Side Show Confirmed Fall '14- Page 3

[DCS]

Posted: 8/6/14 at 11:15pm

"Will they still be singing "I Will Never Leave You", because if so, I will once again be rolling in the aisle laughing. I like a lot of the score, but come ON! Let FORBIDDEN BROADWAY do its own numbers. There's also that creepy sex-in-the-tunnel-of-love sequence: the less about it the better."

Gaveston, the Tunnel of Love number is no longer in the show. Also, while they do still sing "I Will Never Leave You," near the end of the show, with the changes to the book, the song now has much more context and makes sense, but I guess you will have to see for yourself come October

[mjohnson2]

Posted: 8/6/14 at 11:38pm

Poster art revealed. Ugly art to perfectly complement this ugly show

[ACL2006]

Posted: 8/6/14 at 11:45pm

so, should we take bets on whether or not this lives past New Years??

[RippedMan]

Posted: 8/6/14 at 11:56pm

That's such bland marketing. It looks A Chorus Line. It doesn't say anything about "carnival" or anything. It looks like it's a show about the golden age of Broadway.

[DCS]

Posted: 8/7/14 at 12:01am

I think we should see what the complete artwork looks like...I suspect this is simply the lettering being used and we may actually get more elaborate artwork soon

[Auggie27]

Posted: 8/7/14 at 7:53am

Since posters here and elsewhere already have the show opened and closed, it's worth considering the longer-range impact of this revisal and its ability to make it (back) to B'way. After closing in the 90s, SIDE SHOW became an oft-produced musical. Colleges, in particular, seized it for obvious reasons (a strong property for young musical theater students) and others (the colorful period milieu invites strong design/directorial decisions). It has routinely been produced across the nation. I've personally known four people who ended up doing it. The album has sold incredibly well for a failed show. Its defining ballads are now part of musical theater repertoire.

Now the show has been carefully re-thought. Whether it closes quickly or not, or perhaps only makes it into spring, its licensing life will surely be extended. One cannot predict the NY press, but it's safe to say the show has a shot at an even warmer reception (and Brantley, in particular, penned an impassioned approval the first time around; his colleague has given the show his imprimatur in DC). If the material is much stronger, as many opine formally and on these boards, subsequent productions are exponentially more likely now, not less so. This opportunity's immediate prospects may be questionable; but big picture, this return to NYC is a way of solidifying the show's place in musical theater. And, another angle: if it's truly a far better show, the news today is inspiring for musical theater collaborators everywhere. Second chances, even second shots at success are possible. If SIDE SHOW fails again as commerce, its artistry will survive anew. Hit or miss, it's here to stay.

Updated On: 8/7/14 at 07:53 AM

[neonlightsxo]

Posted: 8/7/14 at 9:18am

"so, should we take bets on whether or not this lives past New Years??"

I would say it won't, unfortunately.

[dreaming]

Posted: 8/7/14 at 9:44am

It is highly unlikely.

[ajh]

Posted: 8/7/14 at 9:54am

I really hope it is finally the hit it deserves to be. I will certainly be opening my wallet for this one.

[dreaming]

Posted: 8/7/14 at 10:05am

They cut my favorite scene/song. I'll see it once because I like what remains enough to see it once. But I think this will fold by New Year's.

[ggersten]

Posted: 8/7/14 at 10:53am

Roxy - the poster who mentioned Side Show closing in favor of Heathers, I believe was making a joke as this site is rife with jokes about Heathers being the NEXT BIG BROADWAY HIT.


So, my joke is: what's all this about Side Show closing by New Years - the score isn't by Jason Robert Brown so it has a chance of running longer than three months.

Semi-serious- the show seemed to sell well at La Jolla, but that is a much smaller venue. The show's themes of alienation and fitting in seem more appropriate and compelling to 2014-2015 than 1997. Perhaps, this time the show will catch the Wicked zeitgeist - without the cherry picker.

Semi-serious question: what are the rules on how much new music is needed to qualify for Tony consideration as best score. There are several new numbers and reconfigured numbers in this show - based on the production I saw at La Jolla. I'm not saying it's deserving (especially as there are no new shows yet to compare), but curious about the supposed rules.

[neonlightsxo]

Posted: 8/7/14 at 10:54am

It won't be eligible for best score.

[ggersten]

Posted: 8/7/14 at 11:11am

My question was about rules - given the score wins for Tommy and Newsies (and other nominations for Aladdin, Little Mermaid, Beauty and the Beast). All that I could find in the Official Rules were these:

(c) Substantial Duplication. In order for a production to be eligible in the category of Best Play or Best Musical, a play or musical may contain elements that substantially duplicate elements of productions previously presented in an eligible Broadway theatre only if, in the judgment of the Tony Awards Administration Committee in each case, the duplicated and the original elements, in their totality, create a new play or musical.
[I guess this is the Jerome Robbins' Broadway and Fosse rule]

(d) Ineligibility of Production/Eligibility of Elements. If a production meets the
requirements of paragraphs 2(a) or 2(b) hereof, but is determined not to be eligible in the category of Best Play or Best Musical in accordance with paragraph 2(c) hereof (i.e., that such paragraph does apply, and a determination has been made by the Tony Awards Administration Committee thereunder that a new play or musical has not been created for purposes hereof), the production shall automatically be ineligible to receive a nomination in the category of BestPlay or Best Musical; provided, however, that the ineligibility of the production to receive a nomination in the category of Best Play or Best Musical shall not adversely affect the eligibility of any of the individual elements (i.e., actors, actresses, playwrights, bookwriters, composers,
lyricists, designers, directors, choreographers and orchestrators) who are otherwise eligible to receive nominations or awards in their respective categories.

The Rules

[sephyr]

Posted: 8/8/14 at 11:59pm

I would never want to predict a brief run for a show, especially a show getting another chance at succeeding. I'm excited to finally get a chance to see this show and a new version at that! I loved the original cast recording and I agree that the ballads have become a part of musical theatre rep, they're classics IMO. I can't wait to hear new voices tackle the songs and to see the staging.

[binau]

Posted: 8/9/14 at 3:20am

People here have thrown around that 51% of the score needs to be new for it to be eligible for best score.

[gleek4114]

Posted: 8/9/14 at 3:39am

I really do hope this succeeds. I love the cast recording so much and the show itself as well. I would love to see it but I only come to NYC every September. Here's hoping it is the next Gentlemens Guide. It will struggle but I sincerely hope it gets what it deserves come Tony time. I just wish the producers were smarter and opened this right before the Tony cut off in mid April.

[CATSNYrevival]

Posted: 8/9/14 at 4:02am

I can't imagine that working out too well if every show waited until April to open,

[binau]

Posted: 8/9/14 at 4:33am

It's true and look at this season alone - bullets, rocky and bridges all gone. I guess it only works if it has a real chance to be exposed/win Tonys I guess (fun home for example). I think Follies would also have benefited opening in the spring.

[Auggie27]

Posted: 8/9/14 at 8:37am

Question: Were any of the melodies from the cut songs recycled with new lyrics? (Someone told me "We Share Everything"'s musical motif was repurposed, but I've never read it on a board, where it seems logical to be debated.) Or are they all new? I'm eager to hear the new material. Krieger writes terrific melodies.

Updated On: 8/9/14 at 08:37 AM

[Musical Master]

Posted: 8/9/14 at 11:57am

^I agree, his music for DREAMGIRLS is wonderful and catchy. I hope that SIDE SHOW does well in the end of everything despite such heavy revival competition, especially with Bartlett Sher's revival of THE KING AND I coming in March next year.

[HSky]

Posted: 8/9/14 at 1:30pm

"Coming Apart at the Seams" uses the "Tunnel of Love" melody.

[Up In One]

Posted: 8/9/14 at 1:31pm

The nay sayers on Sideshow are reminiscent of the pre-Broadway and preview days of Kinky Boots.

It's sounds like it's going to be a great season for musicals new and old - a far cry from this past season.

While Bartlett and The King and I may sound like another South Pacific in the making lets not forget that he was also responsible for Bridges and Women On The Verge. A generation has passed "literally" and one wonders if there is much of an audience for a classic with no name (as in beyond BWay) casting.

Updated On: 8/9/14 at 01:31 PM

[Up In One]

Posted: 8/9/14 at 1:31pm

The nay sayers on this are reminiscent of the pre-Broadway and preview days of Kinky Boots.
It's sounds like it's going to be a great season for musicals new and old - a far cry from this past season. While Bartlett and King and I may sound like another South Pacific lets not forget that was also responsible for Bridges and Women On The Verge. A generation has passed "literally" and one wonders if there is much of an audience for a classic with no name (as in beyond BWay) casting.

[Musical Master]

Posted: 8/9/14 at 2:05pm

^Ken Watanabe is the King, that's a "name".

[Up In One]

Posted: 8/9/14 at 9:22pm

^Ken Watanabe is the King, that's a "name".

Doubtful he's a Broadway draw - just checked IMDB and saw a few movies he was in and I can't remember him. Not that you can set your celebrity clock by me but I would say King And I will draw King And I fans