chernjam said: "Stanton3 said: "Well I think what they should do is re-build the original Broadway set. Have it play for a limited time and film all the performances. Then edit together a film version. Instead of doing a theatrical release it could be done for NETFLIX"
I completely agree with you Stanton. That was basically what they did with Love Never Dies - which I think was an effective way of filming the production. Combine elements of the revival w
EmeraldOzian said: "Emmy for Glinda I meant she doesn't need to belt. She still looks passable at college age although Seyfried wants the part and is similar age but I feel likeher voice just isn't right for the part."
Both would be horrific choices and don't even come close to the quality that the part needs.
Same could be said for the roles of Christine in the Phantom film and Cosette in the Les Mis film. Do we really want that again? Why? Do som
Many people here are limiting themselves to "current fleeting names".
If you really want quality you need to cast purely on quality, known or not. Steven Spielberg is changing the musical movie world at the moment. The leading ladies are unknown and extremely talented in singing and acting through notes. This will result in scenes that work better and feel more natural and this will make the movie better.
A new movie or project is a hype in itself nowaday
Thank god someone recorded the audio of the first preview of Miss Saigon in London in 1989. It was the best shape the show has ever been in. Legendary. A gem for future generations versus being lost forever. You choose.
Clearly there is a reason why he became an A-list director. His views.
But indeed, he doesn't seem as scared as the other musical movie directors (who get away with things that are actually bad). Probably because of his own name, the brand of WSS and his nose for quality. I like to think that last one was his main motivation.
Edit: This makes me wonder if Spielberg had to threaten the producers (who I believe clearly wanted Cabello), name, $$$ signs in eyes, not
I am thrilled with this casting. Not only because these actors are naturals in singing and the perfect types for the roles which will probably result in scenes where they sing and it actually works.
There is something very special going on on top of that. For the first time in over 25 years, they actually have "cast" characters in a musical movie. I believe that these people are truly the best people for these role and character and talent demands. The last
ChgoTheatreGuy said: "The Hollywood Reporter just reported that Rachel Zegler has been cast as Maria in the film..."
Holy crap, this is fantastic. I have been saying this from the beginning! She is the perfect Maria for the movie.
This is a milestone in movie musical making. This girl embodies the artform, singing extremely well and acting through these notes. I haven't seen anyone sparkle like that since Julie Andrews in the Sound of Music an
That's not really a good comparison. Nobody displays this kind of reaction when a woman plays a role on Broadway. Because it's normal. Now, with Glinda basically being the last of all roles on Broadway that just didn't happen to have poc actor yet, it has now. So basically this is the end of an era, and everything has been done now, which is the beginning of normalization. So just like with women, when everything has been done, there comes a time when color counting or g
Very well said John Adams, you explained the situation perfectly.
I also think we are really running out of victories, poc can be found in everything, so there comes a point when insisting that one race is inferior is no longer appropriate. I think Glinda was the last role on Broadway that just didn't happen to have a diverse casting yet. After this, what's next? Is it really only a victory when every role in existence is played by every race? I hope in the f
She is great! She really does know how to paint with notes. The notes become actors/emotion evokers. This is what makes it acting through song.
I do feel that she is over-emoting at times, which Hugh Jackman does through all the Les Mis film, which takes away from the sincerity. But this can also be because it was the final performance on Broadway, and performers then tend to give too much/over-emote on top of the singing.
That is what would make this particular performance not