#51
IN REPLY TO ROS (AU):
One thing I will say is: I’m not giving up. Frank Wildhorn may have had the most flops in Broadway (or lost the most money) and yet he’s working on dozens of musicals, and has three openings next year: not to mention his latest en route to Broadway and an independent label...
Andrew Lloyd Webber and Tim Rice were ignored by everyone, and their first producer was a book publisher. They turned to the album, and had to enter the theatre via. the most popular form at the time: making ‘rock records’. Andrew turned away, hoping to make a traditional show, and flopped badly with Jeeves. Cats could have easily been a disaster yet somehow managed to run 21 years and produce this massive phenomenon: a wave of Big 80s spectacles that run for decades...
I once read this article where Lloyd Webber and Mackintosh are complaining about the lack of new shows in the theatre. There were a LOT of new shows premiering before they were famous. It seems that, during and after their “illustrious” reign shows became a lot harder to produce. Even their own (namely Martin Guerre and Whistle Down the Wind) were not as successful. Shows have become a lot harder, and more expensive, to produce over time: and when they are done, they are generally something that was successful last century: which, aside from fans and witnesses to the original shows, no one in the modern world could give a stuff about. Theatre, here, has lost its relevancy as well…
Les Mis and Phantom kept with the music sounds of the time, but Eureka came across as just another Les Miserables: and yet you look at the sound of music today: and none of that is being done in the theatre. But that’s also what I’m doing, contemporary stuff on a theatrical level, and even then: producers are saying “it’s a risk, boy. Go away and do not give us headaches.” People say you can whinge and whine about them all you want, and it’s all about YOU going out and getting things done: but there is only so much you can give yourself: because the reciprocator has to come in and do the next bit. It’s a team-job. You are just the contributor to a wider picture… and if the rest of the parts are not there you’re left holding the bag. You can try and subvert it all you want, and end up doing a one-man musical (with the entire orchestra attached to your costume), but that shouldn’t be the case. Most people seem too afraid.. They are terrified of new things and are terrified of spending money.
I throw money, and if I had more money I’d throw it relentlessly, at my assignments. I am also interested in lost, unheard stuff. But I feel isolated. At least in the 70s or something you could find some insane Fringe to put it on: but even now that’s such a big effort. I’m glad someone sympathizes: because I, and a lot of other people, are out there beating an unconscious horse: trying to make it live.. and hoping it will do so. Maybe it’s just the culture? Whatever the case, I’m not giving up. I’ve been pushing and pushing and pushing for years: just because so many hundreds of cynics can’t see the same thing as my friends do: it’s not my fault. I still see what I see and I’m not going to be blinded
At least with Kennett, he loved the arts. If Kennett wasn’t the premier, we’d have never gotten Sunset Blvd. in the first place. If Bracks had of been in office at the time, we’d have gotten a quarter of the shows that have played our way. The arts is a real problem here, but I’m conscious of constantly trying to subvert it: and prove that, no matter what, there is an exception to the rule: and there are people out there trying to give people REAL entertainment, stuff to be remembered like the greats, and certainly not the half-baked stuff that tends to be done these days (which is a really sad irony). We’re out there, we just need a chance. But that’s my 2 cents...
Posted: 10/27/05 at 5:48am
IN REPLY TO ROS (AU):
One thing I will say is: I’m not giving up. Frank Wildhorn may have had the most flops in Broadway (or lost the most money) and yet he’s working on dozens of musicals, and has three openings next year: not to mention his latest en route to Broadway and an independent label...
Andrew Lloyd Webber and Tim Rice were ignored by everyone, and their first producer was a book publisher. They turned to the album, and had to enter the theatre via. the most popular form at the time: making ‘rock records’. Andrew turned away, hoping to make a traditional show, and flopped badly with Jeeves. Cats could have easily been a disaster yet somehow managed to run 21 years and produce this massive phenomenon: a wave of Big 80s spectacles that run for decades...
I once read this article where Lloyd Webber and Mackintosh are complaining about the lack of new shows in the theatre. There were a LOT of new shows premiering before they were famous. It seems that, during and after their “illustrious” reign shows became a lot harder to produce. Even their own (namely Martin Guerre and Whistle Down the Wind) were not as successful. Shows have become a lot harder, and more expensive, to produce over time: and when they are done, they are generally something that was successful last century: which, aside from fans and witnesses to the original shows, no one in the modern world could give a stuff about. Theatre, here, has lost its relevancy as well…
Les Mis and Phantom kept with the music sounds of the time, but Eureka came across as just another Les Miserables: and yet you look at the sound of music today: and none of that is being done in the theatre. But that’s also what I’m doing, contemporary stuff on a theatrical level, and even then: producers are saying “it’s a risk, boy. Go away and do not give us headaches.” People say you can whinge and whine about them all you want, and it’s all about YOU going out and getting things done: but there is only so much you can give yourself: because the reciprocator has to come in and do the next bit. It’s a team-job. You are just the contributor to a wider picture… and if the rest of the parts are not there you’re left holding the bag. You can try and subvert it all you want, and end up doing a one-man musical (with the entire orchestra attached to your costume), but that shouldn’t be the case. Most people seem too afraid.. They are terrified of new things and are terrified of spending money.
I throw money, and if I had more money I’d throw it relentlessly, at my assignments. I am also interested in lost, unheard stuff. But I feel isolated. At least in the 70s or something you could find some insane Fringe to put it on: but even now that’s such a big effort. I’m glad someone sympathizes: because I, and a lot of other people, are out there beating an unconscious horse: trying to make it live.. and hoping it will do so. Maybe it’s just the culture? Whatever the case, I’m not giving up. I’ve been pushing and pushing and pushing for years: just because so many hundreds of cynics can’t see the same thing as my friends do: it’s not my fault. I still see what I see and I’m not going to be blinded
At least with Kennett, he loved the arts. If Kennett wasn’t the premier, we’d have never gotten Sunset Blvd. in the first place. If Bracks had of been in office at the time, we’d have gotten a quarter of the shows that have played our way. The arts is a real problem here, but I’m conscious of constantly trying to subvert it: and prove that, no matter what, there is an exception to the rule: and there are people out there trying to give people REAL entertainment, stuff to be remembered like the greats, and certainly not the half-baked stuff that tends to be done these days (which is a really sad irony). We’re out there, we just need a chance. But that’s my 2 cents...
Who can explain it, who can tell you why?
Fools give you reasons, wise men never try
-South Pacific
Updated On: 10/27/05 at 05:48 AM
