in this season, the creative struggles of SPIDERMAN have nearly overshadowed another show troubled in the more traditional way, in its out of town genesis that SPIDERMAN avoided. The other musical had a more "proven" B'way team, but has still had tweaks by whole new creatives, the crediting for which has not been nearly as public as that of SPIDERMAN.
It begs the question: if you were a Broadway-bound director/author whose work was being SEVERELY updated by more famous NYC names, what would you do? continue to claim credit even though all the real folks knew what happened, the folks u want to work with in the future? come clean?
and if you were the fixer-uppers, would you admit repackaging schlock for the moolah, or try to "ghost" though in this cyber-age we all know who you are and what you're doing?
DISCUSS AMONGST YOURSELVES
it's interesting how SPIDER went from A-list nearly above-title team to wannabe show docs, and WONDERLAND went from wannabe's to proven track record folks....ultimately, which is the more productive route?
Broadway Star Joined: 2/21/11
neither, dont bring a freaking show to b'way until its as good as it can possibly be!
"good" is so subjective, though...MAMMA MIA has a book of infinite cliche and weakness, but good casting, an able song list, nostalgia, and energy have made it a monolith. It's "out of town" was London. Every case is different....pronouncments from your mount don't help. Address the specifics for true constructive comment.
There are no good show doctors at the moment so nothings really getting fixed.
there's that subjective term again "good." i think your advice on here is really sound. i think other folks in the bidness have sound advicea as well. If such non-"good" show doctoring keeps shows open and nice talented folks employed, forgive us if the Aristotlean standards are not supremely upheld.
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