The only person who gets tons of cash from the Wildhorn shows is Frank.
I recon he will be back on broad with a another of his so called musicals within two seasons.
No, they are called musicals. Like them or not, they are musicals. And as long as there are investors willing to put up the money, he'll most likely return to Broadway and continue to make a fortune from the licensing of his regional and international productions as well as the licensing of his songs that get recorded quite frequently. And if he enjoys composing, then there is no reason he should stop.
I can't help but wonder if he wouldn't be better suited to writing for off-Broadway, where his cult following could actually sustain a show.
^ I actually think that would be a GREAT idea.
I don't understand though. He only writes the MUSIC. Aren't the lyrics the usual culprits for all the bad reviews? And the crap-fest books?
Don't get me wrong...his music can certainly be ballad heavy...but I think he can write a good song. It's the lyrics that always make me go O_o
Many of his lyrics were written by that hack (songwriters hall of famer )Leslie Bricusse
Some of the rotten lyrics he wrote for songs like:
Talk to The Animals
Who Can I Turn To?
A Wonderful Day Like Today
Goldfinger
Carlos I also loved Bonnie and Clyde and its the only show of his I have enjoyed. I think it got a raw deal from the critics simply based on his name. J and H however is terrible, the recent UK tour was another disaster.
^^ The 2004, billed as Pre-West End tour, was a literal disaster, based on the double disc concept album, though the last UK tour was not anywhere better.
Bricusse is a fine lyricist, but the book is a mash-up. I think the problem with Jekyll & Hyde is that it is not only intentionally campy, nearly every adaptation of the piece is campy.. whether or not intentional. I think "Murder" in this version should actually become the definitive version, because it recognizes the camp of the piece (a man becoming another monster-man?!).
BONNIE & CLYDE was treated horribly only because of Wildhorn's name. I adored every second of that show.
J&H is NOT intentionally campy at all.
That's a big part of the problem.
It takes itself so seriously.
Considering the amount of people who saw it on Broadway, I highly doubt you even saw it ^^
"Murder" in this version certainly took itself campy. The rest, maybe not.
Philly the new tour in the UK was drab and bleak, twice now they have tried touring it to get it to the West End, both times it's failed, I think it's safe to say its done in the UK.
And yes Jordan I agree regarding Bonnie and Clyde
^^ Agreed. Cyrano (the other Bricusse-Wildhorn musical) also failed to land the world/UK premiere.
The best part of Jekyll & Hyde in the UK was undeniably Louise Dearman, perhaps the best Lucy apart from Linda Eder. She did the role in the '04 tour. (They based it enough on the concept recording to call Emma Lisa!)
Yes I remember her been fantastic in the first UK tour, she was the only good thing in the show. Paul was awful in the title role, people walked out in their dozens the night I watched it at the 2000 seat Palace Theatre in Manchester, and it only started off with about 400 people to begin with.
Philly, I did not see this revival.
How was MURDER campy?
It must have stood out like a sore thumb.
I didn't think "Murder" was intentionally campy. If anything, it was even far less campy than the original singin' townsfolk version.
A few examples... Hyde takes the hair piece of Lady Beaconsfield and stuffs it in her mouth... jokes about the bishop fondling "underage girls... and boys"... all the governors are laying on these cart-type platforms dead, but the last one is killed by a train and an urn is brought out instead.
All intentional.
Some unintentional camp: when the governors (though dead) wake up from these carts and join on stage to reprise Facade. Yikes.
The original was certainly campy with the umbrellas, though that was not intentional. I can't imagine Joey Pizzi has too many job offers since his choreography is solidified on DVD (including the homo-erotic "Good & Evil").
I have never seen it, and would have liked to have said that I did, regardless of how bad it might have been.
This production was far from ideal, but I went to the final performance and that was some of the best vocals I've heard in a while.
Perhaps not on an acting scale, but they picked three fantastic leads for this production vocally in Teal, Deborah and Constantine.
Very high bar to meet considering the incredible vocals by the originals - Bob Cuccioli, Linda Eder and Christiane Noll!
the last one is killed by a train and an urn is brought out instead.
I was hoping the urn was going to start singing Facade, too, with its lid flapping like a talking Parkay tub!
And Bricusse is responsible for what I consider to be the worst song, lyrics-wise, to ever appear in a Broadway musical: "Paris Makes Me Horny."
Paris is so sexy/riding in a taxi/gives me apoplexy
Broadway Star Joined: 5/7/13
I was hoping it would last until the end of the run to keep the tourists out of the shows I enjoy going to this summer. Oh well, so much for that pipe dream. Oh, wait, I forgot, that's what MOTOWN is for.
Updated On: 5/14/13 at 05:45 PM
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