UPDATE: Team Rebecca is overjoyed to announce that, after successfully winning both of our court cases, we are now finally in a position to move forward with our production. We will post further information as it becomes available. For now, we would simply like to extend our immense gratitude to our incredible cast, crew, all of the various law enforcement agencies, legal teams, investors, fans, and the countless others who have faithfully stood by us through these heartbreakingly torturous ordeals. We are now more committed than ever, and will continue to work tirelessly in order to ensure that this outstanding production will, at long last, take her rightful place on The Great White Way.
We hope that you will enjoy taking a few moments to revisit our website and listen to several of our breathtaking songs, in order to be reminded of exactly why we have worked so incredibly hard, over all these years, to bring this epic production to Broadway...
Why don't you go? Why don't you leave Manderley? He doesn't need you... he's got his memories. He doesn't love you, he wants to be alone again with her. You've nothing to stay for. You've nothing to live for really, have you?
I mean you aren't wrong sort of^ but fortunately only the theatre community will really remember the lawsuit. Tourists will not. I would love for this show to finally get its opening. The score is fantastic and I would love a English recording. I hope they can get Karen Mason or Carolee Carmello or Mrs Danvers
Some foolish wishful thinking on the part of a poster with the username "Eurotrash." No surprise there... This is, indeed, a bunch of trash. Let it die already.
Fortunately the public forgets very fast .... This show which I have seen many times in Europe deserves a chance to be seen in the USA ... Hopefully it will be appreciated for the spectacular show that it is ...
Some foolish wishful thinking on the part of a poster with the username "Eurotrash." No surprise there... This is, indeed, a bunch of trash. Let it die already.
You're such a weird loser.
Why don't you go? Why don't you leave Manderley? He doesn't need you... he's got his memories. He doesn't love you, he wants to be alone again with her. You've nothing to stay for. You've nothing to live for really, have you?
The joke in this announcement is that they have not "won" the case: the court ruling is simply that they are going to trial. And if they do, how much money do you think will be left to recover? Not enough to finance the show, even if the unlikely verdict is that they are responsible for the full financing of the show. (And also note that the loss is circular.)
^Who's 'you'? No one offered a view. Though a quick look through previous posts shows you've been entirely wrong about the legal aspects, to date.
Why don't you go? Why don't you leave Manderley? He doesn't need you... he's got his memories. He doesn't love you, he wants to be alone again with her. You've nothing to stay for. You've nothing to live for really, have you?
Even without Sierra Boggess, who was originally announced to play "I", if the Rebecca web site is correct, the cast might as well be a Phantom reunion: Three famous Phantoms (Howard McGillin, John Cudia, and James Barbour); two former Raouls (Sean McLaughlin and Ryan Silverman); one Phantom's spouse (Kathy Voytko, who is married to John Cudia); and a partridge in a pear tree.
I sincerely hope that the show FINALLY makes it to Broadway, no matter who is in the cast!
Audrey
Audrey, the Phantom Phanatic, who nonetheless would rather be Jean Valjean, who knew how to make lemonade out of lemons.
Eurotrash said: "^Who's 'you'? No one offered a view. Though a quick look through previous posts shows you've been entirely wrong about the legal aspects, to date."
"You" in this case is "anyone." It's not all about you, sorry.
If you think I have been "entirely wrong about the legal aspects, to date," kindly cite one example; I doubt you can. Though if you interpreted my post as suggesting I was responding to a "view," rather than simply asking a question, then you sense of right and wrong is questionable in the first instance.
Well, maybe if it was adjusted somewhat, it could work artistically. For example, I highly doubt a Broadway audience is going to take a period story with a pop score seriously. Those days are well and truly gone; if nothing else, the short-lived run of A Tale of Two Cities proved that. Re-orchestrate the score from, say, a Forties standpoint, and that might -- might -- help its chances.