Sondheim shows are, without putting it lightly, highly revered and adored compositions. Many of the world premiere productions had short stints (Anyone Can White, Merrily We Roll Along, Assassins) but garnered a cult following and almost mythic status because of the small window to see the original production.
What sort of merchandise was available for sale at the original productions? Are there any items that are rare and coveted?
James Marsden, hands down. I really think this could be his ticket to more A-list projects. He's been killing it on Westworld. He has the singing chops, and he has the Old Hollywood look to him. I also think it may work in his favor that there isn't a triple-A director at the helm of this because they may try to "budget" on talent and not book A-listers all around to accommodate for Ms. Close.
Nick Hern Books will publish the revised libretto, available January 10th. "This [revised] edition features the complete revised book and lyrics for the production, colour production photographs, and an introduction by Sondheim's biographer David Benedict."
Marlothom said: "Ok just got done. A few changes. 1. They added some scene work at the top of the show to establish the three Chers working together. 2. They’ve cut the Hilton scene where they get kicked out. They just reference it before the “I got you babe” number. 3. They have cut “Superstar”. 4. All around all the Chers are hamming it up a little more. More tongues out, more hair flipping, more jaw to the side while singing 5
Theatrefanboy1 said: "Just a question about one of the dancers. Charlie Williams. Thoughts of him in the show. Does he have any feature. Or like any attractive mackie costumes. Or anything. Tbanks"
Charlie has 1 line he sings in the Act 2 opener (a Napoléon and Josephine number). Otherwise he's a background character throughout (a bartender, a disco patron, etc).
A woman a few rows ahead of me in the Dress Circle had a Cher Barbie doll with her. I'm not joking! It was straight out of Will & Grace.
Georgia's line "lovers come and go... it's yer teeth you need to hang on to!" seemed to be a direct knock-off of Madame Arnfeldt's line from A Little Night Music: "To lose a husband or a lover, or two, during one's lifetime can be vexing - but to lose one's teeth... is a ca
This show has so, so, so much talent. All 3 Cher's are unbelievable. I honestly don’t know how their voices will hold up. Every bar is this show is beyond demanding. Each one hit every note and knocked it out of the park.
There wasn’t much dancing in Act 1, but Act 2 made sure to really up the ante. Black Lady was really a highlight for the choreography. The audience was gasping at the mov
The show opens with, who I presume, is Star sitting sewing a costume behind a scrim singing "A Dream is a Wish Your Heart Makes" (from Disney's Cinderella). We hear over the PA that the show is beginning. "Believe" starts to play (the audience went wild), and then as Star is to enter the number, she misses her entrance. They have the stage manager fill in for Star and dance the role with the ensemble.
QueenAlice said: "That’s essentially what happened in the genius RNT production 20 years ago. This production has big shoes to fill. I look forward to seeing."
This prologue is on YouTube, and it is OUTSTANDING. The carousel moves me to tears when it starts turning along with the grand score.
I am curious to see the minor changes that are made to accommodate the race of lead Joshua Henry, who is black.
The NYT ran a piece about how revivals deal with gender stereotypes of their era, and Rudin was interviewed as saying that there will be no alterations to the text in reference to gender treatment but there is "a possibly minor tweak to reflect the fact that Mr. Henry is African-American."
I think it will be the following lines in Soliloquy: &
I went to the 7pm showing in Chicago last night, and man did this play to a full house. I'd estimate 150, maybe 200 people. It was at the Music Box Theatre in the main auditorium. This was the only time it's been screened in Chicago, so that explains the enthusiasm. Overall, there was a LOT of love for this production from Chicago.
The screen there isn't as large as most theaters, but I was in the 4th row feeling like I was in the show. It was a riveting production. I actua
CallMeAl2 said: "Also, not an overture per se, but a prologue: Richard Rodgers's Carousel.
In the same vein, Follies' prologue is brilliant, haunting, sweeping, grand, diminishing.... I could go on and on. And, of course, it plays straight into the actual overture, which, as far as I know, is the only overture to actually interact with the characters on stage (by adapting to character entrances).
Went to one of the Chicago screenings last night. The theater was about 70% full, which was a little surprising. Newsies at the same theater was at capacity, but, hey, I guess that's Disney for you haha.
My friend and I went into the show cold, and WOW WOW WOW. We were simply blown away!
"I'm Breaking Down" was the only song to receive applause in our movie theater, and it was RAPTUROUS applause. I'm not seeing Hello, Dolly! until the fall, but I think that
I saw the Chicago production 3 times, and, while it had its pits, I found the production to be overall enchanting. I'm beside myself listening to this recording. The show has been hobbled.
"A Woman's Face" is a far superior opening. I truly don't understand why it was cut other than to give both ladies a solo entrance. "Best Face Forward" is tragic, to say the least. The show opens with a lackluster, forgettable number. They honestly could have kept
A Director said: "Pink That flush of ardor in a man's embrace My would be baby with a rosy face And rabbits from the test Who perished for a nursery converted to a guest room Dressed in Pink
Are there footnotes to explain what in the hell Elizabeth is talking about, "rabbits from the test?" Does Michael Korie assume people know what the rabbit test was?
