I haven't seen the production YET but I'd like to mention a couple of observations:
- Some critics liked and some hated the new choreography. While Agnes De Mille's original choregraophy is iconic, it's of its time (1945). One could argue that new choreography could make us see this show with new eyes.
- As wonderful as the Hytner revival was, most people forget that Billy was played by Michael Hayden, a wonderful actor but not a sin
Dollypop said: "Somehow I feel Charle Stemp would be a knock-out in the lead."
Charlie Stemp would be perfect casting. I do believe, however, that he is contracted to Hello Dolly! in May. Someone correct me if I'm wrong. And yes, Warren Carlyle is the perfect choice to direct this show.
Is there a chance this could go to Broadway for a limited run? I realize there's no way this production would even break even but maybe someone is passionate about the show and is willing to lose $15 million?
(And if only the reviewers would stop referring to the show as second-tier)
What I'm hearing from an unconfirmed source is that Lauren Ambrose is their choice for Eliza but that they have yet to find an actor for Higgins, their top 5 choices (including Firth and Kline) passed and now they're still desperately seeking a "name". At the rate this is going, we will end up getting an old TV name like Barry Bostwick or a Bristish stage actor like Douglas Hodge or Henry Goodman. I personally think Robert Sean Leonard would be ideal as Higgins, but hi
I saw it in La Jolla yesterday. It's an entertaining critic-proof jukebox musical in the same vein as Mamma Mia. The plot "excuses" for songs can be pretty lame. For example, a character is looking for a salt shaker so the plot can segue into the "Margaritaville" song ("Wasted away again in Margaritaville, searchin' for my lost shaker of salt.) The cast are all talented. The score is a Jimmy Buffet greatest hits collection. Lisa Howard is definitely
Please correct me if I'm wrong but these seem to be the same reduced orchestrations that Tunick created for the Broadway revival.
Most critics and audiences have found the original libretto to be too long and dry. I can see why Sondheim would agree to these cuts. If this is the production that makes the musical more accessible and gets critical raves, newly licensing this production for regional and university productions may launch many more productions.
Doyle also did radical cuts to the book of Color Purple.
Pacific Overtures isn't licensed very much. This new scaled-down production would probably boost the number of future productions and licensing revenues. I'm sure Sondheim's accountant will be happy with the new version.
As for orchestrations, Rob Berman is listed as musical supervisor so I assume he did the orchestrations?
The road producers make up 30% of the best musical voters. I think DEH will have a slight edge of the Great Comet. Great Comet is not a show that will play well outside of New York. I personally think DEH is the best new musical playing right now.
It is my understanding that new songs are being written for the show while in previews. Even if there are new songs, will the show succeed without the extensive flashy sets that most people will be expecting?
The Broadway sets are unimpressive and look like touring sets. I'd expect the touring sets to match Broadway. The colorful costumes for the show seem to be where much of the design budget was spent.
I put in a request a couple of months ago for Hello Dolly tickets through Broadway Cares. As many of you know, Broadway Cares/Equity Fights AIDS sells house seats to Broadway shows at a 100% markup. I'm coming to NYC for my once-a-year trip. I'd rather spend $500 or more per ticket for a sold out show with the money going to Broadway Cares than pay a scalper.
Imagine my surprise when I get an email from Broadway Cares telling me that the producers of Broadway Cares did not
score.