The negativity in this thread on a show that has never been seen yet is really disheartening. At this point why not just be thankful a new show is going to be opening and save the predictions of what will happen to the show till after it opens.
"I hope your Fanny is bigger than my Peter."
Mary Martin to Ezio Pinza opening night of Fanny.
Huss417 said: "The negativity in this thread on a show that has never been seen yet is really disheartening. At this point why not just be thankful a new show is going to be opening and save the predictions of what will happen to the show till after it opens."
Amen to that. I'm actually puzzled by the snark. This one sounds exciting to me. But I'm a sucker for that infectious vamp...
I find the recordings rather lackluster, but as long as they spend money on a fully staged version of Happy Endings, I am in! That could be worth the price of admission alone.
I wonder what they will do regarding actors playing instruments, as Ryan's character, for instance, is a saxophonist.
This could be like Bandstand, or do Borle, Ghee, and the Society Syncopators play their own instruments in Some Like It Hot? (Sorry if I've asked this question before.)
Huss417 said: "At this point why not just be thankful a new show is going to be opening and save the predictions of what will happen to the show till after it opens."
Being thankful that a new show is opening and assessing its viability are not mutually exclusive. The show is a commercial enterprise. Think of it the way you would a startup. There are opportunity costs associated with shows that flop: valuable real estate is not otherwise available, people who have turned down other work are out of work, etc. I will never understand why some folks eschew methodical analysis.
Individual experience means nothing really, but I live in the middle of nowhere and recently someone told me they'll be seeing this on their next trip to NYC. They referenced Lin as their reason. It doesn't really matter how many new songs he actually wrote for this; he wrote the biggest show Broadway has seen in decades and his name carries weight in middle America.
Eh! Ryan is such a boring singer that was bla and Uzele was ok not great but she sounds exactly like the other girl from Six that's in SLIH - Adriana Hicks. She's no Liza but who is and she really does nothing with such a gorgeous K&E song! Not impressed! As I said earlier, why them out of all the talent in NY!?
I have to say that while I love that they didn't go with movie stars to sell tickets, I am not impressed with those two songs. Here's hoping they have tons of charisma/chemistry on stage and the show itself is a vast improvement over the film.
I'm always surprised how much people despise that movie. To me, its greatest sin is being fairly conventional and people usually like conventional. It's an ASIB riff elevated by great performances from highly idiosyncratic actors. But then again, I find ASIB as a concept to be fairly conventional and the actors are the only thing that draw me to any version of that story. Liza and De Niro don't have fireworks level of romantic chemistry, but he's rarely had a better partner for his comedic style.
I also don't get the constant "this movie isn't beloved" thing. I mean, from a financial standpoint, I get it. From an artistic one, I don't. Every time some widely beloved film gets turned into a musical, all you guys do is run back here to say "the movie was better, all they did was turn the best moments into unfunny songs". (See the SLIH thread). When there's no rabid fan base to keep happy, there's more flexibility for everybody involved to do their jobs and actually "adapt" instead of throwing the movie on stage.
A Chorus Line revival played its final Broadway performance on August 17, 2008. The tour played its final performance on August 21, 2011. A new non-equity tour started in October 2012 played its final performance on March 23, 2013. Another non-equity tour launched on January 20, 2018. The tour ended its US run in Kansas City and then toured throughout Japan August & September 2018.
Ke3 said: "I'm always surprised how much people despise that movie. Tome,itsgreatest sin is being fairly conventional and people usually like conventional.
I've seen the movie twice, but a very long time ago, and what I remember being the movie's greatest sin are several seemingly improvised dialogue scenes that are endless and don't go anywhere.
Also, whether the movie is beloved or not is kind of a moot point as most of the millions of people who know and adore the title song aren't even aware that it's from a nearly-50-year-old box office bomb. They know it as one of Sinatra's biggest hits which became the signature song of New York City.
PipingHotPiccolo said: "verywellthensigh said: ""There's no celebrity names to pull an audience for this."
Tell me your brain is broken by capitalism without telling me your brain has been broken by capitalism."
this has to be the funniest comment i've read on these boards in... well, ever. i actually laughed out loud."
Commercial theatre will never be divorced from capitalism. These are startup businesses. Investment entities. The product is a musical theatre production that the creators hope will generate enough interest and visibility to recoup and return profit. Accepting capitalism's role in Broadway is fundamental to being able to enjoy these shows. (Commercial theatre is also among the only places in America where actors can earn a healthy living wage.)
If you'd like your theatre served without capitalism, please get off these boards and focus your time and energy on smaller nonprofits. But even those productions are only possible because of donors, ticket sales, and sponsors, and the money for that comes from...well, you get it.
Where’s the vamp? What a wasted opportunity to get people to fork over advance ticket charges immediately. The art work is boring and the two songs embedded in unappealing soundcloud links feels really lackluster. Music, Money, Love sounds like a B side. I’ll see it but not too excited.