3,576 posts
|
Post by Rory on Nov 7, 2024 10:21:35 GMT
Only a 3 week run though. Streetcar is coming back for three weeks, that's what this is for. Has to be the Noel Coward surely? Why only 3 weeks? |
|
|
|
Post by wta2024 on Nov 7, 2024 12:38:00 GMT
with a too wealthy producer. What a ridiculous statement. Do you bash Cameron Mackintosh or Andrew Lloyd Webber or any other producer who dared to be successful like that as well just because you dislike a production? Shin Chun-soo (to give him his proper spelling) became rich through introducing Western musicals to the Korean market and thereby helped those Western producers to open up a new market there for them (and earn money through licensing rights). He then used some of his money to try and get involved in Broadway producing - so? He landed more flops on Broadway than hits (among them the dismal Doctor Zhivago and recently the Britney Spears clunker) but he created shows and thus jobs on Broadway. Something European producers have also tried and failed at - Joop van den Ende who founded the vastly successful Stage Entertainment in the Netherlands expanded to Broadway, the West End, Germany and other countries to (co-)produce shows there (and had his own epic flop when he tried to bring his own Dutch Cyrano to Broadway), Vienna's VBW even produced two massive clunkers in Dance of the Vampires and Rebecca (which never even made it to opening night). You can dislike Great Gatsby all you like, but this godawful attitude towards the Korean producer is simply something I cannot just ignore. How do you even know that the ART Gatsby was better? Just because it was a pretentious artsy-fartsy production with minimalist stage sets that didn't just want to ENTERTAIN people (which is clearly what people want, given the success of the oh-so-awful Great Gatsby on Broadway) I don't care that he is Korean at all, that is something you bring up. Maybe ask yourself why you wanted to make that point... And I bashed ALW even harder last year when he rushed Bad Cinderella to Broadway, which I think is evenly flawed as Gatsby on Broadway. I think it is just very elitist to move a production which is massively flawed (read the reviews yourself) from New Jersey to Broadway to London just to be first. Them taking the Coliseum just proves my point, as it is not a regular space to do a show like this. But they can't wait until a regular theater opens up BECAUSE THEY WANT TO BE THE FIRST IN LONDON. Also, I know the ART-production was better because (1) the music is better (seen the Broadway production and listened to the ART-production) and (2) I have friends who have seen both and who I share an equal taste in musicals with, and say it was MUCH better than the current Broadway production. And selling tickets does not mean it is a good production. Moulin Rouge is god-awful, but it has an audience, and it's still selling well after 5 years. And I'm sure this will sell well too. But that has 0 to do with quality. |
|
2,702 posts
|
Post by viserys on Nov 7, 2024 13:00:52 GMT
well all of that is YOUR opinion, you cannot categorically claim that one show IS better than the other.
Clearly Great Gatsby is popular and has found its audience on Broadway, so why not plan further productions of it?
Just because some fans are super precious about another version that clearly did NOT work because they've swapped the director and are back to the drawing board?
So get over yourself, your taste is your taste and that's fine, but you don't get to decide what's GOOD and what has a right to move into the West End or not.
|
|
|
|
Post by wta2024 on Nov 7, 2024 13:33:18 GMT
well all of that is YOUR opinion, you cannot categorically claim that one show IS better than the other. Clearly Great Gatsby is popular and has found its audience on Broadway, so why not plan further productions of it? Just because some fans are super precious about another version that clearly did NOT work because they've swapped the director and are back to the drawing board? So get over yourself, your taste is your taste and that's fine, but you don't get to decide what's GOOD and what has a right to move into the West End or not. Says the person giving their opinion... boring response. |
|
5,058 posts
|
Post by Phantom of London on Nov 7, 2024 17:30:19 GMT
Well let’s just hope the ART production also comes over, then we all can make our minds up.
|
|
42ndBlvd
Swing
I'll be back where I was born to be
|
Post by 42ndBlvd on Nov 7, 2024 21:01:55 GMT
Well let’s just hope the ART production also comes over, then we all can make our minds up. The concept album I’ve listened to sounds amazing. Vastly different in every way from Broadway Gatsby. Much more abstract and closer to the source material. |
|
5,896 posts
|
Post by mrbarnaby on Nov 7, 2024 22:48:56 GMT
There’s a concept album?
|
|
|
|
Post by nomoretalkofdarkness on Nov 7, 2024 23:04:56 GMT
More of a demo Album for creatives that shouldn't be out there tbh |
|
5,896 posts
|
Post by mrbarnaby on Nov 7, 2024 23:18:00 GMT
How intriguing!
|
|
|
|
Post by musigamist on Nov 8, 2024 3:56:43 GMT
More of a demo Album for creatives that shouldn't be out there tbh There were also a couple of full audio recordings floating around at one point from person to person. And I’ve got to say I love the show so much. I saw it twice in Boston after the disappointing Broadway production—the Broadway Gatsby is essentially a generic love story set in the 1920’s that happens to have characters and some plot points from the novel. The ART Gatsby is the novel adapted for the stage. If I had to point to one song from another show as representative of the theme and messaging (not musical style) it would be “Why Do We Build the Wall.” Essentially every song drives the narrative and the scenic choices and costuming really evoke a broken American Dream. The main set design is essentially a junkyard of huge piles of chrome car parts (the orchestra actually is on top of a few of them). One of my favorite costuming choices is that those individuals who are affected by the American Dream have rust stains around the bottom of their clothes—it’s both accurate for the time and metaphorical as well. Another choice is the colors they use—the upper class of East Egg wear white and the lower classes wear black, with the exception of Gatsby who wears bright peach most of the time, Mrytle who is in red and black, and Nick who wears a gray composed of black and white threads. It’s not a perfect production, but it’s one I’ll never forget and that I’ll keep coming back to listen to and ponder. |
|
