Woman In White 77% attendance Christmas week — Page 4

NYLG, you may be correct in your assertation that the majority of people who post on the MBFC Forum exhibit a lack of objectivity where the man and his work are concerned, but I think that is probably true of most Fan Club Forums. It does not necessarily follow that admiration of a performer strips one of all objectivity with regards to his work. For example, I agree with CDuffy and Sharon1 that Michael has one of the finest, if not the finest voice in musical theatre today, but the first time I saw him on a Theatre stage was in "Chitty" and I was one of the few sincerely hoping that he would not take on the role of Caractacus on Broadway. While I understand his reasons for taking on the challenge of a musical comedy the show really did nothing to showcase his talent in that area and did not challenge him vocally. On the other hand, I loved him in "Patience" at the NYC Opera, which proved to be the perfect vehicle for him to strut his stuff vocally and comedically.

As for WIW, while I think MB is fabulous as Fosco my love of and admiration for this show goes beyond his performance. I think the score is absolutely beautiful...truly haunting. The entire cast is first rate. One of the best I have ever seen on a theatre stage. There is not a weak link in any of the leads and the depth of the ensemble has been proven over the course of the run so far...in particular the stunning Lisa Brescia. I'm a huge fan of Maria Friedman's, but Lisa has done an outstanding job understudying her. Although I haven't seen him, I'm also told that Norman Large has done a very good job filling in for MB during his recent illness.

I also happen to enjoy the projection sets. I find them innovative and visually stunning...if slightly distracting in places.

My major criticism with the show is one that others have mentioned here. I prefer the drama and melancholy of the London ending to the revised version here on Broadway. The change in mood is jarring and inconsistant with the flow of the story.

Oh, and my other major criticism is the appalling lack of publicity...the results of which are evident in the box office grosses and in the existence of this thread.

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Oh Lori
You are good. I have to say that. I love your response. Broadway like so many other things in this day and age depend on the p.r. machine. As a non-professional in theatre, even I can see where they have let the show down. Don't know where the heads of the various producers have been but maybe they should wake up and get moving. I too love this score. I have the Phantasia cd and listen to it constantly. It is a real work of art. I think you are correct about "most" fan clubs and sites. They are there for the artist and his following. For fun and information. People get too critical of them. And they shouldn't. Frankly, I don't care if it is a fan club, theatre group, school, church, business, whatever, you can get a few nutzoids anywhere. They come in every area of life.

Besides not being crazy about the score (as I posted before), does anyone else find the singing voice of the "ghost" annoying? It grates on me like fingernails on a chalkboard........

Otherwise, like I said in a prior post on this thread, I enjoyed the show (projected sets, performances of rest of the cast).

Yes, the Ann Cathrick character.
I got the same feeling when I watch the video clip of her on this site. It was worse in person.

Yes, that is her.
I guess I just don't "get it".....

The first time I saw the show ( in London) , I thought Angela Christian's voice ( as the woman in white, aka the show "ghost") grating to the ears with her "I've got a secret" whining...When I saw the show again on Broadway, it made me realize that her creepy and weird expressions actually added to the gothic atmosphere. Figure that one out

I won't be surprised if she pulls off a TONY nomination.

Updated On: 1/5/06 at 07:15 PM

Vinnie,

I'd be happy so long as Michael and Maria get nominated ( as you predicted )

Jo

Flop flop flop floppidy flop flop FLOP!

Hallelujah.

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Firstly - I haven't read the whole thread. Secondly yes I'm a Michael Ball fan.

Now with those two things said hopefully my post will not detract from this thread.

Quote - and Hugh's performance was a magical experience that I feel blessed I was lucky to have witnessed !!

Isn't this alot of what attending Broadway shows is about? Aren't even the producers looking for a "name" that can bring crowds in?

When I was in London sitting in the audience of "Woman in White" there must have been a visible question mark directly over my head because I most definitely had the thought of "Would this fly on Broadway?". It is very different than the Broadway goers are used to. I think if it fails some of that is due to this very reason. You need to think a little bit in the show not just sit back and be entertained. Enough has been said about the music and the projections but you can never say enough about this cast!!! I loved the Broadway Glyde, Ron Bohmer!!!(sp?) I think this was my biggest thrill about the difference between London and Broadway.

If this and other threads have not got your curiousity up enough, go to see two of Britain's finest!!!!!! (Kind of hard to do at the moment) That won't be happening again I'm sure. Don't let the experience escape. If two of America's finest were headlining together in London I would hope those patrons would frequent that kind of performance as well.

I just loved the Broadway production of this play. Even more than the London production.

Thanks, Vinnie. We appreciate your letting us know. I really do think both Ms. Friedman's and Mr. Ball's performances deserve nominations.

Plus with all the understudies this past week because of the virus that has hit the cast. Especially Michael Ball. As far as actual attendance they fall somewhere in the middle.

I think Angela Christian is simply marvelous in this. Yes, her voice is creepy and that's the beauty of it. Overall I wasn't crazy about WIW but her performance really stood out.

What's weird is that many of the London theatre sites have WIW listed in their top 10. Wonder if the Palace is another huge theatre that might be hard to fill?

Remember too, WIW's operating costs aren't huge like say Sunset Boulevard was. The break even point is much lower, so as long as it continues to make money, it will play London and Broadway (and a tour version should be relatively easy to put together)