Dance of the Vampires The Scarlet Pimpernel The Secret Garden Jane Eyre Carrie Chess Parade Urinetown The Wild Party (La Chiusa) Hello Again A New Brain Goldilocks The Golden Apple The Rothschilds The Apple Tree Allegro No Strings How Now Dow Jones The Rink Rags Roza
Both Off-Broadway productions of You're a Good Man, Charlie Brown did very well, but both flopped when transferred to Broadway.
I love Two Gentlemen of Verona! I really wish a revival of this would come back. I would love to see it. I like a couple of songs from Follies, but I love everything in Two Gentlemen. By the way, the score is by Galt MacDermot (Hair) and the book was adapted by John Guare (House of Blue Leaves, Six Degrees of Separation).
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
well, of course! How could I have forgotten one of the best shows ever written for a Broadway stage? Caroline or Change is freakin Phenomenal.
"I don't really get the ending,all i can go with is when after several months,Judith saw Pat sang,and later she kissed him on the toilet,after that the story back to where Pat went down from the stage after he'd sung,and he went to the italian lady.I just don't get it,what Judith exatcly meant when he kissed Pat that she had seen,and did Pat end up together with The Italian Lady?Please help me,thank u very much!"
Quote from someone on IMDB in reference to a movie he/she didn't understand. Such grammar!
"Aida? It had a long successful run and it just closed. It doesn't need a second chance."
Surprising, isn't it? Maybe bwayfan2 was talking about quality of the show in general, because that show should have never opened in the state it was in. I give the producers credit though, they dooped enough people into thinking it was quality work, giving them, I assume, a nice profit and a successful run. I got free tickets, and every single minute was torture. It's definitely by FAR the worst thing I've seen.
"What the hell happened to you? You look like a Make-A-Wish Kid. You know, I just knew you were gonna bring shame on this new family of ours, and it just figures you had to go make yourself over into some heroin-shootin skate board chic on the only day E! could interview you!" - Cherry Cherry, on her daughter Mary Cherry
i thought the revival of little shop was GREAT. don't know why it didn't stay on longer. i'd also like to see another revival of JCS (not like the latest one...it was horrible...should be done in the same way the original was). and of course, i'd love to see Tommy done again.
bwayfan2 - I guess I assumed "another chance" meant a show that originally failed either critically or financially. Otherwise, what does the phrase really mean? If someone says, "You should give _____ another chance." Doesn't that imply that something was not well-liked or well-received? Otherwise, the question would not be asked. And I in no way questioned your opinion or implied anything other than it was successful, which didn't make sense given the topic.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
Side Show-- if they could have marketed it differently Carrie-- same thing.. but try not to CAMP it up as it would work well as a chamber/dark musical Dance of the Vampires-- leave it the way it was in Germany
Yes. Dance of the Vampires should be revived the way it was in Vienna / Stuttgart. It was such a compelling, dynamic show but they spoiled it. I wrote a long tract on it, at the Steinman message-board, about why exactly I thought it failed. It should be given another chance, in London, but in the original version that won so many hearts in Germany. Would love to see what becomes of the Japanese and Parisian productions (very amusing). The Scarlet Pimpernel is wonderful. I recently discovered this little jewel. I'm actually surprised, with the exception of a few moronic ballads, this didn't run longer than it should. It should have been (cutting out the extranneous ballads) the longest running musical since Phantom. It really meant something: was exciting entertainment, compelling material, awesome music and lyrics, great edge-of-your-seat storyline, costumes, drama, set and lighting. It had it all: and it was a sensational show. It should be brought back, in its best form (not too certain about the different versions) and given another chance. Jekyll and Hyde could also use an interesting revival, but with the songs from the Concert version and a more stable book - a MUCH MORE stable book. This should then become a hit and banish all thought of previous versions. Wildhorn should also surrender Frankenstein, if he doesn't want to make a fool of himself, and focus on Camille Claudel. That should be his only concern. I'm tired of the fact that he's trying to get millions of his projects staged at the one time. Just focus on Camille Claudel, because that is said to be just as good - if not better - than Pimpernel: and it would definitely redeem him with the critics. Carrie could use a much more gothic re-working, no camp stuff, and Batman the Musical should be re-considered in a Brechtian, experimental form. Steinman and Wildhorn should definitely be working on Broadway now
Who can explain it, who can tell you why?
Fools give you reasons, wise men never try
-South Pacific
Given another chance??? Virtually, all of these shows received productions in first-class venues with the creme de la creme of Broadway talent involved onstage and behind the scenes. If these shows didn't find an audience, it's very obvious why: they didn't deserve one. And when they were as ludicrously misconceived and poorly written as SIDESHOW or THE WILD PARTY (either version) or MARIE-CHRISTINE or DANCE OF THE VAMPIRES or STEEL PIER or CAROLINE, OR CHANGE or TABOO or THE SCARLET PIMPERNEL, it's no surprise, either.