Profile for MarkZoetrope

I love that idea - and could totally imagine Julian Fellowes and Richard LaGravenese borrowing it for their Streisand script. I wasn't aware of the actual connection with the writing of the musical in the 1950s, though. Very interesting stuff!

I don't mean a reverential Bartlett Sher or Diane Paulus production that (largely) honours the original blocking and choreography (supposedly, it's contractual that Jerome Robbins's "Fiddler" dances must always be replicated), but rather like what Sam Mendes's CABARET was to Hal Prince's original, or even David Leveaux's NINE to Tommy Tune's. In other words, a complete overhaul. 

"South Pacific" in an asylum sounds like one special kind of hell. (It's old hat to you, but from a quick Google search, Bogart's concept was veterans in an institution where Rodgers and Hammerstein musicals are used as a form of therapy - and where white-coated doctors and nurses proliferated.)

Inspired by Mr. Nowack's thread - although dealing exclusively with re-interpretations, re-imaginings, re-stagings of well-known theatre works.

The question is simple: how much longer can Phantom (New York) and Les Miz (London) run?

I know they both have the considerations of being big tourist attractions, but will they really survive well into their fourth decades?

Hello there - I'm currently doing some research on Broadway shows that were, at one point, mooted for a film transfer - but which ultimately never materialised. Here are some I can think of:

FOLLIES (mid-70s with the MGM cohort, late 2000s with Sam Mendes, presently with Rob Marshall)

SUNSET BOULEVARD (at one point, William Friedkin was rumoured to helm a Streisand starrer. Speculation has always followed Close, Streep, Minnelli et al.)