THE DEVIL WEARS PRADA Musical - News & Discussion Thread- Page 9

[pethian]

Posted: 7/22/22 at 12:10pm

bk said: "JasonC3 said: "InTheKnowEvenIfYouDontBelieve said: "Everything is all IP now."

The standard argument but which completely misses the point. It's all branding today and the difference between branding and the musicals of old, which you're trying to equate this to, is that the musicals of ofd went out of their way NOT to have the book title or the film title or the play title. You do get that, right? It's not The Apartment, The Musical, it's not Green Grow the Lilacs, The Musical, it's not Nights of Cabiria, The Musical, it's not Smiles of a Summer Night, The Musical, it's not Liliom, The Musical, it's not They Knew What they Wanted, The Musical, it's not The Rainmaker, The Musical, it's not The Fourposter, The Musical, it's not The Matchmaker, The Musical, it's not Lili, The Musical - well, one could go on for hours. While there are a few shows that kept the source material title, they aren't the norm pre-1980."

So interesting, bk--the shift in the way this branding happened. I remember when 8 1/2 became 9,  I thought that was a perfect expression of adding something to the original. That thinking is no more.

 

[JasonC3]

Posted: 7/22/22 at 12:59pm

bk said: "JasonC3 said: "InTheKnowEvenIfYouDontBelieve said: "Everything is all IP now."

I get your apparent frustration, but this is a sweeping generalization.

And Broadway musicals have been adaptations or based on books, movies, and plays for decades, including Sondheim.

"

The standard argument but which completely misses the point. It's all branding today and the difference between branding and the musicals of old, which you're trying to equate this to, is that the musicals of ofd went out of their way NOT to have the book title or the film title or the play title. You do get that, right? It's not The Apartment, The Musical, it's not Green Grow the Lilacs, The Musical, it's not Nights of Cabiria, The Musical, it's not Smiles of a Summer Night, The Musical, it's not Liliom, The Musical, it's not They Knew What they Wanted, The Musical, it's not The Rainmaker, The Musical, it's not The Fourposter, The Musical, it's not The Matchmaker, The Musical, it's not Lili, The Musical - well, one could go on for hours. While there are a few shows that kept the source material title, they aren't the norm pre-1980."

Condescension usually doesn't work for me when I am trying to persuade others, but maybe you have better results.

Updated On: 7/22/22 at 12:59 PM

[ErmengardeStopSniveling]

Posted: 7/22/22 at 1:09pm

Call_me_jorge said: "Anna D. Shapiro was such a great choice for Director on paper, but perhaps a big splashy musical is just not for her. She should stick to plays and dramas."

I sort of disagree –– Anna has never seemed like a perfect match for the material. Yes she's directed comedies, but they've been fairly naturalistic in their settings and language, not the heightened world of a musical nor the excess of the fashion industry. I get that they wanted to go beyond the pool of "usual suspect" female directors of musicals, but by all accounts this show is sort of rudderless in terms of a creative leader at the moment.

[BroadwayGirl107]

Posted: 7/22/22 at 1:11pm

These movie adaptations of very popular, even iconic, very quotable movies that are known for their repeat viewings (specifically thinking of Mean Girls and Devil Wears Prada) definitely do seem a little doomed to me.

 

The problem is that, yes, they are being green lot largely because they share the branding of movies that have been very successful and lived on in peoples memories. Most people these musicals are supposedly appealing to have watched these films multiple times, and have quotes memorized, and they are expecting to go into the stage version of these shows getting the same dopamine rush as they do when they watch the movie again. So creative teams are not coming from a clean slate or organic place. They are not working from a place of “how do we adapt this source material into something fresh and new that works on stage?” They are instead task with the question “How do we recreate this sense of familiarity that people want in an entirely new medium (live stage AND making characters sing being a double challenge) and somehow make it work?” It is a contrived and forced process unfortunately.

 

I agree with those bemoaning movie adaptations for this reason: because most of them are coming from this place, because in 21st century musical theater, this feels like a safer bet to investors and producers. 
 

I do think great musical can be adapted from movies and existing properties. But they have to start from a clean slate and the desire to create something genuinely new because the reality is the things that make films work and musical theater work are not the same things 

[Emma_Pillsbury]

Posted: 7/22/22 at 1:28pm

I agree with you BroadwayGirl107. Very little effort is being made in the creative process these days to adapt these films to the stage and truly make it a thing of its own. 

 

[Call_me_jorge]

Posted: 7/22/22 at 1:32pm

Marlothom said: "Dua Lipa/Elton John's "Cold Heart" came on while I was at the gym, and it made me think of a "score" using his catalog as a backbone for new songs might have been an interesting take. Hearing Beth Leavel belting something using the backbone of "The Bitch is Back" or "I'm Still Standing" - ah the possibilities."

If only the “creative” team were as creative as the members on this board.

[leefowler]

Posted: 7/22/22 at 1:52pm

Doing this show as a sort of Elton John jukebox is a bit lazy, but it’s actually a very commercial idea. I would be interested in seeing that show.

[BalconyClub]

Posted: 7/22/22 at 2:56pm

Received an emailed survey from Broadway in Chicago / alchemer.com on the morning of Friday, July 22.

1. Did you personally attend The Devil Wears Prada (TDWP)?

2. What is your age?

3. How likely are you to recommend TDWP to a friend, family member, or colleague?

4. In a few words, could you give some details to help us understand the score that you gave?

5. Please indicate where you were seated for this performance.

6. Have you heard of the movie TDWP before you saw the show?

7. Had you seen the movie TDWP before you saw the show?

8. In the list below, please choose all the reasons why you decided to buy tickets for TDWP.

• I was curious to see how they would adapt the movie into a Broadway show.
• I love the book / I love the movie.
• I love musicals.
• I bought a ticket because I wanted to see this show in particular.
• A friend or family member recommended the show.
• I thought it would be a great date night.
• I thought it would be a good show for me to see with my friends.
• I wanted to take my family to see this musical.
• I saw or heard an advertisement.
• I read a review or press article.
• There was a special offer/discount.
• I knew the music was written by Elton John.
• I wanted to attend a show directed by Anna Shapiro.
• It didn't seem like a typical musical and that was appealing to me.
• I wanted to see spectacular costumes.
• I am a Broadway in Chicago subscriber.
• Other - please specify.

9. How much did you like TDWP - on a scale from 1 to 10.

10.  On a scale from 1 to 10, please rate the following aspects:

• music
• story line
• performance
• choreography
• costumes

11. What are you most likely to mention when recommending or describing TDWP to a friend, a colleague, or family member?  Choose all that apply:

• the cast is great
• the lead actors are talented
• this show is inspiring
• the show is like nothing I've ever seen before
• this show is a must see
• this show is funny
• I can relate to the characters in the show
• the music written by Elton John is great
• costumes are impressive
• none of the above
• other - write in

12. How likely are you to see the show again in New York?

13. Excluding yourself, how many people attended TDWP with you?

14. On average, how many times a year do you attend live theatre in general?

15. What is your gender identity?

16. Please indicate where you live.

17. Do you personally identify as a member of the LGBTQ+ community?

18. If you wish to receive news and updates about TDWP, please enter your email.

19. If there is anything else you would like to add or comment on, please use the space below.

Updated On: 7/22/22 at 02:56 PM

[Charley Kringas Inc]

Posted: 7/22/22 at 5:00pm

I know it's a standard-issue marketing survey thing, but the "which of the following effusive praise would you apply to the show" question always makes me laugh.

[BalconyClub]

Posted: 7/22/22 at 8:26pm

Friday night merch report: a simple $40 white t-shirt has been added to the boutique. The shirt has small black chest lettering: “That’s all.”

The backside is blank.

[Marlothom]

Posted: 7/22/22 at 9:25pm

Excited to hear if they've made any changed.  I'm going back to Tuesday, thinking they might put in more changes over the weekend? 

[BalconyClub]

Posted: 7/22/22 at 11:52pm

A large change appeared Friday, July 22 at the end of Act 1.

The ARRIVAL of guests in front of the red drape and the dizzying flashbulb blitz of the paparazzi has been removed.

Instead, there are 9 dancers at the footlights in front of the red drape. There is a smattering of title song lyrics. Soon, Andy arrives and briefly mingles with the dancers. (Emily has been removed from the early portions of the scene.)

The red drapes and skeletal wall rise. Miranda is dead center on the steps, surrounded by the parade of arrival guests also already on the staircase.

Small notes:

Publishing owner Irv - played by ensemble member Jim Ortlieb - now sports a ‘John Davidson’ wig. That’s likely not the official name of the hairpiece.

When Miranda rejects two dresses in one scene, she now is succinct with a “No, No” instead of earlier previews of “No, No, No”

When Nigel insists that Andy needs a makeover, the blocking has been improved. This brief dialogue had been shared behind a swatch table - but now the words are shared center stage away from the table.

A lady in the row ahead of me threw up her hands WTH-style during the awkward moment after the Act 2 song WHEN YOU'RE IN YOUR TWENTIES when the two sailors and two lilac-dressed women reappeared. Though the two pair are background DURING the song, their reprise appearance drags while Christian Thompson is off stage for a costume change.



 

Updated On: 7/23/22 at 11:52 PM

[Marlothom]

Posted: 7/23/22 at 12:34am

Thanks for the update. Those are low hanging fruit changes, particularly the red carpet - those initial looks before Miranda comes onstage were not impressive at all; and neither was Miranda's (red?) dress.  Have they not cut/changed any songs?  Any of the roommates/bf stuff should be considered a free-for-all at this point! 

[BalconyClub]

Posted: 7/23/22 at 12:52am

No song changes that I’ve noticed, but the pacing at the end of Act 1 feels like it was adjusted so that the audience isn’t as likely to think intermission has arrived  - when there are still another 2 songs before the break. 

[rafarosgon]

Posted: 7/23/22 at 1:12am

Adding on the changes already described for the end of Act 1: Jacqueline Follet is no introduced until the third scene of Act 2. This makes the narrative a little awkward as it was during the end of Act 1 when Jacqueline arrived into the red carpet along with Irv and Miranda instructed Emily that they couldn’t arrive together, so Andy gently sets her aside. 

Updated On: 7/23/22 at 01:12 AM

[starlightlocamotion]

Posted: 7/23/22 at 1:46am

A leaked video of ‘I MEAN BUSINESS’ (the opening number) from the workshop was uploaded earlier on YouTube and…it is so incredibly tragic. I’m upset. Lol. 

Updated On: 7/23/22 at 01:46 AM

[jacobsnchz14]

Posted: 7/23/22 at 1:57am

Someone caught some pics of scenic looks.

[Bill Snibson]

Posted: 7/23/22 at 2:35am

There will only be tiny changes made during the Chicago run. They simply don’t have the time to make any major changes now that they are into performance mode. At this stage even a minor adjustment requires an entire day on stage. The producers/creatives need to use this time to listen to the audience and then start hacking away at all the problems and really start figuring this mess out in hopes of saving it. 

[Dolly80]

Posted: 7/23/22 at 2:37am

Another movie to stage adaptation where every department is doing the bare minimum and hoping people pay the money anyway? Got it.

[bk]

Posted: 7/23/22 at 6:01am

JasonC3 said: "bk said: "JasonC3 said: "InTheKnowEvenIfYouDontBelieve said: "Everything is all IP now."

I get your apparent frustration, but this is a sweeping generalization.

And Broadway musicals have been adaptations or based on books, movies, and plays for decades, including Sondheim.

"

The standard argument but which completely misses the point. It's all branding today and the difference between branding and the musicals of old, which you're trying to equate this to, is that the musicals of ofd went out of their way NOT to have the book title or the film title or the play title. You do get that, right? It's not The Apartment, The Musical, it's not Green Grow the Lilacs, The Musical, it's not Nights of Cabiria, The Musical, it's not Smiles of a Summer Night, The Musical, it's not Liliom, The Musical, it's not They Knew What they Wanted, The Musical, it's not The Rainmaker, The Musical, it's not The Fourposter, The Musical, it's not The Matchmaker, The Musical, it's not Lili, The Musical - well, one could go on for hours. While there are a few shows that kept the source material title, they aren't the norm pre-1980."

Condescension usually doesn't work for me when I am trying to persuade others, but maybe you have better results."

I'm not trying to persuade anyone of anything. I am point out the way it used to vs. the way it is now. I don't see any condescension in what I wrote - it's not hard to miss when I'm actually being condescending. There are a couple of responses here that deserve it, but why bother.

[Kad]

Posted: 7/23/22 at 10:46am

Short of Elton John actually being on hand and willing to make changes to his score, it seems unlikely anything actually important will be changed. Blocking and book tweaks will only go so far. 

[theatreguy]

Posted: 7/23/22 at 10:57am

Elton John is doing a concert in Chicago on August 5 and then has a break until September 7. He could very well be on hand with the rest of the creative team (minus Shaina Taub who is doing Shakespeare in the Park) for the last 2 weeks of the run.

[Tag]

Posted: 7/23/22 at 11:08am

The Tribune reported:
"John and Furnish both say that the farewell stand at Soldier Field was picked deliberately, coming as it does just two days before the opening of “Prada,” allowing John to come to Chicago early and maybe attend previews, maybe tinker with a few songs, should he have the inclination, or knock out another in his hotel room in the old-fashioned, out-of-town-tryout tradition."

Let's hope for an Aida-style walk out!

Updated On: 7/23/22 at 11:08 AM

[Plannietink08]

Posted: 7/23/22 at 11:35am

That photo of the opening looks like something from the Broadway production of CARRIE!

[DivaDiana]

Posted: 7/23/22 at 11:44am

Wait, what? There was an Aida walkout?