"Plans are afoot for a Broadway revival of 1937 Rodgers and Hart tuner "Babes in Arms" to star Rosie O'Donnell.
Randy Skinner, recently Tony-nommed as choreographer of "Irving Berlin's White Christmas," is attached to helm and choreograph the production, which has a new book by Joe DiPietro ("Memphis").
Producers Gerald Goehring, Pat Addiss and Michael F. Mitri organized private readings of "Babes" in Gotham last month with O'Donnell, last on Broadway in "Fiddler on the Roof" in 2005, and Shuler Hensley ("Young Frankenstein") among the cast.
Although no timeline for the brewing production has been nailed down nor has fund-raising begun, producers hope to have a plan in place by the end of the summer, according to Goehring (also producing the upcoming tuner version of "A Christmas Story") and Addiss ("Passing Strange," "The 39 Steps").
New version of "Babes in Arms" retains the storyline of the Depression-era original, in which a chorine (O'Donnell) helps a group of kids put on a show in order to keep them from being sent to a workfarm. Book was originally penned by composer Richard Rodgers and lyricist Lorenz Hart..."
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.
ljay889, the character of Billie does in fact sing.
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.
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.
With that wonderful collection of songs you can't blame anyone for wanting to revive BABES IN ARMS, but the book barely holds together.
If Rosie acts as den mother to a group of very talented and very young (late teens/early 20s) performers it could prove an effective showcase.
Cast albums are NOT "soundtracks." Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
Finding Namo, the burnt cork joke is amusing, but sort of mistaken. There was no blackface number in the original production. In fact, Rogers and Hart, being very progressive for their day (their songs were considered almost smutty) actually broke the color barrier by casting the very young Nicholas Brothers in the cast, which rarely happened on Broadway back then. To give these two amazing young talents a showcase - they had been knocking around for six years by then - was a huge leg up.
That's the good news. Here's the bad.
They wrote a song for the boys called "All Dark People Got Rhythm," which was exactly as racist as the title suggests.
In addition, the Nicholas Brothers - the most experienced actors on the stage - were barely mentioned in the program and are shown in exactly one photo in the souvenir program.
They wrote a song for the boys called "All Dark People Got Rhythm," which was exactly as racist as the title suggests....How far we've come from that....
Actually, the original book isn't racist in the least and is unusually forward-thinking for its time. The kids are allowed to put on the show providing they get rid of "the negroes". The kids all refuse to kick their friends out of the show. The Nicholas Brothers go on and are smash hits, and the racist character gets his comeuppence.
And "All Dark People" is a brilliant song. It should remain in the show.
"Hurry up and get into your conga clothes - we've got to do something to save this show!"
Hmmmm.. I've been in Babes In Arms and we did a different version..but either way I adore the score and would love to see a good production of it. With Rosie..I don't know how I feel about this
Rosie - BIG MISTAKE. She actually said on you daily TV show that she gets bored doing the same thing over and over. She would start looing around the audience and not paying attention to the other actors on stage. She is NOT needed in a show. Let her produce flops (Taboo) run tours etc. but stay off stage,
Rosie is able to get backing to be in a project like this? She has such little fan support now. She is one of the most hated celebrities in the country.