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Post by ShoesForRent on Jun 18, 2016 14:20:47 GMT
There's no progression path from swing to ensemble or vice versa. Personally I think swings are the real stars of a show. To be able to jump into various tracks on short notice is admirable. I have the highest respect for swings. So do people audition to become swing- as in- is the audition specifically for the job of a swing? Or do actors audition for ensemble in general, and the standouts are later told they got the job of a swing? I know of several actors who went straight from school to become a swing in the W/E- I just wonder what the audition process for this is.
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Post by ShoesForRent on Jun 18, 2016 13:56:36 GMT
^^She's great! (and really pretty too)
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Post by ShoesForRent on Jun 18, 2016 13:55:00 GMT
I was 19 also when I queued all morning for cancellation tickets at the Globe for Macbeth.. got a really good seat in the end- great production! Problem is here (in Israel) even the cheaper "student" tickets are pricy, but I do try and save up and go from time to time.. Most theatre here that I see is pretty morbid- I don't know what that makes me though ha!.
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Post by ShoesForRent on Jun 18, 2016 13:50:41 GMT
Also would like to add there are national/international swings (sometimes called international/ national covers)- if a show has multiple productions (such as Wicked B'way/ north American Tour/ London etc.) it is some people's jobs to cover tracks in all these productions, when there is a severe shortage/ an emergency need for a cover. Wicked has several of these- sometimes actors are cast in another production (say an Elphaba u/s on tour got bumped to standby on Broadway) and must go fill that position immediately, there is a gap in the ensemble- since as an U/S she covered an ensemble track. since Wicked has so many productions this happens often, and so they have people who travel through the productions as necessary. The most famous example I could think of is Jenny Dinoia who is an international Elphaba cover (she's not quite a swing, but that's the gist)
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Post by ShoesForRent on Jun 18, 2016 13:40:34 GMT
The casting call for this is in French... I think it would mean the production is too but I don't know.. Anyway the casting call is for pretty much all the roles (inc. Phantom/ Christine)
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Post by ShoesForRent on Jun 18, 2016 11:34:47 GMT
up to a few days ago there was an incredibly good copy of this on you tube. safe to say it's gone now though. There are at least four boots, two of which are pretty easy to get on the internet for free- no trading needed just some searching
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Post by ShoesForRent on Jun 18, 2016 11:27:30 GMT
Doesn't authenticity come into play at some point though? Casting white people over black/asian because they're technically better actors is one thing (although I find that staggering and not very believable) but even if it's true what's the point? You might be using what you think are "better" actors but if you're creating a world that the audience doesn't recognise then you're kind of wasting your time. Actually without giving too much detail about my shows away, due the to time period and setting most of the characters would logically be white. With the exception of a few smaller roles any diverse casting would probably be colourblind. I am curious to know, would you support an all white cast in the interests of authenticity? While it isn't my intention to boast Hamilton's horns anymore than it already is boasted- you really needn't look further than it. One of the smartest things they did in that production was to deliberately cast POC in white roles. True- there it is a political statement- to tell the story of America's founding by the people who are often shunned from the tale. But color-blind casting, in pieces that don't tell the story of POC, is really about creating suspension of belief within the audience, and isn't that what plays/musicals are at the end of the day? You tell the audience that this person is this character, and I feel if there isn't a specific reference in the text to the color of the skin (or any physical feature really- like casting a short person and then referencing how tall they are in the text etc.) of the character, then why shouldn't the audience, for 1.5 hours believe that person is the character? As for the talent- I'm sure it's there... maybe it's about working with different agencies, or looking for it in less conventional places... But you might just be the one to "discover" one of the next great talents that way- because s/he wouldn't be able to pass the conventional route the way you described in your original post (because of coming from bad neighborhoods/ poverty/ no drama school etc.) Anyway that's just my two cents- from a very naive youngster who is not in the business (sadly- maybe someday though )
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Post by ShoesForRent on Jun 18, 2016 11:12:42 GMT
Unpopular opinion: Young people are not all angsty teenagers. YES
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Post by ShoesForRent on Jun 18, 2016 7:59:57 GMT
The only thing I've heard of it is that Gillian Lynne is implementing new choreo to Masquerade.
That would be really exciting if Sierra is attached- she's so lovely. Would consider a trip to paris- it's right before school starts here!
Does anyone if it's going to be in English or in French?
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Post by ShoesForRent on Jun 17, 2016 20:50:43 GMT
I'm curious- what did you think of Christine Dwyer?
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Post by ShoesForRent on Jun 17, 2016 20:34:42 GMT
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Post by ShoesForRent on Jun 17, 2016 19:50:06 GMT
What a treat it could be- to have Ramin act so up and close
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Post by ShoesForRent on Jun 17, 2016 19:23:36 GMT
I know in the Washington production (starring Christine Dwyer of Wicked) they had a pool table in the middle of the venue and the actors acted around and through the audience for a bit.. From the chart of this theatre it doesn't look like it's that kind of venue. Does any one know what the staging was lie on Broadway?
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Post by ShoesForRent on Jun 17, 2016 14:14:51 GMT
In that case, 2 down, about 80 or so to go... and yes, I actually do know where I could get my hands on a cinema... Ha if I start putting some money aside now by the time it comes out I'll be able to come. So count me in
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Post by ShoesForRent on Jun 15, 2016 12:55:48 GMT
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Post by ShoesForRent on Jun 15, 2016 10:02:25 GMT
Musicals have been based on outside sources since forever. Films, books, paintings, historical sources, religious sources, poetry, Shakespeare, plays, the works. And basing 'em on films isn't even that new, Oh, Captain! opened on Broady in 1958, based on a 1953 film. The original musical based on absolutely nothing at all is a much rarer beast than the nostalgic would believe. That's not how i meant it- some great musicals have been based on books/ film/ pre exisisting content since forever, and yes the all original are far more rare. But they didn't NEED to be based on anything to sell, it was an artisitc choice- the pre existing story inspired the writer, not the producer (if you know what I mean). There used to be a time i think when people went to see a musical because it was a new musical and needed nothing more. Now it feels like the thought process of most patrons is : "let's go see this musical- it's based of of this succesful film i liked in the cinema" or "this one because so and so (film/ pop star) are starring in this". People aren't going to see a new musical because it's just that- a new musical- that's why there is all this arguing over wether Hamilton is relevant enough to the British audience, or wether people have heard about the waitress film here. (Im not disagreeing or arguing with ali at all- just my take) the story of Waitress itself is quite an interesting one, I found it moving and earnest (though the book could use some trimming and shaping, but all in all it's fine, it's the music that doesn't do it favour). But people are concerned with wether they have seen it and liked before they have even seen the musical. The musicals I like most are the ones I went seeing knowing nothing about them. That's what I meant.
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Post by ShoesForRent on Jun 15, 2016 9:28:23 GMT
I miss the days when new Musicals didn't have to be based on well known sources (succesful films. relevant public figures etc) or have well known creators (jukebox musicals/ pop composers etc)... Heck I miss having completely original books based on nothing but the writers' merit- eventually turning into great hits... :/
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Post by ShoesForRent on Jun 14, 2016 14:10:29 GMT
Really? I haven't seen Miss Saigon in years - who gets the final bow? It's always the Engineer. I think Kim has a more central role and is on stage more, as well as it being much more vocally challenging. #everydaysexism? i haven't seen/ listened to Miss Saigon in ages but I also remmember Kim being the lead :/
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Post by ShoesForRent on Jun 14, 2016 13:50:50 GMT
Well Gypsy doesn't get the last bow in Gypsy LOL ><
(Also, I secretly think Christine is the leading character [over the phantom] in Phantom and deserves the last bow... the story is esentially hers, as is the biggest arc [albeit when played smatly, which isn't all too often sadly] but that will never happen)
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Post by ShoesForRent on Jun 14, 2016 13:45:26 GMT
The Colour Purple is extremely unlikely to transfer, in my opinion, as we've already had it here. Plus I imagine Cynthia will want to utilise her Tony win and take on a new role on Broadway. I think she's probably lost to Broadway in general really. Didn't she go to the US because she complained of lack of roles for black actors in the UK anyway? The fact that she has won a Tony at the first attempt, the raves she has received in the press and also that all four of the musical acting awards went to non-white actors means that she was justified in that somewhat, so why wouldn't she stay there? I also doubt that now she's done the show here and on Broadway will mean she's probably done with it after her run ends and she'll focus on new things. Still can't get over that God-awful ugly dress though. Isn't she engaged to one of the leads in London's Aladdin (sorry the name escapes me)? I don't want to get into her personal life- but that seems like reason enough to not permanantly stay in the US.
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Post by ShoesForRent on Jun 14, 2016 13:40:32 GMT
Well it was the same with Michael in The Wizard of Oz, and something that also confuses me in Wicked... The Wizard getting the second to last bow before the leads when, in The Wizard of Oz, The Witch and the three friends should all bow after The Wizard as they are larger roles. And with Wicked, Fiyero and Madame Morrible should bow after The Wizard as, again, they are the larger roles. RE Wicked: I think that has to do with Joel Gray originating the role (on B'way, I know he didn't play him in the tryouts- so if anyone knows what the bows order was there that would be really interesting)- his celeb status was a big draw to the show, and he is considered somewhat of a legend. The order must have stuck since. It's all politics I tell you .
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Post by ShoesForRent on Jun 14, 2016 12:55:20 GMT
I greatly respect your opinions on this forum, mallardo, and enjoy reading your posts... With this in mind, I feel I have perhaps missed something in Wicked. Something I should be appreciating, but didn't get. (I saw it soon after it opened in London, after reading all the hype. I remember it was sparkly. There was no Defying Gravity moment for me, alas, that night (something to do with the cherry picker???) and so it all felt a bit flat. Literally. Apart from that I was hoping to fall in love with it. I even bought the book, but didn't enjoy that either. (I have never been tempted to return for fear I should feel like everyone else's grandfather in the audience. I think you know what I'm getting at. I'm afraid this kind of audience leave me cold.) So... I set you a challenge: educate me and convert me!
I can't convert you, Caiaphas, but the fact that you saw it when it was already a phenomenon is problematic. In situations like that one goes into the theatre with a different attitude. No matter how much you wanted to love it your expectations were high (perhaps grudgingly so) and losing the act one closer - one of the greatest ever - was a huge blow.
I would encourage you to simply listen to it - it's all there on the OBCR if you're open to it. The music perfectly captures the sound world of the story. It sounds like no other show. And, as I said earlier, it's a huge leap forward for Stephen Schwartz. The fact that teenage girls can't get enough of it is hardly a bad thing. It's a show that is perfectly attuned to its audience. Its message of acceptance and friendship hits home. "For Good" is the greatest friendship song I know.
Any show as successful as Wicked is worth taking seriously. Success in the theatre is hard to come by and when it's achieved it's for good reasons. I would say the same thing about Les Mis or Phantom, other shows too often derided. So man up - confront that youthful audience. It's actually fun to be in a crowd that's loving what they're seeing. You might find it catching.
As a kid without access to London/NY theatre, my first experience with Wicked was the cast recording- and i hated it, couldn't get past Popular. I think it's one of the least succeful translation to cast recordings. a few years ago i got a chance to see it live and wasn't too invested- can't remmember much of it. BUT last year I dayseated it because I took a night bus to london that dropped me at the stage door at 7 am- so why not? and fell in love- such a smart story, the score was fun, some songs, melodically are very clever... i suggest go see it caiaphas (maybe wait for a better cast than the current London one though- Rachel Tucker is coming back soon that's a pretty safe bet), I feel like you might have a change of heart- maybe Now I do listen to the OBCR, and enjoy it for what it is- because some songs on there are lovely still, but I wouldn't say it's one of my more frequent cd's. EDIT: mallardo I want to like your original post so bad- but the like feature won't work for some reason...
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Post by ShoesForRent on Jun 14, 2016 12:30:10 GMT
I think in the grand scheme, when comparing all actors (male and female) Eliza is a supporting character- she has a very minor arc and very little stage time (less then Daveed say, who was billed supporting). That said, when looking at the female parts alone- she is the only one with an arc at all, minor as it may be. Angelica, while the more interesting character- has no arc, she goes no-where (in terms of character, because she does infact dissapear in the middle of the show lol) . So Eliza is the leading female character in the show- is she a lead charcter (as in both male and female considered)? not in my opinion.
So with all that said- it is possible the comittee saw her as the leading female, and with the producers campaigning for her to go in the lead (like you said- so she won't be up against Renée) they chose to bill her in the leading catagory...
There is a lot to consider when they bill a character leading- in Phantom for example- Raoul has more stage time than the Phantom, yet the latter is clearly the lead of the piece, while the former a supporting.
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Post by ShoesForRent on Jun 14, 2016 11:36:08 GMT
I think Jessie is a gem- fantastic actress and a voice to boot... She seems so genuine and soulfull in the few clips I've seen of "She Used to be Mine"..
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Post by ShoesForRent on Jun 14, 2016 10:09:34 GMT
Can someone link the website for registraion? I only found the Delfont one for sign up EDIT: Nevermind, found it
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Post by ShoesForRent on Jun 13, 2016 19:25:30 GMT
thank you both 49 and theatremadness- I just watched... wow that was some Hamilton overload, but a lovely show non the less
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Post by ShoesForRent on Jun 13, 2016 16:31:03 GMT
]So with Tony Awards and Game of Thrones on tonight, I think my PJs are desperately awaiting my return home from work for an evening of tears and suspense! Are you me?! That's what I just said a few posts above LOL I'm downloading the Tony's now and streaming GOT. May I ask where you're downloading from? I cant find anything
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Post by ShoesForRent on Jun 13, 2016 11:17:50 GMT
I disagree (you obviosly have a different view point what with your job, and that's okay!) but I still think that there are super high quality shows that don't have this amount of publicity, and it doesn't make them any less great the Hamilton (I'd argue Broadway has seen better in the last 10 years, but it's really just down to opinion). Good quality does not equal social media popularity- heck, look at most pop stars, or most entertainemt icons that make so much money off of social media. .. I totally agree on "there are high quality shows that don't have that amount of publicity". I was saying that social media savviness of Hamiltone folk just multiplies that publicity they are getting because the show itself is outstanding. Even with all their fanbase Hamilton wouldn't be that popular if it was dull and unappealing. Well that's up to taste- I really do like Hamilton, I sing along to it on long car rides pretty much every week, I think Lin is really smart with rhymes, and has a few gems there in terms of melodies (though some, I feel, are dull and I skip them since my second listen). I also think the show is overhyped as the greatest musical theatre EVER with no faults. But it's a great show (undoubtably the best this season by miles- but it was weak), and i think it's just the constant media attention that has turned me off maybe a little... And I can't really think of a show that was poor quality but very present on social media to compare- I'll think about it
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Post by ShoesForRent on Jun 13, 2016 9:43:05 GMT
I think, that in a world that entered the age of social media, the social media beast that is Hamilton (and it's social media savvy leader in LMM), the fact that it succeeded in that sense (of streaming) makes sense... Still an achievement- but the publicity is largely due to their very smart use of the internet/ social media (nothing wrong with that) I am not saying you're wrong, but as a person who actually runs social media for musicals I see that differently. Obviously having such a "social media star" as LMM is gives you (=your show) extra points but this is not the cure. Lots of other people on Broadway have thousands of followers and are very good in running their own accounts. You just need to have a really outstanding show and only with that you are getting the tripled and quadripled amount of social media publicity. I disagree (you obviosly have a different view point what with your job, and that's okay!) but I still think that there are super high quality shows that don't have this amount of publicity, and it doesn't make them any less great the Hamilton (I'd argue Broadway has seen better in the last 10 years, but it's really just down to opinion). Good quality does not equal social media popularity- heck, look at most pop stars, or most entertainemt icons that make so much money off of social media. Again- I do not dislike Hamilton (I do dislike the craze though), but their capitilizing on social media has a big part in their success- you only need to look as far as last year when it played off-broadway. Sure it was a hard ticket (much like Dear Evan Hansen this year), but it didn't win ANY awards until the craze started months later... (I forget but I think it was the Drama League who RE-nominated them this year, after it lost last year and was not legible again, but Hamilton craze, Amirite?) And as a close follower of Broadway people (granted not all), there are few who have the following/ dedicated fanbase that Lin and Hamilton has now built... I can't name one of the top of my head..
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Post by ShoesForRent on Jun 13, 2016 9:35:22 GMT
Oh man- it only started at 3 am here and I had to head of to work at 6, so I skipped it (glad I did, it sounds as unexciting as i thought, not worth pulling an all nighter for, but I do really want to see the flow of the show) Anyone know where I can watch the whole thing now? anything but Torrent would work
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