Posted: 2/19/21 at 1:33am
Love this week's episode. I really am enjoying Out For Blood.
Posted: 2/19/21 at 11:44pm
batboysings said: "We've just launched our new pod OUT FOR BLOOD which deep dives into the infamous Broadway musical flop CARRIE.
We have interviews coming up with the cast and creators of the classic original as well as the recent revival, other notable productions as well as some famous fans!
You can get the teaser in your pod app now by searching OUT FOR BLOOD, remember to click subscribe so you get all future episodes.
ome tv bazoo cam omegle chat
"
You can get more attention to your new pod, but for that, you have to promote it in a better way.
I wish you get success in your brand creation
Love from Serbia.
Posted: 2/25/21 at 12:31am
Another great episode landed today.
I really wish this was getting more attention. Chris and Holly are wonderful as are the interviewees (I'm prejudice as I am included in some of the fan clips).
I saw Carrie and years later the thread asking for anyone who saw Carrie to reach out. One Sunday morning months ago, Chris, Holly and I spent an hour or so talking everything theater. They are delightful. Their love for all things theater is evident and their passion to understand 'Carrie' led them to create a delightful podcast.
Posted: 2/26/21 at 1:13am
Posted: 2/26/21 at 12:17pm
Posted: 2/26/21 at 7:34pm
Been having a great time binging it this week.
Almost didn't listen, as I wondered if I needed another telling of CARRIE's fate. But it really puts you right in it for each twist of its journey. You're almost surprised it goes the way it does.
Highly recommend for a lovely escape.
Posted: 3/4/21 at 3:36pm
Another interesting episode this week - and you can see Joe Iconis' Carrie poster during the NYTW RENT Broadcast!!!
Posted: 3/4/21 at 11:54pm
Wednesday's evenings have become about listing to Out for Blood. I really am enjoying this podcast. I love how far Carrie's reach has been. How many people were effected by this show.
Posted: 3/10/21 at 9:48am
This week speaks about the origins & development of the revival. Very interesting to hear explicitly they were aiming for a big Broadway production with a full orchestra before MCC showed interest and it went in another direction. Also interesting to hear explicitly of course they wanted a Broadway transfer but it never happened (Marin Mazzie if I recall always said they wished it went further though).
Interesting to hear snippets from the first demo of the revised "In" - I must admit my jaw dropped when I heard it for the first time at the 2011 MCC talk/preview they did with, with a similar reaction to it sounds like the creatives had when they first heard it thinking they had done it. I wish they reached that same level of quality/transformation with some of the other high school songs though.
Also interesting to hear that Molly was suffering from some vocal issues before the show was mounted that were eventually solved with Marin's voice teacher - I distinctly remember claiming here that Molly in that 2011 preview didn't seem to have the strongest voice singing the title track but by the time the show actually was mounted in 2012 and the recording made she sounds MUCH better.
Always great to hear Marin Mazzie spoken of it such high regard, too. She seems to be one of those people that everyone loved working with & people liked personally.
Posted: 3/10/21 at 10:29am
Posted: 3/11/21 at 4:38pm
Posted: 3/12/21 at 12:25am
Posted: 3/12/21 at 8:00am
If they had restaged the 80s version would you have wanted them to at least re-orchestra/arrange the music or would you have wanted it to be performed as originally written?
Posted: 3/12/21 at 10:11am
And there we have the ye olde debate of whether a revival is supposed to tell the story or tick off your nostalgic boxes. (Yes, some have done both.)
Listening to the BTS of the revival made me realize how much the original leaned on the film's interpretation, specifically in the portrayal of Margaret White. When they're discussing how they're Margaret would be someone you could see in Whole Foods, maybe even would bake you a tart, and you'd have no idea, it made me realize just how different that was from the Margaret of Betty or Barbara, who had an edge and a sternness you felt would show beyond their small house. But really, that idea of Margaret as equally strange and ostracized as Carrie is one that resembles Piper Laurie's acclaimed performance. Personally, I think it's necessary to the narrative for her villainry to be limitless, as she eventually decides to kill Carrie.
Posted: 3/18/21 at 1:27am
What I love about, Out for Blood. Of course the mystic of Carrie has a strong appeal, and that I saw the original and am actually interviewed play an important part, but most of all, its an epic story about the process of creating musical theater. Holly and Chris are amazing at leading us on yet a new Carrie journey. Bravo to them. Listen to the podcast. Its wonderful!
Posted: 3/20/21 at 6:28am
I find it interesting that Alice Ripley on the podcast seems to insist that Margaret is her favourite role? Really? The obvious reason being surely it is her Tony-award winning role in next to normal. She then went on to say (if I recall) it was partly because it was fun and didn't require that much work (whereas I'm guessing next to normal was life and voice consuming), but still.
The full show with Alice Ripley (pro-shot) is actually on YouTube, I must admit it doesn't appear to be her strongest performance (to be fair, the whole production looks like a bit of a mess). I know when Mazzie was doing the off-broadway revival some people here were wishing it was Alice Ripley instead but I think it might have only worked 5-10 years earlier. While Mazzie may have been 'disappointing' compared to Betty Buckley, I don't know if I can find any examples of a Margaret in any production I have seen or can find clips for that matches Mazzie's virtuosic performance except Buckley.
Updated On: 3/20/21 at 06:28 AM
Posted: 3/20/21 at 9:30am
Posted: 3/20/21 at 11:45am
Plannietink08 said: "From listening to the podcast I personally think the 1988 version is far, far stronger than the 2012 version and that the show should have retained a certain level of camp. "
I definitely think the 2012 version over-corrected the tone. But it’s understandable considering what the creators went through. I think the version that strikes the best balance is the 2009 reading. You can hear it on YouTube.
Posted: 3/21/21 at 12:20am
qolbinau said: "I find it interesting that Alice Ripley on the podcastseems to insist that Margaret is her favourite role?Really?The obvious reason being surely it is her Tony-award winning role in next to normal. She then went on to say (if I recall) it was partly because it was fun and didn't require that much work (whereas I'm guessing next to normal was life and voice consuming), but still.
The full show with Alice Ripley (pro-shot) is actually on YouTube, I must admit it doesn't appear to be her strongest performance (to be fair, the whole production looks like a bit of a mess). I know when Mazzie was doing the off-broadway revival some people here were wishing it was Alice Ripley instead but I think it might have only worked 5-10 years earlier. While Mazzie may have been 'disappointing' compared to Betty Buckley, I don't know if I can find any examples of a Margaret in any production I have seen or can find clips for that matches Mazzie's virtuosic performance except Buckley."
The closest I have found to Buckley’s vocals is Kim Criswell in the Southwark Playhouse production in the UK. Mazzie is wonderful and I’m sure the producers, directors, and everyone involved was not interested in her playing the role like Buckley did or they wouldn’t have cast her. But as a fan, the revival was a letdown.
Posted: 4/2/21 at 7:29am
Thank you to everyone who has downloaded and listened to the podcast, the response has been overwhelming and we are flatted by all of your kind comments!
The full 10 part series is now released but we have a couple more bonus episodes coming up including some extra interviews that happened too late to fit into the main series (plus a very cool early recording).
The whole thing is available on Apple Podcasts, Spotify and all good podcast platforms!
Thanks again!
https://podcasts.apple.com/us/podcast/out-for-blood-the-story-of-carrie-the-musical/id1535845072
Posted: 4/6/21 at 12:06am
This musical always fascinated me, I discovered the 1988 Broadway audio on a now defunct website when I was a freshman in high school and loved the story behind the flop, this show had some great songs, some good, some really bad. If I had to pick between the 88' and current version I would pick the latter because of better character development and better replacement songs.
I kind of would like to see a film adaptation of the musical with Rachel Zegler as Carrie, Amy Adams as Margaret, and Ruthie Ann Miles as Miss Gardner. Sure that won't happen but it would be really cool to watch.
Posted: 4/6/21 at 1:41pm
In August of last year, this "Carrie" reunion happened with Stars In The House on Youtube. It's a fantastic reunion. I'm so glad that they cleared up that "Carrie" was not a flop by any stretch of the imagination. It was not playing to empty houses, or anything like that. All of a sudden the producer just up and left, with all the money, and the show had no choice but to close.
https://www.youtube.com/watch?v=kxB6X__fc3k
Posted: 4/6/21 at 2:33pm
I do wonder if there is a little bit of revisionist rose coloured hindsight in how the original production grosses are describe. The record here clearly shows it wasn't exactly smashing records - the last week showed a sluggish approximately 65% attendance with an average ticket price of $22.This was substantially lower than hits at the same time.
https://www.broadwayworld.com/grosses/CARRIE
Posted: 4/6/21 at 2:42pm
So in theory, if the producer had the guts to stick it out despite the critics lambasting the musical, it could've had a slightly longer run than the 5 performances it had. Wow that kind of sucks, it makes you have a different perspective of things and honestly it makes me feel bad for the performers who obviously put all their heart and passion into it.
But I also think the way the production was handled also didn't help matters either because the 1988 production isn't what Michael Gore, Dean Pitchford, and Lawrence D. Cohen had envisioned when they first worked on it. They wanted it to be it's own unique musical but the director and crew pushed it to be more like the British mega-musicals (Phantom, Les Miserables, Cats etc.) that were very popular and making loads of money. That's part of why it could've had a slightly longer run because of how fascinatingly strange the show was with audiences, but it still would've closed shortly afterwards regardless.
Again the story behind the 1988 version of Carrie is interesting and it made me love stage musicals even more than I did.
Posted: 4/6/21 at 2:52pm
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