#1
Posted: 12/9/15 at 4:40pm
Announced today that it is aiming at a 2016-2017 season opening, this time directed by Jack O'Brien. Thoughts?
Updated On: 12/9/15 at 04:40 PM
Charlie & The Chocolate Factory Broadway Bound 2016-2017
#3
Posted: 12/9/15 at 4:57pm
There's only 2 people who should direct chocolate factory and that is Diane Paulus or Casey Nicholaw.
#4
Posted: 12/9/15 at 4:58pm
Aaron Burr said: "There's only 2 people who should direct chocolate factory and that is Diane Paulus or Casey Nicholaw."
OMG, a Nicholaw CATCF production would be insanely good.
#5
Posted: 12/9/15 at 5:06pm
Do you sam is upset? I agree with the Casey nicholaw suggestion. Will peter darling return as coreographer?
My father (AIDS)
My sister (AIDS)
My uncle and my cousin and her best friend (AIDS, AIDS, AIDS)
The gays and the straights
And the white and the spades
#6
Posted: 12/9/15 at 5:08pm
I still don't understand what is so horrible about the production in London that it requires a new director. If Sam Mendes' work was unsatisfactory to them what makes them think the guy who directed Love Never Dies can do better?
#7
Posted: 12/9/15 at 5:11pm
Whitman and shaiman just want Obrian because the writers have a long history with him. The right person for the job is actually Diane Paulus, and I think Nicholaw could do a good job too. They should both do it!
#8
Posted: 12/9/15 at 5:26pm
Sam Mendes didn't want he job, HE bowed out, so they needed a replacement.
From TheaterMania: An upcoming Broadway mounting of Sam Mendes' hit West End production of Charlie and the Chocolate Factory won't feature Mendes at the helm, according to published reports. Mendes, who bowed out due to film commitments, will likely be replaced by Tony winner Jack O'Brien. A transfer, which has not officially announced, is expected to take place during the 2016-2017 season.
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
#9
Posted: 12/9/15 at 5:32pm
I thought the London production was fun and is my favorite adaptation of CATCF. I figure they're going to want to integrate more of the film songs for American audiences but hopefully, they retain the dark humor of the British production.
#10
Posted: 12/9/15 at 5:48pm
What I'd wish they'd do:
Put "Candy Man" with "Almost Nearly Perfect" to create one big opening number.
Use "I want it now" as a sort of group number for Augustus, Violet, Verucca, and Mike. Yeah Verucca is the designated spoiled one, but they're all alike in their greed. I'd also shorten almost all of their introductory numbers by a verse. They're each individually funny but all together it's almost like a joke worn thin.
And then, use the original Oompa Loopa song as a sort of ominous chant as they exit each scene. Think about it: they finish their big flashy production number and they exit chanting the Oompa Loompa choruses. Then have a final Oompa Loompa song once Mike gets taken away.
And then you could just ignore "Cheer Up Charlie"; I'm not sure anyone would notice.
#11
Posted: 12/9/15 at 5:48pm
One word: Collaboration.
I appoligise for any spelling mistakes. I may be on my mobile. Clumsy fingers and small little touchscreen keys don't mixx. I try to spellcheck, but I may miss something.
#12
Posted: 12/9/15 at 6:49pm
Wrong person to replace. Get Shaiman & Wittman out, their score was by far the weakest link.
#13
Posted: 12/9/15 at 7:14pm
I didn't mind the score. I like that they distanced themselves from the film by only including the one song but I do agree that American audiences are going to expect at least a few more. Personally I can do without the endless "Oompa-Loompa" reprises but if they do decide to include more songs from the film they could easily incorporate "Candy Man" into "The History of Mr. Willy Wonka" number and just replace "Don'tcha Pinch Me Charlie" with "I've Got a Golden Ticket." Along with "Pure Imagination" I think those are the three songs people will expect to hear but I know Warner Bros. initially wanted a new score and that may still be the case. I've lost faith in Jack O'Brien to direct big spectacle musicals so I don't think we'll get any smart or interesting choices from him.
#14
Posted: 12/9/15 at 8:04pm
Warner Bros had been waiting for Mendes to become available but I guess they couldn't delay the production any further so he bowed out. Theatre wise, my guess would be the St James Theatre, it's the only theatre that is likely to be free by late 2016/early 2017 which could house this production.
#15
Posted: 12/9/15 at 8:05pm
I'm guessing Matilda will bow out of Broadway when this comes. Charlie is way more popular than Matilda.
My father (AIDS)
My sister (AIDS)
My uncle and my cousin and her best friend (AIDS, AIDS, AIDS)
The gays and the straights
And the white and the spades
#16
Posted: 12/9/15 at 8:21pm
Whatever theatre it is, it needs to be huge. This has a massive physical production. (Assuming that the design isn't changed when a new director comes in).
They definitely need to add in "I've Got a Golden Ticket". The entire first act is building up to Charlie getting the ticket, and then when he finally does, there was no payoff. The London production goes almost immediately into the forgettable Grandpa Joe number when there should have been a golden ticket song showstopper.
Updated On: 12/9/15 at 08:21 PM
#17
Posted: 12/9/15 at 8:22pm
I wouldn't mind if they got rid of "If your mother were here". It stops the momentum of the show.
#18
Posted: 12/9/15 at 9:33pm
They need to start from scratch, it really was up there with Ghost as one of the worst musicals I have ever seen, it's was a mess from start to finish, its biggest crime was it was dull. The show had no magic, no wonder, and not a single sense of fun.
Nothing worked, they really do need to start again, new score, new design , new book
Well I didn't want to get into it, but he's a Satanist.
Every full moon he sacrifices 4 puppies to the Dark Lord and smears their blood on his paino.
This should help you understand the score for Wicked a little bit more.
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Is Stephen Schwartz a Practicing Christian
#19
Posted: 12/9/15 at 11:29pm
Can they not just do the Mary Poppins treatment and have new songs and old songs?
#20
Posted: 12/10/15 at 12:28am
My understanding is that the producers can't add songs from the Warner Brothers' movie, so all of those suggestions are for naught. They do not have the rights and I believe the Dahl estate is the major stumbling block. Getting "Pure Imagination" into the London show was the best that could be accomplished.
I think Mendes' direction was the least of the problems with Charlie in London. The biggest problem is that each kid gets a song in Act One - and none were memorable. Some were more like interminable. They don't get to the Factory until Act Two, which means the dynamism and energy of Wonka is missing for too long.
#21
Posted: 12/10/15 at 12:41am
Charlie and the Chocolate Factory is an interesting property because the fact that it's so well-known is both a boon and a bane. On the one hand, it's like A Christmas Carol, the audience comes prepared and excited for the ritualistic story. We look forward to seeing how they're going to put on all of our favorite moments - what's the chocolate room going to look like? How are the kids going to be dispatched? But on the other hand, it makes the first half seem like a slog, because we're all waiting for the really good stuff. It's a story that comes in two very clear halves, and the only thing I can think of would be to perform it as a shorter one-act.
#23
Posted: 12/10/15 at 1:36am
What about the Simon for this one? Could this be the production taking it next year? I know Cats is rumored, but I feel like that is indeed just a rumor.
Either that, or the Shubert.
#24
Posted: 12/10/15 at 4:42am
I fell Matilda is an excellent show
#25
Posted: 12/10/15 at 4:43am
another expensive crash-and-burn incoming
The thing is, besides being an utter toad of a human being, Riedel usually has the least knowledge of the topic in the room. He doesn't usually understand the content or approach of a show, and is always completely and unfailingly socially ignorant, which makes it really infuriating when Susan can't get a word in edgewise. A definitive mansplainer; it's always painful when he has female guests. I watch the show sporadically when I really want to see a guest, because it's the only theatre talkshow we have, but it would be so much better without this hateful clown in a dadcoat. (thanks ScaryWarhol)
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