just to be clear, my understanding is that tour is actually Atlanta (TOTS), DC (Wolftrap) and Kansas City (Starlight). The version TUTS recently announced is not a tour, but a locally produced single engagement.
The book does have its challenges (particularly the "Lundie one act" right toward the end of Act One, which bogs down the forward moving plot with a lot of exposition); I'd love to see what a talented playwright like Guare can do with it, particularly if it's based on original ideas the first time around that may have been removed.
I love Barzee and have only seen this show in community theatre. Charlotte Moore usually does a good job programming there...did she direct too? their AFTER THE BALL, for a dated period piece, was great...I THINK that's the one that combines WINDERMERE'S FAN and a Noel Coward score, anyway... Wish I could get there. They use a challenging space very well usually.
Just read the "Mamma" (never "Mama Rose" in real life) chapter of Hadleigh's BROADWAY BABYLON. The fictional Rose, FLAUNT, and all you wannabe's See You Next Tuesdays have got to bow to the real thing, if the anecdotes are true. Nearly enough to make me want to read Gypsy's and June's books, but not QUITE.
part of the humor of a LIGHT IN THE PIAZZA ballcap is the irony...it's not intended to be funny, but it is. Sort of like a hypothetical MOURNING BECOMES ELECTRA fannypack.
it's hard to sell the aisle seats where La Lupone will not be striding by braying "Sing out Louise." The faithful want to be able to touch the hem of her robe.
BDRISCH thanks for that. I had recalled reading/hearing about a possible animated version a while back....that post seems to dismiss that potential project (if the Sondheim quote is accurate).
they also produced GYPSY, JUDY GARLAND: ME AND MY SHADOWS, SERVING IN SILENCE and the films of HAIRSPRAY and CHICAGO (among others)....Neil Meron. The duo is a class act.
yeah, I've never seen Rylance live and he's kinda legendary. As for Sarah Jessica, I really wanted to see her in SYLVIA (for which the reviews were good), and MATTRESS (for which they weren't). I did see her in WONDER OF THE WORLD, but it wasn't very good...I think more the play than her performance. Can't recall what the general reaction was. Anyway, I'm sure she is worth seeing. Now if they would just put SQUARE PEGS (now out on DVD) on stage live....
Sorry. I didn't mean to imply it didn't happen. I just sometimes wonder if the young writers I meet these days will eventually have a list of titles like Schwartz's, that's all. It's fun to conjecture a bit. Who composed the show he was consulting?
according to some Q and A's, he had a version of PIPPIN (then titled something else) working while he was in college, but didn't finish it until later. The other underrated score of his is RAGS, which has some lovely stuff in it. It's kind of hard to picture a college that had such an arts program, yet no practice rooms with available pianos...still, I can recall how fast those practice rooms got booked by the "serious" musicians.
she is one of the main reasons to watch ELI STONE....though Eli himself is pretty easy on the eye. The whole series is REALLY well cast....(Victor Garber, anyone? Laura Benanti?)