Let's Help Get Mame on Broadway — Page 2

"The following shows were not artisitic failures by anyone's standard"

That's the phrase that throws me. By anyone's standard? When you phrase it that way you're implying that EVERYONE thought these revivals were artistic triumphs. Aren't you overgeneralizing? There are many critics and theatregoers who won't agree on at least some of those shows you mention.

Yes, there is room for debate and discussion.

HOWEVER, many of these revivals were great productions and enourmously successful.

And, wouldn't you rather see a great team of producers, actors, and technicians try for greatness than to permit great shows to wither away without ever playing Broadway again?
Let's Get MAME on Broadway!

Not a big fan of "La Boheme" (saw it pre-Broadway in SF).

I did like "How To..." and saw Matthew, John Stamos and even Ralph Macchio in the lead!

Loved "Gypsy" no matter who was in it, even Linda Lavin!
"La Cage" was wonderful with the original cast and with Gary Beach and both his co-stars.

"King and I" revival was spectacular with Donna Murphy, Hayley Mills and Marie Osmond.

Not a big fan of "Fiddler" anymore so I skipped the last revival.

Enjoyed "Damn Yankees" when Victor Garber was in it and even Jerry Lewis when he was in the Broadway show. Once he went on tour he was horrible, stopping the show for over 15 minutes doing his routines instead of the show.

Not a fan of "Charlie Brown".

It's time for "Mame" to come back home to Broadway!

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Gypsy had the definitive and ground breaking performance of Bernadette Peters. Her re-imagining of Mama Rose was profound, sensitive, unique, and truly original.

1776 had some of the best acting I have ever seen on Broadway, gorgeous lighting, and a pacing that was both urgent and reflective.

Susan Strommen's concept of Oklahoma was pure genuis! It was worth the price of $100 just to see the ballet and the Farmer and the Cowman. The re-orchestrations were fresh, and this "hearty-earthy" Oklahoma was a breath of Fresh Air.

The Music Man was like re-visiting the original intent of the creators, and Rebecca Luker sang like a dream every night.

The King and I was awe-inspiring-especially with Faith Prince as Mrs. Anna.

Charlie Brown was a total delight, and playing the Ambassador was an inspired decision of the producers. It fit wonderfully into this space, and every cast member was a stand out!

Lilias White made a visit to How To Succeed well worth it every time!

In addition, Donna Murphy made "Wonderful Town" into a grand evening of theater, Faith Prince gave the definintive performance as Ella in "Bells Are Ringing," and 42nd Street was magnificient-expecially Christine Ebersole!

Also, for everyone being so negative-do you realize that the Kennedy Center is donating the $5 million intial capitalization? What a great opportunity to bring this show to New York! The financial risk is much less than usual!
Let's Get MAME on Broadway!

Lilias White was the chief offender in the hard sell tactics of the How to Succeed revival. "Brotherhood of Man" is a PARODY of a gospel number, not an actual gospel number. It's far funnier with Ruth Kobart as a battleaxe Miss Jones suddenly getting with it and singing a revivalist number in clipped, lady-like tones. THAT'S musical comedy.

1776 was paced glacially, and again, Peter Hunt did it better. And the movie is better, with a superior cast.

Stroman did good work in Oklahoma, yes. But that revival was otherwise bloodless, and ultimately, James Hammerstein's 1979 recreation of the original production was more illuminating - and much MUCH more fun. Remember fun?

The identations of my fingernails are probably still on the armrests at the Neil Simon Theatre after the Music Man revival.

Donna Murphy doesn't hold a candle to Ros Russell in the Wonderful Town kinescope.

And Faith Prince - the definitive performance as Ella in Bells Are Ringing??? When the DVD with Judy Holliday is so readily available?

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Updated On: 6/16/06 at 11:40 PM

Funny, High School Musical on Broadway would probably be a wiser investment than Mame.

Dude, where's my revival?

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Updated On: 6/16/06 at 11:48 PM

Speaking of high school musicals, that's where Mame should stay. She's been perfectly happy there for so many years.

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Please let us know if anyone hears any news about MAME! What a great show to see on Broadway again!
Let's Get Mame on Broadway!!

"1776 had some of the best acting I have ever seen on Broadway, gorgeous lighting, and a pacing that was both urgent and reflective."

The pacing of 1776 (which I actually enjoyed) was SLOW. And, the show had no business being in the cavernous Gerhswin. It was LOST in that space.

"Susan Strommen's concept of Oklahoma was pure genuis! It was worth the price of $100 just to see the ballet and the Farmer and the Cowman. The re-orchestrations were fresh, and this "hearty-earthy" Oklahoma was a breath of Fresh Air"

What concept? Casting a Laurey who couldn't sing or act, but could do her own Dream Ballet? Creating "mutant" corn?

"The King and I was awe-inspiring-especially with Faith Prince as Mrs. Anna."

Didn't see Faith Prince, but Barbara McCullogh (on for, surprise, surprise, Donna Murphy) was very good. As was Lou Diamond Phillips.

"Charlie Brown was a total delight, and playing the Ambassador was an inspired decision of the producers. It fit wonderfully into this space, and every cast member was a stand out!"

Charlie didn't fit into the Ambassador. That was its problem. Despite wonderful performances from Chenoweth and Bart, the show was too small for that space.

Getting this MAME on Broadway offers many advantages:

Harriet Harris is, no doubt, matvelous in her role.

The Kennedy Center is known for quality, and this production is likely to be marvelous!

Having this show in New York for four months offers us the wonderful opportunity to see it.

The production seems to have spared no expense for its' set and cosutmes, and this would be well worth the visit.

A healthy Broadway is a thriving Broadway, full of variety and steam!

As for all the tired complaints about recent revivals, we are sorry for your perceptions of these magnificent shows!

Charlie Brown was stunning, 1776 was moving, Oklahoma was illuminating, and La Cage was fresh and invigorating! I enjoyed them all-including Fiddler on the Roof. These timeless classics almost always out-perform the movie recreations which have become the cholesterol-laden, pre-fabrictaed Broadway of today.

Bring on MAME, HELLO DOLLY, FUNNY GIRL, and all of the grand dames of old Broadway!
Let's Get MAME on Broadway-NOW!!

Updated On: 6/17/06 at 12:44 PM

The Kennedy Center is putting up the entire beginning $5 million in capitization. Sets, costumes, all other aspects of this intial capital outlay are being donated by the Kennedy Center in exhannge for billing.

What better opportunity to see this show in New York, and why do investors ever bring a show to Broadway? There would be a lot less risk with this show!

Stop bashing MAME and get on board!
Let's Get MAME on Broadway-NOW!!

23 years ago, the Nederlander Organization found themselves with one of their largest theatres empty for the summer. Hastily, the road tour of Mame with original star Angela Lansbury (as well as Jane Connell and Anne Francine) was hastily booked into the Gershwin Theatre for a July opening. This was post-Sweeney pre Murder She Wrote Lansbury, but as a theatre star, she was still at the top of her game. Jerry Herman was garnering tons of press and a career renaissance with La Cage aux Folles. So a Mame revival seemed like a great idea, and surely they wouldn't need time to develop group sales, because Mame hadn't been on Broadway in almost 20 years, and single ticket sales would carry them.

Well, despite Lansbury giving it her all, the show lasted 41 performances. Interest was nil, and I witnessed one of the saddest spectacles of my life seeing that production at a Saturday matinee at the huge Gershwin Theatre with almost more people on stage than in the audience.

Now, here we are, the summer of 2006, with the Nederlander Organization looking to fill their Palace Theatre for the summer and fall, and hoping to bring in Mame for... a July opening, with no time to develop group sales, but surely single ticket sales will carry them, right? What happened in 1983 surely won't happen again, right?

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