The NEW Night Music at The Kerr Thread- Page 10

[MTVMANN]

Posted: 8/8/09 at 3:02pm

I just want to see this show! Cast it already!

BTW, what exactly is the AEA problem?

Aren't there lots of British or other foreign actors that do theatre work that aren't American citizens?

I KNOW they do in film...but that a different beast and circumstance.

[givesmevoice]

Posted: 8/8/09 at 9:31pm

usually they have to work out an exchange for foreign actors, and send American actors to (for example) London to do work there. Or the producers or whoever can argue that the actor is specially qualified for the part (which was the argument they were planning to use for Elena Roger if that production of Evita had transferred, I believe). "Name" performers usually have no problem crossing the Atlantic for work.

I guess this means that they can't work out an exchange for Waddingham, and there's no real argument to say she's specially qualified.

I know there was a big to do when Miss Saigon was transferring, both with Jonathan Pryce and Lea Salonga. I believe eventually Cameron Mackintosh threatened to cancel the transfer if Pryce wasn't allowed to continue as the Engineer, and there was an unsuccessful search for a replacement for Salonga (who was neither a British nor American citizen).


it's kind of funny, because I was just telling my mom's boyfriend about all the Equity rules, when we were discussing Jim Norton (among others).

[CurtainPullDowner]

Posted: 8/8/09 at 10:20pm

The trading of American/English talent, actor for actor seems to have gone out of fashion, The company of THE NORMAN CONQUESTS all transferred without any trouble and Jude Law's HAMLET is bringing over the entire company also (I believe it's all of them). It seems a director sees his casting and is obsessed with hanging on to someone from the original, and that's understandable.
DISNEY and Cameron spent tons of money auditioning every musical comedy actor in America to play Bert in MARY POPPINS, and then they said no one could do it but Gavin Lee. A few months later they put the American "runner-up" in the London production.
It looks like Nunn has pissed someone off at Equity and they are giving him a hard time.
I believe the director should have his choice. it makes for a more comfortable production.
Updated On: 8/8/09 at 10:20 PM

[theatreguy]

Posted: 8/8/09 at 10:45pm

Has anybody thought that perhaps instead of Equity being the ones who are blocking Waddingham, it's Sondheim? He does have to sign off on casting.

[givesmevoice]

Posted: 8/8/09 at 11:11pm

^ did he have to sign off on casting in London?

[jacobtsf]

Posted: 8/8/09 at 11:14pm

Has anybody thought that there IS NO ISSUE WITH EQUITY! Maybe Waddingham is not the issue, because she is nowhere on the radar, at all.

PS- CurtainPullDowner, full cast transfers are very different than star transfers.

[ljay889]

Posted: 8/9/09 at 12:05am

Here's a great article/review about the production. It gives us more insight on what Nunn did/is doing.

http://www.musicalcriticism.com/opera/night-music-1108.shtml

[givesmevoice]

Posted: 8/9/09 at 12:09am

from the article:
"Nunn explains in the programme that the decision stems from Bergman's film Smiles of a Summer Night, on which the musical is based and in which the actress Armfeldt 'sees her fortieth birthday on the horizon and realises that the time has come for her to take all important life decisions concerning the future of herself and her child'. The tradition of casting someone closer to 50 than 40 in the role is therefore not necessarily true to the text, and by bringing down the average age of the cast Nunn has added energy to the sexuality that infuses the story."

I sort of hate when people use Desiree's young age in Smiles of a Summer Night to justify casting a younger Desiree here. they're very different characters, and Desiree's son in Smiles... is only about 3 (or so), not 13, as Fredrika is.

[BobbyBubby]

Posted: 8/9/09 at 12:19am

Did Sondheim go an promise LuPone another role? Ugh.

[givesmevoice]

Posted: 8/9/09 at 12:26am

Love LuPone, and believe she has the chops for Desiree, but she's not right for it now. She's too old at this point. (And I really think she would've made an excellent Desiree.)

[ljay889]

Posted: 8/9/09 at 12:30am

LuPone is a VERY proud Italian. She is not in the least bit Swedish looking or acting. It would never have or will work in a full scale production.

[Yero my Hero]

Posted: 8/9/09 at 10:10am

The company of THE NORMAN CONQUESTS all transferred without any trouble

The reason that was okay is because of the nature of a trilogy, a brand new American cast would have needed at least six weeks to learn all the material, which Matthew Warchus wasn't available for due to a prior commitment. The only way this revival could possibly happen on time was to bring over the complete British cast. Equity agreed and approved it.

[husk_charmer]

Posted: 8/9/09 at 10:22am

^ Basically.

And with HAMLET, isn't it an RSC production? If so, there's probably a clause about that, which allows companies to do transfers with their full cast.

And, Equity still does the actor exchange. When Waddingham came over in Spamalot, Marin Mazzie went to London. For Gavin Lee to come over, they sent Gavin Creel to London.

For Carrie, they had to work out something with AEA to get a half-British/half-American cast over, and I beleive they had a similar situation with Les Miz.

[Yero my Hero]

Posted: 8/9/09 at 10:32am

And with HAMLET, isn't it an RSC production? If so, there's probably a clause about that, which allows companies to do transfers with their full cast.

Correct. There are three circumstances under which AEA will allow a British actor to come to Broadway:
1) If an entire theater company transfers together (e.g. HAMLET)
2) If a certain actor or a certain cast is necessary for the success of the production (e.g. THE NORMAN CONQUESTS)
3) If an actor exchange is arranged, usually at least a year in advance (e.g. MARY POPPINS)

[best12bars]

Posted: 8/9/09 at 11:30am

For those of you not in Actors Equity, you should know that British and U.S. AEA unions must approve all transfers. Period. That includes stars, full casts, "non name" actors, etc. No approval, no transfer.

A producer petitions the union to allow an actor to transfer on the grounds of box office name, or to keep an entire production intact (full cast transfers), or on the grounds that the performer, whether "known" or not, is essential to the director's artistic vision and concept.

But ALL transfers must be approved by the union in advance. No exceptions.

The most famous example of a struggle was with Phantom of the Opera. Michael Crawford had caused a sensation as the Phantom in London, and it was a no-brainer for Equity to approve his transfer, which they did. Then Webber announced (AFTER the U.S. auditions and casting had been completed) that Sarah Brightman would be coming to Broadway with the show as well. Equity said no. She wasn't "known" here, nor "essential" to the production. Plus he had already cast Patti Cohenour as Christine.

Andrew then threatened to pull the entire production from New York before starting rehearsals. Equity got nervous, knowing it would cost hundreds of jobs for what was likely to be a mega-hit show.

They negotiated further, and Webber finally agreed to a future compromise of casting an American actress as the leading lady in his next original musical in London. That's why Ann Crumb was the West End lead in "Aspects of Love." She was an American, originating a leading "Webber" role in London, and then transferring to the U.S.

So that was the trade.

But there is always a trade. No trade, no approval.

[Byron Abens]

Posted: 8/9/09 at 11:43am

Also, some people seem to have the impression that the "exchange" has to be simultaneous, which is not true, as evidenced by the Brightman/Crumb deal.

The thing to remember with Equity is that so many things are done on a case by case basis. You can often get two different answers from them concerning the same question depending on who you talk to and which office you call. I even know people who have had two different people talk to the same business rep within the same week about the same question and get two different answers.

[ray-andallthatjazz86]

Posted: 8/9/09 at 1:09pm

Regardless, I don't see why they would feel like it would be okay to approve Waddingham. As Besty put it, it'd be Equity telling every American Broadway actress that's right for the role, that they aren't really fit to play the part.

[BobbyBubby]

Posted: 8/9/09 at 1:13pm

Poor Patti Cohenour. I wonder what her fame would be today if she originated Christine.

[CurtainPullDowner]

Posted: 8/9/09 at 1:36pm

Thanks for all that info, I know what the rules were but it seemed to me that it was slacking, but your points are taken.
With Bert in POPPINS, they were saying that No American Actor was fit to play the part.
I understand it is still a case by case issue.
I do womder how much Sondheim does input in casting.
I doubt he is standing in Nunn's way, he has almost always gone for the acting chops and then adjusting.

[theatreguy]

Posted: 8/9/09 at 6:56pm

There is also no clause which allows companies to bring their full cast to Broadway. As best12bars said, it's a case-by-case thing.

Back in 1998, Nunn wanted to bring in his production of Oklahoma! with the entire cast from the National Theatre but Equity wouldn't allow it. 4 years later, it finally opened in New York with only Josefina Gabrielle reprising her role.

Also, Gavin Creel did Mary Poppins in London so Lisa O'Hare could play Eliza in the recent US tour of My Fair Lady. Gavin Lee was able to play Bert on Broadway (and now on tour) because he has US citizenship - his wife is American. Updated On: 8/9/09 at 06:56 PM

[logan0215]

Posted: 8/10/09 at 5:18pm

"Poor Patti Cohenour. I wonder what her fame would be today if she originated Christine."

I was thinking the same thing as I read that, BobbyBubby! I'd no idea that she was originally cast as Christine then had to share the part with Brightman.

At the very least, she avoided becoming a complete and total hot-box of crazy like Sarah Brightman.

Patti was outstanding as u/s Margaret (and Sgr. Nacarelli, obviously) in the Light in the Piazza when I went to specifically see her. I desperately wanted to see her in Souvenir, as well.

I wish she would come back to Broadway!

[logan0215]

Posted: 8/11/09 at 11:12am

Oh, and speaking of Maureen Moore, I'd like to throw her name in the ring for Desiree if they were to go with the traditional "older" casting.

She was heart-breaking as the Edies in Grey Gardens both times I saw her and I'm sure could deliver an extremely powerful "Send In the Clowns"

[little_sally]

Posted: 8/11/09 at 12:52pm

Maureen Moore actually sings my favorite version of "Everyday a Little Death."

[MariusPontmercy]

Posted: 8/11/09 at 12:57pm

^ I was just watching that clip you-know-where. I agree, stunning performance.

[GYPSY1527]

Posted: 8/11/09 at 1:30pm

I agree whole-heartedly with the Desiree comment. I also adore her "Every Day..."