Profile for binau

Eg the Rent revival (2011), Avenue Q, Kinky Boots etc. where the idea appears to be that it will have success in a slightly smaller scale but run for a while. A related question, if the economics of Broadway is tough right now what it is it like for Off-Broadway?

In London they were able to make a profit in 12 weeks and on Broadway it would take over 52. Mmmmm. Are we sure it’s transferring? Being realistic about the financial prospects might mean it doesn’t come over unless they have a succession plan to Rachel. The ALW quotes seemed to be talking about hypothetical scenarios with the tentative language ‘would have’ not ‘is’. 

A very slimy drift indeed thank you

Does anyone know what happened to their TV performance of 'next 10 minutes'? Is Nick Jonas' PR trying to hide it? I NEED to hear Adrianne Warren again. Rachel, who I loves, sounds so meekly pleasant in comparison but Adrianne Warren's was very deep into the soul at some of the climax notes....

Pasek writes music?

One of the cast members

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I really dislike the flippant way she just says that British people are more talented and I have found that people apply this kind of romantic view of British culture believing it is somehow more sophisticated, elegant and educated whereas American culture vulgar and commercial when thinking about West End vs Broadway. Both regions are at the top of their game, and when it comes to musicals in particular the truth is actually the exact opposite of this stereotype. 

At the hampstead theatre which is where the recent Broadway revival of Caroline, or change originated from. Also directed by the same director (Michael longhurst). 

The other concern is that the Tony for best musical used to almost ensure recoupment. Think fun home or gentlemen’s guide. Now it doesn’t. So it’s just yet another incentive removed and added risk now. Times is hard. 

What is the overlap between Lea Michele’s fan base and existing Gypsy fans? I’m guessing she would bring in a whole new generation. I agree just the thought of another revival is a bit much, but I suspect in 10 years time it won’t feel such. In 10 years it’ll be almost 30 years since the Patti Gypsy. I suspect those who still have memories of it will be a tiny minority of the target audience for this show. 

I am being serious. 

I returned to see Paddington again for the 2nd time (first was a very early preview), first performance since the Olivier win. The audience was actually quite 'general', clearly almost everyone had just booked tickets to see the show as a matter of general business rather than as I did waiting for this moment (which makes sense because the show is selling so well unless people thought to do this months in advance they wouldn't get a ticket, they are now advertising best availability next year which I've never seen before in London or even New York - was Hamilton like this?). 

I have been wondering for a few months whether Paddington is a little overhyped because the standards of London new musicals are typically lower than New York. The show IS surprisingly long, and I wondered how much of the score I really like vs filler. 

Well, the show was even better than I remembered it to be. I really do think it's excellent - physical design is absolutely stunning and one of the best I've ever seen. The amount of detail, creativity and money that has been poured into it is overwhelming. We just don't see this in new musicals anymore. 

The show is very well written, with a clear story, reasonably fleshed out characters for this kind of show, more than a few smart and funny lyrics, a score full of hits that I do believe mostly forward the story, with a couple of breaks for perhaps light entertainment but even then I'm so impressed how they manage to weave in the book. For example, the way they setup "Marmalade" or "It's Never Too Late" within the context of the story and characters. The show unlike many new British musicals (e.g. Standing on the Sky's Edge) does not 'break the New York rules' of what makes a good musical. Unlike many musicals, I didn't really switch off in Act Two or thought they struggled to find a story to tell. 

Almost every single person in the cast is EXCEPTIONAL. Amy Ellen Richardson almost made her case for why she should have won the Olivier over Victoria, her performance much more emotional and deep than I remembered it to be last time. And really important to setup the motivation behind the story. Victoria Hamilton-Barritt's exceptional sultry gorgeous vocals and charismatic stage presence continues to bring the house down and her song "Pretty Little Dead Things" is one of the best new musical songs I've heard in years. Bonnie Langford also makes a case for winning an Olivier (why wasn't she nominated)? And I must admit I did find it incredibly moving to see the staging again of a Rose in Gypsy style 'MRS BIRD' given she was Lansbury's Baby June. They also make so many hilarious references to her legend status about being in Cats and being a West End Star. How will it work without her? 

The speaking and singing voice of Paddington is so pure, clean and clearly intentional. I am convinced the director (Luke Shepherd) has New York-style sensibilities about vocal quality and timbre because many of his shows (e.g. the London & Juliet and Starlight express productions) bring a quality I see much more common in New York than London. 

I also think that the show is an extremely moving love letter to London and the United Kingdom, which is desperately needed at the moment in the current political and economic environment. We do need to be reminded of what makes London a great place, and subtle details such as the NHS badge on Tony's immigrant mother, well integrated multi-ethnic communities, the LGBT lanyard on the train workers at Paddington station, the celebration of British culture in the Rhythm of London etc.. is well appreciated and not lost on me.. I'm not sure if Americans will really feel much here, but I feel it deeply. 

This show is a new Les Mis, a new Phantom, a new Hamilton. I usually think they should recast most London transfers with New York actors but in this instance I believe the entire original cast should transfer to New York City, and maybe it'll flop but who cares at this point. So many shows flop let people sink money into it if they want to. 

At the end, the lead actor gave a speech and they handed out the Olivier awards around the actors. The cast were absolutely ecstatic 

I believe I have been part of theatre history right now. 





 

Cole was so funny in their acceptance speech "I want to thank my husband who doesn't exist but that's ok", especially after Luke Shepherd who won Best Director thanked his husband LOL. 

The Zac Efron improv story is hilarious, but would it have worked with the song everyone’s a little bit racist? Also, I think the aesthetics, personality of character, score and story really are served well by the character being a black American and having a female actor. Some of the singing was absolutely gorgeous in this production. I struggle to think of a viable alternative that would work better.