They're already planning Aspects of Love with Michael Arden as Alex. I'd definitely see that.
And there are many great British musicals that were not popular with American audiences just like there are many great American musicals that were not popular with British audiences. And of course, there are the British musicals that have been successful all over the world. I'm assuming "great" is a relative term based on the popularity of one country versus another? Or it could just be personal opinion?
I say, let them produce what they want, let Broadway producers bring over what they want, and let the audiences and critics make up their own minds what they'd like to see.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
A John Doyle version of "The Story of My Life" starring Raul Esparza and some unknown Shakespearean actor who did it at the Chocolate Shoppe and having no equal Stateside, simply couldn't be replaced. One actor will play accordion, the other, an electric guitar and a pair of cymbals between his knees. The one playing the accordion will be wearing a headset so he can call the lighting cues, the guitar guy will wear a portable sound board to mix the show. The set: a Conran bookcase, or, if Trevor Nunn directs it, one pretentious, meaningless, solitary, empty chair in a spotlight. (Spotlight holder to be determined by joint decision of AEA/IATSE.)
"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Interesting to see Carousel mentioned. It reminds me of the Court Theatre in Chicago (affiliated with the University of Chicago), which often stages minimalist productions of big American musicals including recent productions of Carousel, My Fair Lady and Guys and Dolls. I don't know if they are taking the two-piano approach to the upcoming Porgy and Bess (they didn't with their acclaimed Caroline or Change last season), but it's not a large theatre. While UK productions have transferred to Broadway, some successful and others not, US regional (including Roundabout) have been producing scaled-down musicals for years.
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian
Personally, I would like them to do Rent and maybe something abit more modern like Spring Awakening???
Although, I would love to see there take on Barnum!
Unfortunatley, they have already done everything I would really like them to do, Little Shop and Tick Tick Boom, which to date are still my two favourite productions of there, even with how much I ADORE La Cage!!
slmlbl, I saw a very stripped-down, small-cast version of Camelot at a little theater in upstate NY many years ago. I don't recall the actors' performances, but the idea, which included some doubling in secondary roles, worked surprisingly well. What made it clever was what they accomplished with minimal resources. For a tiny theater in a restored old church it was pretty wonderful. As in the case of the Menier productions, the roots of the concept were economic not artistic. A 10-person Camelot on a Broadway stage with a five-piece band in Arthurian garb, two thrones, a bench and a faux stone wall with a tapestry on it, suddenly doesn't look as clever as it looks cheap. Minimalism, even on a big stage, is great, if it's making an artistic point. But I do love it when a little-theater production makes it's lack of funds its greatest asset, and that Camelot did.
