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How Many Broadway Shows Have You Seen?

Updated: October 2013

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:

  1. Aida at Palace Theatre (June 2nd, 2000), $10.00 - 3 out of 5 stars
  2. RENT at Nederlander Theatre (June 3rd, 2000), $20.00 – 5 out of 5 stars
  3. Swing at St. James Theatre (June 3rd, 2000), $25.00 – 4 out of 5 stars
  4. Les Miserables at Imperial Theatre (June 6th, 2000), $31.00 – 5 out of 5 stars
  5. 42nd Street at Ford Center for the Performing Arts (August 2001) $30.00 (?) – 3 out of 5 stars
  6. Chicago at Shubert Theatre (August 27th, 2001), $42.50 – 5 out of 5 stars
  7. RENT at Nederlander Theatre (August 28th, 2001), $35.00 – 5 out of 5 stars
  8. Urinetown at The Henry Miller (August 29th, 2001), $25.00 – 5 out of 5 stars
  9. Thoroughly Modern Millie (May 1, 2002), $55.00 – 5 out of 5 stars
  10. Avenue Q at The John Golden Theatre (August 4th, 2003), $21.25 – 5 out of 5 stars
  11. Movin’ Out at Richard Rodgers Theatre (August 5th, 2003), $30.00 – 3 out of 5 stars
  12. Take Me Out at Walter Kerr Theatre (August 6th, 2003), $21.00 – 5 out of 5 stars
  13. Nine at Eugene O’Neill Theatre (August 6th, 2003), $31.00 – 3 out of 5 stars
  14. Hairspray at Neil Simon Theatre (August 7th, 2003), $20.00 – 4 out of 5 stars
  15. Big River at American Airlines Theatre (August 9th, 2003), $21.25 – 5 out of 5 stars
  16. Man of la Mancha at Al Hirscheld Theatre (August 10th, 2003), $30.00 (?) – 2 out of 5 stars
  17. Wicked at Gershwin Theatre (December 25th, 2004), $55.00 – 5 out of 5 stars
  18. Bombay Dreams at The Broadway Theatre (December 26th, 2004), $26.25 – 4 out of 5 stars
  19. Bkyln, The Musical at Plymouth Theatre (December 28th, 2004), $26.25 – 0 out of 5 stars
  20. Little Women at Virginia Theatre (December 27th, 2004), $30.00 – 3 1/2 out of 5 stars
  21. 12 Angry Men at American Airlines Theatre (January 2nd, 2005), $25.00 (?) – 5 out of 5 stars
  22. Democracy at Brooks Atkinson Theatre (January 2nd, 2005), $30.00 – 1 out of 5 stars
  23. The Light in the Piazza at Vivian Beaumont Theatre (May 14th, 2005), $20.00 – 5 out of 5 stars
  24. The Drowsy Chaperone at Marquis Theatre (May 27th, 2005), $25.00 – 5 out of 5 stars
  25. Dirty Rotten Scoundrels at Imperial Theatre (May 28th, 2005), $26.25 – 4 1/2 out of 5 stars
  26. The History Boys at Broadhurst Theatre (August 2005), $90.00 (really $0.00) – 5 out of 5 stars
  27. Chitty Chitty Bang Bang at Hilton Theatre (September 2006), $30.00 (?) – 3 1/2 out of 5 stars
  28. Mary Poppins at New Amsterdam Theatre (November 11, 2006), $20.00 – 5 out of 5 stars
  29. Spring Awakening at Eugene O’Neill Theatre (November 25th, 2006), $25.00 – 5 out of 5 stars
  30. Company at Ethel Barrymore Theatre (December 2nd, 2006), $36.25 – 4 1/2 out of 5 stars
  31. The Apple Tree at Studio 54 (December 2nd, 2006), $36.25, 2 out of 5 stars
  32. Beauty and the Beast at Lunt-Fontanne Theatre (March 11th, 2007), $40.00 – 1 out of 5 stars
  33. The Pirate Queen at Hilton Theatre (April 6th, 2007), $51.25 – 0 out of 5 stars
  34. Company at Ethel Barrymore Theatre (April 7th, 2007), $36.25 – 5 out of 5 stars
  35. Talk Radio! at Longacre Theatre (April 8th, 2007), $36.25 – 3 1/2 out of 5 stars
  36. 110 in the Shade at Studio 54 (April 12th, 2007), $36.25 – 3 out of 5 stars
  37. RENT at Nederlander Theatre (August 2007), $40.00 (?) – 5 out of stars
  38. The Little Mermaid at Lunt-Fontanne Theatre (February 21, 2008), $81.50 (really $0.00) – 0 out of 5 stars
  39. Xanadu at The Helen Hayes Theatre (February 22nd, 2008), $41.40 (really $0.00) – 5 out of 5 stars
  40. Young Frankenstein at Hilton Theatre (February 24th, 2008), $61.50 (really $0.00) – 2 out of 5 stars
  41. Spring Awakening at Eugene O’Neill Theatre (February 24th, 2008), $61.50 (really $0.00) – 3 out of 5 stars
  42. Equus at Broadhurst Theatre (October 17th, 2008), $40.00 (?) (really $0.00) – 2 out of 5 stars
  43. Billy Elliot at Imperial Theatre (October 18th, 2008), $41.50 (really $0.00) – 1 out of 5 stars
  44. In the Height at Richard Rodgers Theatre (October 18th, 2008), $41.50 (really $0.00) – 5 out of 5 stars
  45. All My Sons at Gerald Schoenfeld Theatre (October 19th, 2008), $26.50 (really $0.00) – 5 out of 5 stars
  46. South Pacific at Vivian Beaumont Theatre (March 27, 2009), $75.00 (really $0.00) – 4 1/2 out of 5 stars
  47. Guys and Dolls at Nederlander Theatre (March 28th, 2009), $51.50 (really $0.00) – 1 out of 5 stars
  48. Shrek at The Broadway Theatre (March 31st, 2009), $36.50 (really $0.00) – 2 1/2 out of 5 stars
  49. West Side Story at Palace Theatre (April 1st, 2009), $82.50 (really $0.00) – 1 out of 5 stars
  50. Next to Normal at Booth Theatre (April 1st, 2009), $111.50 – 5 out of 5 stars
  51. Next to Normal at Booth Theatre (July 13th, 2009), $49.50 (really $0.00) – 5 out of 5 stars
  52. Billy Elliot at Imperial Theatre (July 14th, 2009), $41.50 (really $0.00) – 1 out of 5 stars
  53. God of Carnage at Bernard B. Jacobs Theatre (July 15th, 2009), $81.50 (really $0.00) – 4 out of 5 stars
  54. HAIR at Al Hirschfeld Theatre (July 16th, 2009), $37.00 (really $0.00) – 3 out of 5 stars
  55. 9 to 5 at Marquis Theatre (July 17th, 2009), $36.50 (really $0.00) – 3 1/2 out of 5 stars
  56. Rock of Ages at Brooks Atkinson Theatre (July 19th, 2009), $26.50 (really $0.00) – 3 1/2 out of 5 stars
  57. Next to Normal at Booth Theatre (July 19th, 2009), $61.50 – 5 out of 5 stars
  58. Hamlet at Broadhurst Theatre (October 8th, 2009), $25.00 (really $0.00) – 3 out of 5 stars
  59. A Steady Rain at Gerald Schoenfeld Theatre (October 8th, 2009), $66.50 (really $0.00) – 4 1/2 out of 5 stars
  60. Memphis at Schubert Theatre (October 9th, 2009), $41.50 (really $0.00) – 2 out of 5 stars
  61. Bye Bye Birdie at Henry Miller’s Theatre (October 10th, 2009), $69.00 (really $0.00) – 0 out of 5 stars
  62. Finian’s Rainbow at St. James Theatre (October 10th, 2009) $35.00 (really $0.00) – 4 out of 5 stars
  63. Next to Normal at Booth Theatre (October 11th, 2009), $26.50 (really $0.00) – 5 out of 5 stars
  64. Fela! at Eugene O’Neill Theatre (January 16th, 2010), $27.00 – 3 1/2 out of 5 stars
  65. Finian’s Rainbow at St. James Theatre (January 17th, 2010), $20.00 – 5 out of 5 stars
  66. Time Stands Still at The Samuel J. Friedman Theatre (January 17th, 2010), $27.00, 4 out of 5 stars
  67. The Scottsboro Boys at Lyceum Theatre (October 7th, 2010), $26.50 (really $0.00), 1 out of 5 stars
  68. Women on the Verge of a Nervous Breakdown at Belasco Theatre (October 8th, 2010), $116.50 (refunded) – 0 out of 5 stars
  69. Next to Normal at Booth Theatre (October 9th, 2010), $25.00, (really $0.00) – 5 out of 5 stars
  70. American Idiot at St. James Theatre (October 10th, 2010), $40.00 (really $0.00) – 4 1/2 out of 5 stars
  71. Bloody Bloody Andrew Jackson at Bernard B. Jacobs Theatre (October 10th, 2010), $60.00 (?) (really $0.00) – 3 out of 5 stars
  72. Spider-man: Turn Off the Dark at Foxwoods Theatre (January 22nd, 2011), $119.00 – 3 out of 5 stars
  73. Anything Goes at Stephen Sondeim Theatre (March 10th, 2011), $89.00 – 5 out of 5 stars
  74. Catch Me If You Can at Neil Simon Theatre (March 11th, 2011), $69.00 – 2 out of 5 stars
  75. The Book of Mormon at Eugene O’Neill Theatre (March 12th, 2011), $69.00, 0 out of 5 stars
  76. Sister Act at The Broadway Theatre (June 22nd, 2011), $121.50, 5 out of 5 stars
  77. The Addams Family at Lunt-Fontanne Theatre (June 23, 2011), $comp – 0 out of 5 stars
  78. Baby It’s You at Broadhurst Theatre (June 24th, 2011), $comp – 1 out of 5 stars
  79. Priscilla Queen of the Desert at Palace Theatre (June 25th, 2011), $comp – 4 out of 5 stars
  80. How to Succeed In Business Without Really Trying at Al Hirschfeld Theatre (June 25th, 2011), $comp – 4 out of 5 stars
  81. Follies at Marquis Theatre (October 6th, 2011), $35.00 – 4 1/2 out of 5 stars
  82. Godspell at Circle in the Square Theatre (February 16th, 2012), $50.00** (really $0.00) – 4 out of 5 stars
  83. Chicago at Ambassador Theatre (February 17th, 2012), $45.00** (really $0.00) – 2 out of 5 stars
  84. Sister Act at The Broadway Theatre (February 18th, 2012), $50.00** (really $0.00) – 4 1/2 out of 5 stars
  85. Ghost at Lunt-Fontanne Theatre (May 9th, 2012), $59.00 – 2 1/2 out of 5 stars
  86. Once at Bernard Jacobs Theatre (May 9th, 2012), $89.50 – 3 out of 5 stars
  87. Leap of Faith at St. James Theatre (May 10th, 2012), $27.00 – 4 out of 5 stars
  88. Newsies at Nederlander Theatre (May 13th, 2012), $55.00 – 5 out of 5 stars
  89. Evita at Marquis Theatre (June 20th, 2012), $32.00 – 4 out of 5 stars
  90. Nice Work If You Can Get It (June 21st, 2012), $comp – 3 out of 5 stars
  91. Jesus Christ Superstar (June 23rd, 2012), $comp – 1.5 out of 5 stars
  92. Kinky Boots (March 14th, 2013), $57.00 – 3 out of 5 stars
  93. Matilda (March 15th, 2013), $67.00 – 5 out of 5 stars
  94. Annie (March 16th, 2013), $40.00 – 3 out of 5 stars
  95. Hands on a Hard Body (March 16th, 2013), $79.00 – 2 out of 5 stars
  96. Cinderella (June 25th, 2013), $59.50 – 4 out of 5 stars
  97. Pippin (June 26th, 2013), $89.00 – 5 out of 5 stars
  98. Annie (June 27th, 2013), $comp – 1.5 out of 5 stars
  99. First Date (October 17th, 2013), $79.00 – 0 out of 5 stars
Tickets Total: $
Tickets Actually Paid: $
** tickets were paid for through school trips, comps, friends or professional development conferences

OFF-BROADWAY:

  1. Tick, Tick Boom! at Jane Street Theatre (August 30, 2001), $20.00 – 4 out of 5 stars
  2. The Last Five Years at Minetta Lane Theatre (May 2nd, 2002), $20.00 (?) – 5 out of 5 stars
  3. The Thing About Men at Promenade Theatre (August 10th, 2003), $37.50 – 3 out of 5 stars
  4. Altar Boyz at New World Stages (April 5th, 2007), $0.00 – 4 out of 5 stars
  5. Rooms: a Rock Romance at New World Stages (March 30th, 2009) $0.00 – 4 out of 5 stars
  6. The Toxic Avenger at New World Stages (July 15th, 2009), $45.00 (really $0.00) – 4 out of 5 stars
  7. Vanities, a New Musical at Second Stage Theatre (July 18th, 2009), $35.50 (really $0.00), 2 1/2 out of 5 stars
  8. Without You at New York Musical Theatre Festival (October 7th, 2010), $40.00 (really $0.00) – 5 out of 5 stars
  9. Carrie at Lucille Lortel Theatre (February 18th, 2012), $20.00 – 4.5 out of 5 stars
  10. RENT at New World Stages (February 19th, 2012), $50.00 – 3 out of 5 stars
  11. Murder Ballad at Union Square Theatre (June 28th, 2013), $49.00 – 4 out of 5 stars
  12. A Lasting Impression at Joe’s Pub – a reading (June 29th, 2013), $15.00 – 3 out of 5 stars
  13. Far From Heaven at Playwrights Horizon (June 30th, 2013), $? – 3 out of 5 stars
  14. Fun Home at The Public Theatre (October 18th, 2013), $20.00 – 2 out of 5 stars
  15. Little Miss Sunshine at 2nd Stage Theatre (October 19th, 2013), $81.00 – 4 out of 5 stars
Tickets Total: $
Tickets Actually Paid: $
LONDON:
  1. Sister Act at The Palladium (November 24th, 2009), $50.00, 3 1/2 out of 5 stars
  2. Inherit the Wind at Old Vic Theatre (November 25th, 2009), $50.00, 4 out of 5 stars
  3. When Harry Met Sally at Festival Theatre (Edinburgh, Scotland) (June 18th, 2010), $30.00, 3 out of 5 stars
  4. Paradise Found at Chocolate Menier Factory (June 22nd, 2010), $50.00, 0 out of 5 stars
  5. Priscilla Queen of the Desert at Palace Theatre (June 24th, 2010), $65.00, 4 out of 5 stars
  6. Sweet Charity at Theatre Royal Haymarket (June 26th, 2010), $50.00, 4 1/2 out of 5 stars
  7. Love Never Dies at Adelphi Theatre (June 26th, 2010), $50.00, 5 out of 5 stars
  8. Love Never Dies at Adelphi Theatre (January 2nd, 2011), $50.00 (really $0.00), 2 out of 5 stars
Tickets Total: $345.00 (Average Ticket: $43.13)
Tickets Actually Paid: $345.00 (Average Ticket: $43.13)
VEGAS:
  1. Phantom at The Phantom Theatre, The Venetian Resort (June 23rd, 2009), $60.00 – 5 out of 5 stars
  2. The Lion King at Mandalay Bay Theatre (February 20th, 2010), $comp, 4 out of 5 stars
  3. Phantom at The Phantom Theatre, The Venetian Resort (February 20th, 2010), $comp – 5 out of 5 stars
  4. Jersey Boys at The Palazzo Resort (February 21st, 2010), $comp, 5 out of 5 stars
REGIONAL/TOURS: (not a completely comprehensive list — the most important regional/tours)
  1. The Phantom of the Opera at Curran Theatre (1995ish?), $? – can’t remember
  2. City of Angels at AMTSJ (Spring 1997), $15.00 – 4 out of 5 stars
  3. The Music Man at AMTSJ (Spring 1997), $15.00 – 4 out of 5 stars
  4. Annie Get Your Gun at Capitol Theatre (February 2001), $36.00 – 3 out of 5 stars
  5. Cabaret at Kingsbury Hall (December 2001), $25.00 (?) – 4 1/2 out of 5 stars
  6. Les Miserables at Capitol Theatre (June 2003), $30.00 (?) – 4 out of 5 stars
  7. The Full Monty at Capitol Theatre (September 2003), $30.00 (?) – 4 out of 5 stars
  8. Scrooge, The Musical at Merriam Theater (December 31, 2003) $20.00 – 3 out of 5 stars
  9. Windy City at Walnut Street Theatre (October 21st, 2006), $10.00 – 0 out of 5 stars
  10. Legally Blonde, The Musical at Golden Gate Theatre (February 18th, 2007), $60 (really $0.00) – 4 out of 5 stars
  11. Jesus Christ Superstar at AMTSJ (December 30th, 2007), $20.00 (?), 3 out of 5 stars
  12. The 25th Annual Putnam County Spelling Bee at San Jose Rep (June 7th, 2009), $20.00 (?) – 3 1/2 out of 5 stars
  13. Grey Gardens at Theatreworks (June 2009), $40.00 (?), 1 out of 5 stars
  14. Monty Python’s Spamalot at Golden Gate Theatre (July 4th, 2009), $50.00 – 4 out of 5 stars
  15. August: Osage County at Curran Theatre (August 21, 2009), $80.00 – 5 out of 5 stars
  16. Wicked at Orpheum Theatre (August 30th, 2009), $25.00 – 4 out of 5 stars
  17. American Idiot at Berkeley Rep (September 8th, 2009), $30.00 (?) – 5 out of 5 stars
  18. American Idiot at Berkeley Rep (September 24th, 2009), $30.00 (?) – 5 out of 5 stars
  19. American Idiot at Berkeley Rep (October 14th, 2009), $30.00 (?) – 5 out of 5 stars
  20. Spring Awakening at Broadway San Jose (October 30th, 2009), $comp – 5 out of 5 stars
  21. American Idiot at Berkeley Rep (November 1st, 2009), $50.00 – 5 out of 5 stars
  22. American Idiot at Berkeley Rep (November 12th, 2009), $61.00 – 5 out of 5 stars
  23. The 39 Steps at Curran Theatre (December 9th, 2009), $comp – 3 1/2 out of 5 stars
  24. Xanadu at Broadway Sacramento (January 2nd, 2010), $25.00 – 3 1/2 out of 5 stars
  25. Avenue Q at Broadway San Jose (January 14th, 2010), $comp – 4 out of 5 stars
  26. Daddy Long Legs at Theatreworks (January 26th, 2010), $comp – 0 out of 5 stars
  27. Fiddler on the Roof at Golden Gate Theatre (February 2010), $comp – 3 out of 5 stars
  28. Whisper House at Old Globe Theatre (February 6th, 2010), $20.00 – 5 out of 5 stars
  29. Wicked at Orpheum Theatre (February 11th, 2010), $35.00 – 4 out of 5 stars
  30. Legally Blonde at Broadway San Jose (March 16th, 2010), $comp – 3 out of 5 stars
  31. Girlfriend at Berkeley Rep (April 14th, 2010), $comp – 2 out of 5 stars
  32. In the Heights at Curran Theatre (May 12th, 2010), $comp – 4 1/2 out of 5 stars
  33. Compulsion at Berkeley Rep (September 19th, 2010), $comp – 4 out of 5 stars
  34. Dreamgirls at Curran Theatre (September 26th, 2010), $comp – 2 out of 5 stars
  35. The Color Purple at Broadway San Jose (November 23rd, 2010), $comp – 2 out of 5 stars
  36. Shrek The Musical at Orpheum Theatre (December 1st, 2010), $comp – 0 out of 5 stars
  37. Next to Normal at Curran Theatre (January 26th, 2011), $comp – 5 out of 5 stars
  38. Ruined at Berkley Rep (March 2nd, 2011), $comp – 4 out of 5 stars
  39. Rock of Ages at Curran Theatre (March 9th, 201), $comp – 3 1/2 out of 5 stars
  40. Hugh Jackman at Curran Theatre (May 7th, 2011), $50.00 – 5 out of 5 stars
  41. Mamma Mia at Broadway San Jose (June 7th, 2011), $comp – 2 out of 5 stars
  42. Tales of the City at ACT San Francisco (July 26th, 2011), $comp – 2 out of 5 stars
  43. Rita Moreno: Life Without Makeup at Berkeley Rep (September 7th, 2011), $comp – 4 1/2 out of 5 stars
  44. Newsies at Papermill Playhouse (October 8th, 2011), $25.00 – 5 out 5 stars
  45. Bring it On at Orpheum Theatre (December 14th, 2011), $comp – 1 out of 5 stars
  46. Mary Poppins at Broadway San Jose (May, 29th, 2012) $comp – 3 out of 5 stars
  47. American Idiot at SHN’s Orpheum Theatre (June, 13th, 2012) $comp – 4 out of 5 stars
  48. Seven Brides for Seven Brothers at Sundance Theatre (July 29th, 2012) $25.00 – 2 out of 5 stars
  49. The Sound of Music at West Valley Hale Center Theatre (July 30th, 2012) $25.00 – 5 out of 5 stars
  50. War Horse at SHN’s Curran Theatre (August 3rd, 2012) $comp – 5 out of 5 stars
  51. The Normal Heart at ACT San Francisco (September 9th, 2012) $comp – 5 out of 5 stars
  52. Memphis at Broadway San Jose (September 23rd, 2012) $comp – 1 out of 5 stars
  53. The Book of Mormon at Pantages Theatre (November 2nd, 2012) $85.00 – 4 out of 5 stars
  54. The Lion King at SHN’s Orpheum Theatre (November 8th, 2012) $comp – 3 out of 5 stars
  55. The Book of Mormon at Pantages Theatre (December 15th, 2013) $150.00 – 3 out of 5 stars
  56. Big Fish at Broadway in Chicago (April 3rd, 2013), $88.00, 2 out of 5 stars
  57. Barnum at The Mercury Theatre in Chicago (April 5th, 2013) $comp – 4 out of 5 stars
  58. Beautiful at SHN’s Orpheum Theatre (October 8th, 2013), $comp – 3 out of 5 stars
OTHER:
  1. Rockettes at Radio City Music Hall (December 26th, 2004), $39.00 – 3 out of 5 stars
  2. Behind the Emerald Curtain (October 18th, 2008), $20.00 – 4 out of 5 stars
  3. Riverdance at Broadway San Jose (December 29th, 2009), $comp – 4 1/2 out of 5 stars
  4. Ovo at San Jose Cirque du Soliel (February 3rd, 2010), $comp – 4 out of 5 stars
  5. Peter Pan at Ferry Landing (May 9th, 2010), $comp – 4 out of 5 stars
  6. Burn the Floor at Broadway San Jose (September 9th, 2010), $comp – 3 1/2 out of 5 stars
  7. Rain: A Beatles Tribute at Broadway San Jose (September 26th, 2010), $comp – 5 out of 5 stars
  8. Quidam at HP Pavilion (March 24th, 2011), $comp – 3 out of 5 stars
  9. 2012 National High School Musical Theatre Awards at Minskoff Theatre (June 25th, 2012)
  10. 2013 National High School Musical Theatre Awards at Minskoff Theatre (July 1st, 2013)

 
6 Comments

Posted by on 10/22/2013 in Broadway, News, Reflection

 

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Listening to: “Betty Blue Eyes” – Cameron Mackintosh’s New Musical

Betty Blue Eyes, Cameron Mackintosh’s newest musical, just started previews in London last week. Now you’ll get a chance to hear the music from one of London’s newest musicals.

Here is a brief synopsis from their website:

Belts are being tightened and the country’s long-suffering citizens are being told by the government that there will be fair shares for all in return for surviving Austerity Britain. Meanwhile local officials feather their own nests by taking far more than their own fair share. It is of course 1947, and having won the war Britain seems to have lost the peace, and the country is staggering under the burden of acute rationing, unemployment and the coldest winter for decades. The only bright spark on the horizon is the impending marriage of Princess Elizabeth and Prince Philip.

Twenty six years ago Alan Bennett and Malcolm Mowbray wove this story into a hilariously funny but sharply observed comic film called A Private Function, which centered around Betty, an adorable pig, who is being illegally reared to ensure the local dignitaries can celebrate the Royal Wedding with a lavish banquet while the local population make do with Spam.

Ron Cowen and Daniel Lipman have brilliantly adapted and expanded this story for the stage and George Stiles and Anthony Drewe have written a deliciously infectious, toe-tapping, retro contemporary score. The result is an utterly British musical, full of eccentric characters, such as the strange odd couple, Gilbert – an evangelistic chiropodist, and Joyce – a nobody determined to be somebody; Inspector Wormold – an obsessive destroyer of illegal meat; Mother Dear -’She’s seventy four and ravenous’; along with a weird assortment of bullies, spivs and snobs and of course, our star, Betty the pig.

With a simply marvellous cast of great British actors headed by Sarah Lancashire and Reece Shearsmith, Betty Blue Eyes is like no musical you will have ever seen -but she is worth saving up for!

Betty Blue Eyes‘ Official Website

Here’s a few reviews: (2 different opinions)

Betty Blue Eyes – Thoughts On The First Preview – 19th March 2011 – “So yes, it’s decent, and in a very good shape for a first preview of a brand new musical – but nothing made me want to rush to buy tickets for another performance in the future. Agreeable, but average. And with the 3 person standing ovation that I saw from where I was sitting (row F of the stalls), I think the rest of the audience may have agreed with me.”

Betty Blue Eyes Review – “Betty Blue Eyes is a show that, in my opinion, is just going to get better and better as previews progress. I highly recommend checking out this brilliant new musical. I’m already thinking about revisiting it myself!”

Promo cast recording track listings:

1. “Betty Blue Eyes”

2. “Magic Fingers”

3. “Nobody”

4. “Painting By Heart”

5. “Dance At the Primrose Ballroom”

6. “The Kind of Man I Am”

7. “Another Little Victory”

8. “Goodbye Austerity Britain”

9. “Betty Swings Demo” – BONUS TRACK

www.bettyblueeyesthemusical.com

Facebook/Twitter/YouTube @bettythemusical

Here’s what people are saying on Twitter:

@dannylane94: “Seriously cannot rave about BETTY BLUE EYES(@bettythemusical) enough. Just absolute musical theatre perfection. Go see it….NOW!”

@AtTheMusicals: “Loved Betty Blue Eyes! Haven’t laughed like that at the theatre for a while!”

@SusanM2010: “Thoroughly enjoyed Betty Blue Eyes. Lovely to see such a thoroughly British new musical. And you have to love Alan Bennett anyway.”

@Girlfromhandbag: “‘Betty Blue Eyes‘ was brilliant and @RealReeceShears was very good- Go see!”

@GrahamLappin: “Betty Blue Eyes is just brilliant – so please go. Nuff said.”

@Clairetrillwood: “Styles and Drew are a great duo but having just heard the title track im still not convinced by Betty Blue Eyes”

@Amyip: “Saw Betty Blue Eyes on Friday night. Felt that the banquet scene was not as good as A Simple Fork Supper @JohnFinnemore

 
 

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Theatre Review: “Love Never Dies” @ Aldephi Theatre, London, 01/03/11

Musical

It’s interesting to think that Love Never Dies was one of my favorite shows that I saw last year (read the full review, here). I kept an open mind (even though the generally negative reviews were quite passionate when it opened almost a year ago) and thoroughly enjoyed myself when I saw the production in June 2010. The melodramatic story, sweeping sets and costumes, beautiful singing by Ramin Karimloo (Phantom) and Sierra Boggess (Christine) combined with cinema-esque type direction neared breathtaking and it kept my attention the entire production.

Then, in November 2010, Andrew Lloyd Webber decided to re-write the material, songs and plot. The show was closed for 3-4 days at the end of November and a new re-worked Love Never Dies opened. (The media was even asked back to review the updated show.) I thought these changes would tighten the material and give the added edge that Love Never Dies needed to be successful as it’s own entity.

Instead, Andrew Lloyd Webber whored himself out and gave in to the reviews, critics and “Phantom purists” and created a slow-paced monster of a musical. If you thought the show was slow before, then think again. (The bloggers, West End Whingers, did dubb the show as “Paint Never Dries” last February.) The first act is now painstakingly slow, almost to the point of unbearable. The pacing was dismal, right after the Phantoms’ beautiful opening number, “Til’ I Hear You Sing”. From then on, it felt like a drawn-out, anti-climatic 40-minute scene until the organ startled the audience and woke everyone up when it played, “The Beauty Underneath” toward the end of the first act. I probably would have left the theatre at intermission if I wasn’t interested to see what mess Webber incurred on the second act as well.

The second act’s pace was better. I felt more connected to the overall material – no where near the same amount as I did back in June, but at least I didn’t want to fall asleep. There were less changes throughout the second act, and the overall material/plot/music was the same.

There was one clever change that I did like. At the very beginning, during the overture, Webber instituted some projections that tied the end of Phantom of the Opera to Love Never Dies. It was quick and when the curtain came up on the Phantom, we knew exactly what was happening.

But then here comes all of the problems — Webber decided that he needed to get rid of the mystery to “clarify” the story. Everything is literally spelled out to us in the new changes. There’s no mystery or seduction. Webber even reintroduces several motifs from Phantom of the Opera back into the orchestrations of Love Never Dies. All of this doesn’t help the story, it just makes you want to see the original and not the sequel.

I kept on telling people that Love Never Dies stood on it’s own and while it was a sequel, you didn’t need to see Phantom of the Opera to enjoy Love Never Dies. With the new changes, Webber continually goes back to Phantom of the Opera and truly makes this a sappy sequel — yes the story/plot line is clearer in this new adaptation, but let’s be honest: the story wasn’t that great to begin with. It was better when it was a fast-paced spectacle with beautiful melodic arias and sets. At least the audience could appreciate all of that.

Webber also changed the central characters in the plot — Meg used to be one of the main characters, now she’s just a sideline. Her breakdown at the end of Act 2 doesn’t make any sense, nor is their any redemption or understanding on why she accidentally kills Christine in the end. She literally just runs off the stage. There’s more focus on the Christine/Raoul/Phantom love triangle, but it comes up short because none of the characters are even remotely likable. Christine is going to commit adultery with the Phantom, Raoul is a drunk/gambler who is mean to his child, Gustave, and the Phantom is a miserable human being who has obsessed over Christine for ten years — talk about creepy. Not one of them has any human qualities that the audience can like. Before, the mystery of each character’s story kept you engaged and intrigued. Now, it’s boring and predictable.

I never thought, in a million years, that Andrew Lloyd Webber would “sell-out” and change his artistic vision so much that it would be an absolute detriment to his own show. If anything, I thought the show would be tighter, more of a spectacle and in turn, that more engaging. I’m embarrassed that I took 4o people with me to see this show because not one of them loved it. I was mortified that I had suggested that we see Love Never Dies after seeing it a second time round – my reputation for promoting good theatre was majorly at stake.

So let me say this: Love Never Dies was a good show before Andrew Lloyd Webber decided to change it. It wasn’t the best show I’ve ever seen, but it was a beautiful spectacle, worth your hard-earned money. Now, Love Never Dies is a major train wreck!

The only thing that remotely saves this show from being one of the worst productions I’ve ever seen is Ramin Karimloo’s performance as Phantom and Sierra Boggess as Christine. They are both wonderful performers, incredible singers and truly beautiful on stage. Kudos for them for sticking with it and trying to create characters and sub-plots where there are none. I can’t wait to see either one of them in a different show in the future.

 
 

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Top 10 Best Plays/Musicals of 2010

Disclaimer: I didn’t see every play and musical in the Bay Area or on Broadway, so unfortunately this isn’t a comprehensive list. I did see over 60 productions this year and saw a wide variety of plays and musicals at most of the Bay Area Theatre companies and several in Las Vegas, London and New York City.

There are still a few main companies that I’m missing in the Bay Area, but planning on reviewing next year (most notably, ACT in San Francisco). I’m excluding two productions that I was a part of: RENT at City Lights Theatre Company and Smokey Joe’s Cafe at Bus Barn Stage Company — they were both fantastic productions, but would be totally biased if included.

These 10 plays/musicals were my favorite productions that I saw in 2010. (You can see the list of all of the shows I saw, here.)  The Bay Area has had many success stories this past year, from Theatrework’s production of Memphis that won the Tony Award for Best Musical and Berkeley Rep transferring Green Day’s American Idiot (which also won two Tony Awards). The Bay Area Theatre community is definitely representing well but here’s a list of my favorites of 2010 that includes the Bay Area, Las Vegas, New York City and London!

Congratulations and I can’t wait to see what’s in store for next year! I’m hearing that some of my favorite shows are going to be produced right here in the Bay Area.

Number 10:

Rain at Broadway San Jose: Broadway San Jose has brought a lot of fun productions this year to San Jose. They started off the year with the super high-spirited shows, Avenue Q and Legally Blonde. In September, their second season started off with a bang, with the sizzling show, Burn the Floor (which I surprisingly loved). But, my favorite, so far this year, was Rain: A Tribute to the Beatles. I said in my review, “Rain: A Tribue to the Beatles does an incredible job of grabbing everyone’s attention and giving them a show that’s instantly likable at any age.”

I had more fun at this performance, (which technically seemed more like a concert than a “musical”) than I ever expected to have, plus I was able to hear some of my favorite Beatles’ songs performed live. 100% recommended.

Read the full review, here.

Number 9:

In the Heights at Curran Theatre (SHNSF – touring production): Out of all of the touring productions that SHNSF brought to San Francisco, In the Heights was by far the best one. There was Fiddler on the Roof, Young Frankenstein (which I missed), Beauty and the Beast, West Side StoryShrek and of course, the San Francisco cast of Wicked which sadly closed at the beginning of September. Here’s an excerpt of my review of In the Heights:

I never expected to love it as much as I do, but it’s infectious rhythms and beautiful melodies accompanied with a story that has more heart than most Broadway musicals makes for an electrifying evening of theatre. I might just have to go back and see this again. It’s that good.

I’m sad that In the Heights is closing on Broadway in January, but happy I had the experience of seeing this incredible show.

Read the full review, here.

Number 8:

Ain’t Misbehavin’ at San Jose Repertory Theatre: For my first introduction to this fantastic show, San Jose Rep’s production was Broadway-caliber. I thought the performers were incredibly talented and the overall production was one of the best shows I’ve seen at SJ Rep. I really enjoyed several productions at SJ Rep this year and Black Pearl Sings was another favorite, but Ain’t Misbehavin’ had an energy that was totally infectious.

I think the entire audience was ready to dance and clap at the end because all of us leapt to our feet during the closing song!

I couldn’t be more thrilled that this was my first introduction to Ain’t Misbehavin’! It’s a perfect treat!

Read the full review, here.

Number 7:

San Francisco SymphonyAudra McDonald & Duncan Sheik/Holly Brook: San Francisco Symphony is creative and innovative with their programming choices. I would be remiss if I didn’t mention the two programs that I saw at SF Symphony this year, because they were excellent. Audra McDonald’s performance was genius (per usual). McDonald’s voice accompanied by the SF Symphony was absolutely breathtaking. This is a night I won’t soon forget. The other show I saw was Duncan Sheik’s symphonic arrangement of his newest musical, Whisper House. The beautiful arrangements added so much texture and layers to his already haunting score. I just wished it was a longer concert. (It was great to see Duncan Sheik in concert while I was visiting Glasgow.) Well done SF Symphony.

Read the full review of Audra McDonald, here.

Read the full review of Duncan Sheik/Holly Brook, here.

Number 6:

Musical Love Never Dies at Aldephi Theatre (London): With all of the negative press that has been surrounded by Love Never Dies I was pleasantly surprised how much I enjoyed myself. I’ve never been too partial to Phantom of the Opera (though I do love the shortened Vegas production), but I was absolutely intrigued by the beautiful set, costumes and world that Andrew Lloyd Weber has created at the Aldephi Theatre. I was enraptured the entire time (and I had the worst seats ever). I’m seeing this production again on New Year’s Day and am looking forward to seeing the changes that they have made to the plot/story-line, but  the melodramatic story accompanied the music perfectly. It’s a spectacle and one that you shouldn’t miss. It was my favorite show I saw in London.

Read the full review, here.

Number 5:

Jersey Boys at The Palazzo (Las Vegas): For some reason, I avoided Jersey Boys like it was the plague. I had no interest in seeing this musical, even though it won the Tony Award for Best Musical. But on my Las Vegas Broadway Vacation, I saw The Lion King, Phantom and Jersey Boys and both the missus and I absolutely loved Jersey Boys. Here’s an excerpt from my review:

The Las Vegas production of Jersey Boys is so engaging that even someone who has never cared to acquaint themselves with the music and story of The Four Seasons (like myself) cannot escape being sucked into this world.

Read the full review, here.

Number 4:

Compulsion at Berkeley Rep: This particular play will be in New York City (with the same cast) in the Spring and you won’t want to miss this heart-breaking play. The interweaving of puppets, matched with Mandy Patinkin’s intensity makes this play one of the best things I saw this year!

Berkeley Rep is known for producing first-rate theatre, but out of everything that I saw this year at Berkeley Rep, Compulsion was the best. It’s remarkable.

Read the full review, here.

Number 3:

Tie between American Idiot and Next to Normal on Broadway: The reasons behind the tie is that I have seen both of these productions before. I saw American Idiot four times at Berkeley Rep and Next to Normal four times on Broadway (all with Alice Ripley). This was the first time I saw American Idiot on Broadway and the first time I saw Next to Normal without Alice Ripley. Out of all of the new shows I saw on Broadway that weekend, these two shows still resonated with me the most.

I can’t get enough of either show. I rarely see a show multiple times, and both of these shows I have now seen five times. If you haven’t seen either, than I suggest running to theatre and grabbing tickets! I’ll be seeing both of these shows in the new year – American Idiot again on Broadway with Billie Jo Armstrong as St. Jimmy and Next to Normal on tour in San Francisco with Alice Ripley.

Read the full review of American Idiot, here.

Number 2:

Broadway Cast Poster Closing night of Finian’s Rainbow at St. James Theatre: On a whim, I saw the closing night of Finian’s Rainbow. It was one of the most emotional nights of theatre I have ever witnessed. Here’s an excerpt of the review:

Song after song, scene after scene, it just kept getting better and better. It ended with a beautiful rainbow as they sung, “How are Things in Glocca Morra?” The audience leapt to their feet, tears in their eyes and gave a rousing standing ovation unlike any standing ovation I’ve ever seen in theatre. What a special show, night and cast.

It’s truly a travesty that this show closed so early, but it’s a gift that will never be forgotten. The magic of the rainbow is far but over.

Read the full review of Finian’s Rainbow, here.

Number 1:

Whisper House at Old Globe Theatre (San Diego): This is a musical that has stayed with me all year. Time after time, I’m thinking about this show, listening to the music and recounting the experience to friends and family. “Duncan Sheik and Kyle Jarrow’s new musical, Whisper House, carefully crafts a new style of story-telling that is powerful, unique and riveting.” I love that Sheik and Jarrow upset the “standard musical comedy” with a different way to present a musical. It tells me that there is a future in this craft and that people are still willing to make huge strides in storytelling in musical theatre instead of adapting movies into musicals (over and over).

I absolutely loved Whisper House and I will go and see it anywhere in the country. I wouldn’t miss it for anything.

Read the full review of Whisper House, here.

HONORABLE MENTIONS:

 

 

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Listening to “WolfBoy” – London Cast EP

A dark and disturbing tale of two troubled teenage boys locked in an asylum for their own good. Bernie has attempted suicide; David may or may not have the powers of a wolf. For them the outside world is a frightening place of abuse and violence. Bernie’s brother Christian and Cherry the young nurse on the unit, also hide secrets that surface in the night, when the moon is full.

Wolfboy premiered at the Edinburgh International Fringe Festival in 2009. It just played at Trafalgar Studios 2 this past July in London.

Check out some great photos on Flickr.

Though, this EP isn’t the best recording quality, it definitely is interesting enough that I would be interested in hearing more about this particular musical in the future.

PARENTAL ADVISORY ON THE LYRICS

Buy the EP here.

Listen below:

“The Visit”

“One Wall Away From Your Dreams”

“Come Home”

 

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Theatre Review: “Love Never Dies” @ Adelphi Theatre, London 06/26/10

Musical

Love Never Dies is a triumph!

From the first time the curtain raises onto the eerie vacant, never-ending Coney Island boardwalk to the Phantom’s lair, The Aerie, the incredible set design by Bob Crowley achieves epic greatness. The way he infuses the video clips over the scrim during the scene changes, Love Never Dies graces the edge of cinema while still being completely theatrical. In the same fashion of The Phantom of the Opera, Crowley was able to create a world within a world (real world vs. the Phantom’s world) that doesn’t overdo the bursting melodramatic sentiment of the story and music. It’s seamless and simply stunning.

The story based off of the novella, The Phantom of Manhattan, seems hokey and cheesy and yet it isn’t. It’s definitely melodramatic, but we all knew that it was going to be when we bought our tickets. An anonymous benefactor (the Phantom) invites Christine to Coney Island to perform a new aria, “Love Never Dies” at Phantasma. She agrees and takes Raoul, her husband and her child, Gustave (the only new principal character introduced in Love Never Dies) to Coney Island. Once there, she finds out that it was the Phantom that invited her and once again, she’s overtaken by his music. Also, Gustave is curiously interested in the Phantom’s lair and it becomes obvious in “The Beauty Underneath” (one of my favorite numbers of the night) that Gustave is really the Phantom’s child. And, from there, Raoul, Meg Giry and Madame Giry work through depression, jealousy and resentment, while Christine is rediscovering her feelings for the Phantom.

Andrew Lloyd Weber’s music and Glenn Slater’s lyrics were perfectly crafted to evoke the exact moods of the story. From the boisterous company number, “Heaven by the Sea” introducing Coney Island to the beautiful yearning of “Til I Hear You Sing” sung by the Phantom (Ramin Karimloo) to the electric duet between Gustave and Phantom in “The Beauty Underneath”, there never was a dull moment in the score. It absolutely came to a climax when Christine (Sierra Boggess) sang her beautiful heart-felt aria, “Love Never Dies” at the end of Act 2. Most of the evening I had chills – a complete rarity. Both Karmiloo and Boggess were fantastic throughout the entire night – every note and glance perfected. Gustave (there are seven of them) was extraordinary for such a young performer!

What surprised me the most was the fact I never was bored. The story intrigued me so much that I was on the edge of my seat most of the evening. I was swept away by the lush orchestral arrangements and theatricality of the production. Everything seemed to fit so well together. I’m sure there have been major and minor revisions since starting previews back in February. The current product is a beautiful production that should not be missed.

I love the fact that Andrew Lloyd Weber lets us fall in love with Christine and the Phantom all over again in a way that doesn’t tarnish the original. Love Never Dies triumphs over bad press, the “musical sequel” land of doom (like Grease 2 and Annie 2) and the very vocal naysayers (Love Should Die) with such grace that I’m actually embarrassed for them. Broadway should open their arms to Love Never Dies and embrace it!

If you loved Phantom of the Opera, I promise you’ll fall in love all over again with Love Never Dies.

 

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Photos from London’s Menier Chocolate Factory Theatre

Even though I didn’t really care for Paradise Found, (see full review here) I was really excited that I had the opportunity to check out the Menier Chocolate Factory. It was such a fun, intimate venue! Plus, so many wonderful shows have come out of that theatre in the last couple of years - La Cage Aux Folles, A Little Night Music and Sweet Charity to name just a few. Here’s a few pictures of the theatre from the outside and one of a signed La Cage Aux Folles poster.

Enjoy!

The outside of the Menier Chocolate Factory

The poster of “Paradise Found”

More outside pictures!

The La Cage Aux Folles poster featuring Tony Award winner, Douglas Hodge

Loved seeing this rehearsal note for Menier Chocolate Factory’s next production of Aspects of Love

 
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Posted by on 07/05/2010 in Broadway, London, News

 

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Theatre Review: “Paradise Found” @ Menier Chocolate Factory, 06/22

To find the words to describe how terrible Paradise Found is quite difficult. Do I call it boring? awful? dreadful? Maybe I should use all three words to describe it; whatever the case may be it felt like it was six long hours (even though it was just two) and unfortunately, I want my money and two hours of my life back.

Paradise Found closed it’s five-week run last Saturday (June 26th, 2010) which I’m sure everyone in the cast was grateful for. On paper, Paradise Found should be a hit and not any old hit – a HUGE one! First off, the Menier Choclate Factory is riding high with all of their Tony Awards for their transferred production of La Cage aux Folles on Broadway and A Little Night Music (Catherine Zeta-Jones also won a Tony Award for Best Actress). They also transferred Sweet Charity to London’s West End to well-earned rave reviews. (I saw the latter and loved it!) On top of all of that the creative team and cast of this production is to die for.

Here’s the creative team line-up: Co-Director – Hal Prince (who’s won 24 Tony Awards), Co-Director/Choreographer – Susan Stroman (who’s won 5 Tony Awards), Jonathan Tunick – Adaptor/Arranger/Orchestrations (one of 8 people who holds a Tony, Emmy, Grammy and Academy Awards), Howell Binkley – Lighting Designer (Tony Award winner for Jersey Boys), Beowulf Boritt – Set Design (5 Broadway shows and over 50 Off-Broadway shows – 3 Drama Desk nominations and others), Judith Dolan – Costume Design (Tony Award winner), Duncan Edwards – Sound Design (started Audio Design International) and the list continues. And this is just the creative team.

You then have the cast (to name only a few): George Lee Andrews (original cast of Phantom of the Opera), Kate Baldwin (2010 Tony Award nomination for Finian’s Rainbow), Shuler Hensley (Jud Fry in Oklahoma! – Olivier and Tony Awards), Pamela Winslow Kashani (original Rapunzel in Into the Woods), Judy Kaye (Tony Award winner), John McMartin (Tony Award nominations for five shows), Nancy Opel (Tony nomination for Urinetown), and Mandy Patinkin (Tony Award winner, Film star, Emmy Award winner, Solo Recording Artist).

Do you see why I bought tickets?

With all of these incredible people working on a show, you think that you might have a sure-fire hit, right? Wrong. No one – even the incredible Hal Prince and Susan Stroman – can save a show if the material is bad. Yes, it might be “high” quality, but high quality work on the worst script and score doesn’t equal success.

With all of these extremely talented people working on  Paradise Found, did anyone ever stop and think, “Is this worth even producing?”

In a nutshell, the reason why Paradise Found was boring, awful and dreadful was because of these three reasons:

  • The story adapted from the novel, The Tale of the 1002nd Night by Joseph Roth, was confusing, hard to follow and extremely hard to grasp.
  • The music was written by the 1800′s Viennese composer, Johann Strauss II. The entire score sounded exactly the same – a lot of waltzes.
  • The lyrics, by Ellen Fitzhugh, were colloquial, strangely adapted for the music and overall inconsistent.

With those three things going against it, Mandy Patinkin’s nuanced performance as the Eunuch or Kate Baldwin’s incredibly beautiful voice or Shuler Hensley’s conflicted protrayal of The Baron or even Nancy Opel’s comedic genius couldn’t fix the problems with the score, script and lyrics. I honestly couldn’t believe how much talent there was on that intimate stage and yet, I couldn’t care less about any of the characters or story.

If it wasn’t for the fact that Patinkin and the rest of the cast were only five feet away from my seat, I probably would have joined the twenty to thirty percent of the audience that left during intermission. But come on, it’s Patinkin! I couldn’t make myself leave, even though I hated it. (Unfortunately, the second act was worse than the first!)

Paradise Found confirms that just because you might have an outstanding production team and an extremely celebrated and talented cast, doesn’t mean that your production will be good. All it means is that if it does suck, it’s just all the more embarrassing. And frankly, the Menier Chocolate Factory should be very embarrassed.

Lesson hopefully learned.

 
 

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Broadway News Round Up #14

Each week, The Broadway Critic will be featuring the news that you don’t want to miss! A lot has happened since we posted about Addams Family starting previews and Fela! transferring to London.

  • The idiots have started previews on Broadway!! The soundcheck sounded phenomenal and looked like everyone was rocking out. (Check it out, here!) Of course, you can read my review of American Idiot at Berkeley Rep, here. There is so much buzz around this show, that Tom Hanks is in talks to direct a movie version of the musical – pretty amazing if you ask me. MTV.com wants to cast Penn Badgley as the Will, Liam Hensworth as Tunny and Shia LeBouf as Johnny. Seriously, who’s writing that crap? Have they even seen the show? I’m all for making a movie, but they better use some real singers, or they are gonna end up with another Nine or Mamma Mia.
  • Come Fly Away opens tonight, Friday, March 25th at the Marquis Theatre. I’ve heard very mixed things about this show so far. One friend loved it and others have hated it. Blogger, Chris Caggiano absolutely hated it. He tweeted, “… [it's] tedious. 4 interchangeable couples. No real story. Generic dance. Producers know but fear Twyla.” If I can get cheap tickets, I’ll keep an open mind on this one, but I don’t plan on spending a lot.
  • This video doesn’t make me want to see All About Me at all. I think their intentions are to “sell” the show, but I don’t think it’s that funny. Am I missing something?
  • More London transfers: Arthur Laurents is in talks to direct Gypsy with Patti LuPone. Apparently, LuPone is Laurents’ favorite Mama Rose. (Poor Bette!) You can read the full interview on Out.com. In other LuPone news: she’s hosting the Drama Desk Awards.
  • People are already talking about this year’s Tony Awards. The consensus is that Angela Lansbury will be winning her 6th Tony for her role in A Little Night Music. Everything else seems up in the air. I’m gonna say that either Fela! or American Idiot will win (depending on what critics say about American Idiot). Do you have any favorites or shoe-ins?
  • Happy Birthday to Andrew Lloyd Weber and Stephen Sondheim. Sondheim got the best birthday present ever: the Henry Miller Theatre is now the new Stephen Sondheim theatre. Pretty awesome 80th birthday present if you ask me.
  • Oh, and just so you know… my rumor about Alice Ripley wanting to go on tour with Next to Normal and transferring to London is true. There hasn’t been any contracts signed, but the negotiations are in process.

A bunch of new shows are starting previews & opening on Broadway in the next couple weeks:

  • 3/24/10: American Idiot (previews)
  • 3/25/10: Come Fly Away (opening)
  • 3/28/10: Promises, Promises (previews)
  • 4/01/10: Red (opening)
  • 4/04/10: Lead me a Tenor (opening)
  • 4/06/10: La Cage aux Folles (previews)
  • 4/11/10: Million Dollar Quartet (opening)

Until next week…

 
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Posted by on 03/25/2010 in Broadway, News

 

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Listening to “Love Never Dies” by Andrew Lloyd Weber (Part 2)

Musical

Last month, I gave you a bit of a preview of Love Never Dies but only two songs from the upcoming production. Now there’s more!!!

I’m totally intrigued by the cast recording. It’s really quite dramatic and the orchestrations are absolutely stunning especially in the “Coney Island Waltz” and “Entr’acte”. There’s no denying that Christine Daaé (Sierra Boggess) and the Phantom (Ramin Karimloo) are extremely talented with incredibly beautiful voices. As I’m learning more about the story, I’m actually intrigued and the music is very easy to listen to! I’m really looking forward to seeing this in June during my trip to London.

Here’s a plot from the Love Never Dies website:

The principal characters of The Phantom of the Opera continue their stories in Andrew Lloyd Webber’s Love Never Dies.

Ten years after the mysterious disappearance of The Phantom from the Paris Opera House, Christine Daaé accepts an offer to come to America and perform at New York’s fabulous new playground of the world – Coney Island.

Arriving in New York with her husband Raoul and their son Gustave, Christine soon discovers the identity of the anonymous impresario who has lured her from France to sing.

This brand-new show is a roller coaster ride of obsession and intrigue…in which music and memory can play cruel tricks… and The Phantom sets out to prove that, indeed, Love Never Dies.

For your listening pleasure, here’s a few of my favorites so far! (Granted, I’ve only listened to the whole 2-disc recording one time through!)

Make sure you pre-order the CD on Amazon. It comes out March 9th.

“Til I Hear You Sing (Once More)”

“The Beauty Underneath”

“Love Never Dies”

Watch the Official Music Video for “Til I Hear You Sing”

 
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Posted by on 03/03/2010 in London, Music

 

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