DisneyBoy October 7, 2021 Share October 7, 2021 Sunset is grounded: https://www.broadwayworld.com/article/Andrew-Lloyd-Webber-Reveals-Production-on-SUNSET-BOULEVARD-Film-Has-Been-Stalled-20211006 Honestly I don't know what he's expecting. Close could hardly sing the songs in the recent revival and is way beyond 50. Was she going to mime along to her 90s recordings and get "de-aged" digitally...in order to play "too old"? This would have been a tough sell for today's audiences anyway.....no rap? No people of color? Just an old rich white lady wailing about not being on top of the world anymore? I doubt there'd have been huge interest. I like the show, but even with 90s era Betty Buckley as the lead, I question how they'd pull off a movie in 2021 that people would respond to with interest. Who would be a possible film Norma in ten years? Cheno? Boggess? Link to comment
Scarlett45 October 7, 2021 Share October 7, 2021 I saw Rent yesterday (a friend took me for my birthday), it’s in Chicago until the 10th. It was a wonderful performance. All of the actors were so talented and such excellent singers, but the gentleman who played Roger, while a technically good singer had none of the bad boy swag of Adam Pascal. My Mom and I are due to see Paradise Square Nov 3- how am I gonna make it after working all day and then up at 5:45 am the next day! I’m exhausted!!!! Link to comment
Spartan Girl October 7, 2021 Share October 7, 2021 11 hours ago, DisneyBoy said: Sunset is grounded: https://www.broadwayworld.com/article/Andrew-Lloyd-Webber-Reveals-Production-on-SUNSET-BOULEVARD-Film-Has-Been-Stalled-20211006 Honestly I don't know what he's expecting. Close could hardly sing the songs in the recent revival and is way beyond 50. Was she going to mime along to her 90s recordings and get "de-aged" digitally...in order to play "too old"? This would have been a tough sell for today's audiences anyway.....no rap? No people of color? Just an old rich white lady wailing about not being on top of the world anymore? I doubt there'd have been huge interest. I like the show, but even with 90s era Betty Buckley as the lead, I question how they'd pull off a movie in 2021 that people would respond to with interest. Who would be a possible film Norma in ten years? Cheno? Boggess? Well, that sucks. They should have made it years ago. 1 Link to comment
PRgal October 7, 2021 Share October 7, 2021 11 hours ago, DisneyBoy said: Sunset is grounded: https://www.broadwayworld.com/article/Andrew-Lloyd-Webber-Reveals-Production-on-SUNSET-BOULEVARD-Film-Has-Been-Stalled-20211006 Honestly I don't know what he's expecting. Close could hardly sing the songs in the recent revival and is way beyond 50. Was she going to mime along to her 90s recordings and get "de-aged" digitally...in order to play "too old"? This would have been a tough sell for today's audiences anyway.....no rap? No people of color? Just an old rich white lady wailing about not being on top of the world anymore? I doubt there'd have been huge interest. I like the show, but even with 90s era Betty Buckley as the lead, I question how they'd pull off a movie in 2021 that people would respond to with interest. Who would be a possible film Norma in ten years? Cheno? Boggess? They managed to "de-age" Madonna for Evita. But it's easier (even in the mid-90s) to make a then-late 30s Madonna look 20-something to early 30s (I believe Eva Peron was 33 when she died) than a 70-something look 50-something - even with today's technology. You know what? Maybe they'd wait 15-20 years and cast Gaga in the lead. Who knows? She's 35 now. Link to comment
DisneyBoy October 8, 2021 Share October 8, 2021 Oy. I'm bothered by the fact that Gaga is the name so often thrown about for so many roles. She's not that great a singer or actress. We just really don't have many famous triple threats now to choose from. She's not horrible but she's no Julie Andrews/Betty Buckley/Lupone/Streisand/etc... What's the alternative choice - Amanda Seyfried? 🙄 1 Link to comment
PRgal October 8, 2021 Share October 8, 2021 11 hours ago, DisneyBoy said: Oy. I'm bothered by the fact that Gaga is the name so often thrown about for so many roles. She's not that great a singer or actress. We just really don't have many famous triple threats now to choose from. She's not horrible but she's no Julie Andrews/Betty Buckley/Lupone/Streisand/etc... What's the alternative choice - Amanda Seyfried? 🙄 Better choice than Britney. What's happened to Christina? Link to comment
aradia22 October 9, 2021 Author Share October 9, 2021 Quote Anything Goes will sail into over 450 cinema screens nationwide for two nights only on Sunday 28 November and Wednesday 1 December in a live recording filmed at London's renowned Barbican Theatre. Tickets will go on-sale from Friday 15 October at anythinggoesmusicalcinema.com THIS IS NOT A DRILL. Sutton Foster's performance in Anything Goes is being filmed. Sure, there'll be the West End of it all, but something is better than nothing. https://www.broadwayworld.com/article/ANYTHING-GOES-Will-Stream-in-Cinemas-For-Two-Nights-Only-20211008 Quote Broadway star Rachel York and Tony and Olivier nominee Haydn Gwynne will join the cast of critically acclaimed Anything Goes for the final weeks before the show must end on Saturday 6 November. Also, this feels like excellent casting https://www.broadwayworld.com/article/Rachel-York-and-Haydn-Gwynne-to-Join-ANYTHING-GOES-West-End-Performances-Added-20210923 1 Link to comment
aradia22 October 9, 2021 Author Share October 9, 2021 If A Strange Loop comes to Broadway, I hope he's in it Link to comment
aradia22 October 9, 2021 Author Share October 9, 2021 I love her but what in the hell is this? Link to comment
ebk57 October 9, 2021 Share October 9, 2021 49 minutes ago, aradia22 said: THIS IS NOT A DRILL. Sutton Foster's performance in Anything Goes is being filmed. Sure, there'll be the West End of it all, but something is better than nothing. https://www.broadwayworld.com/article/ANYTHING-GOES-Will-Stream-in-Cinemas-For-Two-Nights-Only-20211008 Also, this feels like excellent casting https://www.broadwayworld.com/article/Rachel-York-and-Haydn-Gwynne-to-Join-ANYTHING-GOES-West-End-Performances-Added-20210923 Maybe someday, this will be available on my TV. That would be fab. 4 Link to comment
aradia22 October 9, 2021 Author Share October 9, 2021 I thought I was done with Diana tweets but this was too funny not to share... 7 1 Link to comment
aradia22 October 9, 2021 Author Share October 9, 2021 Quote Stage star Ruthie Henshall (Billy Elliot, Chicago, Cats, She Loves Me) will star in a brand-new revival, billed as a reimagining, of Stephen Sondheim and James Lapine's Passion. Directed by Michael Strassen, the revival will play at the Hope Mill Theatre in Manchester from 5 May to 5 June 2022 for 37 performances. Um... what? Article here. Someone tell British directors, they don't have to "smash a show to pieces" to create a good production. Christ, it sounds like all those terrible modern opera productions. Sigh... I still wish I'd seen the Judy Kuhn/Ryan Silverman production. Link to comment
bosawks October 9, 2021 Share October 9, 2021 36 minutes ago, aradia22 said: Um... what? Article here. Someone tell British directors, they don't have to "smash a show to pieces" to create a good production. Christ, it sounds like all those terrible modern opera productions. Sigh... I still wish I'd seen the Judy Kuhn/Ryan Silverman production. The Judy Kuhn/Ryan Silverman production was perfection! 1 Link to comment
RedElf October 10, 2021 Share October 10, 2021 I made it through two songs of "Diana" before I bailed. The choreography was horrible! 1 Link to comment
Milburn Stone October 10, 2021 Share October 10, 2021 Ruthie Henshall, quoted in that Passion puff piece: "From even before I was involved in Putting It Together on Broadway, I fell in love with Stephen Sondheim's music and lyrics." She was in her early thirties when Putting It Together happened. I am inherently suspicious of anyone who didn't fall in love with Stephen Sondheim's music and lyrics from the age of 9. 3 1 Link to comment
aradia22 October 11, 2021 Author Share October 11, 2021 Back from Caroline, or Change. Full disclosure, covid anxiety and a bit of fuss finding my seat were a bit of a distraction but putting that aside, I still had a pretty wonderful time and I'm glad this was my first Broadway show after the closure. Just noting that I probably would have had an easier time focusing and losing my self in the show without that. When I finally found my seat in act 2, it was a good one but I really, REALLY want to try and get an orchestra seat because this show demands to be seen up close with more immediacy and not through binoculars. Though in the mezz, you do get a good appreciation of the two-level set. If you know me, you know I love Jeanine Tesori. That's just a given. But Tony Kushner. Wow. Finally seeing this show on stage, everything clicked into place. There's so much complexity in the writing. It's written more like a play. And not one of those shitty family dinner party plays. It has themes; it has layers; it has symbolism. And it's sharp. You feel the impact of that in the theater. The characters are recognizable but they aren't easily digestible stereotypes or even archetypes. Or at least, they don't feel that way. They aren't cardboard cutouts to prop up social critique but that critique is there and it is biting. The show is still SO relevant. Obviously a lot of these issues haven't been fixed but it's not just that. It's the lack of fear in tackling them. In Rose, he perfectly skewers someone uncomfortable with their privilege, but he also humanizes her. She isn't absolved for being well-meaning but she isn't demonized for a bit of natural self-centeredness concerning both Caroline and Noah. Likewise, Kushner is sympathetic to both Caroline and Emmie. There is no "right" side of that power struggle. If I had a criticism, I think they need to work on the sound. The "radio" girls were singing their faces off but at times it was hard to understand them, or the Moon, especially in sections where the vocals are layered. If people have powerhouse voices, you don't need to amplify them so much. I think you would grasp the important parts of the story anyway, but I was glad I was familiar with the album going in. Now to get into performances... Spoiler Sharon D. Clarke (Caroline Thibodeaux) - Sounds weird to say but she has a great face. Sometimes someone just has the perfect look for a role. I thought she was holding herself a bit stiffly (like in a good posture way) but otherwise she's very natural and I 100% understand why they brought her over from the London production. While she's good from start to finish, she lets her performance evolve over the course of the show as the audience learns more about Caroline and as Caroline has to confront different challenges. It takes a lot of restraint to do so and to not start at 10 (though to clarify, the vocals are never disappointing, this is more of a comment on the acting). Still, even when she's not softening in private or snapping in anger, there is dignity in her countenance and thought behind her eyes when she's just scowling. She's never flat (no expression) or one note (just angry). Sharon's Caroline is not just mad. She's burdened. She's resentful. She's conflicted. Hers is the performance I really want to be up close for. Her Lot's Wife is great but it's not all leading up to one powerhouse moment. She chooses her moments of softness with Caroline's children. She shows you desire and longing when she brings up Nat King Cole or her ex-husband. Dottie and Emmie push her to expose the frustrations she has at her untapped potential and what she has to do to get by and take care of her children. While it is a great performance, I don't know if it's a remarkable one, only because the whole production is good and I think she allows the play to be the focus and not a flashy performance. There is no lack of fantastic singing in this show. That said, with what I know of the season to come, I would have no problem with her winning the Tony. For me, it was more about her talent and skill than being swept away by emotion. You know I cry at everything and my eyes were dry for this show, but it was otherwise exceptional. Samantha Williams (Emmie Thibodeaux)- She's giving it 100%. She does have a bit of that Jimmy Awards super earnestness but I think she nails youthful optimism and she made that Roosevelt Petrucius Coleslaw number as entertaining as it was going to be. Her character and Caroline's really feel linked by the end of the show. As much as I enjoyed Sharon's Lot's Wife, it was Samantha's part of the epilogue that completed that feeling. In this production, I felt less of a power struggle between Emmie and Caroline by the end and more of Emmie truly fulfilling the change Caroline could not allow herself. But not as an individual exactly but as her mother's daughter. I'm probably not articulating this well but I finally felt the strength of how that was written. And the show makes the choice of finishing with Caroline on the second level of the set, giving that impression of her being elevated by her children's actions. It is definitely a strength in the writing that Emmie is not that dissimilar from how you might portray a young activist today. I hope Samantha is remembered around Tony time. Caissie Levy (Rose Stopnick Gellman)- As far as I can tell from the album, she feels different to Veanne Cox. Less uptight and more well-meaning liberal. Like, duh, she has a great voice, but she doesn't try to pull focus here. She's very, very good but I feel like this production was more about Caroline and Noah and Caissie let her Rose be more on the level of Dotty. Definitely an important character but not like a main antagonist. Also, she has more Doris Day, June Cleaver energy. She feels less neurotic and it seems more of a natural discomfort with the situation she's in. The new marriage, the new stepson, suddenly being Caroline's boss. She doesn't feel cold or spiky. She seems warm and genuinely trying her best with people who can't be reached with well-meaning politeness. Chip Zien (Mr. Stopnick)- Did I enjoy seeing the original Baker? Yes. Do I feel like this was a really meaty role for him? Not really. He throws himself into it but however relevant his political sentiments might feel now, it's not a flashy part. Tamika Lawrence (Dotty Moffett)- It's nice to see her get a good acting role where she really has something to play. She's good when Caroline and Dotty are sniping at each other about who has changed and Caroline jabs at her for putting on airs because of night school and not going to church and she's also good in those quieter supportive moments where they're talking about Emmie during the dinner and at the end when Dotty is urging her to quit and try to change. That said, I would still call it a solid performance and not on the level of Caroline or Emmie. I think sometimes you have to pitch performances so they're not at the same level. That said, if she got some supporting actress recognition, I wouldn't be mad. Noah Gellman)- I did not write down which kid I saw and I don't have the Playbill at hand. But he was a very competent child actor. Not too precocious. Pretty natural. He nailed the childlike, self-centered obliviousness of the character. John Cariani (Stuart Gellman)- Perfectly cast but not a particularly great performance. If that was him playing the clarinet (and I think it was) he was great. But as for acting, Stuart is written as a wet blanket/non-entity and Cariani doesn't bring any extra sensitivity to the part. He just plays it flat. N'Kenge (The Moon)- I wasn't expecting this! I saw her do a cover concert of Donna Summer songs. She shows a lot of vocal range here. At times her voice is sweet, sometimes operatic, sometimes soulful. ngl, no bum notes but sometimes some harsh ones. But she's making the most of the part. And I had to love her riding around in that bubble. Washing Machine, Dryer, Bus, Radio 1, Radio 2, Radio 3, Grandpa and Grandma Gellman, Jackie Thibodeaux, Jo Thibodeaux - To be completely honest, I had to make choices on this first viewing and I chose to focus more on the main characters. No one was bad and some of the vocals were fantastic but I just didn't have enough bandwidth to pay that much attention to all the side characters. 5 Link to comment
aradia22 October 12, 2021 Author Share October 12, 2021 Quote Saturday Night Live‘s Cecily Strong will make her New York stage debut this December in an Off Broadway production of The Search for Signs of Intelligent Life in the Universe, Jane Wagner’s classic 1977 solo play that starred Lily Tomlin and was made into a 1991 film. Tomlin and Wagner will serve as executive producers. The play will begin performances Dec. 21 at The Shed’s Griffin Theater. Search for Signs will continue performances through Feb. 5, 2022, with an opening night on Jan. 11. Link to article 2 Link to comment
theatremouse October 13, 2021 Share October 13, 2021 Oof. I like Cecily but I would be astonished if anyone could do it as well as Lily. But I guess if she's producing Lily thinks Cecily's got the goods. 1 Link to comment
aradia22 October 14, 2021 Author Share October 14, 2021 The Dear Evan Hansen roast we deserve 1 Link to comment
aradia22 October 14, 2021 Author Share October 14, 2021 Quote The Almeida Theatre's production of Shakespeare's The Tragedy of Macbeth, starring Olivier nominee James McArdle and Oscar nominee Saoirse Ronan, will be streamed in time for Halloween, available for five performances October 27-30 worldwide. https://www.theatermania.com/london-theater/news/almeida-theatre-macbeth-with-saoirse-ronan-and-jam_92874.html Link to comment
DisneyBoy October 23, 2021 Share October 23, 2021 What has changed about the physical production of Phantom on the West End and on Broadway? I just saw a cell video clip of them celebrating the 35th anniversary in the West End after the bows and it was clear the curtain was that weird painted one for the awful Cameron "brilliant original" tour....please tell me that's the only change... Link to comment
Spartan Girl October 23, 2021 Share October 23, 2021 1 hour ago, DisneyBoy said: What has changed about the physical production of Phantom on the West End and on Broadway? I just saw a cell video clip of them celebrating the 35th anniversary in the West End after the bows and it was clear the curtain was that weird painted one for the awful Cameron "brilliant original" tour....please tell me that's the only change... No idea, but they did a “chandelier drop” on Times Square to commemorate it, not to mention arranged Phantom masks on all the theater seats so that’s kind of cool. On a related note: I love that Lindsay couldn’t contain her laughter at all the stupidity. But unlike her, I could never enjoy this, not even in an ironic way. There isn’t enough alcohol in the world… 1 Link to comment
aradia22 October 24, 2021 Author Share October 24, 2021 If It Only Even Runs a MInute is back with a Hal Prince tribute 1 Link to comment
aradia22 October 24, 2021 Author Share October 24, 2021 Did anyone see The Petrified Prince? It sounds wild. Also, great performance in this video. Link to comment
aradia22 October 28, 2021 Author Share October 28, 2021 https://www.teenvogue.com/story/what-will-it-take-for-broadway-to-embrace-size-inclusivity I think right now I'm with Lisa Howard. I don't necessarily need a plus-size Elphaba but it doesn't make sense that you can't cast differently for Diana in Next to Normal. Link to comment
ancslove October 28, 2021 Share October 28, 2021 I can't stop being obsessed with the Diana musical! It's so bad! And yet. And a lot of things were taken from previous interviews and (auto)biographies, from little details like Charles and Sarah Spencer's relationship ending after she talked to the press, to Diana dancing at the Royal Ballet and pissing Charles off (I really want to know what she was thinking there, because I feel like anyone who knows Charles at all would know he would not appreciate that), to the big face-to-face confrontation between Diana and Camilla at someone's birthday party (that I've seen many reviews call fabricated, but it did happen). But the lyrics are still so bad! Also, they made no mention of Diana pushing her stepmother (i.e. Barbara Cartland's granddaughter) down the stairs. Missed opportunity there! 1 Link to comment
Dr.OO7 October 31, 2021 Share October 31, 2021 On 10/23/2021 at 4:45 PM, DisneyBoy said: What has changed about the physical production of Phantom on the West End and on Broadway? Having caught today's matinee, belatedly marking the 25th Anniversary of the first time I saw it as well as the first time seeing a black actress in the role of Christine: When Raoul gets into Christine's room at the end of "Angel Of Music", he spends some time wandering backstage surrounded by the ballet dancers and Madame Geary, instead of us seeing the Phantom and Christine heading beneath the Opera House. "Point Of No Return". When Christine realizes that it's the Phantom she's singing with instead of Piangi, instead of being fearful and trying to run away as I've seen countless times before (14 in the theatre, a skillion more times watching various bootleg versions), she simply keeps going and actually tries to stop those looking to arrest him. I don't know if this was a personal choice on the actress' part or if TPTB have changed it outright, but it's interesting. Speaking of the actress, Emilie Koautchou is a MAGNIFICENT Christine. It's a shame that it took 33 years for Broadway to cast its first black Christine, but it was well worth the wait. Her voice is GLORIOUS and her acting is terrific. She had great chemistry with both of her leading men. 2 Link to comment
Spartan Girl November 1, 2021 Share November 1, 2021 (edited) On 10/30/2021 at 8:05 PM, Dr.OO7 said: Speaking of the actress, Emilie Koautchou is a MAGNIFICENT Christine. It's a shame that it took 33 years for Broadway to cast its first black Christine, but it was well worth the wait. Her voice is GLORIOUS and her acting is terrific. She had great chemistry with both of her leading men. I’ve heard clips from her performances on YouTube. She’s FABULOUS! The change of “Point of No Return” sounds interesting. I actually think it works better for Christine’s character: on some level, she must have expected the Phantom to crash the performance, so when she realizes it was him, she plays it cool and handle it herself, knowing full well what he’s capable of and trying prevent anyone else from getting hurt. Edited November 1, 2021 by Spartan Girl 1 Link to comment
Dr.OO7 November 1, 2021 Share November 1, 2021 49 minutes ago, Spartan Girl said: The change of “Point of No Return” sounds interesting. I actually think it works better for Christine’s character: on some level, she must have expected the Phantom to crash the performance, so when she realizes it was him, she plays it cool and handle it herself, knowing full well what he’s capable of and trying prevent anyone else from getting hurt. I think it makes her stronger. Some versions of Christine have been quivering wimps. Emilie's version, while frequently terrified, was also sincerely trying to hang in there. 2 Link to comment
EtheltoTillie November 2, 2021 Share November 2, 2021 On 10/23/2021 at 9:57 PM, aradia22 said: If It Only Even Runs a MInute is back with a Hal Prince tribute This is absolutely great stuff. 1 Link to comment
SomeTameGazelle November 3, 2021 Share November 3, 2021 On 10/27/2021 at 11:08 PM, ancslove said: I can't stop being obsessed with the Diana musical! It's so bad! And yet. And a lot of things were taken from previous interviews and (auto)biographies, from little details like Charles and Sarah Spencer's relationship ending after she talked to the press, to Diana dancing at the Royal Ballet and pissing Charles off (I really want to know what she was thinking there, because I feel like anyone who knows Charles at all would know he would not appreciate that), to the big face-to-face confrontation between Diana and Camilla at someone's birthday party (that I've seen many reviews call fabricated, but it did happen). But the lyrics are still so bad! Also, they made no mention of Diana pushing her stepmother (i.e. Barbara Cartland's granddaughter) down the stairs. Missed opportunity there! I seem to be about halfway through and it has real problems with point of view and pace. It's a rushed sequence of apparently chronological vignettes, pingponging between Diana's contemporaneous thoughts, thoughts she can only have had with benefit of hindsight, and scenes in which Diana is not present but the other characters seem like caricatures of Diana's imagination. I can't tell the difference between any of the songs and none so far have been memorable. I think I would have tried to go further into explicitly presenting it as Diana's nightmare to explain the bias and exaggeration. Link to comment
DisneyBoy November 3, 2021 Share November 3, 2021 (edited) A detailed overview of the changes made to Phantom, as detailed by various phans on the BWW boards: As others have noted, a number of lyric changes have been implemented. A few of them make sense, but most accomplish little in terms of furthering the plot or character development. In the prologue, the auctioneer now says something like: "Lot 666, then: a chandelier until recently believed lost. Some of you may recall the strange affair of the phantom of the opera, a mystery never fully explained. We are told ladies and gentlemen, that this is the very chandelier which figures in the famous disaster. Our workshops have repaired it so that we may get a hint of how magnificent it might one day look. Perhaps we may frighten away the ghost of so many years ago with a little illumination...gentlemen!" Regarding humor, the actors in the "Hannibal" rehearsal, "Notes", and "Il Muto" scenes have obviously been directed to emphasize the intrinsic comedic aspects of those scenes. The humor feels less subtle and more deliberate. While I wasn't bothered by these changes, I also didn't feel that they improved the show in any real way. The first significant direction/blocking change occurs when "Angel of Music" transitions to the title song. As in the London production, the Phantom now opens the mirror and draws Christine through it after his first, "I am your angel...", and then the dressing room door springs open and Raoul steps in. The dressing room set piece remains onstage longer, as Raoul exits down the stairs and walks across the front of the stage, where he encounters Giry with a string of ballerinas trailing behind her like ducklings following a hen. They exchange quick "WTF?" looks and then pass one another to exit at opposite sides of the stage. This nonsense is simply there to fill time because the first Phantom/Christine pair, which used to enter from stage left and descend through a trap door, have been eliminated. When the dressing room is finally rolled off stage left, the travelator quickly descends upstage and the only Phantom/Christine pair make their way from one side to the other and back again as the ramp alternately tips at one end and then the other. The second major change occurs at the top of the second act, immediately after the managers sing "...such a pity that the phantom can't be here!" For no apparent reason, a lone Madame Giry approaches the managers and makes a strange movement with one arm in front of the drape, after which the curtain is pulled back to reveal the staircase. This new direction makes her look like Tinker Bell conjuring some pixie dust, which feels very out of character and seems to serve no purpose. Also inexplicably, ensemble member Paul Schaefer now enters the "Masquerade" scene with the group of principals, which seems odd. But the most irksome change to "Masquerade" is new lyrics from the very first "Masquerade!" through the first verse and chorus, until Giry sings "What a night!". Unlike the vocals in the rest of the show, the new lyrics here sound muddled and less poetic than the original lyrics. The choreography has also been changed, which sometimes leaves too few live performers on the staircase, making the mannequins appear more obvious. I noted a few other small changes in the second act: In the "Notes" scene, Christine no longer declares that she won't perform in "Don Juan Triumphant" before running offstage. In the "Don Juan Triumphant" performance scene, the choreography has been significantly altered. It doesn't bother me here as it does in "Masquerade", perhaps because they gave Passarino (the fantastic Jeremy Stolle) more of a leading role. At the end of "Don Juan Triumphant", after Christine unmasks him, the Phantom attempts to flee toward upstage right and Giry steps out in front of him. They stare at each other briefly before he turns and runs off upstage left. When the curtains are subsequently opened at the back of the stage to reveal Piangi's body, he's actually standing up with the Punjab lasso around his neck, which looks laughably absurd (his body used to be lying down). In the final lair scene, the Phantom no longer says "Be my Guest, sir" before raising the portcullis to allow Raoul to enter. Also, he no longer uses a candle from the organ to release Raoul from the Punjab lasso; instead, he grabs the knot and makes a quick tugging gesture, then the rope drops and Raoul falls to the floor. As for technical issues, I noted three: a section of white-blue lightning bolt illuminated in the upper left corner of the backing drape in the mausoleum scene and refused to turn off (this reoccurred on Saturday night as well); the mics for the Phantom and Christine produced a buzzing sound on the house left side of the theatre every time the two actors were at a certain proximity to each other; and in the final lair scene, the monkey's arms didn't move the cymbals when the music box began to play. Obviously, nothing mentioned here is as grievous as the atrocities Cameron Mackintosh was allowed to commit in London. The Broadway production is still 95% the same show, so I will continue to save a slot in my itinerary for Phantom every time I visit New York. ... the Doll Mask is now silver so that it works no matter who is performing the role. ... Yeah the "Come, we must go up! To the roof!" is gone, as is Christine's "I can't, I'm sorry" before the DJT rehearsal, she just gets up and runs out. I also noticed that Andre no longer stumbles over "act 3 of tonight's opera!" He comes out unsure and says "we'd like to give you..." and Madame Giry walks out and bangs her walking stick and then he says "the ballet! from act 3 of tonight's opera!" without searching for it in the program. Edit: I just saw the above posts - thanks guys! Edited November 3, 2021 by DisneyBoy 1 1 Link to comment
Scarlett45 November 3, 2021 Share November 3, 2021 Tonight I am seeing Paradise Square. I am starting to think Wednesday evening shows are a bad idea, I’m going to be so tired!! I am looking forward to it though. 1 Link to comment
aradia22 November 3, 2021 Author Share November 3, 2021 @Scarlett45 Please report back! I'm so intrigued. Is it the next Ragtime or is it trash? I cannot tell from everything I've read so far. It definitely sounds like some messy off-Broadway shows I've seen but some people have remarked on a good score and good performances. 1 Link to comment
Scarlett45 November 3, 2021 Share November 3, 2021 27 minutes ago, aradia22 said: @Scarlett45 Please report back! I'm so intrigued. Is it the next Ragtime or is it trash? I cannot tell from everything I've read so far. It definitely sounds like some messy off-Broadway shows I've seen but some people have remarked on a good score and good performances. I will report back! Link to comment
DisneyBoy November 3, 2021 Share November 3, 2021 (edited) On 10/30/2021 at 8:05 PM, Dr.OO7 said: Having caught today's matinee, belatedly marking the 25th Anniversary of the first time I saw it as well as the first time seeing a black actress in the role of Christine: I heard a bit of that performances online and it was clear the audience was giving her a ton of support. I would usually find OTT hooting and hollering annoying and rude, but given the pandemic and the historic nature of her casting, I was so happy for her and it even got me a bit misty. I really like what I'm hearing of Ben too. On 10/30/2021 at 8:05 PM, Dr.OO7 said: Speaking of the actress, Emilie Koautchou is a MAGNIFICENT Christine. It's a shame that it took 33 years for Broadway to cast its first black Christine, but it was well worth the wait. Her voice is GLORIOUS and her acting is terrific. She had great chemistry with both of her leading men. The guys sounded terrific. She was good, although I miss that rare bell-like quality early Christines had - I'm thinking Brightman, Rebecca Caine, Patti Cohenour. Emilie is very good and will only improve over time, but her tone felt to me slightly heavy, like Audra Macdonald at times. I'm extremely picky when it comes to these characters, though! But again, she sounded very, very good, in control yet with a lot of passion to tap into. On 11/1/2021 at 7:58 AM, Spartan Girl said: The change of “Point of No Return” sounds interesting. I actually think it works better for Christine’s character: on some level, she must have expected the Phantom to crash the performance, so when she realizes it was him, she plays it cool and handle it herself, knowing full well what he’s capable of and trying prevent anyone else from getting hurt. See, I've been confused about this sequence for years now, LOL. In the 90s, I could have sworn Christine figured out it was him early on and leaned into the passion of the song to catch him off guard for the hood removal moment. But in all the performances I've seen since, and even the 80s/90s bootlegs, it seems she consistently only figured it out by rubbing her head on his and feeling the mask and then panicking for "the final threshold". So am I misremembering? And now we have her sensing it midway and not panicking at all LOL. I suppose I prefer a less panicky Christine in theory, but her waving the cops and managers away only to then get kidnapped two seconds later (begging the question: what else did you think he'd do once you publically unmasked him?) is almost funny. "No, no...I got this! Whoopsie, noIdontpleasehelpmeahhhhh!" On 10/30/2021 at 8:05 PM, Dr.OO7 said: When Raoul gets into Christine's room at the end of "Angel Of Music", he spends some time wandering backstage surrounded by the ballet dancers and Madame Geary, instead of us seeing the Phantom and Christine heading beneath the Opera House. Without seeing the doubles descend into the trapdoor, you lose something. I was stunned seeing them pop up at the top of the travelator afterwards the first time I watched the show. I guess this is to cut down on the number of doubles, in case Christine is a POC in that particular performance. But it looks weird starting the thrilling title song by focusing on Raoul wandering the halls. Who cares? We get it - he's confused. It didn't need additional focus. I'm so relieved the proscenium angel is still used in AIAOY. A freestanding statue, like CamMac used in his stupid redesigned tour, would have bummed me out so bad. When did Phantom stop falling through a trap at the end of Masquerade? Edited November 3, 2021 by DisneyBoy 1 Link to comment
Dr.OO7 November 4, 2021 Share November 4, 2021 17 hours ago, DisneyBoy said: A detailed overview of the changes made to Phantom, as detailed by various phans on the BWW boards: As others have noted, a number of lyric changes have been implemented. A few of them make sense, but most accomplish little in terms of furthering the plot or character development. In the prologue, the auctioneer now says something like: "Lot 666, then: a chandelier until recently believed lost. Some of you may recall the strange affair of the phantom of the opera, a mystery never fully explained. We are told ladies and gentlemen, that this is the very chandelier which figures in the famous disaster. Our workshops have repaired it so that we may get a hint of how magnificent it might one day look. Perhaps we may frighten away the ghost of so many years ago with a little illumination...gentlemen!" Regarding humor, the actors in the "Hannibal" rehearsal, "Notes", and "Il Muto" scenes have obviously been directed to emphasize the intrinsic comedic aspects of those scenes. The humor feels less subtle and more deliberate. While I wasn't bothered by these changes, I also didn't feel that they improved the show in any real way. The first significant direction/blocking change occurs when "Angel of Music" transitions to the title song. As in the London production, the Phantom now opens the mirror and draws Christine through it after his first, "I am your angel...", and then the dressing room door springs open and Raoul steps in. The dressing room set piece remains onstage longer, as Raoul exits down the stairs and walks across the front of the stage, where he encounters Giry with a string of ballerinas trailing behind her like ducklings following a hen. They exchange quick "WTF?" looks and then pass one another to exit at opposite sides of the stage. This nonsense is simply there to fill time because the first Phantom/Christine pair, which used to enter from stage left and descend through a trap door, have been eliminated. When the dressing room is finally rolled off stage left, the travelator quickly descends upstage and the only Phantom/Christine pair make their way from one side to the other and back again as the ramp alternately tips at one end and then the other. The second major change occurs at the top of the second act, immediately after the managers sing "...such a pity that the phantom can't be here!" For no apparent reason, a lone Madame Giry approaches the managers and makes a strange movement with one arm in front of the drape, after which the curtain is pulled back to reveal the staircase. This new direction makes her look like Tinker Bell conjuring some pixie dust, which feels very out of character and seems to serve no purpose. Also inexplicably, ensemble member Paul Schaefer now enters the "Masquerade" scene with the group of principals, which seems odd. But the most irksome change to "Masquerade" is new lyrics from the very first "Masquerade!" through the first verse and chorus, until Giry sings "What a night!". Unlike the vocals in the rest of the show, the new lyrics here sound muddled and less poetic than the original lyrics. The choreography has also been changed, which sometimes leaves too few live performers on the staircase, making the mannequins appear more obvious. I noted a few other small changes in the second act: In the "Notes" scene, Christine no longer declares that she won't perform in "Don Juan Triumphant" before running offstage. In the "Don Juan Triumphant" performance scene, the choreography has been significantly altered. It doesn't bother me here as it does in "Masquerade", perhaps because they gave Passarino (the fantastic Jeremy Stolle) more of a leading role. At the end of "Don Juan Triumphant", after Christine unmasks him, the Phantom attempts to flee toward upstage right and Giry steps out in front of him. They stare at each other briefly before he turns and runs off upstage left. When the curtains are subsequently opened at the back of the stage to reveal Piangi's body, he's actually standing up with the Punjab lasso around his neck, which looks laughably absurd (his body used to be lying down). In the final lair scene, the Phantom no longer says "Be my Guest, sir" before raising the portcullis to allow Raoul to enter. Also, he no longer uses a candle from the organ to release Raoul from the Punjab lasso; instead, he grabs the knot and makes a quick tugging gesture, then the rope drops and Raoul falls to the floor. As for technical issues, I noted three: a section of white-blue lightning bolt illuminated in the upper left corner of the backing drape in the mausoleum scene and refused to turn off (this reoccurred on Saturday night as well); the mics for the Phantom and Christine produced a buzzing sound on the house left side of the theatre every time the two actors were at a certain proximity to each other; and in the final lair scene, the monkey's arms didn't move the cymbals when the music box began to play. Obviously, nothing mentioned here is as grievous as the atrocities Cameron Mackintosh was allowed to commit in London. The Broadway production is still 95% the same show, so I will continue to save a slot in my itinerary for Phantom every time I visit New York. ... the Doll Mask is now silver so that it works no matter who is performing the role. ... Yeah the "Come, we must go up! To the roof!" is gone, as is Christine's "I can't, I'm sorry" before the DJT rehearsal, she just gets up and runs out. I also noticed that Andre no longer stumbles over "act 3 of tonight's opera!" He comes out unsure and says "we'd like to give you..." and Madame Giry walks out and bangs her walking stick and then he says "the ballet! from act 3 of tonight's opera!" without searching for it in the program. Edit: I just saw the above posts - thanks guys! There's also a change in the Christine/Meg duet. Instead of "Your face, Christine, it's white", the line is now, "Christine, are you all right?", obviously to include Emilie. Kudos to the casting department for not only casting its first black Christine, but a dark-skinned and natural-haired one too. 2 Link to comment
Scarlett45 November 4, 2021 Share November 4, 2021 @aradia22- my review of Paradise Square: It started off a bit slow, but the actors where quite talented, the set design was simplistic yet innovative, and the message was conveyed well. The stand out for this show was the choreography- which was A+, mixing traditional Irish dance with west African styles and contemporary moves. All of the dancers were amazing. My favorite tunes were “I’d Be a Solider“, “Angelina Baker” and Breathe Easy . I give it a solid B+, it could be an A with some tweaks. It’s only previews. 1 Link to comment
PRgal November 4, 2021 Share November 4, 2021 12 hours ago, Dr.OO7 said: There's also a change in the Christine/Meg duet. Instead of "Your face, Christine, it's white", the line is now, "Christine, are you all right?", obviously to include Emilie. Kudos to the casting department for not only casting its first black Christine, but a dark-skinned and natural-haired one too. I wonder if that's a change that's only used with darker-skinned Christines or a change, period? Are any Christine understudies white or East Asian? Link to comment
Spartan Girl November 5, 2021 Share November 5, 2021 Wicked movie finally cast: Cynthia Erivo and Ariana Granda Mixed feelings about this one. I was hoping for Hailey Kilgore or Amber Riley as Elphaba, but Cynthia is a really good singer, regardless of how I feel about her personally. Link to comment
aradia22 November 5, 2021 Author Share November 5, 2021 WILD choices. Teen actresses were probably not seriously considered but 20-somethings weren't out of the question. Ariana can probably pass better as a college student but still... They are both talented singers but neither of their voices feel like perfect fits for the characters. There have been variations but after Chenoweth, Galinda has a bubbliness with a slight sharpness and a combination of character voice and legit soprano. Ariana either sounds straight pop or... unbothered. She has power if she wants to access it but I can't say I think she's good at conveying emotion with her vocals. Idina gave Elphaba a nasality and some chest voice. Different actresses have navigated the score in their own ways but a lot of them still mimic aspects of her vocals. Whereas I think of Cynthia's voice as easily soaring through high notes, her voice almost has too much lightness and brightness. While both are relatively "known," I think it's smart to pair Cynthia with a superstar like Ariana. I hope the movie still manages some fun and whimsy. I can't picture it right now but I'm hoping for the best. At least they didn't cast "actors who sing." 1 Link to comment
DisneyBoy November 6, 2021 Share November 6, 2021 I'm meh on the casting. Grande doesn't seem goofy enough to me for Glinda. You need to have tons of warmth and the ability to play the fool with wild abandon. She's just stiff. She barely got through Hairspray Live. Cynthia I have seen less of. Elphaba as a POC makes a lot of sense...I just wish the physical performer had some innate resemblance to the Margaret Hamilton archetype. Idina and Eden didn't look much like her but there was something there...Ana Gasteyer was much closer....Cynthia's features are quite different. Cynthia was the one who stirred the pot about Great Comet, right? Anyway, I'm not sure, from hearing her sing A Piece of Sky, that I like her belt or tone for this but....whatever. Maybe she'll act the heck out of it? Shrug. At least they both have careers as singers/performers and we're not getting Meryl Streep with autotune or something. 1 Link to comment
PRgal November 6, 2021 Share November 6, 2021 On 11/4/2021 at 11:11 PM, aradia22 said: WILD choices. Teen actresses were probably not seriously considered but 20-somethings weren't out of the question. Ariana can probably pass better as a college student but still... They are both talented singers but neither of their voices feel like perfect fits for the characters. There have been variations but after Chenoweth, Galinda has a bubbliness with a slight sharpness and a combination of character voice and legit soprano. Ariana either sounds straight pop or... unbothered. She has power if she wants to access it but I can't say I think she's good at conveying emotion with her vocals. Idina gave Elphaba a nasality and some chest voice. Different actresses have navigated the score in their own ways but a lot of them still mimic aspects of her vocals. Whereas I think of Cynthia's voice as easily soaring through high notes, her voice almost has too much lightness and brightness. While both are relatively "known," I think it's smart to pair Cynthia with a superstar like Ariana. I hope the movie still manages some fun and whimsy. I can't picture it right now but I'm hoping for the best. At least they didn't cast "actors who sing." Well, Stockard Channing was around the same age as Cynthia is now when she played Rizzo in Grease..... Link to comment
aradia22 November 7, 2021 Author Share November 7, 2021 Quote Well, Stockard Channing was around the same age as Cynthia is now when she played Rizzo in Grease..... I love Stockard and I wouldn't change Grease but that movie is always cited when people laugh at Hollywood casting actors too old to play teens so it's not a great defense. 4 Link to comment
DisneyBoy November 7, 2021 Share November 7, 2021 How long is Lillias White in Chicago? Do we know if Music Man will do rush tickets? When does it open? Has anyone seen Tammy Blanchard's alternate/understudy as Audrey in the current production of Little Shop? Is that other gal better vocally? Does she have specific days she performs? Thanks! Link to comment
PRgal November 7, 2021 Share November 7, 2021 Too bad I'm not comfortable going to see live theatre yet. Jesus Christ Superstar is landing at the Princess of Wales Theatre here in Toronto at the end of the month (and will be here until January 2) Link to comment
aradia22 November 9, 2021 Author Share November 9, 2021 This is so mean. But also very funny. https://www.change.org/p/keep-james-corden-out-of-wicked-the-movie 2 Link to comment
ancslove November 10, 2021 Share November 10, 2021 Interesting news about Wicked! I like Cynthia, but she looks IMO older than her age, while Ariana looks younger. I know they aren't that far apart, but they just don't seem like classmates. But acting can do a lot to seem older or younger. I worry more about Ariana's acting. I was rooting for Dove Cameron, Kristin Chenowith's other musical theater protege. So will Meryl Streep or Emma Thompson be Madame Morrible? Link to comment
Spartan Girl November 10, 2021 Share November 10, 2021 On 11/9/2021 at 1:30 AM, aradia22 said: This is so mean. But also very funny. https://www.change.org/p/keep-james-corden-out-of-wicked-the-movie They should keep Chris Pratt away too. 2 Link to comment
Wiendish Fitch November 10, 2021 Share November 10, 2021 10 minutes ago, Spartan Girl said: They should keep Chris Pratt away too. Ugh, were they actually considering casting him?! Link to comment
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