The Broadway would be an ideal house for this production.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Jordan Catalano, I think you'll be very happy with Christiane Noll.
She is an absolute revelation as Mother. Personally, I found her superior to Mazzie.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
Contrary to popular opinion, the neil Simon is not booked...and theater owners have extraordinary discretion on which of their houses a show will go into.
Don't get me wrong, I adore Noll. But I've seen countless productions of this show and (to me) nobody has ever come close to being as glorious as Marin was. But if Noll took the role, I would be very very happy.
For any reasonably budgeted show that would have ensured payoff and healthy profit. But with Garth Drabinsky skimming $200 K a week it pushed the break-even too high. THAT is why Eisner closed the show soon after taking control of Livent. But the attendance figures show that it was popular production. Less so after some rather unsastifactorty (cheaper?) cast replacements, but still a draw.
So to say "it didn't find an audience the first time around" is not true at all.
RAGTIME had a weekly nut of $600 K ($550 K with royalty waivers) - So to meet that the show needed $64.2 million. The show grossed $79.7 million for its 107 week Broadway stay. That is a net operating profit of $15.5 million, which should have been more than enough to pay off. The fact that it didn't is still under investigation in the U.S. In Toronto earlier this year Drabinsky was found guilty of accounting fraud, moving profits from one show to cover losses of others - so where that $15 million went is anyone's guess.
SO even if Variety reports RAGTIME as a flop, it wasn't a flop due to its Broadway earning power.
Cast albums are NOT "soundtracks." Live theatre does not use a "soundtrack." If it did, it wouldn't be live theatre!
I host a weekly one-hour radio program featuring cast album selections as well as songs by cabaret, jazz and theatre artists. The program, FRONT ROW CENTRE is heard Sundays 9 to 10 am and also Saturdays from 8 to 9 am (eastern times) on www.proudfm.com
I hope they keep as much of the Kennedy Center cast as possible. I particularly want Quentin Earl Darrington, and Bobby Steggert back.
I think a small theatre would not work for this show, though. Oh, and although I think Marin Mazzie's voice is perfect for mother... Christiane Noll's acting was leaps and bounds above what had been done with the role before. I wasn't crazy about her voice, but her characterization was brilliant.
In my pants, she has burst like the music of angels, the light of the sun! --Marius Pantsmercy
NDR, there's no need to start hypothetical casting.
I'm sure a large majority of the cast from the Kennedy Center staging will transfer with the show, especially the principals (minus Manoel Felciano, who definitely won't be moving with it as he's taking up residency with San Francisco's American Conservatory Theater.)
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.
somethingwicked: sorry to have offended you but last I checked it was still a free country and people could say what they wanted to. I hope the Kennedy Center cast does transfer, but who are you to tell me not to postulate about possible casting.
I was telling someone earlier that I hope most of the cast stays intact. The cast of the Kennedy Center production was a true ensemble. I don't think the OBC can be topped, but the DYNAMICS of the Kennedy Center production probably better suited the show. There weren't as many competing powerhouses, and everyone had a measure of restraint and subtlety. There were standout performers, but none of the three storylines completely dominated the show. I wish Mano could stay with the show as I loved his Tateh, but it sounds like he's doing exciting work out in San Francisco.
This is OUTSTANDING news! I saw the production in DC, and was blown away from the moment the curtain rose. Broadway needs more INTELLIGENT yet still entertaining musicals! This is going to be a huge hit.
(minus Manoel Felciano, who definitely won't be moving with it as he's taking up residency with San Francisco's American Conservatory Theater.)
A darn shame. For me, Felciano (and the sublime Noll) were the highlights of this production. Their presence, and take on Tateh and Mother, pulled all my focus from Coalhouse's story.
The only principal roles they are looking to recast at the moment (per ATC) are Tateh, Sarah, Emma Goldman, and the children.
Jennlee Shallow is committed to a Las Vegas company of a Cirque de Soleil show, Manoel Felciano is a contracted resident of ACT in San Francisco, and I believe Donna Migliacio (who was truly remarkable) isn't interested in leaving D.C.
Here's hoping they line up Mary Testa for Emma.
As far as Tateh and Sarah, Raul Esparza and Anika Noni Rose would be interesting choices.
Tonya Pinkins: Then we had a "Lot's Wife" last June that was my personal favorite. I'm still trying to get them to let me sing it at some performance where we get to sing an excerpt that's gone.
Tony Kushner: You can sing it at my funeral.