Women on the Verge of a Nervous Breakdown Rock of Ages (though it ran for many years, the vitriol on BWW hurled at it was EPIC) Xanadu Catch Me If You Can Ghost Dirty Dancing (the first tour of the original production, not the bland, paint-by-numbers recent tour) Starlight Express Big (the Broadway production) Seussical (the Broadway production) The Scarlet Pimpernel (the first Broadway production) Jekyll & Hyde (the pre-Broadway productions) A Bronx Tale Memphis
And a show that infuriates purists to no end...Contact.
I don't recall most people hating Jane Eyre. I think it flopped mostly as a victim of timing. It was actually my favorite show that season.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
1. Chitty Chitty Bang Bang: It is what it is- and if you want to basically see Sid and Marty Krofft-Meets-Roald Dahl weirdness, that’s what this is. Raul was in very fine voice, and Jan Maxwell was stunning. We miss you Jan!
2. Threepenny Opera revival with Alan Cumming: Definitely not the best translation, didn’t need a random flash to the audience, but had a very talented cast who gave the score their all.
3. Side Show: I thought the revival was even better than the original. The songs for the girls vaudeville acts were more ironic and varied in tone, they commented on their situation more. Costumes and makeup were great, and the plot did try to touch on their real lives a bit more.
Another day, another dollar is the reality of my mentality. Otherwise, don't even bother.- TLC
Big Fish and Tuck Everlasting both have fantastic material, but were in big bloated productions that made the end product bad. If they both had small scaled down productions, I really think they'd get the praise they deserve.
I'll also add myself to the "loved Groundhog Day" list although I felt like the opinions on that one were more 50/50 as opposed to "most people" hating it
ahhrealmonsters said: "Shrek, hands down. I heard/read somewhere recently that Jeanine Tesori & DavidLindsay-Abaire are working on a new project together...I can't wait!"
I think it's a musical adaptation of his play Kimberly Akimbo. Considering his lyrics were the best part of Shrek, I'm excited for any musical projects he's got in the pipeline.
1. Chitty Chitty Bang Bang: It is what it is- and if you want to basically see Sid and Marty Krofft-Meets-Roald Dahl weirdness, that’s what this is. Raul was in very fine voice, and Jan Maxwell was stunning. We miss you Jan!
Oooohhh yes! I thought Raul was miscast, but I absolutely LOVED the show. Jan and Marc were HILARIOUS. And when that car flew, I was my 5-year-old self again, utterly enchanted by the stage magic.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
I adored PASSION and its refusal to condescend to audience expectations of a musical. Over time, it has become one of my favorite Sondheim scores.
My now-husband and I had a great time at THE MOONEY SHAPIRO SONGBOOK in London; then it closed so quickly in NYC we never got a chance to revisit it. I don't know if the references were too inside-British or if they messed it up somehow in the transfer.
I realize it has proved more popular on tour and in regional productions, but the failure of BRIDGES OF MADISON COUNTY on Broadway continues to baffle me, especially considering the amazing vocal performances on the OBCR. I know Americans prefer stories where one can "have it all" without making hard choices (see PASSION, too), but one would think the success of the novel and film would have prepared audiences for what they would see.
THE SOUND OF MUSIC and SHENANDOAH aren't hated, except among musical play aficionados who ridicule both shows with some frequency (and considerable cause). I am usually among the first to join the mocking. But as long as we're in a confessional mood, I must admit I have seen both countless times (literally, since I did an entire summer of MUSIC and a month of SHENANDOAH in stock, plus other productions of both) and, nonetheless, I start to bawl each time those kids start up the mountain at the end, and every time the presumed-dead "Boy" appears in the church in the final scene of SHENANDOAH, limping toward his father, calling "Pa! Pa!"