Heather Headley to Have An Alternate in THE BODYGUARD- Page 2

[AngusN]

Posted: 9/2/12 at 5:21am

"I think heather was hired because she is a tony winner"

I don't think that will carry much weight here in the UK, especially with the audience this show will attract. I just feel they should have gone with a pop star.
Nor does the fact that she is a Tony winner mean she is right for the part. I do, however, feel she thoroughly deserved the Tony for Aida, she was incredible.

[THEATRE FAN]

Posted: 9/2/12 at 5:27am

why a popstar? Do you know anything about this show? you need to be able to act...for the final time its not a tribute show!

[THEATRE FAN]

Posted: 9/2/12 at 5:30am

have you seen the excellent creative team - Thea Sharrock will not just be looking for someone who can sing - its a dark thriller after all. Its not a happy clappy show!

[timesboylive]

Posted: 9/2/12 at 9:11am

She is not that known or talked about on here, but I think Dan'yelle Williamson would be PERFECT for the role or as a standby for Broadway. Her acting and voice are perfect and she is perfect age for it.

Here is a video of her singing " I will always love you"
http://www.youtube.com/watch?v=5sAaS0Y_kIQ

She sounds like a perfect between Heather and Whitney

Updated On: 9/2/12 at 09:11 AM

[timesboylive]

Posted: 9/2/12 at 9:11am

She is not that known or talked about on here, but I think Dan'yelle Williamson would be PERFECT for the role or as a standby for Broadway. Her acting and voice are perfect and shes is perfect age for it.

Here is a video of singing " I will always love you"
http://www.youtube.com/watch?v=5sAaS0Y_kIQ

She sounds like a perfect between Heather and Whitney

[uncageg]

Posted: 9/2/12 at 11:41am

I bought her 1st cd and liked it for the most part and own Aida. I do have a problem with her statement about Broadway though. Unless I get an invite, I will most likely skip this show if it comes to Broadway.

[Sondheim_Geek]

Posted: 9/2/12 at 1:06pm

Heather was hired because:

a) can sing the score
b) is a Tony winner
c) she is a relatively unknown in London (more accepting of that in West End)
d) when/if the show becomes a hit, she will move with it to New York and West End cast will fill in, a la GHOST

Know this for a fact -- worked w/ producer.

[ucjrdude902]

Posted: 9/2/12 at 1:32pm

This thread has to be the most grammatically incorrect thread in BWW history. Not to mention it seems no one can capitalize the start of a sentence.

[MrMidwest]

Posted: 9/2/12 at 2:28pm

it's easy, easy as life

[CurtainPullDowner]

Posted: 9/2/12 at 4:07pm

Thera Sharrock has an impressive resume, but it seems this will be her first musical. Should be interesting.

[THEATRE FAN]

Posted: 9/2/12 at 4:13pm

Stephen Daldry hadn't directed a musical before BILLY ELLIOT
Phyllida Lloyd hadn't directed a musical before MAMMA MIA
Trevor Nunn hadn't directed a musical before CATS
Nick Hytner hadn't directed a musical before MISS SAIGON

And the list goes on.....

[somethingwicked]

Posted: 9/2/12 at 4:16pm

As someone said earlier, THE BODYGUARD is a dark thriller, and given her extensive history with staging heavy drama, I think Thea Sharrock is an absolutely inspired choice to direct it.

[THEATRE FAN]

Posted: 9/2/12 at 4:21pm

I agree Something Wicked! it is dark, its not a dancing in the aisles type of show.

[broadway guy]

Posted: 9/2/12 at 4:29pm

Wait? Im confused,what statement did Heather make about broadway?

[somethingwicked]

Posted: 9/2/12 at 4:36pm

That "statement" about Heather saying she used Broadway as a stepping stone toward other things has been misconstrued and taken out of context on this board for years. Just because someone has other aspirtations doesn't mean they should be punished for it, and it also doesn't mean they respect the theater any less.

After her success in AIDA, she wanted to explore other things. She got involved in the music industry and was very, very successful in doing so. So what? People in the entertainment industry have a diverse array of opportunities made available to them, and Headley used her exposure from AIDA to utilize those opportunities. Concert work is incredibly lucrative, and it has afforded someone like Headley the opportunity to work less and be at home with her family more. She's purposefully waited for the right project to return to the stage, and she found it in THE BODYGUARD. Why should she be punished for that?

Strong leading roles for African-American women in musical theater are few and far between, so if there's anyone to begrudge in this situation, it should be the writers and producers who aren't generating those projects.

Updated On: 9/2/12 at 04:36 PM

[Sister George]

Posted: 9/2/12 at 4:37pm

Stephen Daldry hadn't directed a musical before Billy Elliot
Phyllida Lloyd had directed Threepenny Opera at the Donmar before Mamma Mia
Trevor Nunn had directed the musical version of The Comedy of Errors at the RSC and a musical version of Around The World in 80 Days at Coventry before Cats
Nick Hytner had directed the musical of Alice at Leeds Playhouse and won Olivier awards for opera productions before Miss Saigon

[Sister George]

Posted: 9/2/12 at 4:39pm

Not sure I've seen a Thea Sharrock production I've enjoyed yet but I love Heather Headley so here's hoping...

Updated On: 9/2/12 at 04:39 PM

[Unknown User]

Posted: 9/2/12 at 4:43pm

they hired her because of her amazing acting after all its not a concert

[THEATRE FAN]

Posted: 9/2/12 at 4:44pm

Sister George - none of those were commercial musicals in the West End. Did you see the "musical version" of the Comedy Of Errors? I'll give you The Threeepenny Opera but it is not a comparison I would make and I'm afraid directing Opera is not the same as developing a musical.

[Unknown User]

Posted: 9/2/12 at 4:51pm

but does anyone think the Dahl will have more tony winners

[Sister George]

Posted: 9/2/12 at 4:58pm

No none of these were commercial musicals in the West End but these were not the provisos you originally put on their credits - you said they had not directed musicals - 3 out of the 4 had previous experience in musicals and the fourth had directed the original film that was the source for the musical.

These directors had not created blockbuster musicals from a vacuum - yes producers had taken a risk based on their admittedly limited experience but it was most definitely a calculated risk and they were not a total shot in the dark

[THEATRE FAN]

Posted: 9/2/12 at 5:03pm

Then perhaps I should of been clearer, I assumed people on here knew the difference between directing a commercial musical in the West End with a new book that has never been done before and requires development of the text and the content of the score as CATS, MAMMA MIA, BILLY ELLIOT did as opposed to Trevor's adaptation of THE COMEDY OF ERRORS or a staging of THE THREEPENNY OPERA which is an existing book music and lyrics.

[THEATRE FAN]

Posted: 9/2/12 at 5:06pm

And Sister George to be 100% clear the film of BILLY ELLIOT was not a musical

in any case - we've lost the thread here - I'm looking forward to seeing this AND Heather Headley.

[MrMidwest]

Posted: 9/2/12 at 5:09pm

her gift is her song, and this one's for you

[Sister George]

Posted: 9/2/12 at 5:25pm

Well Trevor Nunn's production of Comedy of Errors won the 1977 Olivier Award for Best New Musical for it's London run,

Threepenny Opera was nominated for a best musical revival Olivier Award for its 1994 west end run

Alice at the Leeds Playhouse was a well recieved commercial new musical.

And yes I'm aware that the film of Billy Elliot was not a musical but a lot of the creators such as the composer and the choreographer had strong commercial musical credits prior to the stage version