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2011/2012 Revivals at Musical Cyberspace 
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Broadway Legend
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Post Re: Broadway Revivals of the 2011-2012 Season
:clap:

Agreed with Quique on everything about Evita. Given the last few London-Revival-inspired productions I've seen of this show that I profess to love, I'm surprised I haven't simply disowned the whole thing as my favourite ALW. There's just so much pressure to put bums in seats that any politics or bite that was originally in the piece are conspicuously absent from any new productions, making for a curiously sanitized Latin Rock concert.

In short, I'm pretty sure the Bway revival will feel exactly like a Ricky Martin tour... :twisted:

Honestly, I was looking forward to Porgy and Bess on account of the fantastic cast and creatives involved, but then Mr Stephen Sondheim wailed on it. So I'm still looking forward to Porgy and Bess on account of the fantastic cast and creatives, and Mr Stephen Sondheim can hopefully take what's happened to the story and characterization and apply that situation to how it's affected some of his works. Like Follies, yeah? However, he raises several points that are legitimate, and I feel that Ms DePaulus's pandering to the audience will probably not pay off at all. But that cast recording... Hoo boy. Cannot wait. There better be one.

So pumped for Follies, but it burns me that they can't just take out all the revisions and present it in its original Broadway format. Like Porgy and Bess, apparently the idea of an ending less than joyous will turn off new audiences of this older piece. Mr Sondheim has precious little to say about the bowdlerization of Follies, which is apparently completely necessary to rectify a flawed piece. Hmm...

Aside from that, Follies has an insanely strong cast and production, they've had great reviews coming out of the Kennedy Center, and it's about damn time that Sondheim has had a large, exquisite production of one of his works. Some time in this century it had to happen, I suppose. :D

I don't think Funny Girl will do very well. Though everyone does seem to love him to tiny little bits, I find some of Bartlett Sher's work to be gimmicky, his Broadway work moreso than his opera work. And Lauren Ambrose I'm sure is a great talent but an unproven singer. I'm also a bit concerned that this revival had to happen in Barbra Streisand's lifetime, but that's not really a... screw it, everyone's concerned about that, too. And I don't think they'll ever find anyone to get close to the sexiness that was Omar Shariff in the movie. No way, no can do.

Godspell is not ready for Broadway's scope, and likely never will be. Even if it gets there, it'll likely be wiped out by the juggernaut that is the Stratford JCS. Oh well.

I'm cautiously optimistic for On A Clear Day You Can See Forever. I think that the subject matter and the kitsch will appeal to audience's, and I think that the quality has a potential to be elevated considerably given the cast and creatives associated with it. Also I have a bit of a weak spot for the piece. What can you do?

After a sold-out run at the Stratford festival and what's likely to be a respectable run in La Jolla, I really don't think that Jesus Christ Superstar will do well on Broadway, if it gets there. It has all the hallmarks of an overhyped production, and if it doesn't feature the same cast, which I doubt because Actors Equity gets twitchy about a foreign cast of relative unknowns on the international stage (save Brent Carver, I suppose) taking jobs from Americans, it'll fall flat. McAnuff's last revival on Broadway was Guys and Dolls, remember that? I don't.

In summation:
Evita: Mass appeal + toothlessness= hit with the audiences, not with the critics.

Porgy And Bess: Fantastic cast + destructive concept= trickling audiences and critical whipping boy.

Follies: Fantastic cast + fantastic, beautiful, non-anorexic production= return audiences and critical success.

Funny Girl: Pointlessness + Lack of Barbra + Lack of Shariff!= A sudden surge in the amount of TV reruns of the movie.

Godspell: Off-off-Broadway show + Broadway production of said Off-off-Broadway show= :sick: ](*,)

On A Clear Day You Can See Forever: Obscureness + Elevation of original material= Unexpected success, both critical and commercial, and a new Harry Connick Jr fan of me. :)

Jesus Christ Superstar: McAnuff + (New Non-Stratfordian Cast)JCS Bway Revival in my living memory= Overhyped and polarizing piece met with confusion by New York critics, but respectable box office numbers nonetheless.


Thu Aug 25, 2011 7:53 am
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Young Hoofer
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Post Re: Broadway Revivals of the 2011-2012 Season
I have mixed feelings about Porgy and Bess. On the one hand, it seems to be blatantly pandering to the audience and the Sondheim debacle is really just stirring up more press, though of course he made some good points. Everyone is going to see it out of curiosity if nothing else, so I think in that sense at least it will be a success.


Thu Aug 25, 2011 8:11 am
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Broadway Legend
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Post Re: Broadway Revivals of the 2011-2012 Season
Well, the reviews for the obnoxiously named 'The GERSHWINS' Porgy and Bess' have started coming in. Ironically, it appears that even with all the changes made, the show is still pretty muddled tonally, not least of all because of the always-awkward mix of opera singers with Broadway talents.

However, they're saying Audra McDonald and a good deal of the cast is brilliant, and the direction is mostly deft. The New York Times reviewer even says that the changes made actually do illuminate certain aspects of the characters, which should infuriate and exasperate everyone to no end.

I can honestly say that these mostly positive reviews surprise me greatly, but I'm willing to roll with it just because I want so badly for this to succeed. And I smell a fifth Tony award for Audra McDonald.


Thu Sep 01, 2011 8:32 pm
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Broadway Legend / MdN Veteran
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Post Re: Broadway Revivals of the 2011-2012 Season
Not surprised about Audra being the force that holds the show together or stealing it, hehe! She's always superb. I actually felt sorry for her despite her enthusiasm and encouragement over the changes because often times it's an actor's job to help promote a show they're in. Not saying she bullshitted because it was her duty, I'm sure she really believed in her director and that's OK.

Based on the nature of the changes I've read about and the rationale behind them, I highly doubt anything groundbreaking resulted from them, and I bet anything being praised as "illuminating" actually isn't really. Not because it isn't possible but because judging by the review posted above, it's the same good ol' Porgy and Bess for the most part. If anything, it mentions that some of those changes have muddled the work and that Bess is now more vivid in this production, but that's because of Audra.


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Sun Sep 04, 2011 3:48 am
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Post Broadway Revivals of the 2011-2012 Season
I've responded to the show-specific Porgy and Bess discussion on the Porgy and Bess thread for those who want to discuss that show in more depth without derailing this thread.

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Sun Sep 04, 2011 7:13 am
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