Ever After Musical — Page 3

Just relistend to "After All" - glad there is some video of it - and it's such a gorgeous song. I wish it would get recorded on some stand alone album or something.

degrassifan said: "In the film, Danielle's plight as a servant sucks, however it is displayed that she's become numb to it. She had been a servant for ten years, since she was 8. By the time of the film's events, she's become used to the life she'd been living. She doesn't really take pity in her plight. Her mentality is basically "Ok, I'm an orphan and a servant. I have to do this, but maybe I will look at things from a different point of view. Instead of working for my stepmother, I am working to take care of my father's home and wait until Marguerite marries the prince and my stepfmaily moves to the palace, or wait until Rodmilla dies, then I can regain my family home." If the show has taken this mentality, then it's ok for Danielle to basically make fun of her situation. Also, it's like Stockholm Syndrome. Plus, Danielle in the movie didn't cry until Marguerite burns Utopia, which is half way into the film."

Totally see what you mean, but the film still takes it seriously. One could argue she's become numb over the years OR that she quickly discovered how she will be treated for a while, so she decided it was a coping mechanism. It's NOT however, Stockholm. It may still be a contested illness, but Danielle doesn't develop sympathy/empathy over time for her stepfamily which is the key symptom.

I remember that video LOLZ....I actually think Jeremy should have been kept...he's got the regal stance that was missing from James, who played it more boyish, which wasn't unpleasant, but like...this is a PRINCE and future king. And yeah...I was scratching my head at the Gypsy number when I saw it at Papermill. The angle of "Oh she's our Queen, the prophecy came true" was the weirdest thing, and defeated the purpose of that moment in the film. That also, apparently they're now bohemians...I'm confused as to that change. I understand the change as one is basically an ethnicity and one is more of a lifestyle than anything, but I feel like the societal implications of them being gypsies is lost by this change. It also defeats the purposes Danielle's speech to Henry about privilege, so this is all telling me that they're still taking the musical comedy approach, rather than the film's serious angle. Not exactly my ideal idea for this.

Michele Stowers said: "Sorry for hijacking an old post! My daughter is auditioning for the role of Young Danielle in an upcoming performance of Ever After. I’m struggling to find info on the script and/or any songs that she’d sing. Do you recall the extent of Young Danielle’s role and whether she was part of a diet with her father, an ensemble song or a solo? Also wondering if the young stepsisters were seen onstage?
Thanks to anyone who may have seen the Paper Mill or Alliance versions. I realize they may not be identical, but it’ll give me some idea!"

Ha this isn't THAT old of a thread, you're fine!

For Ordway I presume? As mentioned in many a thread about this, I saw it at Papermill and Y.D. literally was only in the first 10 minutes or so of the show, no singing to my recollection. However, from what I've been hearing, they changed how her role functions when it was at Alliance. They used Y.D. and her father in flashbacks throughout, rather than the straightforward age jump of ten years. And as for whether she sang in that production, I couldn't tell you as I didn't see it. Yeah the script isn't readily available at all, because Ordway is only the third production mounting of this, I don't even know who licenses it, so I can only guess one has to go straight to the writers themselves. And no, at least at Papermill there was no Young Jacqueline or Young Marguerite. Sounds like that didn't change at the Alliance. They'd only appear for barely 10 seconds if they did.

They just announced the cast. Bailee Endebrock as Danielle, Jason Gotay as Prince Henry, Lisa Howard as Rodmilla, David Garrison as da Vinci

This is now its third full production (and third director) in eleven years, and it also had a concert production and workshops.

What’s Kevin McCollum’s endgame? Broadway production that can pave the way for touring and a bazillion amateur productions each year? Or straight to touring and skip Broadway? The movie doesn’t have much notoriety so it will have to be really strong to stand on its own.

Maybe it can play in rep with LITTLE DANCER (another show that’s spent a decade+ in development).

I saw the Phoenix production. Based on reviews of the previous two pre-Broadway tryouts, not much has really changed in terms of the overall quality of the material. The score is mostly generic, tuneless mush with repetitive, overly simplistic lyrics, and the new book for the Rodgers and Hammerstein version already does the “feminist Cinderella” thing, but better. The cast was great (kudos to understudy Alexander Mendoza as Prince Henry for giving the best vocal performance of the evening), but why this needed a third out of town tryout for a Broadway production that has zero chance of happening is beyond me.

If Beaches made it to Broadway, anything is possible.

Looking forward to SuperYou (formerly Chix6), Ever After, and all the other eternally Broadway-bound shows gracing the Great White Way soon.