I really don't like The Lightning Thief, but I think they're at least earnest in their efforts. It seems like the writers are trying to do something creative with a source material they care about. Escape to Margaritaville's only reason for existence was to sell overpriced margaritas at intermission to Parrotheads.
I mean, the All Star musical was originally met with a cease and desist. Next thing you know, there's a workshop with an official endorsement from Smash Mouth. You never know...
Laurie is currently only one year younger (64) than Violet is written in the script.
August: Osage County is also one of my favorite plays, and I'd love to see it on stage at some point, but the original production closed on Broadway only 10 years ago. I don't know if a Broadway production of it would be justified just yet, but if a director had a great concept for it, then maybe.
As much as I love it, the script also has a problem I see with a lot of newer plays I read:
All those shows were better for having those writers, but their names weren't what got them to Broadway, and they didn't need to be. If a producer has a pretty good chance for a show to succeed with the name alone, why not take a risk with the creative team?
So hire some kids from the BMI workshop. It's a classic film, they don't have to worry about the creative team being who draws in a crowd. Outside the hardcore Broadway community, do you think anyone saw Shrek because Jeanine Tesori was writing the score? Or Tootsie because of David Yazbek? Beetlejuice for Eddie Perfect? Matilda for Tim Minchin?
Is this a money thing? I can't imagine licensing 15+ hit songs for a show is cheaper than hiring a songwriting team. If anything, I think it'd be more expensive.
Man, I don't get personally upset usually when celebrities or actors pass, but reading that thread reminded me of the day I teared up when I heard that Marin passed. She was such an unmatchable, talented beauty of the stage. And I can't imagine what Jason went through losing her so far before her time. He's always talked about the unbelievable strength Marin had throughout her career and even in the final days of her illness, and I hope that he can find the strength to continue to
I've been listening to this, and it's honestly kind of hard to get through. Tom Kitt's music is lovely as always, but his lyrics are so bland. I'm 6 songs in, and I don't think I've heard a single rhyme that isn't monosyllabic (more than one syllable rhyming at the end of the line).
I've been thinking about the earlier thread where people were debating the quality of Beetlejuice's score, and the main detractors took issue with the fact that there wer
Ok, now that I've read more about the show and the plot, this actually sounds kinda awesome. It's so over-the-top and insane a parody, it's like Team Starkid's Long Lost Brother that was raised by gay wolves.
I love the musical Calvin Berger. I'm surprised the writer, Barry Wyner, hasn't written anything else. From what I can tell, he wrote this one show, one the Kleban Prize for Most Promising Librettist, then he just kinda... fell off the face of the earth. Where'd he go? Does he have any other shows?
TGWDLM is probably my favorite show I've seen from them. Their shows had always felt really amateurish, which some would argue is part of the charm. TGWDLM is where I really think they came into their own. I could definitely see that show being in New York at some point.
persephone88 said: "A student production of "The Foreigner" was cancelled one week before opening at Washington College on Maryland's Eastern Shore. Appropriate?
There are a number of racial slurs in the show, so I could kind of understand if a school didn't want to do a show with that kind of language, but a school cancelling a show because it scares them is just stupid.
