Frank Wildhorn/J&H 101- Page 2

[bwayphreak234]

Posted: 3/26/13 at 12:28am

I love Frank Wildhorn. I always have. I find his music to be different, intriguing, and very enjoyable. The Scarlet Pimpernel, Jekyll and Hyde, and Bonnie and Clyde are all wonderful shows with wonderful scores IMO. I even enjoy the music from Wonderland and Dracula despite the abysmal books both of these shows had. I was fortunate enough to see the new Jekyll and Hyde tour in San Diego the week it opened, and it just reminded me why I love Frank Wildhorn... I know I'm in the minority on this, but I love the man's work, and I hope he keeps composing.

[ghostlight2]

Posted: 3/26/13 at 12:54am

" especially Kelli O'Hara who I seem to remember having some pretty vicious things to say about Frank"

CATSNY. here are the slightly abridged "pretty vicious things" Ms O'Hara had to say, later deleted from playbill:

"Q: Last season was an interesting one for you — going from Dracula to Piazza. What was the Dracula experience like for you? Was there any good portion of it?

O'Hara: There's not much to complain about if you know there's a light at the end of the tunnel. I knew going in [that] they gave me a six-month contract, which is unusual, because I knew there was no way I would even do [Dracula] if I couldn't leave to do Piazza. At the time I was still going to play Franca, but I didn't care — I was on board. I knew I was leaving in December, and then, of course, we closed.

As [Dracula] started going and we started rehearsing, I knew it was going to be a little more of a challenge. [Even though] it was one of the easiest things I've ever done — as far as going up there, singing a few frilly songs and then dying — I wasn't proud. I made wonderful friends though. The whole nudity thing was a mystery to me. I was actually kind of deceived about it. I wasn't told about it until rehearsals, and then after that I was supposed to have a body suit on. I'm not complaining, I'm not modest . . . . And then the recording with Frank Wildhorn [when he approached non cast members to record the show's score]. I don't hesitate to be honest about this. [bolding mine] I like [director] Des McAnuff. I enjoyed working with him. But this is my second show for Frank, and neither of them has been good experiences at all. [The first was] Jekyll and Hyde, which was my first Broadway show and just about made me say, "This is what I dreamed of my whole life?" [Laughs.] [bolding mine]

It was the last time that I'll do that. At the time I had been doing Light in the Piazza all over the country for two years and had made very little money. And I said, "Piazza's going to be at Lincoln Center. [Dracula is] going to be six months of some money." And that's basically what it came down to, and every once in a while in our careers we have to do that. But, of course, I loved people like Tom [Hewitt] and Melissa [Errico]. I enjoyed working with people. . . . I really didn't want it to affect my image — if I had an image at all or at least if I was trying to build one. I remember that article that came out in the [New York] Post with our pictures about our nudity. This is just not who I am. I'm not Paris Hilton — bad publicity is not good publicity for me. I didn't want to have anything to do with it. I couldn't wait to get to something like The Light in the Piazza and try to redeem myself. "

Yeah, really vicious stuff, and it was retracted almost immediately..

The cast was upset because they were lied to. They found out the FW wasn't pursuing money for the OBCR when an actor who was approached for the concept album contacted one of the cast members while the show was still running. When FW was confronted FW with their knowledge, he unapologetically admitted it in a memo, saying that he needed to protect himself and his work - that memo was what Wagner briefly published, then withdrew, much as the interview with O'Hara was withdrawn shortly after it was published.

[bwayphreak234]

Posted: 3/26/13 at 1:42am

This thread is fascinating! I had NOT idea any of this happened!

[OperaBwayLover]

Posted: 3/26/13 at 1:56am

Wow. Had no idea about the Dracula recording debacle. That's always been one of those things I find curious about the Wildhorn catalog: for the most part, there's always a concept recording done first, then maybe a Broadway. Personally, I love the concept recordings for Jekyll and Hyde and Wonderland, with a few exceptions (different song choices-looking at Kate Shindle's "Mad Hatter").

I do like some of Wildhorn's work- Scarlet Pimpernel is probably my favorite; it introduced me to the books, which are a hoot. I would have liked to have seen Wonderland, as one of my best friends loves it, along with Bonnie and Clyde (own the CD, haven't listened to it yet). And I'll be auditioning for a local production of Jekyll and Hyde on Saturday.

The thing I don't like about him is his incessant need to tinker with his shows. I don't know a person around, for instance, who prefers "Good'n'Evil" over "Bring On the Men." Why DID they change that for Broadway, btw?

[philly03]

Posted: 3/26/13 at 5:11am

Too much negativity about Frank. It's not necessary.

In response to OperaBwayLover's post, "Good & Evil" replaced "Bring on the Men" because the director felt it fit the piece more. There was a hope the Broadway production would be a bit more "lite" rather than dark to reach a greater audience (which it essentially did), but the original song should've been included. "Good & Evil" just hit everyone over the head with the same message over and over.

A show like WONDERLAND should've been Wildhorn's essential hit (considering the contemporary setting and his usual use of contemporary styling for his songs), but the over-over-over revised book didn't work.

Updated On: 3/26/13 at 05:11 AM

[PB ENT.]

Posted: 3/26/13 at 8:05am

I started this post in light of the upcoming opening of the J/H revival in April. Also, I wanted to highlight that despite the critic and fan bashing Frank Wildhorn always seems to attract, that his work has played a big part in theater for many years.

Again, the back stories surrounding shows and their creators are sometimes unpleasant. Some chose to let this go public and that typically fans the fires. But that happens in any business.

[g.d.e.l.g.i.]

Posted: 3/26/13 at 9:51am

Let me just summarize the unpleasant backstage stories in this way: any show that has serious money involved will have nasty backstage stories. Period.

[DEClarke]

Posted: 3/26/13 at 12:22pm

Let me just summarize the unpleasant backstage stories in this way: any show that has serious money involved will have nasty backstage stories. Period.

Isn't that the truth!

Anyway, I love the score to DRACULA. I was always saddened tha the OBC was not recorded. But even with what Kelli O'Hara said, it still comes down to money, right?

I used to post over on Jeremy Roberts and Frank Wildhorn's site GlobalVision Records site during that time period. Jeremy Roberts always said (and repeated) that the OBC recording couldn't happen because of a lack of funding and contracts. Is that not the case?

This is fascinating information!

P.S. Whatever happened to Frank Wildhorn's musical about the writing of the novel Frankenstein. It was going to have a World Premiere at The ALley in Houston, and then nothing ever came of that. It's like the musical FRANKENSTEIN opened Off-Broadway with Hunter Foster and the project got abandoned.

[GatorNY]

Posted: 3/26/13 at 12:36pm

Just an FYI...Jekyll and Hyde is available on TDF. I'm looking forward to finally seeing it live on stage.

[RockStarNYC]

Posted: 3/26/13 at 3:55pm

Hi all! Figured I'd post here as the other thread is, shall we say, a little off the rails. I stated a while back that I thought the move to the Marquis would be great for business for J&H. While others have bashed it, specifically with the example of Wonderland, I have witnessed first hand the validity of my point. There are times where I have worked in Times Square and have people running up to me after looking in awe at the front of house of the Marquis with q's regarding when J&H is coming back. Makes me kinda work for that production!! I also have little doubt that things can change for the better by the time the show opens April 18th. There is a GREAT interview that James Barbour did with Frank some weeks back that takes a look into the projects he's working on. Definitely worth a listen. It's on iTunes under "Star Power Hour" in the podcast section. Frankenstein is mentioned, as are discussions on Jekyll. If you're a Wildhorn fan I encourage you check it out.(Shameless Plug Alert) I also write a column on dark musicals for Broadway Spotted. I can easily foresee a couple of things going on with J&H that should intrigue fans (End Shameless Plug Alert)

[philly03]

Posted: 3/26/13 at 5:17pm

DE Clark, "Mary Shelley's Frankenstein" was supposed to star Brandi Burkhardt years ago, but that ended and then theatres opened for Bonnie & Clyde (La Jolla) and Havana (Pasadena, which went bankrupt before the production happened) in '09-'10 (WONDERLAND had been planned for a few years), then Tears of Heaven was commisioned for South Korea. Kind of put on the back burner for now.

Excalibur is his next musical - I believe to debut later this year in St. Gallen where Count of Monte Cristo has been playing for a few years. They just did a reading of it with James Barbour and Darren Ritchie a few weeks ago. Book by Ivan Menchell (B&C), lyrics by Robin Lerner (pop-writer/Tears of Heaven).

[Rabekriegerin]

Posted: 3/26/13 at 6:18pm

Well, I prefer Good'n'Evil to Bring On the Men, so I guess that makes 1 person, even if I happen to be the only one. :P

I, too, love the score for Dracula. But some of my favorite songs were added after the German adaptation (the Graz CD is worth every penny! Thomas Borchert kills the role), so I am just as happy to own that recording. Speaking of, he is quite impressive in the Count of Monte Cristo score as well - another musical I would love to see Stateside at some point.

Frank always seems to have a score in the filing cabinet for just about every project there is...

[DEClarke]

Posted: 3/26/13 at 6:39pm

I too prefer "Good'n'Evil." I think it is a flashier, splashier number.

[chinto1984]

Posted: 3/27/13 at 1:14am

I knew nothing about the whole Dracula album.

I actually got to meet FW before Wonderland opened in a meeting so he could tell us more about Wonderland. I worked for a concierge. Nothing scandalous happened. He just really emphasized how he was from the pop world not the broadway world. He pictured pop artists voices first for characters. He imagined Alice sounding a little like Avril, in which Alice's songs did have that feel on the concept album. Concept of Wonderland is so better than OBC. I hate that it is no longer available on itunes.

[DEClarke]

Posted: 3/27/13 at 3:24pm

He just really emphasized how he was from the pop world not the broadway world. He pictured pop artists voices first for characters.

He did a pre-show talk back before the press opening night for the current J&H Tour in Houston. He echoed similar sentiments when answering questions about his style and influences. He still speaks very fondly of working with Whitney Houston too.

[jayinchelsea]

Posted: 3/28/13 at 7:52am

Please explain how a show like J&H, with constantly bad reviews, both on Broadway the first time and now out of town this time, makes it to Broadway a second time! Whether you are a Wildhorn fan or not, his shows are generally panned by NY critics, and none of them has made back its investment in a New York production. Yet he keeps churning them out, like so much sausage, and they keep finding investors willing to put up millions of dollars each time. How does this happen?

[DEClarke]

Posted: 3/28/13 at 10:12am

Because, in the long run, reviews are just words on paper. Publicity is publicity, good or bad. People will buy tickets to poorly reviewed shows just to see how bad it really is.

As far as not making back money, well... everyone knows investing in theatre means you're taking a hit. Recouping is not common.

[ErinDillyFan]

Posted: 3/28/13 at 10:47am

He had one of the greatest muses. I love hearing Linda Eder sing his songs.

I really like most of his music. It really seems he gets involved with schizophrenic directors or producers. The music seems to start out cohesive, and by the time it hits broadway it has too many styles mixed together. The various incarnations of The Scarlet Pimpernel gets stranger and stranger with what can only be seen as attempts to make billboard hits out of the ballads. Seems most of his shows, go through massive re-writes and song changes. I don't think those show problems are because of Frank (or any composer), they all seem like a director too sensitive to criticism and outside influence.

It is apparent to me that Frank can write in any style he chooses. But, I am afraid, that like Galt MacDermot, his career is undermined by his collaborators.

[yankeefan7]

Posted: 3/28/13 at 10:47am

Bad reviews did not stop the orginal J&H from having 1,543 performances.

[Mister Matt]

Posted: 3/28/13 at 11:47am

Whatever happened to Frank Wildhorn's musical about the writing of the novel Frankenstein. It was going to have a World Premiere at The ALley in Houston, and then nothing ever came of that.

The Alley also announced Wildhorn's Cyrano de Bergerac and sent an instrumental demo to subscribers. I also remember an announcement about Wildhorn's Zorro in the Playbill during the first J&H pre-Broadway tour. Gregory Boyd loves Wildhorn and has been trying to produce another J&H after all the attention the Alley received from the world premiere. Never saw Svengali, but I never heard anything positive about it when it ran. I did go to Civil War at the Alley and left at intermission. I heard the Broadway production was much improved, but at the Alley, it was an epic mess.

[someone.else's.story2]

Posted: 3/28/13 at 12:26pm

I also much prefer Good and Evil to Bring on the Men. And, I enjoyed the original Jekyll and Hyde far more than this current version.


I have neve understood the bashing of Wildhorn (at least,to the degree he is bashed). Sure, he writes "pop" music and sure, many of us would rather be seeing Sondheim. I find it akin to blockbuster films. I personally am a snob and avoid them like the plague, however they are the mainstay of Hollywood. Thankfully, I can make a choice and go to an art film.

Wildhorn writes catchy songs (I've seen Pimpernel twice and much as its not my favorite, you do leave singing "Into the fire" whether you want to or not. Perhaps, less traditional theater music will cultivate new audiences. I'm sure that many of us work in theater and I feel strongly that Broadway (and all theater) is. Instantly growing and morphing with the times. This keeps it exciting and keeps bringing new people and generations to shows. Obviously, this is important of we all want to keep working.

[Mister Matt]

Posted: 3/28/13 at 2:58pm

Good 'N' Evil was an interesting little number originally performed by the proprietor of the pub where Lucy performed, if memory serves. I believe it was at the top of Act II(?) The problem was, the show reiterated its message far too much and neither the scene nor the character added anything to the show. I was stunned when it was used to replace Bring On the Men, which was a rousing audience favorite. But even before Broadway, Boyd simply couldn't leave well enough alone and had already started making changes in the staging and design of the number. What was a saucy cabaret number featuring Lucy backed up by the girls using just simple choreography and chairs, became a larger chorus number with men and women representing a "chorus" (in a seedy pub?) wearing flashy masquerade Madri Gras-inspired costumes. I was shocked to see how far the number fell when it was replaced with Good 'N' Evil and the spandex Devil Boys. Originally, the number actually looked like something that might get the blood flowing of the intended clientele. But it slowly morphed into something that didn't look anything that belonged in that setting. It just looked like a campy number for gay men and Eder fans (i.e. mostly gay men). Unfortunately, that seemed to be the theme of the Broadway production in general.

Updated On: 3/28/13 at 02:58 PM

[chinto1984]

Posted: 3/28/13 at 4:24pm

Good'n'Evil sung by the proprietor. Interesting. The song would be better suited for someone besides Lucy. Maybe Nellie. They cut girls of the night and I guess it is back in.

[CATSNYrevival]

Posted: 3/28/13 at 5:21pm

^It's not.

[PB ENT.]

Posted: 3/28/13 at 6:31pm

There have been several J&H regionally produced professional shows. J&H Fan club co-president Don Simon has seen them all, I'm pretty sure!

I forgot to mention one that I especially enjoyed was mounted at the Patchogue Theater, Long Island NY staring Broadway Phantom Brad Little, who was excellent! Staging was very creepy and effective. "Dangerous Game" was HOT! Another Broadway Phantom, Kevin Gray (RIP) played J/H directed by original J/H Robert Cuccioli at the Pittsburg Civic Light Theater (?).

Not to be forgotten was the Jekyll & Hyde in Concert at Lenape PAC, Marlton starring Rob Evan, Lauren Kennedy (Emma), Kate Shindle (Lucy). I have to say that J&H in Concert was very impressive. Also the "Ressurrection CD" with the rock edge is very interesting. Hats off to MD,arranger Jeremy Roberts for a job well done.