This time, he's packed up his bag of tricks and taken it down to the McCarter Theater:
Isn’t It Romantic? Tony Award-winner John Doyle (Broadway’s Sweeney Todd and Company) brings his trademark twist to the Rodgers and Hart songbook in this stylish new production with a cast that doubles as the orchestra! Rodgers and Hart’s jazzy and sophisticated tunes will keep you bewitched, bothered, and bewildered in this inventive song-cycle.
You all do know that these theatres hire him specifically to do actor/musician productions, right? He hasn't personally chosen to direct a show that way since Sweeney in London; all the subsequent productions have been commissioned. Blame the McCarter Theatre for perpetuating it if you hate the concept, but not him for doing what they ask of him.
Like a firework unexploded
Wanting life but never
knowing how
OrangeSkittles, I certainly had the same thought. And the average theater goer (particularly at a regional theater like McCarther) will still look at it as a novel and brilliant.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
Why does everyone ignore the fact that he does other types of shows? Wasn't everyone just raving about "Where's Charley?" at Encores! this year? A great example of him being able to direct a musical without and actor-musician in sight. This is also a new type of project as it's the first time he's used this conceit on a non-book musical and he conceived the whole thing. I'm not sick of what his approach can bring to musicals yet, so I'll be excited to see this show (it's premiering at Williamstown before it goes to the McCarter, by the way).
Really, so much misinformation here. Of course Doyle does other kinds of shows. I just saw his production of Road Show in London and it's brilliant. Last summer he did Kiss Me, Kate up at Stratford. Both shows used traditional bands.
He's certainly not wedded to the musician/actors concept and, by the way, he's a wonderful director.
It never ceases to be frustrating that the people who complain about it neglect to consider two things.
One, the other work he's done without the instruments, and yes, there's plenty of it (see: "can't he do anything else?!" remarks). It's easy to just conveniently ignore these things, isn't it? I have a very difficult time believing that many of you are simply unaware of them.
And two, that because the actor/musician work is how he gained his recognition in the States, it's the work he's often asked to do -- and since it's award-winning, it's what people want to produce. You all do know that Company was essentially commissioned, right?
I tired years ago of trying to argue about the merits of his work. It isn't worth it. But misinformation is just silly.
orangeskittles, that's completely incorrect. This production of TEN CENTS A DANCE was entirely initiated by Doyle.
It's a co-production with the Williamstown Theatre Festival, and it came about because Doyle brought it to Jenny Gersten (who he'd worked with on ROAD SHOW) and asked her if it was something she would be interested in producing. He first did the show back at the Watermill in 2002, and it's been something he's wanted to re-visit ever since.
After Gersten put it in the season at Williamstown, Emily Mann and the McCarter stepped up to help with financing it and made it a co-production.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
He's a brilliant and innovative director. He can use this technique - which audiences and artistic directors are still thrilled by - or not. If you don't, then don't go.
I have enjoyed the four Doyle productions that I've seen (Sweeney, Company, Road Show, and Wings). But I am GLAD Encores! will be doing MERRILY before his production in the states. If it's good enough for a transfer, I much rather see a traditional production of the musical on Broadway. I have no desire to hear that big brassy score played by a piano, flute, violin, and a muted trumpet. Though, there is always the chance that Sondheim will prefer the Doyle production.
Updated On: 7/24/11 at 06:00 PM
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--Cartman: South Park
ATTENTION FANS: I will be played by James Barbour in the upcoming musical, "BroadwayWorld: The Musical."
I thought his production of Mahagonny was mind blowingly *right*. But I admit, I hate hate hate performer/musician shows. I don't find anything revelatory in them, and hate how it always negates the role of dance (something which was key to the early Prince/Sondheim shows)