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Post by Phantom of London on Apr 7, 2017 19:38:32 GMT
I'd love to see it if Tim came in and played Phil for a short run. I think he's also expressed interest in playing Trunchbull or Mr Wormwood in Matilda so maybe that could be in the pipeline also! I am so looking forward to seeing this come back if it does, it really was one of the best new musicals I have seen for a while. But how do people actually think this will do at the Oliviers on Sunday? As much as I want it to win, I can almost imagine it losing to others in the categories i.e. Charlie Stemp winning over Andy Karl, The Girls or School of Rock taking Best New Musical. As for the Tonys, probably three words...DEAR EVAN HANSEN. Wrong three words......COME FROM AWAY. |
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Post by Deleted on Apr 7, 2017 19:42:17 GMT
For some reason it's not gaining steam on Broadway. It's a very competitive season there, but despite that, I see that all the new competing shows have a) a niche market b) generating a lot of press and coverage (not necessarily reviews, for those that didn't open yet). Dear Evan Hansen has its whole parent/child audience going on Comet has the immersive factor and Josh Groban War Paint has the divas Anastasia has the mother/daughter thing going on Come From Away, I don't understand exactly the type of audience that would specifically gravitate to it, but it's doing well ...Groundhog Day has..? I feel that it had the potential to be the answer to this season's Book of Mormon: a musical for non-musical lovers and has a wider cross over appeal, potentially appealing to the bros who aren't into musicals. But I feel that they're not capitalizing on that, or anything really. ...the revivals are also getting a lot of spotlight with Glenn in Sunset and Bette in Dolly. It's a good show, that's for sure. But I think there are mismatched expectations here. It did so well in London I think due to the lack of original and/or good commercial runs in the London scene. So when we got it, we all freaked out and were overjoyed especially since it landed here before Broadway. The only show that has matched it in London in terms of excitement and managed to be the "it" show of the season has been Dreamgirls so far, and although new to London, is a revival and not exactly "cutting edge" material. I think this is nonsense. Come From Away is the musical of the year and everyone is just raving about it. Being about Newfoundland and 911 the piece has a raw heart and a story that resonates to the NYC audiences, Groundhog Day is also doing well with word of mouth and it's a huge film in the States - more so than the UK. Sunset finishes in June and Hello Dolly with Bette is a brand/revival of its own. The flops are Charlie, Amelie and sadly Anastasia. It will do a good 3/4 year run I think. It's an amazing show, it can't be denied, and after the reviews came out here, it was a huge sold out hit! But it hasn't been lighting the Broadway box office on fire quite yet. I'm sure it will once Tony Nominations come out, but at the minute, in its two first full weeks of previews (7 performances a week), it has only made between $500,000-$600,000. Which is by no means awful, but its not too amazing considering it must cost a lot to run on a weekly basis. I think overall it will manage a healthy 2 year or so run. And if that is the case, we will sadly lose Andy Karl to Broadway again but will hopefully get another equally talented guy to play the role.
And I agree, Come From Away is fast becoming one of the big hits of the season of New Musicals and is possibly the favourite to win Best New Musical. It has grown in popularity the moment it hit Broadway in a huge way!
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Post by ali973 on Apr 7, 2017 19:49:45 GMT
I think this is nonsense. No, you are. |
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Post by Deleted on Apr 7, 2017 19:51:01 GMT
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Post by Dawnstar on Apr 7, 2017 20:00:16 GMT
Would be fab to get Tim Minchin to do it, now that the composer/actor phenomenon is picking up. It would be a challenge for him, but he's expressed interest in doing it in the past. I couldn't imagine Minchin playing Phil without him majorly changing his image. I really don't see Phil as a dreadlocks & guyliner sort of bloke! |
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Post by ali973 on Apr 7, 2017 20:05:52 GMT
Well, sure but that's the whole point of acting, no? I think if he got wigged up with something more naturally suitable for him, it could be a coup. I don't think we need to necessarily go with the Andy Karl mold in order to cast this role going forward. Andy Karl is good looking and has a killer smirk. Except that this was his schtick for just about every other thing like On the 20th Century, Cats and Mystery of Edwin Drood. So it makes sense for him to play Phil the way he did. Remember that Bill Murry's take is completely different, so there's no reason why there cannot be a vastly different take on it.
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Post by Deleted on Apr 7, 2017 20:08:56 GMT
For some reason it's not gaining steam on Broadway. It's a very competitive season there, but despite that, I see that all the new competing shows have a) a niche market b) generating a lot of press and coverage (not necessarily reviews, for those that didn't open yet). Dear Evan Hansen has its whole parent/child audience going on Comet has the immersive factor and Josh Groban War Paint has the divas Anastasia has the mother/daughter thing going on Come From Away, I don't understand exactly the type of audience that would specifically gravitate to it, but it's doing well ...Groundhog Day has..? I feel that it had the potential to be the answer to this season's Book of Mormon: a musical for non-musical lovers and has a wider cross over appeal, potentially appealing to the bros who aren't into musicals. But I feel that they're not capitalizing on that, or anything really. ...the revivals are also getting a lot of spotlight with Glenn in Sunset and Bette in Dolly. It's a good show, that's for sure. But I think there are mismatched expectations here. It did so well in London I think due to the lack of original and/or good commercial runs in the London scene. So when we got it, we all freaked out and were overjoyed especially since it landed here before Broadway. The only show that has matched it in London in terms of excitement and managed to be the "it" show of the season has been Dreamgirls so far, and although new to London, is a revival and not exactly "cutting edge" material. I think this is nonsense. Come From Away is the musical of the year and everyone is just raving about it. Being about Newfoundland and 911 the piece has a raw heart and a story that resonates to the NYC audiences, Groundhog Day is also doing well with word of mouth and it's a huge film in the States - more so than the UK. Sunset finishes in June and Hello Dolly with Bette is a brand/revival of its own. The flops are Charlie, Amelie and sadly Anastasia. It will do a good 3/4 year run I think. There is no musical of the year. There's no Hamilton, there's no Fun Home. Come From Away, Dear Evan Hansen and Great Comet are all being raved about equally. Groundhog Day has had a very mixed reception on the Broadway boards compared to on here and its box office is not great. Charlie seems to be awful but has a very large advance. Anastasia is doing very well at the box office and is also garnering positive word of mouth. You're right on Amelie but that's about it. |
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Post by Dawnstar on Apr 7, 2017 20:25:45 GMT
Well, sure but that's the whole point of acting, no? I think if he got wigged up with something more naturally suitable for him, it could be a coup. I don't think we need to necessarily go with the Andy Karl mold in order to cast this role going forward. Andy Karl is good looking and has a killer smirk. Except that this was his schtick for just about every other thing like On the 20th Century, Cats and Mystery of Edwin Drood. So it makes sense for him to play Phil the way he did. Remember that Bill Murry's take is completely different, so there's no reason why there cannot be a vastly different take on it. That's why I said I couldn't see Minchin as Phil unless he changed his image, not that I couldn't see him playing the role full stop. I've never seen the film so I don't know what Bill Murray's take on it was. As Phil says that he's slept with most of the women in the town it's surely more believable if you've got a good looking man playing the role, plus he has the sort of arrogance that usually goes with good looks. |
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Post by viserys on Apr 8, 2017 5:17:43 GMT
Well, sure but that's the whole point of acting, no? I think if he got wigged up with something more naturally suitable for him, it could be a coup. I don't think we need to necessarily go with the Andy Karl mold in order to cast this role going forward. Andy Karl is good looking and has a killer smirk. Except that this was his schtick for just about every other thing like On the 20th Century, Cats and Mystery of Edwin Drood. So it makes sense for him to play Phil the way he did. Remember that Bill Murry's take is completely different, so there's no reason why there cannot be a vastly different take on it. That's why I said I couldn't see Minchin as Phil unless he changed his image, not that I couldn't see him playing the role full stop. I've never seen the film so I don't know what Bill Murray's take on it was. As Phil says that he's slept with most of the women in the town it's surely more believable if you've got a good looking man playing the role, plus he has the sort of arrogance that usually goes with good looks. Erm.... I'd do Tim Minchin any time. I'm not so keen on the guyliner & dreadlocks thing but generally I prefer his looks over the extremely smooth clean-cut appearance of the likes of Andy Karl who I always feel are untrustworthy and mostly in love with themselves. This is no judgement on Mr Karl, he's probably a charming chap who only plays these types - just saying. I do think that Ali is right in saying that there's a lot more choice on Broadway, so Groundhog Day did get far more attention (and love) in London. If I were in New York at the moment, there'd be about ten shows I'd be more interested in than G.D.. I think (to my relief) that New York is "over" the whole slapping-films-on-stage thing. The most successful musicals at the moment are original works like Hamilton, Evan Hansen, Come From Away and Comet (which may be based on War and Peace but turned a small chunk of that into something wholly new). |
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Post by Deleted on Apr 8, 2017 8:45:07 GMT
It will do a good 3/4 year run I think. Nine months isn't that good. |
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Post by firefingers on Apr 9, 2017 11:27:33 GMT
Have listened to If I Had My Time Again about 20 times in the last day. This show needs to come back.
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Post by Deleted on Apr 9, 2017 13:40:25 GMT
The flops are Charlie, Amelie and sadly Anastasia. It will do a good 3/4 year run I think. Charlie will undoubtably be the critical flop, but it's advance is HUGE! |
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Post by stuartmcd on Apr 9, 2017 18:19:25 GMT
Tim Minchin has said at the Oliviers that the aim is for Groundhog Day to be back in London within a year
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Post by Deleted on Apr 9, 2017 20:09:45 GMT
ANDY JUST WON!!! - YES!!!
Edit: ....and now it is BEST NEW MUSICAL!
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Post by stuartmcd on Apr 9, 2017 20:23:24 GMT
And now best new musical! Whatever happens on Broadway at least they know that they have an audience in London
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Post by jgblunners on Apr 9, 2017 20:46:27 GMT
So so happy about the Olivier wins - both New Musical and Andy Karl for Best Actor. Plus Tim Minchin seems pretty determined that it'll be back in London within a year, which is fantastic news!!
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Post by theatremadness on Apr 9, 2017 20:57:53 GMT
Just so happy for this show's success tonight. Not even in terms of hoping awards will create an audience for the show, but just for a truly outstanding new musical (and its equally outstanding & sensational leading performance) being rightfully recognised! Bring on the cast recording and the transfer back to the West End!!!
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Post by ali973 on Apr 10, 2017 2:58:01 GMT
Oh I'm so pleased for GHD. Hope this helps for business on Broadway and gets the show back here asap. I don't think Americans know what an Olivier is, and if they do, they don't really care. |
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Post by Deleted on Apr 10, 2017 3:44:44 GMT
Deserved both its wins, and thrilled to hear they plan to bring it back to London!
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Post by mrbarnaby on Apr 10, 2017 6:29:03 GMT
The truth is no one here really knows or cares either.. Oh I'm so pleased for GHD. Hope this helps for business on Broadway and gets the show back here asap. I don't think Americans know what an Olivier is, and if they do, they don't really care. |
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Post by Deleted on Apr 10, 2017 7:28:11 GMT
American audiences won't give a monkey's. Producers might be interested though.
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Post by Mark on Apr 10, 2017 18:55:08 GMT
I wouldn't be surprised if it ends up at the Piccadilly or Aldwych, assuming the Broadway production continues to be successful. I agree. My first thought was actually, once I read the early 2018 timeline, Piccadilly after Annie closes up in January. And that would be a great theatre for it! Medium sized, not too big/not too small, similar to The Old Vic (Old Vic has 1,067 capacity, Piccadilly has 1,232 capacity). Great location and could have some great visuals outside with the digital screen. It could definitely have a healthy run there I think, especially if it has a run not too far from the Old Vic run as it can be "HIT RETURNS TO THE WEST END" situation and can work some great promo off that! Piccadilly is a good venue for it, although wonder if they may go for something more intimate like the Gielgud or Noel Coward (which was rumoured last time around) to try and keep demand high. |
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Post by Jon on Apr 10, 2017 19:01:06 GMT
Piccadilly is a good venue for it, although wonder if they may go for something more intimate like the Gielgud or Noel Coward (which was rumoured last time around) to try and keep demand high. I don't think the Gielgud or Noel Coward would be big enough stage wise although I'm not sure how they compare to the Old Vic or August Wilson. |
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Post by Mark on Apr 10, 2017 19:14:31 GMT
Someone (monkey maybe?) worked out last year that the Coward stage was big enough.
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Post by Phantom of London on Apr 10, 2017 20:30:35 GMT
So the Broadway transfer of the West End production.
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