THEATRE GOSSIP #510: Shipoopi in A Strange Loop

Prior thread

Who's out tonight?

I wish it was the person who write this thread title.

Nice grammar, r3.

[quote] the person who write this thread title.

Perhaps one should consider putting down that rock and walking away from that big ole glass house......

Well, at least I can blame it on the fact that the O and I keys are right next to each other. What's OP's excuse?

Anyway.....

In the previous thread, someone mentioned that A STRANGE LOOP also got some bad reviews. Links, please -- after being deeply underwhelmed by it last week, I Googled about but was hard-pressed to find anything but raves or near-raves.

Bad reviews seemed to come from people who didn't have orchestra seats.

Okay, this OP is pretty clever. Fun title, fun opening post. Bravo, OP!

I also like the thread title and the OP.

R3 can go suck it.

Many thanks, R10 and R11.

It's a title with intrigue, OP...

I took a poop at Strange Loop…but before the show was canceled.

[quote] Tell me you're a needlessly bitter, closed-minded, obtuse, socially inert gay white male prick without telling me you're a needlessly bitter, closed-minded, obtuse, socially inert gay white male prick.

[quote] Except he never mentioned race at all. YOU did.

In dramatic writing, we call that "the subtext." Or "reading between the lines." Something you clearly lack the smarts to comprehend.

And in the real world we call this looking for something to be offended by.

I can't believe this is the height of the fall Broadway season (everything's open until the spring) and there's nothing I want to see.

Well now that my show has closen, Broadway really has gone to shite.

Closen time.

I usually make a trip to the city once a year for a week to catch the new season... Not this year. There's been nothing to tempt me.

Sweeney Todd? Sorkin's Walk-a-Lot Camelot? BAD CINDERELLA (heard it is being furiously rewritten)? come on, one of these must be tempting.

Let’s list favorite shows we’ve seen since what’s happening now isn’t very inspired.

Into the Woods (Encores and Broadway 2022)

Company (Broadway 2021)

Merrily We Roll Along (NYTW 2023)

Caroline or Change (Broadway 2021)

Follies (Kennedy Center 2011)

Cabaret (Tour 2017)

Hello Dolly (Broadway 2018)

Les Miserables (Broadway 2007)

My favorite composer is Sondheim. I’ve seen major revivals of:

Sweeney Todd

Follies

Into the Woods

Company

Merrily We Roll Along.

I’m so far missing:

A little Night Music

Anyone Can Whistle

Sunday in the Park With George

Assassins

Passion

[quote]Closen time.

ABC! Always Be Closen!

I’m excited about the new one-woman show by Viola, ‘Black!’.

5 hours with no intermissions, no concessions will be open. Tickets are only available to yts for $5,000 each. The plot is Viola sits in a club chair with an ottoman and says the word “Black” over and over in different dramatic vocal interpretations.

Sounds like a hit.

R22, what about Pacific Overtures and The Frogs?

Will The Agency make it???

I saw Ohio State Murders yesterday. Audra is so magnetic — and she’s the best cry-on-demand actress on Bway today.

The play is just okay. It’s beautifully written—but it should have been the monologue it was meant to be and acts like. Having the other barely speaking actors makes the plot clearer but just having Audra could have changed this from a “just okay” evening to a “tour-de-force” moment.

The 75 minutes actually felt right. The ending could have been fleshed out just a bit more but if it were too much longer, it would have dragged.

R26 whoopsie housewives thread

I feel bad for Audra. Between this FLOP and Frankie and Johnny, it proves she doesn’t sell tickets unless she is singing in an old revival.

I think Audra's ability to create a hit musical is a big myth. Unlike someone like Hugh Jackman (and is there anyone else even comparable?), I don't think Audra's presence would have any effect on a new musical, or even a musical revival, that didn't get good to great reviews.

A wonderfully bitchy Sondheim letter. He would've absolutely been a DLer.

[quote]I hate writing letters!

Ha!

That is pure gold, r31.

Thanks for posting.

R31, love that letter!!

R30, no one claims Audra can create a big hit on her own. She definitely sells tickets because she’s an extraordinary stage actress and singer, but her star weight doesn’t come anywhere near Jackman’s.

Jackman himself mainly has that weight because of his movie stardom, not just because of his Bway work.

Re Sondheim's letter to Gershe: So, how DID George Abbott become George Abbot if, as Sondheim basically says, he had no talent? Sondheim specifically criticizes him for the two things Abbott was always praised for, humor and good pacing. Maybe he had lost it by the time of FORUM? After all, he was quite old even then.

R35, maybe Abbott was just really old by then

Audra can't create a hit on her own, BUT if she opens in a musical and gets great reviews, as she always does, people WILL NOT want to see the show without her. As was the case with PORGY AND BESS and a couple of other shows, this is a big problem because, in addition to scheduled absences, she calls out fairly often. And I think this was the main reason behind the swift closing of SHUFFLE ALONG.

The Audra “calls out often” stuff is BS.

[quote]but her star weight doesn’t come anywhere near Jackman’s.

If she keeps going to Chipotle every night, she'll be there soon.

[quote]5 hours with no intermissions, no concessions will be open. Tickets are only available to yts for $5,000 each. The plot is Viola sits in a club chair with an ottoman and says the word “Black” over and over in different dramatic vocal interpretations.

I'll wait for the musical.

No no, it isn't Vi saying "Black" over and over.

I thought it was her saying: "You lived. You took up space. You were present" a thousand times....?

Isn’t it true if of all “names” that people don’t want to see the show without them?

For example, when I saw Company, I was praying Patti was in. When I saw Caroline or Change, I wanted to make sure Sharon was in.

I don’t think that’s a quality specific to Audra. I think she is talented, but I think 6 tony awards is a bit much.

SHUFFLE ALONG died because it was a dull piece of shit no one wanted to see. Audra was a part of an ensemble. Her leaving had little to do with it collapsing.

Sixteen Broadway shows closing in the next month is a normal Winter in the business. Having to cram 25 shows in between March 1st and April 26th? Simple. Half will be gone by July.

Maybe Audra will play Imelda Marcos when Here Lies Love plays the Broadway Theatre. God, that space has been torn apart and re-jiggered so many times. it's a wonder it's still standing.

R43, I actually liked Shuffle Along but Audra played a minor role in it.

The show didn’t have alot of pizzazz but was directed fluidly and had a phenomenal cast.

I think Audra is ready for Mama Rose

I think Audra is ready for King Lear.

I’d pay to see her in either of those roles

[quote]The show didn’t have alot of pizzazz

Oh, dear.

Audra is ready for Mme Armfeldt.

When do you think Kimberly Akimbo will close?

Audra is ready for Everybody Loves Opal.

R42, I agree with you, and I didn't mean to imply otherwise.

R43, I totally disagree. Audra was indeed part of an "ensemble" of stars in that show, but she was the one who had, by that point, already won four or five Tony Awards. (I'm not going to go back and check, because the exact number doesn't matter.) So I think ticket buyers said to themselves, "I'd like to see that show with the full original cast, but I'm not going to attend when Audra is out." You can disagree with me if you like, but it sure seems like Scott Rudin agreed with me, to the point where he overreacted and closed the show when Audra got pregnant.

[Quote] You can disagree with me if you like, but it sure seems like Scott Rudin agreed with me, to the point where he overreacted and closed the show when Audra got pregnant.

Rudin publicly and legally scapegoated Audra’s pregnancy for a show that was on its last legs. He was bored and wanted it over.

I would rather see Audra in Hello Dolly or Mame before I want to see her as Rose.

[quote]Rudin publicly and legally scapegoated Audra’s pregnancy for a show that was on its last legs. He was bored and wanted it over.

I don't doubt that he would do something that, but was the show really not selling? I'm not talking about the advance sale, I'm referring to the performances in which she was scheduled to appear before leaving.

Please R50. Scott Rudin is a scumbag who knew Shuffle was a flop and wanted to shut it down. He grotesquely used Audra as an excuse.

It was not doing well for a show with such an expensive cast and creative crew R57. The reviews were also not good. Everyone knew it was DOA.

This afternoons matinee of ASL will be a 'concert performance' featuring Michael R Jackson as Usher. WTF. Is. Going. On.

I’ll fight Audra to the dead for Dolly!

Michael R Jackson played it originally off Bway, right?

I guess this means Usher and both Usher understudies are unable to perform hence the cancelled performances.

Did Rudin eventually get the insurance money for SHUFFLE?

[Quote] You can disagree with me if you like

How generous

Shuffle Along was awful. A complete disappointment for me especially coming from George Wolfe. Also, Audra wasn't really used very wisely in the show, expected to dance too much, not given great songs to sing, and she was costumed very unflatteringly by Ann Roth (though perhaps Audra's looming pregnancy can be blamed for some of that).

It's a familiar expression, R65. I'm sure you've said it yourself. So piss off.

[Quote] It's a familiar expression

Well, it’s common indeed.

Through the above posts I've been thinking, 'But Shuffle Along was a critically lauded hit...'

And then I realised I was thinking of After Midnight.

Gypsy could be a very interesting piece for Audra - if she can tap into some of the ugliness required to play Rose.

Has there ever been a black version of Gypsy done before? Or Mame? (I know Pearl Bailey and a host of others did Dolly.)

For absolutely no reason...

So what exactly is going on behind the scenes at A Strange Loop?

[quote]So what exactly is going on behind the scenes at A Strange Loop?

Shipoopi, r72.

R70 Leslie Uggams did it at 71 in a mixed cast in 2014

Who the fuck wants to see the author doing a concert performance at Broadway prices?!

[quote]Has there ever been a black version of Gypsy done before? Or Mame?

Does a black Vera count?

Really, has it been worth it to barely keep Passion the Best Musical winner with the all-time shortest run?

When I see a musical, all I want is to be swept away...

In a surprise Coup de Theatre, Tonya Pinkins will play the usher in a Strange Loop moving forward

But will she play it like she just had a stroke?

At which point the play will be renamed An Unrelenting Cunt.

Too bad Nipsey Russell is dead...

Well, r82, he is...

Did we ever learn the true worth of Sondheim's estate and how much the Widow Sondheim inherited?

Why the fuck is that so important to you, r84?

I would say if you had to have anal sex with an 80+ year old man…you deserve a lot of money

[quote]I would say if you had to have anal sex with an 80+ year old man…you deserve a lot of money

Then why are you doing it for free?

R87 wins the thread.

Ha! Yes, but the thing here is that R86 probably IS the 80+ year old man :-)

Hard to estimate the worth of an estate when that estate is making more money after the death than before.

If GYPSY is coming ‘round again, I’m willing to age up for the title role should my schedule correlate with the run.

I can't imagine it ever being revived, but you'd actually be great in a revival of Kiss of the Spiderwoman, R91

R31 - that is pure datalounge (albeit a very well written post). The paragraph about George Abbott’s complete ineptitude is something that would be posted on one of the theatre gossip threads.

Hello?

R91 Of course, we'd want you for Baby June!

R92, I think Kiss has a good chance of revival if it can get the right cast.

That said, I think it’s a stupid musical

So will the music Man have turned out to be a better deal for investors than Hello dolly?

Perhaps but then again Hugh Jackman is a bigger draw than Bette Midler.

Bette has a few problems. She’s famously liberal on Twitter and getting into feuds with Trump, which alienates some audiences.

Even though she’s liberal, she gets cancelled all the time for what is interpreted as “anti-trans” rhetoric, so that alienated some audiences.

In 2003, on LKL she famously questioned whether or not gay men were ready for marriage equality. This alienated some audiences.

Bette had David Hyde Pierce. He’s a fine actor…but he’s not Sutton Foster.

[quote]In 2003, on LKL she famously questioned whether or not gay men were ready for marriage equality. This alienated some audiences.

Sure, Jan.

[quote] Bette had David Hyde Pierce. He’s a fine actor…but he’s not Sutton Foster.

You’re right. He’s not Sutton Foster. By any stretch. He’s far more famous.

[quote]Bette has a few problems. She’s famously liberal on Twitter and getting into feuds with Trump, which alienates some audiences.

Her run would have been *so* much more successful if only she hadn't alienated MAGA!

[r101] I didn’t say she shouldn’t fight MAGA…what I said is MAGA republicans (who do travel to New York) maybe wouldn’t pay 300 bucks to see her

She did just fine without them, r102.

The show sold out every single night Bette was in it. No one cares if she alienated MAGA psychos. 🙄

MAGA Repugs only see Disney shows and jukebox musicals when they visit Broadway

The MAGAts also are terrible audiences. They expect to be a part of the action, and won’t just shut up and watch the show.

[r106] unfortunately that also applies to other groups as well. Audience participation is becoming a problem

Abbott was truly old, especially for back then (he was 75). No one could beat him when his style of show was in fashion, but as theatre became more complex, he didn't really adapt to changing times and insisting on the old musical comedy tropes. He sacrificed depth for speed. Though he directed a R&H show, he didn't adapt to their musical comedy innovations at all. His book is often cited as a major reason "A Tree Grows in Brooklyn" wasn't the hit it should have been.

I will say I did enjoy the pace in the Zaks-directed Music Man revival. I imagine that's what an Abbott show, at his best, felt like in terms of speed. Including intermission it was 2 hours and 25 minutes for what is very often a 3 hour show. I couldn't tell what was cut beyond the obvious things like "It's You" and "Wa-Tan-Yee", but the show flew.

[quote] [[R106]] unfortunately that also applies to other groups as well. Audience participation is becoming a problem

Native New York audiences don’t disrupt shows

Audiences in Los Angeles are not nearly as obnoxious

It’s the tourists who don’t know how to behave at a show and try to make it all about themselves.

Jesus, New Yorkers really need to get the fuck over themselves. No, there's definitely no loud and obnoxious New Yorkers, that never happens.

I live in Los Angeles, and when I’m in New York, I’ve found the loud and obnoxious New Yorkers know how to shut up when they’re in a theater. The tourists don’t.

Clearly you haven’t been to Broadway lately

Fat whiny Michael R Jackson is irritated with someone on Twitter who said they would have preferred a refund rather than his lame-ass ‘concert’ performance. Perfect.

Link!

Oh please. He claims 900 people were there yesterday.

LIES!

He can’t understand why someone would prefer to see an actual singing actor instead of a lard-ass self-satisfied cult of personality. Sit down, Fatso!

I for one just can't wait for his new musical at Vineyard.

I, for one, can't wait for the stage adaptation of The Room, which will appeal to no one. Who's shooting for EGOT status this time around?

He wasn't even off book, for his own musical.

He should have called me! I’m always off-book and ready to go!

He wasn’t off-book…for a thinly veiled retelling of his own sad-sack life. 🤷🏻‍♂️

What range, what versatility.

Just so, so deeply unprofessional, no matter how much he hisssssssssses to the contrary.

I remember seeing a red MAGA hat worn by an old white man when I saw Bette in Dolly. I was truly disgusted.

[Quote] Perhaps but then again Hugh Jackman is a bigger draw than Bette Midler.

r98 wtf are you actually talking about? Ticket sales, for Bette were insane, including premiums. The controversy was Rudin’s bookkeeping and spending that interfered with investors’ returns, not sales. Her politics? Wtf are you even talking about?

The question is, now with Rudin’s reckoning and supposed sidelining, are investors being better protected?

It will be interesting to see if Jackson ever has anything to talk about or write about other than himself

Perhaps an entire show about his nasty shit-encrusted arse?

No it’s clean as a whistle. The critics all made sure of that with their lapping tongues.

Someone on Reddit, who actually seems to like ASL and so presumably wouldn't lie, has said two people who work for the show said that Covid was being used as an excuse to cover up a toxic work environment, and transphobia. Wonder if this means someone wanted a private dressing room but was told no.

It was clear in all the latest press releases on ASL's recent performance(s) with Jackson, it was stated that the health issues were NOT Covid related.

All these posts about Jackson this and Jackson that......I thought for a minute Cheyenne Jackson was back treading the boards of Broadway.

Oh well.

[quote] It was clear in all the latest press releases on ASL's recent performance(s) with Jackson, it was stated that the health issues were NOT Covid related.

Mental health issues?

Drug/alcohol related?

The sugar diabeetus?

r128 And what about all those other cancellations where they were claiming Covid was the cause? You think Covid was just disproportionately impacting ASL compared to other shows?

There are THREE understudy for the Usher part and not one was willing to play the part for various bullshit "mental health" "I have a slight cough" bullshit. So the composer had to go in to make the curtain go up. What a disgrace and an embarrassment for Broadway. Equity is terrified of the cast, so they are enforcing nothing.

r132 Is it a case of they weren't willing to go on, or producers think they can avoid more refunds this way?

Thank fucking god Strange Loop is closing in seven days so I never have to hear about it again.

Now on the Decades Ed Sullivan marathon...

Why do you hate us r135?

Excuse me, r136, ex-c-u-u-s-e me. The Kessler Twins have graced the cover Of LIFE magazine, have verve to spare, *and* they have FOLLIES cred. They stay in the show.

[quote] Someone on Reddit, who actually seems to like ASL and so presumably wouldn't lie, has said two people who work for the show said ...

and this is why democracy is dead.

r138 Yes, gossip on a gossip site is why democracy is dead

It's Lainie's fault.

Lainie is Usher in A Strange Dykey Jewish Loop

at today's performances, Andrew Lloyd Webber played the Phantom, Neil Diamond played Neil Diamond, and dead Sondheim played Milky White

Does Mr. Ratzenberger owe just a little bit to Mr. Jack Burns?

Oh god, I remember LOATHING Burns and Schreiber, particularly Schreiber. Pair of fucking mediocrities.

But am I right, r144?

What's the source of the virulent, angry, intense hatred for Michael R. Jackson on this board? Merely because he wrote a musical some of you happen to not like?

A lot of people don’t like him because he always bashes white gay men and writes about how white gay men are the enemy on Twitter.

He also hates Hillary Clinton and writes about that a lot on Twitter as well.

[quote] A lot of people don’t like him because he always bashes white gay men and writes about how white gay men are the enemy on Twitter.

[italic]That's[/italic] why? Are some white gays that sensitive?

I saw four shows this weekend, with casts from 5 to 36. Not one understudy.

The fifth was Strange Loop at 7 pm.

r148 Not wanting to be insulted, bashed and called an enemy is being sensitive? Really?

So the response is to insult and bash in return?

I'm curious about what he said on Twitter that is deemed so heinous to warrant such a vitriolic attack on him? I haven't seen anything, except promoting his show, but I could have missed it.

In a similar vein, I've seen posts suggesting that he believe the cries of racism in theater are ridiculous, in line with most of the thinking on DL.

YAWN

We can "argue" all day about the artistic merits of "Loop" (I found it wildly uneven -- almost like if "In Trousers" had gone to Broadway. Yes, it was talented; no, it wasn't a good show) but the critics fell all over themselves, and it won every major and minor award. As a Broadway show, however, it's a disaster. First, when are producers going to learn that you don't hire a kid right out of college to lead a new Broadway musical. That was beyond dumb, and so embarrassing the way the kid kept quitting midshow. Don't hire someone who can't handle it. And if they can't handle it, let them go. All the celebrity producers were a joke, and it was a Tony grab that did nothing for the show. They also never figured out who the Broadway audience was for this -- if it even existed (and the marketing reflected that). My guess is the show has lost all its money, There's also been no announcement of a national tour, so that's probably dead too. And then there's been constant stories of backstage fights, ridiculous demands, and general chaos. I hope someone writes a book someday. Interesting case study...

Can someone provide the detail of what happened at Death of a Salesnan that caused Wendell Pierce to stop the show? I can’t figure out what’s happening in the video.

I’ve gone through the last 2 threads and can’t find it. Thank you!

*Salesman

R153, that all may be true. But why spew such hate on the writer about any of that? Most of that is out of his control.

I doubt Michael R. Jackson is sitting up there thrilled that his lead flakes and that the show is cancelled so often. He is not coming at this from any sense of entitlement like, say, the truly deranged Jeremy O. Harris does.

[quote]So the response is to insult and bash in return?

Do you genuinely not understand the difference between insulting and bashing an entire group of people because of the perceived actions of some of that group, as opposed to insulting and bashing a single person for specific things that person has done?

But the fact that you've already decided it must be racism shows you aren't actually interested in a discussion, you just want to similarly bash an entire group of people for the perceived actions of some of that group.

R157 = Certifiably Insane. No one said racism except for you, which reveals your hand.

r156, I didn't mention Michael R. Jackson once in my writing, so don't accuse me of "spewing hate."

R159. Honey, calm down. It seemed your response was trying to shed light on the above query about the amount of hate directed to MRJ. If it wasn't, it wasn't. I was merely asking for clarification. It wasn't a personal attack on you, even if you mistakenly perceived it as such.

r158 You literally said:

[quote]In a similar vein, I've seen posts suggesting that he believe the cries of racism in theater are ridiculous, in line with most of the thinking on DL.

Right there, you're trying to say that anyone criticising Jackson is doing so "in a similar vein" as denying racism.

So what's happened here is you said something stupid, and instead of just acknowledging that, you're denying your own words and trying to double down. Do you think that's going to end well for you?

r152 is the only sane person here.

[quote]Can someone provide the detail of what happened at Death of a Salesman that caused Wendell Pierce to stop the show? I can’t figure out what’s happening in the video.

Pierce did not stop the show, r154, the stage manager did. A woman in the front row had been being disruptive during Act 1, talking loudly to her husband, talking to the actors. I don't know what, if any measures were taken during the intermission, but she was no better at the start of Act 2. The stage manager stopped the show and instructed the actors to clear the stage - which all did except for Pierce, who engaged with the woman at some length.

He was hailed as a hero by many, but imho, he only prolonged the situation, giving that patron her 15 minutes of fame. Now she can regale her friends with the tale of the night she stopped a Broadway show and had Wendell pleading with her. He should have left the stage when told to.

She caused the disruption, but he destroyed any chance of the show getting back on track by not leaving the stage. After that, no one could see him as Willy Loman after seeing Wendell Pierce arguing with a patron.

Yeah.... R161 R159 R157 R153 R150 comes with an insidious agenda, and when confronted about it, offers no back-up and argues in circles about semantics, and accuses others of exactly what he's doing. Classic bully tactic. I need to stop engaging him. Time to block.

R153 here...I am not any of those other replies. Please stop making assumptions.

R154 there were a number of news articles about it.

I long for the days we all worried and bitched about Cheyenne Jackson leaving his longtime boyfriend for a twink. Now, there was some theatre gossip.

The person for whom Cheyenne left his longtime boyfriend was, I believe, too old to qualify as a "twink," but he was apparently a brainwashed member of a cult.

Cheyenne Jackson>Michael R Jackson

Not really R169. They’re both awful.

This was probably in one of the last few threads but seems to be worth a repost.

The two most notable passages:

[quote] Something was very wrong, it was declared. Something “systemic.” “KPOP” closed because of a “racist” New York Times review, it was reported. “Ain’t No Mo’” died due to poor marketing and public relations! The anemic grosses at “Top Dog/Underdog” means plays died with the pandemic! The flopping of “Almost Famous” means movie musicals are toast! Very little of all that actually is true. Shows have always failed on Broadway for the same reason: audiences don’t want to come and see them. When the box office goes quiet, the show goes dark. It was ever thus.

and especially

[quote] Since more people go to musicals than plays, “Strange Loop” did not help “Ain’t No’ Mo.” **Nor did “1776,” a musical famously about American exceptionalism that was given a deconstructive, burn-it-down production that demonstrably despised the premise of its own material.**

READ 'EM HUNTY!

Interesting stuff from Jones. I like this:

[quote] “Some Like it Hot,” an artful endeavor from experienced craftspeople, took a movie about sexual complexity and ambivalence and was so terrified of what might happen on stage, it lingered on nothing, raised tempos to breakneck speed and killed off the very reason most people go to a show with that title. These days, it’s no sex please, we’re Broadway. Not a winning strategy.

FUCK placating MAGA supporters.

Lol. That entire Daily News article (poorly written and half literate as it is) can be summed up by one simple phrase: GO WOKE, GO BROKE.

[quote]Lol. That entire Daily News article (poorly written and half literate as it is) can be summed up by one simple phrase: GO WOKE, GO BROKE.

I mean if you're an illiterate racist, sure. Words with more than one syllable are hard.

Wow a couple of you have really made this not fun anymore. Congratulations and thanks for nothing

I second r176.

Chris Jones is the columnist for the Chicago Tribune - or was. Guessing that piece was syndicated to other papers.

Isn't Chris Jones the critic who keeps giving those positive reviews to bad new musicals in their Chicago tryouts, encouraging them to move onto Broadway and ultimately fail?

Well, it isn't...

If you're the sort who likes the genealogy shows (and I am that sort), Jeff Daniels is on PBS tomorrow evening. He briefly mentions his first show, which apparently was panned quite badly.

Charles McNulty committed the critic's Crimes Against Humanity for his glowing review of "Almost Famous" in San Diego. It convinced everyone they didn't need to work on what was a terrible show which closed in what, 6 weeks?

Tom Kitt is box office poison. Wake up, Broadway.

3 Sondheims this year -- Into the Woods, Merrily, Sweeney — 4 if you count last season's Company.

There’s the door R176. Go back to broadwayworld or where the fuck your came from. You too R177.

......

You assume you were one of the ones r176 was referring to, r185?

Paul Mescal has replaced Blake Jenner in the film of MERRILY.

How long before they replace Beanie? Ben? Cancel the whole damn thing??

Paul Mescal has replaced Blake Jenner as Franklin Shepard in the film of Merrily We Roll Along.

Didn’t Jenner already shoot “Our Time” with Beanie and Ben?

MERDE!

Yes,r189, Linklater admits they had already filmed some scenes! They may be able to do some of it digitally, like when Chris Plummer replaced Spacey in that film, but educated guess says he’s scrambling to get Beanie and Platt in before they age any more to refilm with Mescal those scenes.

[quote]Platt in before they age any more

With Ben, that's pretty much week to week. Good luck to that editor

Mescal is getting so many plum roles! Is it the casting couch?

Mescal is great! I'm excited that he's playing Franklin but I agree, they gotta get Ben on there before he starts looking even older....

r193 Are there many blind casting directors?

Mescal must have some serious sizemeat.

[quote]Paul Mescal has replaced Blake Jenner as Franklin Shepard in the film of Merrily We Roll Along.

If only they could re-cast the other two parts....

R196, totally visible in Normal People. Nothing extraordinary, but perfectly nice sized.

Suck it haters! Ben Platt was on Morning Joe with Michaela Diamond this morning to announce the Broadway transfer of PARADE and he was not only adorable and beautifully groomed but totally articulate with none of his former awkward tics.

Actually made me want to see the show.

You should have your pick of tickets, R199.

Actually, word is out and PARADE tickets are going fast. My partner is trying and the website says there's an hour wait

Will it be Platt v Groban for the Tony?

Will it be Platt v Groban for the Tony?

Don't forget G. Harrison Ghee!

[quote] Suck it haters!

Sorry, but I'm a lady.

And also, I don't do anything smaller than a bratwurst, so your Vienna Sausage must remain untouched.

actor in a play is going to be a tough category!

I just tried. Apparently the website crashed from demand....

Actress in a musical is tough too

Sara for Into the Woods

Victoria Clark for Kimberly

Annaleigh Ashford for Sweeney

Michaela for Parade

And I’m sure much more

[quote]Paul Mescal has replaced Blake Jenner as Franklin Shepard in the film of Merrily We Roll Along.

Given everything that has happened since this project was announced -- the reaction to Ben Platt's performance in the film of DEAR EVAN HANSEN, Beanie's humiliation in FUNNY GIRL on Broadway, and the Blake Jenner scandal -- I'm amazed that movie hasn't been canceled outright, or that they haven't at least decided not to film it over 20 years, and instead follow a normal schedule for filming and use makeup for the chronologically later scenes.

Plus the fact that the director is currently 62.

Yes, R210. That too. I wouldn't be at all surprised if there's an imminent announcement that they're abandoning the idea of filming this over 20 years, which was stupid and unnecessary to begin with.

But in theory it sounds like a cool idea. Foolhardy, perhaps, but cool.

Funny Girl tour starts in September. Lea will surely play the West Coast engagements. They'll probably give the rest of the dates to Benko.

They'll only give Fanny to Julie Benko if they can come up with some major film/TV names for Nicky and Momma Brice (and I don't count Tovah!). Who would you cast DLers??

I have to say, I'm surprised...Is this all Ben Platt, or is there some love for this show?

My guess is the producers paid to have the site seem as though it crashed. NO ONE is buying tickets to anything Platt does, movies, concert appearances, etc.

It's the Leopoldstadt audiences.

"This Parade is Bigger Than Macy's: Line for Tix Is Now Winding Through All Five Boroughs!"

Nah, it's Daddy Platt buying his very own Veruca a golden goose.

[quote] I would rather see Audra in Hello Dolly or Mame

Yes, she’ll be a big hit in the title song set on the ol’ plantation. Isn’t there a lyric about making the cotton easy to pick? Maybe Cynthia Erbio (I probably got that spelling wrong) can play Vera.

I should say not!

[quote]But in theory it sounds like a cool idea. Foolhardy, perhaps, but cool.

Only in theory, but yes, foolish and problem-ridden on a practical level.

MUFFY STEPPED ON DA' BALL!

Fran Drescher for tour Mama Brice.

Loretta Swit *IS* Rosie Brice

[quote] MUFFY STEPPED ON DA' BALL!

That would be Bunny Bixler, R223, who - need I remind you - I played against in the semi-finals. The very semi-finals, mind you.

Shuffle Along closed because Audra got pregnant. It sold much better with her in it than not.

I bought a ticket to 'Parade.'. I've wanted to see it performed for a long time, but didn't see the Encores because Platt was in it. However, the reviews were really good, so I'm going in June. Surprisingly, the several June dates I looked at had already sold most of the orchestra seats.

Is there any reason Platt wouldn't stay with PARADE for a year? Is it a limited run?

Yes, it's a limited run through the beginning of August.

I think MWRA sounds great. To watch actual actors in their 40s get younger as the film progresses could be very moving. But maybe they should start over with a new cast.

R228, they hold many orchestra seats back. They are the easiest to sell.

To me, although the potential benefits of having the cast of MERRILY WE ROLL ALONG actually age 20 years are considerable, they're FAR outweighed by the tremendous potential pitfalls and difficulties involved in filming over that time period. One of which has just been clearly demonstrated. Even if none of the actors die or become incapacitated or whatever, there are SO many things that can go wrong to prevent one or more of them from continuing. Not to mention the director.

Also, considering the amazing level of quality to which CGI and film makeup have risen, the 20-year method is completely unnecessary. They should just film the whole thing now and gradually age the actors for the later scenes through either of those two methods or a combination.

I’m assuming Merrily will have a similar excitement around tickets.

We bought tickets to Parade and paid way too much

Think how fat Beanie will be in 20 years.That is, if her cholesterol doesn’t kill her first

[quote]I think MWRA sounds great. To watch actual actors in their 40s get younger as the film progresses could be very moving. But maybe they should start over with a new cast.

Start all over again with a movie that will take 20 years to make? Not to mention that a large number of the people who would be most interested in seeing the movie will be dead before it's released.

That brings up another issue - what if someone dies? There are several other characters who will have to be portrayed at various ages besides the three leads. What if they lose someone? Beanie. Being obese would be a possibility but really it could be anyone. It sounds like a stupid idea.

The real-life ageing of the actors in 'Merrily...' won't compensate for the inherent weaknesses of its plot. As a piece of drama, this show was stillborn.

I couldn’t possibly think of anyone in the industry who could play roles from teenage years through even late 30s, if aged up…

Merrily only works with Karen Ziemba as Mary Flynn

[Quote] Also, considering the amazing level of quality to which CGI and film makeup have risen, the 20-year method is completely unnecessary

Yes that worked well for me last time

First of all, R242, that was one particular case in which some unfortunate decisions were made in how to make Ben Platt look younger. But also, in the case of MERRILY, makeup and/or CGI would only be required to make the actors look older, not younger, and there have been many examples of films in which that has been done very successfully.

Remember Linklater did this to really great effect for Boyhood. Way more moving and rich than any CGI would have been.

But Boyhood had the advantage of the story being able to evolve as the production evolved.

Which was the foundation of its success.

Also, so much of BOYHOOD was about watching the children grow up. Not really about Ethan Hawke and Patricia Arquette againg, which was subtle enough that it probably could have been accomplished with a little makeup.

She still sounds good.....

[quote]But Boyhood had the advantage of the story being able to evolve as the production evolved. Which was the foundation of its success.

Thank you. Incredible how so many people don't realize this huge difference between BOYHOOD and MERRILY WE ROLL ALONG.

A lovely, caring, and hilarious lady--

It's still Backwards...

r247 "still"? That's from 11 years ago.

Adrienne seven years ago...

Wow this thread is really dying. Just random clips of Adrienne Barbeau with no other commentary. There was a time when I would log into this site a year or so ago, and if I hadn’t logged in all day, there would be 80-100 comments.

Now there are 10-15…and all of them are useless

[quote]Now there are 10-15…and all of them are useless

Try not being a cunt and post something useful, r253.

What will be High Jackman's next Broadway musical? Georges in La Cage? Mack & Mabel? Vernon Gersch?????

R253 indeed IS a huge cunt.

BUT

the fact that the site has now been in perma Primetime for a month or more probably has had an impact, too.

Rose, r255.

Hugh Jackman and James Corden in 'Nuns on the Run: The Musical'

A gender swapped version of Gypsy?

"Gaysy!"

Hugh Jackman IS Mama Ross! Asking papa for 88 bucks to start his own interior design firm!

One son goes off and becomes a....lawyer? Ross pushes the other son to become an OnlyFans star, known for his ability to self-suck while wearing a buttplug. (Hey, you gotta have a gimmick....)

So clever, r259.

Hugh as the Man In The Chair in a revival of The Drowsy Chaperone.

I could easily envision a revival of the criminally underrated Carnival! with a fresh-faced young actress such as myself opposite Mr. Jackman, particularly given the success of the hit revival of Mr. Merrill’s Funny Girl.

[quote] Hugh as the Man In The Chair in a revival of The Drowsy Chaperone.

I'll be The Chair! I work well under significant pressure!

Well...Ethel should liven up the proceedings...

"Man of La Mancha" for Hugh.

"Dear World" for Hugh.

Dance a Little Closer aka Close a Little Faster for Hugh. The role of the broken down lounge singer which a miscast Len Cariou played (it should have been Robert Goulet) would be perfect for him.

Speaking of Goulet, Hugh's already too old for it, but I feel like he could have did a credible job with The Happy Time.

Hugh Jackman IS Reno Sweeney!

Nothing funnier than zany casting suggestions.

[quote]he could have did a credible job with The Happy Time.

Oh, DEAR.

Not new news here but here's an official article....

The "WE LEARNED NOTHING FROM K-POP" Award goes to....the producers of Here Lies Love!

It might be the opposite, R273. KPOP was great fun Off-Broadway, but that was due to the immersive staging. A lot happened to KPOP as it was rethought and restaged for Broadway, but losing the very thing that made it unique and fun was fatal to it. The material was not strong enough to be exposed in the more proscenium-bound staging it received on Broadway, even if Circle in the Square is an unconventional space.

Here Lies Love is a better piece of writing than KPOP to begin with, but they are retaining the staging and dance party quality for Broadway, which was one of the things people loved most about it. I wouldn't lump Here Lies Love and KPOP together, just because they both focus on Asian characters. It's also a good use for the Broadway Theatre, one of the least hospitable venues in the theatre district.

The difference being that Here Lies Love has good music.

The Marcos family is now back in power...ironic curtain call MEGAMIX!

Idina's new musical is written and directed by Datalounge's FAVORITE Broadway musical mistress murderer: TINA LANDAU

Oh God, she's doing the lyrics too...This is kind of hilarious.

While Here Lies Loves was somewhat interesting, it was the staging that heightened it. The audience walked through the space as the show was performed.

Unless Bway can somehow mimic that --which I cant imagine how--it'll be just blah

Unless they close the mezzanine and the balcony for HLL, those poor actors will be climbing up ladders, running up inclines, and sweating their balls off during the course of the show. So Covid-friendly. Expect understudies and stand-bys to be on for half the performances. Do they really think audiences are going to climb every mountain to follow the action? Without masks? This could be another Kong-sized mistake.

Saw it in its original form and haven't for a minute hoped I could see it again. Loud and relentless. And I hated being forced to move around to follow the story of someone I didn't give a fuck about.

Will Tina Landau have her way — lezbionically — with Ms. Idina Menses?

Are Tina Landau and Joan Allen still married?

"Redwood?" Will they be interpolating "Someone In a Tree?" Or "I Talk To the Trees?"

“Tree for Two”

I guess Barbara Walters won't be around to ask Idina why she identifies as redwood.

Idina is so frustrating. She is a huge talent…but INSISTS on doing original work so we are stuck with middling IF/Then and Redwoods instead of her taking a crack at major musicals that would 1) suit her 2) make a shit ton of money.

I hope to get a date with one of the cute Filipino HLL chorus boys.

[quote] Idina is so frustrating. She is a huge talent…but INSISTS on doing original work so we are stuck with middling IF/Then and Redwoods instead of her taking a crack at major musicals that would 1) suit her 2) make a shit ton of money.

Maybe she’s not a money worshipper.

I kind of understand Idina. Legacies are built on originating roles. If she has some misses, well, so did Ethel Merman. But yes, she needs a hit soon. It's been 20 years since Wicked.

[quote] Idina is so frustrating. She is an oversinging, screeching banshee

FIFY

I’m glad she’s throwing her focus towards new projects, rather than just cashing in on her name.

She may not be a moneyworshipper but I would rather spend my money watching her play Rose (instead of Audra) than sit through Redwoods

I'm sorry don't we always say we're tired of revivals and jukeboxes? Damned if they do, damned if they don't.

[quote]I’m glad she’s throwing her focus towards new projects, rather than just cashing in on her name.

Yes, but it's not ultimately helpful for a star to give her all to a new musical if it's so poorly written that it will have very few if any future productions, like IF/THEN. So it would have been nice if Idina had done one or two revivals along the way. I think that was the poster's point, and I agree. She was one of the headliners of that London concert version of CHESS with Josh Groban and Adam Pascal, and as far as I'm concerned, that was one of the highlights of her career.

R284, I hope they interpolate “I’ll plant my own tree”

The two stars of "New York, New York" have been announced. They are Colton Ryan and Anna Uzele. So much for going with names. Two songs have been released by the pair. Anna does a decent "World Goes Round", but she's no Liza. Colton, however, performs a new song, (presumedly with lyrics by Lin-Manuel), "Music, Money, Love" and damn, if he doesn't sound like Mel Torme. Which is perfect for a musical set in 1946.

Anna Uzele Dazeem

A link would have killed you, r297?

I don't know who Colton Ryan is but his name sounds like one of those that's ben bandied about on DL Sex threads forever. Am I confusing him with someone else?

[quote]Anna does a decent "World Goes Round", but she's no Liza.

She has a nice sound though, r297.

Colton...

Mr. Kander...

R300, you are probably thinking of Colton Haynes.

That "But The World Goes 'Round" performance is technically fine but sung with such little emotion and drama compared to Liza. If it was going to be that much lesser of a performance than the original, they really should've started marketing with other songs.

[quote] She may not be a moneyworshipper but I would rather spend my money watching her play Rose (instead of Audra) than sit through Redwoods

Maybe she’s picking projects based on what makes her happy and not on what makes you happy.

The Pasadena Playhouse just announced the cast for their production of "Sunday in the Park with George".

Dot/Marie will be played by Krystina Alabado and Georges/George will be Graham Phillips.

Looks like the Pasadena Playhouse just saved me some money.

Any news on Night Music, r307?

Colton Ryan’s 40 Load Weekend

Krystina...

[quote]Maybe she’s picking projects based on what makes her happy and not on what makes you happy.

I hate nasty, sarcastic, stupid, obvious responses like this. Any fan has a right to express the opinion that they don't like some of the choices made by the performer they admire. And my opinion is to repeat that IF/THEN turned out to be a colossal waste of time, because it was such a mess. Of course, maybe the writing wasn't completely finished when Idina committed to it, and if so, we should cut her some slack for that reason. And though I personally think Michael Greif is a bad director, I'm sure she disagrees, based on their history with RENT.

I agree If/Then sucked

The choice may have been mistaken, the choosing was not

[quote] I hate nasty, sarcastic, stupid, obvious responses like this.

New flash. Nobody gives a fuck what you hate

[quote] Any fan has a right to express the opinion that they don't like some of the choices made by the performer they admire

Who’s stopping you?

Sheesh, that new york ny song sux

As a decided non-fan of Idina Menzel, I never thought that I'd defend her . . . but it's the DL.

Her commitment to doing new musicals is to my mind thoroughly admirable. She made that plain when her first project after WICKED was the very "downtown" SEE WHAT I WANNA SEE. (Apart from concert appearances in HAIR and CHESS, has she done any other revivals?)

I didn't love IF/THEN, but it was far from an embarrassment -- it ran a solid year on Broadway -- and in any case I give her a lot of credit for putting her star power behind such a project instead of a revival.

I agree with the the reviews of NY NY above. The lady has no star quality in singing that song!

Does she do okay? Yes!

Is it reason to buy a ticket? No!

Where is the Betty Buckley or Patti LuPone of today?

Where is the stop the show, showstopper?

That NYNY song is deadly dull.

I am also very surprised but how bad that young woman sounds. What a boring rendition...

Idina was great fun in that new Joshua Harmon play SKINTIGHT at The Roundabout a few years ago. And she didn't mind playing the mother of a 20 something and sharing the stage with a hunky male stripper.

Here's the challenge NYNY faces, which SLIH has presented to us: Today's audiences are less interested in "new" musicals that celebrate the musical forms of the 40s, 50s, and 60s, i.e. anything without rock influences. It just sounds "out of date" to them and an echo of a past they're just not that connected to. (Sort of like when they were still producing Operettas in the late 40s/50s. It was done.). Today's audiences want their pasts wrapped up in pop songs they connected to and know. It's why Neil Diamond will outgross NYNY. I'm a great American Songbook fan, but its clear it's now just a niche form. Why they keep creating new musicals based on the niche is weird to me.

First look at Josh Groban and Annaleigh Ashford in SWEENEY TODD.

Why does this look like "the Muppets do SWEENEY TOOD"?

I know I'll take much heat here, but I liked If/then. I know it was flawed, but unlike most new musicals, it had something to say, and there were moments and songs that moved me. "you don't have to love me" sung by Rapp broke my heart.

No distressing, r323?

Groban's hair looks hot like that.

Did annnalejgh insist on all that retouching? She is Barbie flawless

It's...bloodless.

[quote]New flash. Nobody gives a fuck what you hate

And nobody gives a fuck that you don't give a fuck what I hate.

Bloodless, I say.

R314, someone here responded to someone else's criticsm of Idina Menzel's choices of projects with the childish, idiotic comment "Maybe she’s picking projects based on what makes her happy and not on what makes you happy," which is totally beside the point.

[quote] As a decided non-fan of Idina Menzel, I never thought that I'd defend her . . . but it's the DL. Her commitment to doing new musicals is to my mind thoroughly admirable. She made that plain when her first project after WICKED was the very "downtown" SEE WHAT I WANNA SEE.

Although SEE WHAT I WANNA SEE was completely non-commercial, and I'm sure few people would describe it as a great musical, it was a worthy piece of work, whereas IF/THEN was a mess. I would agree with R316 that it was far from an embarrassment, but still a mess. P.S. I thought the non musical SKINTIGHT was also a worthy play, and Idina was very good in it.

Idina was resplendent in SEE WHAT I WANNA SEE, playing a very tricky and complex trio of roles - a medieval Japanese queen, a 1950s nightclub singer and a post-9/11 NYC coke addicted soap actress - with obviously very challenging material courtesy of Michael John LaChiusa. She was fearless and impeccable. One of my favorite theatre experiences of the 2000s. Plus, she re-teamed with her RENT co-star for the show, very charismatic and ripped Aaron Lohr, and apparently since they are now long married that spelled the end of her relationship with babydaddy/husband #1 Taye Diggs.

[quote] And nobody gives a fuck that you don't give a fuck what I hate.

Proof we’re talking with a frau

No gay man would think that’s a decent comeback.

[quote]I know I'll take much heat here, but I liked If/then. I know it was flawed, but unlike most new musicals, it had something to say,

Honest question: What did it have to say? That a person's life can be very different based on various decisions they make about where to live, whether or not to get married, etc.? I would say that's quite an obvious point, but the fact that it's so obvious was not the main problem with the show. The problem was that the story was told with extreme ineptitude.

The Sweeney pics look like they were made by an AI.

Idina played Lea's mother on "Glee," so .... Mrs. Brice?

SEE WHAT I WANNA SEE was just okay--forgettable.

It's easy to criticize Mendel's choices in retrospect. I assume the creative teams think they'll all have massive hits when they start a production. She's just chosen a bunch of turkeys.

I can only assume her work on TV (Glee) and movies (esp. Frozen) has financed a life where she can do these original stage works.

R338, of course you're right. I'm sure Idina and everyone else thought IF/THEN would turn out far better than it actually did. P.S. I remember that Anthony Rapp publicly blasted the critics for not liking the show, the kind of thing that's happening more and more these days. But in my opinion, the criticism was completely justified. I went to see IF/THEN with a friend who goes to the theater very frequently, and he said it was one of the worst shows he ever saw on Broadway.

R339. I saw If/Then in DC and I had to struggle to stay awake—one of two times in fifty years of theatre-going and the other time was in my 20s after standing in the TKTS line in late December for an hour and the cold had exhausted me.

R339 Agreed. IF/Then was incredibly mediocre and Idina miscast.

Kimberly Akimbo is in great shape. Saw it again with 2 understudies on. Fuck SLIH and NYNY. This is the best musical of the season, hands down.

The concept of IF/THEN sounded great. If the show had been well written, either by the team that wound up writing it or someone else, it might have been great. Can you imagine if Sondheim at the height of his powers had written a show with that concept, and with a book by someone other than James Lapine? Could have been something really special.

Sounds like we're going to be subjected to a musical version of Thelma and Louise with Amanda Seyfried and Evan Rachel Wood

What about Thelma and Louise...*sings*?

R345, expect a lot of songs about women's empowerment. I actually think the property could make a good musical IF well written, but of course, that's a huge "if."

Verdi or Puccini could have rocked Thelma & Louise. It’d make a great tragic opera.

"...and the truck blows up, right on stage!"

We know how it ends.

It would suck as a conventional book musical, but I can see it either sung through song cycle, or having a Greek chorus (like a country bar band) who sings and not the characters, or something else unusual.

But standard book musical format will kill it.

Has anyone heard Amanda sing? (Les Miserables, Mama Mia) I think getting her near a musical is not a strong choice!

at the Golden Globes they said she wasn't present because she's in the middle of creating a new musical

and now of course I see that's the lead of the story. oops.

[quote]It would suck as a conventional book musical, but I can see it either sung through song cycle, or having a Greek chorus (like a country bar band) who sings and not the characters, or something else unusual.

Sounds like you think spoken dialogue scenes wouldn't work in a musical of THELMA & LOUISE, but why not? It's interesting to me how people come up with such theories.

The ending could be a major coup de theâtre.

R349 You don't.

But we all know how it ends. Won't that spoil it just a little bit?

Again, I want a musical to sweep me away, not drive me off a cliff.

[quote] Sounds like you think spoken dialogue scenes wouldn't work in a musical of THELMA & LOUISE, but why not? It's interesting to me how people come up with such theories.

Spoken dialogue isn’t necessarily a book musical. Come from Away had lots of dialogue and I wouldn’t consider it a book musical.

The book musical structure of song, scene, song, scene, song, scene, really long song, intermission, then rinse and repeat is dull and clichéd. Difficult stories demand more interesting structure.

Hadestown is another show that played with the structure, having constant music, some dialogue, and very little recitative.

[quote]Spoken dialogue isn’t necessarily a book musical. Come from Away had lots of dialogue and I wouldn’t consider it a book musical.

Various book musicals have far different percentages of score vs. book. Do you not consider WEST SIDE STORY a book musical? What about THE MOST HAPPY FELLA?

Anyway, my main point is that I don't understand why you are so convinced that THELMA & LOUISE would not work in the form of a traditional book musical.

[quote] Various book musicals have far different percentages of score vs. book. Do you not consider WEST SIDE STORY a book musical? What about THE MOST HAPPY FELLA?

Both WSS and MHF are traditional book musicals

[quote] Anyway, my main point is that I don't understand why you are so convinced that THELMA & LOUISE would not work in the form of a traditional book musical.

Because it’s boring and cliché. If T&L is cliché, it will be stillborn.

So, R362, you're saying that any new musical written with a traditional book musical structure will necessarily be "boring and cliché?" Do you think KIMBERLY AKIMBO is boring and cliché?

I suspect you have no idea what you're talking about.

Haven’t seen KA, so can’t pass opinion on it

I have seen an awful lot of 80s and 90s movie turned into very pedestrian book musicals. It’s a formula guaranteed to fail.

Yes, let’s give Thelma and Louise the Tootsie/Pretty Woman/Mrs. Doubtfire treatment. That’s sure to work this time.

[quote]But we all know how it ends. Won't that spoil it just a little bit?

Honey, it's not "The Sixth Sense."

When will the full A Strange Loop story be told?? What's the old adage about unhappy working actors??!

Okay, I actually sat and watched this the whole way through.

A Shvartze Loop

Why the fuck would anyone want to see a Thelma and Louise musical???

Why would anyone want to see a PYGMALION musical? Why would anyone want to see a SWEENEY TODD musical? A good or even great musical can be made from any compelling story with interesting characters, IF it's well written by the composer, lyricist, and book writer. I would have liked to see the WAITRESS team tackle THELMA & LOUISE..

R371, I most certainly do not.

STOP the movie to stage transfers!!

R371, the only reasons My Fair Lady and Sweeney Todd became classics is because they were written by genius musical teams.

WAITRESS, not so much

R372, are you really SO stupid and small-minded that you REALLY think there's something inherently heinous about the idea of adapting a non-musical film as a stage musical? Some of those adaptations have been very successful and have pleased millions of people, even if YOU hate them.

Your post proves my point, R373. To repeat: "A good or even great musical can be made from any compelling story with interesting characters, IF it's well written by the composer, lyricist, and book writer." To come at this from the opposite direction, a musical that is NOT well written by the composer, lyricist, and book writer will be bad regardless of what source it's adapted from. So you can keep shouting your insistence that there's absolutely no way THELMA & LOUISE could ever be made into a good musical, but I do not agree.

[Quote] [R372], are you really SO stupid and small-minded that you REALLY think there's something inherently heinous about the idea of adapting a non-musical film as a stage musical? Some of those adaptations have been very successful and have pleased millions of people, even if YOU hate them.

Yes, it’s heinous because it’s become the typical moneygrab to attract tourists.

These movies are chosen solely because they are popular, not because they’re calling out for musicalization. While some have been popular, the vast majority of them have not.

Bway has become the Las Vegas of the East. Throw up whatever shit you can create, add some popular songs, charge outlandish premium prices—and pray the tourists are stupid enough to pay them.

a much larger portion of posts here is just carping at one another rather than writing about theater. it sucks.

R373, I’m sure T&L has the possibility of becoming a good musical but 1 in a million shot isn’t so great.

But, producers, desperate to suck money out of tourists, will push it up on stage no matter what the outcome is.

[Quote] a much larger portion of posts here is just carping at one another rather than writing about theater.

Hoping for a musical version of Thelma and Louise isn’t writing about theatre it’s giving in to the fact that Bway has become shit

‘It’s a hard time’: why are so many Broadway shows closing early?“

Maybe because producers have completely alienated the NY-based audience with crap and high ticket prices that when there are no tourists to bilk, NYers no longer fill in the gap.

If we do wind up with a Thelma and Louise musical I beg of you, please don't get Julie Taymor to direct.

"Goddammit I just want the car to start upstage and drive straight into the house! Why is that so difficult!?!"

Wasn’t Pamela Anderson creating a documentary about her time in Chicago? Anyone know when it’s expected?

[Quote] If we do wind up with a Thelma and Louise musical I beg of you, please don't get Julie Taymor to direct.

It’ll be done with puppets

R376, I agree with all of that, but it still doesn't mean that adapting a popular film to the musical stage is an INHERENTLY bad idea. The problem, as you say, is WHY the properties are chosen and, also, that so many of the adaptations are no good.

As for THELMA & LOUISE, although I love that movie, I do not think it has retained such a great deal of popularity with current audiences that a musical adaptation of it could be described as a "money grab." I mean, it's not BACK TO THE FUTURE.

[Quote] I agree with all of that, but it still doesn't mean that adapting a popular film to the musical stage is an INHERENTLY bad idea.

It’s not, but in today’s climate of every popular movie being thrown onto Bway stages, it will just be part of that trend. It will flop and die, never to be seen again like Some Like it Hot, Tootsie, Mrs Doubtfire, Beetlejuice, and on and on and on

[Quote] As for THELMA & LOUISE, although I love that movie, I do not think it has retained such a great deal of popularity with current audiences that a musical adaptation of it could be described as a "money grab." I mean, it's not BACK TO THE FUTURE.

The only reason T&L would be chosen to musicalize now is because it was a popular movie.

Or, R386, because it's a very compelling story about the very close, very strong relationship that develops between two women when they have to go on the run from the law because one of them killed a man who was trying to rape the other. Again, I don't think the title THELMA & LOUISE would be expected to attract tourist audiences on the level of BEETLEJUICE or TOOTSIE or BACK TO THE FUTURE.

By your logic, I guess you would say, "the only reason HAIRSPRAY would be chosen to musicalize is because it was a popular movie." And if it were up to you, I guess we wouldn't have the HAIRSPRAY musical at all.

It's true that movies are as good a source as any for the basis of a musical. At the same time, failed film-to-stage properties extend back as far as 1953's Hazel Flagg and Carnival in Flanders. The thing is that Broadway professionals would strive to give these properties their own identities, including quite often their own separate titles. They were adapted because the creative teams saw something in the stories that could benefit from musicalizing them. But something shifted around the time Disney came to Broadway in the mid 1990s. Seeing the buckets of money that could be made from titles like Beauty and the Beast and The Lion King, Universal, Warner Brothers, MGM and 20th Century Fox, among others, jumped in to try to emulate Disney's success by raiding their catalogues for 'Brand Name Here - The Musical.' Instead of a creative endeavor, these film to stage properties become a merchandizing arm of a movie studio desperately trying to recycle their hits. The result is that we have these anemic film-to-stage musicals that have no reason for being because they add nothing to the story being told. Not to speak for those who decry film-to-stage musicals for being artistically bankrupt, but that is what I think has happened. There's a world of difference between Carnival, Promises, Promises, A Little Night Music and Hairspray, say, versus Rocky, Pretty Woman, The Wedding Singer, Beetlejuice, Back to the Future etc.

Thanks, R388, for explaining it so clearly. And thank you for bringing up such shows as PROMISES, PROMISES and A LITTLE NIGHT MUSIC as examples of what can happen when popular films are well adapted for the musical stage, and for the right reasons rather than as attempted money grabs.

But I do disagree with you about THE WEDDING SINGER and BEETLEJUICE. Whatever the motivations behind those adaptations, I think they both turned out to be very enjoyable as musicals.

I'll explain my issues with Beetlejuice and Wedding Singer. Beetlejuice did have a lot going for it - except a score. I thought Eddie Perfect's work was abysmal and embarrassing. There was a lot of theatrical invention at work, but for that I credit Alex Timbers and the designers and a hardworking cast. Another mistake was they blew through three quarters of the film's plot by the Act One curtain and then spun their wheels for all of Act 2.

The Wedding Singer is less horrible than some of the other film to stage musicals, though it peaked with the opening number and had a memorably morose show-killing performance from Laura Benanti. But if I were to dig deeper into the film-to-stage graveyard, there were probably more appropriate "who asked for this" titles to choose...like how could I forget Leap of Faith? Who in their right mind was clamoring for that?

Six closures tomorrow: Death of a Salesman, Ohio State Murders, Topdog/Underdog, A Strange Loop, The Old Man and the Pool and The Music Man.

Thanks, R390, but I disagree with most of that, especially what you wrote about Benanti's performance in THE WEDDING SINGER. Maybe you saw her on a really bad night, because she was far from "morose" when I attended. In fact, I thought one of the highlights of the show was her first number, "Someday," in which that character joyfully anticipates her wedding.

Legally Blonde was a pretty good film-to-musical adaptation.

You might say it was so much better than it could have been.

The only reason anyone would go to see a Thelma and Louise musical (lol) would be because people want to see how the ending would be done on stage. But then there’s the other three hours one would no doubt have to slog through.

Why no black audreys?

In Amsterdam about six years ago I saw a very loosely based musical adaptation of Thelma and Louise starring two very gifted comic actresses. It began with these two Dutch women (named Thelma and Louise) meeting up again at a high school reunion and deciding to finally give in to their life long dream of traveling around the US in a Cadillac. I think they unintentionally robbed a grocery store and were arrested and released. I don’t understand hardly any fucking Dutch so that’s about what I could make of it. I enjoyed it, the songs were quite catchy and cute. I don’t think it’s been produced anywhere else since. I did think it had potential as a campy West End show, though.

If Thelma & Louise were so compelling, it would have been made into a musical years ago. The only reason anyone is considering it now is because of the rush to stick every possible movie on a Bway stage.

It’s the same with Some Like It Hot. We already have Sugar, what would anyone think we need another right now—of because tourists will apparently rush to see it. But they’re not. And they won’t rush to see Thelma and Louise.

All it has to be is good.

r382 She has a doc about her life hitting Netflix on the 31st, but not specifically about Chicago

It cracks me up that that many in the Broadway theater industry still believe that massive critics approval equals financial success, so that when something that got great reviews closes early or doesn't sell tickets, they are "shocked" and we get a lot of bad journalism. Look at the film industry right now -- some of the most highly praised movies of the year --Tar, Fabelmans, etc -- are doing pitiful box office and they got screaming raves from the critics.

Critics have never had less impact than they do know. "Strange Loop" will close at probably a total financial loss, and it one every major award and got countless raves. It's a flop.

Writers and creators need to stop thinking about how to Impress their peers and feel good about themselves and creates shows that actually connect with many, many people. There's a reason WICKED continues to run -- its a complicated story beautifully and theatrically rendered.

Can we stop with all the myopic "cause" bullshit on Broadway and give audiences something that actually connects with them.

WICKED has scale, r401. With Broadway prices being what they are, people want...scale.

Thelma & Louise doesn't have scale...

I love R398 's idea that if there is a three-decade delay in the musicalization of a property, it must not be compelling material.

I mean, if Alexander Hamilton's life were so compelling.... If Oliver Twist were so compelling... If Maurine Watkin's play were so compelling... If Pygmalion were so compelling....

If ANNIE was so compelling...

It's still backwards...

None of the Broadway musical titles inferred in r404 or r405 were directly based on films, no matter the time it took for them to get to the stage.

[quote]Why the fuck would anyone want to see a Thelma and Louise musical???

Certainly not because it will be "the feel-good musical of the year!"

[quote]I mean, if Alexander Hamilton's life were so compelling.... If Oliver Twist were so compelling... If Maurine Watkin's play were so compelling... If Pygmalion were so compelling....

Thelma and Louise was compelling on screen, r404, it's not that interesting without close-ups.

[quote]The only reason T&L would be chosen to musicalize now is because it was a popular movie.

I think it’s more likely that whatever movie studio or corporate entity now owns the rights to T&L are trying to milk some more money from it by musicalizing it.

A STRANGE LOOP has crawled to the finish line. Has a Tony-Award winning Best Musical ever lost so much money? Is all the infighting backstage still going on? Will there be fisticuffs on the final performance? Will Spivey show up, or finish the show?

All that Shipoopi and more, r411.

Did Strange Loop lose more than Passion?

It's so freaking annoying when fools make pronouncements that, just because they have a negative opinion about, for example, a musical of THELMA & LOUISE, that means EVERYONE else feels the same way and NO ONE wants to see it. And then there are those completely idiotic comments such as "Thelma and Louise was compelling on screen, it's not that interesting without close-ups." That one almost sounds like a parody post, but unfortunately, I don't think that's how it was intended.

[quote]It's so freaking annoying when fools make pronouncements...

How ironic of you, r414.

Where's the irony, R415? I would never make the stupid pronouncement that "NO ONE wants to see" something just because I don't want to see it.

[quote]None of the Broadway musical titles inferred in [R404] or [R405] were directly based on films.

Oh, dear...

[quote]Critics have never had less impact than they do now.....Writers and creators need to stop thinking about how to Impress their peers and feel good about themselves and creates shows that actually connect with many, many people.

I'm sure you don't realize what a ridiculous oversimplification that is. Also, some shows that "connect with many, many people" are absolute crap, like MAMMA MIA! And it's the critics' job to call them out as a crap, even if the mass audience obviously doesn't agree.

Well, r416, nowhere have I made that pronouncement. My complaint is that I don't think it's a property that will work as a big Broadway musical. I don't think any of the characters, the plot, or the backdrop are big enough to warrant it. The movie is *all* about Sarandon and Davis' performances (and yes, they involved close-ups).

R419, it may not have been you, but one or more people above made stupid pronouncements like "NO ONE wants to see a THELMA & LOUISE musical," and "The only reason anyone would go to see a THELMA & LOUISE musical (lol) would be because people want to see how the ending would be done on stage."

As for your weird comment about close-ups, all good movies benefit from close-ups, because that's an effective technique that's available in cinema. When the same story is told on stage, that technique is not available, but others are. Also, OF COURSE, the fact that Sarandon and Davis were great in the movie doesn't mean other actresses couldn't be great in the roles on stage.

In a musical, the songs are the closeups.

As has often been pointed out, My Fair Lady is based on the film Pygmalion, not the original play. Eliza's songs replace the more memorable closeups on Wendy Hiller.

Pygmalion works just fine on stage, r421.

In about two more months, Hadestown makes it to more than 1,000 performances. The next in line is Moulin Rouge!, with just over 200 to go. Do we think it'll make it?

[quote]In about two more months, Hadestown makes it to more than 1,000 performances.

I think Tom Hewitt has taken over as Hades, r423. It's worth a revisit for me, if so. He's an engaging performer.

R422, it would not work on stage with the film script.

I would love to see Tom Hewitt play Hades, but not if it meant I had to suffer through Lilias White oversing as Hermes.

THELMA AND LOUISE sounds like a property Frank Wildhorn would try to musicalize.

r419

Bridges and Far from Heaven were both worthy musicalizations.

I didn't say they were, r428. But their stories are small and they didn't translate into big Broadway hits.

^weren't

There have been black understudies for Audrey in the current production and they've gone on multiple times. There's a video of one of the understudies on YouTube and she's meh. The people who think that every single role needs to be filled with a black actor are getting tiresome.

[quote]The project has the involvement of the original movie’s screenwriter Callie Khouri, music by Neko Case, and a book by playwright Halley Feiffer, as well as director Trip Cullman.

Composer and book-writer both doing their first musical, well that bodes well

Maude Apatow will replace Lena Hall in Little Shop from February 7

Oh Jesus. Maude Apatow. I hate CAA.

Halley Feiffer? Talk about a nepo baby. That cunt hasn't got the talent of a flea's fart, yet she keeps getting produced.

[quote] Talk about a nepo baby.

Ahem.

Maybe you're joking, R425, but if not: First of all, tremendously large swatches of the film script of PYGMALION are taken verbatim from the stage script, with a fair amount of edits plus a few relatively minor additions and rearrangements. And also, many of the changes that were made for that film script were incorporated into the book of the musical MY FAIR LADY, and I think it's fair to say that show worked pretty well on stage.

Writer, editor and theater aficionado Benjamin Dreyer is asking for one - ONE - favorite production. I'm sure this game has been played here too many times to mention, of course, but sharing in case you are on a social media platform (this is posted on Twatter and FB) and wish to comment.

[quote]"Thelma and Louise was compelling on screen, it's not that interesting without close-ups."

I know how to fix this.

I've recently become a FB friend of Benjamin Dreyer and enjoy his posts there very much, including the question posed (which I answered) about favorite theatre production. He seems to know everybody; quite an eclectic group of friends.

R440 Yes, I enjoyed reading his posts on Twitter and still see them on FB from time to time. And he was my connection point to several other favorite accounts, including "Duchess Goldblatt."

[quote]WOW. It appears that Maria Friedman has figured this show out.

Somebody posted this on another chat board. Amazing how folks are REALLY buying into this fiction. The truth is that Friedman's direction of MERRILY WE ROLL ALONG is no better than that of some past productions, and not as good as others. But some people are now trying to make it part of the record that she has "fixed" this show or "figured it out," and she seems only too happy to go along with that nonsense.

As much as I don't love the idea of a Thelma & Louise musical, I am a big fan of Neko Case's music and am curious as to how she'll adapt to writing something for the stage.

[quote]Somebody posted this on another chat board

So why are you posting your response to it here? Scared that person might actually reply if you post it there? Also, in general, struggling with the concept of an opinion, are you?

R444, how on earth do you know that I didn't also respond on the other board? And no, I am not "struggling with the concept of an opinion," merely stating my own opinion, which is very different. But also, I don't think anyone should state that Maria Friedman has "figured out" MERRILY unless they have seen several previous productions of it -- and if they HAD seen multiple previous productions of it, I doubt they would feel she was the very first person to "figure out" the show.

Sounds like what Friedman has "figured out" is how to cast MERRILY with 3 perfect lead actors that really make you care about the characters. I don't know why it's taken this long.

And as far as I'm concerned, R446, Christopher Ashley figured this out in 2002, with his Kennedy Center MERRILY. I don't expect to see the show pulled off better. Michael Hayden, Miriam Shor and Raúl Esparza weren't just individually terrific -- they were extremely believable as lifelong friends (an impression Ashley launched by projecting "slides" of them together during the Overture.

I saw that production, r447, actually it was the first MERRILY I ever saw and pretty much agree with you. I remember Raul seemed genuinely in love with Michael Hayden, and who could blame him? But I'm betting Radcliffe, Groff and Mendez are even more empathetic.

[Quote] Raul seemed genuinely in love with Michael Hayden

Dios mio

Shut up R420, you fucking sub literate moron. Jesus Christ, your inane yammering. UGH.

Miriam Shor.... talk about an unsung talent. Her career ought to have been way bigger than it was.

This trio is just more charismatic, possibly with the exception of Esparza - who was born to play both Charley Kringas and Che Guevara. Michael Hayden has limited vocal skills, which makes Frank’s deep love of music seem less compelling. Plus Groff’s idealism and his ethereal love of musicals helps blunt Frank’s sharp edges. And Lindsey Mendez had the whole package - able to pull off Mary’s wistfulness and self destructiveness.

They just need up fix the set for Broadway.

Lindsay Mendez looks like she's half a chromosome away from having Down's Syndrome.

No Hills of Tomorrow?

[Quote] I love [R398] 's idea that if there is a three-decade delay in the musicalization of a property, it must not be compelling material.

What a massive coincidence! Just when producers are desperate to stick every movie onto a Bway stage, Thelma & Louise is suddenly recognized as being compelling.

Is it really compelling? How many songs will be like “I am woman, hear me roar!”?

Let's see...Thelma & Louise has a composer, book writer, director and producer who have never done a musical before. Yes, this will turn out fine. That always bodes well...

[Quote] one or more people above made stupid pronouncements like "NO ONE wants to see a THELMA & LOUISE musical,"

On the other hand, I’ve never heard a single person ever say they were hoping to see a musical based on Thelma and Louise

[Quote] Thelma & Louise has a composer, book writer, director and producer who have never done a musical before

And at least one of them keeps posting here on DL that somehow Thelma & Louise is compelling musical material

Maybe they'll do a Drood gimmick and they get the audience to vote on whether or not they drive off into the Canyon at each performance.

I think you're right about that, R446, but again, this is not the first production to do that, and also, Friedman was not so blessed in the London version of this same production.

Exactly, R447. The Kennedy Center MERRILY is the specific production I'm thinking of that "figured out" the show before Maria Friedman did, and in my opinion, that production was superior even if the three leads weren't necessarily. (I think the leads of both productions were great.)

[quote]One or more people above made stupid pronouncements like "NO ONE wants to see a THELMA & LOUISE musical,"

[quote]On the other hand, I’ve never heard a single person ever say they were hoping to see a musical based on Thelma and Louise

Right. As if those two things are equivalent. And as if, before MY FAIR LADY happened, there were lots of people who got it in their head that they really wanted to see a musical version of PYGMALION.

[quote]And at least one of them keeps posting here on DL that somehow Thelma & Louise is compelling musical material

Absolutely. Because no one in the world other than the creators of the project would ever think that THELMA & LOUISE might make a good musical.

R437, I am not joking. I was once part of a reading of the Pygmalion film script. We ended up sticking big chunks of the play back in because it was flat without them. The film is fantastic, but without the closeups and montages, it lacks impact. You cannot just put it onstage--it may have large portions of the play verbatim, but you need a lot more of the play to make it thrilling on stage.

You seem to have missed the earlier post that in adapting films to musicals, the songs replace the closeups. This is almost literally true in My Fair Lady which is based on the film script more than the play. Eliza's songs replace Hiller's strongest reaction shots.

This is probably sacrilege. I love Hermione Gingold, Angela Lansbury, Claire Bloom, Zoe Caldwell. But, to me, this is the most masterful Liasions (and overall Mdme. A performance) I've seen. Just perfection.

Resnick is astounding, but I would have killed to see Margaret Hamilton in this"

While Sheila Hancock and Denis Quilley can't hold a candle to Lansbury or Cariou, it's a treat seeing professionally shot footage of the original London Sweeney. I think some of the shots give a better sense of the scale of the production than the U.S. tour recording.

R466, Saw it in Boston.

R468 - how was the tour? Glynis Johns didn't tour with it, right?

R469, It was an excellent production. At the performance I attended, the show was stopped for ten minutes because Jean Simmons was having a coughing fit.

Stage manager came out and asked the audience to be patient while she recovered.

Wow. Sheila Hancock loses almost every laugh there is in Worst Pies in London. She can’t hold a candle to Lansbury.

Hey, fuck you, R465!

LINE!

I know the original production was a legendary failure, but I’m puzzled as to where this narrative that Merrily is only ‘now’ being fixed has come from.

Merrily is in the American musical canon. It’s a fine show with a great score that works better than most Broadway musicals written since it was first performed, despite the disaster of its original run. Of course, some productions have been better than others. But that’s always the case with revivals or productions of shows from the canon. I’ve seen plenty of dreadful and underwhelming productions of out and out masterpieces, too.

If anything, I thought Friedman’s production which I saw back in 2012 was one the less persuasive productions of Merrily that I’ve seen.

Is there someone here actually comparing Pygmalion to Thelma and Louise? I really can’t with this fucking site lately.

It’s a PR push aided by the death of Sondheim that has somehow made him some infallible faultless god, R473. Of course, the reality is that this current production does nothing the original already didn’t, and the cast is fine, not great. It’s going to get a lot of accolades up front and then silently disappear after six months like all Sondheim revivals, a financial flop for everyone involved.

Gentle r474, I am certain there a myriad of other sites that will suit your fragile sensibilities.

Margaret Hamilton was not Sondheim approved casting. He was reported to cunt off by saying, “she’s never had a liaison in her LIFE!”

I saw the ALNM tour a couple of times.

Jean Simmons was absolutely lovely and acquitted her musical moments well, yet she simply lacked the delicious eccentricity that Glynis Johns naturally brought to Desiree.

Margaret Hamilton was fine and was a much warmer presence onstage than one might have expected. A more modest, less grand performance than Hermione Gingold (who was never a beauty either), but it was such fun seeing that famous mug onstage.

George Lee Andrews, for me, was disappointing. He seemed too young and callow for Frederick, especially up against Simmons.

But NO stage plays have closeups, R464. And they don't have songs, either, to "replace the close-ups" that you are so hung-up on. Although I've never tried your experiment, I think the film script of PYGMALION would work just fine on stage, and audiences who didn't know the stage version would probably not feel there was anything missing. So we'll have to agree to disagree.

[quote]Is there someone here actually comparing Pygmalion to Thelma and Louise? I really can’t with this fucking site lately.

NO ONE is comparing them as far as quality or style, only mentioning both as part of a discussion of stage shows adapted from film scripts and vice-versa. But, if you wish to do so, you are free to be disgusted over something you completely misread.

[quote]I know the original production was a legendary failure, but I’m puzzled as to where this narrative that Merrily is only ‘now’ being fixed has come from.

People love a good salvation story, a good "flop to hit" narrative. The critics of the press have perpetuated this one, even though it's not true, and Friedman has been passively complicit in that.

[quote]If anything, I thought Friedman’s production which I saw back in 2012 was one of the less persuasive productions of Merrily that I’ve seen.

Yes. Especially with the London cast, this production of MERRILY was no better than some, and nowhere near as good as some others. (The leads of the NYTW show have elevated Friedman's production tremendously.) Many of those of us who saw the Kennedy Center MERRILY still consider that one the best yet as far as the overall production, and it seems to me that the York Theater production of many moons ago, with Malcolm Gets et al., was very well received.

[Quote] Absolutely. Because no one in the world other than the creators of the project would ever think that THELMA & LOUISE might make a good musical.

Yup. Pretty much

Thelma & Louise: The Musical has FLOP written all over it. Good luck with that

[quote]George Lee Andrews, for me, was disappointing. He seemed too young and callow for Frederick, especially up against Simmons.

R478 - I didn't realize George Lee Andrews did the first national tour of Night Music. He would have only been in his early 30s then. I know Cariou wasn't that much older then, either, but I think Cariou always read older on stage. Isn't GLA the actor who did that wonderful 1990 NY City Opera production? If so, I think he matured into the role nicely. I liked how he and Sally Ann Howes played off one another.

[quote]Many of those of us who saw the Kennedy Center MERRILY still consider that one the best yet

Did that production include "The Hills of Tomorrow"?

R485, as far as I know, "The Hills of Tomorrow" left the score of MERRILY fairly early in its post-Broadway life. My sense is that the graduation frame was one of the first things dropped when the show was revisited.

Did anyone here see the Lapine/L.A. production or the 1990 (?) D.C.-area one with Victor Garber?

Topdog should have been a smash hit

'The Hills of Tomorrow' was in the 2000 Donmar Warehouse production. It was certainly sung at the beginning and also possibly at the end after after Our Time. That production ended with the company dressed in graduation gowns, but I can't quite remember if it was a return to the opening scene (with the whole show effectively being a flashback for Franklin), or if it was supposed to be Franklin's original graduation.

Christ, that was almost quarter of a century ago.

[quote]Topdog should have been a smash hit

In today's tourist-driven market, NO play is ever a smash hit

While Victor Garber is still a handsome man, he was REALLY dashing in his younger (middle-aged) days. Was he a Broadway slut? One would hope so. Any stories from those around him in those days?

Also, he must be loaded. While never a huge star, he's worked so consistently in film and, especially, television that he must have done well for himself.

Is Sarna Lapine a "nepo baby"?

Who names their child after body lotion?

[quote]While Victor Garber is still a handsome man, he was REALLY dashing in his younger (middle-aged) days. Was he a Broadway slut?

Yes

It beats Sardo, r492.

[quote] Topdog should have been a smash hit

Agreed. I preferred it to the original production - but I have a Jeffrey Wright problem. (I find him too self-consciously actorly). I thought the play was more in balance this time around, with its shifting power dynamics.

[quote]Isn't GLA the actor who did that wonderful 1990 NY City Opera production?

Yes, but I thought he seemed a little too young for the part even then, especially opposite Sally Ann Howes. That production was televised, of course, so people can check out the video to see if they agree.

[quote]Topdog should have been a smash hit

[quote]In today's tourist-driven market, NO play is ever a smash hit

Leopoldstadt?

R490, and also, Victor Garber is a really nice guy.

R493, Standing in line at the Sweeney Todd box office, two very attractive young women were in front of me picking up Victor’s house seats.

Rumors that he’s hung

Oh my. Did Victor Garber and DL fav Howard McGillin ever cross paths? That would've been delightful.

Sarna Lapine is his talent-free niece.

Victor and "everybody's bff" John Benjamin Hickey are long-time fuck buddies.

George Lee Andrews problem is he's always looked diminutive next to his leading ladies.

I went to Topdog (which I truly enjoyed), and two things struck me: it was packed, and that was a blacker audience than I've seen anywhere on Broadway this season.

(didn't see how full the balcony was. also not sure if they were heavily papering.)

And BO was selling at 45%. Were black audiences getting discount tickets for it?

Sarna Lapine, Tyne Rafaeli, Sammi Cannold.....they're all nepo baby directors from wealthy, if not well-connected families, with little talent.

Garber and Nathan used to hit up young men in the various theatre-adjacent bistros in Times Square. The young men used to describe it as being "tag-teamed". In fact, there's a particular "B(or is it C?) list actor" who's been on here for years who once told the story when theatre chat sites were very, very young. Sweet little elf that he is.

Is ASL closing this afternoon or tonite because there's an Usher understudy on this afternoon.

R503 - Interesting. I feel like John Benjamin Hickey is not particularly liked on DL, but I'm not entirely sure why? He's a bit grizzled now, but I think he was hot in his younger days, too.

R509, I get the impression that some people consider him a star fucker, and also, I think he has a rep for not being very nice when someone tries to talk to him who's a fan but whom he doesn't consider important.

[quote]There's a particular "B(or is it C?) list actor" who's been on here for years who once told the story when theatre chat sites were very, very young. Sweet little elf that he is.

For years, that person talked openly -- one might say obsessively -- about his history with Nathan Lane. Maybe he still does.

Good riddance, Strange Poop!

[quote]Leopoldstadt?

I assure you--that will close within a year too.

I chatted up JBH at the West Village dog run last year and he was very nice. And I'm a big nobody (and old enough to be his father).

Well, yes, r513, but can you deny that Leopoldstadt is a smash hit for a play?

[quote] Victor Garber and DL fav Howard McGillin ever cross paths? That would've been delightful.

To paraphrase/borrow a Dana Delany comment about three hung actors she knew:

If Victor Garber, Howard McGillin and Roger Bart were in the same room, there wouldn't be room for anyone else......

[quote]Many of those of us who saw the Kennedy Center MERRILY still consider that one the best yet

[quote]Did that production include "The Hills of Tomorrow"?

No, it didn't, and I was hoping that it would. I always thought that dropping the graduation bookends was a mistake, mainly because it removed the context for the title song, turning it into what almost resembled a weak opening number from a TV variety show. Despite that disappointment, I loved the Kennedy Center production. I had been listening to the original cast album for years but always disliked "Franklin Shepherd Inc." and would sometimes skip over it. Raul Esparza turned it into a showstopper.

[quote]Well, yes, [R513], but can you deny that Leopoldstadt is a smash hit for a play?

It's an TDF and all the discount sites. It can't be that big of a smash.

Leopoldstadt is scheduled to close in July. I imagine that the producers are expecting big wins at the Tonys.

I doubt Howard McGillin and Victor Garber got together. Howard didn’t hit NY till the early 1980s, at which point he was still married with two young sons. It was a lucky chorus boy in Anything Goes who first introduced Howard to the joys of men.

Also, Howard has always been a one man guy. He didn’t have a lot of cruising around.

This is Howard’s ex-wife, Mary Lloyd Butler.

R520, not that I expect you to name names, but do you know WHICH lucky chorus boy it was?

[r522] Bill McCutcheon

I saw Merrily at La Jolla, 1985.

Also, I saw the original 5 times.

A friend went with Victor to see ANYTHING GOES with McGillin, and said to the friend, "If that guy can dance, I'll kill him." He was rather threatened by Howard at the time.

Any word on whether Victor is a top or bottom? I'm guessing bottom.

Didn’t Garber leave Sweeney very quickly, before everyone else? I saw it on Broadway with all the originals except Cris Groenendaal was already Anthony. Was it because he couldn’t really sing it?

R527. He left ST to tour in They're Playing Our Song.

[quote]He left ST to tour in They're Playing Our Song.

He left the original cast of "Sweeney Todd" to tour in TPOS??

Someone on Twitter has posted that a woman at Funny Girl took a man’s glasses off his face and snapped them in half. He was being coy that it might have been Lea Michele.

I have a friend who was a chorus boy in that production of AG. I'll ask him who brought Howard out.

I lived in Park Slope in the 1980s and I'd sometimes see Howard McGillin with his wife and kids all waiting together on the subway platform. He looked kind of miserable, if gorgeous. I guess it was before he found himself.

R526 I don't know if VG is vers but in the rumors about Victor and Bradley C, BC was the bottom.

Ditto with Liam Neeson and BC.

I enjoyed the "Merrily" with Aaron Lazar, Wayne Brady, and Donna Vivino, directed by DL fave Michael Arden. He added "ghosts" of the main characters to some of the scenes. It was an interesting concept.

Limping across the finish line.....

I was going to suggest that Victor's motivation for touring in They're Playing Our Song might have been influenced by it having an L.A. engagement, but that wasn't the case for his tour.

Weren't there rumors that Victor was. unhappy in ST? Maybe something to do. with harassment?

I was going to ask about that production, r534. I vaguely remember it being somewhat well received.

R537-Yeah, sure. He was being harassed by Len Cariou. Bwahahahaahahahahahahahahaha.

[quote]Weren't there rumors that Victor was. unhappy in ST? Maybe something to do. with harassment?

I never heard that. I think it was just that he realized he couldn't really sing that music properly, and also, he has gone on record as saying that he wasn't happy with what the role had to offer from an acting standpoint.

I wonder if John Barrowman got it on with Victor and/or Howard.

....

Aren't Victor and Howard, both in their early 70s, a little old for Barrowman?

[quote]he has gone on record as saying that he wasn't happy with what the role had to offer from an acting standpoint.

Ingenue roles are pretty boring.

How is Bill Heck in Take Me Out? I wasn't familiar with him until I saw him in the Coen Brothers' The Ballad of Buster Scruggs this evening. He gives a wonderful, quietly soulful performance in the film. One of those performances that causes you immediately to go to IMDB to see who that actor was.

That closing night curtain call video of Strange Loop is one lie after another. Wow.

Huh, R546? It was just an extended, heartfelt thank you to everyone involved in the show, including the current cast and crew. How was that lying?

R545, Heck was great in TMO, and when I saw it he. was acting with two major understudies (both the Jesses were out). He was terrific, and looked spectacular in the nude.

Some of these shows that are just hanging on or recently closed are probably not just a total loss but also a loss of a priority loan. The facts will come out soon enough.

[Quote] The facts will come out soon enough

Will they? Where? Who really covers broadway anymore other than some fans or protesters on twitter?

Someone’s a little full of himself

Heck is the heart and soul of TMO, plus, you cannot take your eyes off him when he's on stage. He's pretty fucking hot naked, too, so that's another plus.

wish we could see his weiner.

If ticket sales continue to plummet, we'll see his dick.

No disrespect to Kenny Leon, but there HAVE TO BE other black directors.

Excuse me

Jackson should stop drinking his own Kool Aid. He’d be better off drinking his own urine.

So will the critics fall all over themselves for his new musical at Second Stage?

They will, or risk being called out of touch racists.

No one will make that same mistake twice.

And it begins…

Leave it to Barry Weissler to destroy everything he touches while still earning millions.

Still waiting for Bebe to return as Billie Flynn. That way she will have played all three leads plus Mama.

I’m pretty sure Bebe has moved on

[quote]Jackson should stop drinking his own Kool Aid. He’d be better off drinking his own urine.

Just wait for my next show!

I saw Bill Heck play Joe Pitt in the Signature ANGELS IN AMERICA and he was excellent.

I saw MERRILY this weekend and could not take my eyes off Corey Mach. Lovely performance and what a hot dude. Who's had him?

Who is Jonathan Groff seeing/fucking these days?

For that matter, what about Dan Radcliffe?

The Music Man’s final curtain call.

That's Sutton? She looks 100!

r568

inquiring minds want to know for both

r570

They both look old... fuck

Sutton really shit the bed with this show.

I don’t think she or the community will really look back fondly on it.

R543, I meant did they get it on back in the 80s or 90’s, dumbass.

The issue of Howard & Garber in the 80s has been addressed. And Barrowman was in high school for the first half of the 80s. His first big gig was replacing Howard opposite Elaine Paige in Anything Goes. Maybe he “crossed paths” with Howard while he was rehearsing. With Garber, it’s doubtful. .

For all the legitimate complaints one might have about Jackman as Harold Hill or this production of The Music Man, he sure knows how to lead a company.

What a gent.

The Other Michael Jackson explains it all to you...

Doesn’t Dan Radcliffe have a longtime gf? Or did they break up?

Is breaking up the same as a contract expiring?

What show will Sam Gold masturbate on next?

R579. Some of us have a lifetime contract, dear.

[quote] What show will Sam Gold masturbate on next?

Not sure if there is anything before, but Mr. Gold is directing Three Sisters at NYTW this season.

I'd rather gouge my eyeballs out with a rusty teaspoon than sit through Gold's Three Sisters.

[quote]For all the legitimate complaints one might have about Jackman as Harold Hill or this production of The Music Man, he sure knows how to lead a company. What a gent.

I've never heard a bad word said about him as a person or in terms of his professionalism.

If you think he's a terrible director, watch Sam in "White Noise". His wife has also adapted the "stripped-down" A Doll's House with Jessica Chasten. A nice couple who reached the height of their powers in 2001.

Where is Dee Hoty? She used to be a constant presence

Well, she's 70, r586.

A child, by DL standards.

R567 yes he’s gorgeous I hope he understudies Frank again for Broadway

I don't think she's still up for...

New thread

Sutton looks like Wildcat era Lucy!

[quote] What show will Sam Gold masturbate on next?

please, no, ugh

yum!

^ oops, sorry didn't notice that's an old article

One more time for those in the upper balcony seats.....

New Thread:

Sorry waiter, no. I'm allergic to porkalob.

and now, for the 11 o clock number......

BAJOUR!

and BUH BYE!