DAME said: "broadwayguy2 said: "I am going to make a pointed effort not to comment on whether or not the passarelle should be there and instead comment solely on the logistics.
I DID love this revival, so let's set that there.
The logistics of touring have changed an awful lot in the last few decades, especially the last 20 years. It is severely unfair to say "well they did that then, why can't they do that now", when all of the moving parts that go into that decision are fundamentally different.
In touring, you are at the mercy of the venue and what they will and will not allow and what the space may or may not be.
In some houses, you have no choice EXCEPT to be set further back on their stage because of the allowable footprint. Some houses will also have very strong and unbending rules about the orchestra pit because their insurance requires it, so you just may NOT be allowed to have a passarelle around the pit with actors jumping over it. The allotted load in time and budget (which, sorry, is not truly up the show's producer on tour) may not allow for the venue modification to the pit in such a very specific way because the passarelle has such a specific shape that HAS to be consistent.
The question being posed here is a lot more complex than is being presented above. Nevertheless, the staging of the show is irrevocably tied to the apron having a passarelle and you have to recreate that to the most logical point you are able."
Good points. By the way.. I also thought the last tour was fabulous. Not trying to take away from that. But I did miss the Pasarrelle and I would have hoped that when possible they would have made it work. Noticing that a lot of the venues that hosted the last tour were previously visited by Carols tour.. and they were all able to do it. But I understand the points you are making."
Yes, they were on the Carol tours, but I can tell you with 100% certainty that mechanics of modern scene design are different and are less flexible on a show like that now than they were decades ago, the logistics of getting the show in and out are vastly different, the local presenters are also far less likely to foot the bill for making that physical change, and the current insurance policies are wildly different and, as I said, increasingly strict around orchestra pits.
I can safely say that the creative would have LOVED to maintain that element had they been feasibly able to and there are a LOT of moving parts in that decision making process and chalking it up to a show's producer trying to cut corners, as some have done, is horribly reductive and dismisses so much of what really forces the decision. :)
