Someone in a Tree2 said: "Thank God we've always got Chita and Vanessa Williams' Bway cast CDs to listen to whenever we want."
As Bill Condon explained in the talkback video I shared two days ago, the stage version will always be around and still be produced for many years to come. This movie isn't meant to be a capture of it, just a reimagining. Because John Kander had that experience with Cabaret, he was open to the filmmakers taking whatev
Can’t wait for the internet to go ballistic if they choose someone from New York or LA and not fromChicago, Atlanta, Detroit, Miami, London, Toronto, Mexico City, Amsterdam, Rome or Paris. Which tends to happen nowadays when an open call is held but a mildly established person is cast."
I’m sure whoever they find would kill it in the ensemble or as swings!"
I actually spoke with a talent agent a few months ago. One of the questions I asked him about was his take on the subject of how despite producers holding open calls, they end up casting actors who already have agents anyway. His response was "Sometimes, they will have an offer already out to like an A-lister. Then what they might want to do is in case that person turns it down, they have options. Even though they might be doing an open casting call for a particular project, they may be looking also to use whatever they get from the casting call to fill out the smaller roles. They may not land a lead role, but maybe they'll land a few lines in the project, which is still a good thing for an actor who doesn't have representation."
I can't help but think of how if Bob Fosse was making his Cabaret movie today and word got out how he wasn't using any of the book numbers from the stage version, many would be reacting on social media like "Are you f***ing kidding me?!."
Rentaholic2 said: "I hope this is a homerun for Ariana DeBose. I know people like to dog-pile on her, but I for one find her to be very talented. I'm rooting for her."
Her feature film credits may be largely questionable*, but that's likely due to Hollywood not really knowing what to do with her. In fact, I remember hearing Susan Egan talk about how after wrapping up the 1991-92 national tour of Bye Bye Birdie with Tommy Tune, she debated whether she
ACL2006 said: "Lots of shows are in trouble now: Hadestown, Book of Mormon, & Juliet, Hell's Kitchen, Six, Gatsby, Stranger Things, & Harry Potter are probably gone by the end of the year."
I imagine business for Harry Potter will probably improve as soon as Tom Felton begins his run.
I caught the tour in Durham last night. Fun fact about me, my very first trip to New York was Martin Luther King Day weekend in 2007. The first show I ever saw on Broadway was Beauty & the Beast. Aside from a couple clips here and there, I actually hadn’t seen the original animated film at that point. Yet at almost 13 years old, I was blown away by all the stagecraft on display. Since then, I’ve seen subsequent productions at a community theatre, high school, a non-equity tour, and previously at (the now defunct) North Carolina Theatre in 2017.
Director/choreographer Matt West provides such clever staging all around when it comes to both the musical numbers (a few of which have some nicely added dance breaks) and the non-musical scenes. Visually, rather than go back to what they’ve done before, West and his team started from scratch completely. With the help of Natasha Katz’s lighting, Stanley A. Meyer’s sets, and Ann Hould-Ward’s costumes, everything looks so dazzling. The latter in particular must also be nice for the actors as the costumes don’t look as heavy to wear. Although the projections and video work designed by Darrel Maloney is also very impressive.
Linda Woolverton has made several edits to the script that ended up being nice touches. Some lines have been altered while some scenes have been beefed up a bit. Those who are more intimately familiar with the show will be able to notice these subtle differences. About three of the additional songs Alan Menken wrote for the stage with Tim Rice may have been cut, but neither of them felt missing at all. Although I do feel a couple sequences in Act II, the wolf chase and the final battle, would’ve benefited from being an extra minute or two longer, but those are only minor qualms.
Kyra Belle Johnson was out the night I went. So her understudy, Grace Marie Rusnica, went on instead. No matter who I saw, I’d still consider it a treat to see someone taking on the lead role in their first big equity tour. Especially given how I’ve personally always viewed Belle in Beauty & the Beast as a star-making part. There were a couple iterations in the past where the creative team went for more star power, yet a number of people questioned if they even had the range for the material, specifically from a singing standpoint. Not the case with Rusnica as she delivers quite a strong performance overall. Her standout moments are especially her two big solo numbers written specifically for the stage, ‘Home’ and ‘A Change in Me.’ She’s also well-matched by Fergie L. Philippe, who’s very good as The Beast. He absolutely nails his character arc of this cold hearted prince who wants to change his ways, but constantly struggles doing so. Not to mention that with the removal of ‘How Long Must This Go On?,’ it becomes more effective for The Beast to not sing until the Act I finale, ‘If I Can’t Love Her,’ which ends up being such a soaring moment.
Of the supporting cast, there are three big standouts to me. Stephen Mark Lukas makes for such a fun scenery-chewing villain as Gaston. He even gets to lead quite a show-stopping rendition of his big number, ‘Gaston.’ Danny Gardner is a burst of energy as Lumière. He also leads such a show-stopping rendition of ‘Be Our Guest,’ which includes some excellent tap dancing. Kathy Voytko is wonderful as Mrs. Potts. She also delivers a stunning rendition of the Oscar-winning title song in Act II. Comedic highlights include Javier Ignacio as Cogsworth, Kevin Ligon as Maurice, Harry Francis as Lefou, and Cameron Monroe Thomas as Babette. Although I’d also like to give a shoutout to Holly Ann Butler, who plays a reworked version of the character turning into a wardrobe. She’s no longer an opera singer named Madame De La Grande Bouche, but a servant named Madame d’Lamour.
Beauty & the Beast may be “a tale as old as time,” but a timeless one at that. No matter how many times I’ve seen the original animated film or the stage version, it’s still hard for me to not get wrapped up in the story. With memorable characters, amazing songs, and an important message, it’s impossible to not have a good time with this show. Thomas Schumacher has said that their shows not only make for a great night out for families, but also a great date night for couples who grew up with the original films. Easy to see why as Beauty & the Beast especially has something for everyone.
As the tour will be starting a two-week run in Durham tomorrow night, I recently had the great pleasure of speaking with Mrs. Potts herself, Kathy Voytko. We talked quite a bit about filling the big shoes (or in this case, teapot) set by the legendary Angela Lansbury, the night she went on for Sutton Foster very early during previews for The Music Man, and more.
theatreguy12 said: "I was watching a video of The Will Rogers Follies on YouTube last night. The entire show with the OBC and filmed for Japanese television apparently. I found myself wondering if theshow would ever see a revival for the first time.
I know many felt it didn't deserve the Tony being up against Saigon, Once On This Island and the Secret Garden. But seeing it again, I thought it was a great show with great music. Set and costume design were awesome. The p
bruceway said: "The past three Best Supporting Actress winners have all been horrible so... I guess that means there's hope for JLo."
I personally haven't agreed with a Best Supporting Actress Oscar win since Yuh-jung Youn for Minari. In 2021, I would've voted for Kirsten Dunst over Ariana DeBose (although had Caitríona Balfe been nominated for Belfast, she easily would've been my winner). In 2022, I would've voted fo
binau said: "Maybe a little public interest in the material will also help facilitate some investment in the revival with Nicole Scherzinger that we desperately, desperately need.
Although it was all but confirmed that a revival directed by Andy Blankenbuehler starring Ariana DeBose was being workshopped, but got put on hold because of this film. Then again, I'd actually be interested in seeing what Jamie Lloyd would do with it.
ErmengardeStopSniveling said: "Amazingly, all of Tony Kushner's feature films up to this point have been directed by Steven Spielberg (+ Mike Nichols'Angels in America for HBO)."
Although Kushner did make some uncredited modifications to previous drafts of the screenplay for the film adaptation of Fences that August Wilson wrote before he died.
