Even though I'm one of those dreaded theatre bloggers whom former Bloomberg critic (and now fellow theatre blogger) John Simon called "vermin," I have tried to play the Broadway game. That is, I have dutifully respected embargoes by not reviewing any show until the time it actually opens. After all, that's a Broadway tradition among critics, and I believe if you want to be taken seriously as a blogger, you just may want to observe the rules.
I've also gone so far as to defend this production from one particular writer, who at one time all but suggested that Spider-Man would never make it to Broadway.
Since I always buy my own tickets to see productions, I try my level best to time my attendance for each Broadway show to ensure I'm seeing one of the final previews if the work hasn't already opened.
Such was the case when I first purchased tickets back in 2009, nearly a year in advance of the originally scheduled opening date for early 2010 (those tickets were subsequently refunded after it became clear that the production was temporarily grinding to a halt).
Such was also the case when I bought tickets for a December 18 performance after the newly rescheduled opening night of December 21 was set. Subsequently, opening night shifted to late January. Since I could not get a refund, I decided to go see the preview anyway. Yet, I dutifully remained publicly mum on what I saw on stage, even after Christopher Tierney's nearly fatal fall occurred just two days later.
I further respected the embargo, even after the opening night shifted yet again to February 7, which was when theatre critics Linda Winer (Newsday) and Jeremy Gerard (Bloomberg) provided mini-reviews of preview performances they saw much to the chagrin of the production. Naturally, a spokesman for the production cried foul.
Fast forward to Thursday. With no new reports of mounting casualties or incidents, I began to think that Spider-Man just might open on February 7 after all. I decided to take the plunge and purchase tickets for my third time, booking the show for the very end of January when critics would start seeing the final, untinkered (or "frozen") version.
Later that same evening, reports surfaced that Spider-Man would postpone opening night once again, this time to March 15. Friday morning, I tweeted, "Spider-Man delays opening for fifth time to March 15 to deploy new ending. I should have waited a day to buy new tix."
It wasn't long before I heard from The New York Times' incisive theatre writer, Patrick Healy, who quotes me in his story today on how the producers are defending their decision. I told him, "As a blogger who pays for his own ticket, Spider-Man is getting to be very expensive. This is the second time I thought I had tickets to see a frozen production, only to learn that I'm only going to see another preview. They need to reconsider what they're charging for preview tickets. It's very disappointing to think I'll have to pay even more to come again and see the finished product."
Thanks, Spider-Man,for making me feel like such a chump. You've not only betrayed someone like me who, at least until now, has respected both your creative process and time-honored traditions by remaining silent on what is to be found on your stage (as well as flying over your audience), but through what is looking more and more each day like a web of deceit, you've also likely duped thousands of audience members who think they're seeing a finished product and paying full price to do so. That's just wrong.
In keeping with the Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Last evening's terrifying accident at Spider-Man: Turn Off The Dark certainly is leaving us hoping the best for actor (and Spider-Man stunt double) Christopher Tierney, who was reportedly in serious but stable condition after the mishap.
But the video above offers perhaps the best analysis of the inherent dangers of Broadway shows and nuanced perspective missing in other reporting. Seriously.
Here's wishing Tierney a speedy and full recovery.
This is Steve On Broadway (SOB). In keeping with the Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
I'll wager most Americans have no idea the Salvation Army is actually an organized religious faith that they're supporting every time they throw their loose change into one of their bell ringer's little red pots at this time of year.
Speaking of organized religion, I still can't help but wonder what the Church of Jesus Christ of Latter Day Saints, more commonly known as Mormons, will think of the upcoming Broadway musical The Book Of Mormon. As I've previously said, I will vigorously defend the right to freedom of speech, but I have serious doubts the show's creators would ever have moved forward with a production lampooning the Islamic faith.
As for bell ringers, move your cursor over the doorknob on The Book Of Mormon's Web site and you'll hear a completely different variety. (At least no one was asking me for money, unless you count the show's tickets that start at $59.)
In keeping with the Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
In keeping with the Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Sure this post is two days late, but I've been reeling, feeling bloody awful in the wake of two high profile closingnotices that went up this week.
Although I'll have more to say on the other one shortly, let me discuss my dismay that Bloody Bloody Andrew Jackson received the ax on Wednesday. (Almost immediately after the closing notice was posted, the shiny starry revival of That Championship Season -- which on paper stands to be a bigger box office success -- announced it would take BBAJ's Bernard B. Jacobs berth starting in February.)
Yes, my review was among the minority taking a dim view of the show. But I was rather enthusiastic about Michael Friedman's rollicking rock score and the brilliant star-making turn offered by Benjamin Walker as the eponymous 7th President.
My dismay is two-fold.
First, while I can't claim to be among the production's boosters, my hat is off to the enormous effort expended by director Alex Timbers and the Public Theater to make Broadway relevant to a new audience. I fully appreciate that I may be getting a little long in the tooth and may not be the type of audience a show like this was seeking. But I fully support their valiant attempt to infuse fresh new, er, blood into the Great White Way.
Second, I submit that the box office wasn't that bad. Last week, the production grossed $442,113, playing to a capacity of 64.7%. Though those are not the greatest figures, they're far from the worst, which includes shows that are barely attracting 50% and have indicated that they'll be around for a longer haul. Certainly the box office would likely have improved over the upcoming holidays, right? Unfortunately, a lot of talent will be out of work when the show closes January 2.
One silver lining at the box office has been that Bloody Bloody Andrew Jackson's average ticket price was at a respectable $82.92 last week -- that's just under the average ticket price for The Phantom Of The Opera, which grossed over $1 million last week.
Perhaps BBAJ's producers should have given considerably more thought to how to attract their target audience, who simply can't afford Broadway prices. My recommendation before the show opened was for them to invest in a $20 ticket promotion -- you know, with that guy on the bill who happens to be the star of the show. My hunch is that they could have earned a major steam of buzz and the type of word-of-mouth that could have kept the show open considerably longer.
Instead, we have a closing notice coming too bloody soon.
In keeping with the Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value directly in exchange for this post.
Something occurred Sunday evening that even Michael Riedel of the New York Post probably didn't expect ever would. Spider-Man: Turn Off The Dark actually began preview performances.
But now a column by The New York Times' Patrick Healy questions whether Spider-Man will have legs. His story indicates that the Foxwoods Theatre's new General Manager Erich Jungwirth has begun introducing himself to producers, asking them to consider his 1,932 seat venue for their Broadway shows.
Just smart business or a desperate move?
For the record, I have my ticket to see Spider-Man on Saturday, December 18. It was initially to be among the final preview performances before the previously scheduled December 21 opening, but now it will simply be one of nearly 50 previews leading up to the new opening night of January 11.
To be honest, I can't wait to see it. And no, I am certainly not hoping for a colossal failure. Since I pay for every ticket to every show I see, I go into each one hoping for the best. Whatever Spider-Man: Turn Off The Dark turns out to be, it will likely be one to really remember.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Millions To Finally Get Sense Of Spidey Musical Sunday
For many Broadway shows, there's no better place than Macy'sThanksgiving Day Parade to show millions of Americans what you've got through the television exposure on NBC, let alone the estimated 3.5 million who line New York City streets.
Yet, this Sunday, Spider-Man: Turn Off The Darkwill reach tens of millions via TV's venerable "60 Minutes" news magazine (see video above). It's all too much of a rarity for "60 Minutes" to focus on Broadway. So kudos to CBS for focusing on at least one of the Great White Way's newsworthy musicals.
For the millions of football fans who stay tuned to CBS, they'll get an inside look at the musical that's still causing headlines and headaches for the beleaguered, delayed $60 million production. Spider-Man: Turn Off The Dark is supposed to start previews on the very same day as the broadcast: November 28.
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Want to be among the very first to get tickets for The Book Of Mormonmusical on Broadway?
Then you must visit its creators' "South Park" site where they say, "tickets are now on sale to 'South Park' fans only." Truth is, all anyone needs to do is click on the link and they'll have access to the tickets.
Since yesterday's news release doesn't really say much about what to expect from the musical itself, you'll have to follow the link to tickets to unearth any real description of the show:
From Trey Parker and Matt Stone, four-time Emmy Award-winning creators of "South Park" comes this hilarious Broadway musical about a pair of mismatched Mormon boys sent on a mission to a place that’s about as far from Salt Lake City as you can get. The Book of Mormon is written in collaboration with Robert Lopez, the Tony Award-winning writer of Avenue Q, and co-directed by Mr. Parker and three-time Tony nominee Casey Nicholaw (Spamalot, The Drowsy Chaperone). Performances begin at the Eugene O'Neill Theatre on February 24, 2011. Contains explicit language.
Honestly, a better understanding of the upcoming work can be found in this video:
Why do I have a suspicion that the powers that be in Salt Lake City will be keeping a close eye on this show?
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In one of this year's most inspired casting decisions, the producers of the current revival of La Cage Aux Follesannounced today that Harvey Fierstein will replace Tony Award-winning actor Douglas Hodge as Albin starting February 15, 2011, for twelve weeks.
Fierstein won his third Tony Award for writing the book for La Cage Aux Follesback in 1984. The tuner would not only win that year's Tony for Best Musical, but would go on to become the only musical in Tony history to win Best Revival for each successive production -- both in 2005 and again this year.
Surprisingly, for all his acting honors, Fierstein has never before acted in a production of La Cage. His presence come February will certainly make me want to return again.
The only question remains, who will replace Kelsey Grammer after he leaves the show on February 13? If the producers really want to carry their inspiration to the Nth degree, how about bringing on Arthur Laurents, director of the original production? He may be a cantankerous senior and may not have liked the current incarnation, but it would be a hoot to see him tackle the stage.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Another New Musical In The Picture For Broadway Season
Yesterday came news from Roundabout Theatre Company that yet another new musical would open cold on Broadway without the benefit of any tryout somewhere else. This time, it's one with Tony-winning actress Donna Murphy called The People In The Pictureabout a Holocaust survivor.
Directed by Leonard Foglia, the tuner is the work of Iris Rainer Dart ("Beaches"), who has written both the book and lyrics. Music from Mike Stoller and Artie Butler will also be used, although it's not immediately clear if their familiar tunes are simply being incorporated into the musical, matched with Rainer Dart's lyrics or if they've written something new altogether.
Once the darling of the Yiddish Theatre in pre-war Poland, now a grandmother in New York City, Bubbie (Murphy) has had quite a life. But what will it all mean if she can't pass on her stories to the next generation? Though her granddaughter is enchanted by her tales, her daughter Red will do anything to keep from looking back. A fiercely funny and deeply moving new musical that spans three generations, The People In The Picture celebrates the importance of learning from our past, and the power of laughter.
Given Rainer Dart's most prominent writing credit, I have little doubt that this could very well be the weepiest entry into this Broadway season. But say what you will, it'll be very nice to have Murphy back on the boards again.
The People In The Picture is slated to begin previews at the American Airlines Theatre on April 1, 2011. The limited run will open on the cusp of Tony eligibility (April 28) and conclude performances on June 19.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
This morning, it was announced that Lin-Manuel Miranda's In The Heights would close January 9, 2011, after 1,185 regular performances on Broadway. In tandem with the closing notice, it was also announced that Miranda will return to the role of Usnavi on December 25 for the last two weeks of performances.
While the Tony-winning Best Musical of 2008 has been hovering in the 60-plus percent capacity range over the last month, a story posted yesterday by The New York Times' Patrick Healy underscored the ongoing challenges In The Heights and a handful of other shows face:
Most plays need to earn 40 percent to 45 percent of their maximum possible gross to cover weekly running costs....
Other musicals that were under the 55 percent threshold last week were two shows that opened last spring, American Idiot (at a modest 39 percent) and Million Dollar Quartet (47 percent), as well as long-running hits Chicago, In the Heights, Mary Poppins, Next to Normal and West Side Story (which previously posted a closing notice for January 2).
I can't help but wonder how many of the other shows on Healy's list will post their closing notices in the weeks to come. Currently, 15 Broadway shows are scheduled to close during the month of January 2011. Although to be fair, 10 of them were only originally slated as limited runs.
This year, In The Heights resorted to stuntcasting, first with Corbin Bleu of "High School Musical" fame taking on the role of Usnavi, and more recently with "American Idol" winner Jordin Sparks joining the cast as Nina. Unfortunately, Sparks' addition hardly ignited any additional box office for the show, and she's currently set to depart the production on November 14.
Personally, I admired and certainly liked In The Heights when I saw it in April 2008, but didn't think it rose to the lofty heights of a Broadway musical. I wrote:
While Miranda & Co. deserve enormous credit for wearing their ginormous hearts on their sleeves, pants legs and virtually everything else in sight including via an impressive 11 o'clock graffiti-cum-work-of-art, I discovered even I'm capable of finding a mushy musical just a tad too treacly.
Despite the promise of something new, including Miranda's hotter than salsa hip-hop funk, In The Heights never quite soars, even with the ebullient energy infused through Andy Blankenbuehler's joyous choreography. Instead, it's a hackneyed pastiche of storytelling we've seen too many times before.
On the plus side -- and it is a huge plus -- is that In The Heights provides a significant and positive yet all too rare depiction of a slice of our Hispanic community on stage. In that respect, it remains a solid winner.
In addition to opportunities to see the show on Broadway through January 9, a touring production is winding its way through the United States and Puerto Rico through April 2011 (its next stop is Sacramento in early November).
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It captures the spirit of the show in one fell swoop. I've been consistently and thoroughly impressed with the production's Website, poster and social networking skills on Facebook and Twitter. They clearly know what they're doing.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Bloody Bloody Andrew Jackson (The SOB Review) - Bernard B. Jacobs Theatre, New York, New York
*1/2 (out of ****)
The emperor -- er, president -- has no clothes and his name is Andrew Jackson.
Sure the mob rule in Bloody Bloody Andrew Jacksonmay be all sexypants. But sexy ain't necessarily pretty, unless you mean pretty dumb.
Proudly wearing its anachronistic satire on its tight pant leg, this emo-rock musical ever so loosely based on the life of the seventh president of the United States at least has two considerable things working in its favor: Michael Friedman's bloody good score and its game cast led by the charismatic Benjamin Walker in the title role. It's understandable how these two aspects of the show alone could provide a groundswell of support.
But then there's Alex Timbers' book. Tempted as I am to say it's clever by half, in truth it's rarely clever. There are flashes of brilliance, but too often it parades as a sophomoric "Schoolhouse Rock" with Looney Tunes sound-effects. Except this is a pottymouth history lesson you'd never want your kids to learn if you cared a wit about the all the facts.
While Timbers' anachronistic direction doesn't bother me, his often disingenous deconstruction of early American history does. Yes, there are many parallels that can be drawn between Jackson's time and today. But Timbers' obtuse book fails to connect the dots satisfactorily. So sloppily written is this show at times that you'd think Jackson's biggest headache was in dealing with a Republican-dominated Congress, even though the GOP as we know it wasn't formed until nine years after his death.
I'm fully aware that mobs of critics practically hoisted this Andrew Jackson on their shoulders, celebrating it after first opening earlier this year at the Public Theater. But populism ain't all it's cracked up to be, and I resist mobs.
So even though this mob at least rocked my world, it's incapable of ruling it. As a result, Bloody Bloody Andrew Jackson fails to earn my vote. Ironically, since the real Andrew Jackson championed the individual, I think he may have understood.
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If you're wondering what all this sexypants business has to do with America's 7th President, the official website for Bloody Bloody Andrew Jackson offers up the following description:
This spring's biggest downtown hit was undoubtedly Bloody Bloody Andrew Jackson. Rolling Stone called it "the season's best musical" and audiences flocked to The Public Theater -- where iconic shows like A Chorus Line and Hair started out -- to see what the daring young creative team Alex Timbers (writer/director) and Michael Friedman (composer/lyricist) had cooked up. Now, by populist demand, their bloody brilliant show is packing up its tight, tight jeans and heading to Broadway!
In Bloody Bloody Andrew Jackson, rising star Benjamin Walkerreprises his role as America's first political maverick. A.J. kicked British butt, shafted the Indians and smacked down the Spaniards all in the name of these United States -- who cares if he didn't have permission? An exhilarating and white-knuckled look at one of our nation's founding rock stars, Bloody Bloody Andrew Jackson recreates and reinvents the life of "Old Hickory," from his humble beginnings on the Tennessee frontier to his days as our seventh Commander-in-Chief. It also asks the question, is wanting to have a beer with someone reason enough to elect him? What if he's really, really hot?
Will critics pounce on the show like a $20 bill? I'll provide my own SOB Review shortly.
This is Steve On Broadway (SOB).
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Initially, theBartlett Sher-helmed tuner was to have commenced previews on October 2. Then the start date was pushed back to October 5. It was less than two weeks ago that the production announced its second delay when Sher cited the “enormous, complex undertaking” involved in ensuring every aspect of the production came together by the time the first curtain went up on the show.
Well, so much for that. In attendance for this past weekend's earliest previews were two bloggers, The Broadway Critic and Family Circle.
The Broadway Critic caught the very first preview, which inadvertently became the very first run through of the musical in its entirety. The blogger noted how Sher asked the audience for "love, kindness and to come back to see the show.” But so infuriated was The Broadway Critic by the end of the evening that he called the show "a disaster" and said he wanted his money back.
On the flip side, Family Circle saw the show Saturday evening and noted that despite all the kinks that still must be worked out, the show was deemed as "already very much on solid ground." Family Circle summed up the post by stating, "Yes, the production has issues, but it holds significant potential. Give Women a month and I am confident that this will be the musical to beat this season."
Although The Broadway Critic most definitely saw the glass as being half-empty to Family Circle's half-full -- and one has to wonder if any significant improvement occurred from the first night to the second -- the fact that either of them wrote passionately about their experiences (remember, this musical began previews on Broadway without the benefit of enough technical rehearsal time, let alone no out-of-town tryout) speaks volumes about how rapidly good and bad word-of-mouth can spread in the age of social networking. When anyone with a platform can buy a ticket for a preview, he or she can do considerably more damage from their soap box than producers ever dreamed possible just a decade ago.
Of course, had Sher and company pushed back the first previews any more, the move would be been met by two consequences. First, a third push back would have signalled -- rightly or wrongly -- that the show was beset with issues; in other words, the show may have been perceived as being in trouble. Second, given how well the advance box office for Women On The Verge is doing (it's one of this season's toughest tickets already), the production would have had to deal with a couple thousand angry ticket holders who would not be so easily reaccommodated anytime soon.
What would my take have been had I been in that first preview audience?
Certainly, there's a part of me that would have wanted to post my account of what occurred, and I can't fault either of the two bloggers for sharing theirs. However, in the end, I think I would have resisted by instead thinking how only in live theatre are you accorded the rarest of rare opportunities to see a blooming production, thorns and all, as it is just beginning to unfold.
But I readily admit that I'm the exception to the rule -- something producers must consider before allowing any show to start previews before they're absolutely ready for their paying public.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
So goes "And The Money Kept Rolling In," from Evita. It's an appropriate metaphor for the breathtaking, rapid-paced revival currently being mounted by the Twin Cities' Theater Latté Da.
Helmed with muscular invention by estimable director Peter Rothstein, Evita could very well be his most ambitious work yet. Evita not only steams across the stage like a speeding locomotive, but it also manages to soar to high-flying heights for this highly innovative theatre company.
Never one to rest on his laurels as one of the Minnesota theatre's premier directors, Rothstein doesn't seem content to let his audience rest either. Indeed, Evita zips by in a quick two hours and twenty minutes (intermission included). Much of the breathtaking propulsion is set by choreographer Michael Matthew Ferrell's entrancing tango, in which every actor is summoned to partake.
Fortunately, Rothstein has found exceptional talent to keep up with nary a breath.
As Evita herself, Zoe Pappas offers a towering if often overpowering performance. But that seems completely justified given Eva Peron's own commanding reach for fortune and fame. Pappas invites them in as a first-rate triple threat. She demonstrates enormous confidence and competence in finding the Argentine First Lady's subtle shadings. Pappas' vibrant singing voice could easily fill an auditorium ten times the size of the McKnight, and her dancing prowess is one rarely seen in leading ladies.
Yet it's the enormously charismatic Jared Oxborough whose little touch of star quality grabs hold of you long after you leave the theatre. As Che, Oxborough infuses his narration with so much star power that it's a wonder he's not performing on a Broadway stage. Blessed with natural charm and an intoxicating singing voice, Oxborough makes it seem so effortless. It came as a shock for me to learn that this gifted actor recently graduated from college where he was better known for his agility on the ice (as in hockey). He practically skates circles around the rest of the cast.
While not perfect, there is much to adore about this Evita -- arguably the best and most satisfying of musical collaborations between Andrew Lloyd Webber and Tim Rice. Musical director Denise Prosek manages to make her quartet sound like a full orchestra. Rick Polenek's monumental scenic design sets a new benchmark in excellence for the company, supplemented handsomely by Paul Whitaker's wonderfully evocative lighting. And Rich Hamson's impeccable costume design ensures that this Evita is dressed to the nines.
As for the tune referenced at the top?
Well, fortunately for Twin Cities audiences, there is no blink or you'll miss it. Excellent advance ticket sales already came rolling in, enabling Evita to extend its St. Paul engagement by another two weeks through November 14, 2010.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post. However, in the interest of full disclosure, please note that I am not only a donor to Theater Latté Da, but I also participate in its community advisory council.
As if it weren't bad enough that Love Never Dies director Jack O'Brien and choreographer Jerry Mitchell already jumped ship for what they certainly must hope is smoother sailing with their other more promising project -- you guessed it -- Catch Me If You Can -- the irony of the Marc Shaiman/Scott Wittman/Terrence McNally musical capturing Love Never Dies' place at the Simon Theatre must add insult to injury for Sir ALW. One can only imagine the intrigue that's taken place behind the scenes. (UPDATE: Producers for Love Never Diesannounced on October 1, 2010, that the show would not be mounted on Broadway during the 2010-11 Theatrical Season.)
For composers Shaiman and Witttman, this will mark a homecoming of sorts as their only other full-fledged Broadway musical -- the Tony Award-winning Hairspray -- occupied the Neil Simon for six and a half enormously successful years. If Catch Me If You Can catches on with critics and audiences, it'll become the first regular show to have succeeded since their earlier work closed at the beginning of last year.
While casting has yet to be announced, such acclaimed Broadway draws as Norbert Leo Butz, Aaron Tveit, Tom Wopat and Kerry Butler starred in the out-of-town tryout in Seattle last summer. I know I'm not alone in hoping each of these talented actors can be caught yet again to reprise their roles on the Main Stem.
Previews for Catch Me If You Can are scheduled to begin March 7, 2010, and open April 10.
As for Andrew Lloyd Webber? Well, perhaps he'll think twice about never saying never when naming a musical.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
"First when there's nothing but a slow glowing dream..."
Unfortunately, truer words may have never been more prescient than those opening lines to the signature tune for Flashdance - The Musical were last evening. There was nothing but dreams for audiences who had tickets as maniacal technical issues forced postponement of the first preview for Flashdance The Musical at London's Shaftesbury Theatre until tonight. (What? They couldn't get the water bucket to work properly?)
Sparks will fly as the West End Premiere of Flashdance - The Musical explodes onto the stage starring Matt Willis as Nick and Victoria Hamilton-Barritt as Alex.
Set in Pittsburgh USA, Flashdance - The Musical tells the story of 18 year old Alex, a welder by day and ‘flashdancer’ by night, whose dream is to obtain a place at the prestigious Shipley Dance Academy. Flashdance - The Musical is full of pulsating raw energy and breathtaking choreography by Arlene Phillips (and) promises to be the theatrical event of the year!
If you're a young New Yorker, you'll be forgiven for thinking the musical takes its name from one of the Big Apple's most prominent strip clubs. But it's actually based on the enormously popular, yet critically reviled, film from 1983.
The musical will feature many of the songs from the movie soundtrack, including the title tune, along with 14 new songs composed by Robbie Roth and Robert Cary.
What's my feeling? Well, I realize the Brits do love this kind of show. But for every Priscilla Queen Of The Desert, there seem to be two or three Dirty Dancings and We Will Rock Yous proliferating exponentially in theatre spaces all over the West End.
Will this show have it all? We'll know in a flash when reviews come in after the show opens October 14.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Yesterday came news that the stylishly inventive Australian auteur has his eyes set on bringing that cult film to the stage via a new musical. Through "Strictly Ballroom," Luhrmann may have singlehandedly reinvigorated a flagging dance genre, well over a decade before the likes of "Dancing With The Stars" and Broadway's Burn The Floor.
Luhrmann is certainly no novice to the Great White Way, having produced and directed the magnificent La Bohème, which earned both him and the show Tony nods back in 2003. For me, having been a fan of his visionary work on the silver screen, his reimagined Puccini opera was the single best show I had seen that entire season. And I'm still been raving about the beautiful, if unsung, design elements offered by Luhrmann's wife, Catherine Martin to this day. I once wrote rather wistfully:
Credit Baz Luhrmann with the spellbinding genius for making one of the most enduring of operas into an accessible and excellent theatrical event. Not since Dorothy landed in Oz have I witnessed as glorious a transformation from black and white to full blown color as I did during this amazing production. In this case, it occurred when love was in full bloom. I only hope that Luhrmann won’t stay away from Broadway too much longer.
According to The New York Times' Patrick Healy:
Mr. Luhrman said that while the plot, central characters, and some of the music from the movie would be transposed to the musical, he was approaching the design, atmospherics, and some elements of the score and lyrics with “an open mind and excited imagination.”
Since the creative workshops set for Sydney are still a few months away, audiences won't see Strictly Ballroom - The Musical anytime soon. And as shows like Priscilla Queen Of The Desert have demontrated, it can take years for a show to wind its way from Australia to Broadway.
But strictly between you and me, with Luhrmann at the helm, I have little doubt that it will be worth the wait.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
No doubt banking that the best way to spread Christmas Cheer, is singing loud for all to hear, Warner Brothers Theatre Ventures is returning to the Great White Way with the musical version of one of my recent Holiday film favorites: Elf (2003).
Elf - The Musicalis set to play Broadway's Al Hirschfeld Theatre beginning on November 2, 2010. The tuner will open on November 14, just in time for the Holiday season that begins in earnest over Thanksgiving.
Currently scheduled through January 2, 2011, the limited engagement will get a boost this Saturday at 12:30 p.m. when Arcelus officially opens the Hirshfeld box office with prize giveaways including chances for young audience members to win walk-on roles.
On the official Elf - The Musical website, the stage adaptation is described as follows:
Will audiences be willing to pass through the seven levels of the Candy Cane forest, through the sea of swirly twirly gum drops, and perhaps even walk through the Lincoln Tunnel just to see this stage adaptation? As Broadway's only real Holiday show this season, the production just might provide the elfin magic Warner Brothers is hoping for.
In keeping with the new Federal Trade Commission (FTC) regulations that unfairly discriminate against bloggers, who are now required by law to disclose when they have received anything of value they might write about, please note that I have received nothing of value in exchange for this post.
Rain: A Tribute To The Beatles Limited run extended through May 31, 2011 (Show will go on hiatus starting January 15 and reopen at Brooks Atkinson Theatre on February 8)
Rock Of Ages - Open-ended run (Show will go on hiatus starting January 9 and reopen at Helen Hayes Theatre in March)
As someone who has been involved in both politics and public relations, it's no wonder I love watching theatre. Good or bad, it's the raw energy of seeing a live performance that gets my adrenaline pumping. From the moment I saw my very first Broadway show ("Annie" in London in 1979), I was hooked. Now I see as many as 70 shows each year ranging from soaring musicals to two-hander plays. And these eyes just may be in an audience near you!
Et Tu, Spider-Man?
