I was also disappointed to see the Adams section streamlined so much, since it was an integral part of Hamilton's political self-destruction. But it was necessary. The show is a massive feat of musical theate storytelling, unparalleled thus far in its scope and style.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
100% agree. It's a testament to how interestingly and how well LMM handles what is present in the show, I think, that we're wanting to see how he would've handled the rest of it. Ultimately, it is a show and it has to succeed as a musical, not as a biography, and Lin has created a masterpiece in that regard.
One other thing I would like to mention. They should wait for a smaller theater. Follow the BOM example, keep tickets limited and demand high. If the show hits on B ' way great it could play for 10 years. If it flops, oh well they tried. I personally think the Richard Rodgers is too big for this show. I know ITH opened there, but this is an almost 3 hour rap history lesson.
For those of you who are stupefied by Riedel calling the season dull or whatever, why? Don't you know by now that this right-wing, troublemaking toad isn't interested in the merits of shows such as FUN HOME or HAMILTON because he A) Hasn't seen them and likely won't and B) Has a pathetic tin-ear when it comes to new musicals?
Riedel only fell into theater journalism on a lark. It's served him in good stead, but he doesn't like or care about the theater.
Who knows what's going to happen next season. Something Rotten wasn't set to open this season and it came in, and it's supposed to be great. There will be others for next season that no one saw coming. If they rush and open this season, they will have a very high chance of winning everything. They will do well in either season, but it's better to deal with a season you have a reasonable chance of predicting.
If the hope is Tony Awards, I would hold off on this season with FUN HOME, THE VISIT, AN AMERICAN IN PARIS, and SOMETHING ROTTEN (especially since I think FUN HOME could be really big!). However, if it comes in this season, they'll probably have more success. But moving it to Broadway before the Tony Award cutoff in two months seems so, so quick! It could do well opening after summer?
"I saw Pavarotti play Rodolfo on stage and with his girth I thought he was about to eat the whole table at the Cafe Momus." - Dollypop
'Don't you know by now that this right-wing, troublemaking toad isn't interested in the merits of shows such as FUN HOME or HAMILTON because he A) Hasn't seen them and likely won't'
I can confirm that Riedel was at the performance I attended.
I am on the fence about this and see it from both sides.
However, I have to question that if the creatives feel there is work to be done, why can't the producers respect that wish as well? There can be correlation between artistic integrity and financials (and Mr. Miranda is both star and creator-I imagine he wants some input here). I guess I just wish the producers would think a little about the fact that the creatives clearly have ideas to make this even better (and I've seen it-it's excellent; that said, I do agree with the need to shorten it and think some patches could be ironed out-but that takes time). I also have to wonder (and maybe one knowledgeable on the topic can shed light): If they extend at the Public, could they turn a profit there? (If so, it's a nice little nest egg for the transfer.)
Final note-if they open in the fall, they'll get school groups (which is a good thing).
If LMM wants to wait until next season, couldn't he just veto any early transfer decision? Can't he just tell the producers that he will withdraw the rights to the show if they try to move it to fast. Not saying he would do that, or that that's the best things to do, but is that in his tool box?
Rushing this doesn't sound like a good idea. Current ticket holders could get upset if they don't get equivalent or better tickets at the new venue, or feel robbed in any way. And that assumes no shows would have to be canceled during the move to accommodate rehearsals, sets, and restaging. As mentioned in the article, Jacobs and Furman would have good cause for public sour grapes if not a lawsuit. Tony voters might see this as a cynical ploy to win the awards in spite of the creatives wanting more time on the show. And we know politics plays a role in the votes (*cough* Matilda *cough*). It would be one thing if they accelerated a transfer after the initial run, but canceling shows at the current venue to do this seems pretty low.
Butters, go buy World of Warcraft, install it on your computer, and join the online sensation before we all murder you.
--Cartman: South Park
ATTENTION FANS: I will be played by James Barbour in the upcoming musical, "BroadwayWorld: The Musical."
Bwaydide, he doesn't have control over that. He can't control whether they make it happen sooner, or in this case later. Of course, they'll want him to be happy, but they make all the decisions concerning money/moves/business.
How could Hamilton transfer to Broadway when it doesn't even close off-broadway until well past the cut-off? (replace the entire cast?) It would be an impressive feat if it does indeed manage to transfer this season.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
If it transfers this season which I personally doubt due to the timing, politics-producers and economics ...BDJ would not get to do it and not get a much deserved featured actor musical Tony nomination. He probably would win as I doubt he will get nominated for Something Rotten...I am basing this only on the sneak peak presentation that I viewed the other day. Also, heard from an industry friend that he (BDJ) wants to go back and do Hamilton after Rotten but I guess it all depends on how that show is received so they may wait till the early fall, do some work on the show over the summer and open at the Rodgers. Just thoughts and it will win tons of Tony Awards and doubtful anything coming in next season could match the artistry and brilliance of Hamilton! I know that McCollum (Rotten) and Seller (Hamilton) are major rivals now.
"Anything you do, let it it come from you--then it will be new."
Sunday in the Park with George
I loved the show and would be very happy if they made the move now while it's the talk of the town. It's clear that they would be the frontrunner for Best Musical if they opened this April. Although it's doubtful anything would come in next year that could beat it, it's still an unknown. And as we all know…you never know.
With the current roster of new musicals this season, I don't think any stand a chance of beating Hamilton. If I had a vote - and I so wish I did - I'd vote to take the chance and go for it now. Strike while the iron's hot!
I guess this shows how important hype is, because when Fun Home was off-broadway I swear everyone predicted it would sweep the Tonys, and it was nominated for a Pulitzer prize. Has everyone forgotten about it? haha.
"You can't overrate Bernadette Peters. She is such a genius. There's a moment in "Too Many Mornings" and Bernadette doing 'I wore green the last time' - It's a voice that is just already given up - it is so sorrowful. Tragic. You can see from that moment the show is going to be headed into such dark territory and it hinges on this tiny throwaway moment of the voice." - Ben Brantley (2022)
"Bernadette's whole, stunning performance [as Rose in Gypsy] galvanized the actors capable of letting loose with her. Bernadette's Rose did take its rightful place, but too late, and unseen by too many who should have seen it" Arthur Laurents (2009)
"Sondheim's own favorite star performances? [Bernadette] Peters in ''Sunday in the Park,'' Lansbury in ''Sweeney Todd'' and ''obviously, Ethel was thrilling in 'Gypsy.'' Nytimes, 2000
Mattbrain, I'm not surprised, but...well...I am a little. Riedel usually tries to "cash in", so to speak, on the latest trend. He had a huge boner for SPRING AWAKENING and was gobsmacked that the "Tony Predictions" panelists on Theater Talk (Jesse Green, Michael Musto and Patrick Pacheco) all liked GREY GARDENS more. He claimed that he was "always" rooting for KINKY BOOTS the year it won over MATLIDA. Maybe HAMILTON hasn't gotten enough hype for a Riedel-errection?
The man is a disgusting little weasel. He should be writing obituaries for the Post, not theater columns. I can't wait for the obituary to his own career as a theater columnist, though as I said before, I don't want it to come TOO soon. And not because I like reading Riedel.