I'm a little surprised that Bartlett Sher is directing again. I think he's a fantastic director, but I'm not sure he was the best fit for this material.
"What was the name of that cheese that I like?"
"you can't run away forever...but there's nothing wrong with getting a good head start"
"well I hope and I pray, that maybe someday, you'll walk in the room with my heart"
An absolutely incredible score that deserves another production, with a revised or new book. But count me in as one who is also surprised Sher is still onboard. It sounds like this team has been developing this version in readings.
After the Broadway production, there were some - LuPone being one, I believe - who said they wished there had been an out-of-town tryout and it was too large a show to open cold on Broadway.
"The band is now five-strong (it was 16). An irritating taxi driver has been calmed down and will narrate. Some songs have been axed, others re-written and moved around, while the book has been re-structured and simplified. Sets and costumes have been toned down, too."
The Playhouse is a pretty small theatre - comparable to the John Golden in New York. It probably doesn't make economic sense to have more than 5 musicians, and there wouldn't be much space for them either.
I find it kind of disappointing that it's Sher who's tackling this in the West End...I thought his direction was a big problem in New York, at least when I saw the show early in previews. I'm glad the score is being given another opportunity though, even with the reduced orchestrations. It's really wonderful.
Yup, he was definitely the narrator, but it never felt like a committed decision. I wonder if MADRID is still the opening number? I wouldn't be surprised if turns into more of an ensemble number now.
I worked for a company that worked with the show at the time and saw it a few times throughout the run. As bad as the show was at it's first preview and even not so great on opening night, by the closing it was once of my favorite shows running on Broadway at the time. I plan on flying to London just to see this!
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What are everyone's (detailed) thoughts on the score? I bought the recording when it was released and listen to it often, especially Laura Benanti's hilarious "Model Behavior", but I have been curious to know what you all think makes this a great score. (I'm not on the negative side, I'm just asking. lol.)