WOMAN IN WHITE - First Preview- Page 6

[BWAYboi_yes]

Posted: 11/1/05 at 10:04am

I'm sorry to come back to this. I know we're tired of it, BUT, I just wanted to comment to the person who pointed out that Wicked took over a year of sold-out performance to recoup its investment. I would like to remind that poster of a couple of things- first being Wicked's larger cast, more lavish and expensive production on a weekly basis, and almost $5 million more in pre-production costs. It makes a big difference, from what I understand, that the scenery is virtual. Costs upfront are higher, but weekly costs are lower.

Also, if I might add, there is another small bit of information I used to factor my calculations, and that was "star salary"-- I quoted 20,000.00 per week to both Ball and Friedman. This was a liberal guess, actually, because I'll bet it's less... and let me tell you why.

Our two leading ladies other than Maria originated their roles in London and are both American citizens. The way Equity would have this work would be to guarantee that an "exchange" would occur offering two British actors a chance to perform in the United States. However, they must work for the same salary, no more and no less. This ensures a "true exchange." I'm certain that our unknown ladies in London weren't making a killing, and that salary must be passed down in exact to Ball and Friedman.

Not to say that the stars won't recieve other perks not offered to the Americans in the UK. They'll likely have very nice apartments paid for, transportation, schools for their children (if applicable), and larger 'meal' allowances. Either way it's a good deal for Webber because his "hands are tied" and "can not" pay them more even if he wanted to.

Just a thought.

[Christopher Gough]

Posted: 11/1/05 at 12:30pm

Enough of money. How many know that the beginning and ending of WIW is actually adapted from a Charles Dickens story that fascinates ALW called 'The Signalman'?

The projected image of the railway line and signalbox used in the show looks exactly like the railway cutting used in a BBC short film of 'The Signalman' starring Denholm Elliott.

[blaxx]

Posted: 11/1/05 at 3:18pm

http://www.broadway.com/Gen/Buzz_Story.aspx?ci=520387

Some others also seem impressed with the financial and capacity outcome of the show.
I find it amusing that, at least in here,that the buzz of the show has been more about "let's see if an ALW show still can" than the show itself, and the performances of many extremely talented musical theatre people. I'm sure that if there was no ALW this (money and health of the run) would not be the main focus.

Updated On: 11/1/05 at 03:18 PM

[jo]

Posted: 11/1/05 at 7:24pm

There are many aspects of the show that are appealing or controversial ( depending on the point of view) - which we can discuss :

*the musical score
*the book and the gothic feel of this period murder mystery
*the cast - singing and acting performances
*the sets
*the original novel
*a British tale on Broadway - how appealing?
*maybe even how it relates to ALW's body of work

Surely, we can fill many more pages

[Piazzaslight]

Posted: 11/1/05 at 7:45pm

My thread had already reached six pages, jo. I also wonder how many more it can fill...

I also wonder how this show will fare on Broadway as a British tale. The original novel (which I loved) is not well known over here. It depends if you like British stuff. I loved SHOCKHEADED PETER when I saw it Off-Broadway, and that show was made by British people, so it is British, although the stories it was based on are German. That show flopped. I think it did because after all we have been through (Post 9/11) not a lot of people want to see a show about children dying. The British tend to be more morbid than we are. After all, they got the following shows first:

THEATRE OF BLOOD
THE PILLOWMAN
SHOCKHEADED PETER
SWEENEY TODD (REVIVAL ONLY)
THE BEAUTIFUL GAME (VERY DARK SHOW, I HEARD)
THE WOMAN IN BLACK
THE PHANTOM OF THE OPERA
LES MISERABLES (If you think about it the show's kind of morbid...)

I could go on forever. But my point is that we have very different tastes from the British. So, only time will tell, though there has been good word of mouth so far.

This is Piazzaslight, dimming out.

[Phantom05]

Posted: 11/1/05 at 8:17pm

SERIOUSLY people....If an American audience is too close-minded to venture into the unknown, a.k.a. a story they aren't familiar with, then that is absolutely pathetic and doesn't say much for the average American theatregoer. Woman In White is an extremely compelling story, and Andrew Lloyd Webber wasn't joking when he said that this story has a little bit of everything; there is something interesting for all parties about this production!

...Take a look at the theatrical market in other countries: they are producing original musicals, shows based on influential or historical figures, famous novels, etc. The American theatre market is producing "movies-turned musicals", which is really too bad! The reason that a lot of European to Broadway transfers don't work, never happen, or are subject to "screwing" changes, are due to the fact that they are unknown territory for our audiences. A lot of what is or has been opening on Broadway are very unoriginal and quickly slapped together, which is the obvious reason for their speedy departure from the stage. There is a exciting bit of experimental-wizardry that goes along with musicals in Europe and several other countries, a bit of a daring mentality, that I hope will soon recapture the Broadway theatre scene.

...I think Woman In White will do just fine. It has a well written book, gorgeous music, and a fabulous cast and creative team. I truly wish the cast all the best during previews and on through opening night, and I also wish Maria Friedman a safe and speedy recovery! I can't wait to see the show...SOON!

Later!

Phantom05

Updated On: 11/1/05 at 08:17 PM

[EganFan2]

Posted: 11/1/05 at 8:50pm

I agree completely. I heard they are going to make "Mary Poppins" more like the film because right now it's "too British". Give me a freaking break.

[Piazzaslight]

Posted: 11/1/05 at 8:51pm

Eganfan: I know! MARY POPPINS was just perfect as a dark show. Let's start a protest! Who's with me?

[EganFan2]

Posted: 11/1/05 at 8:52pm

>>>>Enough of money. How many know that the beginning and ending of WIW is actually adapted from a Charles Dickens story that fascinates ALW called 'The Signalman'?

The projected image of the railway line and signalbox used in the show looks exactly like the railway cutting used in a BBC short film of 'The Signalman' starring Denholm Elliott.


Really? That's very interesting. I never heard of that. Is Dickens credited?

[Piazzaslight]

Posted: 11/1/05 at 8:56pm

EGANFAN: No. Actually, he was originally going to do a musical based on that story, but he realized that it was basically a one-man show. He pays homage to it, though.

[Misty]

Posted: 11/2/05 at 1:10am

Really looking forward to seeing the show for the first time in January - if only to be able to take part in the conversation!!
I have the OCR and I like it very much, so roll on 2006.

[munkustrap178]

Posted: 11/2/05 at 11:12am

Is there rush?

[Piazzaslight]

Posted: 11/2/05 at 3:21pm

No, because they are selling the last row of the mezzanine for 26 dollars. That's what I did. Hey, a kid has to go to Broadway somehow...

[jo]

Posted: 11/3/05 at 4:59am

Some of those who have seen the previews have commented that the cast was very good, with individual comments on Michael and Maria.

I'd be interested to hear, too, on how Adam Brazier, Jill Paice, Angela Christian, and Ron Bohmer have been doing as the other principal leads.

Jo

[Lori]

Posted: 11/3/05 at 8:04am

Jo, I saw the first three shows of previews so this is my take on those performances (with some comparisons to the West End as I saw it there as well).

Michael and Maria were excellent. Their performances alone are worth the price of admission. They maintain the amazing chemistry they had in London. Both wonderful actors with amazing voices. Maria's "All For Laura" was stunning all three performances...major chills on her final note. Michael's Fosco lifts the production from the minute he sets foot on stage. He actually received applause at his entrance on Sunday before even opening his mouth. "You Can Get Away With Anything" and "The Seduction" are both hilarious (although "The Seduction" takes an appropriately frightening turn).

Jill Paice and Angela Christian were also very strong. I was pleased that they "toned down" some of Angela's vocalizations. You don't have her screeching "I Have a Secret" over and over again, which I thought tended to be very annoying in the London production. I did hear several people say, however, that the accent she uses made it difficult to understand her in parts. Jill has a beautiful voice and is a lovely actress.

Ron Bohmer was outstanding. Fantastic voice and he is a much more believable partner in crime to Fosco than the Glyde I saw in London. He has the right mix of charm (at the beginning) and menace (as the story progresses). To me this was the biggest casting improvement from London.

I wish I could say I loved Adam Brazier's Walter because I had high hopes. He has a very nice voice, but he was a bit pitchy in "Evermore Without You", and he has a tendency (IMO)to overact. He lacks Martin Crewes' natural charm. Hopefully he will settle in to the role, because I do think he has the potential to be very good in it.

As for the show itself, I thought most of the changes from London were positive. The first act flows at a better pace. The set seems lighter and the projections (which I have always liked) continue to work well. I agree with someone else here who preferred the original ending though. I thought it was more in keeping with the overall tone of the story. There were a couple of other minor changes that I think they could have done without, but overall I think this is a better production than what I saw in London. As has been said, even with my reservations about Adam, the cast is first rate. The audience reaction seemed very positive and there were standing ovations for all three performances.

If you have any curiousity about the show at all, see it. This is one I think you have to judge for yourself.

[EganFan2]

Posted: 11/3/05 at 8:55am

I could understand every word Angela sang on the OLC with her accent. *shrugs* Maybe it's a little different live.
Updated On: 11/3/05 at 08:55 AM

[kec]

Posted: 11/3/05 at 9:15am

I had no trouble understanding Angela's accent live. But then my ear has become accustomed to many different accents because of my travels.

I am glad to hear that they've toned down some of her vocalizations, though. The screeching was a bit much.

Two weeks to go till I see it...

[bwaybabe85]

Posted: 11/3/05 at 9:38am

What kind of accent is Anne Catherick supposed to have? It was so different and I've never heard an accent like that before.

[kec]

Posted: 11/3/05 at 10:03am

Limmeridge House is located in Cumberland, so I suppose the accent is of that region of Great Britain, wherever it is.

[Eastwickian]

Posted: 11/3/05 at 10:08am

Yorkshire, a county towards the north of England. Also where Calander Girls, Wuthering Heights and The Full Monty are set

[kec]

Posted: 11/3/05 at 3:55pm

Thanks, Eastwickian... I didn't realize Cumberland was that far north.

[jo]

Posted: 11/3/05 at 5:41pm

Thanks, Lori.

I am hoping to see it myself when I fly to that side of the world in 3 weeks time

I had seen it in London and am looking forward to seeing the slightly revised version on Broadway and the new members of the cast( Ron and Adam).

Btw, how was Adam's singing voice?

Jo

[VinnieTheIceman]

Posted: 11/3/05 at 5:44pm

Folks, word on the street is that the reviews of this show are going to be brutal. Be prepared.

[jo]

Posted: 11/3/05 at 6:34pm

I hope you're not right, Vinnie

But I am prepared for the shocker - Broadway critics usually like to serve that kind of fare!

Jo

[sharon1]

Posted: 11/3/05 at 7:00pm

Jo
I am beginning to think no one likes anything. But the from what I read you either love it or hate it. No middle of the road. One person writes the leads get standing "O'S" each night. Some one else writes there is no applause. I find the latter kind of impossible to believe, esp. with two songs, All for Laura, Maria's big song and You can Get Away with Anything, Michaels big song, such real show stoppers if they do them as well as expected. You would think people in the biz would want every show to succeed. What with the employment rate of actors so minimal. But instead you get this general nastiness about almost every show, from some circles. I find that deplorable. As a fan I want every show to be a big success. A bit naive but true Color my glasses rose colored