Roman Banks as Tommy Walker Benjamin Walker as Captain Walker Nicolette Robinson as Mrs. Walker Michael Schaeffer as Uncle Ernie Mike Faist as Cousin Kevin Joaquina Kalukango as the Gypsy Isabelle McCalla as Sally Simpson Jon Rua as the Hawker Raymond J. Lee as the Specialist Justin Sargent as the Lover
Also, I’m not the first person to suggest this but I think a Deaf West production would also be perfect for the show
Thought of casts for two Fosse shows. I know one is still open, but while the production is great, I’d like to see a new take done on it. They’re both fantastic musicals that are ripe for interpretation, and with the right principles, both shows are absolute knockouts.
Chicago Stephanie Styles as Roxie Hart Amber Gray as Velma Kelly Santino Fontana as Billy Flynn Alex Brightman as Amos Hart Tracie Thoms as Mama Morton
Pippin Jeremy Pope as Pippin Leslie Odom Jr. as Leading Player Ali Stroker as Catherine Patrick Page as Charlemagne Jane Krakowski as Fastrada Ahmad Simmons as Lewis Stockard Channing as Berthe
Cabaret Brandon Uranowitz as The Emcee Saoirse Ronan as Sally Bowles James McArdle as Cliff Bradshaw Beth Leavel as Fräulein Schneider Norbert Leo Butz as Herr Schultz Tammy Blanchard as Fräulein Kost Alexander Gemignani Ernst Ludwig
I’d very much like a version of Cabaret that isn’t trying to copy Sam Mendes’ revival. There’s absolutely no denying that Mendes’ take on the show is wonderful. However, I feel like his production and Alan Cumming’s reinvention of the Emcee have become a bit too overexposed. So many people try to copy what Mendes and Cumming did, but they can’t quite capture the initial magic of Mendes’ direction and Cumming’s performance. When Cabaret first came out, it was daringly original. The same thing can be said about Mendes’ revival. I want to be able to say the same thing about the next major production. I’d like the show to still have elements from Hal Prince’s and Sam Mendes’ wonderful takes, but I want it to take something that’s decades old, and still manage to be fresh and shocking. As for the leads I chose, I’m guessing most people would figure when I suggested Uranowitz, I thought he’d be doing a performance that’s closer to the look and feel of Joel Grey’s original Emcee. I think Uranowitz would be able to bring just enough cartoony humor, fake class, and creepy edge to make for a beautiful version of the Master of Ceremonies. Uranowitz is probably one of the most promising young actors on Broadway, and I can’t wait to watch what he does next. I truly believe that if he played the Emcee, he’d be a real threat to win the Tony. Cause to me, it’s not a matter of if Uranowitz wins, but when. Saoirse Ronan is another wonderfully promising performer who I’d love to see onstage(Never saw her in The Crucible, but her film work is exceptional). I think she’d bring the right kind of tragic childlike obliviousness to the role, while still keeping Sally likable enough that you want her to pull through, wise up, and get out of Germany, even though you know she won’t. I personally prefer a Sally who’s more of an amateurish singer, as it simply makes much more sense from a storytelling standpoint. However, I also like a Sally who can somewhat carry a tune without sounding unrealistically tone deaf. I recall Jane Horrocks’ performance of the title number was so unbelievably over the top and awful that it broke my suspension of disbelief. Natasha Richardson’s more subdued and emotional version was a clear improvement in the Broadway transfer. To me, Ronan is vocally perfect for the part, because I’ve heard her sing before, and while she doesn’t sound bad, she doesn’t have a particularly strong voice either. So I believe she’d be able to sound like a genuine amateur in a realistic way. As for McArdle, I realize many people don’t care for Cliff. And who can blame them. He’s completely overshadowed by the two showier leads, and in the hands of the wrong actor can be a true bore. However, this wouldn’t be the first time McArdle has tackled a somewhat thankless role. His wonderful work as Louis in Angels in America is one of the greatest performance I’ve ever seen to not be nominated for a Tony. He made a character that many people find to be insufferable and unsympathetic into one of the strongest parts of the show. Based on the magic he worked with Louis, I believe he could manage to be a very strong Cliff. In the hands of the right actor, even the most thankless parts can be highlights. As I said before, what I’d want more than anything for the next revival is for the show to stay new and exciting. Because the day that Cabaret becomes stale, is a sad day.
Was just watching the clips of Alice Ripley in SB. Thought she looked like Catherine O'Hara, and it popped in my head "I think Catherine would make an awesome Norma!" I know she mainly does comedy, but somehow think she could pull it off.
A Guys and Dolls revival with Ruthie Ann Miles as Sarah Brown, Leslie Kritzer as Adelaide, Leslie Odom Jr. as Sky, and Brandon Uranowitz as Nathan. Honestly there's a million other people I want for this show but those are my main ones.
Bells are Ringing with Lauren Ambrose or Jessie Mueller as Ella and Jamie Parker as the male lead.
Tap Dance Kid with Corbin Bleu.
Next to Normal with Shoshana Bean as Diana.
9 to 5 with Nicolette Robinson as Judy, Ali Stroker as Doralee, and Renee Elise Goldsberry as Violet. Maybe Will Swenson as the boss?
Reviving this thread (hardy har har) to say that I just thought of a great revival: My Favorite Year staring Andrew Barth Feldman as Benjy Stone and Victor Garber as Alan Swann. It would be great to see this show get new life, especially now that Ahrens/Flaherty have become such a formidable and well-known pair of writers on Broadway. It's nothing but fun, which would be great after the whole Covid-19 situation, and it would be great to take an unknown talent for Alice and give her a spotlight. (Remember, Andrea Martin made her Broadway debut doing the role - and won her first Tony for it.) Andrew has even sung one of Benjy's songs from the show - check it out!
MollyJeanneMusic said: "Reviving this thread (hardy har har) to say that I just thought of a great revival: My Favorite Year staring Andrew Barth Feldman as Benjy Stone and Victor Garber as Alan Swann. It would be great to see this show get new life, especially now that Ahrens/Flaherty have become such a formidable and well-known pair of writers on Broadway. It's nothing but fun, which would be great after the whole Covid-19 situation, and it would be great to take an unknown talent for Alice and give her a spotlight. (Remember, Andrea Martin made her Broadway debut doing the role - and won her first Tony for it.) Andrew has even sung one of Benjy'ssongs from the show -check it out!"
I don't know if you saw the show originally. I did, and I thought it was non-stop mediocrity. Andrea Martin, who I really like, won because she had zero competition. The score (at least on first hearing) was mediocre and had no standout. Despite seeming like perfect material for a musical (I have always loved the movie with Peter O'Toole), it just didn't come together, and was a very big flop.
Since I'm such a classic musical fan, and Flower Drum Song has been on my mind since watching the movie the other night, this would be my choice.
But NOT in that revival form from twenty years ago but the actual R&H musical that was staged in the late 50s.
Dated? Maybe. But it would be a great showcase for a strong Asian cast.
And led by someone like Bartlett Sher. At Lincoln Center, just like he did with the latest revival of The King and I. I can only imagine what he would do with this musical, with its staging and the talent he'd attract. How vibrant, grand, but intimate he could make that stage with this charming story.
This is how I would cast...with some possible movement with regard to age, etc.
Eva Noblezada or Philippa Soo or Ali Ewoldt as Mei Li.
Ashley Park as Linda Low.
Conrad Ricamora or Telly Leung as Wang Ta. They're both older, but look young.
joined:4/9/17
Tell us your dream Broadway revival!
#126Posted: 7/22/19 at 7:24pm