Where the f*ck is Tommy Tune- Page 2

[AC126748]

Posted: 4/8/07 at 1:38pm

I thought that the tour was failing, and they brought Tune in to save it.

[wonderfulwizard11]

Posted: 4/8/07 at 1:41pm

The tour before Tune was failing (and it was AWFUL) and was closed down, much of the cast was replaced, and Tune was brought in to star, choreograph, and direct. I'm not sure, but I thought I heard the tour closed soon after Tune joined. I could be wrong though.

[Caroline-Q-or-TBoo]

Posted: 4/8/07 at 1:45pm

if what I saw was Tune's doctoring (and i believe it was) it still had LOTS of work. Tune is a fantastic preformer, so that saved it from being a total waste of my time

[uncageg]

Posted: 4/8/07 at 1:59pm

I ran to see him here in Denver in "Stagedoor Charlie" (Which was previously called "Buskers" and "Busker Alley") Not a very good show. But I thought "at least i got to see a legen on stage". I then saw the tour of "Dolittle". While not as bad as "Stagedoor", it was not the best production either. I walked out thinking, "God, he is a legend. We really need to see him back on Broadway in a really good production." And I hate to say it, but "Dolittle" came off as a bit of a vanity project for him.

[Gypsy9]

Posted: 4/8/07 at 10:14pm

I saw the road tour of BYE BYE BIRDIE at the beautiful Forrest Theatre in Philadelphia in the 1990's, directed and starring Tommy Tune. The rumour as to why he didn't bring it into NYC was that he would only bring a new show to Broadway, not a revival. I don't know his reasons. I thought the touring show was excellent with Tune as Albert, Ann Reinking as Rosie, and the absolutely hilarious Marilyn Cooper as Albert's mother May. He could certainly be of help on Broadway now. I wish he could be persuaded to bring in his BYE BYE BIRDIE--an excellent show in the right hands. It could play the Hilton Theatre when PIRATE QUEEN sinks completely.

Updated On: 4/8/07 at 10:14 PM

[BigFatBlonde]

Posted: 4/8/07 at 10:46pm

His revue show, Tommy Tune Tonight! was really good. I took my then girlfriend to see it and we were both surprised at how much we enjoyed ourselves.

He should consider doing it again.

[sondheimboy2]

Posted: 4/8/07 at 11:00pm

I don't know, he'll go these periods where he doesn't do shows.
After "Nine" he went years and the only show he did was the non-musical "Stepping Out."
He did spend a while out in Vegas doing "EFX."
Then there was all the time spent on "Easter Parade" which didn't happen.

[jbdc]

Posted: 4/8/07 at 11:03pm

Tommy Tune does song and dance shows. And he is a fantastic "show dance" choreographer. But, Nine being the exception, his shows rarely are considered well-integrated. (Will-a-mania? Best Little whorehouse?)After 1992, Susan Stroman filled his niche and does a better job of making "show dancing" an integrated part of storytelling. Also--social dance styles and Fosse Redux have dominated musical theatre choreography for the last 20 years, and that's not Tommy Tune's style. Thoroughly Modern Millie would have been a good fit for him, though.

[Rotel1026]

Posted: 4/9/07 at 8:34am

http://www.playbill.com/news/article/101231.html

Tune was brought onboard to act as a name as well as to try and fix the show. Not sure how well it performed with Tune in the show but it apparently was scheduled to end it's tour in Chicago.

Posted: 4/9/07 at 8:45am

I didn't realize he directed Doolittle too. Oy... I know Buskers (aka every other title) was directed and choreographed by Jeff Calhoun who directed Grease--etc and I think started as an assistant to Tommy.

Anyway my post wasn't so much about him as a performer but as adirector--I never saw his Nine but I saw the Grand Hotel tour when I was 11 and it astounded me--to call that show not well integrated would baffle me--the production *was* what made the show brilliant.

Not sure I even get the term "show dance" choreographer--if Fosse, for instance, isn't "show dance" what is? I do agree with your point of Susan Stroman taking over that mantle but IMHO not to the ecstatic praise he got for Nine or Grand Hotel (I didn't realize he directed the tour of Birdie--as I said I saw it and enjoyed it, again as a young teen--I didn't even know who Anne was!-- but don't remember anything of the direction or choreography though surely it's better than Anne Reinking's huge mess of a choreography for the TV Birdie--AWFUL)

I'd love to hear what this "elaborate cruiseship musical" paparazi he directed is though *lol*



Updated On: 4/9/07 at 08:45 AM

[jbdc]

Posted: 4/9/07 at 10:13am

"Show Dance" hmmm...what is it?
More presentational--like 42nd St. In the tradition of Busby Berkeley right through A Chorus Line. "One" is Show Dance, whereas "Music and the Mirror" is more Jazz. "One" is performed to the audience, and "Music..." is dance as Cassie's personal statement on the moment. "Will-a-Mania" is sung and danced for the audience. The staging really doesn't tell us anything about the story or the characters. the lyrics do, but the staging doesn't.

Oooh--The Rockettes! Perfect example of Show Dance.

Stroman always gives her chorus girls props and makes them pop out of necessary set pieces, so that they relate to the story. She also uses them in a Greek Chorus sort of way to comment on the dilemmas of the main characters (Can't Be Bothered Now, I Wanna Be a Producer). In this way--her "Show Dancing" still is part of the storytelling.

Fosse's style was his own take on show dance--so it has an irony to it. and that irony almost always commented on the plot--adding another level.

And in 1992, in his review of Crazy For You, Frank Rich credited Stroman with taking back the American Musical from the British who owned it in the 80s. Brantley said of Contact, that expectations were shattering and she had revived the dying dance musical. High praise, indeed.

But Tune and Stroman really are of two different eras--so even though they both are masters of the show girl style in their own ways, they are apples and oranges.

[AudreyTwoTwo]

Posted: 4/9/07 at 11:07am

Two things:
1. My cousin works at Citibank and he comes in on a regular basis. Once I find the location, you guys can hang out there and wait for him! (hey, I would do it!)
2. I heard that he had a problem with his hip and he can't dance anymore. Not that he can't choreograph, I am pretty sure he can, but thats what I heard. I could be totally off the mark. THis is what people have told me.

I thought Dr. Doolittle was supposed to come to B'way. He was on the Thanksgiving Parade in 2005.

[doodlenyc]

Posted: 4/9/07 at 11:56am

I saw the first few numbers of "Paparazzi" on Holland America this winter, while cruising the caribbean...it stunk. Most of the discredit goes to whoever strung the show together. The story is ridiculous. It is just an excuse to string songs together from different eras and styles. It made no sense, and I wasnt that impressed with the direction or choreography...or cast.

[best12bars]

Posted: 4/9/07 at 12:02pm

Wow... bombing out on a cruise ship show?

Yikes. The way you describe it, doodle, it sounds like every other cruise ship show I've seen (as far as format)... and they weren't directed or choreographed by Broadway legends.

Has Mr. Tune lost his touch?

[whoisquilty]

Posted: 4/9/07 at 12:55pm

Or maybe The Best Little Whorehouse Goes Public made him gunshy. 14 performances is a hard blow to ego from which to recover.

[doodlenyc]

Posted: 4/9/07 at 1:08pm

I was surprised how cliche it was. I expect that on a cruise ship, but not from Mr. Tune.

There was nothing inventive at all, I kept waiting, but finally we walked out.

That was me...the crowd liked it apparently.

Posted: 4/10/07 at 8:59pm

WOW--that is pretty bad--sounds like it wasn't too inspired even for a cruiseship show.

As for WHorehouse Goes Puiblic I always assumed he basically lent his name to that (liek Grease) and not much else--he got secondary directing credit and secondary choreographing credit after Jeff Calhoun (wasn't he touring Buskers that year ?)

J--I get what you mean about showdancing (though I'd liek to hear examples of what isn't showdancing to you by famous choreographers.... ) Sounds liek Gower Champion would be the, err, champion of this style. (and he's my least fave of the major director/choreographers by far though perhaps the one closest to Tune to be fair).

Still I don't see Grand Hotel which has dance so integrated into every single image of the show as show dancing

Posted: 4/11/07 at 6:45pm

I never knew that he and Jeff Calhoun directed a Broadway review for Takarazuka as well (!)--wow he's quite the director for hire
Updated On: 4/11/07 at 06:45 PM

[sally1112]

Posted: 4/11/07 at 6:49pm

Language, ladies, language.

[G_Schlozinski2]

Posted: 4/12/07 at 8:04pm

Fire Ilsand Pines, of course.

Posted: 4/12/07 at 8:53pm

Ouch

[DottieD'Luscia]

Posted: 4/12/07 at 9:05pm

Eric, I saw the original production of "My One and Only" with Tommy Tune. It was the first show of his that I was exposed to. The show on a whole was wonderful. To me, the choreography was inventive and a lot of fun to watch. I love tap to begin with, but the two numbers that stick out in my mind are the opening number, "I Can't be Bothered Now" and Tommy and Twiggy (I also saw her understudy Stephanie Ely) tap dancing in a shallow pool of water on stage.

[justme2]

Posted: 4/12/07 at 11:35pm

Tommy Tune sparked my interest in Broadway musicals with "Will Rogers Follies". A wonderful show, with great performances, dancing and sets.

Because of that show, I saw "Tommy Tune Tonite" (our tickets were changed after he delayed the show in SF after breaking a bone in his foot in an earthquake in LA - no, I'm not kidding), "Buskers" three times (no it still wasn't very good after #3 viewing), "EFX Vegas" (I can't forgive him for this) and I still listen to Hoty singing on the Whorehouse Goes Public soundtrack almost nightly.

The man is (or was?) such a graceful dancer, and his stage visions are beautiful (remember the Diamonds for Mrs Rogers number?). Each season I hope to hear of Tune's return to the boards as a director or choreographer, and I too want to ask....where the f*ck is he?

I've come to depend on Randy Skinner alone for any sense of tap and partner dance in musicals nowadays...

Posted: 4/13/07 at 5:19am

Has Randy Skinner done much of note besides 42nd Street?

And yeah I forgot Tune did EFX after Crawford. Egads maybe the man does have no taste about what projects he picks

[justme2]

Posted: 4/13/07 at 12:45pm

I don't knwo much of Skinner past 42nd St and, of course, the best musical I've seen in 5 years or so....Irving Berlin's White Christmas. But those two shows give me hope that there is still at least one choreographer out there interested in staging tap and partner dance numbers that recall a bygone era.

I don't know if I van ever forgive Tune for EFX. It was...IMO, of course, a terrible waste of his talents. My friend and I left the MGM Grand depressed that this was where this talented man had chosen to go.