I thought it was Solea Pfeiffer who played the queen. Was the workshop different from the one night only gala with Lin Manuel Miranda and Jordon? And if so why were the “workshopping” Camelot? Was it the Sorkin version?
UWS10023 said: "I thought it was Solea Pfeiffer who played the queen. Was the workshop different from the one night only gala with Lin Manuel Miranda and Jordon? And if so why were the “workshopping” Camelot? Was it the Sorkin version?"
These were different productions, yes. LMM is not involved with this one, and the workshop was indeed for this new Sorkin version - likely a reading/script work so that Sorkin could see how it played with actors, and revise before the production really ramps up later this year.
CarlosAlberto said: "I hope they utilize the movie arrangement for "The Lusty Month of May" - all the "Tra-La-Las" in the original stage version get on my last damn nerve."
You think they're bad to listen to? Try singing them onstage.
Dollypop said: "CarlosAlberto said: "I hope they utilize the movie arrangement for "The Lusty Month of May" - all the "Tra-La-Las" in the original stage version get on my last damn nerve."
You think they're bad to listen to? Try singing them onstage."
OMG! I’m dead! Thanks for the laugh Dollypop…I can only imagine having to sing that….ugh.
One of the songs I make a point to skip when listening to the OBC - excruciating.
I remember rehearsing a production of CAMELOT and every time the costume mistress stepped into a rehearsal we were doing "The Lusty Month of May" and she eventually asked, "Does this number ever end?" Even with cuts it was a long (and tedious) number.
bwayphreak234 said: "I just can't wait to see the set and how the massive Beaumont will be used. Bartlett Sher works wonders with the space."
I feel like yes and no. Light in the Piazza was grand and gorgeous. King and I was simple and opulent. My Fair Lady - and to a further extent Fiddler on the Roof - felt eh to me. Besides the spinning house, I hated seeing the ensemble come out and move the flat set pieces around. I wish he'd embrace technology and use moving set pieces like in Light in the Piazza.
But since he's using the same designer it'll probably be the same idea of the ensemble moving the set around.
INTERESTING. Perhaps an availability thing (actors or Sher/Sorkin)...or fears of opening another musical in what could be a COVID surge? But all their other musical revivals have opened in the spring, so it kinda makes sense.
Wonder if LCT plans to produce a play in the Beaumont this fall, or if they will do an ALL THE WAY-style rental to a commercial producer, or leave it empty?
Jordan Catalano said: "Interesting. I’m guessing that has to do with a scheduling conflict for the “star” casting."
Is a star in place and/or would you like to give us a hint? I know both Matthew Rhys and Ashley Park had been rumored, neither of which seem notable enough to shift schedules.
If it is the casting, then fine. But, I also wonder if since this is a LCT original production, if there was something that they want to now house in the Beaumount for the fall, that couldn't wait.
Obviously too, the "star" would have a contract that would lead into the spring/summer, so I feel LCT must have something to suppliment the change that they were willing to wait.
"Ok ok ok ok ok ok ok. Have you guys heard about fidget spinners!?" ~Patti LuPone
I had only heard a rumor that I won’t repeat because I only like to report on what I can confirm but it would make sense if this person pulled out and they had to replace with someone else who can’t start until then, or this person has to now wait a few months.
RippedMan said: "bwayphreak234 said: "I just can't wait to see the set and how the massive Beaumont will be used. Bartlett Sher works wonders with the space."
I feel like yes and no. Light in the Piazza was grand and gorgeous. King and I was simple and opulent. My Fair Lady - and to a further extent Fiddler on the Roof - felt eh to me. Besides the spinning house, I hated seeing the ensemble come out and move the flat set pieces around. I wish he'd embrace technology and use moving set pieces like in Light in the Piazza.
But since he's using the same designer it'll probably be the same idea of the ensemble moving the set around."
Dolly80 said: "RippedMan said: "bwayphreak234 said: "I just can't wait to see the set and how the massive Beaumont will be used. Bartlett Sher works wonders with the space."
I feel like yes and no. Light in the Piazza was grand and gorgeous. King and I was simple and opulent. My Fair Lady - and to a further extent Fiddler on the Roof - felt eh to me. Besides the spinning house, I hated seeing the ensemble come out and move the flat set pieces around. I wish he'd embrace technology and use moving set pieces like in Light in the Piazza.
But since he's using the same designer it'll probably be the same idea of the ensemble moving the set around."
Fidler played the Broadway- not at Lincoln Centre"
Very aware. I actually now what theater I was sitting in when I saw it. I was discussing that the design/direction felt similar to My Fair Lady. Some how it didn't bother me in South Pacific, but the other two (and especially in Bridges) it felt too hacky.