Sher is the best person for the job. He totally understands the show now. To hand it to someone starting from scratch would be disaster. To be honest, I think Sher struggled more with all the technical crap in the show. That pulled him away from the emotional arch. I think he can nail it this time.
"The sexual energy between the mother and son really concerns me!"-random woman behind me at Next to Normal
"I want to meet him after and bang him!"-random woman who exposed her breasts at Rock of Ages, referring to James Carpinello
"Irritating taxi driver"?!!! I thought Danny Burstein as the omniscient cabbie was one of the highlights of the show. I hope they don't pare down that role too much and are able to cast an actor as likable and talented. I didn't share in the negativity toward the show, even given its flaws; I saw it twice and loved it both times. (Granted, the second time more; it had gotten much better after opening). Loved LuPone, Benanti, Stokes, even Guarini and the much-maligned Scott. I still play the fantastic OCR at least once a week. All best to the reworked London production; wish I could see it.
I was hoping for a new production with a new vision. But the director must have a passion - and something new up his sleeve - I was not impressed with much of what I saw on Broadway (especially did not like any of the material given to Brian Stokes Mitchell)but can't stop listening to the OCR - love it - hope they make something of it.
Okay, shall we go through this again. Spain is not a LATINO country. It is a Latin country but it is a white country (at least as white as Italy and Greece are). If you worry about Spain's downtrodden expats getting past over for work by white people, it's immigrants are NOT Hispanic or Latino brown.
Eh. It's a musical. I don't see anything wrong with the casting if they are right for the role. And yeah, Stokes material was terrible. Hopefully they cut his Microphone song.
I understand Spain's white European roots. But Sher seems to be casting stark white actors in the roles. I think it would preferred if they at least cast actors with roots from Spanish speaking countries. The broadway company had mostly Latino ensemble members and understudies, and it worked nicely with the flavor and passion of Yazbek's music.
Willemijn Verkaik is also in that Cast as Paulina und Anne Skellern is Chandela.
I´m really curious how Tamsin will cope with the singing part. I find it strange that they didn´t chose a musical actress for that role but somebody who apparently never sang professionally.
Sounds fine but I can't say I agree that it sounds any more Latin than It did on Broadway. I don't think authenticity is exactly their goal here.
It's probably more authentic than you think. Modern pop music in Spain often doesn't sound stereotypically "Latin" beyond the lyrics being sung in Spanish. If you ever get a chance, listen to Mecano, the biggest pop group in Spain's history (Hoy No Me Puedo Levantar is the jukebox musical consisting of their music). They peaked in the 80s when Women on the Verge was originally released and it wasn't until later they started to infuse Latin elements (flamenco, bolero, paso doble, rumba, etc.) into their music, which Women on the Verge already does. Even Spain's biggest international hit pop song, Eres Tu, does not have that "Latin" feel at all. Sure, they could beef up the Latin flavor in the orchestrations, but it really isn't necessary to add "authenticity". To me, the locale was clear enough in the original production.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
ummm on the topic of casting... they are actors... they can play spanish. One does not need to live in Medieval Britain to play King Arthur, nor does one have to be from New Orleans to play Caroline. Why is no one complaining that the British Company of MEMPHIS isn't from Tennessee? If they can make me believe it, then it works for me.
I agree, that's not their goal.I believe this actor is of Portuguese descent, but he certainly sounds more authentic than Burstein, IMO.
Danny Burstein, who is half Costa Rican and is, therefore, the only principal from the Broadway cast who is actually Hispanic, something you've been bemoaning a lack of?
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad
The 1980s Madrid context remains, but the accents, thankfully, are gone. “We’re not trying to pretend they’re Spanish,” says Sher. “It remains a ‘period piece’ – we’ll be having answering machines and phone booths – [but] it’s less literally faithful than it was in the original production. It’s more about the women themselves than about their hair and their clothes. It won’t be so Joan Collins on a bad day ….”
he film features a number of car chases – which, Sher groans, are an absolute nightmare onstage. In New York, they went all-out with a full-size working model of a cab revving around; this time, they’re using two chairs. And some clapping.
“We’re not trying to pretend they’re Spanish,” says Sher.
That really tells you everything you need to know.
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.