The unfortunate news is out! Bonnie & Clyde, Frank Wildhorn’s newest Broadway show, is closing on December 28th.
I was planning on seeing it with my students this upcoming February, and that is why I received the email above.
At least, Jeremy Jordan can re-attach himself to Newsies, because he was amazing in it!
Follow @abroadwaycritic on Twitter for any other breaking news…
According to Playbill.com, “This up-to-date production sets the greatest story ever told against a modernist backdrop and wowed the critics during its run at the Stratford Shakespeare Festival. It is directed by Des McAnuff (Jersey Boys).” The reviews from Jesus Christ Superstar’s out-of-town tryout at La Jolla Playhouse have been published as well, and it looks like it’s going to be a huge hit! The critics are raving! Charles McNulty of the LA Times says the show is, “…tightly focused and beautifully measured. This Jesus Christ Superstar gives everyone a reason to artistically rejoice this holiday season.” (Read the round-up of reviews here.)
One of my favorite things about any Broadway show (especially revivals) is the new graphic design that is used to market the show. The design can be very important to the show’s success and it tells audiences what they should expect from the production. The recent revival of Godspell, interestingly enough, is using the old 1974 graphic design for the new 2011 revival. But the new revival of Anything Goes uses a splashy photo of the star, Sutton Foster, as their main focus. It looks fresh, new and very appealing.
In the past, Jesus Christ Superstar has kept the original image throughout all of the revivals and most of the national tours, except the most recent 2000 Broadway revival, which focuses heavily on a photo of Jesus, rather than the two-angels halo image. Below, you can see the images of three different Jesus Christ Superstar Broadway playbills and show posters from the past.
1971 Playbill
1977 Playbill
2000 Playbill
"Jesus Christ Superstar" Posters - Credit: Broadway Direct
The new Broadway poster (seen above on the top left) is completely different from anything else that has been seen in the past. The huge block letters gives us the impression that Jesus Christ is/was a true superstar. It also fits the “feel” of this new revival. As you can see below, they use the oversized block letters as a part of the production as well.
In a Broadway season that is heavy in revivals (especially shows from the 1970′s), is it better to look toward the past like Godspell did or create something new? Are you nostalgic for the 1970′s imagery or do you like the new, updated, fresh look better?
And for the most important question: Does it make you want to see the show?
Be sure to tell us what you think in the comments.
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Written by: Jill Podolsky
Ashland, Oregon. Home of Southern Oregon University, wonderful wineries and vineyards, sales tax-free shopping, fabulous organic restaurants, many, many bed and breakfast hotels and spas and, of course, the internationally known Oregon Shakespeare Festival. It’s nestled in a valley surrounded by the Siskiyou and Cascade mountain ranges. And it’s an easy 6 hour drive from San Jose, through beautiful Dunsmuir and the majestic Mt. Shasta (which is particularly stunning when viewed in your rearview mirror). Or, if a 6 hour drive doesn’t sound appealing, it’s a mere hour flight (direct out of SFO to Medford) with a 25 minute taxi ride into Ashland. You don’t really need a car in Ashland unless you want to drive to decadent Rogue Creamery where you can enjoy award winning blue cheese or to Jacksonville, which has a quaint downtown and is home to the Britt Music Festival.
I’ve gone to Ashland at least once a year since 1996 and I’m considered a newbie! There are people who’ve gone every year for 25-30 years. It’s so much fun to talk to these people and hear their stories of how it’s changed and how the versions of the shows have evolved over the years. People are more than open to exchanging stories and to chatting while on the “bricks” (the outside area where people wait and gather before the doors open).
The main reason I go to Ashland is for the theatre, restaurants, shopping and the incredibly nice people—those who work/live there and those who, like me, are there to get away and live a life where all you do it stay at a lovely B&B, walk around the town, eat, see a show, get a massage, eat and see another show. To me, it’s a perfect day when I get to see 2 shows, eat at at least 2 great restaurants and find beautiful shoes that I don’t have to pay sales tax on! There’s Lithia Park to wander through and lots of wine to drink, as well. It’s a place for adults to get away and it’s a place to take your kids.
In addition to the Oregon Shakespeare Festival (OSF), there’s The Cabaret and many other local theatre groups. The Cabaret has fun musical shows (usually changes about 4 or so times a year) and can include a meal. It’s really a lot of fun.
For me, though, OSF is the main event. A couple of common misconceptions about OSF are that it’s just Shakespeare and that it only runs through the summer. The season runs from February through November and of the 11 (or so) shows they put on, in 3 theaters (2 indoor and 1 outdoor), generally only 4-5 of them are Shakespeare. In recent years, since Bill Rauch has taken over as artistic director, the other shows range from well-known musicals (like The Music Man or Pirates of Penzance) to world premieres and collaborations between the artists and playwrights.
When I first started going to Ashland, I thought I only liked Shakespeare’s comedies. I was entirely wrong. Not only have I grown to just tolerate the comedies, I have grown to love the dramas and the histories. Shakespeare in Ashland is accessible and easy to follow. The shows are set in many different times and are always relevant to what’s happening in our lives at the time. Measure for Measure (playing in the current season) for example, is set in the 1970s. It explores religion, sexuality and morality and Bill Rauch (who directed it) included musical scene transitions from an award-winning Mexican “girl band” who became unique and fascinating characters in the show. OSF is always very flexible with race and gender (a woman is playing Julius Caesar this year) and to me, this makes the shows ever so much more engaging and reflective of our communities.
What they did with The Pirates of Penzance this season was amazing. They took a Gilbert and Sullivan show, created over 100 years ago that has, in many ways, become a parody of itself, and brought it up to date by incorporating music from Porgy & Bess, A Chorus Line, Titanic, Ghost, rap and The Beatles. It was joyful, entertaining and very funny.
Whether or not the story of the play grabs you, the production elements (sets, lighting, props) and acting are always innovative, imaginative and flawless. Actors come from all over the country to work there – the season has a repertory cast of about 70 or so actors, most of whom play 2-4 roles during the season. It’s entirely amazing to see them in each of their different roles, seamlessly moving from character to character and you believe them each time.
I love Ashland, and I highly recommend it as a destination for a quick weekend away or for a week’s vacation. There’s a lot to keep you and your friends/family entertained!
The question of a decade: how many Broadway shows have you seen?
I get that question asked a lot, mostly by my students or from people who have never been to New York City. While, I haven’t seen as many of some of my friends in New York City, I feel like I have conquered Broadway in the last decade with some fantastic fanaticism. Since the day I saw my first Broadway show, June 2nd, 2000, I’ve been hooked.
I’ll do a detailed analysis in a different post, but I did put how much I paid and the totals for each show and category. It’s a very interesting list and one I’m proud of! Here’s to the next 150 shows!
Here’s my lists:
BROADWAY:
Aida at Palace Theatre (June 2nd, 2000), $10.00 - 3 out of 5 stars
OFF-BROADWAY:
American Idiot at Berkeley Rep (September 8th, 2009), $30.00 (?) – 5 out of 5 starsWritten by: Tyler Martins
There is nothing like a dame. Truer words have never been spoken, at least when it comes to Dame Cleo Laine. Dame Cleo is a world renowned Grammy Winning recording artist and actress. Having recorded over 100 albums, Laine is most well known for her jazzy contralto and three octave range. She starred as Julie in West End’s SHOW BOAT, Desiree in A LITTLE NIGHT MUSIC and she originated the role of Princess Puffer on Broadway in DROOD. She is no stranger to Sondheim, having a critically acclaimed run in Los Angeles as the Witch in INTO THE WOODS. In 1988, Cleo Laine recorded an entire album dedicated to Sondheim songs. Some of those songs she recorded were lucky enough (or unlucky enough) to receive music videos. She introduced Sondheim to a large group of people, and these music videos were the first look into Sondheim. While it is fantastic to have such a widely known recording artist tackle the Sondheim songbook (and especially one with such a beautiful voice), one has to ask: what exactly was Cleo Laine thinking when she did these music videos?
Send in the Clowns:
“Where are the clowns?” With her eyes bulging out like that, it’s obvious they’re here. Regardless, a beautiful interpretation…if you close your eyes.
Losing My Mind:
“The sun comes up…” We get to see a sunrise.
“The coffee cup….” We see Cleo with a coffee cup in hand.
This is so bad, it rivals the Cardboard trees shown when Glee sang “As If We Never Said Goodbye.”
Everybody Says Don’t:
“Don’t skate on the ice…” A video clip of skaters…skating on the ice! Gosh, Dame Cleo is so imaginative.
Not While I’m Around:
Okay, so this one isn’t so bad. No literal imagery or video clips of “demons.” Besides the occasional distracting eye-bulge and gaping mouth, a beautiful rendition.
Disclaimer: I love Dame Cleo Laine, but these videos are just bizarre.
Written by: Tyler Martins
The curtain of the first preview of the fourth show of the new Broadway season is set to rise this Sunday. The new season is full of exciting musicals and plays. Last season, there were only two musical revivals on Broadway. This season, there are at least half a dozen, ranging from ANNIE to EVITA, in addition to a few original musicals, such as LYRISTRATA JONES, who is making the move from a 99-seat gymnasium to the Walter Kerr Theater this fall.
Here are the 5 musicals that my my Broadway Musical Shortlist of Must-Sees.
5. Bonnie & Clyde
Frank Wildhorn is at it again. Last season, his WONDERLAND opened on Broadway to terrible reviews, was shut out at the Tony Awards and closed within weeks of opening. This isn’t the first time Wildhorn has faced failure, either. Many of Wildhorn’s shows, such as JEKYLL & HYDE, CIVIL WAR and DRACULA (but to name a few) have failed to recoup or give Wildhorn a good name. One does have to admire him, though – he never gives up. (Wildhorn has had other successes, of course, including an international hit written for Whitney Houston.)
This time, Frank Wildhorn has musicalized the popular story of bandits Bonnie and Clyde. The musical takes place in Depression era Texas and starts off with a 23 year old Bonnie singing of unfulfilled dreams and a world away from diners and waiting tables. Enter Clyde, who has broken out of jail and the two fall in love. The musical chronicles their romance, their life of crime, and their untimely death at the hands of the sheriff.
The musical has had two out-of-town productions in La Jolla, California and Sarasota, Florida, receiving raves for both the leading actors (Laura Osnes as Bonnie in both tryouts, Stark Stands and Jeremy Jordan as Clyde, respectively) and the score, winning regional awards for Outstanding New Musical, Outstanding Lead Actor and Actress and Outstanding Direction.
BONNIE AND CLYDE will star Laura Osnes (ANYTHING GOES, GREASE) and Jeremy Jordan (ROCK OF AGES, WEST SIDE STORY) and play the Schoenfeld Theater, beginning November. Although I am not a fan of these sort of Western dramas, I’ve always been fascinated by the story of Bonnie and Clyde. Based on the 5 tracks available on the official website, I venture to say that Wildhorn has perhaps his greatest score yet. With lyrics by Don Black, a book by Hunter Foster, and direction by Jeff Calhoun, will Wildhorn finally have his hit musical and big Broadway breakout?
4. On a Clear Day You Can See Forever
Harry Connick, Jr. is coming back to Broadway, this time, starring as Dr. Mark Bruckner in the re-imagined and revised Lerner and Lane musical ON A CLEAR DAY YOU CAN SEE FOREVER set to begin performances November 12th at the St. James Theater. The new re-imagined book has altered Daisy to Davey, a quirky, gay floral assistant. Bruckner puts Davey under hypnosis, and discovers the patient’s past life as Melinda, a jazz singer, and falls in love with her.
The original production starred John Collum as Dr. Mark Bruckner and Barbara Harris as Daisy/Melinda, but was not received very well, thanks to the clunky and confusing book (reportedly written while on LSD.) The score, however, was lauded as “melodic and rich” with soaring numbers like “Hurry! It’s Lovely Up Here!,” “She Wasn’t You” and “Come Back To Me.”
David Turner and Jessie Mueller join Harry Connick, Jr. as Davey and Melinda, respectively. It will be interesting to see if and how the new book addresses the issues of the original production. I am also curious to see Harry Connick, Jr. tackle the role of Dr. Bruckner as well as see him live. More important, I am excited to hear the luscious score backed by a decent sized orchestra.
We’ll see how well David Turner can fill Barbara Harris’ shoes.
3. Porgy & Bess
Audra McDonald is a goddess. I would see her sing the phonebook, every night, if that were an option. I was extremely excited when news broke that Audra was leaving as series regular on the hit TV medical drama Private Practice. In my mind, that meant she would be back on stage in no time. Lo, and behold, Broadway will welcome Audra McDonald back where she belongs.
Broadway has not seen a production of the Gerswhin’s PORGY AND BESS since its last revival at the Uris Theater (and subsequent transfer to the Mark Hellinger Theater) in 1976. PORGY AND BESS tells the story of crippled Porgy, and his love for Bess, set on fictional Catfish Row, South Carolina. The piece (performed usually in an Opera House as a sung-through opera) is being re-imagined by Diane Paulus, Artistic Director of the American Repertory Theater, in Cambridge. Pultizer Prize-winning playwright Suzan-Lori Parks (TOPDOG/UNDERDOG, BOOK OF GRACE) is “working to retain all the best-loved elements of the original while crafting a piece that speaks to contemporary audiences.”
As if this wasn’t exciting enough, Audra McDonald will play the famed Bess, opposite Norm Lewis as Porgy. To hear Audra and Norm croon such standards such as “My Man Is Gone Now” and “Bess, You Is My Woman Now” will be quite the experience, according to backers who partook in an industry reading in New York City. PORGY AND BESS will have an out-of-town tryout at the ART, and will play the Richard Rodgers Theater, with performances beginning December. David Alan Grier will join Norm Lewis and Audra McDonald as Sportin’ Row.
Will this be the role that gives Audra McDonald her fifth Tony Award?
2. An Evening with Patti LuPone and Mandy Patinkin
Upon news that Patti LuPone and Mandy Patinkin were bringing their concert act AN EVENING WITH PATTI LUPONE AND MANDY PATINKIN to Broadway, I was both exhilarated and crushed. My love for Patti LuPone knows no bound. You would think I would be thrilled to have Patti LuPone back on Broadway. Normally, I would be bouncing off the walls. One problem: I am not Mandy Patinkin’s biggest fan. (Gasp, a Sondheimanic who doesn’t like Mandy – shocking.) I have never seen Mandy Patinkin live (to be fair, I have actively stayed as far away as possible from him) but now that Patti LuPone will be joining him on stage every night, starting November 16th at the Ethel Barrymore Theater, for a limited engagement of 63 performances, I cannot avoid him any longer.
The concert act is directed by Mandy Patinkin himself, with musical staging by Ann Reinking, with the fantastic Paul Ford on piano. LuPone and Patinkin explore the changes of a romantic relationship, through musical theater songs selected carefully. Many of the songs come from the Rodgers & Hammerstein and Sondheim songbooks, such as Mandy singing of lost love in “This Nearly was Mine” and Patti singing of life’s domesticities in “In Buddy’s Eyes.”
I have a serious case of Theatrical Cognitive Dissonance. Will I be at the Barrymore almost every night? Yes. Will I love it? Yes. Will I this concert change my mind about Mandy Patinkin? That remains to be seen.
And the musical I am MOST excited to see it…
1. Follies
Surprised? I didn’t think so. I have been losing my mind (pardon the pun) for this production of FOLLIES before it was even destined for Broadway, when it played at the Eisenhower Theater at the Kennedy Center in Washington, DC. With a cast composed of Jan Maxwell, Bernadette Peters, Danny Burstein, Ron Raines, Terri White, Elaine Paige and more, how can one not be excited?
The story of FOLLIES focuses on two unhappy, married couples amidst a reunion of showgirls: Ben and Phyllis Stone; and Buddy and Sally Plummer. While the middle-aged couples confront some unpleasant truths about their past and present and come face to face with the future, showgirls from the Weisman Follies perform their signature act, sometimes accompanied by the ghost of their former selves.
It will be curious to see the changes made from the Kennedy Center production, including the pacing of Act 1. Rumor has it that improvements have been made, such as the restoration of more parts of the original book (score!) as well as the re-choreographing of Phyllis’ Folly number, “The Story of Lucy and Jessie.”
The first preview is this Sunday, August 7th, at the Marquis Theater. Regardless of whether or not the show has been improved, one thing is for sure: hearing the rich, breath-taking and beautiful Sondheim score played by a 28 piece orchestra with the original Tunick orchestrations will be worth the price of admission alone.
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Which musicals are YOU most excited for?
Every Friday look for a column written by The Broadway Critic Blog’s newest columnist, Tyler Martins (@mrtylermartins). His passionate love for Sondheim will probably dominate the conversation, but his love for musical theatre is palpable.
Growing up, I was a huge fan of Disney movies. It is not surprising that Disney’s animated musicals were my favorite. The way they made me suspend belief and burst out into song, the way the stories unfolded before my eyes with sweeping melodies and chilling harmonies. Whether I was transfixed by the world under the sea, or amazed by a magical rose, and flying carpets, the music within each of these movies always stayed with me. There is one man who is responsible for that music, for that magic, and that man is Academy Award winner (and Tony Award nominee) Alan Menken. Today, Alan Menken celebrates his 62nd Birthday.
Alan Menken composed the music to many animated films, such as “The Little Mermaid.” As I child, I would watch “The Little Mermaid” just to hear the opening measures to “Poor Unfortunate Souls” sung by the devilish and villainous Ursula. (Ursula happens to be one of my favorite Disney villains, thanks to this song. Besides, she’s cunning, ambitious and sassy, and who doesn’t love sass?)
When Ursula gave me nightmares, I would turn to another Menken film: “Beauty and the Beast.” One of my fondest childhood memories was my mother putting me to sleep with the title song, sung by the transcendent Angela Lansbury. It was only recently that I discovered that she was the voice of Mrs. Potts. I had grown to love Angie when I first entered the theater world. I loved Angie’s Rose, Aurelia, Lovett, etc. But now, my love for her runs deeper.
Perhaps the most famous Disney tune of all time, “A Whole New World,” comes from the Menken-penned “Aladdin.” Like many of Menken’s hit animated films (including “The Little Mermaid” and “Beauty and the Beast”), “Aladdin” was adapted for the stage and opened last night, at 5th Avenue Theatre in Seattle. (Read review here.)
Also receiving a stage adaptation is another of Menken’s films, “Newsies.” “Newsies” was a total box-office failure but gained a cult following and this September, Paper Mill Playhouse (only a few miles away from me, in Millburn, New Jersey) will offer the musical as part of its season subscription. Featuring a book by Harvey Fierstein, more original music by Alan Menken and direction by Jeff Kalhoun, “Newsies: The Musical” has generated a large amount of buzz, hinting at possible future plans for the show. Jeremy Jordan will lead the cast as Jack Kelly, the role originated by Christian Bale in the 1992 film.
Menken recently received high acclaim for his score to “Tangled,” Disney’s latest animated film. “Tangled” is the story of Rapunzel, and stars Mandy Moore, Zachary Quinto and Broadway Diva Donna Murphy as Disney’s very own animated Mamma Rose, Mother Gottel. Menken received his 14th Academy Award Nomination for Best Original Song for “I See the Light.”
Menken hasn’t only been composing for the silver screen – he’s been working for the stage as well. The musical that launched Alan Menken to fame is one of my favorite works, LITTLE SHOP OF HORRORS. Produced Off-Broadway in 1982, the show was based on the 1960 black comedy film of the same name. The musical was later made into a film to critical acclaim, starring Ricky Moranis and original stage Audrey, Ellen Greene. The musical is performed routinely around the world, and was revived on Broadway in 2003 starring Hunter Foster and Kerry Butler. (I wonder if his Dentist father was anything like the sadistic dentist in the musical.)
Just this past Broadway season, Alan Menken penned the score to the stage adaptation of the hit film SISTER ACT, receiving a Tony Award Nomination for Best Musical. (Read our London review here and Broadway review here.) The show opened in London to rave reviews in 2009 and is currently starring Patina Miller as funky Deloris and the ever-perfect Victoria Clark as Mother Superior, both receiving Tony Award Nominations for their performances.
While Alan Menken may not have won a Tony Award for Best Original Score or for Best Musical, he isn’t quitting yet. Currently, he is working with lyricist Glenn Slater on a stage adaptation of “Leap of Faith”, about the fraudulent Christian faith healer Jonas Nightengale. LEAP OF FAITH made its world premiere in Los Angeles, starring Raul Esparza as Nightengale and Brooke Shields as Marva McGowan, the woman whose love redeems Nightengale. Plans for a Broadway production are in the works, although no official announcements have been made.
Celebrate Alan Menken’s birthday today by watching your favorite film, or listening to your favorite Menken score. In the comments below, share (and post videos) of your favorite song, or moment from an Alan Menken score, film or stage work.
Happy Birthday, Alan Menken! Thank you for the music that filled my childhood with joy and allowed my imagination to grow wings and fly among the stars.
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Wish Alan Menken a Happy Birthday on Twitter! @AIMenken
Every Friday look for a column written by The Broadway Critic Blog’s newest columnist, Mr. Tyler Martins (@mrtylermartins). His passionate love for Sondheim will probably dominate the conversation, but his love for musical theatre is palpable.
The many reasons I love Follies….
I love the plot…
Everyone loves a party, don’t they? Follies is just that: a party! A depressing, bleak party…but a party nonetheless! (Don’t worry – there’ll be plenty of alcohol involved.) Thirty years have passed since the hay day of the Weisman Follies, a musical revue similar to that of the Ziegfeld, and the crumbling Weisman Theater will come alive for one final night before it is demolished. The story of Follies focuses on two unhappy, married couples amidst a reunion of showgirls: Ben and Phyllis Stone; and Buddy and Sally Plummer. Sally’s been in love with Ben ever since the Follies. Buddy knows this and has been having an affair with Margie, a girl he sees when travelling (which is often, as he is a travelling salesman). Ben is a powerful, formidable politician who is always too busy with some dinner, or some charity function. Phyllis plays the part of a politicians’ wife, organizing “dinners for ten, elderly men from the UN” and is terribly, terribly unhappy. Happy crowd, eh? While the middle-aged couples confront some unpleasant truths about their past and present and come face to face with the future, showgirls from the Weisman Follies perform their signature act, sometimes accompanied by the ghost of their former selves.
I love the score…
The score to Follies is a masterpiece. In reality, it is two scores: the follies numbers; and the book numbers. The follies numbers, or rather, the songs performed during the Weisman Follies, imitate the style of composers and lyricists of the 1920′s-1950′s, such as Harold Arlen, Dorothy Fields, George Gershwin, and Lorenz Hart. The book numbers focus on the turmoil between the four central characters and are chillingly beautiful and breathtaking when juxtaposed with the vaudevillian theme of the follies numbers. The integration between the book numbers and the follies numbers is just brilliant. The way the past meets the present is just astonishing…especially with Jonathan Tunick’s rich orchestrations and a 28-piece orchestra (which will be used in the upcoming revival).
I love the character, Benjamin Stone…
Benjamin Stone may be one of the hardest Sondheim roles to pull off, basically because Benjamin Stone is underwritten. Benjamin Stone is a successful and powerful politician and businessman. In his Act 1 solo, “The Road You Didn’t Take”, Ben mulls over the choices he made in life, and lies to Sally (and himself) that he was happy with his life. The audience, however, can see right through him, thanks to the dissonant note at the end of each phrase. (Like I said, Sondheim = genius.) What Ben really is, is insecure, unhappy and longing. Something about Ben speaks to me. We’re both ambitious, headstrong, coming from “humble beginnings”… and when he takes the stage during the final follies number, “Live Laugh Love,” he comes undone.
I love the actress, Jan Maxwell…
Many people are excited to see Bernadette Peters in the upcoming revival of Follies. I, however, am losing my mind (pardon the pun) to see Jan Maxwell, starring opposite Bernadette Peters. Jan will play the high society, cold and calculating Phyllis Stone. I have admired Jan Maxwell for quite some time, and fell in love with her after spending a night researching her, watching clips of past stage roles. In the 2010 Broadway season, she was nominated for two Tony Awards alone: Best Leading Actress for her role in The Royal Family and Featured Actress for her role in Lend me a Tenor. In the Kennedy Center Production of Follies, she was critically acclaimed – imagine my joy when I heard she was reprising her role on Broadway.
I love the song, “Losing My Mind”…
Everyone has a favorite song – a song that you can listen to on repeat for hours, days, months, even. Sometimes that song is cheery and upbeat, and makes you want to get up and tap dance. Other times that song is quiet, beautiful and makes you emotional. Not surprisingly, my favorite song comes from Follies and is of the latter kind. “Losing My Mind” is the quintessential torch song. Sally, in her follies number, sings about the unrequited love she carries, and how it is taking her to the brink of insanity. Fashioned after George Gershwin’s “The Man I Love,” the song is lyrically simple, with the repetition of “losing my mind” no less than 6 times (yes, I counted). The emotion conveyed through that song, the yearning, the pain, the hurt…it’s overwhelming. I cannot listen to it without tears. My favorite rendition of the song is Dorothy Collin’s, who is heartbreaking. (She was also the original Sally in Follies). Many artists have sung this song – from Barbara Cook to Julie McKenzie (who takes the final note up an octave to great success) to Liza Minnelli’s famed (or rather, infamous) rendition with the Pet Shop Boys (I cannot listen to it for more than 5 seconds). Bernadette Peters will sing this beautiful song in the upcoming revival of Follies.
Watch Dorothy Collins perform “Losing My Mind.”
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Not surprisingly, I already ordered my ticket for the first preview of Follies. Will I see you at the Marquis Theater during its run? What about the show do you love? Or, what about the show do you dislike? Start the discussion…
Last Tuesday, Billy Elliot opened in San Francisco at the Orpheum Theatre. Unfortunately, I missed it because I was flying back from New York City where I saw five shows: Sister Act, The Addams Family, Baby It’s You, Priscilla Queen of the Desert and How to Succeed…. I hope to see Billy Elliot in the upcoming weeks, but I might not get there until the beginning of August considering I still have to see Tales of the City in San Francisco and I’m looking forward to seeing a brand new show, Fly By Night, at Theatreworks. Plus, I haven’t reviewed Billy Elliot on The Broadway Critic Blog, so it’s definitely going to happen.
Billy Elliot has a huge following! It won the Tony Award for Best Musical in 2009 and the dancing kids in this show are to-die-for. But, I hate to say this, I wasn’t a huge fan of the show at all when I saw it on Broadway (with the original cast). I felt it lost the “heart” of the movie. I know, I know… I’m in the minority here, but I’m hoping that Faith Prince and the (hopefully) updated set will change my mind.
It seems though, that everyone is loving it. Have you seen it? Anyone seen the Broadway version and can discuss the changes they made for the tour?
TWITTER RESPONSES:
@deliarium: Saw Billy Elliot (the musical) in SF last night. It makes me wish I could dance, or be talented in any performing arts capacity whatsoever.
@dauphinlovr: Hey @shnsf, I’m heading up to SF to see “Billy Elliot‘ with @RCorteway. I’ve heard nothing but great reviews. Can’t wait to see it.
@NinaVeaco: Go see Billy Elliot…go…now
@erotes: Intermission at Billy Elliot and loving it!!!
@hurleysashimi: Got rush tickets to see Billy Elliot at the Orpheum. Billy‘s being played by a little Filipino boy!
@Chris09cook: Going to watch Billy Elliot tonight at the theatre due to the gf.. But secretly I’m actually quite excited :s
@JimOtermat: Attention makers of the SF Billy Elliot bus posters: When is Septemeber?
@THEjoeWeinberg: That kid who plays Billy Elliot is 15? wow. way to make me feel unaccomplished….
@JayLeila: as excited as I am to see Billy Elliot tonight, I really wish I was home watching more True Blood
@tmth: Back from seeing Billy Elliot at Orpheum Theatre. Thought it was moving, but the attempt at a northerner dialect was cringe worthy!
