a big succesful show that hasn't been revived yet. — Page 3

I'd love to see "The Merry Widow" on Broadway, and it would be a PERFECT vehicle for Cheno and Stokes!

I squirm every time I read Crazy for You. What a waste of good music.

Few things in life would make me as happy as the chance to see a Tommy revival.

Urinetown-- too soon? haha

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Miss Saigon
Tommy

ON THE TWENTIETH CENTURY - This landmark musical needs to be revived for many reasons: it's considered Broadways last great Golden Era score with book & lyrics by Betty Comden and Adolph Green (Wonderful Town) and music by Cy Coleman (Sweety Charity, City of Angles, Will Roger's Follies). Originally directed by Hal Prince. Part operetta, part screwball comedy; it's a hilarious, inventive, big, splashy musical comedy in the best sense of the word. But more than anything audiences deserve to revisit OTTC's technically brilliant design work. Robin Wagner's sleek and beautiful art deco train is considered by many to be among the greatest of Broadway set designs (a formidable group to top for sure). Much like Wagner's landmark design for A Chorus Line, OTTC's set became as much a character as any of the actors onstage, moving, unfolding, shrinking and growing as it sped along a-vista (in full view) to the show's pulsing train-like rhythms. The show ran for well over a year on Broadway. When Madeline Kahn dropped out very early in the run due to "vocal stress" Judy Kaye stepped into the taxing role of "Lily Garland" and became a fully-blown Broadway star.

I never witnessed the Broadway production but years later saw a bus-and-truck production featuring OBC members Judy Kaye and Imogene Coca. I remember Coca seeming a bit odd on stage that night(odder than usual then not coming out for the curtain call. We found out later she'd suffered a heart attack towards the end of the evening's performance (non-fatal). Even with one of the lead actors at death's door and without it's brilliant set I found the show to be a gem. If you've never heard it, do yourself a favor and buy the soundtrack. Before I bought the CD I owned the LP. This was one that I played nearly through the grooves.

Please...someone...bring back ON THE TWENTIETH CENTURY. Keep the score, keep the direction, KEEP THE SET, ...update the sound and lighting. This one's a winner.

Updated On: 1/14/10 at 06:40 PM

Much like Wagner's landmark design for A Chorus Line, OTTC's set became as much a character as any of the actors onstage, moving, unfolding, shrinking and growing as it sped along a-vista (in full view) to the show's pulsing train-like rhythms.

All accomplished without any computers. Good old fashioned stagehand labor.

I love the show too. I treasure my vivid memories of the Broadway production. And the LP was one of the most gorgeous ever made. All that chrome!

Everyone's said them, but I'll just repeat: Crazy For You, City of Angels, Grand Hotel, Mame, Carnival (whatever happened to transferring that Encores production?), and Best Little Whorehouse in Texas (I don't count that return engagement). The last one, especially. Someone once mentioned doing it at Encores Summer Stars Series with Reba McEntire, and I CAN'T get that out of my head.

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I disagree with it being dated. However, I will agree that the character of Lilli has proven problematic. She is so very naive and sometimes borders seeming mentally impaired. But I've always felt that there's a certain fantastical, poetic element to the piece, despite how dark it can get, that keeps it from seeming absurd. I do think it can be done. Directors like Bartlett Sher, Nicholas Hytner, and Jerry Zaks have taken musicals that were once considered dated (South Pacific, Carousel and Anything Goes, respectively) and turned them into fresh productions that outshone all the new musicals during those seasons. With such a wonderful score and emotional, simplistic (in a good way) book, there's such a magical production just waiting to happen. I'm hoping LCT might tackle it one day.

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I think Barnum with the right person would be awesome. I actually think Cirque should do it for Broadway.

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I might not like a lot of what Stro has done since her early days, but this clip is an absolutely stunning reason why she is a great choreographer.

http://www.youtube.com/watch?v=S9wM0FtReXY

Sure, her prop use was insane, but it was inventive at the time and the cast simply danced the **** out of it. Impressive.



BN

From the way it was filmed (two cameras, one in wide shot, the other in close up), it looks like a Lincoln Center archive tape. Don't know how the poster could've gotten his/her hands on it.

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I second:
CALL ME MADAM
BARNUM
CARNIVAL

I humbly suggest:
A DAY IN HOLLYWOOD, A NIGHT IN THE UKRAINE
GENTLEMEN PREFER BLONDES (LORELEI doesn't count)
THE LIFE
HAPPY HUNTING (only kidding)

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HIGH BUTTON SHOES. It seems a natural for Susan Stohman to direct and choreograph.

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I don't know if the Broadway version of Singin' in the Rain did well in 1985, but it made over $13,303,713 in like 45 weeks, but I saw a local theatre here in Virginia do it, and it was mind-blowingly amazing.