A friend was at Catholic Univ the same time as Terri Klausner. She has commented that Terri was talented AND nice as an undergraduate. She has only good things to say about her. For one soprano to praise another speaks volumes.
I caught the last preview in Philly which was probably the second performance. The previous poster used the word 'flat' and that about sums it up. It wasn't good, but it wasn't awful, but it wasn't good. It sort of laid there. Exodus is just not a good idea for a musical.
The cast was good although Ari probably torpedoed David Cryer's (father of Jon) career as a (very hunky) leading man, and also that of Constance Towers. John Savage who did go on to a mov
There is a flaw with this proposal which would was originally revealed in the Encores production with Christine Ebersole a few years back.
Why cast a major singing star in a show that was specifically tailored to a star (Bacall) who wasn't really a singer and had a range of about an octave?
The Encores production revealed the many weaknesses of Applause. It is a good vehicle, but as a show it is lacking.
Your best bet should this appeal not work, would be to go to City Center tomorrow and scour the crowd for someone with an extra ticket. This often works.There always seem to be people with extras.
There is a coffee table book of this production of Candide with many photos (B&W and color) along with the Hugh Wheeler script and the multitudes' lyrics. Leafing through this book will give you an idea of how extensive the renovation and reconfiguring of the Broadway actually was. There is a copy for sale on abebooks.com for $79.05. Perhaps a library has a copy someplace.
The poster who said no seat in the Broadway remained where it was is correct. There was seating on the mai
The big three theatre landlords invest in shows so they will be able to see the books. Sometimes the investment is not direct; examples being covering the union bonds and their own theatre bonds.
Trivia: the first voice heard on the cast recording, a soprano singing the melody of A Quiet Place on "Ah", is the late Diane Tarleton.
Diane created the roles of Laurel and the Torch Singer in the Off-Broadway productions of Torch Song Trilogy. Before being produced as a Trilogy, the first two plays were produced separately. When the show moved to Broadway, because of the running time, she had to pick one role or the other and chose Laurel.
I saw Irene in Philly and it was a pile of mediocrity. The cast was fine, but the book and songs just didn't gel.There was no magic and with a vehicle as lightweight as Irene, you're going to want some magic. Right after I saw it, the shake-up began.
Debbie put on her big girl pants and said to the producers to fire Gielgud (which cost a fortune since they had to pay him his royalties during the entire run of the show), hire Gower Champion (also an expensive proposition; Gower
Cutting to another reason for a 'delay'; this show just isn't that good. The best number in the original was the title song which used the original choreography from the film and was done to a recorded track because the sound equipment would work in the (very expensive) rain storm on stage.
The rest of the show is sustained mediocrity at best.
It would be better all around to show the 1952 film on TCM once a week for a year.
Donna McKechnie returned to A Chorus Line as Cassie in about 1988. She had been unable to dance after a long bought of arthritis, but had managed to recover. She went into the show for a scheduled three month stand and played eight. She was about 45.
Stritch in the original Company wore the black and white outfit that showed off her great legs. Its in all the production photos. Later stars that I saw (Jane Russell and Julie Wilson) playing the role had a completely different dress: all black, one piece, looser and longer. I don't know if there are photos of this dress though because Russell was photographed in Stritch's B&W ensemble. I don't know if Wilson or Vivian Blaine were photographed in the black
