What shows should be given another chance? — Page 3

Dance of the Vampires
The Scarlet Pimpernel
The Secret Garden
Jane Eyre
Carrie
Chess
Parade
Urinetown
The Wild Party (La Chiusa)
Hello Again
A New Brain
Goldilocks
The Golden Apple
The Rothschilds
The Apple Tree
Allegro
No Strings
How Now Dow Jones
The Rink
Rags
Roza


Both Off-Broadway productions of You're a Good Man, Charlie Brown did very well, but both flopped when transferred to Broadway.

I love Two Gentlemen of Verona! I really wish a revival of this would come back. I would love to see it. I like a couple of songs from Follies, but I love everything in Two Gentlemen. By the way, the score is by Galt MacDermot (Hair) and the book was adapted by John Guare (House of Blue Leaves, Six Degrees of Separation).

---

Updated On: 12/13/04 at 11:05 AM

OR

well, of course! How could I have forgotten one of the best shows ever written for a Broadway stage? Caroline or Change is freakin Phenomenal.

---

STEEL PIER!!!!!!!!!!!!!
Caroline or Change
Parade
Chess

Taboo
Aida
The Normal Heart

"Aida? It had a long successful run and it just closed. It doesn't need a second chance."

Surprising, isn't it? Maybe bwayfan2 was talking about quality of the show in general, because that show should have never opened in the state it was in. I give the producers credit though, they dooped enough people into thinking it was quality work, giving them, I assume, a nice profit and a successful run. I got free tickets, and every single minute was torture. It's definitely by FAR the worst thing I've seen.

---

This thread asked a question (opinion) didn't it? Mister Matt, I respect your opinion......respect mine!

SIDE SHOW. A deeply moving and intelligent show. (I think those who saw the original production on Broadway would agree.)

Seussical

Little Shop of Horrors and The Wild Party

---

Urinetown
Taboo
Caroline
YAGMCB
and Zanna,Don't! (does that count?)

Yes. Dance of the Vampires should be revived the way it was in Vienna / Stuttgart. It was such a compelling, dynamic show but they spoiled it. I wrote a long tract on it, at the Steinman message-board, about why exactly I thought it failed. It should be given another chance, in London, but in the original version that won so many hearts in Germany. Would love to see what becomes of the Japanese and Parisian productions (very amusing). The Scarlet Pimpernel is wonderful. I recently discovered this little jewel. I'm actually surprised, with the exception of a few moronic ballads, this didn't run longer than it should. It should have been (cutting out the extranneous ballads) the longest running musical since Phantom. It really meant something: was exciting entertainment, compelling material, awesome music and lyrics, great edge-of-your-seat storyline, costumes, drama, set and lighting. It had it all: and it was a sensational show. It should be brought back, in its best form (not too certain about the different versions) and given another chance. Jekyll and Hyde could also use an interesting revival, but with the songs from the Concert version and a more stable book - a MUCH MORE stable book. This should then become a hit and banish all thought of previous versions. Wildhorn should also surrender Frankenstein, if he doesn't want to make a fool of himself, and focus on Camille Claudel. That should be his only concern. I'm tired of the fact that he's trying to get millions of his projects staged at the one time. Just focus on Camille Claudel, because that is said to be just as good - if not better - than Pimpernel: and it would definitely redeem him with the critics. Carrie could use a much more gothic re-working, no camp stuff, and Batman the Musical should be re-considered in a Brechtian, experimental form. Steinman and Wildhorn should definitely be working on Broadway now

---

Given another chance??? Virtually, all of these shows received productions in first-class venues with the creme de la creme of Broadway talent involved onstage and behind the scenes. If these shows didn't find an audience, it's very obvious why: they didn't deserve one. And when they were as ludicrously misconceived and poorly written as SIDESHOW or THE WILD PARTY (either version) or MARIE-CHRISTINE or DANCE OF THE VAMPIRES or STEEL PIER or CAROLINE, OR CHANGE or TABOO or THE SCARLET PIMPERNEL, it's no surprise, either.