Sondheim and Ives' HERE WE ARE at The Shed- Page 2

[Robbie516]

Posted: 3/16/23 at 4:46pm

Has anyone heard anything about who will star?

[jkcohen626]

Posted: 3/16/23 at 6:54pm

Jordan Catalano said: "dramamama611 said: "So, I "regsistered" at the shed.....but is there a MEMBERSHIP that will likely be needed for first access?”


From an email I got from The Shed -

“members at the Builder 3 ($500) level and above will have first access to tickets, followed by Builder 1-2 members, then Mover ($10) members on the following day.”

"

Got it. Sounds like Mover is 100% worth it. Hopefully they're reserving some tickets for every tier (including non-members). This seems like the type of thing that could sell out in presales if they're not careful. 

[Theatrefanboy1]

Posted: 3/16/23 at 8:20pm

Anyone think this might have a limited Broadway run next year as well?  When Bernadette and Nathan are free or has their time passed with it?

Id think this could do well in the Booth.  
 

donna Murphy and Mandy Patinkin? 
 

Not know what type of show it’s like I think it could be interesting to have Sondheim muses cycle in the show. 

[BoringBoredBoard40]

Posted: 3/16/23 at 10:22pm

this absolutely is aiming for Broadway in Spring of 2024

[Georgeanddot2]

Posted: 3/16/23 at 10:44pm

I think presenting this show incomplete after the death of it's creator would lend itself well to surrealism and would feel very Bunuel (think of the opening of Discreet Charm where they can't eat at the first restaurant because the chef is dead).  Hopefully they don't try to Frankenstein the material together too much and just let it be incomplete.

I would also love to see all the Sondheim collaborators team up again for this one and I'm sure Montello's direction will be inspired.  Also sounds to me like they want a flexible space for this one so if this does transfer to Broadway, Circle in the Square seems likely.

Updated On: 3/16/23 at 10:44 PM

[dramamama611]

Posted: 3/17/23 at 4:58am

jkcohen626 said: "Jordan Catalano said: "dramamama611 said: "So, I "regsistered" at the shed.....but is there a MEMBERSHIP that will likely be needed for first access?”


From an email I got from The Shed -

“members at the Builder 3 ($500) level and above will have first access to tickets, followed by Builder 1-2 members, then Mover ($10) members on the following day.”



Got it. Sounds like Mover is 100% worth it. Hopefully they're reserving some tickets for every tier (including non-members). This seems like the type of thing that could sell out in presales if they're not careful."

Thanks for the info,  Jordan, I'll look into it. 

 

If they sell out in presale....what's it to them? They'd be catering to their members. It would suck on a personal level, but no skin off their nose!

[theblackumbrella]

Posted: 3/17/23 at 8:56am

I could see this being a strictly off Broadway thing a la Road Show/Bounce. Sondheim was alive to refine and edit that musical, whereas this one is forever unfinished. I'm grateful that people will have the opportunity to experience it, but I don't think it will transfer. 

The CSC production of Assasins was on the rumor mill to transfer and it never did.

[kdogg36]

Posted: 3/17/23 at 10:05am

Do we know exactly how unfinished the show really is? Given the high-profile reading, and the willingness of Lane and Sondheim himself to talk publicly about the upcoming show, I think it's reasonable to hope that a complete draft was written. If that's the case, Here We Are might be more like Rent (with some rough patches that surely would have been smoothed out if the creator had lived to see it through) than Turandot (with a big chunk left to be finished by someone else). I'm obviously not claiming this is the case, just that there may be reason to hope. 

[ljay889]

Posted: 3/17/23 at 10:45am

I believe act 1 was finished for a bit. Cameron Mackintosh who heard the entire score said it was about 50-60% complete, with several unfinished songs, including an incomplete “Loveland” type of sequence.

I have to believe they had enough material to piece together to create a full “enough show, especially with Ives at the helm. 

Also, it’s way too premature to predict a transfer or not. It’s pointless to even guess without seeing what’s being presented at The Shed. 

Updated On: 3/17/23 at 10:45 AM

[Robbie516]

Posted: 3/19/23 at 1:37pm

Has anyone heard about who will be starring in this?

[Georgeanddot2]

Posted: 3/19/23 at 3:57pm

I feel like the reaction is too muted to this!  I want to discuss this to death! I check this thread like 3 times a day! GET EXCITED PEOPLE!

Robbie516 said: "Has anyone heard about who will be starring in this?"

I heard a while back that Meryl was eyeing a new musical and I heard from someone else that she was looking at doing a Sondheim show specifically.  I had assumed Company, but maybe it was this.  I know Bernadette had done the most recent reading, but isn't she going to be on the West End right around the same time?

 

Updated On: 3/19/23 at 03:57 PM

[TotallyEffed]

Posted: 3/19/23 at 4:00pm

Georgeanddot2 said: "I feel like the reaction is too muted to this! I want to discuss this to death! I check this thread like 3 times a day! GET EXCITED PEOPLE!"


I’m insanely excited but there really isn’t anything more to say at this time lol

 

It’s going to be absolutely surreal (literally, given the inspiration) finally seeing this. I’m not a fan of The Shed and hope getting tickets won’t be a total nightmare.

[pethian]

Posted: 3/19/23 at 4:11pm

Georgeanddot2 said: "I feel like the reaction is too muted to this! I want to discuss this to death! I check this thread like 3 times a day! GET EXCITED PEOPLE!"

 

I hear your frustration. And share it to some degree. But personally, my excitement and optimism are muted a bit by the experience of the other 'recent' Sondheim work, Road Show, (alias Bounce, alias Wise Guys, alias Gold!) which had illustrious directors attached to it--Sam Mendes, Hal Prince, John Doyle et. al. at one time or other. As much as I want Here We Are to be something new to love, I guess I'm stealing myself a bit from being disappointed.

 

[Georgeanddot2]

Posted: 3/19/23 at 4:18pm

I'm not frustrated really.  Just surprised that people aren't foaming at the mouth about this on here.

 

I'm a diehard fan so I love Road Show lol.  I don't doubt that this will have at least moments of brilliance.  The idea of a Bunuel musical is brilliant and daring on it's own.

[TotallyEffed]

Posted: 3/19/23 at 4:37pm

I’m not usually a fan of musicals based on films but I would have loved for Sondheim to have tackled more art house and foreign films. Imagine his take on Fellini. I know we have Nine and Sweet Charity (which I barely count) but Sondheim’s Nights of Cabiria could have been stupendous.

[JasonC3]

Posted: 3/19/23 at 5:11pm

What exactly are we supposed to be foaming about though at this point?  The cast which is unnamed?  The amount of the work that is "finished"?  The Broadway transfer that some are already apparently thinking will happen?  I'd love to be discussing things here, but we are sorely lacking in info to talk much about anything.

[CarlosAlberto]

Posted: 3/19/23 at 5:43pm

JasonC3 said: "What exactly are we supposed to be foaming about though at this point? The cast which is unnamed? The amount of the work that is "finished"? The Broadway transfer that some are already apparently thinking will happen? I'd love to be discussing things here, but we are sorely lacking in info to talk much about anything."

I'm going to wait for some more solid news before I get my hopes up.

Updated On: 3/19/23 at 05:43 PM

[Jordan Catalano]

Posted: 3/19/23 at 6:37pm

Well The Shed took a small fortune based on people getting early access to that show, so they’d better be putting it on lol

[TotallyEffed]

Posted: 3/19/23 at 6:41pm

Jordan Catalano said: "Well The Shed took a small fortune based on people getting early access to that show, so they’d better be putting it on lol"


The Shed has plenty of creative ways to take your money

[kdogg36]

Posted: 3/20/23 at 12:04pm

Jordan Catalano said: "Well The Shed took a small fortune based on people getting early access to that show, so they’d better be putting it on lol"

Does anyone know if the $10 level allows a member to buy more than one early access ticket, or if (like Lincoln Center) each member can purchase only one?

I'm very excited about it. Even if it's not all that "finished," I feel almost certain that there will be some interesting and beautiful music. I love everything Sondheim has done, but I truly adore him in his "cerebral" Pacific Overtures/Sunday/Passion mode, and that's what I suspect we'll get here. (I was really grasping at an adjective to describe what I'm getting at, hence the scare quotes.)

[TotallyEffed]

Posted: 3/21/23 at 12:27pm

SEEKING THE FOLLOWING ROLES AND UNDERSTUDIES:

MARIANNE – Female (cis, trans, or non-binary), 35-45, any ethnicity. Ethereal. Daffy. A cool beauty with a warm heart. Capable of unexpected lyricism. A terrific singer with a large vocal range spanning from chesty and conversational to lyric soprano. Strength with rhythm is a plus.

 

LEO – Male (cis, trans, or non-binary), 60’s, any ethnicity. Charming billionaire. Ruthless, insatiable, a little crude. Some non-strenuous singing. Strength with rhythm is a plus.

 

RAFAEL – Male (cis, trans, or non-binary), 50’s, any ethnicity. Cosmopolitan and suave, great-looking. Has great charm and humor. Lyric baritone with some vocal power, not bottom heavy, vocally. Strength with rhythm is a plus.

 

CLAUDIA – Female (cis, trans, or non-binary), 40’s, any ethnicity. Fleshy, sexy, hungry, loud, entertaining, always happy to take exception or pick a fight. Excellent comic and dramatic skills. Some non-strenuous singing. Belt/mix. Could be a character sound. Strength with rhythm is a plus.

 

PAUL – Male (cis, trans, or non-binary), 40’s, any ethnicity. Laid back, low-key, and always nice with an underlayer of anxiety. Has solid but understated comic skills. Some non-strenuous singing. Baritone with good rhythmic skills.


FRITZ – Female (cis, trans, or non-binary), 25-35, any ethnicity. A political rebel from upper-middle-class Greenwich. Angry at the world. Lonely. Sulky. Self-Starved. Strong singer. Role requires vocal flexibility ranging from chatty belt to lyricism.

 

COLONEL – Male (cis, trans, or non-binary), 50-60, any ethnicity. Comically block-headed and strong-jawed, all-business and no-brains. Comically appealing because he’s so deeply unaware. Minimal singing.

 

SOLDIER –Male (cis, trans, or non-binary), 25-30, any ethnicity. Very attractive. A dreamer, searcher, natural-born poet in love with the idea of love. Excellent singer. Lyric baritone with some good tenor notes. Warm vocal sound.

 

BISHOP – Male (cis, trans, or non-binary), 50-70, any ethnicity. Sweet, gentle, endearingly lost. Great comic skill, natural personal appeal, and good singing skills. Bright character tenor.

 

WOMAN – Female (cis, trans, or non-binary), 50’s, any ethnicity. Multiple and very diverse parts. Comically inventive and transformational. Impeccable comic accent(s). Strong voice. Think Kurt Weill meets French Chanteuse. Broad and big vocals.

 

MAN – Male (cis, trans, or non-binary), 50’s, any ethnicity. Multiple parts. Superb comedy, accents, strong character work and good singing. Character baritone range.

[jkcohen626]

Posted: 3/21/23 at 12:37pm

That's a bigger cast than I was expecting. Also curious if this includes roles that might have stars attached in order to find understudies or if the cast could be bigger than this!

[Ke3]

Posted: 3/21/23 at 12:45pm

Georgeanddot2 said: " I heard a while back that Meryl was eyeing a new musical and I heard from someone else that she was looking at doing a Sondheim show specifically. I had assumed Company, but maybe it was this. I know Bernadette had done the most recent reading, but isn't she going to be on the West End right around the same time?"

Not to start a rumour about a rumour involving yet another rumour, but Meryl as Madame Armfeldt seems more likely to me than convincing Julie Andrews to do it. It would be thrilling if Meryl pulled a Lansbury and returned to the stage often in her later years. 

 

On a different note, I think talks of Broadway are premature. When that hoax twitter announcement happened his estate not only debunked it, their statement said there were no plans for a production at all. This run at the shed might just be them attempting to give fans some closure. I imagine in a world where he didn't announce the show on late-night television we might not even be getting this production.

Updated On: 3/21/23 at 12:45 PM

[iluvtheatertrash]

Posted: 3/21/23 at 1:18pm

Has anyone found the on sale date yet? 

[jkcohen626]

Posted: 3/21/23 at 1:23pm

Ke3 said: "Not to start a rumour about a rumour involving yet another rumour, but Meryl as Madame Armfeldt seems more likely to me than convincing Julie Andrews to do it. It would be thrilling if Meryl pulled a Lansbury and returned to the stage often in her later years.

On a different note, I think talks of Broadway are premature. When that hoax twitter announcement happened his estate not only debunked it, their statement said there were no plans for a production at all. This run at the shed might just be them attempting to give fans some closure. I imagine in a world where he didn't announce the show on late-night television we might not even be getting this production."

Oh, I HARD disagree about all of this.

Actually, not about the Meryl stuff. Her and Sondheim were actually pals and I totally buy that she'd want to come back to Sondheim now. I also agree that she'd be much more likely to go for something like Night Music than this. 

However, i think everything you said about Here We Are is pretty off base. There is absolutely a 0% chance that this wasn't in the works as of the Fall and that it came together in the past 3 months. They were lying. It's what people do when they aren't ready to reveal something.

As far as Off vs. on Broadway, I do think that the state of completion of the piece is a factor in going Off-Broadway. I also think that, financially, Off-Broadway has been a much safer bet for Sondheim as of late (see Merrily and Assassins vs. Company and the post-Sara B. Woods).

However, I do not buy at all that there aren't conversations about Broadway. With something like this, I do think it would have the potential to do very well on Broadway for a limited run, especially if it becomes the talk-of-the-town at The Shed. "Stephen Sondheim's last musical, now on Broadway" will cary a lot of weight. And will awards really be able to resist the opportunity to give the maestro one last Best Score win? I wonder if, despite the inability to workshop the score, there is still other workshopping they want to do and that contributed to starting at The Shed.

As far as it never happening if he didn't mention it on Colbert, I disagree about that too. Below is a New Yorker article (part of the conversations that became the book Finale) from 2017 where he discusses it. In the book, he discusses it at length. I agree that it definitely got a kickstart by being mentioned on Colbert, but I disagree that there wouldn't have been conversations and a potential production if he hadn't. 

https://www.newyorker.com/magazine/2017/05/15/stephen-sondheim-and-meryl-streep-side-by-side-at-the-pen-gala 

Updated On: 3/21/23 at 01:23 PM