A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
A CHRISTMAS STORY has been by far the best of the 'seasonal' musicals I've seen, so I'd be happy if it returned.
AN AMERICAN IN PARIS intrigues me... will there be an audience for the (presumed) extended ballet sequence?
I also love the unintentional pile-up from season-to-season. Last season we had no golden-age throwback, this season we have this, ON THE TOWN, KING AND I and also FORUM and TWENTIETH CENTURY... you wonder whether these shows would have fared better if they were spread out over different seasons, as far as finding their audience goes. But then again, such are the windows of opportunity... you take 'em when you get 'em.
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'm thrilled at the idea of this being on Broadway for the first time. I expect if audiences loved the ballets at the heart of Oklahoma, On the Town, Carousel, West Side Story and On Your Toes, they will welcome the one at the heart of this show too.
I wonder if Alan Jay Lerner will get any credit on this at all, given that the original concept, screenplay and reworking of some of the Ira Gershwin lyrics in the movie were all his. (And p.s., new books for classic properties always scare me a little.)
I like the idea and I love the cast, but why must all of the Gershwin jukebox musicals have practically the same song stack? Playbill lists "I Got Rhythm," "SWondwrful," "But Not For Me" and "They Can't Take That Away From Me" as being included which is basically the scores of Crazy For You and Nice Work if You Can Get it. Didn't these guys write any other songs?
The movie is a classic so seeing this with anyone other than Kelly and Company is a non starter for me. For whatever reason, Broadway versions of classic MGM musicals have not done well. Examples are Meet me In St Lewis, Singing in The Rain and Gigi.
I always thought Max Von Essen bore a striking resemblance to Gene Kelly. I told him so on Twitter. He took it as a compliment.
I don't WANT to live in what they call "a certain way." In the first place I'd be no good at it and besides that I don't want to be identified with any one class of people. I want to live every whichway, among all kinds---and know them---and understand them---and love them---THAT's what I want! - Philip Barry (Holiday)