Profile for Gypsy9

I think that the ANTA theatre, which I had mentioned in an earlier post, became the VIRGINIA, before it became the AUGUST WILSON. It was while it was the VIRGINIA that it was an ugly black box, where JELLY'S LAST JAM played. I have not been back there, but am glad that as the AUGUST WILSON it has been spruced up. I very much care what a theatre looks like, both exterior but mainly interior. It is fitting that the beautiful WINTER GARDEN was the site of my first Broadway show: the Mary Martin ...

The SUNSHINE BOYS is one of my favorite plays. I saw Jack Klugman and Tony Randall give terrific performances at the Lyceum many years ago. The film with George Burns and Walter Mathau is excellent, also. I would love to see a transfer from London. I think it would be very popular over here.

I saw the original production of THE SOUND OF MUSIC in 1960. I went to the theatre with misgivings, but ended up loving the musical. It has a very strong book and, except for the cloying "Do Re Mi" has an excellent score. But why change the orchestrations? With the right cast, including the 2nd leads, it could be a hit again. When was it last revived?

You can keep to your status quo if you want to. But the activity going on onstage has absolutely nothing to do with the beauty or ugliness of the theatre. For me, the most beautiful theatres are the Winter Garden, the Shubert, and the old Mark Hellinger, but I should not be forgetting the New Amsterdam, even though I have never seen a show there. Oh, forgot to mention the Al Hirschfeld. The ugliest theatres are the Gershwin, the Minskoff, the Ambassador and the old Anta Theatre which has had ...

I saw HERE'S LOVE appropriately in the Christmas season. The theatre was half full, despite a score by Meredith Willson. I found it to be a downer, from start to finish. Give me the movie, MIRACLE ON 34TH STREET with it's great cast, especiallly Edmund Gwen as Kris Kringle and Gene Lockhart as the judge.

Despite the naysayers, I am still interested in how this whole project develops and hope that there will be occasional threads on the topic. It is so outlandish that it must be true. Remember, truth is stranger than fiction.

What about Ethel Merman and Mary Martin singing a whole host of duets for the Ford 50th Anniversary celebration on TV in the 1950's? They were famous for that show. It is on You Tube and a DVD is also available.

A bit more bite than SCOTTSBORO BOYS? I am so sorry that I missed that show when it was on Broadway. From what I have heard, it surely had plenty of bite.

I thoroughly enjoyed Nathan Lane in GUYS AND DOLLS, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, and as the lead in the ENCORES version of Jule Styne's DO RE MI. I also enjoyed him in THE BIRDCAGE. Nathan Lane is one of a kind, a treasure really.

GavestonPS spells out all of the numbers that the great Patricia Neway participated in in the 1960 stage version of the SOUND OF MUSIC. I saw that production and was extremely impressed with Neway's big, glorious voice. She deserved her Tony. Incidentally, she passed away during this current Broadway season and was remembered in the Tony Memoriam which was unfortunately not televised, but which was posted elsewhere.

For orchestral scores you might try Colony Records on Broadway and 47th or the Drama Bookshop (not sure of the address).

THE RED SHOES is a sad story. Jule Styne had been working on it for years and as it turned out, it was to be his last musical. I was at a preview, sitting across the aisle from Jerome Robbins whose assistant was taking notes. At the intermission, Robbins sat with Jule Styne and the two did not look happy. But there is a sort of happy ending. The extended ballet with Jule Styne's music was added to the repertoire of the New York City Ballet. Styne's ballet music lives on, even if not on Broadway.

The New York Times in today's paper paints a somewhat rosier picture about the possibility of a transfer to Broadway of the acclaimed Chicago production of THE ICEMAN COMETH, despite producer Rudin's bowing out of the picture. I hope it happens. I would pay top dollar to see it.

But, Henrikegerman, almost all of the reviewers of HARVEY love it and Jim Parsons. The lone dissenter seems to be the Associated Press reviewer who hated it. Only he fits your description of different reviewers being from different planets.

Interesting statistics, Pal Joey. I seem to remember at the time that Merman was in GYPSY, Variety reported that she was getting a salary of $5,000 per week. Is there any truth to that as far as you know? Might that have been as a guarantee against 5% of the gross? $5,000 was a lot of money back in 1959.

Referring to the poster who saw him on the street looking absolutely miserable, Matthew Broderick may suffer from chronic depression. It is hard to look cheerful when you are severely depressed. I know, because I have chronic depression for which I take medication which is only somewhat helpful. That and his back problems may account for his demeanor. Just a thought.

I saw the original production of THE FANTASTICKS at the Sullivan Street Playhouse in the Village in the early 1960's, with the original lead, Jerry Orbach. It was magical. Dollypop, I enjoyed reading your extensive interview of John Davidson. Re. his appearance in the short lived FOXY, his description of the forever down Bert Lahr is consistent with other accounts I have read. It is a shame that Lahr seemed so insecure since he was such a very funny man. Next to Margaret Hamilton, Bert Lahr w...

Having seen the original production, but with Harve Presnell, on a New Year's Eve, I have to say I was underwhelmed. The theatre was filled with kids who talked constantly when the musical numbers were over. This upcoming production looks like it is being cast very carefully, and its fans are going on about it so. I shall have to give it another look. I particularly respect Smaxie who feels very positive about ANNIE as a show.

I agree with Broadway Devil. Just about any song from THE GERSHWIN'S PORGY AND BESS should top the list. If those damn orchestrations didn't muck up the works, things would be better. That, and the slimmed down version, kept me from seeing the show.

I saw EVITA in late April and the audience was quiet and attentive throughout. It was an appreciative, non-texting group. I was sitting in Row M, left orchestra, on a Friday evening.