Profile for Owen22

DCS said: "DCS said: "my understanding is that this is separate from the complete cast recording and that Part 2 of the Original Cast Recording will indeed be released as planned and probably soon"

David Yazbek has posted about the Audible Recording as well as the forthcoming full Dead Outlaw cast recording coming very soon on Instrgram:

https://www.instagram.com/reel/DLsMjWJutYq/?utm_source=ig_web_copy_link&igsh=MXI5d3FwaDlwZXBiNQ=="

And he hinted possibly something else upcoming for the show...

 

Taylor Louderman posted she is doing a reading of a musical that I saw in Birmingham UK 4 years ago. Directed by Luke Shepherd there, I assume he's directing the reading as well. It's a 60's era update of the Henry Fielding novel Tom Jones using exclusively the music of 60 singer Tom Jones. It was a groovy delight that never made it to the West End. Does anyone have any info on the rest of the cast or if they saw it?

JSquared2 said: "This actually already exists (in concert form). It played 2 nights at Carnegie Hall earlier this year, and they sold out almost immediately.

https://www.hurwitzconcerts.com/la-la-land-in-concert

I don't think this has anything to do with the stage version of the film

"

 

Is there any indication when the actual physical box office will open for sales?

 

From Onstage Blog:

What Do Broadway Audiences Want? A Farewell to “Dead Outlaw”

Jun 24



(Photo: Matthew Murphy)

by Chris Peterson

On paper, Dead Outlaw should have been a Broadway hit.

It had an original story, a sharp creative team, and rave reviews. Music by the criminally underrated David Yazbek. A book by Itamar Moses. And directed by one of my faves, David Cromer. If you’re building a musical from scratch, that’s a dream team. Add in a true story about an outlaw whose mummified body became a sideshow attraction after his death, and you’ve got something bold, bizarre, and completely unlike anything else on Broadway.

And yet, the show will close on June 29 at the Longacre Theatre, after just 73 regular performances.

It’s a tough goodbye. Dead Outlaw didn’t crash and burn. It didn’t miss the mark. In fact, it checked every single box people claim to want: original, daring, intelligent, fresh, and well-reviewed. It won a slew of awards for its off-Broadway run and earned seven Tony nominations this year. Critics loved it. The cast album is a knockout. But somehow, that wasn’t enough.

So here we are, watching another strong show fade out way too early—and asking, once again, what does Broadway really want?

Because if a show like Dead Outlaw can’t make it, we need to stop pretending Broadway is a place that rewards originality. Not unless it comes with a celebrity, a famous brand name, or a guaranteed audience built in. This season was packed with revivals, sequels, adaptations, and legacy titles. In that kind of landscape, Dead Outlaw was fighting for air from the beginning.

Producers Lia Vollack and Sonia Friedman put it plainly: “The commercial momentum just wasn’t fast enough in a crowded season.” They’re not wrong. The show didn’t win any Tonys. It didn’t have a movie tie-in or a major star. It wasn’t based on a book everyone read in high school. What it had was story, craft, and heart—and right now, that’s not always enough.

This isn’t just about one show closing. It’s about a pattern. Risky(Redwood), thoughtful(Suffs), original shows(Swept Away) are getting squeezed out. Meanwhile, ticket prices keep rising, and audiences keep choosing familiarity over discovery. Who can blame them? If you’re spending $150 on a night out, are you going to gamble on something new, or see the thing you already know you’ll like?

It’s not just economics. It’s psychology. People are tired, overworked, and cautious. But if we keep saying no to shows like Dead Outlaw, we’re going to wake up one day with nothing left but jukeboxes and reboots.

Online, fans are already mourning. “Dropping like flies,” one person wrote. Another pleaded, “If you haven’t seen it, go before it’s gone.” But by now, it’s too late. The final week is here. The seats are suddenly full. That always happens. The urgency kicks in once the show is already slipping away.

There is a small silver lining. The cast recording is out now, and a full audio play will release on Audible this fall. Like the outlaw at the center of the story, Dead Outlaw may have a strange and winding afterlife. But Broadway is where it belonged, and it didn’t get the time it deserved.

It’s frustrating because this show did everything right. It was smart. It was different. It didn’t play it safe. And it still couldn’t survive.

So again—what does Broadway really want?

If the answer is “more of the same,” we’re going to keep losing shows like this. If the answer is “something new,” then we all—audiences, producers, critics, and institutions—have to start acting like it. That means buying tickets, yes, but it also means giving shows time to grow. It means lifting up the ones that take a risk. It means paying attention.

Because we can’t say we want fresh voices and then ignore them when they show up. Broadway doesn’t just need new stories. It needs people willing to listen.

 

 

 

gibsons2 said: "Less weird, "passion project" stuff and more musicals people can see themselves in and relate to, please. Those tend to stick around for a while."

This gem of a show was all about people. Real people who found they could express themselves to Elmer, sometimes their secret selves. One of the most human shows of the season. With the best score of TWO seasons!

 

DramaTeach said: "Do you think that could also be because of Rachel’s subpar acting? Saw her in R&J and WSS and wasn’t impressed with her performances in either. She has a beautiful voice, but that’s kinda it. I find her vacant otherwise."

Her acting in Evita is as on-point as her singing, hater.

Parker was wonderful but so was Molly Osborne. I'm sure the other two are good...but Parker and Osborne seem hard to equal.

Any recording with Judy Kuhn automatically makes it the best recording.

everythingtaboo said: "Is it spoilery to ask how Che ends up in his briefs covered in paint at the end?"

They also cover him with red, white and blue paint. I don't think red is in the Argentinian flag so maybe it's a comment on the United States' pending fascism?

Saw the show tonight. Two things: if there was ever any doubt that Rachel Zegler is a star, this performance cinches it. Oh, and the staging (and choreography) is a complete triumph!

I certainly wish this was closing instead Real Women. Not only because I don't want known Trumper David Foster to make any more money on us.

...neither...

I am readying myself that my two favorite theatre pieces of the Broadway season, Dead Outlaw and John Proctor will be going home completely empty-handed tonight.  At lease my other love, Operation Mincemeat, will at least win one.  

It isn't so much Sharon D Clarke who will be missed in a transfer.  Hugh Skinner and Ncuti were marvelous and returned that show to the farce it always had been, as opposed to the verbal satire it has become. But Elizabeth Scanlon's Cecily was OUT OF THIS WORLD GOOD!!!!  And she is young, I'd only seen her on TV and film. I don't know what stage experience (Australia?) she has had but I don't think much.