After listening to a 15-minute conversation between Angela Lansbury and Fritz Holt on the subject of "How big was the birthday cake (in the Goldstone scene) in New York?", I turned to the set designer and whispered, "Why are they still discussing what worked in NY? Why not just decide what will work here on this set?"
The set designer wisely explained that nobody in the theater really knows why a moment, song, prop, etc., works, so once magic strikes, there is a strong tendency to simply replicate the circumstances from then on. It's a form of theatrical superstition and explains why, most of the time, the creators don't want a radical re-interpretation of Elphaba.
As I mentioned in another thread, they made Mimi Hines sing in Barbra Streisand's FUNNY GIRL keys for almost a year until a friend of Hines talked her into putting her foot down. (Part of the motivation may have been an unwillingness to pay for new arrangements, but I suspect there's an "if it ain't broke, don't fix it" inclination with most replacements.)
Updated On: 12/6/15 at 10:05 PM