musicaltheatrefan
|
Annaleigh leaving April 20![url]http://en.wikipedia.org/wiki/Wicked_(musical)_cast_lists#Broadway_Cast_Replacement_History[/url]
Well, April 20 is a Sunday and Kendra comes in that Tuesday!
So, by the time that Kerry comes in, it will be her and Kenrda
|
musical_girl_2
|
I'm gonna miss Annaleigh...although I'm happy Kendra is coming back!
K&K Kendra & Kerry!
|
wicked_boy
|
Do you think Annaleigh will be returning to any production?
It would be kinda cool if she came to London.
|
Timmy_Wishes he was Quast
|
Ok. I'm gonna say this. I DON'T want Americans in our West End musicals. I want home-grown talent. So why not use it rather than encourage this silly swapping thing? There's not enough opportunities out there for our actors as it is so lets give them a fighting chance and back our home grown ladies and gents. *vent over*
|
wicked_boy
|
| Timmy_Wishes he was Quast wrote: | | Ok. I'm gonna say this. I DON'T want Americans in our West End musicals. I want home-grown talent. So why not use it rather than encourage this silly swapping thing? There's not enough opportunities out there for our actors as it is so lets give them a fighting chance and back our home grown ladies and gents. *vent over* |
Michael Ball and the rest of the Hairspray cast is English, mostly. Same for Grease, Joeseph, Les Miz etc.
|
mastachen
|
| Timmy_Wishes he was Quast wrote: | | Ok. I'm gonna say this. I DON'T want Americans in our West End musicals. I want home-grown talent. So why not use it rather than encourage this silly swapping thing? There's not enough opportunities out there for our actors as it is so lets give them a fighting chance and back our home grown ladies and gents. *vent over* |
Just out of curiosity, who's the Quast you refer to in your username? And don't be ridiculous. There are lots of opportunities for English stage actors everywhere in the world.
|
Timmy_Wishes he was Quast
|
The Quast i mention in my screen name is irrelevant. I am aware of the fact that there are many opportunities out there but there is this current obsession it seems to avoid home grown new talent, the same old war horses are mentioned over and over. And quite frankly it's getting on my tit's. Why can't people celebrate their own talent rather than saying..."Oh i hope this one or that one comes to see star in X show". I probably shouldn't have written "our actors" i meant a more general term..."actors"...there.
You want to know why? In my opinion it's because producers sell (or should that be whore) their shows to the cash cow known as the fan girl who will follow the "star" whenever they go....hence Kerry's transfer to Broadway. Good for her. I don't want to belittle her success but this thing has gone beyond a joke. Yes allow actors to expand their playing arena but lets use the "local" talent first. It's not just English actors that deserve a break, it's all those actors around the world who are out of a job and are every bit as talented as those working on the stage tonight, and tomorrow night. So lets give them the chance they deserve, if they've got it. Let them flaunt it.
|
MiLeZ
|
| Timmy_Wishes he was Quast wrote: | The Quast i mention in my screen name is irrelevant. I am aware of the fact that there are many opportunities out there but there is this current obsession it seems to avoid home grown new talent, the same old war horses are mentioned over and over. And quite frankly it's getting on my tit's. Why can't people celebrate their own talent rather than saying..."Oh i hope this one or that one comes to see star in X show". I probably shouldn't have written "our actors" i meant a more general term..."actors"...there.
You want to know why? In my opinion it's because producers sell (or should that be whore) their shows to the cash cow known as the fan girl who will follow the "star" whenever they go....hence Kerry's transfer to Broadway. Good for her. I don't want to belittle her success but this thing has gone beyond a joke. Yes allow actors to expand their playing arena but lets use the "local" talent first. It's not just English actors that deserve a break, it's all those actors around the world who are out of a job and are every bit as talented as those working on the stage tonight, and tomorrow night. So lets give them the chance they deserve, if they've got it. Let them flaunt it. |
Agreed. I like hearing the talent now, but after all...there ARE more than 4 or 5 females who can play these roles or any roles. At the end of the day, it's a job and there are actors out there who need jobs to live and support their families. It's kind of like when reality tv people are put into a movie or show without earning it.
|
mastachen
|
| Timmy wrote: | | Why can't people celebrate their own talent rather than saying..."Oh i hope this one or that one comes to see star in X show". |
Nobody is doing anything to spite anybody. The reason most people wanna see Annaleigh Ashford is probably because they've heard good things about her performance and want to see it for themselves. What's wrong with that? It's not like the last two Glindas England had were any good, imo.
| Timmy wrote: | | there is this current obsession it seems to avoid home grown new talent |
And I see no current obsession to avoid home-grown talent, whether it's in England OR the US. Why don't you give me a count of English actors on West End compared to the number of American actors? I can assure you English actors by far outnumber American actors, or actors from other countries. This is something that's been going on for a long time too. Foreign actors on the American/English stage is nothing new. Patti LuPone, Bernadette Peters, Lea Salonga, Drew Sarich, Ewan McGregor, Philip Quast and Marin Mazzie are just a few that comes to mind right now, who've graced the stage of a country that they weren't born in back in the day.
| Timmy wrote: | | The Quast i mention in my screen name is irrelevant. |
I think your username is very relevant. I'm pretty sure it's a reference to Philip Quast, and thus by your logic, he shouldn't have any jobs in England until all English actors have been exhausted. The only reason you said it was irrelevant is it makes you look stupid right now.
| Timmy wrote: | | In my opinion it's because producers sell (or should that be whore) their shows to the cash cow known as the fan girl who will follow the "star" whenever they go....hence Kerry's transfer to Broadway. Good for her. I don't want to belittle her success but this thing has gone beyond a joke. |
I have no doubt that producers are trying to "sell" their show. I mean, who doesn't? A big name sells tickets. Everybody knows that. Wicked costs tens of millions of dollars to put on. The producers would want to earn that money back any way they can. But it's not like they're selling out their show for bad talent, either. Kerry Ellis is a very talented individual, and so is Annaleigh Ashford. And I don't see how it was a joke in the first place. Do you realize the amount of work and paperwork that is needed for such a swap? They need to get permission from the AEA, the British actors union, and immigration officials. It's not like producers can just say, 'ok let's send Kerry over' and it'll happen. When somebody puts in that much effort, it's fairly apparent they want to share the talent instead of stifle other people's opportunities.
| Timmy wrote: | | So lets give them the chance they deserve |
Nobody deserves anything. If they were good enough, and they go and audition, they'll get it. Was it you that said Lea Michele was entitled to play Eponine? This is the type of thinking that creates divas.
|
Timmy_Wishes he was Quast
|
| Quote: | | Nobody deserves anything. If they were good enough, and they go and audition, they'll get it. Was it you that said Lea Michele was entitled to play Eponine? This is the type of thinking that creates divas. |
I think this out of all your comments annoys me the most. Everyone deserves an opportunity to show off their talent. Regardless of what you my have an opinion of and i for one think that our Glinda's have had a very tough time of it from the audiences. And quite the contrary it is the idea that the they are the "star" (or the name that's selling the show) that makes diva's, giving them the chance to play the character is something else entirely.
| Quote: | | I think your username is very relevant. I'm pretty sure it's a reference to Philip Quast, and thus by your logic, he shouldn't have any jobs in England until all English actors have been exhausted. The only reason you said it was irrelevant is it makes you look stupid right now. |
No it's irrelevant because it's my personal choice of supporting his talent. And i don't deny that my argument would make him exempt. And i don't appreciate the personal attack, i'm far from stupid. By all means attack my argument, but not my personal choices.
Thanks for the support Milez thought i was the only out there with this opinion.
|
wicked_boy
|
85% of actors are currently out of work.
For every one actor on stage, there is an average of 8 people behind the scenes.
Just because they wish to be an actor, doesn't mean they can't work behind the scenes and still be involved in theatre, such as a director, costume designer or something else if they wish to shine.
|
mastachen
|
| wicked_boy wrote: |
Just because they wish to be an actor, doesn't mean they can't work behind the scenes and still be involved in theatre, such as a director, costume designer or something else if they wish to shine. |
I actually agree with this. It's what I do... or want to do.
| Timmy wrote: |
I think this out of all your comments annoys me the most. Everyone deserves an opportunity to show off their talent. Regardless of what you my have an opinion of and i for one think that our Glinda's have had a very tough time of it from the audiences. |
I don't really understand your Glinda comment. Other than the two you quoted, I have no idea which comments you don't like and why you don't like them, so...meh.
| Timmy wrote: | | And quite the contrary it is the idea that the they are the "star" (or the name that's selling the show) that makes diva's, giving them the chance to play the character is something else entirely. |
I still don't think anybody deserves anything. If you want something, you have to work to get it. I feel the same for everybody. Just because Lea Salonga wins hella awards for Miss Saigon doesn't mean that she should just be given a role that she's never done before. It's the same as a lesser known actor. I don't think we should give them a role, no matter how talented that person is, just so we can give them an opportunity. The best people get the best roles.
| Milez wrote: | | At the end of the day, it's a job and there are actors out there who need jobs to live and support their families. It's kind of like when reality tv people are put into a movie or show without earning it. |
What does reality TV have anything to do with it? You don't think those people who apply also go through a stringent screening process?
And who cares if they get it without earning it anyways, if they do? Do YOU want to be on reality TV?
| Timmy wrote: | | No it's irrelevant because it's my personal choice of supporting his talent. And i don't deny that my argument would make him exempt. |
Then how do you reconcile that? You like Philip Quast until he goes perform in England?
|
Catherine
|
| Timmy_Wishes he was Quast wrote: | | Ok. I'm gonna say this. I DON'T want Americans in our West End musicals. I want home-grown talent. So why not use it rather than encourage this silly swapping thing? There's not enough opportunities out there for our actors as it is so lets give them a fighting chance and back our home grown ladies and gents. *vent over* |
Yes! I Agree with you! I want another English Elphie!
|
wicked_boy
|
Masta, I totally agree with you on this one.
|
Pounce
|
I have no problem with using “local talent” but theater is a business and it has to attract a paying audience. I’ve seen many local productions hire well known talent for the lead roles and the rest being filled out locals. One or two people might miss out on the exposure and pay of the lead roles but as stated above, a lot of locals are still getting paid.
I saw Annaleigh as an understudy in Wicked. I was initially disappointed but it wasn’t long before I was thinking…hey…this girl is good! The system might have its faults but I think in general the “cream” eventually rises to the top.
|
musikal_geek
|
Let's turn this around, then- only actors from New York can star in Broadway shows.
Whaddya think?
|
Timmy_Wishes he was Quast
|
| Quote: | | I still don't think anybody deserves anything. If you want something, you have to work to get it. I feel the same for everybody. Just because Lea Salonga wins hella awards for Miss Saigon doesn't mean that she should just be given a role that she's never done before. It's the same as a lesser known actor. I don't think we should give them a role, no matter how talented that person is, just so we can give them an opportunity. The best people get the best roles. |
This is actually the point i was making. You're actually agreeing with me. That people should be given the chance over the "star" attraction, if they have the talent and are suitable. BUT lets face it often producers cast the big name for the sake of the pennies rather than the integrity of the show.
| Quote: | | Let's turn this around, then- only actors from New York can star in Broadway shows. |
If that's how petty you want to take this discussion then go ahead. But count me out. I'm not being that specific. My point is that if there is the new or different talent then that should be experimented rather than recycling the same actresses in the same roles, but different locations.
| Quote: | | theater is a business and it has to attract a paying audience |
This is a completely different discussion. Consumer Theatre.
Thanks Catherine!
| Quote: | wicked_boy wrote:
Just because they wish to be an actor, doesn't mean they can't work behind the scenes and still be involved in theatre, such as a director, costume designer or something else if they wish to shine. |
I agree with this too. But it still doesn't mean that they can't be given the chance. If someone really has the desire to paint you don't tell them there's too mnay artists so they have to make the paint instead?
| Quote: | | I don't really understand your Glinda comment. |
You said | Quote: | | It's not like the last two Glindas England had were any good, imo. |
so i was just voicing my feelings on the subject as part of the justification of my point.
| Quote: | | Then how do you reconcile that? You like Philip Quast until he goes perform in England? |
This is a complete twist of what i'm saying. I would like Philip Quast if he came to perform, i would like Patti LuPone if she came to perform, just as i would LIKE any perform i admire. Me liking them is irrelevant to whether or not i agree with their presence.
|
MiLeZ
|
To back up the OP, at the end of the Beauty and the Beast run, the marketing department basically began to take over. Hence casting a Lumiere who was 28 years old...obviously not right. How about all of the Disney channel stars and Donny Osmond playing Gaston - he was actually good, but would have any other person who is typed like him be up for Gaston?
|
NotThatGirl_7
|
I think Annaleigh is great, having seen a few different glidas she is one of the best I think, well not quite as good as Dianne P. But I would never want someone like her over a british actress, its just totally different and it wouldn't be the same with an american Glida in London.
|
Catherine
|
| musikal_geek wrote: | Let's turn this around, then- only actors from New York can star in Broadway shows.
Whaddya think? |
Oh come on, its not like we're saying we want only London Elphabas, we're not restricting it to one city or state, I just think it'd be nice to have a home-grown talent who hasn't already been in the show. It is a show in England, I wish they'd stop repeating actors and have someone from England. Too much to ask?
|
musikal_geek
|
Well, the new SitPWG revival should only have actors from America in it, then. We want to see home-grown talent. We don't want to see the actors who played them in London. I just think it'd be nice to have a home-grown talent who hasn't already been in the show. It is a show in America, I wish they'd stop repeating actors and have someone from America. Too much to ask?
|
mastachen
|
| Timmy_Wishes he was Quast wrote: | | Quote: | | I still don't think anybody deserves anything. If you want something, you have to work to get it. I feel the same for everybody. Just because Lea Salonga wins hella awards for Miss Saigon doesn't mean that she should just be given a role that she's never done before. It's the same as a lesser known actor. I don't think we should give them a role, no matter how talented that person is, just so we can give them an opportunity. The best people get the best roles. |
This is actually the point i was making. You're actually agreeing with me. That people should be given the chance over the "star" attraction, if they have the talent and are suitable. BUT lets face it often producers cast the big name for the sake of the pennies rather than the integrity of the show.
|
But my point is that the 'nepotism' you're describing doesn't happen often. Producers don't just give stars a role without having them try out first. Sure, some may be offered a role. But they still have to sing for the producers, and if the producers feel they are unsuitable for the role, they'll look elsewhere.
|
wicked_boy
|
If you really knew the acting world, you should know that nothing's fair.
It's not fair on the 85% of actors not on stage right now.
It's not fair on the people who don't get to play Glinda in London and really want to.
It's not fair my voice is broken so producers don't need "kids my age" untill I'm 18.
Nothing's fair.
|
lckysvn777
|
| Timmy_Wishes he was Quast wrote: | | Ok. I'm gonna say this. I DON'T want Americans in our West End musicals. I want home-grown talent. So why not use it rather than encourage this silly swapping thing? There's not enough opportunities out there for our actors as it is so lets give them a fighting chance and back our home grown ladies and gents. *vent over* |
So you don't have a problem with Miriam Margoyles coming to America to play Morrible? Just with Kerry Ellis coming here?
|
musikal_geek
|
| wicked_boy wrote: | | It's not fair my voice is broken so producers don't need "kids my age" untill I'm 18. |
Yeah, too bad there aren't any shows with teenagers in them, eh?
|
Pounce
|
| Timmy_Wishes he was Quast wrote: | | Quote: | | theater is a business and it has to attract a paying audience |
This is a completely different discussion. Consumer Theatre. |
Then what is the discussion? Presumably you want those involved to be paid. The show has to generate sufficient cash flow to pay everyone. A few "name" actors can boost a show's box office. I'm sure Sutton Foster was a big help selling The Drowsy Chaperone on Broadway.
But I don't understand what the problem is. Is there an enormous influx of American actors gobbling up jobs in the West End? I think it benefits both sides to "swap" actors. Certainly it will give the actors a new perspective on how theater is done elsewhere. Such an insular attitude is certainly an affront to the idea of "art". What's next? Taking shows off the West End if they are not "home grown"?
|
Catherine
|
| musikal_geek wrote: | | Well, the new SitPWG revival should only have actors from America in it, then. We want to see home-grown talent. We don't want to see the actors who played them in London. I just think it'd be nice to have a home-grown talent who hasn't already been in the show. It is a show in America, I wish they'd stop repeating actors and have someone from America. Too much to ask? |
Not at all. We all have our own opinions. I've stated mine. Wouldn't you rather give other people a chance rather than people who have been in the show loads of times before? Or is that just me?
|
Belle
|
I rather like the international exchange program thing going on - Lady of the Lake in Spamalot swapping London and Broadway, trading Elphabas... Remember Kerry is the SECOND part of an international exchange here. Idina came to London first, now Kerry is returning the gesture.
The problem arises in that Wicked is becoming very incestuous. Regardless of national boundaries, the same few Elphabas and Glindas do the rounds of the various productions. I like to see standbys promoted to first cast, the standby position is so unrewarding that if the probability of taking over is there, it just seems more fair. I don't have a problem with an American coming over to London to play Elphaba, but is it necessary after Idina opening the show? I know recycling is terribly green, but it would be good if some new blood got an opportunity.
Also, fans - what percentage of the production's income is actually raised from the fans? On any normal night, there may be 20 fans in a 2000+ seat theatre, sitting in cheap seats. Yes they buy merchendise, but so do the regular punters. writing your marketing strategy around a fanbase would not be a wise financial move! The show has to appeal primarily to the wider theatre-going audience, the tourists in London and NY. I doubt the interests of the fans sway the decision making process much at all.
|
pish123c
|
| musikal_geek wrote: | | Well, the new SitPWG revival should only have actors from America in it, then. We want to see home-grown talent. We don't want to see the actors who played them in London. I just think it'd be nice to have a home-grown talent who hasn't already been in the show. It is a show in America, I wish they'd stop repeating actors and have someone from America. Too much to ask? |
SitPwG is very different though. It's pretty much just a London transfer from The Menier Chocolate Factory, hence why the cast is pretty much the same.
|
aishabe
|
Could this whole conversation perhaps be brought back to Annaleigh leaving? I know I'll miss her. She was my first Galinda, and my favorite besides Cheno. I was hoping to see her again. 
|
wicked_boy
|
| musikal_geek wrote: | | wicked_boy wrote: | | It's not fair my voice is broken so producers don't need "kids my age" untill I'm 18. |
Yeah, too bad there aren't any shows with teenagers in them, eh? |
Well, not profesional ones anyway.
I can live with AmDram for the nect 4 or so years.
|
MiLeZ
|
| wicked_boy wrote: | | musikal_geek wrote: | | wicked_boy wrote: | | It's not fair my voice is broken so producers don't need "kids my age" untill I'm 18. |
Yeah, too bad there aren't any shows with teenagers in them, eh? |
Well, not profesional ones anyway.
I can live with AmDram for the nect 4 or so years. |
I'm assuming by teenagers you all mean people below age 18 (even though 18 and 19 are teens). But anyway, Spring Awakening has "under age" teenagers in it. They just hired a 16 year old. The problem comes to tutoring and labor laws with juveniles. Under a certain age (14?) one can only work a certain amount of hours per week, hence why shows like Beauty and the Beast and Lion King have 2 sets of the young roles (Chip).
I do agree though. After age 10-11ish there is a HUGE gap until you are around 16-18 to get professional work.
Here is an excerpt from the SA breakdown on actorsequity.com...
"IMPORTANT CASTING NOTE for the following four roles: Seeking actors as young as 14 who can BELIEVABLY play the ages described below. Melchior, Moritz, Wendla and Ilse are young teenagers."
Kinda interesting...
|
gowicked
|
I think it would be cool to have people under 18 in broadway or shows
|
^Defying_Gravity^
|
They do have shows with kids in, just not that many. And those with kids in have two or three and rotate them around the role due to laws about maximum working hours.
|
wicked_boy
|
| MiLeZ wrote: | | wicked_boy wrote: | | musikal_geek wrote: | | wicked_boy wrote: | | It's not fair my voice is broken so producers don't need "kids my age" untill I'm 18. |
Yeah, too bad there aren't any shows with teenagers in them, eh? |
Well, not profesional ones anyway.
I can live with AmDram for the nect 4 or so years. |
I'm assuming by teenagers you all mean people below age 18 (even though 18 and 19 are teens). But anyway, Spring Awakening has "under age" teenagers in it. They just hired a 16 year old. The problem comes to tutoring and labor laws with juveniles. Under a certain age (14?) one can only work a certain amount of hours per week, hence why shows like Beauty and the Beast and Lion King have 2 sets of the young roles (Chip).
I do agree though. After age 10-11ish there is a HUGE gap until you are around 16-18 to get professional work.
Here is an excerpt from the SA breakdown on actorsequity.com...
"IMPORTANT CASTING NOTE for the following four roles: Seeking actors as young as 14 who can BELIEVABLY play the ages described below. Melchior, Moritz, Wendla and Ilse are young teenagers."
Kinda interesting... |
The West End has a kazzillion kids right now.
Lion King, Billy Elliot, Mary Poppins (was), Sound of Music, Joeseph etc that can go up to 13ish, just no broken vioces.
I would love to auditon for SA.
|
musicaltheatrefan
|
On Broadway, here's what happens...
They love short boys with high falsetto voices and short girls
Those kids are normally 11-13, but they are who you see as the Janes, Michaels, Simbas, Nalas, Chips, Flounders, Young Tarzans, Chitty kids, Edgars, and Little Girls.
Then they turn 13ish and they don't get work for a long time
Well, at least the boys don't because their voice is all over the place
Some (very few) are involved with acting in their 20's because most boys will go to movies, where they might become popular for a couple years
in short, most child actors are on Broadway from 11-13, and then you don't hear of them ever again
|
The_Megster
|
| MiLeZ wrote: |
Agreed. I like hearing the talent now, but after all...there ARE more than 4 or 5 females who can play these roles or any roles. At the end of the day, it's a job and there are actors out there who need jobs to live and support their families. It's kind of like when reality tv people are put into a movie or show without earning it. |
well frist of all... reality tv has nothing to do with this... I most people who get these parts have worked hard for it, you dont know how many years it took for them to get casted, and now their career has started and you think they dont desserve it?
|
musikal_geek
|
| musicaltheatrefan wrote: | | Those kids are normally 11-13, but they are who you see as the Janes, Michaels, Simbas, Nalas, Chips, Flounders, Young Tarzans, Chitty kids, Edgars, and Little Girls. |
Wait... from what?
(and same with "Little Girls," unless you're just generalizing)
And, MiLeZ, since you're probably still lurking (trust me- it's impossible to actually "leave"): I disagree with the reality TV casting statement. They deserve it as much as anyone else. By casting on TV, it's just like a normal audition, but with all of the North America theatre population watching, instead of just the panel. The producers/ directors aren't stupid- if someone doesn't have talent, they won't let them move on. They're not going to put their show at risk. Even though America decides who stays and who goes for the final ten or so actors, those final people are GOOD. Otherwise, they wouldn't be there. But if it turns out, after rehearsals or during tech week/ previews/ performances/ whatever, the directors/ producers can pull them out of the show at any given time. It happens. In fact, Joel Grey wasn't cast as the Wizard until just a few nights before opening. I trust reality TV casting just as much as I do regular casting.
And that's my rant of the day.
|
Musical_Obsessed
|
I'm gonna miss Annaleigh! I've seen her live twice and she is awesome! I hope she does some other production...or even come back to Wicked!
|
musicaltheatrefan
|
Edgar and Little Girl are characters from "Ragtime".
|
Belle
|
| musikal_geek wrote: | | I trust reality TV casting just as much as I do regular casting. |
I agree ON ONE CONDITION. Reality casting works as long as they do not restrict professionals! In the UK we've had some which barred anyone with professional experience - disaster. Allow anyone to enter - and the best rise to the top. Who, generally, have either professional training and/or experience, but it's open to anyone with raw talent and drive.
|
