What are good examples of shows written for a specific star?- Page 2

[GavestonPS]

Posted: 1/13/17 at 11:19pm

^^^ Have you read the libretto of FADE OUT, FADE IN, AEA?

It's as tailored for Burnett as FUNNY GIRL is for Streisand. Maybe more so. And, yeah, I've seen other actresses play Fannie Brice, but as with BELLS ARE RINGING, they seem to be doing an impression or struggling to do the opposite. (Mimi Hines may have been the exception. I can only wish I had seen her.)

**SPOILER ALERT**

Burnett's "Shirley Temple" imitation; planting her smile instead of her hands in Grauman's wet cement; the plot depending on how gawky and "unattractive" the lead is; the silliness of Burnett acting "sexy"; and countless other examples I've forgotten since I read it 40 years ago. These were all bits that became regular features on her TV show.

Of course, the brief references could be re-tailored for another star; but I have trouble, for example, seeing Sutton Foster as so essentially unattractive (and, in fact, the entire motive may be out of date).

Alix Korey in her youth came closest.

Too bad. It's my second-favorite Styne score, and the lyrics, though sometimes trivial, are better crafted than those of FUNNY GIRL.

[AEA AGMA SM]

Posted: 1/14/17 at 12:00am

I have not read the libretto, though I know of its reputation for being built so specifically around Burnett. I'm aware that a full revival would be pretty much impossible without doing some major rewrites, but I still think it would be a good choice for Encores, if only to hear that Styne score with a full orchestra, since it does indeed contain a number of gems.

[yankeefan7]

Posted: 1/14/17 at 8:35am

Not positive but I thought "If/Then" was written for Idina Menzel

[broadwayguy91]

Posted: 1/14/17 at 8:44am

yankeefan7 said: "Not positive but I thought "If/Then" was written for Idina Menzel

 

"

you are correct, it was. 

[Laurapattifan]

Posted: 1/14/17 at 9:35am

I think Applause was written for Lauren Becall, but I'm not sure. 

[South Fl Marc]

Posted: 1/14/17 at 6:24pm

Lanford Wilson wrote "Talleys Folly" for Judd Hirsch and Trish Hawkins.

[A Director]

Posted: 1/15/17 at 3:58am

Shakespeare and Moliere wrote their plays for members of their company.

[South Fl Marc]

Posted: 1/15/17 at 12:06pm

Noel Coward wrote "Private Lives" for Gertrude Lawrence. She also had the rights to "Anna and the King of Siam" and she had what turned out to be "The King and I" written for her. Likewise Mary Martin owned Maria Von Trapps story and had "The Sound of Music" written for herself.

[GavestonPS]

Posted: 1/15/17 at 11:52pm

TheSassySam said: "I've heard mentioned before that "Applause" was written for Lauren Bacall's talents and it has been difficult to revive due to that. 

Are there more shows that were written specifically for a lead actor's talent? 

 

"

Reprise-LA did with Sheryl Lee Ralph and she was fine in it. But, yeah, one missed the fun of Bacall mocking herself in numbers like "Who's That Girl?" Ralph is talented (and an infinitely better singer), but Bacall seemed to be playing her musical autobiography.

[GavestonPS]

Posted: 1/15/17 at 11:57pm

AEA AGMA SM said: "I have not read the libretto, though I know of its reputation for being built so specifically around Burnett. I'm aware that a full revival would be pretty much impossible without doing some major rewrites, but I still think it would be a good choice for Encores, if only to hear that Styne score with a full orchestra, since it does indeed contain a number of gems.

 

"

Some group revived it in Glendale (just north of downtown LA) for a limited run about 10 years ago. Alas, I wasn't able to drive into town to see how it worked without Burnett. As I said, I have my doubts.

The entire show depends on the audience's knowledge of 1930s film lore (including, as you know, an entire number about movie stars' real names). Few under the age of 75 would have that knowledge nowadays. So that's an issue aside from all the Burnettisms.

[GavestonPS]

Posted: 1/16/17 at 12:03am

South Fl Marc said: "Noel Coward wrote "Private Lives" for Gertrude Lawrence. She also had the rights to "Anna and the King of Siam" and she had what turned out to be "The King and I" written for her. Likewise Mary Martin owned Maria Von Trapps story and had "The Sound of Music" written for herself.

 

"

Marc, as I mentioned in some other thread, I have read in numerous sources that no one involved had the rights to ANNA AND THE KING OF SIAM, the film, so it could not be used as the source for THE KING AND I. They used Anna's memoir instead, but surely it was in the public domain back in those days of 17-year copyrights. This isn't to say Miss Lawrence didn't approach R&H initially; I believe the role was indeed written for her.

[jo]

Posted: 1/16/17 at 6:01am

Fosse76 said: "Sunny11 said: "Boy from Oz for Hugh Jackman. "

????? The show premiered in Australia with Todd McKenney as Peter Allen, 5 years BEFORE Hugh Jackman opened the show on Broadway.

"

But in an interview with the late Ben Gannon ( one of the producers of TBFO), he said the role was  first offered to Hugh Jackman.  Jackman turned it down because he felt that after Beauty & the Beast  and Sunset Boulevard that he was being typecast.  According to Jackman himself, he wanted to explore other career opportunities. But he said he felt sorry about turning it down when he saw the show with Todd McKenney.  When the show was being considered for Broadway, he was offered the role and he immediately accepted it.  He did the workshop ( with Ruthie Henshall as Liza) in 2002 and then eventually opened the role on Broadway the following year.

It is hard to say then if the show was written for him or McKenney... It is  a musical biopic with the songs written by the subject himself ( Peter Allen) used in the musical, so could anyone say that the musical was written for a particular star?

 

Updated On: 1/16/17 at 06:01 AM

[MrsSallyAdams]

Posted: 1/16/17 at 8:43am

I believe Michael John LaChiusa has stated he wrote Marie Christine for Audra McDonald and Queen of the Mist for Mary Testa.

I saw a concert of Fade Out, Fade In in 2014 at Chicago's Porchlight Theater. The actress in the Carol Burnett role was hysterical but she's offstage for too long. The second act is driven primarily by the studio executive, his son and his mistress. The 11'oclock number is a dream ballet focused on the executive's mid-life crisis. Carol doesn't have much to do after singing "You Mustn't Get Discouraged" earlier in the act.

[VanillaIceCream2]

Posted: 1/16/17 at 9:21am

The score for Bridges was written for Kelli O'Hara, who was in her absolute best vocal and acting form in that show.

[AC126748]

Posted: 1/16/17 at 9:31am

Terrence McNally wrote Master Class for Zoe Caldwell.

Dear Evan Hansen was written for Ben Platt

[bdn223]

Posted: 1/16/17 at 12:15pm

I think we need to establish the difference between a show written for someone and they were involved for most if not all of the process (Idina Menzel and If/Then or Lauren Bacall and Applause), the show was written with someone in mind (Ethel Merman and Hello Dolly), or someone was cast early on in the process and they role was then tailored to their talents and personality (Barbra Streisand and Funny Girl or Ben Platt and Dear Evan Hansen).

 

[skies]

Posted: 1/16/17 at 12:56pm

Back in 1939 the playwright Philip Barry wrote "The Philadelphia Story" with Katharine Hepburn in mind, indeed the perceived public  persona of Hepburn and the character almost seemed interchangeable.

[NoName3]

Posted: 1/16/17 at 1:00pm

"Pretty much every show that Mary Martin or Ethel Merman did on Broadway after 1940 was written specifically for them. Same goes with Gwen Verdon (in her case most everything after Can Can in 1953)."

Damn Yankees wasn't written for Verdon but for Marilyn Monroe.  Monroe was interested and put the producers Frederick Brisson, Robert E. Griffith and Hal Prince through endless negotiations before leaving them in the lurch by declining shortly before rehearsals were to begin.  Mitzi Gaynor and Zizi Jeanmaire were considered before the part went to Verdon.  Richard Adler said later that Monroe turning down the part and forcing them to "settle" for Verdon was the best thing that happened to the show.

 

[skies]

Posted: 1/16/17 at 1:01pm

AC126748 said: "Terrence McNally wrote Master Class for Zoe Caldwell.

Dear Evan Hansen was written for Ben Platt

"

Wasn't it an incident from High School that inspired one of the songwriters Benjamin Passek, and that they (Passke and Paul) had been working off and on on the concept and score of the musical for years.

I could see once Ben Platt was first cast how they would tailor it around his strengths, but it seems it was conceived way before he was even cast.

[AC126748]

Posted: 1/16/17 at 1:09pm

Most/all of Evan's music as it exists today was written for Platt's voice and style. To me, that constitutes a role that was written for someone. Others may disagree.

[GavestonPS]

Posted: 1/16/17 at 5:47pm

MrsSallyAdams said: "I believe Michael John LaChiusa has stated he wrote Marie Christine for Audra McDonald and Queen of the Mist for Mary Testa.

I saw a concert of Fade Out, Fade In in 2014 at Chicago's Porchlight Theater. The actress in the Carol Burnett role was hysterical but she's offstage for too long. The second act is driven primarily by the studio executive, his son and his mistress. The 11'oclock number is a dream ballet focused on the executive's mid-life crisis. Carol doesn't have much to do after singing "You Mustn't Get Discouraged" earlier in the act.

 

"

Good point about the structure. Thanks for sharing your experience. (If it isn't obvious, I share AEA's special fondness for the piece.)

[GavestonPS]

Posted: 1/16/17 at 5:52pm

bdn223 said: "I think we need to establish the difference between a show written for someone and they were involved for most if not all of the process (Idina Menzel and If/Then or Lauren Bacall and Applause), the show was written with someone in mind (Ethel Merman and Hello Dolly), or someone was cast early on in the process and they role was then tailored to their talents and personality (Barbra Streisand and Funny Girl or Ben Platt and Dear Evan Hansen).

 

 

"

True. Because in the 1950s and 1960s, EVERY show was written with Mary Martin or Ethel Merman in mind. (Well, now Jerry Herman says he wrote MAME for Judy Garland, and I have no reason not to believe him.) Myself, I shudder to think of Mary Martin as Elize Doolittle or Fanny Brice, but we know Lerner & Loewe auditioned for Martin (she reportedly told her husband, "Those boys have lost their talent!" and if she had done FUNNY GIRL, the show would have been very different and maybe wonderful.

[Jarethan]

Posted: 1/16/17 at 7:28pm

Camden and Green told the story in their shoe 'An Evening With...'. about the constraints surrounding the score for Wonderful Town, given Rosalind Russell's limited range.  I find that fact particularly interesting, given how brilliant a job Donna Murphy did taking advantage of her great vocal range.

I remember reading that George M -- which clearly didn't have an original score -- was commissioned specifically for Joel Grey.

I also remember reading -- though this may be a hallucination -- the Jerry Herman wrote Dear World for Angela Lansbury.

I find it hard to believe that The Apple Tree was written specifically for Barbara Harris, given her limited roles to that date, but it is possible.  God knows that she was incredible in the role.

[The Other One]

Posted: 1/16/17 at 8:02pm

Tennessee Williams wrote the role of Serafina in The Rose Tattoo for Anna Magnani, but she turned it down because she didn't think she could handle the English language on stage.  Maureen Stapleton did the role on stage and won a Tony (as best featured actress, which makes no sense) and Ms. Magnani, less intimidated by the camera, did the film and won an Oscar (as Best Actress, which does).

Similarly, although it's a much smaller role, Rodgers & Hammerstein wrote the role of Aunt Eller in Oklahoma! for Charlotte Greenwood, who turned it down on Broadway (Lord knows why) but did the film version 12 years later.

[AEA AGMA SM]

Posted: 1/16/17 at 8:11pm

The Other One said: "Tennessee Williams wrote the role of Serafina in The Rose Tattoo for Anna Magnani, but she turned it down because she didn't think she could handle the English language on stage.  Maureen Stapleton did the role on stage and won a Tony (as best featured actress, which makes no sense) and Ms. Magnani, less intimidated by the camera, did the film and won an Oscar (as Best Actress, which does)."

 

At that point in time the categories were determined solely by billing, the option to petition for a change in category was not established for a good many years after that original production of The Rose Tattoo. (William Daniels declined his nomination for 1776, since he felt that he was indeed the lead of the show but his billing below the title placed him in the featured category, so it was sometime in the 70s that the petition for category reassignment was established).