Melissa25 said: "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."
Well, the original rumor was this was gonna use trunk songs from the Kander & Ebb catalog. So in effect, it would be b-sides. Then they announced that Lin had done some lyrics so...idk?
Whether it’s trunk songs or all new I’m still excited to find out what they’ve come up with. I’m very curious to see how the book will deviate from the film.
Two unknown performers leading a 20-million dollar musical fits nicely into the spirit of the titular song. If they can make it here, they can make it anywhere!
HogansHero said: "verywellthensigh said: "Ah...well, then. Commence with the "How're you going to pay for that?" Republican discourse!"
huh?
wanna connect the dots?"
There aren't even any dots to connect here. Of course there IS a discussion to be had about whether state funds should be spent on creating art, whether thats been underfunded, why such state-funded programs have led to such a tiny minority of popular, well-received (let alone financially successful) works.
But dinging the observation that a bankable star might help a 20m+ musical as "capitalist" is just- i mean, are we pretending that the 20m+ is coming from some govt so it doesnt matter if the show sells? Are we pretending that if it DID come from some state funding, it would then not need to worry about selling tickets, because that govt program would have some unlimited mandate? What are we pretending, exactly?
Anyway, like I said, one of the funniest comments I've seen in these parts.
My reaction was to the non-sequitur of suggesting a nexus between "Republican discourse" and the point being made. If verywell wants to champion a system like that found in the hapier countries, great. I'll jump in line behind them. But what they say betrays a mal-understanding of what's being discussed here. Right now, we find ourselves in a capitalist system. So it seems to me our choices are (1) to shut down Broadway until we change the system, or (2) move forward within the existing constraints. Verywell appears to betray a delusional third alternative. I asked for an answer and got another non-sequitur.
HogansHero said: "If verywell wants to champion a system like that found in the hapier countries, great. I'll jump in line behind them.."
I certainly don't think verywell has given any indication they have any idea what they're talking about, but we can pay no mind: i assume by happier countries you mean Scandinavia? I concede I don't know a ton about how much State-sponsored theater/art is produced there, but isn't it telling that our capitalist system has produced plays and musicals produced the world over, and the last time a Swedish production took the US by storm was.... ?
Gee, so much for all the posts saying this wasn't going to be like the movie, that they were changing everything. From what I'm reading NOW, here, sounds like the movie to me.
Is Music, Money, Love an old K&E song or is that one of LMM’s contributions? Either way, although the arrangement is fun, the song is really terrible,IMHO.
Clearly I touched a nerve with the "broken by capitalism" comment. So much protesting!
But if you can't enjoy or get excited about the prospect of a show until you are absolutely secure in the knowledge that the (very rich and I'm willing to wager knowledgeable) producers see a return on their investment, well...go nuts.
verywellthensigh said: "Clearly I touched a nerve with the "broken by capitalism" comment. So much protesting!
But if you can't enjoy or get excited about the prospect of a show until you are absolutely secure in the knowledge that the (very rich and I'm willing to wager knowledgeable) producers see a return on their investment, well...go nuts."
Touched a nerve? You made me laugh. Hogan, to his immense credit, tried to engage with you and you weren't capable, so here we are, with you trying to rewrite concerns for the viability of the show with a lack of excitement for it. Two separate things, as I am sure you can understand that someone might be skeptical about how a show like this sells the thousands of tickets it needs to, while simultaneously being excited to go see it.
But again, if you're pretending theater (and film, and television, and literature) isnt a capitalist enterprise, or wishing it wasn't, enjoy that, by all means.
verywellthensigh said: "Clearly I touched a nerve with the "broken by capitalism" comment. So much protesting!
But if you can't enjoy or get excited about the prospect of a show until you are absolutely secure in the knowledge that the (very rich and I'm willing to wager knowledgeable) producers see a return on their investment, well...go nuts."
As I said above, your lack of understanding of the basics of ...well... just about anything being discussed renders your point difficult to imagine. I asked you to connect the dots but you didn't. I gave you some alternatives from which to select what you were advocating. Crickets. Are you after a system of non-profits with increased government funding? Great, but you don't seem to realize that they would still have to make ends meet. Just because the profit is being retained in the organization rather than being paid out to "rich people" doesn't change that. In fact, it actually makes even less sense for a non-profit to produce a show that can't succeed that for a for-profit. In the former case, a few wrong steps and you are out of business; in the latter case, the "rich people" shrug their shoulders and move on.
Let me make a suggestion: spend a little time learning about economics and finance before you make another inexplicable and irrational comment.
Finally had a chance to listen to these two songs. I was definitely more excited about the instrumental of Music Money Love than the actual vocal line. It had a cool groove but the main melody feels very meh to me (and does remind me a little of Bandstand). But The World Goes Round was a lot more enjoyable, though I can't help thinking how much it sounds like Maybe This Time.
Talking to my friend, we were saying how it would be interesting if it ended in a La La Land-esque ending, though not sure they would want to take that route.
broadwayben3 said: "Emily Skinner leaked on her website that she is in the company!"
I thought that info leaked weeks ago! I spoke to her early this month and she told me she left Once upon a one more time to join New York, New York. It was a hard decision to make, but she said "it's a beautiful play that speaks to her heart"