I was looking at some interactive features on the New York Times website and was curious to see the development of posters prior to a shows Broadway opening. I was wondering, does anyone have any photos of artwork that was developed but eventually dropped. Here's some I've found:
The most immediate recent example I could think of, Roundabout's announcement logo for THE BIG KNIFE before they launched their Saul Bass-inspired brand redesign.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
PIPPIN's initial launch artwork was pretty uninspired, compared to the beautiful work they have now.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
PROMISES, PROMISES utilized the girls and key illustration during their out of town tryouts both on the program and the playbill. Once they moved to Broadway they utilized a completely different design illustrated by Talivaldis Stubis who also designed the show logos for ANYONE CAN WHISTLE and FUNNY GIRL.
The Stubis illustration depicts a girl with her legs open, which was kind of racy for its time.
United Artists Records used the girls and key illustration for the cover of the Original Broadway Cast Album.
For the London production starring Betty Buckley and Tony Roberts the posters used the girls/key illustration and the program used the Stubis illustration.
I've been really enjoying this thread, too. I find developmental art for pre-Broadway runs fascinating in hindsight. Anyone else think this art for LIMELIGHT (soon to be CHAPLIN), while less ornate, strikes the more appropriate tone for the show?
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
^I remember seeing that artwork in the TV commercials when Limelight was playing here. It definitely made a lot more sense than the artwork that was used in New York. The show was mostly designed in black and white. I'm not sure why that aesthetic screamed yellow and purple to the Broadway marketing firm.
I also think La Jolla's art for LIMELIGHT was better than its art for HANDS ON A HARDBODY.
I preferred the ultimate Broadway artwork, even though the rest of the marketing really let the show down.
Some other fun ones I've found, a pair of other shows launched from NYTW:
PETER AND THE STARCATCHER
and the original run of RENT
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
I wouldn't really count Mary Poppins as pre-opening artwork since that was used for a major production. It's like saying the Broadway art for Into The Woods was the pre-opening artwork for the London "wolf' version.
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.