"Lloyd Webber said an actor in 'their early 40s' would be needed for the title role, adding 'I don’t think you want anyone too young as the story is about Christine mistaking the Phantom for her father.'"
Cameron Mackintosh's bent for casting young, pretty Phantoms has been very disappointing to me."
In a 2021 interview with Variety, Andrew Lloyd Webber revealed
Play Esq. said: "Similarly, I’d love to see a gothic or Grand Guignol concepthelmed by Guillermo del Toro."
Josh Parham of Next Best Picture, who actually has a soft spot for Joel Schumacher's film despite its flaws, once tweeted that "If we ever get another adaptation of Andrew Lloyd Webber’s Phantom of the Opera (and I fully believe we should), my choice for a director would be Guillermo del Toro." If you ask me, that ac
I enjoyed watching this largely because of how exciting it was to be viewing a Broadway performance on live television. George Clooney gave a solid performance as Edward R. Murrow. Of the supporting cast, Clark Gregg as Don Hollenbeck was the standout to me. The production alone has so many moving parts, yet director David Cromer keeps them all together very well. There’s also a certain aspect of the ending that I felt was kind of neat.
I'm currently watching the pre-show for the live broadcast of Good Night, and Good Luck on CNN. They just showed a commercial for the trailer. Wouldn't surprise me if it also airs during tomorrow night's Tony Awards (as well as a Wicked: For Good promo).
Wayman_Wong said: "''We've seen in the past that when it comes to close races at any awards show, the nominee whose project was the stronger contender usually prevails. I used that logic to successfully predict Tony Shalhoub to win forThe Band's Visitdespite how open-endedBest Lead Actor in a Musical was in 2018.''
In general, I'd agree. But I don't recall the Best Leading Actor race being that ''open-ended'' in 2018
bear88 said: "Best Actress in a Musical is - shocker -too close to call between Audra McDonald and Nicole Scherzinger. The latter actress may get a boost because Sunset Blvd. is ahead for Best Revival over the "polarizing" Gypsy."
That's what I'm thinking. We've seen in the past that when it comes to close races at any awards show, the nominee whose project was the stronger contender usually prevails. I used that logi
nealb1 said: "Jeffrey, thanks for posting the trailer. Looks great. Really looking forward to seeing it this fall."
Me too. Believe it or not, I actually played Chita Rivera’s rendition of the title song from the original Broadway cast recording earlier today when shortly thereafter during PopStart on The Today Show, they showed a glimpse of the trailer. I went on YouTube to watch it, and I got chills.
I caught it on PBS last night. As a longtime fan of director Bartlett Sher’s musical revivals, I was curious to see him take on Kiss Me, Kate. What I loved about his interpretations of South Pacific, The King & I, Fiddler on the Roof, and My Fair Lady is that on the outside, he gave them such big, lavish presentations. But on the inside, he treated the material with respect while also successfully approaching them with more modern sensibi
With Michael Mayer at the helm, that could concerning. He so far hasn’t had an impressive track record with shepherding revised books for Broadway musicals (like On a Clear Day You Can See Forever and Funny Girl).
Last night, I caught PBS' broadcast of Girl From the North Country. Just as A Complete Unknown this past year gave us the origin of Bob Dylan, they just gave us a Broadway musical that includes his songs. I felt the way they were used to reflect the mood came across very effectively. Thus, this feels more like a poignant play with music as opposed to a musical. Conor McPherson not only successfully pulls that off as writer, but he also accomplishes a lot as director. The
I caught the broadcast Friday night. I previously saw a local production in my area almost three years ago. Revisiting it through this was a treat. There were a few parts I literally didn’t even remember from the first time until they happened. The first half is an absolute hoot of a comedy while the second half is more emotionally compelling. To think that the work itself is semi-autobiographical. Everyone in the cast fires on all cylinders, especially Daniel Dae Kim and Francis Jue.