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Post by zahidf on May 21, 2018 10:16:47 GMT
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781 posts
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Post by latefortheoverture on May 21, 2018 10:21:54 GMT
Oh wow! Didn’t expect to see this coming here BEFORE broadway!!
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Post by Deleted on May 21, 2018 10:22:36 GMT
Oooooo this is out of the blue! It's only just begun this month in America at the A.R.T and I assumed it would head to Broadway straight after. It's running until mid-July there, so if they wanna bring Derek Klena over with them, that would be cool!  |
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Post by raiseitup on May 21, 2018 10:23:32 GMT
Wow, that's cool! Hope the Boston cast come over so Derek Klena will be in London  |
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Post by Deleted on May 21, 2018 10:32:21 GMT
Bet that's a jolly night out. Do they supply razor blades to slit your wrists with in the interval or do you have to bring your own?
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Post by QueerTheatre on May 21, 2018 10:57:01 GMT
I would love this to be true, but Does CW have much of a track record with these 'scoops'? There's no evidence or anyone backing him up yet.... fingers crossed though.
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3,057 posts
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Post by ali973 on May 21, 2018 11:13:10 GMT
Interesting! I'm seeing it next month in Boston. I wonder if it'll be the same cast or if they will assemble a London cast for it. Idina Menzel did the workshops. I'm nervous what will happen if she opens it in London.
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3,057 posts
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Post by ali973 on May 21, 2018 11:21:14 GMT
BTW--do we have dates?
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2,496 posts
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Post by zahidf on May 21, 2018 11:32:12 GMT
I would love this to be true, but Does CW have much of a track record with these 'scoops'? There's no evidence or anyone backing him up yet.... fingers crossed though. He doesn't scoop a lot but is accurate when he is scooping |
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Post by Deleted on May 21, 2018 11:51:39 GMT
Just eight weeks is quite short for the Studio 1. As of late at least, other than Grinning Man, it has been limited 3 or 4 month runs whilst the Studio 2 does the shorter runs.
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2,702 posts
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Post by viserys on May 21, 2018 11:59:55 GMT
Maybe they're testing the waters for a potential West End transfer or at least extension. Better start small than plan too big and then struggle to put bums on seats as they did with Grinning Man.
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1,970 posts
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Post by sf on May 21, 2018 12:07:49 GMT
Interesting! I'm seeing it next month in Boston. I wonder if it'll be the same cast or if they will assemble a London cast for it. Idina Menzel did the workshops. I'm nervous what will happen if she opens it in London. The production at A.R.T. is 100% Idina-free. There is a synopsis on the show's Wikipedia page. It is so completely, thrillingly batsh*t insane that I may, God help me, give in and book a ticket if it arrives in London. "MJ, who is detoxing off her medications, attempts to make pancakes..." |
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Post by Deleted on May 21, 2018 12:30:12 GMT
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Post by JJShaw on May 21, 2018 12:32:38 GMT
how exciting! With this and Hadestown at the NT its nice to see we are getting to see some of the more experimental theatre. (Cue cries of "but why arent we supporting new British work"? My answer is I dont know but is nice to see new work wherever its origin!)
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3,057 posts
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Post by ali973 on May 21, 2018 12:39:30 GMT
Interesting! I'm seeing it next month in Boston. I wonder if it'll be the same cast or if they will assemble a London cast for it. Idina Menzel did the workshops. I'm nervous what will happen if she opens it in London. The production at A.R.T. is 100% Idina-free. There is a synopsis on the show's Wikipedia page. It is so completely, thrillingly batsh*t insane that I may, God help me, give in and book a ticket if it arrives in London. "MJ, who is detoxing off her medications, attempts to make pancakes..."I know it's Idina-free, but she did do the workshops and might be looking for a star vehicle next. I haven't read the synopsis and will probably wait until I see it next month (who are we kidding, I'll read it tonight). But attempting to make pancakes in a frenzied state sounds very Next to Normal. |
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Post by ali973 on May 21, 2018 12:41:50 GMT
how exciting! With this and Hadestown at the NT its nice to see we are getting to see some of the more experimental theatre. (Cue cries of "but why arent we supporting new British work"? My answer is I dont know but is nice to see new work wherever its origin!) Is there any British work worth seeing? With exception to Jamie, British work hardly pushes boundaries or tries anything new. They all target these big, sweeping epic stories and want to be the next Les Mis. Although Jamie is pop and not necessarily daring or bold, it is a show about young people and fully inclusive. Producers and writers should take note. |
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Post by Deleted on May 21, 2018 16:14:05 GMT
Looks like the original tweet had been deleted. Perhaps his announcement was deemed premature?
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Post by 49thand8th on May 21, 2018 16:17:30 GMT
Looks like the original tweet had been deleted. Perhaps his announcement was deemed premature? Who tweeted it? I came in too late. |
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Post by Deleted on May 21, 2018 16:22:48 GMT
Looks like the original tweet had been deleted. Perhaps his announcement was deemed premature? Who tweeted it? I came in too late. Carl Woodward. Reading the plot it does sound fascinating. I’m a huge fan of the album too, so I’ll surely book for this when tickets are on sale. |
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Post by sf on May 21, 2018 16:38:04 GMT
how exciting! With this and Hadestown at the NT its nice to see we are getting to see some of the more experimental theatre. (Cue cries of "but why arent we supporting new British work"? My answer is I dont know but is nice to see new work wherever its origin!) Is there any British work worth seeing? With exception to Jamie, British work hardly pushes boundaries or tries anything new. They all target these big, sweeping epic stories and want to be the next Les Mis. Although Jamie is pop and not necessarily daring or bold, it is a show about young people and fully inclusive. Producers and writers should take note. I don't know that that's necessarily entirely true. In terms of content, 'Flowers for Mrs. Harris' doesn't push boundaries, but it's beautifully written and exceptionally moving, and it certainly isn't a big sweeping epic story that wants to be the next Les Mis. Neither is the same composer's adaptation of 'The Go-Between'; in terms of the way it's written, that actually does push a few boundaries, or at least try something a little different, and it's a lovely chamber piece. At the other end of the spectrum, while London audiences didn't embrace it, I loved 'Loserville' in Leeds - not a perfect show, true, but it had a terrific score, and again it absolutely wasn't trying to be another Les Mis. |
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Post by Deleted on May 21, 2018 16:48:37 GMT
Carl is the same person who recently tweeted about Dolly coming tot what Palladium in 2019.
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Post by ali973 on May 21, 2018 17:47:10 GMT
sf, Flowers for Mrs Harris does seem to be a good piece that is yet to make it to London. Yes, maybe this year didn't have (many) original musicals on Broadway, but you can bet that they chug them out regularly in the US, every season, and there are new and interesting pieces every single year. The problem with the British musical is that it seems to be the ilk of Flowers For Mrs Harris, The Girls, Betty Blue Eyes and Mrs Henderson Presents.
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Post by ali973 on May 21, 2018 17:49:30 GMT
Carl is the same person who recently tweeted about Dolly coming tot what Palladium in 2019. So who is this guy? And was this an "exclusive" or is he just an insider of some sort? It doesn't look like this is real. No news outlet has released this. I'm also starting to have doubts about this. The partnership between A.R.T. and Trafalgar seems questionable. |
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Post by Deleted on May 21, 2018 18:33:44 GMT
Carl Woodward has a podcast with Mark Shenton. I'd not really heard of him at all until recently, but based on that and what I've heard of him from other people I know, I have no immediate reason to doubt the veracity of his scoops.
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Post by sf on May 21, 2018 18:53:52 GMT
sf , Flowers for Mrs Harris does seem to be a good piece that is yet to make it to London. Yes, maybe this year didn't have (many) original musicals on Broadway, but you can bet that they chug them out regularly in the US, every season, and there are new and interesting pieces every single year. The problem with the British musical is that it seems to be the ilk of Flowers For Mrs Harris, The Girls, Betty Blue Eyes and Mrs Henderson Presents. I enjoyed three of those in the theatre (and, OK, hated the cast album of 'Mrs. Henderson Presents'). I'm not sure why it should be a "problem" if British musicals are of the ilk of 'Flowers for Mrs. Harris', given that it was one of the most thoroughly moving pieces of theatre I have ever seen. And I have seen a lot of theatre. The problem with the British musical compared to the US is that we have far fewer development opportunities here, and that (some) regional theatres and commercial producers are hesitant - very hesitant - to take a chance on anything new. That's understandable in one sense - musicals are more expensive to mount than straight plays, and more complicated to rehearse - but it does mean it's difficult for new work to get produced. In New York, the Public Theater seems to produce at least one new musical every year. We do not have an institutional theatre which does that, although the Crucible in Sheffield has sometimes come close. As for "yet to make it to London", that is not any indication of quality. A London production may confer a certain longevity on a show, in that once something has been seen in London it's more likely to be on the radar of theatres/companies looking for things to produce, but there's - and I know some people are going to need smelling salts when I say this - plenty of very good theatre in the regions, and audiences outside London aren't all unsophisticated hicks. |
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