SonofRobbieJ said: " A few years ago, a friend was producing a production of Baker's Wife and I tossed my hat in the ring for the Aimable. He was stunned saying I was far to young and I was like, 'Friend...I'm almost 50!' He thought that was way too young for the role. That's just the way it's progressed and I'm not sure it's the best idea for this show."
I get that, though again, that goes back in a way to the original movie
Auggie27 said: "Subjective take: it's impossible to fathom That Song functioning in a linear narrative now, as excised and repurposed as it is, a standalone paean to {Singer's Choice}, a showcase for 80s overwrought show-tune-ness. With its galloping rhythm, its incessant plea to be recognized as the stirrings of a singer's - not character's - heart, how can it be folded into a slight fable with the gravitas of, say,The Fantasticks? Or maybe Amelee?A
That was a flat out pan, with just a few somewhat nice comments thrown in (the fact that he seems to think the score is terrible except for Meadowlark says a lot to me...)
AHEM I believe it's Big *BUSTED* women who are over the wall
I actually see all of your points, although when I saw the tour way back, without knowing the score (I had seen the Tony performance) I was just so amazed that none of that mattered or registered to me. I will say in My First Woman I think what Ebb is going for is that he remembers his first sexual experience--and yet doesn't really remember the specifics? Again, though I do see your point.
The Day After That is interesting because, as we can see in Aurora Spiderwoman's clips in Purchase it was written to be sung by the revolutionaries in the film within the show (which back then, like with the movie, was one long film told in bits--this was the part where I think Val was meant to be shown to finally get wrapped up in the film, of course.) Whereas in the Livent production it was sung non-diegetically. As you know, Condon filmed it to be used within the film again but then cut it.
I knew that Liza had sung it at some public performances but didn't realize her version was an AIDS charity single.
BrodyFosse123 said: "Heartbreaking to learn the film has only grossed $2M globally on a $30M budget (excluding the cost of promoting the film). After all the press interviews across the board and countless media coverage the film was completely ignored by the movie going public. Globally."
It's my understanding it hasn't opened yet in many international markets (there's some question if it will.) And there really was not that much media coverage if
rosscoe(au) said: "Thanks Auggie27 for the review of the score.
Whoever asked, no Sutton can’t be anything but rude and condescending."
I have to say, on repeated listens to the score as done in Boston, I like it a lot more than... well most seem to. I think Schwartz did a lot of clever cross referencing throughout (I don't mean the obvious "American royalty" theme). Is it as good as Wicked? No (but maybe it is worth m
MemorableUserName said: " The actor who played the love interest...was the weak point and his performance didn't really workfor me. I'll leave it at that."
Different cast, but that was an issue with the Menier production, as well. Is it a particularly hard role to cast? Dominic is one of the characters who has been the most revised since the original--a lot of new lyrics as well as revised dialogue. Schwartz has said that before he
The way people involved have been talking, it sounds like a cast album is inevitable to me--which is good, because the London cast (our only complete one) leaves a lot to be desired.
EDSOSLO858 said: "Releases February 27 physically. Music and lyrics by Stephen Schwartz
Copies are now available for preorder on Amazon. No streaming date announced yet."
I know in our current climate if we get physical releases (which I still collect) they usually come out significantly later than the digital, which makes sense. But considering this has (I think?) already been recorded, that seems a ridiculously late release date (and one I fear nev
Binau I do get your point. Honestly, I was half asleep and was thinking more that I didn't think Jonathan Bailey would necessarily bring in a different audience than Jake Gylenhaal but I see your focus is on Grande and her fanbase...
binau said: "It's hard to imagine a theatre big enough or ticket prices high enough. It would also thrust Sunday in the Park into the mainstream culture in a way that is very unusual for the show and Sondheim. And the chances of a film higher than ever if they could bring that cast in too. Of course I'd love it to happen, but does make me nervous!
" Wasn't that all pretty true of the Jake Gyllenhaal production (Which of course never made it to Lo
Jeffrey Karasarides said: " I have noticed that there are people out there who are familiar with the stage version, but don't find the score to be top tier Kander & Ebb. Although some have found the movie to be an improvement in part because it doesn't use any of the songs set in the prison."
I have heard this from a few people, and am always surprised. To me it's always been in their top tier scores (along with Cabaret, Zorba and Chica
BrodyFosse123 said: "I totally agree. I watched it at home on a huge 4K 60” TV via an industry screener and actually was enjoying Lopez and the film as it was unfolding but when Molina started singing those first lyrics to “Where You Are”, I erupted in applause and stood up with excitement and boy, did Sergio Trujillo deliver and with endless nods to the original Broadway choreography. Here Lopez oozed complete confidence and this was a true showcase of a superstar.
CarlosAlberto said: "I have a feeling this is one of those films that, even though it didn’t make a splash on release, will find new life on streaming—reaching a fresh audience and finally getting the appreciation it deserves."
I think it might too, partly because one reason it had such a tiny audience is a lot of people (frankly even more than I expected) seemed to have no idea what this even was, and would be more willing to check it out on streamin
ErmengardeStopSniveling said: "Believing that Ariana could fall for Bakula and then fall for the young man and then go back to Bakula is not the issue here. That was all very believable to me.
The age gaps also weren't significant in the original: - Topol was 41 - Carole Demas was 36 - Paul Sorvino was 37 - PattiLuPone was 27"
And Kurt Peterson was 28 I believe. I have heard one of several reasons Demas was replaced was pe
Jason Alexander is not a great director, IMHO--this feels like a hard show for him to work on, but maybe he can just let them play it safe and fully traditional.
