maybe it was because I was fairly close in the orchestra, but he looked like he was phoning in a meticulously choreographed performance at his fourth daily show at Six Flags that lacked any real authenticity or spont
2019, 03:35:01 PM
I love that people are crapping on the title as is Summer: The Donna Summer Musical was a rousing, inspired title
Nobody ever said "Summer: The Donna Summer Musical" was a good title. And the show flopped. What is your point? "Don't Stop Til You Get Enough" really isn't a good title. Maybe they could call it "Bad".
2019, 01:24:39 PM
If its going to inspire by Michael Jacksons life how are they going to address his changing skin colour?
I remember reading that this show would focus on a very specific and pivotal point in Jackson's life. It's not intended to be a lifetime bio.
I saw the 2009 London revival (of the 1994 revival) and loved it. I remember reading how it was too expensive to produce on Broadway due to the number of children needed in the cast just for the opening scene. Not sure if that's true. I can imagine they could cut it down to the number of girls used in Annie, but then, Annie's never had a profitable revival on Broadway, so...