Reading of New Sondheim Musical with Nathan Lane and Bernadette Peters — Page 3

jacobsnchz14 said: "I need to watch these films! I assume this is a behind-the-scenes type of store about Bunuel working on the films as opposed to adaptations."

In past interviews, Sondheim has made it sound like it will be an adaptation that connects these two distinct films by creating one set of characters – the first act is Discrete Charm, with the characters searching for a place to have dinner, and the second act is Exterminating Angel, in which they cannot leave the dinner part. Those are reductive summaries, of course, but that's what he's put out there previously.

Jordan Catalano said: "Remember when you were a kid and your parents told you that next year we’re going to Disney and you didn’t sleep at all that night because you were so excited - that’s how i feel right now."

ME TOO!!!!

ljay889 said: "Margaret Hall who made the confusing tweet yesterday about this being new has seemingly confirmed it is indeed Bunuel.

https://twitter.com/itsmargarethall/status/1438361176493133826?s=21"

How was that not new or something we shouldn't be excited about?

The original tweet never really made sense given Lane's choice of words: a "new Sondheim musical... he's written this new musical." You wouldn't say that about a revue, nor would you really need to do a reading with folks of the caliber of Lane and Peters for something like A Bed and a Chair. I suppose something like Sondheim on Sondheim would warrant a reading/workshop, but that didn't add up in context. I'm glad Sondheim was on Colbert on the same day to clear up the confusion.

StylishCynic said: "Sondheim’s exact words on the Late Show: “I’ve been working on a show for a couple of years with a playwright named David Ives. It’s called Square One. We had a reading of [Square One] last week. And we were encouraged. With any luck, we’ll get it on next season.”



No. Charles Aznavour wrote that wonderful musical about Toulouse Latreck that had two mountings in CT (both starring the brilliant Bobby Steggert) at the age of 93. He died a year later.


Someone correct me if I’m wrong, but wouldn’t this set the record for the oldest person to write the music and lyrics for a new musical?"

rattleNwoolypenguin said: "he needs better titles for his newer shows.

Square One? Road Show? Bounce?

How do you get butts in seats with those titles?"

With all due respect, the problem with Road Show/Bounce was not the title. I actually really like Square One because (as I said above) it has Sondheimian sophistication and, for the two discrete acts, it is very apt. I also think it is a cool name, with great built in graphics, and oodles of meanings. Finally, re butts in seats, I don't envision this as some blockbuster and I don't think that would be the aim.

Another point: unless they have paid virtually no homage to the source material, this is not "commercial." It is surrealism and there is no plot to speak of. If satire closes on Saturday not, surrealism closes on Wednesday matinee. This does not mean that it will not open and have a nice run on Broadway, and win a bunch of awards, but if this indeed turns out to be the swan song, it's very consistent with a lot of the path Sondheim has been on for years.

binau said: "Well I’d suggest with a combination of Sondheim, Bernadette Peters and Nathan Lane the commercial proposition off Broadway or on Broadway is suddenly much less risky.


ljay889 said: "Yep, the combination of Lane, Peters, AND Sondheim on Broadway is likely any producer’s dream."



Can't say I fully agree. It's a dream combination for a lifelong musical theatre fan, but most commercial producers are looking for actors/projects that will appeal to more general audiences. Bernadette Peters isn't a household name outside of Broadway, and maybe some older crowds. Her run in Hello, Dolly didn't sell as well as they hoped, and we've seen time and time again that Nathan Lane is not a bankable box office name. Many people will show up for Sondheim, but again, he's not a big draw for tourists, especially if it's a show that's more experimental.

Maybe there will be some commercial alchemy in the combination of all 3 of these names, but I doubt it. I think Hogan is right to say that this might end up having a well-received Broadway transfer - maybe the hype, and the short-term demand from all the dedicated theatre-goers will be enough to eke out a recoupment. But no one is getting rich off a project like this.

Also, a reminder that we don't know if those 2 actors have any intention of continuing with the project. Nathan Lane has done readings/workshops for at least 2 other Sondheim shows in the past, and he didn't end up starring in either of them later on.

I couldn't make it more than 30 minutes into Discreet Charm but it's not like I need prior attachment to the source material to enjoy a show. Sondheim is enough of a draw. (I'm not debating whether this will be a huge commercial hit... just that people might see it without any interest in Bunuel.)

I hope it moves forward and we get to see something from it.

Bernadette Peters while not exactly Bette Milder still had decent box office for both Hello, Dolly and Follies. And she is still active on television. Unless her fanbase has died recently (which sadly I guess there might be some truth) I still think her involvement means something. Not that she is actually moving forward with the project or that a production has even been announced lol but still.