doodlenyc: Zambello's accomplishments in the opera world are broad, and her CV long, but it would be misleading to suggest her regard is universally high -- not quite as many critics "there" as "here", but the nature of the criticisms there would sound awfully familiar here.
Ambassador - Long running loyal tenant/ Theatre small Barrymore - More of a Play house Belasco*** - Only holds 1,016, but has produced various musicals in the past, outside chance. Booth - Too small, play house Broadhurst* - Holds a comfortable 1,156 patrons, good size for intended show, current show in decline, my favourite theatre for Rebecca to go in. Broadway** - Big theatre, current tenant not doing exceptional, but might hang on to Labor day 2012, outside chance. Cort - normally a play house. Golden - Too small for a big musical. Imperial - Current tenant seems to be not going anywhere. Bernard B. Jacobs - Another theatre aimed more at plays. Longacre - Same as the Jacobs. Lyceum - Too small for musicals Majestic - Current tenant seems to be not going anywhere. Music Box - Music by name, not by nature, does plays. Gerald Schonefeld - Not really suited for musicals Shubert**** - Current tenants look comfortable, good long shot though Winter Garden - Mamma Mia going nowhere.
um, sorry ... but the times piece was not *just* about people who run across the stage on fire:
He said that he and his colleagues have been talking to officials at the New York City Fire Department for three years about technical effects such as so-called body burns — characters who appear on fire — and safety protocols for using real fire on stage.
“We don’t want to say too much so we don’t spoil the magic,” Mr. Sprecher said, “but rest assured we are going to burn Manderley eight times a week.”
earlier on, the piece notes the main cost savings came from eliminating the collapsing staircase.
this all says to me your final conflagration will not be simply computer-generated.
While the super-talented Michael Blakemore has been a critics' darling, do the producers really think that this show would get anything other than a pan by either Isherwood or Brantley? This is a bombastic pop-opera which is no longer in vogue with either critics or American audiences (see Pirate Queen, Tale of Two Cities). Yes, it has some nice melodies, but so does every Frank Wildhorn show.
To answer the question on why the staircase effect costs so much money - the staircase effect requires hydraulic lifts under the stage which would require drilling under the stage.
"It does what a musical is supposed to do; it takes you to another world. And it gives you a little tune to carry in your head. Something to take you away from the dreary horrors of the real world. A little something for when you're feeling blue. You know?"
Looks like Sven Ortel will be doing the projections for this production as well. This was on his website... "Rebbecca" will come to Broadway in the spring of 2012. Sven designed the projections for the orginal Vienna production and will be involved in this one as well." Can't wait to see how the design for this looks. It looked beautiful from the pictures of the Vienna production on his site.
"There’s nothing quite like the power and the passion of Broadway music. "