Woman in White Broadway Bound

On the Really Useful website it says The Woman in White will come to Broadway in November 2005. Good news for ALW, as this is his first show since Sunset Boulevard to cross the pond!

What I am wondering is how critics will react to Michael Crawford's Count Fosco. Let's look facts in the face, the character is similiar to Count von Krolock (noble man, comic, Italian accent). While I think it works in The Woman in White, whereas it didn't in DOTV, I feel Crawford is a big target for critics, and I'm wondering if they will draw comparisons to DOTV! I think the critics were overly harsh when it came to reviewing DOTV, but I do agree the Krolock was a horrible character, and failed miserably. There were some good comic moments, but how is one supposed to take "Total Eclipse" and "Endless Appetite" seriously after all the tomfoolery we saw from Krolock before and after? However, I think Fosco is a wonderful character and Crawford does an excellent job, and more importantly, the character is appropriate to the story and does add a much needed element of comedy in an otherwise heart-wrenching tragedy.

I'm curious to know others thoughts. I know DOTV has probably be over-discussed on here, but I think this is a new discussion and it is a valid one!

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Updated On: 11/30/04 at 10:32 AM

Come on. Do you really think they will transfer it without bringing Crawford over? I doubt it. His name is still a big draw, and given the right vehichle (which The Woman in White is), he could hit a home run, which I think he will. The show is fantastic, at least judging from the recording. It is definitely already in my top 5. I love it more and more with each listen. It has all the elements of a great show (good music, interesting characters, comedy, drama, a love triangle, and mystery). I just highly doubt they would not bring Crawford over.

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Updated On: 11/30/04 at 10:47 AM

I'm curious as to why you think that. If he gets a Olivier nod that would certainly help his case to be part of the transfer. Even without it though, I honestly don't see why he wouldn't come over, unless he doesn't want to, or they (the producers) are nervous about what happened with DOTV.

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There is no reason to bring him over... satisfying the Crawford fans isn't enough of a reason. And yes, the Vampires fiasco doesn't help him.

If you wanna have a sneak peak of Michael's performance, go to http://www.womaninwhitethemusical.com/frameset.htm and check out the 8 mins of the show and see how you think about the cast!
FELIX
My CHICAGO the musical group!!!

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Dare I say that these eight minutes makes this show look like a good show?

However...the music seems so obviously ALW that it makes me annoyed. But, I can deal.

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I agree. The score is not typical and is quite beautiful and interesting. The lyrics, especially during "Perspective" are weak at times, but the story is something! I really like this show. The Finale rocks.

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He is just a wannabe HUSSY!

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It's a great show and Crawford is very funny. As for the mouse, keep in mind the 1980's Richard Gere gerbil rumors and you won't be surprised as to what happens in that scene.

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Inappropriate Broadwayguy2. Just your second comment. I happen to be a fan of his and you would not call me a "Crawford Leg Humper" in any sense. No offense Broadwaguy 2.

But to the discussion: I believe that most of the leads will end up reprising their roles on Broadway. Angela Christian surely should since she has appeared on Broadway before and did a decent job in Millie. Maria Friedman is not an equity actor and last time ALW tried to bring a London actress to Broadway it ended up in a problem (aka the Sarah Brightman problem). Besides if you don't bring Crawford, Crewes (who is wonderful by the way), and Christian over, why bother with her. There are Broadway stars who could do a much much much better job than she. She isn't all they hype her up to be.

The part of Count Fosco is about the same in size as the Wizard in Wicked. Joel Grey was brought in just as a star vehicle in a Cameo role. That is the came reason that ALW brought Crawford in, and remember his surprise announcement. We probably won't know if he is coming until later next year. The score is very unlike ALW because there are NO rock opera songs in it and very little "popish" style. In format, WIW is much like an opera albeit more modern in harmonic and melodic quality. Recurring motifs for what otherwise would be dialogue combined with short and sweet musical arias (yes many of the songs would be considered arias) and Rossini-like comic numbers (Seduction and "You can get.."). I'm finished now. Thank you for reading this rather long winded post.

My CD came pretty fast for coming from England. However, it might be that Christmas shipping is in full force now so it will take a while to get there. Be patient spidey. Let us not jump all over the US postal service. Wait, nevermind they are usually slow anyway so jump all you want.

It won't be a disappointment. I like the recording because mostly it is live from the opening night (without the audience noises thank God). There is real performance emotion in the recording. The Palace is one of the only theatre's where a live recording can be made of studio quality without any extra equipment. It is set up itself with direct connections from the stage and orchestra to the recording studio below. Every theatre should have that. It would make the world a better place. My favorite songs are "Perspective," "I Believe My Heart," "Evermore without You," and "You Can Get Away with Anything." Some of the connecting lines are a bit strange melodically but it isn't stranger than Don Juan from Phantom which has some of the strangest progressions in music theatre. I hope your CD comes soon.

Do you think Michael Crawford in a fat suit will make it here?