#2
Posted: 9/4/14 at 2:52pm
I hope they've made some major changes, because that production in La Jolla was dreadful.
Cheyenne Jackson tickled me. AFTER ordering SoMMS a drink but NOT tickling him, and hanging out with Girly in his dressing room (where he DIDN'T tickle her) but BEFORE we got married. To others. And then he tweeted Boobs. He also tweeted he's good friends with some chick on "The Voice" who just happens to be good friends with Tink's ex. And I'm still married. Oh, and this just in: "Pettiness, spite, malice ....Such ugly emotions... So sad." - After Eight, talking about MEEEEEEEE!!! I'm so honored! :-)
#4
Posted: 9/4/14 at 2:56pm
I could see this source more as an opera than a musical; not much of a sense of humor in the tale.
#5
Posted: 9/4/14 at 3:02pm
I thought this was long dead.
I'd love to hear a new Lucy Simon score.
I'd love to hear a new Lucy Simon score.
....but the world goes 'round
#7
Posted: 9/4/14 at 5:00pm
I don't care who is funding it as long as they record a cast album. This show has been in the works for ages and I want a new Lucy Simon score!
I have high hopes but I know audiences just aren't as excited about these types of shows as they used to be. Although Les Miz and Miss Saigon have proved that there is an audience for revivals of the mega musicals from the 80s. And Phantom is still doing well. This one is new so you have to convince audiences that it's worth seeing. Jane Eyre, Pirate Queen and A Tale of Two Cities didn't do that. I imagine it's pretty tough.
I have high hopes but I know audiences just aren't as excited about these types of shows as they used to be. Although Les Miz and Miss Saigon have proved that there is an audience for revivals of the mega musicals from the 80s. And Phantom is still doing well. This one is new so you have to convince audiences that it's worth seeing. Jane Eyre, Pirate Queen and A Tale of Two Cities didn't do that. I imagine it's pretty tough.
#8
Posted: 9/4/14 at 7:18pm
The show in Sydney was a bore, which was incredibly disappointing given I was excited about the idea of a pre-broadway tryout in Australia with one of my favourite performers in the leading role (Anthony Warlow). This and AN OFFICER AND A GENTLEMEN (even worse), had me convinced that a modern 'romantic musical' wouldn't work until I saw BRIDGES. Opening it at the Broadway theatre without one (or two) a-list stars would be a big mistake IMO (assuming it isn't massively overhauled - but I don't think you can save the score).
They announced a cast-recording (in print) but it never went ahead.
They announced a cast-recording (in print) but it never went ahead.
Give me claws and a hunch, just away from this bunch.
#9
Posted: 9/5/14 at 5:45am
It isn't Thanksgiving yet but they're serving up turkey.
#10
Posted: 9/5/14 at 6:45am
Great news. I don't think it's a question of these types of shows not being popular, they just have to be very, very good.
Why don't you go? Why don't you leave Manderley? He doesn't need you... he's got his memories. He doesn't love you, he wants to be alone again with her. You've nothing to stay for. You've nothing to live for really, have you?
#11
Posted: 9/5/14 at 9:35am
I saw it in Melbourne and thought it was pretty good, but not brilliant. The music was quite nice, but not terribly memorable; although not having a cast recording didn't really help that. There are some clips of Anthony Warlow and Lucy Maunder on YouTube if anyone wants to check them out. Apparently a recording was extremely close to happening but it was cancelled at the last minute, so I'm excited that we'll hopefully get one now, albeit a different cast. I think it sold pretty well with older audiences, although Warlow definitely helped with that. They will definitely need some big names in the cast for it to do well. Warlow was very good in the role (but I don't think he managed 8 shows a week), so I'm guessing he's a chance to reprise Yuri.
One thing that I imagine they will do on Broadway that will greatly improve the show is cast actual children in the children's roles (Young Yuri and Tanya and Yuri has a son and daughter) instead of just shortish females...that was weird, particularly for the son who was a fairly major character.
One thing that I imagine they will do on Broadway that will greatly improve the show is cast actual children in the children's roles (Young Yuri and Tanya and Yuri has a son and daughter) instead of just shortish females...that was weird, particularly for the son who was a fairly major character.
#12
Posted: 9/5/14 at 10:17am
The thing about these enormous shows is this: they've spent so much money out of town, that part of the business plan really necessitates coming to Broadway, whether or not it should. Otherwise, it ends up loosing millions. Haven't seen it, except for the online clips...do all of the songs sort of exist in the Andrew Lloyd Weber world of songwriting?? As in...they completely stop the show for an overblown song?
#13
Posted: 9/5/14 at 9:16pm
I'm curious how this material adapts. Even more than the book, in the film Yuri is so passive, so reactionary (in more ways than one), so devoid of the sort of drive that a major protagonist needs to push a musical. The witness-to-the-revolution aspect is hard to get inside. Sharif was memorable for liquid eyes in close-ups, and of course, the Lean film was stunning visually. But the story (one I was besotted with at age 13) is without a single moment of levity. "Les Miz" it isn't, and its epic sweep is circumstantial; the characters don't create the story movement. Yet there is a triangle, a very "Camelot" esque one (i.e. we like all three people) and if the songs are good, the milieu is a fresh one. It cries out for something semi-operatic, doesn't it?
"I'm a comedian, but in my spare time, things bother me." Garry Shandling
Tickets From $59
Tickets From $71
Tickets From $71
Tickets From $95