Examples of shows that turned it around

[jvoom]

Posted: 6/3/20 at 3:23pm

I've been reading a lot lately about shows that underwent "significant changes" between previews (whether that be out of town or on Broadway) and opening night. I'm curious to hear, what are some examples of shows that really turned things around and improved over time? I don't mean lines here and there or a number or two but something like "Shuffle Along" which cut over an hour of material, including entire characters.

Here's one article I came across, an interview with Jerry Zaks about changes made to 'The Addams Family'.

And another from the NYT

[matt1982]

Posted: 6/3/20 at 3:50pm

I'm pretty sure Movin Out was a bit of a disaster in Chicago.  Twyla Tharp retooled and it was a hit on Broadway.

Once a show goes into NY previews, I think it is hard to make substantial changes.  

[Broadway61004]

Posted: 6/3/20 at 4:23pm

Book of Mormon went through somewhat substantial changes in previews: At least one character renamed, several song lyrics completely rewritten (as well as dialogue); I believe the staging remained pretty much the same, but they definitely kept working on the book throughout the whole preview period more so than a lot of other shows do.

[king_cohn]

Posted: 6/3/20 at 5:17pm

If I'm remembering this correctly, when Chicago previewed out of town its reception was lukewarm. The score was significantly revised before Broadway and a character (Velma's agent, Henry Glassman) was deleted and merged with Mama Morton. 

And, although most would agree it didn't "turn it around", The Addams Family underwent pretty heavy revisions during its Chicago preview and before the tour kicked off. 

[LizzieCurry]

Posted: 6/3/20 at 5:30pm

IMO Allegiance improved quite a bit over the course of its run, but not soon enough. I saw it in its first week of previews and then a week before it closed.

[Jarethan]

Posted: 6/3/20 at 7:24pm

I don't know the details -- I am sure Dollypop could write a book -- but I remember reading multiple times over the past 5 decades that Hello Dolly was not well reviewed when it ran in Detroit; apparently, gossip was that David Merrick had a big flop on his hands.  I have read that they brought in (I think it was) Bob Merrill to write a song or two.  Also, one of the two or three greatest production numbers, the title number, was added somewhere along the way.  I do not know if it was added before completing the Detroit run and moving on.

A Funny Thing Happened was not working also.  Legend has it that george Abbott demanded that Sondheim write a great opening number...and he did.  The addition of Comedy Tonight apparently turned the entire show around by setting a tone right up front that the show was going to be silly.

Then there was My One and Only.  I may be inventing this, but I seem to recall that Tommy Tune was not the  original director.  When it opened out of town, it was apparently a disaster...gossip was that it was going to close out of town.  As I recall, tune made major revamps to the show everywhere.  The show was not a megabit, but it did run about 900 performances, as I recall.  Several Tony's, but (best of all) Sandy Duncan replaced Twiggy when she departed after her contract ran out; Twiggy was fine, but Tune and Duncan were incredible together.

i seem to recall that Grand Hotel that Maury Yeston was brought on to write a number of new songs, 6 or 7, since the original score wasn't doing it.  I do not know how many other changes were required to support introduction of so may new songs, but bringing in new composers in Boston seems pretty ominous.

I seem to recall that Pippin underwent significant changes during its preview period, but I don't remember any of the story.

The Wiz replaced all of its leads during its out of town tryout period and I seem to remember that Geoffrey Holder was not the original director.

Then there is The Bandwagon.  Wait a minute; that's the plot of the movie.  Of course, they cheated there...they turned a musical based on Faust into a Revue.

 

[Alex Kulak2]

Posted: 6/3/20 at 7:47pm

Jarethan said: "I don't know the details -- I am sure Dollypop could write a book -- but I remember reading multiple times over the past 5 decades that Hello Dolly was not well reviewedwhen it ran in Detroit; apparently, gossip was that David Merrick had a big flop on his hands. I have read that they brought in (I think it was) Bob Merrillto write a song or two. Also, one of the two or three greatest production numbers, the title number, was added somewhere along the way. I do not know if it was added before completing the Detroit run and moving on."

It was Bob Merrill. He ghost wrote "Elegance", which blows my mind, because that's one of the best lyrics in the show.

 

[GavestonPS]

Posted: 6/3/20 at 7:56pm

Alex Kulak2 said: "Jarethan said: "I don't know the details -- I am sure Dollypop could write a book -- but I remember reading multiple times over the past 5 decades that Hello Dolly was not well reviewedwhen it ran in Detroit; apparently, gossip was that David Merrick had a big flop on his hands. I have read that they brought in (I think it was) Bob Merrillto write a song or two. Also, one of the two or three greatest production numbers, the title number, was added somewhere along the way. I do not know if it was added before completing the Detroit run and moving on."

It was Bob Merrill. He ghost wrote "Elegance", which blows my mind, because that's one of the best lyrics in the show.

"

"Elegance" is by Bob Merrill, but I believe it was written before well before work on HELLO, DOLLY! began. IIRC, it was even performed (in some form or another) in another show. Whether he was brought in when DOLLY was out of town I can't recall, but it wouldn't surprise me.

[ETA per Wikipedia: "The song Elegance, though credited to Herman, was written by Bob Merrill for the 1957 show New Girl in Town but deleted from the original production." I cannot independently confirm this.]

Charles Schwartz writes a whole chapter in his autobiography about coming in with Lee Adams (his longtime collaborator (BYE, BYE, BIRDIE et al.)). They restructured Act I so it ended with the parade and wrote a song called "Before the Parade Passes By". Champion and book writer Michael Stewart liked the new structure and used it, but Jerry Herman just took the title of the Schwartz/Adams song and wrote his own version of "Before the Parade Passes By". It was long rumored that Schwartz and Adams wrote the version heard in the show and Schwartz takes pains in his autobiography to set the record straight.

When the show came in, using the revised book proposed by Schwartz and Adams, and was a monster hit, Schwartz says they waited in vain for at least a "thank you" from the creative team. When none was forthcoming, they sued and won a small royalty which turned into a large amount of money over the monster run of the show.

But, yes, Dollypop is the expert. I just read Schwartz' book.

Updated On: 6/3/20 at 07:56 PM

[GavestonPS]

Posted: 6/3/20 at 8:01pm

CAMELOT also went through massive changes out of town and even after it opened. At least two of the songs on the OBCR were not in the show on opening night.

At one point out of town, director Moss Hart and librettist Alan Jay Lerner were both in the hospital following heart attacks. Hart ended up going home and Lerner took over the direction.

The musical was never a massive hit, but appearances by the stars on THE ED SULLIVAN SHOW sold tickets and kept it running for two years, which in those days put it on the list of long-running shows.

[jo]

Posted: 6/3/20 at 8:10pm

GavestonPS said: "CAMELOT also went through massive changes out of town and even after it opened. At least two of the songs on the OBCR were not in the show on opening night.

At one point out of town, director Moss Hart and librettist Alan Jay Lerner were both in the hospital following heart attacks. Hart ended up going home and Lerner took over the direction.

The musical was never a massive hit, but appearances by the stars on THE ED SULLIVAN SHOW sold tickets and kept it running for two years, which in those days put it on the list of long-running shows."

 

What  I would have given to have seen CAMELOT with Richard Burton, Julie Andrews & Robert Goulet!

 

 

 

[Charley Kringas Inc]

Posted: 6/3/20 at 8:21pm

It's funny that "You May Take Me To The Fair" wasn't actually in the show because that's by far my favorite song on the album.

[GavestonPS]

Posted: 6/3/20 at 8:22pm

jo said: "



What I would have given to have seen CAMELOT with Richard Burton, Julie Andrews & Robert Goulet!"

Oh, I agree, totally! And let's add Roddy McDowall and John Cullum (in the latter's Broadway debut), while we're at it. (I did see Burton in the early 1980s revival, but he was much too old and stiff by then.)

But I just saw a community theater production and the basic material is very thin. The most exciting events happen off-stage. We know Guenevere and Lancelot are in love halfway through Act I and are left to merely wait for the ending. I'd cut Pellinore and Nimue and put "Take Me to the Fair" and "Fie on Goodness!" back in.

So whether CAMELOT really "turned it around" is debatable. Enthusiastic promotion (and the eventual association with the Kennedy administration) did turn the box office around; but the show? Maybe not.

[GavestonPS]

Posted: 6/3/20 at 8:27pm

Charley Kringas Inc said: "It's funny that "You May Take Me To The Fair" wasn't actually in the show because that's by far my favorite song on the album."

It's a great example of writing for a star, that's for sure. I suspect it may have been TOO well suited for Andrews' upper range, because it followed closely on "The Merry Month of May", which does the same thing vocally. This is just my guess, over a half century after the fact. I have no direct evidence that this was why it was cut. Time was always an issue and the show ran between three and four hours at one point out of town.

[GavestonPS]

Posted: 6/3/20 at 8:30pm

All of my posts here should be stamped "IIRC". I do love the CAMELOT score and theme, so I tend to pay attention when I read something about it. But I was 6 when it opened and have never made it a research project.

[morosco]

Posted: 6/3/20 at 8:34pm

My One and Only was a stomach-turning mess of a show when it was out of town and in rehearsals. (But they actually ended up turning it into a delightful show.) 

Read about the turmoil here, Falling On Its Funny Face

Updated On: 6/3/20 at 08:34 PM

[Alex Kulak2]

Posted: 6/3/20 at 8:50pm

GavestonPS said: "Alex Kulak2 said: "Jarethan said: "I don't know the details -- I am sure Dollypop could write a book -- but I remember reading multiple times over the past 5 decades that Hello Dolly was not well reviewedwhen it ran in Detroit; apparently, gossip was that David Merrick had a big flop on his hands. I have read that they brought in (I think it was) Bob Merrillto write a song or two. Also, one of the two or three greatest production numbers, the title number, was added somewhere along the way. I do not know if it was added before completing the Detroit run and moving on."

It was Bob Merrill. He ghost wrote "Elegance", which blows my mind, because that's one of the best lyrics in the show.

"

"Elegance" is by Bob Merrill, but I believe it was written before well before work on HELLO, DOLLY! began. IIRC, it was even performed (in some form or another)in another show. Whether he was brought in when DOLLY was out of town I can't recall, but it wouldn't surprise me.

[ETA per Wikipedia: "ThesongElegance, though credited to Herman, was written by Bob Merrill for the 1957 show New Girl in Town but deleted from the original production." I cannot independently confirm this.]

Charles Schwartz writes a whole chapter in his autobiography about coming in with Lee Adams (his longtime collaborator (BYE, BYE, BIRDIE et al.)). They restructured Act I so it ended with the parade and wrote a song called "Before the Parade Passes By". Champion and book writer Michael Stewart liked the new structure and used it, but Jerry Herman just took the title of the Schwartz/Adams song and wrote his own version of "Before the Parade Passes By". It was long rumored that Schwartz and Adams wrote the version heard in the show and Schwartz takes pains in his autobiography to set the record straight.

When the show came in, using the revised book proposed by Schwartz and Adams, and was a monster hit, Schwartz says they waited in vain for at least a "thank you" from the creative team. When none was forthcoming, they sued and won a small royalty which turned into a large amount of money over the monster run of the show.

But, yes, Dollypop is the expert. I just read Schwartz' book."

If it was written for another show, he definitely rewrote it. There are parts of the lyric that use the names of Dolly characters in rhymes (...It's really us; Barnaby and / Cornelius).

[GavestonPS]

Posted: 6/3/20 at 9:01pm

Alex, I did think of that opening quatrain. SOMEBODY rewrote it, but whether it was Merrill or Herman himself, we don't know. Or at least I've never heard.

[noradesmond]

Posted: 6/5/20 at 4:06pm

GavestonPS said: "Alex Kulak2 said: "Jarethan said: "I don't know the details -- I am sure Dollypop could write a book -- but I remember reading multiple times over the past 5 decades that Hello Dolly was not well reviewedwhen it ran in Detroit; apparently, gossip was that David Merrick had a big flop on his hands. I have read that they brought in (I think it was) Bob Merrillto write a song or two. Also, one of the two or three greatest production numbers, the title number, was added somewhere along the way. I do not know if it was added before completing the Detroit run and moving on."

It was Bob Merrill. He ghost wrote "Elegance", which blows my mind, because that's one of the best lyrics in the show.

"

"Elegance" is by Bob Merrill, but I believe it was written before well before work on HELLO, DOLLY! began. IIRC, it was even performed (in some form or another)in another show. Whether he was brought in when DOLLY was out of town I can't recall, but it wouldn't surprise me.

[ETA per Wikipedia: "ThesongElegance, though credited to Herman, was written by Bob Merrill for the 1957 show New Girl in Town but deleted from the original production." I cannot independently confirm this.]

Charles Schwartz writes a whole chapter in his autobiography about coming in with Lee Adams (his longtime collaborator (BYE, BYE, BIRDIE et al.)). They restructured Act I so it ended with the parade and wrote a song called "Before the Parade Passes By". Champion and book writer Michael Stewart liked the new structure and used it, but Jerry Herman just took the title of the Schwartz/Adams song and wrote his own version of "Before the Parade Passes By". It was long rumored that Schwartz and Adams wrote the version heard in the show and Schwartz takes pains in his autobiography to set the record straight.

When the show came in, using the revised book proposed by Schwartz and Adams, and was a monster hit, Schwartz says they waited in vain for at least a "thank you" from the creative team. When none was forthcoming, they sued and won a small royalty which turned into a large amount of money over the monster run of the show.

But, yes, Dollypop is the expert. I just read Schwartz' book."

Maybe I'm confusing things with Bob Merrill and "Elegance", but didn't he also claim authorship of "Before The Parade Passes By"?

[noradesmond]

Posted: 6/5/20 at 4:10pm

Charley Kringas Inc said: "It's funny that "You May Take Me To The Fair" wasn't actually in the show because that's by far my favorite song on the album."

They recorded the OBC before opening night then continued to tinker with the show for weeks afterward.  "Take Me to the Fair" and "Fie on Goodness" were both cut, I believe.

[Alex Kulak2]

Posted: 6/5/20 at 4:15pm

noradesmond said: "GavestonPS said: "Alex Kulak2 said: "Jarethan said: "I don't know the details -- I am sure Dollypop could write a book -- but I remember reading multiple times over the past 5 decades that Hello Dolly was not well reviewedwhen it ran in Detroit; apparently, gossip was that David Merrick had a big flop on his hands. I have read that they brought in (I think it was) Bob Merrillto write a song or two. Also, one of the two or three greatest production numbers, the title number, was added somewhere along the way. I do not know if it was added before completing the Detroit run and moving on."

It was Bob Merrill. He ghost wrote "Elegance", which blows my mind, because that's one of the best lyrics in the show.

"

"Elegance" is by Bob Merrill, but I believe it was written before well before work on HELLO, DOLLY! began. IIRC, it was even performed (in some form or another)in another show. Whether he was brought in when DOLLY was out of town I can't recall, but it wouldn't surprise me.

[ETA per Wikipedia: "ThesongElegance, though credited to Herman, was written by Bob Merrill for the 1957 show New Girl in Town but deleted from the original production." I cannot independently confirm this.]

Charles Schwartz writes a whole chapter in his autobiography about coming in with Lee Adams (his longtime collaborator (BYE, BYE, BIRDIE et al.)). They restructured Act I so it ended with the parade and wrote a song called "Before the Parade Passes By". Champion and book writer Michael Stewart liked the new structure and used it, but Jerry Herman just took the title of the Schwartz/Adams song and wrote his own version of "Before the Parade Passes By". It was long rumored that Schwartz and Adams wrote the version heard in the show and Schwartz takes pains in his autobiography to set the record straight.

When the show came in, using the revised book proposed by Schwartz and Adams, and was a monster hit, Schwartz says they waited in vain for at least a "thank you" from the creative team. When none was forthcoming, they sued and won a small royalty which turned into a large amount of money over the monster run of the show.

But, yes, Dollypop is the expert. I just read Schwartz' book."

Maybe I'm confusing things with Bob Merrill and "Elegance", but didn't he also claim authorship of "Before The Parade Passes By"?"

I don't think so. I thought I saw somewhere that he also wrote "Motherhood", but Wikipedia just says he wrote "Elegance".

On that note, the show Merrill wrote "Elegance" for is a musical based on Anna Christie, the Eugene O'Neill drama about a prostitute trying to escape her old life. Where has this show been all my life?

[BrodyFosse123]

Posted: 6/5/20 at 4:35pm

NOTE: Charles Schwartz is Charles Strouse.