@troynow - IIRC, you shared this rumor with the board like a year ago or more, and even then you mentioned that Gardiner wouldn't be continuing with the show because of some professional tensions in the production process. And you mentioned that Camille A. Brown would be taking over as director, but so far there hasn't been any other indication of that. You may very well be right, but if so, you know more about it than we do. So I find it a bit funny that you're the one asking us!
It seems to me that the "scheduling conflict" excuse is a little odd. Partly for the reason I just mentioned - the rumor of her departure has existed for more than a year. Also, they haven't even mentioned what the schedule IS for the production, so why wouldn't they just accommodate her schedule if it was a simple matter of her having other projects?
Also, how often do directors get totally dropped from remounts simply because of scheduling issues? I've never even heard of that happening. Usually, if there's a remount of a production that the director can't work into their schedule, don't they just hire members of the production team to recreate the staging? I'll grant you that usually doesn't happen for Broadway shows, but surely the same principle should apply, right? Even when Julie Taymor was fired from Spider-man, they kept her staging and credited her as the original director. And that was way more contentious than mere "scheduling conflicts"
So incredibly odd that they’re moving the production but replacing the director. And the scheduling rationale becomes more of a stretch when you add in the Covid delays. I wonder how much will or won’t be the same on Broadway compared to the production at the Public which, admittedly, I didn’t feel made a very compelling case for the piece as a lasting work as much as it made it feel very specifically OF its time. I’m hopeful that there is a strong directorial eye brought in who brings something different to the piece as I would love some fresh eyes on it. Makes me wish the India.Arie version planned for circle in the square way back when had materialized!
troynow said: "a more Black director, one of not mixed race like the prior director."
I completely believe you that Gardiner was fired - the "scheduling" excuse made very little sense, given the timing and circumstances of the production. And actually, it was you who posted on this board about Gardiner being fired a full YEAR before the news was announced about Gardiner's "scheduling" conflict.
However, this one part of your post about is really surprising to me. This doesn't seem to be in line with the current movement.
The Black theatre community is certainly not a monolith, but I get the sense that the general consensus seems to be that "half Black" people are within their rights to identify as Black. And it's certainly not a white person's place to make that call; it feels like a bizarre situation like this, in our current climate, would've caused a huge stink, including from Gardiner herself.
It seems more likely, in theory, that there was professional tension. Which would explain why everyone unanimously decided to go with the "scheduling conflict" excuse without making noise about it.
The production at the Public was stunning and easily one of the best productions of that season. It was received very strong reviews and the Lortel for Best Revival. Gardiner’s direction was wonderful and made the piece feel as vital as the day it was written, and her other concepts and ideas pushed the production forward. Ditching her is a strange move not rooted in any actual failings on her part as a director.
Assuming that the staging is similar to when it was at the Public (which I know it may very well not be), would it be better to be up close or a good distance away? It looks like first two rows are $49 so I wonder if that would be too close, but they're also doing a $20.22 ticket initiative so I'm curious to see where those seats would be as well.
The first two rows of orchestra in bright orange, it looks like the first few previews have them and I also picked a random day in May, which had them as well so I assume they're at every show.
silent said: "I’m still SMH @ tickets going on sale without the cast being announced."
We can probably infer from this that the cast won't be filled with big-name stars, so they wouldn't feel the need to announce it early for marketing purposes. I made the same prediction a few weeks ago about The Skin of Our Teeth, and that ended up coming true.
Also, worth noting the breakdown of the design team:
The scenic and lighting designers are the same as Off-Broadway (and it's the same choreographer, obviously). But the costumes, sound, and wig/hair designers are new hires. And there's also a projection designer added to the roster, where the Public production didn't have one.
Unless the set/lights/choreography are completely overhauled, it sounds like this will be a very soft remount of the Public production. But because of the circumstances, it's hard to categorize. Also, I'm not seeing a producing / development credit for the Public, but I'd be curious to double-check once the credits are finalized in the Playbill.