Replies: 52 Unseemly Comments
Well, in the past few years, we have seen three musicals revived whose original productions were first staged within the last twenty years. 42nd STREET was a massive hit, and continues to have strong box office appeal. On the other hand, INTO THE WOODS, as BK rightly points out, did not attract a new audience with its revival.
The jury is still out on NINE. With some Tony wins, will it outlast the original production (as only one musical revival has ever done)? Time will tell, but it would appear doubtful.
It is worth noting that a couple of shows that opened in the past twenty years continue to play today (PHANTOM OF THE OPERA, BEAUTY AND THE BEAST), and others promise to run for several more years to come.
So what of the remaining shows? I don't see anything on the list that warrants a revival. There are a few shows that did not do well in the past few years, which I wish had been given a better chance - either by their producers or by the critics. but there would be little point in reviving them. They didn't do well the first time, and there is no reason to believe they would fare better in revival.
Personally, I would rather be introduced to new works than retreads of old shows. But New York seems to be less and less the place to find those kinds of works anymore. Until a show has found its feet elsewhere, or has been successful on Broadway before, New York won't touch it.
Posted by Dave @ 04/21/2003 09:27 AM PST
BK - They don't make movies like "The Carpetbagger" for theatres anymore because they make them for television and especially cable stations like "Lifetime". Of course the tv ones are not as good/bad as the old ones, but they are still making them.
Regarding revivals of recent shows, it seems that older shows are considered too dated to attract the younger audiences. I would rather see new shows in the old classic style than new productions of shows that aren't really old enough to revive.
Regarding NINE, it will not run as long as the original since Mr. Banderis will leave at some point this summer and they probably won't want to recas since he is the draw, not the great women and not the Yeston score.
Do any Hainsies-Kimlets want to meet at Penn station Saturday and go to see BK and Aura as a group? Click on my name and let me know if you're interested.
I'll be at chat at some point, but with the earlier start it may not be at the beginning.
Posted by William E. Lurie @ 04/21/2003 10:02 AM PST
Where is everyone today? I could understand the low number of posts Saturday and Sunday because of the Easter/Passover season, but I posted an hour ago and there is nothing since (unless someone posts as I type this).
Encores has announced it's leads for NO STRINGS and conspicously missing is Former Miss America Vanessa Williams. The show was unofficially announced for last season as part of the Richard Rodgers 100th Anniversary celebration and then postponed when Ms. Williams went INTO THE WOODS. It was expected that she would be starring in the show, but now the role will be played by Maya Days, an actress whose work I am not familiar with and whose previous credits were in two shows with scores as far from Richard Rodgers as possible: AIDA and JESUS CHRIST, SUPERSTAR. She may be excellent, but it's unusual that Encores has cast an unknown in a star role. The balance of the announced cast are all considerably more well known than Ms. Days: James Naughton, Len Cariou, Penny Fuller, Marc Kudisch and Emily Skinner. Since I am not a big fan of Ms. Williams, this could be a change for the better.
Posted by William E. Lurie @ 04/21/2003 11:04 AM PST
I won't be able to attend the NJ expo. My orgy of theatre-going continues (see yesterdays' notes if you're interested in what I'm seeing this week) on Saturday afternoon with a trip to the Century Theatre to see Last Sunday in June.
Posted by Ben @ 04/21/2003 11:20 AM PST
I was wondering the same thing, WEL. It's getting very disheartening actually, the weekend numbers were the lowest we've had in a year. Oh, well.
Posted by bk @ 04/21/2003 11:23 AM PST
I wouldn't get too disheartened by a couple of lightly-visited days - especially considering this weekend is one in which two major religious holidays took place, likely to bring people home to their families, etc. There may be others who are sick in bed. That's where I *should* be right now, but I have too much to do at work today.
Another possibility - with all this talk of food, and binging, maybe a few people overdid it, and are busy purging today.
Posted by Dave @ 04/21/2003 11:41 AM PST
Well, I have reurned. I had some
weeks of too much work to have time
to be online, and was then on the
Jazz Ensemble Tour to Chicago for
several days of spring break. But I
am now ready to rejoin the fold!
In my abscence, I have received the
rest of my college responses, all of
which were aceptances, and have
decided to go to Northwestern
University in Evanston IL to study
theater this fall. I'm very excited.
It is ow my last day of Spring break,
but I have a mere month until Senior
prject, and some seven weeks until
graduation. And several papers in
between.
My attitude towards these revivals is
somewhat more positive tha tthose
of other people, perhaps because i
was not around for the original
production. For me, a play last done
in 1982 might as well have been
done in 1952. I wasn't born yet. So
bring on "Nine" "Joe Egg" "Noises
Off" "The Elephant Man" and all the
rest. I'd like to see them!
And I do hope that Bernadette will
get better. I don't want this "Gypsy" to
be a disaster! Actually, "Gypsy" has
been regularly revived about every
15 years (1959, 1974, 1989) so
2003 is on track. Seems okay to me.
Posted by Hapgood @ 04/21/2003 11:45 AM PST
Good question today. I wish that I had a good answer. Who knows why one revival works and another doesn't. I used to be more in the know and knew lots of the gossip but it is now a thing of the past.
Posted by MDS @ 04/21/2003 11:59 AM PST
BK - HERE'S WHO YOU CALL
I, too, was once awakened at 5 o'clock in the morning by the clattering blades of a low flying helicopter that continually circled the house for over an hour. I was so angry I even ran outside screaming raising my fist in protest but to no avail. I finally went to the front of the telephone book under the section titled GOVERNMENT OFFICES-UNITED STATES and found the phone number for the FEDERAL AVIATION ADMINISTRATION (FAA) - FLIGHT STANDARDS DIVISION (their phone is 310-725-7200). They'll most likely refer you to the Flight Standards Division Field Office of the nearest airport from which the helicopter took off.
Posted by Donna - Cabaret West @ 04/21/2003 12:16 PM PST
Chances are good that the helicopter belonged to a local PD and was possibly seeking some sort of perp -- either in a car or on foot in BK's neighborhood -- some suspicious-looking character that BK would NOT have wished to come face-to-face with.
Posted by Ron Pulliam @ 04/21/2003 12:30 PM PST
I don't really have anything to contribute, but want to keep my hand in... :)
Posted by Lulu @ 04/21/2003 12:39 PM PST
Hapgood, glad to have you back. Northwestern sounds like a good choice to me.
Good luck on all those papers
Posted by Ben @ 04/21/2003 12:39 PM PST
Congrats to Kerry Butler on her nomination for Hairspray as Best fetaured actress in a musical.
Posted by Michael Shayne @ 04/21/2003 12:49 PM PST
How could the Tony nominations have been announced when the season doesn't end for a couple of weeks? Have the voters already seen every show in less than finished previews?
Posted by William E. Lurie @ 04/21/2003 12:54 PM PST
Also Emily Skinner grabbed a featured actress nomination for Dinner at Eight.
Jane Krakowski vying in the same category as Kerry Butler for Nine.
Melissa Ericco received one for Amour as Best Actress. Bernadette Peters did not received a nod.
Posted by Michael Shayne @ 04/21/2003 12:54 PM PST
The Carpetbaggers - hopefully it is on its way to me along with the AIDA cast album!
John Michael Hayes wrote many excellent screenplays - he also wrote HARLOW for Carroll Baker.
Yes, Robert Cummings is surprisingly smarmy in THE CARPETBAGGERS - dealing and double-dealing everyone he comes into contact with. I love to watch his face when his percentage of the sale of the Norman Studio is disappearing before his eyes...LOL!!!
"I told you, Mr Cord, the day would come....the day would come. When you bought Norman Studios you bought a corpse!" So says Bernard P Norman (Martin Balsam).
Revivals don't do much for me. I suppose some are okay.
The awards mentioned are NOT the Tony Awards, but the Outer Circle Critics Awards. The Tony Awards will be announced next month, AFTER GYPSY opens!
Posted by Jrand52 @ 04/21/2003 01:09 PM PST
Back from a weekend home,
meaning a weekend of errant
and truantness. I'm guessing
the weekend's low turnout was
due somewhat to the holiday
weekend, and things should
return to normal quite soon.
Welcome back, Hapgood! We
were indeed wondering just
where in tarnation you'd been.
It's so nice to have you back
where you belong.
As for the topic de jour, I think
an occasional revival is just
hunky dory, but there are just
too many too often. New
shows, says I, new shows!
Posted by Jed @ 04/21/2003 01:10 PM PST
Well - it seems that the Critics Circle does indeed nominate shows that have not opened. Enchanted April got several and Gypsy got a couple as well for director Sam Mendes and Best Revival. But nothing for any of the performers. Hmmmmmmmmmm!
Posted by Jrand52 @ 04/21/2003 01:21 PM PST
I will be at rehearsal tonight, so I will miss the sparkling chat! 8-(
Posted by Jrand52 @ 04/21/2003 01:23 PM PST
There are just too many awards.
I forgot about Outer Circle. Is that the one where the producers of GYPSY told the nominating committee they were not seeing a completed show? And who is the Outer Circle anyway? I would think one would want to be in the Inner Circle.
Then we have the Drama Desk which has Broadway, off-Broadway and off-off-Broadway competing against each other meaning if a show plays off-Broadway one season and moves to Broadway he next (ie: URINETOWN) it can't compete for a Drama Desk and a Tony in the same season.
I think all these other awards take something away from the Tonys in the same way that the by the time the other movie awards are given out the Oscars are an anti-climax (one of the reasons the Oscars are a month earlier next year).
And now we have these awards that were announced today based on previews before many of the shows are ready to be judged. Although if a show is not ready to be judged it shouldn't be charging full prices yet, so it's six of one, half a dozen of another.
Posted by William E. Lurie @ 04/21/2003 01:26 PM PST
Yes, Bill. Mr Mendes' representatives called the critics before they attended GYPSY last week and requested a meeting 45 minutes before curtain. Sam explained that new sets and costumes were being added later and that the show they were seeing was not the show that would be opening.
It didn't go down very well with the voting block.
Posted by Jrand52 @ 04/21/2003 01:35 PM PST
Where in tarnation IS everyone? Where, for example, is William F. Either/Orr? Where, for example is S. Woody White and KT and the rest of our merry troupe? How will we ever be the most popular site on all the Internet if we continue our errant and truant ways? That's what I'M talkin' about. I wish to be jiggy with posts. Meanwhile, chat in three hours, and we may have a surprise guest.
Posted by bk @ 04/21/2003 01:50 PM PST
Several startling things in the OCC nominations: Chita in the leading actress category, no Jose Llana for FLOWER DRUM SONG as Best Actor, no Malcolm Gets, either. Shucks!
There are a couple of Tony Award books out there, but I wonder why no one has ever compiled a book on the Donaldson Awards? I know, it would only need to print 100 copies and therefore couldn't make money, but I'd love to see complete lists of the Donaldson Award winners and a history of the awards and how the winners were determined. Years ago, actors who had won them put them in their Playbill bios as much as they did Tonys and other trophies. But I suspect most theatergoers today have no knowledge of them. Yet, they were a major part of the Broadway scene for more than a decade. Was the award a scroll, a plaque, a statuette? I have no clue.
On to today's topic: Even if they do revive shows every 15 years, I think that's too soon. I'd rather they not revive a show unless there is a great hue and cry for a new production. I think KISS ME KATE was warranted. SHOW BOAT was warranted. CHICAGO, even in its reconceived way, was warranted. But I don't think there was any great demand for INTO THE WOODS, as much as I adore Sondheim in general and the show in particular. It wasn't a profitable show the first time around, so bringing it back was obviously a costly error. COMPANY and FOLLIES didn't have massive success in their revivals either, so I'd say they might want to rethink Sondheim revivals in NYC in open ended engagements. (Of course, so few people saw ASSASSINS the first time that it might just catch on. I hope so, for I think it's a masterwork.)
Posted by Matt H. @ 04/21/2003 01:58 PM PST
I have been out on one of my merry photography jaunts. My photography philosophy: take forty pictures of it -- one of them will be good.
re revivals: It's good to have revivals now and again so that the young ones get to see the classics. Many of the classics were before my time as well (at least my theater-going time) so I get to see them, too. I'm not sure anyone is really too much interested in seeing a community-theater-staple revived, though.
Posted by Laura @ 04/21/2003 02:07 PM PST
We still tend to get mostly revivals here. The problem for me is that it works financially. Producers get to make money with "My Fair Lady", "South Pacific", "Me And My Girl" and "Pirates" the same older audience seems to be filling the seats without bringing new audiences into the theatre. "Mama Mia" was of course successful as was "Buddy" but they are not really in the same league artistically. No producer would take a risk on shows such as "Ragtime" or "Titanic" when they can make megabucks with "arena" staging of "Jesus Chist Superstar" with the current pop favour of the month stars.
Even our equivalent of "Encores" does shows like "The Music Man"a nd "Bye Bye Birdie" which musical theatre fans have seen over and over again at non professional level. Sondheim is usually seen here done by the non professionals. No large scale production of a Sondheim musical other WSS, Gypsy and ALNM have been staged here.
I guess the cost of staging a musical increases the risk of the new. Do they really have to spend that much on high tech staging?
Just heard that Nina Simone died.
Posted by Tom from Oz @ 04/21/2003 02:24 PM PST
Well, the sky is blue, and temp is up... But they're still calling for thunderstorms tonight. Hmmm.. *I actually like storms, so, if they come, I won't complain. -And they will help wash some more of the pollen off of the cars, the porch, the roofs, etc...
As for revivals... I don't mind them as long as they are truly a revival, and not a "revisal". Come on, there has to be something about the original production that caused it to run for years, and garner critical acclaim. I totally understand the "need" to do something new with a piece, but there's new and then there's Flower Drum Song. Or, on the flipside, there's Cabaret.
I am for new works being presented too. And I do like revivals also. -Although, I too thought it was a bit too early for Into the Woods.
However, my overall criteria for anything opening on Broadway is that it be good. I know that's not a simple request, but it is amazing the stuff that gets to open in New York - good and bad and Urban Cowboy bad - while there are some real nice works in the "regions" that truly deserve a larger audience. I'm hoping that the good reception of Frog and Toad will be a sign of good things to come. -And I'm amazed and pleased that the Weisslers had enough foresight and common sense not to bring The Miracle Worker into NYC. I have to wonder what the situation with Urban Cowboy would be if they were backing that one. It's just nice to see the Weisslers showing some "restraint" after all the Grease stuff.
As for shows I'd like to see in a full-scale revival:
Wonderful Town - I was hoping the Encores presentation would have gone somewhere.
L'il Abner - We need a nice, old fashioned silly musical on stage!
South Pacific - With NO changes to the book or score. And the FULL orchestra!
And a few more I'll think of later... after dinner...
Posted by Jose C. Simbulan @ 04/21/2003 03:02 PM PST
Re: Revivals. I won't lie about it, I'm getting tired of them. I'm thrilled to get to see GYPSY on Broadway, but honestly, I could have waited a few more years. The problem is, we (the theatre-going community, including those of us who are directly involved in the business [namely, me--I'll admit it]) bitch and moan about how there are sooo many revivals, and then when something "new" comes along we bitch and moan about how it came from this movie or that comic book. The only "new" work that I've seen that was based on a movie that really, really worked was HAIRSPRAY (I haven't seen THE PRODUCERS, but as we've all been told thousands of times, its the best show on Broadway, so I guess it works, too). URBAN COWPIE doesn't work, DANCE OF THE VAMPIRES didn't work, FOOTLOOSE is more suited for show choir, SATURDAY NIGHT FEVER didn't work, and many would argue that SUNSET BOULEVARD didn't work, either. It has really started getting to me that there's not that much original material out there. Its sad. Where are the Bernsteins? Where are the Rodgers and Hammersteins and Harts? Where are the Adler and Rosses? Hell, I'd even go for a new Andrew Lloyd Webber show if it was good!
Producers think (and maybe they're right, unfortunately) that they can only make money off a recognizable name, whether its the name of the show or the name of the star, and if you can get both, all the better! I think, perhaps, that's why we're seeing Ms. Peters croak her way through a score that is wrong for her. That's why we saw Mr. Michael Crawford screeching out songs that only Meatloaf could pull off. That's why, unfortunately, you won't be seeing Ms. Carolee Carmello creating a role in a show anytime soon unless its in a revival or one of these artsy composers writes a show for her to star in--she's not a "name," though I feel she's one of the most talented female performers out there right now.
I love a good revival now and again, but every other month? Come on!
Now, speaking of revivals, I'd like to thank each of you for your positive vibes during my audition for OKLAHOMA! Apparently they worked, because they want to see me again on Wednesday to read and sing for Jud one more time. Who knows how many callbacks they're going to have, but I feel lucky that I've made the first two cuts. That in itself is an accomplishment. Keep those vibes coming tomorrow (I'm auditioning for the tour of THE MUSIC MAN) and on Weds. at 10 am EST when I go to OKLAHOMA! again. Thanks, guys!!
Posted by Jason @ 04/21/2003 03:18 PM PST
I must agree with one point made by
Jose C. Simbulan: There is only one
really important criterion: Is it good?
That should be the only important
thing. "All it has to be is good,"
George. New crap is worse than old
gold. I think anyone would prefer the
7th producton of "Fiddler" (Isn't the
upcoming Molina revival about
number 7?) than brand-spanking-
awful "Urban Cowboy"?
That is why I diverge from Jose on
the ideas of revisals. Sometimes
they are indeed helpful to the show,
and should be produced, such as in
"Chicago" or "Cabaret". On the other
hand, I must admit that I would love
to see "Cabaret" as it was done in
1966. I love a lot of the "book songs",
such as The Telephone Song, Why
Should I Wake Up, Meeskite, and
others. Not to mention that then
people would stop trying to imitate
Alan Cumming. Nobody but Alan
Cumming is Alan Cumming. Some
days, even Alan Cumming isn't Alan
Cumming.
Dave: I can think of at least three
musicals that ran longer in revival:
"Pal Joey", "Chicago" and "Cabaret".
And I'm positive that there are
others.
Posted by Hapgood @ 04/21/2003 03:22 PM PST
I checked ibdb.com, and the Molina
Fiddler is actually only the 5th
production. This is actually the
longest time that Broadway has
been without a production since the
original opened, a full 12 years. As
great as it is, that is one
overexposed play. 5 productions
since 1964? When the first ran eight
years?
Good vibes to Jason!
Posted by Hapgood @ 04/21/2003 03:28 PM PST
Chat in just one little hour from now. Be there or be round.
Posted by bk @ 04/21/2003 03:41 PM PST
Have been errant and truant because I have been down with a nasty cold (in the chest and head.) Can barely think straight (medicine head) but I crawled through the mounds of crumpled tissues and empty medicine bottles on the floor of my room to get to my computer to post here and say that if anything needs a revival these days, it's my energy level.
Posted by Jay @ 04/21/2003 03:46 PM PST
I'm just thankfull that no one has attempted a revival... or god forbid... a revisal of "A Chorus Line". That in itself is a really good thing. Does anyone disagree?
Posted by Matthew @ 04/21/2003 04:26 PM PST
"A Chorus Line" IS it's original
production. It's one of the few shows
for which you must be a genius to
make it work. If you aren't Michael
Bennet, you better be another really
good director/choreographer. Pippin
is another excellent example of this,
and it is another show that, thank the
gods of the theater, hasn't yet been
revived.
Posted by Hapgood @ 04/21/2003 04:36 PM PST
Re helicopters: We live about two miles from a trauma hospital, and it seems that directly over our house is the quickest way to reach the hospital from anywhere. We also live about a block from the Army Reserve, and they have helicopters flying on some weekends.
Posted by Laura @ 04/21/2003 04:40 PM PST
Chat in two minutes - be there or be round. What fun we shall have, oh, yes, what fun we shall have.
Posted by bk @ 04/21/2003 04:47 PM PST
I had an exciting day. I went to Wal*Mart (always exciting) and bought a new Cd and a new sweater. The new label was scratching my neck, so I tore it off.
Posted by Laura @ 04/21/2003 05:25 PM PST
I can certainly understand the appeal of producing old shows that are tried-and-proven given today's outrageous production costs. I'd rather see "Gypsy" again than "Urban Cowboy."
It would be nice, however, if other shows which "just missed" the first time around, because they had one thing or another wrong with them (such as poor casting, or too much competition at the time) could be dusted off and tried again.
After all, new productions of old hits often arbitrarily jettison a lot of what made the show a success in the first place. "Flower Drum Song," for instance, had a completely rewritten book for no good reason.
Why not take one of these legendary "almost hits," try to fix what was wrong with it (which is often very well documented by critics and theatre historians), and see if it works?
Any candidates?
Posted by Sigerson Holmes @ 04/21/2003 05:59 PM PST
Is anyone chatting?
Posted by td @ 04/21/2003 06:09 PM PST
Don't know why, but I thought that CHICAGO was the only musical whose revival had outlasted its original production. I should have realized that couldn't be true. Besides the three already mentioned, are there any others?
To respond to Jason's question, I don't think we should be asking "Where are the Bernsteins? Where are the Rodgers and Hammersteins and Harts? Where are the Adler and Rosses?" There is plenty of composing talent out there. What the theatre lacks now is librettists and producers.
We should also point out that the theatre-going public has different tastes and standards than in the 1940's and 50's. I would argue that many of the shows that had long runs in the "Golden Age" would be laughed off the stage if anybody tried them today - whether they were originals or revivals.
Posted by Dave @ 04/21/2003 06:58 PM PST
Well, at 7:30 Pacific Daylight time, I
tried to enter the chat room. I was the
only one there, with td arriving
moments after. My internet
connection was disconnected, and
when I tried to return, it would not
connect me, saying that my
nickname was logged in at another
machine. I will try now with a
different name, for a few minutes of
chatting.
Posted by Hapgood @ 04/21/2003 07:28 PM PST
As for revivals....I also agree that a revival should be just that...revival NOT revisal. "Gypsy" is a wonderful musical. I love it but how many times must it be revived? We seem to be in a very non creative period or it is safer to produce something that is tried and true.
I've noticed that very few musicals from the 50's and 60's are revived. One musical I would like to see given a Broadway revival is "Irma La Douce". I saw a road company in Portland many years ago with Juliet Prowse and Larry Kert. It's an adorable musical. I think it deserves to be given another life.
How about Bernadette Peters in "Unsinkable Molly Brown" rather than "Gypsy"? Granted that "Gypsy" is better written and has a better score but "Molly Brown" has not been seen for over 40 years.
We'll just have to see what next season brings.
Posted by Dennis Clancy @ 04/21/2003 08:21 PM PST
Hapgood et al: I actually like the current revival/revisal of Cabaret, however, I too would like to see the original book and score presented too. -Oh, just remembered all the changes to Damn Yankees... Even though I LOVED the revival of She Loves Me, I did miss "Tango Tragique", and some of the Maraczek bits. *And it's now the revival version they license.
Now that could be an interesting Encores-type series: Presentations of musicals currently being revived on Broadway, being presented in their original form with the original book, songs, song order and full orchestrations!
And I'm sorry I missed the chat tonight... I ended up going to dinner with a friend, and we had some amazing Chinese food. -And they had the snow pea leaves on the specials menu tonight! Got them stir fried with some chicken and ginger. YUM!
Posted by Jose C. Simbulan @ 04/21/2003 08:43 PM PST
One musical well overdue for an American revival is LADY IN THE DARK. Strong score, strong book, never gets restaged for some reason. And it tackles some womens issues that are even more pertinent today than they were when the show was written.
More in line with yesterday's topic, I spent today roasting beets. I like to drizzle them with olive oil, sprinkle on some kosher salt, wrap them in foil, and just let them roast away in the toaster oven for an hour or two (depending on their size). Yes, you read that right, I roast them in the toaster oven. I think it's more practical than cranking up the regular oven. (I also use to toaster oven to roast garlic, similar procedure.) Then, when the beets have cooled down a little and I've slipped off their skins, I just slice them into wedges and serve them with some butter. Combined with some good steaks and some cheese tortellini, and that's a good tasting meal.
Posted by S. Woody White @ 04/21/2003 10:24 PM PST
FYI: According to Playbill.com, OH, CALCUTTA! is actually the longest-running revival in B'way history, not CHICAGO or even GREASE! I thought that was interesting...I never realized that OH, CALCUTTA! had been around long enough to warrant a revival. Hmm. You learn something every day.
And in reference to my "Where are the Bernsteins?..." question, I agree that there are some great composers out there. My question wasn't meant to be literal...I'm just saying, we don't have those kinds of writers with works being produced any longer. Jason Robert Brown is about the closest thing to one of the "good old boys," and even HE got involved with URBAN COWPIE. Perhaps this is just some kind of lull...a quiet before the storm of new pieces. Who knows...I just want to work!
Posted by Jason @ 04/21/2003 10:26 PM PST
Hiya...I'm here, even if it's been sporatic. I got involved with heavy-duty spring cleaning this weekend (I think I'm up to the spring of 2000, so far)...mainly, the six huge shelves of Waterford in my bar, all hand-washing, took me a whole day. I only broke one. Then, there was the ever-popular pruning, raking and eternal outside work.
I rented Bridget Jones' Diary (very funny) and Femme Fatale (De Palma) for Saturday night..the latter had possibilities, but it was so busy trying to out-clever itself and twist, that it got tiresome. Antonio Banderas was good, as was Rebecca Romjn (sp?)Stamos. I'd love to see some of the old De Palma magic, like Carlito's Way and Scarface.
I will be in LA May 2-4th, to visit my daughter, for what I mistook for Mother's Day weekend, but I got a wonderful airfare to Burbank and back: $16.67 each way, on SWest. All I did was hit "special promotions" online at southwest.com and that's what came up. Amazing.
I would like to see PIPPIN revived. Actually, I would like to see just about anything, that doesn't involve sequins and feathers, and doesn't cost upwards of $100 a ticket.
Posted by KT @ 04/21/2003 10:29 PM PST
As for revivals ..... I had the pleasure of seeing both the original "Milk & Honey" with Molly Picon, and also "Applause" with Lauren Bacall and a very young Lee Roy Reams. They were both outstanding shows with good, big, "real Broadway" scores and orchestrations. And neither has been seen in way too long. I also agree with several here about the time being overdue to see a big, full, gorgeous mounting of "Li'l Abner."
Could "Mack & Mabel" be put together some day with the necessary elements to make it work both artistically and financially?? I will also hold out hope.....I think it is a very fine show.
Finally, a little over 30 years ago, I was asked by a writer friend of mine to compose 4 "showcase" songs for a proposed musical based on the wonderful short story that became "Lady For A Day" and then "Pocketful Of Miracles." I did....the writer took some sample story pages and our songs to a meeting with David Merrick....Merrick actually liked it (!!!) and said to go ahead getting permission from all of the varied estates that held an interest in the story as it evolved over the years. And there is where the snag hit. One of the copyright holding estates wouldn't agree, and wouldn't budge no matter what. They wouldn't give permission because we weren't a "known guaranteed entity." Of course we weren't R & H, or Jerry Herman.....hell, we weren't even Ernest & Meltz!
So the project sits, and I occasionally play the proposed songs for it just for my own nostalgic enjoyment.
To quote a wise, suave, and esteemed man.... Damn them, damn them all to hell!
Posted by MusicGuy @ 04/21/2003 10:31 PM PST
Sorry for not posting, but I'm still trying to get readjusted to the real world. I'll come back to normal (God help us all!) soon.
Posted by Kerry @ 04/21/2003 10:34 PM PST
YAY!! The director for "The Boy Friend" was happy with the run and excited that she still has 3 days to fix stuff before an audience. The orchestra joins us tomorrow to add an exciting element to the show. Sorry I had to leave the chat early, I did so enjoy our time together, though. I won't say much more seeing as though it's late and who the hell will read this!! :)
Cherrio.
Posted by Matthew @ 04/21/2003 10:59 PM PST
What do you mean late? It is only 4.30pm here. I get to read. I live to read or is I read to live. Whatever it is I know it is a "Passion" reference.
Posted by Tom from Oz @ 04/21/2003 11:28 PM PST
Jason, in response to your mention of Oh, Calcutta and it's revival, here is more information to explain the run of the show, which actually started Off-Broadway in 1969.
"The show opened off-Broadway at the Eden Theatre on June 17, 1969, and ran there 704 performances before transferring to Broadway's Belasco on February 25, 1972, where it ran an additional 606 performances, closing on August 12, 1972. A Broadway revival was mounted only four years later, opening on September 24, 1976, and running nearly 13 years before closing 5,959 performances later on August 6, 1989, which at the time was the second-longest run in Broadway history"
Posted by Ben @ 04/22/2003 04:34 AM PST
I love LADY IN THE DARK, but I think there are two reasons it won't get revived. There are very few musical theatre actresses who would be good in the part AND be able to sell tickets. I can think of a few people who could do the role but none of them are names that are known to the general public.
The other reason is that the play ends with Liza realizing that she is not complete without a man (in this case Charlie, the one man who did not worship the ground she walked on) and this message is frowned upon by today's feminists, although the backlash might help sell the show instead of hurt it.
Posted by William E. Lurie @ 04/22/2003 05:59 AM PST
Jason,
I am a huge fan of the work of Jason Robert Brown, too, but I would argue that the composing team that most represents the "old school" of theatre songwriting is Stephen Flaherty and Lynn Ahrens.
But lest we despair that there are no other songwriters working today, just take a look at some of the newer composers to have written Broadway or off-Broadway scores in the past decade:
Frank Wildhorn
Andrew Lippa
William Finn
Jeanine Tesori
Lawrence O'Keefe
Henry Kreiger
David Yazbeck
Marc Shaiman
Paul Gordon
Michael John LaChiusa
Adam Guettel
Ricky Ian Gordon
Dana Rowe
Mark Hollman
Jeffrey Stock
Douglas Cohen
Matthew Sklar
...which is not to mention the veterans who continue to write for the stage:
Stephen Sondheim
Andrew Lloyd Webber
Cy Coleman
Maury Yeston
Kander & Ebb
Maltby & Shire
Marvin Hamlisch
...and what about popular songwriters who have written for the stage:
Elton John
Paul Simon
Harry Connick, Jr.
Jim Steinman
...and I'm not even including shows whose scores are compilations of popular songs from pop culture or film soundtracks. Remember, there was a time when a popular singer would play an evening of contemporary hits and it was considered a "hot ticket"...
Of course, I've only scratched the surface, and I am sure that some of our Dear Readers can add to the list above. Considering that most of the composers listed above have had multiple shows produced - either on or off-Broadway - in the past decade, it's hard to make the argument that new work isn't getting done. The bigger problem is that when the shows are produced, they often do not run long enough to be profitable, or to provide sustainable employment for those involved. We can't blame the composers for that. Blame the producers, blame the unions, blame the audiences...whatever, but musical theatre songwriting is alive and well.
Posted by Dave @ 04/22/2003 07:02 AM PST
