That was classic, morosco. I missed this article, so, thanks for posting :) I think these amazingly talented and experienced artists were key to the success of Tale's appeal. Here's hoping for a tour.
It's really amazing at how big they were trying to make this show. To a degree, they should have gone to the Hilton (possibly with bigger stars and some more tightening, lord knows it'll be avalible soon), though it could have become another Pirate Queen. Seeing previous set drawings, the show would have been HUGE
Fascinating article. I was particularly interested in how they did the London / Paris backdrops. They were gorgeous and clearly not projections, but as I watched, A Tale of Two Cities, I never quite figured out how they were so seamlessly dissolving between the images. I thought scrim, but it was clearly more complex. Now I know.
Walton credits director and choreographer Warren Carlyle and associate choreographer Parker Esse with keeping him venturesome as the show, with 30 producers and 185 backers, clambered to life over several years.
I didn't realize Parker was associated with this! I was in his first show with him. What a sweetheart. Good for him! I hope to see him working with more Broadway musicals.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
I think the sets were trememdously ingenious. Those who thought they were just a bunch of bare frames, obviously are missing the artistry involved. To the eye, they seemed "minimalistic" (which by the way, JCS had even more so), but, good genious work is based on making something "look" simple, which is actually very complex when you look deeper, like what you just related, SOAG25. Thanks for the info, I don't think I read about this before (?)