Profile for darquegk

The rumors of Britney Spears stepping into Sweet Charity were so widespread that it's even referenced in the original production of Spamalot... and then it didn't happen.

The major cabaret theatre in Pittsburgh has phone ordering for drinks/food during the shows. I assume it's just an inevitability at any venue of the sort now; Yitzhak even comments on it during the preshow of Hedwig.

The road show presentation definitely makes me think the real question with these Broadway productions isn't "will it make a profit on Broadway," but "will it sell on tour and then do well in licensing?" Broadway and an OCR is now the very expensive Super Bowl commercial for musical-theatre-as-licensing-product, because without both of those, the answer is always "no."

A major theatre near me had been developing a cabaret-sized version of Dirty Rotten Scoundrels that trimmed it to a black-box size with a tiny cast. I feel like if that had ever gotten off the ground, it would have made the show MUCH more produceable nationwide.

SkidRow82 said: "I think the immersive, in the round, setting actually hindered The Great Comet more than it helped. It's one of my favorite scores and I'd love to see a proscenium staging with traditional sets."

Pittsburgh CLO did a production last year in a proscenium setting that was a little less abstract and more narrative/presentational in style overall. It worked well.

These are the sort of prices I'd only expect if they said someone like Bad Bunny was playing Usnavi.

Is this one of the variants where they were fleeing the British instead of witches? 

Regarding replacements for NPH: if I were a producer, I’d want to consider Ted Danson, who played a DIFFERENT charming demon a few years ago to great acclaim. It’s an easy sing and he has the right vaudevillian charm that can shade into menace. 

See also: the recent "new version" of Beauty and the Beast in licensing and on tour which cuts half an hour and a number of vocal harmonies, so as to run cheaper and shorter and not do overtime.

There's no real winning with Lola, since the original character was conceived as a white woman (extremely Jewish-coded) who "Latins it up" to amp up her sex appeal but is just another gal from the Bronx before the Bronx was diverse. It's not a very good joke, and it doesn't hurt to lose it, but that WAS the rationale.

And without it, you lose the comedic hook of "Who's Got the Pain," which mixes New York Jewishisms with mambo music.

The 2CD deluxe edition of Hair has the complete OBC, the Off-Broadway original, and a series of cut songs.

I love Spelling Bee. I've always thought that Andrew Lippa saw William Finn's eighties and nineties musicals and thought "I can do a mainstream version of that sound and aesthetic," and created the revised You're A Good Man Charlie Brown. And then William Finn saw THAT with his creative DNA all over it, and thought "If he can do William Finn for the masses, so can I," and birthed Spelling Bee.

It takes a VERY funny Brad in unconventional ways to make the part seem equal to Janet's, even though he has slightly more material than her. If you're going to have Brad play the straight man (pun intended) all the way through, it's Janet's more dynamic role that will always shine brighter.

I feel like I can see Short doing the compulsive dancing with those famous spastic dance moves he's used in so many of his characters... but even though it's the same schtick, it becomes unsettling here.