GavestonPS said: Isn't The Public awash in HAMILTON money? Do they really need the money they'll make off a stage adaptation of a mediocre Disney musical?
Putting aside my personal opinion of the excellence of the Zippel/Menken collaboration, I don't see why this would be any more artistically bankrupt than the version of the Odyssey they did recently. Hercules did okay, but it wasn't a top earner of the Disney Renaissance. This doesn't fee
GiantsInTheSky2 said: Ideally I would have liked if the ending was more of a twist. The happily-ever-after, almost-identical to Wicked ending is boring.It would have been more interesting had they tied in the original ending of Anya/Anna Anderson,which is that after she died it wasdiscovered that she was a fraud with no DNA ties to the family, and a few decades later they found the missing daughter buried with thebrother.I think that would have been a great shock of an ending to anyo
darquegk said: "Beetlejuice is a star vehicle role and they’re figuring what kind of role it should be. It’s very much like Genie in Aladdin, and the tryout period for that show went through a lot of takes on that role, including John Tartaglia as a “sassy gay friend” Genie."
Kad said: "Given PublicWorks' history ofusing community dance groups, martial artists, gospel singers (among others)... Hercules is a really great choice as a property for them."
This. Also, the movie has so many scenes that take place outside in a way that fits the general staging and vibe for a lot of Delacorte shows. I just want to see performers bring this music to life again. I'm very excited. I kind of care more about the Muses than any of the main char
Matt Rogers said: "With the exception of a few songs, the music is atonal, and extremely ballad heavy. Most songs will be forgotten the second the band stops playing."
Sounds like Duncan Sheik. I was very tempted with the affordable tickets but I'm glad I decided to skip this one. It sounded like a bad concept for a show and by all reports, they haven't been able to make the two stories mesh.
MannPhan24601 said: "Guess it was Twitter stans or it is getting forced out for Love Never Dies as rumored and Christy will go to Frozen (Even though I think Patti extended ?)
OK, but like, Christy in Frozen? That's an amazing idea.
I think this was far from the best adaptation of the movie that we could have gotten. The book had lots of issues as well as pointless changes from the movie script (that I still think were motivated by that whole lawsuit rather tha
HeyMrMusic said: "This makes me sad, but who can argue its success? Ten Tony Awards and recoupment for a show no one thought would fare well on Broadway. Congrats to all for such a successful run from a little show that could."
This. Millie and Spamalot should have run longer too. And these are just the Best Musicals winners. The length of the run isn't always an indication of the quality of the show.
disneybroadwayfan22 said: "The hard truth is nobody wants live musicals. Period. Theres always complaining. There is always something to bitch about. The musical isnt right. This actor is terrible. The camera work is wrong. Blah blah blah. RENT Live and its ratings are proof: No likes them or wants them. And NBC is getting the message."
Disagree. I think they should lean into this. You need to pick shows with some element of camp or at least an earnestness/willingnes
If there's a rough spectrum of fairy tale-inspired musicals with Cinderella on one end and Into the Woods on the other and Once Upon a Mattress somewhere in the middle, then I'm kind of worried that this seems between Cinderella and OUAM right now. I'm not sure I believe they can reconcile wacky hijinks and slapstick with the more serious parts of the story. If they totally drop all the serious elements, then I don't know how much I would enjoy the story as someone who is a fa
Soaring29 said: "It's a constant complaint nowadays that there are too many films that are translated into musicals but what movies do you actually think could make good musicals if put in the right hands? Mine would be:
1. The Heiress: This is a fantastic film as well as an excellent play that could make a great piece of legit musical theatre if done in the right hands.
I was excited about the idea of a Light in the Piazza/LaChiusa/Sondheim style music
I feel like the only way Thumbelina works is if you give someone the rights (cheaply) to do children's theater. The cost of all the animals and set pieces and cast members would be crazy but if you let the show be done cheaply (actors obviously playing multiple characters, basic sets, just dancing instead of tricks to convey flying, etc.) you can excuse a lot of things. I do think that there are some moments that would read very well on stage. The big one is Cornelius' reappearan
This just seems like it's begging for a creepier than usual stage door experience. I do wonder if they could somehow make the wannabe-carpenter with a cardboard love interest more compelling but leaning into this as a fun experience makes more sense for longevity.
I'm going to put aside the name recognition/fan base question and try to tackle if they could draw in audiences by being successful as artistic projects.
I think The Swan Princess would need a LOT more songs. It does have the advantage of playing to both a younger and older audience with the time jump. It's a fairytale but it's also a romance, more so than some other properties that play primarily to younger audiences. I think it would struggle with tone because u
I go back and forth on my top two but with that in mind...
1. The King and I- I thought it was a very good interpretation of a great show (YMMV). I saw it multiple times and through all the cast changes it remained a solid production. I did not think it was a feminist marvel but I do think some small tweaks/decisions, particularly the direction and portrayal of Lady Thiang, elevated the show in a subtle way.
2. South Pacific- I only saw it once with Laura Osnes (the less about t
I think this is a fantastic moment for this actress and for anyone inspired by seeing her on stage. But I do feel like we should acknowledge that there are certain characters who are cast as beautiful, usually blond, and thin white girls for a reason regardless of whether race is an acknowledged part of the story. Off the top of my head... Galinda/Glinda in Wicked, Regina George in Mean Girls, Heather Chandler in Heathers, Elle Woods in Legally Blonde, Amber von Tussle in Hairspray.