Profile for EmceeHammer

Mark_E said: "This was excellent last night, loved it in London and so had to see it again here.
Im glad I did, but some very frustrating things took me out of it. A horribly loud squealinghearing aide for the first 15minutes (could tell it was frustrating a lot of audience members), then the woman behind who kept talking because she didn’t understand the show (she left after 45 mins), a phone going off - we seemed to have it all. And for a show like this - you need silenc

JSquared2 said: "GottaGetAGimmick420 said: "New York Comic Con was also this week and may account for boosts in some shows"

Maybe for STRANGER THINGS and HARRY POTTER --- but I can't see there being much crossover for any of the other shows."

Death Becomes Her, Waiting for Godot, Beetlejuice, Wicked, Lion King, Aladdin, Maybe Happy Ending... There's a lot of comic con coded content on Broadway. Too bad Boop! didn't stick arou

Phillytheatreguy10 said: "i still can’t figure out how the documentary lends itself to becoming a musical. From these reports, it appears the creative team doesn’t either."

This story could work as a musical if it followed the Gypsy framework. A fable about a delusional, amoral, selfish, real-life woman used as a metaphor about a major shift in American culture. 

Just imagine how awful Gypsy would have been if it had been produced by Rose Hovi

blug said: "Who knew a brand spanking new musical from Stephen Schwartz would get the musical theater fans being like...”

I had to read this thread to see how long it was before someone mentioned Stephen Schwartz. 29… not bad. So weird that he’s becoming almost an afterthought in all of this. If he’s not top of mind with this show, it’s no wonder interest is low to skeptical.

Do the producers really think people care about Jackie Sieg

merle57 said: "So let's not undervalue a fine theatre artist."

100%. My intent was to explore why Schwartz isn’t an above the title name (in the context of QoV marketing) despite his past success and obvious talents as a theatre artist. How has he not won a Tony for best original score? My thinking is that his ability to write scores that serve the story and production means he’s never become a known entity on its own. His scores highlight the product

EmceeHammer said: "Stephen Schwartz will have three shows playing simultaneously in New York this season. Two on Broadway and one off. That’s a milestone few composers or playwrights have achieved. Sondheim did it posthumously, perhaps before.Who else?"
 

Welp. To answer my own question, Stephen Schwartz already achieved this impressive milestone in his twenties, when Godspell, Pippin, and The Magic Show were all playing in New York. 1970's Broadw

Owen22 said: "EmceeHammer said: "But… Schwartz still isn’t a name brand. His track record is spotty. Maybe this season is his time to shine? Will he finally win a (competitive) Tony?"

I fail to see how his Broadway record could be "spotty". I think "Children of Eden" is the only show of his (not counting his opera) that can be counted a failure. The rest have been modest to huge stage hits. And his films have been success

MysteriousLady said: "For someone as successful as he has been, Schwartz doesn't have the name value that Lloyd Webber or Lin Manuel has. His titles are much more famous than his own name; Godspell, Pippin, Pocahontas, Prince of Egypt, Wicked. It really should be a bigger deal that someone of his pedigree is debuting a new score on Broadway; instead, it's shrugs."

Stephen Schwartz will have three shows playing simultaneously in New York this season. Two on Br

ErmengardeStopSniveling said: "What do we think of the new key art? I……..don’t know how I feel about this concept. That was such a powerful moment on stage and this feelslike it’s trying to market the play as something it isn’t.”


 

I like it? Photoshopping isn’t great, but I saw the ad early on digital display and it caught my eye. It has attitude and gave me the impression this show has a point of view