THEATRE GOSSIP #479: The "Based on the motion picture" Edition, starring Pia Zamora

The above mentioned previous thread:

In other news, more video from TMO popped up on another site over the weekend, this one from a different person/angle. Seriously, half the audience was probably filming the show during its run. So much for the pouches.

To continue from the previous thread, other musicals in the pipeline based on movies that have had runs at regional theatres over the last four or five years:

Grumpy Old Men Dave Bull Durham The Karate Kid And a musical version of Trading Places just wrapped up in Atlanta.

Pia's daughter sings.

Thanks for the warning r4.

Pia Live... And Loving It.

Holy shit, Pia named her daughter after her character in Butterfly????

I would think she wouldn't want a lifelong, daily reminder of that stinkeroo.

R7 I won a fucking Golden Globe for that role.

[Quote] I would think she wouldn't want a lifelong, daily reminder of that stinkeroo.

If she wanted no reminded of her stinkers, she's have credits to reminisce about.

Starting a thread with Pia is not a good sign.

It is a very compelling sign of the imminence of the apocalypse, however.

Someone just started a new thread if anyone/everyone prefers that one:

R3, there's also the Romy and Michele musical that played in Seattle a few years ago and they're still trying to make happen.

we've done this topic before (hell, we've done them [italic] all [/italic] before, but most of the great musicals were adaptations based on something. Why are movies inherently worse source material than books or plays, or do they just inspire crappier work, or is it that they're instigated by the movie studios instead of by creatives who are inspired? Do we know which were initiated by a songwriter or librettist who wanted to do it or which were just a cash-grab by a creative approached by a studio's so-called 'theatre division,' who offered them a gig? Did Jason Robert Box Office Poison Brown want to do Mr. Saturday Night or Bridges or Honeymoon in Vegas?

The term 'IP' was the beginning of the end.

Blade - The Musical Gattaca - The Musical Dune - The Musical....

Yet another new thread (if anyone prefers a Beanie title). Is the search function not working, or does everyone just hate this one that much?

Ack! I'm the OP of the other new (Beanie) thread. I promise I searched and searched but this thread didn't come up. Please ignore mine (unless, of course, if you all prefer it!).

[quote] Why are movies inherently worse source material than books or plays, or do they just inspire crappier work, or is it that they're instigated by the movie studios instead of by creatives who are inspired?

The problem is that they start with a recognizable title that (they assume) will sell tickets, then think they don’t have to do much more.

Take Tootsie as an example. They may have tinkered with the plot, but they didn’t bother to write characters with any depth, a score worth listening to, or a story worth caring about.

They had a known title to exploit. They didn’t think they needed anything else.

[quote] They had a known title to exploit. They didn’t think they needed anything else.

I think it's really important to know the "they" in that sentence. Was it the studio looking to extend the IP? Yazbek who was inspired to do it - although it sure didn't sound like he was. Horn?

It wasn't Horn, since he came onboard after other writers didn't work out (who Yazbek had already worked with).

Pia Zadora when she was just a chorus girl, hoofing on Broadway and hoping some big producer would make her a star.

Here it is. Looks like Larry Gelbart (the movie's writer) and David Zippel came up with the idea and brought it to Scott Sanders. Gelbart died, Sanders fired Zippel and Gelbart's replacement, and found a new composer and writer.

And the current version of the story simply begins with Sanders having the rights, without everything that came before.

"How did the idea to adapt Tootsie for theater come about?

The idea came from our wonderful producer, Scott Sanders, who had the rights to the movie. When he approached me about [writing the book] I got very nervous. It’s an iconic movie, but it also has content and plot points that I knew did not age well. I sat down with the composer, David Yazbek, and we talked out all the ways we could make it our own, update it and use humor to tell the story in a theatrical and modern way."

[quote] we talked out all the ways we could make it our own, update it and use humor to tell the story in a theatrical and modern way."

How did that work out for you?

from the article at r22:

[quote] two competoraneously negotiated contracts:

Is that a combo of contemporaneously, competently and contemptuously?

From the previous thread:

[quote]You do understand the way this usually works is the thread comes first, THEN the posts.

Some people here are so dim that, even when they recognize a mistake has been made, they can't properly explain what it is.

In actuality, of course, the way it works is that thread titles are usually based on some of the most significant content in the PREVIOUS thread.

[quote] I think it's really important to know the "they" in that sentence. Was it the studio looking to extend the IP? Yazbek who was inspired to do it - although it sure didn't sound like he was. Horn?

I don’t know the names to blame, but everything on that stage was lazy except the set design, which was cheap but clever.

The audience responded to the creatives’ lack of enthusiasm in kind.

Today is Lanford Wilson Day. Why don't more non-profit theatre companies do his plays anymore? Lanford was woke before anyone knew what it meant.

Robert O'Hara and Danai Gurira defend their woeful RICHARD III.

[quote] In O’Hara’s adaptation, Gurira’s Richard is crippled by the gaze of others, his self-hatred fueled by an internalization of color and gender.

Say whaaaaaa?

At least the self-adoring, -promoting, -important Robert O'Hara continues to cast the talented and gorgeous Ariel Shafir in his shows. That was the only thing that got me through O'Hara's dreadful play MANKIND at Playwrights Horizons.

Are they a couple?

If they want their Richard III to be so modern and cutting edge and....woke.....why are all the actors dressed in costumes from a tired bus and truck tour of Once Upon a Mattress??

Tootsie was such a disaster Scott Sanders went running back to his pal Oprah to "produce" the film musical of "Color Purple." The first Broadway production of "Purple" was a critical flop/financial hit. The "revival" was a critical hit/financial flop.

Speaking of Kristi Dawn -- and we always should be here on Datalounge -- did she ever get married? Or was that just another in an endless stream of public promises/statements that she walks away from?

Order yours now...

I still am awaiting an explanation for her being announced as a performer on a float during last year's Macy's Thanksgiving Day Parade and then NEVER showing up on the program! What happened?

[quote] How did that work out for you?

I have a Tony Award

Scott Sanders was not liked by Elaine Stritch.

I can't get this damn song outta my head.

THIS DAY IN BROADWAY HISTORY: In 1933, "Shady Lady" opened at the Shubert Theater.

Shady Lady...

It won't let me link to Google Books, but there's apparently something about Audrey Christie "saving the show" after Helen Kane deserting it.

Would I be a trivial cunt if I said that of the 3 #479 TG threads, this is the one with the weakest title?

No matter.

[quote] Would I be a trivial cunt if I said that of the 3 #479 TG threads, this is the one with the weakest title?

Yup.

Seconding your Yup, r43.

DL fave Helen Hunt is set to dazzle London with a new play!

And her face resembles a Cubist painting now more than ever.

Sorry, r42. It was the best I could do at 2 in the morning. I should have waited five or six hours for the other threads to appear.

My punishment is evidently to have Helen Hunt's terrifying visage inflicted on me. Terrifying.

[quote] Would I be a trivial cunt if I said that of the 3 #479 TG threads, this is the one with the weakest title?

I'm the "complain about all the titles" troll, and even I know this is FAR from the weakest title we've ever had. It may not be funny, or clever, but it's for sure on topic from our last thread and has a modicum of originality to it. I give half a huzzah to the OP.

It's just fine, r46/OP.

Even the photos of Richard III make it look dreadful.

Meanwhile...this seems so unnecessary. And it's kind of hilarious that they have to say they're celebrating the 30th anniversary of the movie's Oscar nomination for Best Picture, since the 30th Anniversary of the movie itself was last year. (I guess we'll get the 30th Anniversary of Aladdin winning Best Original Song next year?)

r39, one of my all-time favorite show tunes. Brilliantly orchestrated in the original by Mr. Tunick.

It works as both a pop song and a show tune depending on who's singing it, r51.

R33, the original Purple became a critical AND financial hit when Fantasia joined the cast.

And...now there's a fourth thread. What's happening?

Thoughts on the title, r42?

stupid

R50, this year is 30 years since the Oscars that BATB won.

r56, yes, that's what I said. They're doing a 30th Anniversary of BATB being nominated for Best Picture, not a 30th Anniversary of the movie itself since that was last year. And it's dumb, a contrived way to claim the production is about an anniversary (seriously? Celebrating the anniversary of when you were nominated for an award and won some others?) and not just an obvious cash/ratings grab (since The Little Mermaid Live--which did happen on that movie's 30th anniversary--did very well). Like, it's okay--you missed an anniversary that actually mattered. Just say you're doing the show "live" just because you want to. Don't strain to come up with some special significance.

Does it really bother you *that* much, r57?

R57, chill the fuck out. That's how PR works.

Going back to the discussion in the last thread about Carol Channing looking butch … it’s striking how often you see random photos of her in which she is wearing men’s clothes like a jacket and tie 👀

To be fair, the nomination that they're celebrating is the first time an animated film was nominated for Best Picture. And why get so worked up over some show business spin?

Were there ever rumors about Carol Channing liking the hole as well as the pole?

What's going on with Lempira at LaJolla. ( am on their mailing list and I get an email every other day from them that AUDIENCES ARE LOVING IT! and other horseshit. So it's not selling exactly as we all predicted it wouldn't?

LEMPICKA looks dreadfully pretentious.

"LEMPICKA."

The title alone screams "stay far far away."

I actually like this song.

R62. I suspect, if anything, Carol was more asexual—her life and her marriage to Charles Lowe (who WAS a homo) was mainly about her career—not unlike that of Mary Martin and Richard Halliday. Channing did have a son from a previous relatively brief marriage—they were estranged throughout her marriage to Lowe, though they reunited when she decided to divorce Lowe a year or so before he died. Carol said she and Lowe had only had sex twice during their marriage. She found romantic happiness in her 80s when she re-met a childhood sweetheart who hadn’t followed her career much. He seems to have been conservative and to have persuaded her that homosexuality was Biblically wrong, and she made a few unfortunate comments that she pretty quickly backtracked on. All the chorus boys (the waiters) in her productions of Dolly spoke worshipfully of her kindness and compassion—especially with regard to keeping dying “boys” from the chorus on the payroll, long after it was clear they would never return. While somewhat of an innocent about aspects of the world, she was intellectually smart and witty (a Bennington grad), and seems to have been fun. Martin wasn’t a brain, apparently always an opportunist who let her husband do her dirty work, and an admittedly indifferent and neglectful mother. I think she was a better grandmother than mother. And probably primarily lesbian—she and Halliday lived for years on an outback ranch in Brazil next to girlfriend Janet Gaynor and her equally gay husband, Adrian—it seems like there’s a play or novel to be written there. Gaynor and Adrian, like Martin and Halliday, roduced a child, so they must have tucked once (this was before turkey baster babies). Channing and Martin were both real talents—Channing narrower (though she did Shaw to good reviews and replaced Russell in Wonderful Town to strong noticed), but more singular., Martin more varied—she could convincingly make herself into the Eternal Boy, her favorite role—maybe today she would identify as trans?) and the high femme of the goddess Venus.

Good summary, but you left out that Martin also had a child with her early first marriage, the one that became Larry Hagman. So she was familiar with the pole as a young woman, too. I think your term "primarily lesbian" is a good one.

And don't forget that before Gaynor, there was Jean Arthur. They had a bet who would play Peter Pan first. Arthur won, doing it 4 years before Martin, which was something, as Jean Arthur had horrifying stage fright, but she managed to get onstage for Peter Pan. Her other stage performances never made it to a Broadway opening. (Her early shows, before she was a star, don't count.)

[quote]the one that became Larry Hagman

He always *was* Larry Hagman, r69.

I've always been a huge fan of Mary Martin (I'm 73!) but her charisma and unique appeal are almost impossible to explain to anyone who didn't see her onstage or on her various TV appearances throughout the 1950s and early 60s. I think even the youtube clips don't do her justice in this day and age. She had a very particular charm that is virtually non-existent in contemporary entertainment and, sadly, wouldn't be appreciated even if it did exist.

I think her Peter Pan holds up, r72.

[Quote] Good summary

Summary? R68’s post is longer than The Kentucky Cycle

I bet it's Sandy's favorite role, r68, and she isn't trans.

MARY/CAROL ... the miniseries I never realized I needed.

Born Yesterday was written for Jean Arthur and she managed to make it through out of town previews but dropped out two days before the Broadway opening. Judy Holliday was her understudy and she was ready.

When she played Peter Pan, her Captain Hook was Boris Karloff. It was billed as a play with music since it had an incidental score and a handful of songs by Leonard Bernstein. A few years ago, curious Bernstein scholars finally went to an archive for the first time to see what Bernstein had actually written. They were astonished to find a full blown, full fledged musical. Most of the songs had been cut because neither Arthur nor Karloff could carry a tune.

Did Beanie make it to the theater tonight? Did she go on? Did she finish Act II?

There's a recording, r77...

Holy shit, can you imagine a Feud: Carol Channing and Mary Martin detailing the run of Legends? Who would play Mary? Who would play Carol? Who would play Maj Hagman???

Maybe Beanie could star in Mary/Carol

Beanie could play Annie Joe.

Please refer to Carol as she really was: non-binary.

Dear Lord, that Mary Martin Fashion show clip is pure delight. Exceedingly brilliant. Thank you for sharing.

R80, you know Murphy would have Sarah Paulson play Carol.

And Jessica Lange as Mary.

Great story, r77

Mary & Bing

Annie Joe is a friend of mine. Sweet woman. And full of stories...

Any talk of Into the Woods extending?

R78, I doubt you were being serious, but since I took the time to check, based on Instagram, it looks like Beanie was there and made it all the way to the curtain call.

[quote] Annie Joe is a friend of mine. Sweet woman. And full of stories...

She sure didn't come off well in Kirkwood's book.

Okay, so that pix from Richard III cracks me up. What a ridiculous bunch of stunt casting and, of course, the director natters on about not wanting to make the audience comfortable--because he's too special for that.

At some point, someone's going to set up a company in NY and do traditional casting and entertaining shows and make a mint. They just need some sort of excuse for it.

"The Morosco Players"?

Oh that Leonard Bernstein song DREAM WITH ME is absolutely ravishing and Soprano Kathleen Battle was supposed to sing it as an encore during the end of a Live From Lincoln Center concert at the NY Philharmonic.....but she SAID she had vocal issues and had to depart the stage just long enough to bounce her beautifully song performance to the post-broadcast. ( I was in the theater for the live broadcast.) Too bad.

Kirkland's book was such shit. He was doing so much coke that he had trouble remembering even the simplest of details, which is ironic since he put so much time talking about Martin's earpiece. At one point, he notes that Trish Garland from ACL came in to choreograph a number. He said how glamorous and elegant she looked, much more than when she played Bebe in the show. Of course, Bebe was Nancy Lane and Garland played the slender and glamorous Judy Turner.

THAT's your evidence, R96?

Bobby baby bubby.

Bobby baby indeed! Yum!

How short is he?

Actually, r77, Jean Arthur left BORN YESTERDAY out of town. Somehow the idea that Judy Holliday was her understudy has become an urban legend. She came in as a replacement.

ok r98 just posted a good range of pix of a young-ish Broadway performer's very nicely muscled chest and ass and several shots of his quite pretty erect cock, and without batting an eyelash, r101 pivots back to talk of [italic] Jean Fucking Arthur [/italic] for god's sake.

Only on DataLounge, kids, only on Data:Lounge.

Some DataLoungers never click links.

The last big Martin bio said that every time she and Arthur were invited to a costume party they'd bicker as to which got to wear the Peter Pan outfit.

It's also been said that Arthur's lesbianism has been whitewashed from her bios for some undetermined reason.

Isn't Bobby Steggert a social worker now? What kind of social work does he do, pray tell?

Remember when that Hello Dolly featured player outed Martin on Theater Talk and the episode was taken down from YouTube within a week?

He collects underwear for needy, sexy people.

I was never fond of Steggart on stage but these pix give me a new appreciation. Hot body, good muscle ass and really good looking dick.

Didn't Papi Esparza and Steggart have a thing at some point?

He can collect my underwear. It's kind of wet now.

That Bobby Steggert link is safe to click on. Ragtime's little brother has grown up nicely.

He's in his 40s. Middle-aged.

Phone rings, door chimes, in cums Bobby!

He's apparently a psychotherapist.

[Quote] He's in his 40s. Middle-aged.

But these pix don’t seem to be current

Just how fucking obese is Christian Borle now?

He's 41. What makes you say they're not current?

Doesn’t he still have to fit in the plant’s mouth?

[quote] Doesn’t he still have to fit in the plant’s mouth?

I mean Borle, not Steggart's cock

I had read that rumor as well that Bobby Steggart and Raul Esparza had had a relationship. Anyone got more solid details on that?

r119

interesting(and sexy)

Moulin Rogue opened in LA.

What a piece of shit.

And you'll probably get Covid from being there, R121.

OMG Paradise Square did $300K last week, down $60K from the prior week, with an average ticket price of $70. How on earth are they sustaining? Something smells really bad

Paradise Square has been listed on my ticket papering service pretty much every day. Just saying.

Does Jordan Roth really run Jujamcyn now? I mean, does he come into the office everyday and make business decisions?

The only photos he seems to post on Insta are of him all dooded up at Broadway openings but it seems odd to me that he wouldn't want to put some slightly more serious photos out there to represent his brand.

Steggart and Esparza's "relationship" was more of a two-night stand, really. No substance there.

Did Steggart and Esparza do a show together or meet....some other way?

Two working Broadway actors could meet quite easily. Walking down 45th Street, for example.

[quote]Kirkland's book was such shit. He was doing so much coke that he had trouble remembering even the simplest of details

And, apparently, you're doing so much coke that you can't remember his name is Kirkwood.

I bet Bobby was dickmatized by Raul. Talk about getting the brass ring

r125 It's really annoying those hit pieces during lockdown never went anywhere

Damn. The Bobby Steggart link at R98 has already been taken down. I've been dying to see him full nekkid ever since he appeared in the 2005 short film NIGHT SWIMMING. Anyone get screengrabs?

[Quote] The Bobby Steggart link at [R98] has already been taken down.

The industry reads this forum...

Oh please, there's plenty of chorus boys who read LPSG

[quote] The industry reads this forum...

That's beside the point. Many of us still want to see the pics! (Also, "the industry" does not read DL. Only a few people do.)

They do. The original Nastiest Person on Broadway thread didn't last long.

Last week "Funny Girl" only ran at 74% capacity, down from about 85% the previous week. Will it run long enough for Lea to takeover in September?

It'd be absolutely hilarious if it doesn't

Has Lea officially been announced? I don't think Gawker counts.

R136 only a small handful actually do. The lack of any real gossip and the majority of uninformed opinions prove it. Every once in a while, someone posts something that proves they're on the inside. It gives the illusion that "the industry" reads this.

They were in 'Nam together, Rose.

[quote] Steggart and Esparza's "relationship" was more of a two-night stand

Details, please. How do you know?

This is the new Bert in Mary Poppins in the West End. This is however not a pic of him IN Mary Poppins.

Mary Poppins is STILL running in London? Holy shit, that thing was there the first time I ever visited the UK, twenty years ago.

Is that Lesley Joseph?

r144 It was revived in 2019 so Cameron had something else for Charlie Stemp to do

r145 Jenna Russell

Is Petula Clark still in Mary Poppins?

R132, I was not impressed. Very average, maybe 6.5. He must be very talented because he sure didn’t fvck anyone to get roles, not with that mediocre meat.

Were they selfies? In bed? Mid-sex? With face? Yes, I'm drooling at the thought.

His cock was perfectly nice. Average but nice-looking and would definitely get the job done for any bottom who isn’t a total size queen.

It looked a lot like mine actually although I have a tad more length.

I spoke to a friend of mine (who is a two-time Tony nominee) about the current “wokeness” in Broadway casting. This person stated to me that they have noticed that for any part for which they’re auditioning, people of color and/or “trans” / gender non-confirming are the first batch considered and, being white, this person is considered later as a 3rd/4th/5th option. This was not stated in a mean-spirited or racist way, just that that was the current “lay of the land.”

[quote]any bottom who isn’t a total size queen

In other words, nobody working in the entertainment field.

Everyone here said Papi is a well hung bottom

Yes. Someone bumped it to him while he was buying fleet enemas.

r153

who is papi?

Everyone here very likely has never seen Papi naked.

Raul Box Office Poison Esparza

[quote] Raul Box Office Poison Esparza

We resemble that remark!

R - Lives in His Mom's Rec Room - 157.

I'm surprised that Raul's nudes haven't been posted at some point if he is the slut he is on the DL

Did anyone save the Steggart nudes? I've had a crush on him for years and would love to see them.

r161

I didn't save them but I did see them... he is cute

very pretty cock, great tits

Surprising barrel chest.

OMG r161 so sorry you missed the pix. Biggest cock I've ever seen, a ruler there for reference and it was just over 9 1/2 long, and one of the pictures was so close you could practically taste the precum. The snap of melting Ben & Jerry's Phish Food with the ice cream running down his cum gutters into his thick bush, with those little chocolate fishing swimming madly for dear fishy life was so hot. Sorry you missed them.

There were fleeting glimpses of Raul's cock in The Normal Heart if you were sitting in the right seat. Was rumored to be large.

You seem to lead a rich fantasy life r165.

Raul pulled his pants down to reveal his cock to Joanna Gleason as the doctor in The Public Theater's revival of The Normal Heart in 2003. If you were seated in the left section of the house IIRC you got a nice view. And if IIRC he was surprisingly cut (unless Joanna helped him with that reveal) and well hung, if not of Jesse Williams' proportions (but then who is?).

r167 is fun at parties

I have R167 on block.

You're not missing much, r170

Speaking of those phone pouches at Take Me Out, I saw an off-Broadway play a few weeks ago on 42nd Street called Mr. Parker. I was surprised to see that they had the same system in place where audience members had to place their phones in pouches. During the play the actor Davi Santos removed his towel and walked around naked for less than a minute. I was wondering how he had the clout to demand that the pouches be used, but my boyfriend said it twas more likely a ploy by the producers to get word of mouth that there was a gay play with nudity (shocking, I know). I wonder if all plays with nudity are now going to start requiring phones be locked in pouches. It certainly didn't work at Take Me Out, as more videos have surfaced.

[quote] During the play the actor Davi Santos removed his towel and walked around naked for less than a minute.

And.....?

[quote] as more videos have surfaced.

And.....?

Casting just announced for The Public + Shaina Taub's AS YOU LIKE IT!

[quote] They will be joined by two rotating ensembles of community members from all five boroughs to perform together on The Delacorte stage in this enchanting comedy.

Why oh why oh why-oh do these theaters believe ANYONE is charmed by seeing less-than-amateur "community members" stumbling around on stage, blank-eyed with dopey smiles?

Is Into the woods still doing that nonsense at the James? It was nonsense at city Center - except for watching a couple of them who had no idea what they were doing,

There's going to be a play based on Stranger Things. Stephen Daldry directing. And of course Sonia Friedman is involved too

r177

I could be Barb!

Beanie, we saw you more in the title role.

Sonia Friedman needs to be banished from Broadway.

Sonia Friedman needs a comb

Stranger Things as a dance musical?

Stephen Daldry is not a choreographer, R182.

I'm available for Dustin

r183, that didn't stop him from directing Billy Elliot The Musical. Didn't that qualify as a dance musical?

r176, early reports say the community chorus or whatever has been cut from Into the Woods' Broadway run.

r174, see the TMO thread:

thanks. Looks like that link is no longer but what can you do

The link at r187 and the one at the bottom of that thread still work for me. Not sure what to tell you. ¯¯_(ツ)_/¯¯

R188 Are you not in the United States? I don’t think wetransfer works outside the US.

R175, that's exactly how Michael Mayer allows Beanie Feldstein to roam the stage in FUNNY GIRL.

They're eating their own in Chicago.

Is Beanie Feldstein one of the most embarrassing Broadway star debuts ever? I know, she did Dolly first, but essentially FG was her big debut as a star.

She's not a star, she's a galaxy.

From a report of the audience reaction at the first Broadway performance of Into the Woods: “The roaring, hooting and screaming from the audience started as soon as the lights started to dim and didn't let up until the end of the first act.”

Yuck!

The audiences at ITW at Encores were wildly enthusiastic--like, fever pitch enthusiastic--but incredibly respectful of the performers and performances. Here's hoping the Bway audiences follow suit.

Not only will the audience have to deal with 127 amateurs in the cast of Shaina Taub's AS YOU LIKE IT, but also the charmless Rebecca Naomi Jones as Rosalind. Has there ever been such a hostile performer?

Mediocrity upon mediocrity cluttering up our stages...

"LEMPICKA." The title alone screams "stay far far away."

Ditto for the score.

"They were astonished to find a full blown, full fledged musical"

But it isn't, really. Except for Build My House, the pirates round and some singular underscoring, it's neither Lenny's best (Dream With Me...meh) nor a full-fledged musical.

I can never tell the difference between Rebecca Nomi Jones and Lili Cooper.

So I couldn't quite figure out what was happening with the Victory Theatre from reading the letter. I mean, why would they be part of the board's decision regarding property purchases.

But then I've been wondering what happens to the radical left loudmouths on college campuses after they graduate. i guess they try to take over theatres. But I just keep thinking being hostile to your audience isn't all that lucrative. Am I wrong?

I hope the Victory goes out of business and shutters. It would serve those idiots right.

Lili Cooper actually has an ounce or 2 of warmth, r199.

Jones was horrible in Oklahoma.

True, R202. Liza likes Lili but not RNJ.

And RNJ was horrible in Significant Other. I just don't get her appeal. Talk about miscast.....isn't Shakespeare's Rosalind one of the most charming heroines ever created? Ugh.

[quotes]Jones was horrible in Oklahoma.

Please use first names as well. We don’t want anyone getting the wrong idea about ripe, delicious Shirley.

ew

R185, So everything Daldry does might be a dance musical? Get a grip. If you were attempting a joke, you failed.

The clip in the TMO thread is pretty darn good. The only drawback is someone's head completely blocks hottie Tyler Weaks. We need the leaked nudes of him!

LEMPICKA = LIMPDICKER

interesting theatre evening. had tix to see Hamlet at the Armory. Late afternoon got notice that it was canceled due to Covid.

Went to TKTS and got tix for POTUS, just before curtain, the audience rises and applauds wildly as La Dame Hillary makes her grand entrance.

What in God's holy name about any of that is interesting?

[quote]had tix to see Hamlet at the Armory. Late afternoon got notice that it was canceled due to Covid.

Well here then, r211...it was on last night.

Not a joke at all, r208. Simply and accurately pointing out that your comment that Daldry isn't a choreographer made no sense. No, not everything he directs has to be a dance musical. But not being a choreographer doesn't preclude him from directing one either, since he has. If basic logic upsets you that much, maybe you're the one who needs to get a grip.

I'm glad you enjoyed the video though, since I enjoy actually contributing to this site. It's too bad you missed the Weaks one posted in that thread a few weeks back that has now expired. You might have enjoyed it. Oh well.

Well played, R214.

The Daldry-choreography thing is honestly not even worth debating. It's truly pointless bitchery. And yes, whatever you're contributing, keep on keeping on.

[Quote] What in God's holy name about any of that is interesting?

And what did [italic] you [/italic] do tonight, pray tell. A very special episode of Eve Arden and Kay Ballard in the mother‘s in law?

Speaking of Covid cancellations, Titanique is canceled through the weekend. Anyone see it yet?

(The main draw is naturally Constantine Rousouli of the giant ass.)

I mean...

bouncy

Forgot John Riddle is also in Titanique. He does not have a giant ass, but I'm not complaining about any part of this.

less bouncy

I have a crush on John Riddle.

I don't blame you, and same. Wilkas is a lucky guy.

Rebecca Naomi Jones was indeed horrible in OKLAHOMA! Beyond horrible, in fact. But as far as her acting is concerned, I've always assumed she was directed to play the part that way -- i.e., surly and charm-free. And as for her singing, it seems she was done dirty by the musical director, who did not lower the keys for her.

Anyone find the Steggart pics from the last thread yet?

It’s 3:30 AM here and I just came a third time looking at them. Sorry r161

R225, you don't lower the keys for a stage version of a Golden Age musical, you find someone who sing the part. Retooling the orchestration is expensive. Laurey's not that high, there should have been no problem finding someone who could sing it.

If they'll lower the keys for Merman part way through an original production...

I'm still baffled that Victoria Clark wasn't accommodated in Sister Act. She created the part.

R229, that's the original production and a major star. My guess is, actually, that the Hammerstein/Rodgers estates didn't allow them to transpose, though they did allow for the change in orchestrations (which make the show cheaper to produce and, thus, more popular.

That said, the audience for Oklahoma outside of New York doesn't run towards Woke. The old people who love the musical don't want to see a grim version of it, while younger crowds don't have tons of money and pick newer shows.

This is basically a version for college theatre departments.

Victoria Clark is widely disliked by people in the industry.

[r232] Hi Nathan!! Welcome back to DL!

r226: I'm trying to find them, too

How many artists and staff have resigned from Victory Gardens over the last five years?

Can someone provide real theater gossip and explain what has been going on?

BAJOUR!

R228, surely you're aware that the Fish OKLAHOMA! wasn't exactly a "come scritto" presentation of that material but a new arrangement of it. So those keys certainly could/should have been adjusted if they would have made Rebecca Naomi Jones sound better.

That said . . . I've been turned off by RNJ pretty much every time I've seen her, from MURDER BALLAD to HEDWIG (with poor, clueless Darren Criss) to, yes, OKLAHOMA!. Perhaps she would have sounded unpleasant regardless of the key.

Did Rebecca Naomi Jones do AS YOU LIKE IT the first time they did it in the park? I thought whoever it was was fine, (even though she had lost her voice and Shaina Taub did her vocals from offstage!)

r238, yep.

I'm curious.

How much does it actually cost to have a score transposed for a musical? Does the cost simply depend on who's doing the transposing?

Are people who transpose scores of a limited number? Are there some who are more skilled or is it a "scientific" craft in which the transposition has the same result no matter who does the transposing?

Once a score is transposed, is there a copyright of some sort on it? Does it then become available to anyone and is it cheaper to use once it's been created?

I wouldn't be surprised if Daniel Fish in his ornery way wasn't pleased with his Laurey sounding off-putting in her singing as part of his concept.

Bernie loves Stevie.

Bernie needs to sue her plastic surgeon. Find Streeps.

[quote]How much does it actually cost to have a score transposed for a musical? Does the cost simply depend on who's doing the transposing? Are people who transpose scores of a limited number? Are there some who are more skilled or is it a "scientific" craft in which the transposition has the same result no matter who does the transposing?

I'm sure the best answer to your question is, "It depends." But also, keep in mind that when a show is revived, the orchestrations are almost always reduced significantly, in addition to whatever changing of keys may happen. So that also has to be considered as part of the job.

Bernie had a great run of looking much younger than her age. She finally succumbed at age 75. Give her a break. It'll settle in.

[quote]Bernie needs to sue her plastic surgeon.

She looks absolutely fantastic. You must be blind and/or insane, and or a nasty bitch supreme.

I agree Bernie's plastic surgery returns are diminishing. She's getting that Mia Farrow look. But God knows whoever's doing Streep's work is a Master.

Can you people try to explain what it is about Bernie's work that makes it look like it's having "diminishing returns?" To me, there's nothing about her fact that looks notably unnatural.

You don't see how she's turning Japanese? Past a certain point, lifts only work when the face is in repose.

Bernie must be at the point of wearing wigs now.

Wigs made of pubes

Glad to see more of Jeremy Pope.

^^^Is that Paul Bettany?

R253. It is

The announcement hit more publications now, in case that NYT article is paywalled.

I don't care that "The New York Times' Matt Wolf deemed the performances bravura." I saw the play at the Young Vic last March and It's a big nothingburger. This a wholly bland evening in which two inarticulate artists have nothing of interest to say or do. But admittedly, both actors are absolutely convincing as those artists. Just wish there was an actual play there. But how do you write a play about two inarticulate characters?

Just...

Anyone hear anything about this? A frau friend saw it in London and LOVED it but I don't trust her taste.

What's left to say about Andy Warhol that hasn't already been beaten into the ground? Unless someone is finally going to unmask him for the talent-free fraud he was, then enough is enough.

who knew him?

[quote] Glad to see more of Jeremy Pope.

I would like to

i didn't know Fickinger but I knew of him. Funny nothing lists cause of sudden death

I always thought Bernadette looked great until a few years ago when I walked by her in the audience. She had that dead eye look that one gets after too much work. Ah well. I do really wish actors would just age gracefully and play old people. Streep has had work done, but minimal, which is why she still looks human.

I worked with Steve Fickinger when he was at Disney, Very sweet and unpretentious guy, I was sad to hear of his sudden passing.

I saw &JULIET in London pre-Covid not too long after it opened.

I HATED IT! But then I'm an elder gay who witnessed some of the finest musicals of Broadway's Golden Age. I'm not the target audience and wasn't familiar with most of the jukebox songs. I imagine it'll be a big hit, lots of hooting and hollering from 20-somethings in the audience, lose in all its Tony categories and run for about 6 years. The photos online make it look brighter and better designed than the cheap sets and tacky costumes I remember.

If there’s going to be an Andy Warhol show, then I want a musical about Studio 54 and include Liza and Liz and Betty Ford and Calvin Kline getting fucked in the balcony.

Together?

Re Steve Fickinger, the rumors among his acquaintances are that drugs were responsible for his sudden death.

Transposing orchestrations takes about 5 seconds. They’re all on a computer.

[quote]Re Steve Fickinger, the rumors among his acquaintances are that drugs were responsible for his sudden death.

He does have a bit of a Pete Davidson quality in the photo at R260.

Really good musicians can transpose on sight as they play.

r269

now but what about in the olden days?

He was great on Get Smart

r268 true or not get an A for gossip and bitchiness. Huzzah.

Then why are transposed scores such an expensive proposition? Or is that just not true?

Is transposing a score anything like altering Beanie's costumes to fit Lea? Or is that even more expensive?

[quote]How much does it actually cost to have a score transposed for a musical?

You need to be more specific as to what you mean by "score." Do you mean the vocal score (the vocal plus an arrangement for piano) or the orchestra parts (the individual parts the members of the orchestra play.) The latter would be probably be more expensive.

In any case, you'd want to enter the score into music notation software, either Finale or Sibelius. That's the most time consuming part, and you need someone who knows music to do it correctly. After the music has been entered, it's fairly easy to transpose, although even then you need music theory experience to edit it correctly.

Thanks for the response, r277.

How expensive would the last option you mention be (vocal and full orchestra)? And about how long would that take?

Oh, let's hear it for Sibelius, r277...

[quote]How expensive would the last option you mention be (vocal and full orchestra)? And about how long would that take?

It's done by the page, and I don't know what people charge for that. But "The Sound Of Music" would be a lot cheaper than "Sweeney Todd."

Hello, Carlotta!

I can't take old Delius or Sibelius.

Transposing scores has less to do with money and more to do with rights. Composers and estate holders are bitter bitches and usually don’t allow one note to be changed if their shitty work.

Fickinger was one of the west coast types who was deemed acceptable by the Disney suits, and suddenly he was everywhere with an opinion, but no real talent. Like several of those other current LA producers, he spent more time with his own publicist than the creators or artists. Big, flashy nothing burger. He came out of the studio system so all he really knew how to do was play that game.

All his obits are touting his Tony as producer of "Evan Hansen". Do you know have many producers were on Evan Hansen? Jesus...

It kills me to see Bernadette this way. She looked great for so many years but she looks strange now. It’s sad.

That’s not true about Steve Fickinger. Besides being an extremely nice guy, his theatre roots went back much further than his movie studio roots, and he very much knew what he was talking about. Big dick, too.

I’m a mediocre pianist and even I can play a song in different keys. If you learn the scales, it’s easy.

But I can understand composers not wanting their music messed with. Can you imagine the ending of the song “Ice Cream” in a lower key? Or the strippers in Gypsy singing “Gotta Get A Gimmick” in a higher key?

Stephen Daldry and a bunch of underage boys. What could go wrong?

Transposing an orchestral score isn't the same as a piano score. Instruments have different limitations. Harps, for example, sound better in keys with a bunch of flats. Some instruments have relatively limited ranges. Good orchestration takes this into account, it's not simply a question of plugging an orchestral score into a computer program.

Back to the chick singing Laurey in Oklahoma. She has awful vocal technique, she's under pitch and breathy at various points and there are breaks between her registers. Everybody sings in a pop style with a belt these days, but Rodgers and Hammerstein wrote for legit singers (mandatory in pre-microphone days--unless you're an Ethel Merman type, legit technique is needed for projecting over an orchestra 6 shows a week). There's no key in which she'd sound good--the technique just isn't there. Don't get the love for her--it's not like there aren't Black actresses who can actually sing.

Ya got somethin' against a soprano Mazeppa, r288???

Cook

R288 It would be if they cast Sutton Foster in another of Barbara Cook's iconic soprano roles. She'd have to do Cunegonde down an octave practically.

[quote]Transposing scores has less to do with money and more to do with rights. Composers and estate holders are bitter bitches and usually don’t allow one note to be changed if their shitty work.

Incorrect. With some exceptions, retaining original keys in musicals has never been considered anywhere near as important as retaining them in opera, and there have been countless examples of keys being changed for revivals of musicals.

So, on Broadway, a composer, or the estate of a late composer would have to grant the rights to have their score transposed? And attaining those rights would involve fees to the state? Or fees to the living composer?

So complicated! No wonder it doesn't happen that often.

There's not a hard and fast rule, r295, it would vary from show to show according to the composer's wishes. Any restrictions on how the show can be performed would be written into the licensing agreement. But as pointed out above, transpositions are pretty common in musicals, less so in classical works.

"Transposing scores has less to do with money and more to do with rights. Composers and estate holders are bitter bitches and usually don’t allow one note to be changed if their shitty work." You have absolutely no idea of what you're talking about, bub.

"...but a new arrangement of it.: Which runs completely counter to the authors’ intentions. The score is comprised of "cowboy songs" via Viennese operetta, not hillbilly music from amateur night in Chickasaw.

You didn't miss anything at the Armory. Surveillance cameras in Elsinore (as in the initial Andrew Scott production...and David Tennant...and every Ivo Van Hove aberration---when will directors learn that sources of light upstage the actors?); the younger actors were inaudible for most of the first half--not till "what a piece of work is man" did the audience finally come alive to Hamlet (who was cute but not for a second did I consider him princely or mordantly witty). I left at intermission.

[quote] If there’s going to be an Andy Warhol show, then I want a musical about Studio 54 and include Liza and Liz and Betty Ford and Calvin Kline getting fucked in the balcony.

There was one. It was at the Atlantic, it was fucking terrible, and it died a quick and deserved death, never to be heard from again.

You've got to love people like R297, who assert with staggering confidence their awareness of the authors' intentions. Maybe they would have been appalled by any deviation from their original text. Then again, Rodgers himself sometimes sought new orchestrations for revivals of his shows. And Hammerstein? You mean the guy who transposed CARMEN into an entirely different setting that entailed new arrangements that were arguably just as extreme a departure from Bizet's originals? "Intentionality" is inevitably a far more slippery issue than those who blithely invoke it ever care to admit.

For me, the Fish OKLAHOMA! was a pleasant surprise. I didn't buy everything in it (the Dream Ballet in particular was a total misfire from my point of view), but I was amazed at how resilient the material proved under these new conditions, and I was delighted to hear how many touches from the original orchestrations were echoed in the new arrangements.

We'll have plenty more opportunities to hear a traditionally presented OKLAHOMA!; I for one had a far better time at this production than at the shockingly dull version of the Nunn/Stroman production that landed at the Gershwin a while back. (That one was chiefly memorable for the glimpse of Patrick Wilson's glorious bared torso.)

I agree with the minority (or majority since it won the Tony) I loved the new revival of Oklahoma. Would I want that with EVERY musical ever written?? Of course not. But I liked it in that specific experience.

To the poster who saw the Basquiat and Warhol play. Did they have a scene of Basquiat posing in a jockstrap for Andy ?

[quote]I agree with the minority (or majority since it won the Tony) I loved the new revival of Oklahoma.

It had only one competitor: " Kiss Me, Kate!" revived yet again, but this time starring the vanilla Kelli O'Hara and Will Chase. The woke vote went to the woke show.

Gross R287. No one wants to know that.

R295, it happens all the time.

r301, the Warhol/Basquiat play THE COLLABORATION has no jock strap scene for Basquiat but IIRC Jeremy Pope stripped out of some of his clothes towards the end in a messy drug infused state, nothing sexual or sexy about it. Pope is a good actor but he's miscast here as he isn't able to capture the feral animal quality necessary for the character....he's too well-bred and polite and no amount of added dreadlocks help much.

Paul Bettany as Warhol OTOH was a pleasant surprise. His physical resemblance, with a series of wigs, is remarkable, even in a shirtless scene with prosthetics to create the old gun wounds on his frail, pale body. He just has nothing to play. And he gets the whispery voice down pat. There are 2 other characters, Andy's young financial manager (or was it a gallery owner?) and an actress who play's Basquiat's current girl friend.

There's just no drama there. The production has a DJ in a sound booth over the set playing 1980s music before Act 1 and Act 2 and it's the most exciting thing that happens onstage.

R305 Thanks for the info

R266, Betty Ford got fucked in the balcony at Studio 54?

Yes r307, Gerry fumbled too much and Betty had to look elsewhere.

There was so much drug use going on that participants couldn’t tell that they were fucking Betty Ford not Calvin Klein.

Ask Alec Baldwin. He worked there.

I only got fucked in the balcony once, and it hurt.

Why is the announcement of this [italic] Collaboration [/italic] play such "big news"? Some play announcements get so much coverage. Why does this one rate a story unto itself in the Times, for example? Still that London fascination?

The Times does not cover any number of off-Bway and off-off-Bway theatre events happening right in NYC, but the Young Vic, sure!

THE COLLABORATION is coming here to NYC. But The Times should save its coverage until then.

A lot of us working in theatre despise The Times, more for their ineptitude and classism than because we disagree with Jesse Green. Or whomever.

What exactly is The Collaboration about? One famous artist mentoring another? Correct me if I’m wrong, but Basquiat wasn’t famous until after he died?

Where’s Keith Haring’s play? There’s much more story to tell there.

There was a musical about Haring (at The Public, I think) some years back. RADIANT BABY.

I didn't see it. Did anyone?

So who is going to come out the worst in the Mary Rodger Guettel book?

Eldergays, in the golden days of Broadway, didn’t people (both audiences and creatives) get pissed off when shows changed theaters?

Once Upon A Mattress was in five different theaters in its 14 month run.

The original Annie was in four different theaters. Oh, those poor orphans!

Two questions about that good Times coverage point: is it related to COVID (theater’s coming back!) and/or is it only for plays connected to BIPOC artists?

The LA Times calls Fickinger "the producer of 'Dear Evan Hansen'

Like The Collaboration is this worth this much coverage? SO he sang show tunes in restaurants with his buddies.

LA Times link

I saw Radiant Baby. Remember very little about it. I do remember it wasn't terrible but nothing worth remembering. It did star DL fave Daniel Reichard though.

R313=I saw it. Unfortunately. I dreamed of Reichard for weeks after that.

I thought RADIANT BABY was a really good show, and Reichard was excellent in it, but as I recall, it was killed by an extremely negative review in the NY Times.

Who wants to see this limited concert of The Most Happy Fella. WITHOUT FELLAS

All women. Calling it MOST HAPPY

FRANK is rolling in his grave

R322-Let me know when Daniel sleeps with the Fishes.

Saw Funny Girl last night. All the principals were on. When Beanie opens the show as "mature" Fanny with the oversize coat and hat, I could only thing of "Really Rosie" - she really was like a little girl posing. Jane Lynch got a larger response from the audience when she first appeared. The seduction scene was totally disgusting, especially when Ramoo opens his legs and she dives in. People was like an audition for a high school musical - the whole thing had the quality of a really good amateur production. We left at intermission, I could not bear to sit through that second act.

R302, please. Wasn't KISS ME, KATE also "woke-ified"?

I’m waiting for a woke Into the Woods where Milky White confronts Jack and sings a new song called, “Me too. Times Up”

If you want to do a musical that celebrates feminism, perhaps it shouldn't be "Kiss Me, Kate".

Does Mary Rodgers Guettel finally tell in her book what she promised years ago would be forthcoming about Arthur Laurents?

Good question, R328. Given that Jesse Green's name is on the book, I'd say that if we don't find out now, we never will. (He's the author of the original NEW YORK piece in which Mrs. Guettel made her infamous remark.)

Maybe she shared it with her son, Adam as well.

Did Jesse Green co-author it with Mary?

I think he did. I'm wondering what truths Mary finally told about her relationship with Sondheim.

WTF are these Steve Fickinger trolls here? Leave the dear man alone. He's dead. RIP Steve.

Did anyone see Into the Woods at the Arden in Philly? It was boring and ugly, but DL catnip - the stepsisters and princes were one man and one she/they, who flipped genders as they flipped roles. The Jack was super gay, with an especially sassy “She’ll only milk for me.” Cinderella was basically Sutton Foster with a soprano voice, but they stole her final “I wish” to give it to Little Red Ridinghood. Taking the train to see it at the James would have been a much better choice.

[quote] There was a musical about Haring (at The Public, I think) some years back. RADIANT BABY. I didn't see it. Did anyone?

Horrid piece of garbage. I walked out.

I knew Fickinger. He was desperate for attention.

I have a new concept for Gypsy.

The show opens with Rose’s Turn: “Here she is boys, here she is world…”

When she gets to the stuttering part: Mmmmomma, it’s as if the exertion has caused a stroke. Nurses come on and administer drugs, then the show starts from the beginning and is played through the lens of Rose’s drugs.

If you don’t like that, I have a nifty idea where Rose replaces Louise with one of the boys she kidnaps along the way. The final scene with Louise in the mink is played with the original Louise actress as if to say, “I became a success without you.”

Fickinger had a face for the telegraph.

A feminist Kiss Me Kate misses the point by a mile.

A highly skilled director possibly could shoehorn feminism into Taming of the Shrew, but it can’t be done with Kiss Me Kate.

no, but we could have someone play Jack Cassidy, naked except for knee pads, in the play within the play within the play, trying to get Cole Porter to give him the part.

I added the knee pads, which weren't used most likely, so said actor could do 8 performances a week.

According to the story that's been often told as theatrical legend, it was definitely Cole Porter who would have required the knee pads, not Jack Cassidy. So nice try, R340, but you fucked up your joke.

r337 are you all right?

another sunset boulevard question for you out there in the dark...

Why did they did only make a CD for Betty and not anyone else? I would have thought RUG would have loved to make a CD like Betty's for each of the Normas

Especially Faye’s.

Faye certainly had "the look"...

There’s a SB Pet Clark CD and Paige already recorded Norma’s big numbers on one of her cd’s. Plus there’s a Canadian cast recording with Diahann.

I really liked RADIANT BABY and thought the score was worth capturing on CD.

Same here, R348.

Has anyone else seen the new documentary FIDDLER’S JOURNEY TO THE BIG SCREEN. It was nice to hear remembrances from Rosalind Harris, Neva Small and Michelle Marsh but they used old interviews with Topol and the whole movie is pretty much a tribute to Norman Jewison who pointed out he’s a ‘goy’ at least five times. Harris was Bette Midler’s understudy and it was Bette who told her to go down and audition even though she didn’t have an appointment. Worth watching but I wanted more.

Did anyone want to listen to Close bray that score without the benefit of seeing her beautiful visage at the same time?

I absolutely LOVED Radiant Baby--there was so much energy in that show.

There was talk of a Bway move, but it never happened.

Billy Porter sang a fierce Sylvester

Radiant Baby wasn't good enough to play at Theaterworks.

Lyricis/book for THE GRASS HARP, among other credits.

Bring it to BroadWAY...I'm IN!

Elaine Paige’s ‘As if We Never Said Goodbye’ was recorded and released as a single in the UK, and even - somewhat strangely - got a music video.

Good ol' Yellow Drum...

Those Steve and Eydie impersonators should be sent back to the cruise line they got off of to perpetuate their no talent. I'm more of a fan of the real Eydie's and she had vocal chops as oppose to Steve who was a bland, uncreative singer prone to copy Sinatra.

real Eydie

I prefer Rusty Thacker’s indelible performance of the song “Floozies.” Especially his phrasing on the lyric “Where are you, you sweet patooties, finger licky jam”

I remember seeing Radiant Baby and liking parts of it, but hating the kids, which R354 reminded me of. I thought Julee Cruise was amazing and Billy Porter had a fantastic song and stole the show. She could really belt it out back then! I still have my Playbill and treasure it. I'm not sure why colleges and regional theatre's don't do the show today, I think it would be interesting to audiences.

Julee Cruise

Wish I'd seen Radiant Baby. I would imagine the young pre-buff Daniel Reichard was great casting.

Hillary Clinton Visits Broadway's POTUS, Gets Cheers Over Questions of Why She Isn't President:

Tom Hanks, playwright:

A New York armory from the Gilded Age is a haven for the cutting edge:

Aside from Sunday In The Park has there ever been a good or successful musical about the art world?

Hello, Dali!

Anyone Can, Whistler!

You had me until the comma r371.

[QUOTE] If there’s going to be an Andy Warhol show, then I want a musical about Studio 54 and include Liza and Liz and Betty Ford and Calvin Kline getting fucked in the balcony.

Have you read AT DANCETERIA by Philip Dean Walker, R266? There’s a fabulous short story featuring Halston/Liza/Andy/Steve Rubell that ends up at Studio 54.

There’s also a great story featuring Jackie O. and Jerry Torre from Grey Gardens at The Anvil watching a drag queen cartoonist dressed as Anne Frank.

I could see the whole thing being musical used actually.

[QUOTE] Where’s Keith Haring’s play? There’s much more story to tell there.

The title story features Keith Haring and Madonna at Danceteria in 1984 at Haring’s 26th birthday party.

*contortionist

R342, Shirley Jones confirmed the "legend" in her autobiography.

What was the original concept for The Strip in Gypsy. I think I read here that Robbins wanted another strobe light effect for time passing by which would have been preferable, IMO to what was seen, and it's always been a weak part of the show. So we see Louise doing the first strip at Wichita, the strobe effect then Gypsy at Minsky's?

Shirley Jones also continually tells the story about how Mary Ingels had a heart attack and she couldn't call for help by the telephone because she was handcuffed to the bed. She claims it's an Urban Legend but has no trouble telling it every chance she can.

The writer of Little House on the Prairie?

Isn’t Mary Ingells blind?

" Radiant Baby" star Daniel Reichard with husband Patrick McCollum

CAN-CAN takes place in the demi-monde art world of turn of the century Paris and features a cute Cole Porter (him again!) song called: "Never, Never Be an Artist!"

Is Moulin Rouge about the art world? I can't bring myself to see it.

"Miss Liberty" about the girl who inspires the Statue of Liberty. Eddie Albert had a really lovely voice, too.

R371, I thought the comma absolutely made “Anyone Can, Whistler!”

They made SO many Sunset CDs, it was ridiculous. 1) Patti Pre-London sampler; 2) Patti London: 3) Glenn sampler pre-Bway; 4) Glenn Complete Broadway; Betty Buckley London/Bway; Linda Balgard tour sampler: Complete Canadian with Diahann Carroll; and I think there was an Australian sampler too. It was insane how often they hauled those ladies into a studio. Also, Barbra had released "With One Look" and Elaine Paige had put out a few songs too. That shit was around for years....It was a time when any CD could make money, so they made them. Those were the days.

Don’t forget Helen Schneider in the German cast recording.

In An American in Paris, the lead guy is a painter and there are scenes in the art world.

Ahrens and Flaherty had a Degas musical that never made it to Broadway.

I thought the Diahann Carroll recording (the Canadian OCR) was a single disk highlights album. More than a sampler but not the complete score. Open to correction.

Stella Deems was in that as well, r382.

Don’t forget Glenn’s single of THE PERFECT YEAR. I don’t remember buying it but I’ve got it.

R390 = Winona Ryder

Speaking of Steve and Eydie . . . .

anyone seen "The Kite Runner"? saw it last night, interesting, good cast, compelling story, but a bit heavy handed. could have legs, given the dearth of dramas now.

We haven't had this one in a while...

R385, Helen S is spectacular! I first heard of her in the podcast about Sunset.

Wow, what a voice!

Speaking of Steve and Eydie.

Yes, r395...

Kiki & Herb. Never have two people gone so far with so middling.

[quote] Aside from Sunday In The Park has there ever been a good or successful musical about the art world?

Darling of the Day was not successful, and was plagued with production problems. But it is largely delightful.

R375, my use of the word "legend" was not meant to imply that the Jack Cassidy/Cole Porter story isn't true.

[Quote] Aside from Sunday In The Park has there ever been a good or successful musical about the art world?

Let’s be honest, Sunday is a bore and it has never been successful

I always get Kiki and Herb confused with Peaches and Herb.

The end of Act 1 in Sunday in the Park is impressive, but I agree that the rest of the show is a bore.

The first acts of Sunday and Into the Woods are each fully contained and great one act musicals. They each had second acts of varying quality tacked on to make a full evening for Broadway.

Years ago on RATMER someone suggested a Sondheim Evening of the First Act of Sunday followed by an intermission and then the First Act of Woods. Not a bad idea.

r381, Toulouse-Lautrec is a character in Moulin Rouge, so it may count. You're not missing much by not seeing it (though the way they have the theatre decorated is impressive. Everything else...meh.)

RATM. I'm not sure where ratmer comes from.

Rec. Arts. Theater. Musicals.

or

Rec. Alt. Theater. Musicals.

I can't remember which. It was a usenet group which was the precursor of all the great Broadway forums and threads, such as this.

‘Lautrec’, composed by Charles Aznavour opened at the Shaftesbury Theatre in London in 2000, but was a flop and closed after a couple of months. A young a Hannah Waddingham played the love interest.

(r399) Saw it in Boston in previews prior to New York. Even at the age of 13, I loved it. Wonderful score and Vincent Price and Patricia Routledge great together. She brought down the house with "Not on your Nellie"

Act two of Into the Woods is my favorite act. I always get sad when people complain about it. The general public like happy endings and don’t like thinking about things.

How can a gay person not watch “Last Midnight” and not identify with the Witch? To be surrounded by well-meaning idiots that have destroyed the world around them, and rather than join them in their misery, it’s better to leave them to their lies and move on. How does a gay person not be moved by “No More” and the idea that we want to be left alone and able to live our lies without the pain and suffering of the circumstances that have led us there? To me it’s not a fairytale gone wrong, it’s the humanity of a shared experience

Oh dear.

R409, I’m with you. The second acts of Sunday and ITW are the payoff. For Sunday, I can’t imagine watching these people struggle and thinking it’s satisfying to walk away with them frozen in a tableau of their aloneness. And I can’t imagine it feeling like a full evening to see people lie, cheat, and steal and get exactly what they want.

Nobody in the first act of Sunday appears in the second act. Talk about disjointed.

Factually incorrect, r412. They all appear except for George Seurat. Get the point?

How appropriate that you used the word " point," R 413.

R317 R318 Fickinger knew the right people who want to honor him. So they pull the strings the get the extended press coverage, despite his death being totally irrelevant to the general public -- and even to the entertainment community.

Similar to how in this year's Tony In Memoriam, up there with legends like Sondheim and Poitier, they had a slide for Vinny Sainato, a random and deeply cruel ad exec with no talent who did nothing of substance for Broadway. But a teeny-tiny group of Sainato's insider "friends" pulled the strings to get his mug up there. Even in death, it's all who you know.

Speaking of Into the Woods, I saw the transfer last night and mostly enjoyed myself, even though I went in feeling some burnout with the show. But the thing I wondered about the most... good as Sara Bareilles is here, why hasn't anyone been able to come close to Joanna Gleason as The Baker's Wife? There have been many talented actors who have given it a go, but somehow it seems like Gleason's performance was lightning in a bottle, never to be bettered.

She was phenomenal r416.

Imelda was excellent.

I must be the only person in the world who enjoyed Gleason as The Baker's Wife but didn't think she was anything particularly special.

It's hard to top perfection. And the chemistry between Gleason and Zien has never been bettered, either. That whole cast was just magic.

Even Joanna Gleason has been unable to unleash that lightening in her bottle.

Has Joanna Gleason had work done?

You're not, R419. I wasn't old enough to have seen Gleason live in ITW, but I've seen the made-for-video version several times.

And she's fine. Charming, funny, a little tart. I don't particularly love her scoop-y vocals.

I guess you had to be there to really get what was so magic about her performance.

What is Darling of the Day about?

I always confuse the title with Patricia Routledge's other flop musical Love Match, which is about the romance/marriage of Queen Victoria and Prince Albert and co-starred handsome hunk Laurence Guittard.

What is Darling of the Day about?

I always confuse the title with Patricia Routledge's other flop musical Love Match, which is about the romance/marriage of Queen Victoria and Prince Albert and co-starred handsome hunk Laurence Guittard.

Yes, given his mild contributions, that LA TiMES obit of Fickenger reeks of "someone made a phone call."

Well, as Fickinger died without a husband or boy friend and his family was not in show biz, he certainly must have had very some loyal and compassionate friends. What's so terrible about that? I don't get the hate expressed here.

I worked with Steve about 10 years ago, didn't know him well, but liked him very much.

r423, r419 here. I saw Gleason live in the theater and what you get on the video is what you got in the theater. A lovely and charming, sometimes appropriately brittle, performance but I have no idea why it has become some kind of theatrical legend.

Maybe people are seeing their own mother in Gleason.

I saw her live and have not seen the performance improved, it wasn’t the vocals or the comedy. It was the effortlessness. Some people don’t mind seeing an actor subtly prep for a laugh or a big note or a moment, so they won’t see the difference. With Gleason, everything was seamless and just seemed like her 100% natural response to whatever was happening.

Gleason took a boring character and made something out of it.

[quote]Act two of Into the Woods is my favorite act. I always get sad when people complain about it. The general public like happy endings and don’t like thinking about things.

The problem with Act II of INTO THE WOODS isn't the very dark turn it takes -- showing us what happens after "Happily Ever After" is an interesting and worthy idea -- but the fact that it's done in such a heavy-handed, didactic way, which I for one do not find entertaining.

As for SUNDAY, I've always liked the opening number and, of course, the magnificent Act I finale, which I think is about 95 percent responsible for whatever success, praise, and awards the show has received, but I find almost all of the rest of Act I annoying and/or boring. I guess I'm in the minority in that I enjoy Act II much more, I think because I find the two main characters in that act so much more likeable, and their relationship so much more moving and interesting, than in Act I.

It was that deliciously brittle manner that gave Joanna's performance that extra something, as if The Baker's Wife was portrayed by a 1930s Myrna Loy. All succeeding portrayals have lacked that sophisticated tart edge.

Funny Girl was down to 75% capacity last week and tickets can now be purchased on TDF and at TKTS for most performances. If anyone's interested.

It just shows that Beanie fanbase was only just so wide,

By far the finest of the Sunset Boulevard recordings.

[quote] What is Darling of the Day about?

From Wikipedia, with a little added clarification:

"In 1905 London, Priam Farll is an artist, brilliant, unconventional and shy, although he can be violently outspoken. He once offended Queen Victoria and was exiled to the South Pacific (shades of Gauguin), but Edward VII has succeeded to the throne, and Farll has been recalled to London to receive a knighthood. Appalled by "society's" expectations of its "darling of the day" (a common Victorian/Edwardian term meaning something like "fashionable celebrity") Farll seizes the chance to "get out of the world alive" when his faithful butler Henry Leek suddenly dies, and their identities are confused by an official. Instead of correcting the error, Farll quietly assumes the identity of the deceased, and Leek's corpse is officially buried in Westminster Abbey as the famous artist.

He soon finds himself married to Alice Challice, a bright, well-to-do widow who had been corresponding with the real Henry Leek – and settles down to a happy "upper working class" existence. Farll continues to paint, and when they runs into financial difficulties, Alice sells a few of her husband's paintings. The paintings are recognized in the art world due to Farll's unmistakable style. Complications naturally ensue, and his "cover" becomes increasingly flimsy. Just as it looks as if he will be compelled to resume his real identity, a piece of truly Gilbertian nonsense brings all to a satisfactory conclusion, and he is allowed to stay plain Henry Leek after all."

R415, Like Susan Lucci's husband being included in the Daytime Emmys In Memoriam.

I think r430 has nailed the quality that put Gleason's performance over the top.

Beanie will be out this afternoon. Standby Benko still out with Covid. Understudy going on.

Who is the understudy?

[Quote] that lightening in her bottle

Oh, dear.

Nothing against Fickinger but the coverage is ridiculous:

[Quote] Before people knew Fickinger as the man behind some of the biggest onstage Broadway productions

Really?

The understudy

Either get Lea on that goddamn stage already, or close.

that lightening in her bottle

Oh, dear. —Anonymous

did the carpet match the drapes?

Anyone seen Epiphany at Lincoln Center?

Why pray tell is Beanie out yet again???????????????????????

Nodes.

From what feels like her first 8-show week?

[quote]Ahrens and Flaherty had a Degas musical that never made it to Broadway.

It was called "Degas, Dancing Still."

Nodes? Are they sure it's not just more fat?

Any theater thread that mentions Eydie needs this:

I think that one major reason that Gleason's performance was so perfect in ITW to those who think it was, is that, since she originated the role, SS and Lapine were able to tailor some of the material to her individual rhythms, mannerisms, cadences, etc. Hence the effortlessness with she delivered the goods. Just a thought.

Of course that's part of it, r453.

The Baker's Wife? That's NOT a leading lady.

[R450]: Previous title was “Little Dancer.”

I saw their most recent effort, “Knoxville,” at the Asolo Theatre in Sarasota. At 1 hr. 40 mins. without intermission, it still felt padded, and unwieldy. A few moving musical moments, but not their greatest score. Reportedly, it’s being recorded.

Beanie needs to rest for her upcoming August vacation

Yes, Gleason was perfection. I saw it when it first opened and wasn't surprised when she won the Tony.

That tartness another poster referred to really gave her somewhere to go, once she was tempted by one of the princes, because she always seemed like she was deserving of more than her station in life. That she dared to risk that and then died was kind of a gut punch.

[quote]Some people don’t mind seeing an actor subtly prep for a laugh or a big note or a moment, so they won’t see the difference.

R430, your comment brings Laura Benanti's performance in [italic]She Loves Me[/italic] to mind. She wasn't able to bring spontaneity to her well-planned performance--at least at the performance I saw. I find her performances variable although I did like her a lot in [italic]Women on the Verge of a Nervous Breakdown[/italic] and [italic]Gypsy[/italic].

That's where "You *had* to see the original production" comes in, r458. It was all new to the audience. Now, you know she dies. But then, after being so charmed by Gleason, her death did come as a shock.

R459, I saw that SHE LOVES ME three times, and every time it seemed to me that Benanti, who was very funny in the part and certainly has the right voice for it, had to work incredibly hard to negotiate the music. Lots of vowel-shifting . . . lots of tiptoeing in the passaggio . . . no float or freeness in the sound at all. A real shame, given how she sounded soprano-wise in her Cinderella days. (I remember a friend making similar remarks about her contribution to the Encores! MOST HAPPY FELLA in 2014.)

Could Beanie have been sick of the Julie Benko Buzz and be throwing the understudy a bone? If you bought a ticket for today’s performance wouldn’t you be irked that Beanie didn’t make the full week knowing her standby was out? I think that her spotty schedule with this show is SO bizarre.

I don't think it's bizarre at all. You think she had vocal stamina? I doubt it. Add the criticial failure of her performance to the equation and...

That OBC Into the Woods also had the good fortune to be preserved for future generations. Gleason's performance has lived on and will continue to for many more generations.

It's one of my favorite musical theatre performances. As others have said, she seemed so alive and spontaneous as if the wife and mother next door was tossed into this crazy world. She was funny and charming and made the singing feel like a natural extension of her emotions. Gleason has that rare quality of being able to slip from speaking to singing with ease. You believe her every step of the way.

DL said early on that she’d never been able to sustain the schedule but this is ridiculous

Makes one wonder if she is so eager to leave early or if the producers ‘urged’ it

Bean's explanation. No comment.

That is odd^

Beanie is self harming now?!

Yes I want to pay big bucks to see a klutzy dodo bird headlining a Broadway show.

Oh, Beanie.....

Chip & Joanna played fairy tale-style characters as carping UWS Jewish liberals, which was brilliant.

Beanie needs to apologize to everyone who is managing 8 shows a week in a tough leading role -- which is a shitload of people, including Hugh Jackman and Sutton Foster. She deserves every snide comment she's getting, This is ridiculous, and insulting to everyone how knows how to work hard on Broadway.

I hope Beanie's career is over. She doesn't have enough talent to overcome this, and she's been exposed for the spoiled, entitled cunt she is.

Interesting that Beanie doesn’t comment on Benko’s IG posts but does on Elphie’s posts. She’s called her an angel and sends love. Since Benko is out this might be the only chance the u/s has to go on so Beanie may be giving her a gift.... and giving Julie a fuck you. Also, Elphie, coincidentally, had her put in the other day so it’s not like she’s being thrown in with no rehearsal.

Ephie

Beanie missed ANOTHER show earlier this week? Re - putting Elphie in

Not one of the three have a signature sound.

[quote]I guess I'm in the minority in that I enjoy Act II much more, I think because I find the two main characters in that act so much more likeable, and their relationship so much more moving and interesting, than in Act I.

I feel the same way. Also, I think the observation that "Sunday in the Park" should end with the first act has been repeated so often over the years that it's become an unexamined theater trope, repeated even by people who have never seen any production of it.

I love the 2nd act of Into the Woods. I think it's the heart of the show. Both acts are wonderful, and it's one of my absolute favorite shows. However, much like Company, I don't think anyone has done it nearly as well as the original cast.

I do not, however, like the 2nd act of Sunday in the Park with George. I find it an utter bore. And the first act is so perfect. I have seen several productions, and I always try to give the 2nd act a chance, but usually leave either early on or mid-way through.

The Joanna Gleason performance in ITW is similar to the Patricia Elliott performance in ALNM. Each was terrific in her execution of her role but you had to see them on stage to get that “lightening in a bottle” effect.

Other less well known performers have had similar moments. Two that I can immediately think of were J. Smith-Cameron in As Bees in Honey Drown and Julie White in The Little Dog Laughed.

As R430 said “…it wasn’t the vocals or the comedy. It was the effortlessness… everything was seamless and just seemed like a 100% natural response to whatever was happening.”

For some reason, my partner just loves Into the Woods so we have to go to every production. I’m over it

Has Beanie even done a full week of performances anytime during this run?

Snark if you must, but I think "Children and Art" and "Move On" more than justify the existence of Sunday's second act.

I would rather my partner take me to Into the Woods than a partner obsessed with Rent

I was lucky enough to have a partner obsessed with me.

r476, no, today was Beanie's first missed show this week. A "put in" is a rehearsal where a replacement or understudy is allowed to run through the full show in costume with all the tech elements. That's what Elphie had Thursday afternoon. Beanie was in the regular show Thursday evening.

I quite like the second act of Sunday. To me, that's the heart and soul of the show. From the point where George gets to the island to the end of the show, I'm a puddle.

The second act of Into The Woods, on the other hand, I could live without. I love the goal of it, but it just feels so didactic, which I get is part of the point, being an extension of a fairy tale and all. But it doesn't move me and there's nothing new or surprising or revelatory about it. But that's just me; obviously a lot of people adore it.

INTO THE WOODS dealing with seeping covid transmission. Brian D'arcy James out for the matinee and evening today, so he has tested positive. That means he won't be in the opening tom'w night. I think this is the second case in that company.

Someone correct me if I'm wrong but I'm pretty certain Beanie congratulated Julie Benko on Instagram either right before or after Julie gave her first performance in Funny Girl. I think Julie's debut as Fanny was the first scheduled performance when Beanie took off for that notorious wedding. Not that I'm looking to defend the Bean but still.....

You are correct, r489.

The last tableaux of the first act of "Sunday" is spectacular. But "1776" did it first. The second act had me openly sobbing when I saw Bob Westenberg in the show. It was heartbreaking for me.

Recreating a famous painting onstage always leaves them weeping.

I'm quite sure Beanie's Insta congrats to Julie was even linked in these very threads!

But that was back before the “Julie is so much better!” reports became ubiquitous. And now there’s the strong rumor than Julie will do two a week for Lea M. Beanie’s not responding anymore.

Ephie Aardema? She better hope she isn't introduced onstage by John Travolta.

Stop saying ’lightening’

Bernadette Peters shares her favorite pet-friendly places.

Even better is Bernadette calmly telling off protestors at Broadway Barks today.

Longer video. So they were protesting what they claimed is the humane society refusing to let some animals be adopted...by stopping an event where animals were being adopted?

R498, what were they protesting?

R500 Whadda ya got?

Betty's Turn

I’d be protesting Bernie’s bad performance in Annie Get Your Gun.

Pretty good! Did anybody here see her in this or Gypsy?

The protesters were all the Beanie fans upset about her latest cancellation.

Bernie wasn't bad in Annie, r503, she was miscast. It was still a joy to hear her sing those songs.

Hell no, she won't go ... on stage tonight!

Jesus Christ I just watched the protest video. Bernadette was a complete Pro. Could u imagine if Patti was hosting the event?

What was wrong with Sutton? She was “co-host” but seemed so shook she could barely function

Jesus Christ, these people who just live to be outraged. The fucking insanity of it all. Poor Bernie and Sutton.

[quote]I quite like the second act of Sunday. To me, that's the heart and soul of the show. From the point where George gets to the island to the end of the show, I'm a puddle.

Ditto.

[quote]The second act of Into The Woods, on the other hand, I could live without. I love the goal of it, but it just feels so didactic, which I get is part of the point, being an extension of a fairy tale and all. But it doesn't move me and there's nothing new or surprising or revelatory about it. But that's just me; obviously a lot of people adore it.

It's not just you, I stated my similar feelings above, and someone else agreed. So there are at least three of us :-)

Poor Sutton. She took time on her day off from The Music Man to help with a good cause for Bernadette and got shrieked at by a bunch of psychos. She looked really uneasy. Bernadette did handle it incredibly well.

Bernie's been in the biz a lot longer, r508.

[quote]Poor Sutton. She took time on her day off from The Music Man to help with a good cause for Bernadette and got shrieked at by a bunch of psychos. She looked really uneasy. Bernadette did handle it incredibly well.

Agreed.

Saturday is Sutton’s day off?

No, she has two shows today. Hugh and Sutton came after their matinee.

Wait a minute. SUTTON GETS SATURDAYS OFF?????

BARBARA COOK discusses THE MUSIC MAN on THEATER TALK

Sutton is not Beanie. She does not take Saturdays off.

Sutton's not Beanie She shows up for her job Beanie's no meanie She's merely a slob

Sutton's glad she's not Beanie Beanie thinks Sutton is juicy Let's share a plate of linguine And watch I Love Lucy...

Sutton's not Beanie

She shows up for her job

Beanie's no meanie

She's merely a slob

Sutton's glad she's not Beanie

Beanie thinks Sutton is juicy

Let's share a plate of linguine

And watch I Love Lucy...

Barbara Cook - Barbara Cook on Candide: Auditioning for Bernstein

R517 - thank you. That was a great reminder of how charming and perfect Barbara Cook was.

#520 - LOVE the “Ode To Beanie” - it is very clever!! …. Has there been any word on how Elphie the understudy was this afternoon? Did Ms Beanie make it back for the evening show?

R511, Sutton hasn't looked that shaken since she first saw Roger Bart's dick.

LOLOLOLOLOL!!! for r519 & r520!

dinner theater

This is a late ass reply to a far earlier comment, but the poster insisting transposition in the musical theatre is atypical, sacrilegious or prohibitively costly has NO idea what they're talking about. Re-orchestrating for new keys does require adjustments depending on individual instrument ranges, but it's hardly prohibitive. And in this Finale/Sibelius digital age, the only real costs are re-printing the charts.

All the GREAT musical directors including Don Pippin, Paul Gemignani, Elliot Lawrence have gone on record as saying it was ALWAYS policy for them to adjust keys for their given cast. "There's no sense for my leading lady or leading man to suffer because something is a couple steps too high" was basically Gemignani's POV.

While specific keys do bring out certain colors and 'feelings' depending on the song and where it's written, composers like Sondheim have always deferred to the MD to figure out the optimal key for the singer. Now, the exception to this would be transposing a role into a vocal class altogether (ie. a Soprano role into an Alto role). But when we're talking about a full step (or two) up or down relative to where the composer envisioned it, that's a no brainer.

Styne accommodated the Merman with lower keys for her Broadway run, and no one was really the wiser. Jerry Herman had no shortage of keys for his Dollys. This being said, Andrew Lloyd Webber might be the radical exception here -- in that he treats his written keys as gospel, the same way an opera composer would. This caused no shortage of issues for Patti in Evita, and even future replacements in PHANTOM.

The great bass-baritone Timothy Nolen was first to replace Michael Crawford, and was told by management that ALW would lower the Phantom's keys by several steps to take advantage of his timbre/range. No such key changes occurred and Nolen struggled thru the Tenor part for his entire run. A shame too, as I think a darker sounding Phantom (in slightly lower keys) would've been a great counterpoint to the youthful Tenor of Raoul.

Ahrens and Flaherty are trying so hard to write a great musical they can't even write a mediocre one.

r527 you make interesting, informative points and your post would fine if it weren't for this:

[quote] the poster insisting transposition in the musical theatre is atypical, sacrilegious or prohibitively costly has NO idea what they're talking about.

Be a bitch about Beanie, not about your brethren here.

Barbara Cook was far from perfect.

Just saw this line in the Dirty Joke Thread. Obviously cut from the [italic] MJ [/italic] musical:

What time is it when the big hand touches the little hand?

Bed time at Michael Jackson's house

R527, you’re exactly right about Phantom and it’s something that always bothered me.

I understand that most of ALW’s work is based on the power ballad model and how it plays with the audience’s emotions by the music using high keys. But the Phantom should have lower keys and darker tone to balance Raoul who should have the musically higher notes.

The Phantom's high notes work well when sung by a tenor. You just can't cast Norm Lewis in the role and expect it to work.

R527, everything you wrote in your post was spot-on, and should be absorbed by anyone who insists that keys are usually sacrosanct on Broadway. I didn't know that about ALW, but I'm not at all surprised.

[quote]The Phantom's high notes work well when sung by a tenor. You just can't cast Norm Lewis in the role and expect it to work.

But I thought I had read that at least some of the keys were indeed lowered for Norm. Isn't that true?

r527, thanks for your thoughtful response.

Now, as for the costs, to give us some idea, let's say they want to change the keys in all of Fanny's songs for a new actress, Lea Michele or whoever. About how much would that cost? Just trying to get a sense of the expenses involved. TIA!

It’s “lightning.” NOT “lightening.”

LIGHTNING.

Lightening in a Bottle

By Lady Clairol

Producers: please get Faith Prince to play Mrs. Brice

Andrea Martin.

Weren’t the keys for Norma's big numbers famously lowered post-Patti?

Honey, they built a new basement in the Minskoff for Norma's keys when Glenn took the role.

Beano - perhaps your next move should be toward television.

r540

there were and it was weird when they didn't change them back after Glenn as Betty(and I'm assuming ELaine) could have handled them... I think Linda had the Patti notes for the 1st tour

Faith Prince needs the work more than Andrea Martin and she would be better casting for Mrs Brice. It would also be the second time she replaced Jane Lynch.

Faith Prince would be a waste in the role and they need a name to sell tickets. The grosses are hemorrhaging as it is.

The biggest problem with Funny Girl is the production, not just Beanie

No. The book is a bigger problem than a cheap production.

Can't they just pretty much do the 2nd act musical numbers staged and call it a day (or an evening)?

I love Faith Prince but she’s a bit too over the top for Mrs. Brice.

If they brought in a good director to anonymous rehearse the new cast, I’d say Linda Lavin, even though she’s 30 years too old.

Linda could have had Lea Michele in her 40s.

It's also believable because we're both cunts!

Linda Lavin ain’t doin 8 shows a week and she ain’t playin a supporting role in a crappy, badly received production.

Ditto for Andrea Martin, suggested earlier. More the supporting role in a crappy, badly received production, in her case.

Ok. Cast Lucie.

I don’t know about Broadway, but in contemporary classical contexts - and including some chamber opera settings - the issue of transposing a score is relatively easy and cheap in terms of materials.

Especially in smaller ensembles, musicians now often use iPads rather than printed music. Transposing a key involves no more than pressing a button in Sibelius and exporting a PDF.

ITW is a "cheap" production, and no one cares. It's all how you do it.

Randy Graff for Mrs. Brice.

DL fave Karen Ziemba would be a warm, witty, and still girlishly attractive Mrs. Brice.

Vicki Lewis?

I'm so glad we've gone back to the topic of transposing scores.

R558. But we know her incidentals are no bigger than two lentils—and to me that doesn’t spell success!

What did they do about the incidentals line when Lainie Kazan was on?

The official announcement about where and when Back to the Future will open on Broadway apparently isn't coming until September. The producers want the Winter Garden. A post-Christmas closing for The Music Man sounds about right.

Who is playing the lead?

Roger Bart is apparently returning to America as Doc, with a new actor as Marty.

[quote] What did they do about the incidentals line when Lainie Kazan was on?

Lainie stood center stage and ate lentils.

"If a girl's big bazoombas make the judges want to rhumba/she's a shoo-in for the pageant crown!"

"Though a girl's incidentals/may be bigger than our Yentl's..."

Theatre in the Armory is interesting, because the space is fucking [bold]GINORMOUS[/bold].

Looking forward to the Hamlet. The kid playing Hamlet was in a hair-raising episode of "Black Mirror", a terrific casting choice.

Beanie will make a triumphant return at the now-female-identifying Marty McFly

Beanie needs to go away now, if only save Datalounge from the constant commentary.

I hope they revive GYPSY for Beanie.

[quote]I hope they revive GYPSY for Beanie.

So she can play Cigar?

Beth Fowler as Mrs. Brice.

[Quote] The official announcement about where and when Back to the Future will open on Broadway apparently isn't coming until September.

Is Anyone in this whole wide world clamoring for this?

No

Bridget Everett as Mrs. Brice?

Lainie Kazan can do Funny Girl 6 shows a week and her tits can do the matinees!

The front runners for the title of THEATRE GOSSIP #480 are Back to the Future and that evergreen favorite, Lainie Kazan's tits.

I suspect Lainie received silicone injections.

Beth Fowler is over 80, but I guess posters here are stuck in time forty years ago

[quote]I hope they revive GYPSY for Beanie. So she can play Cigar?

No so she can play Caroline. Front and back portions.

18 posts until Last Midnight. Next topic ideas, anyone?

And speaking of Last Midnight, it’s sad that Brian Darcy James is out for the opening tonight.

Yay for Randy Graff!

Watching Hacks Season 2. Now I want Jean Smart and Harriet Sansom Harris in a Broadway revival of Auntie Mame.

[quote] I suspect Lainie received silicone injections.

I suspect Lainie received rice pudding injections.

R584, they would have been perfect up to twenty years ago.

Randy Graff is already playing a thankless role in a big flop of her own called Mr. Saturday Night.

I suspect anyone with name value would realize replacing Jane Lynch as a Maine lighthouse keeper in a notoriously inept production isn't worth it, esp. if Lea's backstage rep is to be believed. I'd bet even Rosie has already turned them down.

Wait. What?

Surely some obscure Canadian comedienne is ready for her big-ish break.

Oh, Stephanie...

Tig Notaro for matinee Mrs. Brice!

Randy Graff was cast as Mrs Brice in the production that was to star Lauren Ambrose and Bobby Cannavale.

Julie Kavner

*IS*

Mrs Brice!

If she plays her as Marge Simpson, r593, I'm there!

Isn’t Mr. Saturday Night about to close? Randy will probably be available in another month.

I know there are those who get mad when we start a new thread instead of using existing ones, even if they have the same numbers. So here's the second 479 if anyone wants to continue there (it may be appropriate given Into the Woods opening tonight?)

Or there's this one for those who prefer the inescapable Ms. Feldstein:

Once again, Ms. Dussault to take us home.

Beanie announces she's leaving July 31!

BAJOUR!

Ummm...

Third midnight?

They just announced that Beanie is leaving the show on July 31 with big casting news coming on Monday afternoon.