Profile for EricMontreal22

Tenor8674 said: "Always thought CSC or the Roundabout would be perfect to produce The Baker's Wife. I liked it a lot when the Papermill did it years ago. However, I am disappointed that Endless Delights has been excised from the licensed show."

Quite a few years back, when Stephen Schwartz was answering messages on his website, someone asked about Endless Delights and he said it would NEVER EVER be back in (I think this was shortly after the Paper Mill which cut

Lot666 said: "The mentions of Whistle Down the Wind reminded me of another ALW shows that I loved, but didn't last very long: The Woman in White."

...yeah I'm a fan too (though I think it has more problems than Whistle.)  I have to wonder if some of that is simply because I love Victorian sensation serialized novels (part of my MA was about them) and Woman in White is the key text in that genre--and of course a lot of my issues with the

fray3 said: "Whistle down the wind"

I get the most pushback from people when I tell them how much I loved Whistle Down the Wind in the Gale Edwards production in London--which I actually saw just because I knew about its troubles in the Hal Prince version that never got to Broadway and wanted to see a flop (it had just opened in London when I moved there.)  So my expectations were low, but I really loved the production (well... the Southern accents aside.) 

Chaz Hands said: "Promises, Promises and Tuck Everlasting for me.

The most recent revival of Promises was miscast, and they should’ve leaned more into the seriousness of the storyline versus playing most of it for laughs.."

Promises was such a massive critical and commercial hit when it premiered, that I have a hard time placing it here even if it's rarely revived, but I do think it's a better show than its given credit for.  The rev

Jonathan Cohen said: "
Lavin did great work on the show but I actually thought the last episode, which heavily featured Pamela Adlon and Richard Kind, was by far the best of the series.Adlon, who will replace Lavin if the show gets picked up for a second season, can more organically be woven into plots with the other three roommates. During the first 8 episodes, it was sometimes a struggle finding reasons for Lavin to hang out with her son's friends, which is less of an issu

I'm only half way through--and I can already tell there'll be a hole in the show when Lavin leaves, but it's working far better for me than I ever expected, and I think the best work from creators Max Mutchnick and David Kohan (plus all the other writers) since the best era of Will and Grace, which admittedly given their track record may sound like faint praise.  The cast really has chemistry, for the most part the guest star cameos have worked for me and not overwhelmed the

yfs said: "I haven't read the article but in my one interview with Hal Prince he was very vocal about how much Love Life meant to him and how influential it had been on his thinking once he became a director."

Is that interview online anywhere?  I don't doubt you--and the article does make a much stronger case than I was aware of before for these influences--at least when it comes to Prince, Ebb, and Fosse, not so much Sondheim.  And I can't

From all I've read, I do see her point that playing up the kids sentimentalizes the show which maybe mixes its intention.

I found Steve Suskin's review interesting.  I know him mostly as a Broadway historian (his amazing but rather academix book on the history of Broadway orchestrations, etc) but he seems to have it out for Love Life in general calling it basically "a bad musical" I expected him to be one of the few defenders, and indeed he seems to think the

TheatreMonkey said: "

I get this. The briefest of synopsis makes you think it's some sweeping epic of America, told through the journey of one family. But it's really a product of it's time -- an operetta, interspersed with a few scenes, and various vignettes of commentary style. Yet it really doesn't feel like a fully-fleshed out book musical. (And this is just based on the recording of the recent UK opera production.)"

And I mean, a l

Not quite the same thing, but producer Sam Gesser was obsessed with mounting a musical of Mordecai Richler's The Apprenticeship of Duddy Kravitz.  Initially he had Richler write the book and (here's they are again!) Leiber and Stoller write the score, with Lonny Price in the lead, and it would start with a Canadian tour given the source material.  But apparently the mix of score and book didn't work--nothing worked except Lonny--and it died in 1984 before even getting to

joevitus said: "

Exploiting the IP is definitely the goal, but I don't think anything about this film keeps elements of the 1938 film in copyrightlonger than it currently is set for. But I could be wrong about that. Maybe rather than "I don't see the point of making these kinds of movies" I should have said "I don't think there's good enough reasontomake these movies.""

I think you're right that it won't real

I haven't loved a Pasek and Paul score since Dogfight, or liked one since Dear Evan Hansen really, but they were always a poor fit for this material I think (especially since it does try to integrate some of the original 1937 score which was pretty heavily influenced by operetta--  But boy do they sound generic.)

Listening to the soundtrack without having seen the movie does give me an increased appreciation for Alan Menken (with Schwartz and Slater respectively) and his work

VernonGersch said: "I wish everyone well but David Foster is a Trumper and will not support anything with his name on it. He is a miserable human."

Is he?  I know he was friends or friendly with Trump in the past and did a cancer benefit concert at Marla, but he did support Clinton during Trump's first run (and turned down an offer to organize Trump's inauguration) and I haven't heard anything since then.  I mean I've never been a big fan (g

VernonGersch said: "meredithchandler73 said: "Why were certain shows represented more than others? I can't swear to this, but I think I read somewhere that Cameron Mackintosh selected heavily from Sondheim shows he has produced, including his previous revues."

at the start of the show bern and lea address the audience with some chit chatand talk about how the selections were all made from shows Cameron produced in London over the years - and that'