Songs get moved around -- although I couldn't tell you how frequently. I know there were changes in song order in Spring Awakening (to give a recent example -- which is why the recording has two number reversed) and in the original production of Bye Bye Birdie (to give an example from days of yore -- Put on a Happy Face.)
If we're not having fun, then why are we doing it?
These are DISCUSSION boards, not mutual admiration boards. Discussion only occurs when we are willing to hear what others are thinking, regardless of whether it is alignment to our own thoughts.
^ Spring Awakening has two numbers reversed because Duncan Sheik wanted the two songs separated by one that was more upbeat. It was never like that in the actual show.
I feel like this show was so close to being a good show. It like the music, the source material, and the concept of a grown up Alice. It's such a shame the book could not have been more cohesive. Oh well.
"There’s nothing quite like the power and the passion of Broadway music. "
The show's problem is CLEARLY the book. The score is getting mostly mixed reviews, but that's to be expected with Wildhorn (and honestly doesn't make a hell of a lot of difference in the long run given that you slap "by the guy who wrote Jekyll and Hyde" on it and plenty of people would be ok with it) -- but the book is what's bringing this one down. So here's a question: it's so OBVIOUSLY the problem - with Spiderman's endless previews, are producers afraid to postpone a show now because of what the resulting press would be?
Yesterday was the only time I saw the show, but I can't figure out how the creators thought THIS could be the best the show could be.
^ It's a Wildhorn show. The book will get revised, but it will get revised after the show closes on Broadway. All three of his shows that are available to license from MTI have completely different books than the versions that played Broadway. It's likely that history will repeat itself once again. They might go back to an older version like they did with Jekyll and Hyde or it'll be based on one of the foreign productions as was the case with Dracula.
Updated On: 4/17/11 at 11:44 PM
"Wonderland is a musical. It is good. I liked the songs. They were good too. Alice is played by an actress who is good. The cat is funny. The Mad Hatter is a woman and that is good because women are not represented in musicals hardly ever at all so it was good she was a she and not a he in this show which was good. There were no puppets and that is not good. Frank Wildhorn wrote the music and he also wrote the music for The Civil Wars. They were not as good as this show was since it is for children and also it is for adults to enjoy. All ages were at the show when I saw it. I had comps in the mezzanine. Row M seat 33. I would give this show two and a half puppets."
Corine's writing is up to par with 6th graders I used to teach. Short sentences with no variety of style until she gets to: "The Mad Hatter is a woman and that is good because women are not represented in musicals hardly ever at all so it was good she was a she and not a he in this show which is good." Is that a run-on sentence worth of James Joyce or what? I do think she's obsessed with the word "good", though. Maybe she's the Chuck E. Cheese of writers.
NY Post is negative (for how negative it is, I am surprised that she gives it 2 stars):
"Most of the first act is taken up with numbers introducing each wackadoo character. This allows composer Frank Wildhorn ("Jekyll & Hyde," "The Scarlet Pimpernel") to write serviceable songs winking at everybody from Danny Elfman to Kander & Ebb and 'N Sync. Can't decide what your favorite musical style is? Wildhorn does them all.
...
These repeated intros feel endless. The White Rabbit has a watch that can turn back time, which may be Cher's dream come true but isn't helping us -- we'd rather Boyd, who also directed, sped things up.
...
At first, the Queen seems faithful to Carroll's creation, albeit with nods to "Evita" and Momma Rose. Then she turns out to be downright grandmotherly. What a cop-out: It's hard to care for Alice's safety if there's no real danger.
This is also typical of the work's misguided approach. Who is a musical about a grown-up Alice for? This show clearly casts a wide net, but it also takes family-friendliness as a license to be simplistic. Come on, "Wonderland," test us -- we're smarter than you think."
All of these reviews are too positive. The trouble is they are being too nice. Where's the HONESTY? Isherwood, take my example, I said that I would rather "scoop doggie diarrhea into a bowl, microwave it into a soup, and slurp it up than to ever even be reminded of WONDERLAND's existence ever again."
"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
Let us not forget the Wicked reviews and that's done ok for itself. This show could survive on the tourist trade.
I think that Wildhorn is a talented and capable composer, but he works with poor collaborators. I know he's written songs with Maury Yeston, it might be interesting to see what a strong collaborator at that level could do for a Wildhorn show. Many of his shows have the same problem of songs not being organic to the book and forced to "work" when they don't really.
And for the record, BABY IT'S YOU! is a *much* better show than WONDERLAND.
"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
The show is no where near the level it should've been and had potential to. No doubt future productions will be reworked and will be more than likely better. The score is still good, though shame on Wildhorn for letting them take so many of his songs out!