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Post by chernjam on Mar 20, 2017 22:11:35 GMT
I wish they'd just get on with it and stop messing about! Some f the CRAP that gets made these days and they're dithering about over this? Get it made, get Glenn signed up for it and bloody GET ON WITH IT. e.g. the reductive live action remakes of effing Disney cartoons! What's the point!? great point distantcousin... "Lets remake Mulan" "Lets remake Little Mermaid"... really sick of it. I'm still very doubtful a live action remake of Sunset Boulevard will ever come to pass. Paramount treats the original as the classic that it is and probably fears it could potentially ruin the status of it. But perhaps they will green light a filming of the revival (like Love Never Dies) with a limited cinema release/eventual DVD release? |
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Post by chernjam on Mar 20, 2017 20:46:50 GMT
I do wonder if this will extend once again. Even though none of its weeks have been 100% Capacity (selling steady every week at the 78%+ mark), bar the first week of performances, it has made over $1 million every single week, and even then, with the first week, it made over $800,000 on 5 performances alone! Thus far, in order of most recent week to first week of previews, it has made: $1,260,957.20 $1,210,262.40 $1,325,121.70 $1,300,708.80 $1,142,253.60 $833,693.80 So clearly, even if it is not a sell out, those going are willing to spend the money! You can add - $1,253,433 for this past week (ending March 19) - so even with increased competition with more openings, Sunset is holding it's own and still ranks as the highest gross earner of ALW's 4 shows with only 7 performances per week compared to 8 for the rest. So yes, Sunset is doing very well this time around. |
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Post by chernjam on Mar 18, 2017 17:13:58 GMT
Phantom if that's the case, why did they already extend it to June 25th and there's discussion of a further extension?  Seriously, can't stand when people just throw out comments like that. I would guess that it costs around 700,000 a week to run. (Orchestra is about 50-60,000; cast is around 40-50,000 - leads probably another 100,000 - ) after that, the rest of the production isn't that extensive or expensive...and the Palace rent is probably on the lower end as they are preparing for extensive renovations and couldn't accomodate a long running show anyway. It is easily covering its weekly operating cost, what I am saying it will not cover the cost to mount the physical production, they already trimmed the orchestra from 48 to 40 for Broadway to make the numbers work, so from that we can assume margins are tight already, so can gather they needed to shift a lot of premium priced tickets and full price - but it is for sale on TKT's. So extending doesn't matter as long as you are covering your weekly nut and any money on top of that goes towards covering the cost of the physical production. Isnt that a lot different than saying "it's lost money"? Yes it's been on TKTS. It also has been the top 5 biggest gross earners on broadway - beating out Aladdin and Book of Mormon (while only playing 7 shows per week instead of 5) Granted it's not doing "Hamilton" business - but it's hard to see how it's "losing money". Perhaps that's why they extended it to give it more time to recoup As for it extending again... Something is definitely up. The one rumor that was floating around was that it was going to go back to LA for a limited run so as to keep up the buzz it's been getting from London to NY and perhaps get Paramount to green light a film version, which is what Glenn really, really wants. Extending on broadway? Well, that would be phenomenal. To see Buckley take a few weeks or someone else... the curiosity factor would definitely garner a lot of ticket sales. As for the Palace, I think I read they weren't planning to begin work till Late summer/early fall? Will have to look again |
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Post by chernjam on Mar 18, 2017 6:34:55 GMT
I do wonder if this will extend once again. Even though none of its weeks have been 100% Capacity (selling steady every week at the 78%+ mark), bar the first week of performances, it has made over $1 million every single week, and even then, with the first week, it made over $800,000 on 5 performances alone! Thus far, in order of most recent week to first week of previews, it has made: $1,260,957.20 $1,210,262.40 $1,325,121.70 $1,300,708.80 $1,142,253.60 $833,693.80 So clearly, even if it is not a sell out, those going are willing to spend the money! It's lost money. Phantom if that's the case, why did they already extend it to June 25th and there's discussion of a further extension? Seriously, can't stand when people just throw out comments like that. I would guess that it costs around 700,000 a week to run. (Orchestra is about 50-60,000; cast is around 40-50,000 - leads probably another 100,000 - ) after that, the rest of the production isn't that extensive or expensive...and the Palace rent is probably on the lower end as they are preparing for extensive renovations and couldn't accomodate a long running show anyway. |
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Post by chernjam on Mar 15, 2017 14:32:43 GMT
theatremonkey - they said that the souvenier program would be available in March. No reports that it's there yet - but its still on the website for pre-order
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Post by chernjam on Mar 15, 2017 5:17:47 GMT
Seeing everyone gaga all over Sunset is coming first circle. Though I've been a musical fan for many years before seeing Sunset in the early 90s, it was Sunset that truly smacked me and left me speechless. It was the first show that I saw back when I was a teenager and said, wow I need to see this AGAIN and IMMEDIATELY. I was unbelievably obsessed with it during high school, and collected just about everything Sunset..CDs, bootlegs, brochures, autographs, you name it. I still have my entire collection and at times wonder to myself, wow how did I scrape that off of the internet back THEN? Happy to see it back *gulp* over 20 years later. You, Steve100086 are all in the same boat with this ali Having Sunset back on Broadway, right in Times Square - almost across the street from where it had it's Broadway Premiere has been phenomenal. It's been in the top 5 top musicals each week (with only 7 performances compared to 8) and same type of buzz and excitement about it that there as 23 years ago (can't believe I'm that old!) We're hoping for a new recording to get that phenomenal orchestra/orchestrations and the new leads as our new definitive recording. So happy to read Ria is going on tour with this. I wouldn't dismiss a "West End return" - if it does well on the road, and London only had it at ENO for 5 weeks - so who knows. That would definitely be enough to get me to take a trip to London! |
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Post by chernjam on Mar 14, 2017 23:55:50 GMT
Steve - I knew you'd have a take on it... (In fact I mistook someone on BWW for you since your handles are similar!)
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Post by chernjam on Mar 14, 2017 22:52:38 GMT
I think for some people it's a distraction... others think it's that there was no place for the manequin to go (haha) I just thought I read somewhere that Lonny had explained this choice.
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Post by chernjam on Mar 14, 2017 22:28:41 GMT
Hey everyone across the pond!
Went to see the ENO production of Sunset Boulevard here in NY on February 4th and still blown away by how much more I enjoyed this production than I anticipated - and felt Lonny Price vastly improved the musical version from the original broadway production I saw 9 times with every actress who starred in the role.
Review aside, we've been having some interesting discussions about the production on Broadway world and I was hoping maybe someone over here could help (since I went searching though the 107 pages here and had to give up)
When those of you went to the Director Q & A - did they explain why Joe's body is visible throughout the show?
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Post by chernjam on Jun 22, 2016 13:38:29 GMT
Of all the Joe Gillis - Kevin Anderson was always one of my favorites (at least vocally, never saw him live) - he had a naturalness and ease to me. Never really cared for Alan Campbell any of the 8 times I saw him on Broadway, or on the recording.
Frustrating they never recorded the Australian Cast - Hugh Jackman and Debra Byrne - how much does ALW wish he had that one done?
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Post by chernjam on Jun 22, 2016 13:34:54 GMT
Act I finale to Sunset Blvd is one of my all time favorites. The mix of emotions that surrounded that and the very end with Norma's "Happy New Year Darling" after she's manipulated Joe followed by the orchestral reprise of "The Perfect Year" was spine tingling for me
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Post by chernjam on Jun 10, 2016 15:24:26 GMT
Is Trevor Nunn directing the new Broadway production? The whole thing is kind of bizarre since the details seem to be coming out in bits and pieces
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Cats
Jun 10, 2016 5:28:48 GMT
Post by chernjam on Jun 10, 2016 5:28:48 GMT
To be honest it is sad to see ALW pulling his "blame the (American) producers" card on this one as well. And they are playing the Hamilton angle big time. That being said, for me, for Cats to have a revival, I would hope a new/different take on things. ALW has written some new music (supposedly a new Aria in Act II that he forgot to put in the London revival? ) the new Tugger (which now is going back to the old tugger?) I'm sure the staging/sets are going to be altered? I mean - Evita was completely restaged and no one screamed that Hal Prince's take was being abandoned. I'm not sure about the point about sacking Gillian for a new choreographer as a way to pay less royalties. I doubt the new choreographer coming off of Hamilton is getting a lower rate than Gillian. They probably could've treated a 90 year old who was integral to the original creation better. Well - with all of this, I guess we can see ALW has fully recovered from his health ails and has truly made his "return" - shows premiering with Drama on and off stage. |
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Post by chernjam on Jun 7, 2016 20:05:52 GMT
I think ALW and Cameron Mackintosh as they got more successful didn't have anyone to say no to and ALW started producing shows himself so he made the decisions even if it wasn't the best. School of Rock, I think he knew going in he wanted to do a fun project and his idea of doing the tryouts at the Gramecy rather than out of town was a brilliant idea because it meant the material could be worked on rather than worry about sets and stuff. Thats a good point Jon - the Gramercy "workshops" really were a master-stroke for the creative team. They were able to read audience reactions, play with scene orders/etc - and also build up word of mouth buzz 5 months prior to it started performances. The show has been grossing pretty much over a million dollars a week (not sure what the weekly expenses are there or how much it cost to mount, but by this point - they're in better position than the last of ALW's outings - Woman in White, JCS in 2000, By Jeeves, JCS in 2012 on Broadway) I always liked the idea of the Master and Margarita - but imagine that would be a difficult thing to translate into a stage musical. The TV musical sounds pretty interesting. Definitely could be a great ratings thing - ALW knows how to write a song that can stand on its own on pop-charts which would definitely cause a buzz. I actually was hoping they would do Whistle Down the Wind on TV - even if it wasn't a "Live" TV version - since ALW was big on Whistle being something that was originally conceived on the big screen, maybe this would be the way to do it? And there's some beautiful music from Whistle that hasn't gotten a lot of airplay here in the States like it did internationally (ie - No Matter What) As for Glenn doing Sunset in NY - don't want to start another debate on it, but, seriously, she's gotta hang the turban up already. There's no novelty here like there was in London as she starred in the role for about 8 months. NY will be comparing her to her run 20 years ago. I love Sunset and would really love to see a full scale production again, but let's not go with Close again. As for Love Never Dies - I didn't have a problem with the sequel per se (although how long were they denying it was a sequel?) I think that was more the Phantom Phans who rebelled against that. There were areas that definitely didn't work with the original production, and there are still some story issues, but then again, they can get way too crazy about trying to make it perfect. |
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Post by chernjam on Jun 7, 2016 14:45:06 GMT
Didnt see this on another thread - so I thought I'd post it here: www.independent.co.uk/news/people/andrew-lloyd-webber-on-his-hits-misses-and-four-missing-years-a7068156.htmlLove when ALW has an opportunity to reflect on his previous works, but the maddening thing about this is how the articles give so few details. It's like the reporter tells you just what they talked about without giving you the rest of it. Like why did he think The Woman in White didn't work.... or Stephen Ward... Would he revisit them? What about some of his lesser known works - like Aspects of Love... Found it interesting that he feels LND is "finished" now. I thought they were seriously considering changing the ending to that. Hope that if it does play the US Sierra and Ramin will return to it - although I don't know how they feel about touring (even if it does eventually make it to Broadway) |
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Post by chernjam on Jun 1, 2016 23:15:41 GMT
So she was 'ecstatic' that a lot of people were out of a job?! Classy! Another way she might look at it: US reviewers, with knives out for ALW reviewed it in London, and judged her miscast (fairly or unfairly). How likely is it that they'd have changed their minds on Broadway if ALW had stuck with his star? (the 'right thing to do'). She might now have the millstone round her neck of being the star that sank a surefire hit. It's sad that a performer / composer relationship broke down over this, but I put it at the door of critics. Easy to say you should face them down, but...in the real world. And now, to her, all her experiences in his shows were awful. Imagine the SB events hadn't happened: she'd still be swanning around Sydmonton fake-smiling that it's all great. For someone who calls everyone on everything, she really does have delusions about how great and full of integrity she is. I downloaded her book on my ipad just for the Sunset stuff - but found myself reading some other parts of it. Granted I'm an ALW fan and I'm biased, but the lady just seems pissed off at the whole world. Almost every show, every production there was something with the composer, the producer, the director, blah blah blah. The more I've read of it, the more I could imagine any producer saying "she's not worth the drama". I mean, the way she talks about Evita as such a horrid experience and an awful score - if that's the case why would she have even wanted to audition for Sunset? And her inconsistencies on the story are all over the place. It's sad - all these years later, she's sounding more and more like just a bitter, angry actress. Unfortunate because she is gifted with one hell of a voice. |
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Cats
May 22, 2016 15:48:31 GMT
Post by chernjam on May 22, 2016 15:48:31 GMT
The whole thing is crazy. I'm wondering who they're going to get at this point with performances starting in a few weeks. So much for capitalizing off of some start name. Perhaps tickets were selling well enough already that they didn't need to? Have to be honest I haven't seen any advertisements or anything. There's a nice enough of ads for Phantom and School of Rock but can't remember seeing one for Cats
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Post by chernjam on May 22, 2016 15:45:38 GMT
Ali - thought I was the only one! Interesting how they all had these different signatures Correct me if Im wrong - Betty Buckley was the one who introduced holding "HOME" which then became standard after she did it I think it started when Elaine first started in London, when Buckley went to have her surgery, then it was integrated for Buckley when she stepped into the role in NYC. It was just perfect for the audience to erupt into an ovation! AHHH - that's right - I forgot about that when London had reopened to integrate the American premiere changes with Betty Buckley as Norma, she had apendecitis and Elaine Paige got rushed in to sub for her while she recuperated. Man ALW that year must've been ready for a breakdown after all the off-stage drama. I think it depends now on the singer/the actress - I believe Streisand started holding "Home" when she sang it in her concerts. As for the "MAYYYYY" at the end of With One Look - that sounds like Patti. Even reading it I can hear that screech  |
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Post by chernjam on May 22, 2016 6:30:59 GMT
Ali - thought I was the only one!
Interesting how they all had these different signatures
Correct me if Im wrong - Betty Buckley was the one who introduced holding "HOME" which then became standard after she did it
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Post by chernjam on May 21, 2016 4:20:20 GMT
and I always was blown away by how she ended As If We Never Said Goodbye... it was thrilling:
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Post by chernjam on May 21, 2016 4:17:52 GMT
In my continued Sunset Blvd. "withdrawls" (all this talk of it really has me hooked again) I found this. Glenns understudy on Broadway Karen Mason singing With One Look... The lady blew the roof off the Minskoff Theatre. Just hearing the score with a Norma who really could sing was a revelation:
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Cats
May 17, 2016 0:14:23 GMT
Post by chernjam on May 17, 2016 0:14:23 GMT
doubt shes going to be making music with ALW again... wonder who they're getting for Broadway.
Or could this be a huge pr stint when Nicole decides to star in it after all?
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Post by chernjam on May 17, 2016 0:12:34 GMT
ali - which boots do you have?
any word on if they recorded this/when it will be released? Just want to hear the orchestra playing this score....
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Post by chernjam on May 16, 2016 4:15:53 GMT
All our discussion of Sunset has me in SB withdrawl...
Never imagined I'd watch the entire hour and nineteen minutes on Youtube, but once I started, I was sucked in. Hard to imagine anything beating the original production for me - and Ms. Buckley is often under-appreciated for what an amazing Norma she was:
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Post by chernjam on May 10, 2016 18:05:16 GMT
Can anyone share pics of any of the merchandise from ENO Sunset? Also if there are any clips circulating, I haven't found them yet... particularly would like to hear the "change" to the overture and "Too Much in Love to Care". This is one of my favorite of ALW's scores, so any changes to it intrigue me
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