Between Pittsburgh and Off-Broadway, my original musicals have ALWAYS had orchestrators music directing or playing in the pit. Small musicals in particular are going to be hurt by this, just as much as big Broadway shows.
is after anatevka canon ? Feb 13
2019, 10:45:44 PM
Sheldon Harnick mentored the author and has approved its content, though he did not write any of it. It’s a fun read- almost like late period Tarantino meets Fiddler.
When Gaga announced that she was doing a standard style show and a "piano and jazz" residency side by side in Vegas, I expected the second one to be her Springsteen on Broadway moment: stripped back, just the artist and the piano, telling stories and singing songs.
It turned out to be something equally ingenious: a resurrection of the classic Sinatra-era big band "floor shows." Apparently it's quite good- but I still think she's gonna do her Springsteen on B
They wave their wands in the opposite direction as they do on Broadway, and the finale of Part 1 now involves a drop bear attack. Instead of Ingrid Michaelson, the score is now written by AC/DC.
Changes to Beetlejuice? Feb 8
2019, 05:07:41 PM
I was comparing it more to something like Dirty Rotten Scoundrels, another show that has had limited regional success due to the intricacies of its physical production.
Greens, I'm not convinced regional theatres will take to it as readily: this is a massively visual production, and it's likely that only the biggest and best companies will have the budget and resources to stage it adequately.
And if you can't do the big visual feats of Beetlejuice (a property not only defined by but almost ABOUT splashy visuals), why do Beetlejuice?
Add this to the list of "most unexpected school editions" along with "Xanadu Jr.:" Monty Python is now licensing a "greatest hits" of their sketches, songs and absurdist sequences to high school and universities through TRW.
Let's complicate things further: even beyond gender identity there are issues of gender performance and gender non-conformity that don't necessarily correspond to easy notions of gender and sexuality. Consider professional and vocational drag queens like Sharon Needles or Dixie Longate (or even Dame Edna if we reach backwards); consider also actors of gender-non-conforming aesthetic like Ezra Miller, Alex Newell or Mason Alexander Park, who have essentially made "presentation&quo
Meaning no disrespect to the late After Eight, a noted and avowed disapprover of Sondheim and his impact on the theatre, but the two men have more in common than they believed: both had somewhat prescriptive views of what was and wasn't good structure and good theatre. Sondheim had a very distinct comfort zone, and was not a proponent of theatrical art that did not follow his "rules." This has led to some of his unique "favorites" through the years, with the South Park
To Bare on Not to Bare (NBC's Hair Live Issue) Jan 30
2019, 04:41:44 PM
I can see a fair amount of "Sodomy" going unchallenged, but someone's gonna pick out "pederasty," since the attitude on pederasty in gay culture has changed MUCH more drastically than attitudes to anything else in the show.
One of the best productions of Hair I ever saw was a high school production I was hired to play in the pit for. The only things they cut were the nude scene and the "my dick fell off in the shower/f*ck f*ck f*ck" sequence. It was fascinating and moving to see the characters- mostly high school dropouts- played by people the actual ages of the characters.
Another quirk of that production: they played Claude as openly, and confidently, and flamboyantly gay, with his relationshi
There's also the issue of ages: Elphaba and Glinda begin the show age 18-20 (Fiyero likely a little older), and a relatively significant amount of time passes from there, likely a matter of some years. So you have characters aging possibly a decade or more through the plot- Hudgens is too old for Act 1 and possibly too young for Act 2.
These things wouldn't matter much on stage, but on camera certainly would.
There's a disconnect between the Mame of the book, the perceived Mame of the play, and the Mame in the public consciousness. The Mame people think of today is a "woman of a certain age," analogous to Dolly Levi and the idealized fusion of the nurting auntie a young gay boy would have wanted, and the fabulous dame that same boy might fantasize about being.
But the Mame on the written page in Patrick Dennis's novels is younger, sexier, more morally ambivalent. While she
2019, 03:28:29 PM
This could be amazing if they're willing to make it hard, not a passive love-fest. Imagine MJ emerging as this inscrutable figure of immense charisma and power but deeply guarded and duplicitous, where you're never sure if you can love him, or even trust him, completely.
Like Jesus in Superstar mixed with Eva Peron, all filtered through "Doubt."