Well Sondheim should write some new songs for this production.
Also, I think that it should now take place in a theater that has been turned into a roller skating rink set for demolition and at the same time the story is going on, a mother and her estranged daughter can come to terms with their relationship as well.
That'd be a good way to get LuPone involved. Unless she wants to play the wrecking ball.
When I see the phrase "the ____ estate", I imagine a vast mansion in the country full of monocled men and high-collared women receiving letters about productions across the country and doing spit-takes at whatever they contain.
-Kad
I kind of agree. Elaine Stritch is a great entertainer and a legendary figure in American theater, who deserves all the respect and admiration that comes her way, but I felt terribly uncomfortable during her Broadway at The White House performance. Perhaps, when you can't longer remember the lyrics to a song that you've been sinning almost your whole professional career it's time to consider retirement from live performing and concentrate your attention on television and film work. Being able to perform (or simple being in a good physical shape) at such respected age is sure is admirable, but it also important to know when to stop and simply protect your great legacy.
Obviously Carlotta shouldn't be played by a woman in her 80's (unless the woman looks like Carmen Dell'Orefice), although the idea of Debbie Reynolds who is pushing 80, but looks extraordinary for her age is very tempting to me.
I think Megan Mullally, who is age appropriate would make a terrific Carlotta.
McMartin would be a great Weissman...but is that role always so tiny, or did they cut it down for the Encores! book? David Sabin had the opening monologue and that was about it.
I'm not sure that Tony's voters believe in the overdue factor like Oscars voters sometime do, but if they do won't they think that a 5-time Tony nominee (if nominated for Follies) needs her first Tony Award more than a 2-time winner her third? Of course there is a chance that the show will be long forgotten come Tony time and being nominated for the already closed show rarely helps.
I would think that if Bernadette were nominated and won it would not only be for her work as Sally, but for her work in all of Sondheim's show...most recently "A Little Night Music."
OFF-TOPIC. I've been meaning to mention this. Has anyone else noticed that this production cuts some of the opening notes of the Loveland transition music? Kind of irritating. I hope it returns. And please lose that curtain for Broadway.
yes, ljay - I've always loved those opening notes to Loveland, they build up suspense and make it slightly more grand. Though "grand" is not something I would have called the KC's Loveland set...