I know it's too late, but why oh why wasn't Ms. Midler's Hello, Dolly! booked into the St. James? That would have been so cool to have it in its original home!
EthelMae said: "I know it's too late, but why oh why wasn't Ms. Midler's Hello, Dolly! booked into the St. James? That would have been so cool to have it in its original home!"
It's no great mystery: the St. James wasn't available. Technically, neither was the Shubert. Matilda's stop clause was implemented to accommodate Hello, Dolly (it was originally going into the Imperial, but Natasha, Pierre & The Great Comet of 1812 decided to go for an open run).
Why wouldn't Natasha be an open run from the get go?
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement
Wait wait.. Matilda's stop clause was implemented? That seems a little aggressive. Like, very aggressive. I can see wanting Hello Dolly which will, by all means, going to be talk of the town this season, but I thought a "gentle word from the theater owners to the producers" was enough for a show to bow out gracefully. And this is me quoting a user here.
Caption: Every so often there was a rare moment of perfect balance when I soared above him.
The St. James is one of my favorite houses - was fortunate enough to see AI there back in 2010, Bullets in '14, and Something Rotten last summer - and I've been taken aback by how gorgeous that interior is each time I've been in there. Heard Tommy Tune speak quite beautifully about it in a video - it's clear that its a treasured house from the perspectives of both audience members like me, and performers like him. One of those rare theaters where everything - the mezz, the balcony (a particularly tough feat) - just works.
Shame SR is closing - I really enjoyed it! And it worked in that house - when Welcome to the Renaissance started, it was apparent that it just played well in that theater. Certain shows like Phantom (imagining it at the Hirschfeld doesn't seem right, the way the Majestic is designed suits the show and its design elements - the proscenium and the angel - perfectly) or even a show like SR would play completely differently in a different house.
Totally filled that theater, but I do wonder - since originally they were to open in Seattle before Broadway - how it would have panned out. I think it's a strong show now, but I think it could use some trimming. And the Act II opener doesn't work. And there's one too many "showstopper" type moments. And the final Hamlet moment isn't as funny as the previous scenes. But those first like 30 mins are gold.
I agree. The strong moments in the show - Brad Oscar's hilarity (wish I could've seen him do Max during his Producers days - Stro bumped him up to that part for a while and I can only imagine how funny that performance was), Christian Borle's characterization and spoof take on Shakespeare was awesome, and that musical number in and of itself, landed in a way few numbers do - definitely make the weaker parts of the score/book less apparent though!
In our millions, in our billions, we are most powerful when we stand together. TW4C unwaveringly joins the worldwide masses, for we know our liberation is inseparably bound.
Signed,
Theater Workers for a Ceasefire
https://theaterworkersforaceasefire.com/statement