"For me, I tried to like In Transit, because the idea of an acapella just seemed like a cool idea, but the show just didn't do anything for me."
I was excited when I first heard about In Transit too, but I couldn't even finish the cast album. Good news with acapella musicals is Dave Malloy with Octet, that might be good
I’ve seen a lot of examples of this over the years, but the most recent example I thought of is Alice By Heart.
It’s always very frustrating when this happens, because good concepts are hard to come by, so it’s extremely irritating to see them wasted on poor execution.
It happens a lot with Shakespeare plays, where the director had a great idea for a new setting, or a new angle on the story, but either the ideas are half-baked or poorly implemented, or the fundamentals of the production are missing. And the worst part is that if another director comes along and feels they can do the concept right, they’ll be criticized for being derivative. So the good ideas go to waste.
I still dream of an Addams Family musical with Marc Shaiman adapting and expanding the score he wrote for the two movies with Raul Julia and Anjelica Huston. Act 2 opening with that haunting waltz he wrote leading into a greatly expanded "Mamushka" production number? Mary Testa as Dr. Pinder-Schloss? The whole mistaken-but-not-mistaken identity of Fester? All of which would have been much more exciting than the watered down retread of You Can't Take It With You/La Cage aux Folles that we got instead.
Did you know that every day Mexican gays cross our borders and unplug our brain-dead ladies?
I enjoy the score for The Addams Family but I didn't feel any of the changes or new songs written for the tour helped the show at all. They just muddied it even more. They should have just cut "In the Arms" and called it a day.
I'm convinced that Steel Pier could work with a completely new book. The concept of a dance marathon in the 40s and that glorious score certainly seems like a promising show but the book is a mess.
Mr. Wormwood said: "I'm convinced that Steel Pier could work with a completely new book. The concept of a dance marathon in the 40s and that glorious score certainly seems like a promising show but the book is a mess."
A Director said: "Mr. Wormwood said: "I'm convinced that Steel Pier could work with a completely new book. The concept of a dance marathon in the 40s and that glorious score certainly seems like a promising show but the book is a mess."
EVERYBODY'S GIRL is a terrible song!
"
I don't mind Everybody's Girl but it's not my favorite from the score. Love Willing to Ride, Everybody Dance, Leave the World Behind, and the Steel Pier theme among others
Mr. Wormwood said: "I'm convinced that Steel Pier could work with a completely new book. The concept of a dance marathon in the 40s and that glorious score certainly seems like a promising show but the book is a mess."
What a shame they couldn't get the rights to the Jane Fonda film, THEY SHOOT HORSES, DON'T THEY?, which is what they wanted in the first place, or the novel on which it was based. (Fred Ebb discusses this in COLORED LIGHTS, their autobiography of the team.) I recall it being a great and powerful film. One can only wonder what that musical might have been.
(ETA I have fixed factual errors based on corrections from A Director and BrodyFosse. Thanks to them for pointing out my errors.)
GavestonPS said: "Mr. Wormwood said: "I'm convinced that Steel Pier could work with a completely new book. The concept of a dance marathon in the 40s and that glorious score certainly seems like a promising show but the book is a mess."
What a shame they couldn't get the rights to the Jane Fonda film, THEY SHOOT HORSES, DON'T THEY?, which is what they wanted in the first place. (Fred Ebb discusses this in COLORED LIGHTS, their autobiography of the team.) I recall it being a great and powerful film (based in turn on a play by "Baby" June Havoc). One can only wonder what that musical might have been."
The movie THEY SHOOT HORSES, DON'T THEY ? is based on the novel, of the same name, by Horace McCoy. The play by June Havoc is MARATHON '33. She had stopped being billed as "Baby" June years and year before she wrote the play.
As soon as I saw this thread, Nick & Nora was the first to come to mind. How can you take a swinging 1930s couple with wit to spare, art deco luxury, martinis, murder, and Asta - the dog of the century! - and produce this bore?
Now, don’t get me wrong. I love this show like few others I’ve seen. However, there is no doubting that the Almodovar-ian farce from the movie translated well when blown up on stage. This was also hampered by a lead actress (Sherie Rene Scott) who did not fit the lead role at all
Check out my eBay page for sales on Playbills!!
www.ebay.com/usr/missvirginiahamm
joined:9/11/16
joined:
9/11/16
Posted: 3/23/19 at 11:29am