I rarely get snobby in this particular way, but I want to see a new home-grown production of this show. This is an American masterpiece. After sitting through some of the weaker British/Scottish performances in (the mostly-good) Angels, I want to see people who can do these parts with more understanding and confidence. And without weird Oklajerseyfornia accents. It's a sad commentary on the state of the stage here that we keep having to import English productions of our own theater because these productions are actually supported and subsidized into existence over there.
But however it comes, this show will speak better to this moment. I think it's time.
musikman said: "ohhhh this would be fantastic if it happened. I wish I had seen the original more than once. "
Me too. I saw it a month before the Tonys. Ws devastated. Found out I was going to be back to NYC that fall and the day I found out it announced its closing. Was so upset.
I have often thought i just couldn't see any other production after seeing the OBC, but i am ready and would definitely be all in if this transfers.
I'm stocked to be seeing the show in the 'tryout' next month (I've never seen it before). But I'm very surprised that anyone would be interested to mount this on Broadway after the original production was such a colossal financial failure?
Give me claws and a hunch, just away from this bunch.
I'll actually be watching this off-west end (is that what they call it there) this weekend at the Hampstead Theatre! SOOOOO EXCITED! It's actually all sold out now too!
I still remember the 2004 Tony season with Caroline or Change, Avenue Q, Wicked, and Boy From Oz all vying for Best Musical! That was a competitive season as any of those musicals could have won the Tony on other years.
Wick3 said: "I'll actually be watching this off-west end (is that what they call it there) this weekend at the Hampstead Theatre! SOOOOO EXCITED! It's actually all sold out now too!
I still remember the 2004 Tony season with Caroline or Change, Avenue Q, Wicked, and Boy From Oz all vying for Best Musical! That was a competitive season as any of those musicals could have won the Tonyon other years."
And Taboo had one of the strongest scores that year too, even if it wasn't a strong show.
Sondheimite said: "I really want this to come to Broadway but I don't know who would take that risk?
Call Ken Davenport and hire some Deaf Kids to play Washing Machine and Radio?"
I hate Davenport but this is a little much.
I could see Roundabout or possibly a Lincoln Center/Commercial combo (like FALSETTOS) picking this up.
"Oh look at the time, three more intelligent plays just closed and THE ADDAMS FAMILY made another million dollars" -Jackie Hoffman, Broadway.com Audience Awards
The show has no glitz or glamour, but I've absolutely devoured the original cast recording. I think it was way ahead of its time, and if it came to Broadway it would resonate with audiences more now than ever.
A commercial revival seems unlikely, and the financial success of a commercial revival seems utterly implausible. However, some among the current crop of neophyte producers have made more questionable business decisions (did anyone actually think Side Show might make a profit the second time around?).
More likely would be a tiny nonprofit, like CSC, mounting a radically scaled down Doyle-esque version.
No revival could hope to match the extraordinary quality of the original production; but it really seems impossible that the tourist masses necessary for financial success will ever embrace this dark and complicated work. It's just not sufficiently tidy or sentimental for them.
Oh, I believe that it gets a decent share of productions, or "re-hearings" (why only "hear?" Why not "see" as well?). They just aren't necessarily in Manhattan. I'm sure many of these regional (and even amateur) productions have much to offer.
newintown said: "Oh, I believe that it gets a decent share of productions, or "re-hearings" (why only "hear?" Why not "see" as well?). They just aren't necessarily in Manhattan. I'm sure many of these regional (and even amateur) productions have much to offer."
I know that there've been some terrific regional and amateur productions, and that is thrilling to me. I do, though, think Caroline, or Change should be seen (and heard) again now in a major production in NYC.
It feels like every season I grow more and more jealous of the productions that wind up on West End as opposed to Broadway. I’ve never seen a live production, but its one of my “must-sees” if any regional productions pop up in my area.
Would this show work in a space like Circle in the Square? The score would be absolutely lovely to hear in a more intimate space.
Kad said: "I agree a scaled-back revival would be most likely in NYC but for the love of god keep John Doyle away from it.
Of all the companies that produce medium-scale musical revivals, Second Stage seems like the most natural fit. Or heck, bring it back to the Public."
I agree with Kad. I was so disappointed in Doyle's production of "Pacific Overtures". Did Doyle do the production of "Company" where the actors also played the instruments? Ugh.
MVintheheartland said: "Kad said: "I agree a scaled-back revival would be most likely in NYC but for the love of god keep John Doyle away from it.
Of all the companies that produce medium-scale musical revivals, Second Stage seems like the most natural fit. Or heck, bring it back to the Public."
I agree with Kad. I was so disappointed in Doyle's production of "Pacific Overtures". Did Doyle do the production of "Company" where the actors also played the instruments? Ugh."
The Raul Esparza "Company"? Yes, that was Doyle. And as for "Overtures", some of it was not great, but some of it made for the greatest "Pacific Overtures" I've ever seen. And I've seen nine or ten in my life.
Okay so I saw this last night, the Hampstead Production that is transferring to the West End proper in November. And honestly, it was not good. I feel like there were tons of interesting threads of potential stories - Caroline's relationship with Noah, Caroline's with her children, Caroline and the new wife, the new wife and Noah, the grandparents with the parents, the grandparents with the maids, the father's grief - and they tried to shoehorn ALL of that into a show, and none of it resonated even a little bit. There was too much they were trying to do and as a result it felt like they did absolutely nothing with it. I really had the highest of hopes for this production because musical theatre in London is almost abysmal, and while Sharon D. Clark is wonderful as always, she deserves much better. This was not a good show. And the score just made me want to listen to Fun Home, when Tesori got much needed lyrics help from Kron. There are so many clunkers. I mean the performance of the Hannukah songs was the highlight.
