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.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Rak is in the ensemble, and I believe she's covering Fastrada and/or The Leading Player.
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.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Am I the only one who finds the casting of Rachel Bay Jones as Catherine incredibly bizzare? She's almost 40 and Matthew James Thomas, who's playing Pippin, is 23. It seems more appropriate that she'd be playing his mother in something rather than his love interest.
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.
I agree that RBJ make for a strange Catherine. I guess Diane just liked working with her on Hair. She wasn't really right for the role when she was younger, imo.
JeanGudio, 7 Fingers had nothing to do with TARZAN. Their most recent endeavor was the theatrical piece TRACES.
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.
I can't tell, from the Playbill article if they are recreating (some?) of Fosse's choreography, or if Chet is just doing choreography in the Fosse style (like Reinking did the large parts of Chicago she didn't recreate). I know the odd sounding UK production from lst year (set in a video game?) did try to shoe horn Fosse's choreography, and it soundedlike an odd mix.
> Here's how A.R.T. bills the production: "A bold new staging of the dark and existential musical you thought you knew. Pippin, on a death-defying journey to find his 'corner of the sky,' must choose between a life that's ordinary or a flash of singular glory."
i *did* think i knew Pippin, but i've never thought of it as being existential, and i certainly don't remember it being dark.
am i sundowning early today, or has the Paulus PR machine taken its usual liberties?
Pippin's always been a wild seesaw between light and darkness. In the original production, bloody body parts are flung onstage while Vereen and co perform that slow soft-shoe glorifying war. Pippin knifes his dad to become the new king. And the finale has always been a very literal invitation to Pippin to self-immolate. Believe me, Paulus needn't do any rewriting to bring the dark to the piece.
Tree2: Pippin was my first Broadway musical ... I promise I have a very clear impression of it.
I do remember the elements you've mentioned, and i do of course recall them as dark (though the flying body parts i thought were played as a gag). so, sure, there's some dark there, but for lo these 3X years now my overall sense of the show has not been of darkness. the presence of dark elements does not necessarily translate into a dark story.
although you didn't mention it, i also fully appreciate that the main character spends much of the play deep in the throes of existential angst ... somehow, though, i don't think of the work itself as being existential.
moreover, on the slightly more pedantic side, i intended to question (or open up to question) the marketing department's assertion that the common understanding of the work is one of darkness and existentialism.
perhaps it's my (then) tender years combined with the wonderful melodies, but i've always thought of Pippin as one young man's journey toward finding himself.
I always thought Fosse's take on the material (not the authors' necessarily) was that it was a piece ultimately about suicide... But that's just my take. Either way, Fosse was smart enough to disguise a lot of the darkness that seemed to be his concept (something perhaps he had more trouble doing with his staging of Chicago but that was post his heart attack, right?)