Young man you are waaaaay out of your depth here. Encourage youth and all that they bring to any endevour but have a long hard think before you expose your thoughts, and responses.
Philly there is a big difference mentally[usually] between a late teens thoughts and those that have been around the block a few times. Your joyful naievitity[can't spell it] is obvious and so too is how you word your gushing thoughts and references about Broadway greats. Think, share, debate and retreat-the last part comes with experience-took me about a year to share my thoughts but I know I don't have the intelligence to debate with most of the regulars on here so I read and learn.
"I would love for someone to seriously mess with this show like Diane Paulus-THEN we'd get a true revival!!"
"but how many directors have been told that their ideas were terrible but ended up working really well"
"If i was a Broadway director i would be fearlesss and own my ideas"
Am I missing where you flesh out any of these ideas with concepts, examples, background, etc. Hiring Diana Paulus isn't an example of your creativity... only your belief in hers.
I'd like to see Robbins' staging with a different design. The same guy did three tours, two of them right in a row, of Fiddler. I have no problem with a new look as long as you keep what works -- the book, the score, and that timeless choreography (and blocking; Leveaux changed way too much to allow serious deviation ever again).
"Am I missing where you flesh out any of these ideas with concepts, examples, background, etc." haterobics, you must not have read the entire thread...
I do believe in reinvention if it serves the material. But don't do A Chorus Line without the white line across the stage. Don't do Man of La Mancha without the staircase to the inquisition. Don't do Hello, Dolly! without the staircase into Harmonia Gardens. Sure, she could just enter stage right but is it as effective? Of course not. Keep what works.