Oh boy it would be so nice to live in Connecticut again or Northern New Jersey so I could visit New York and see the plays, museums, art galleries. But I can't live in two great places at once.
Much to impractical and expensive to fly so I guess I will just remain here on The Coast for the rest of my life, settle for what we have here (which also is great) and enjoy The New Yorker each week.
Best I can do.
Sooo Excited
I'm so psyched! I was only 12 when i closed, but has since become my favorite show! What amazing news. Hope it's at the Shubert, but don't want to shove anyone out.
Hi singinkar - welcome to a2k.
All the opportunities I had to visit the Schubert and didn't go. I just didn't appreciate theatre in those days.
I am fortunate the community college produces some enjoyable work. The gap between what I see here and what I used to watch in Summer Stock back East is huge. Shows at local professional venues are so hit and miss I won't risk wasting my money on them anymore. I am not the only one either.
The last one I went to was last year: Brighton Beach Memoirs. I walked in, the set was fantastic! The cast? Well the casting was terrible, lines were completely void of New York Jewish dialect. I actually felt embarassed for the actors.
I wrote a letter to one of the local critics who had given the show a favorable writeup and she replied with a host of reasons why it was bad. A true apologist. I had to agree with her reasoning on few of her points. Nevertheless, why stage something if you cannot even come close to doing it right in the first place and charge people to see it?
Brighton Beach Memoirs? No Jewish dialect?
I agree Jack, it sounds as though I'd have been embarassed for the actors too.
This was a "professional" production? I'm surprised to hear that paid actors couldn't manage a Brooklyn dialect.
Unfortunately, just as with most other things that are worthwhile it boils down to money.
The reason I enjoy college amateur productions is because the aspiring student actors put their hearts and souls into the roles. Most of them. And even if they bomb I personally appreciate their effort. Last week I watched a dance program. There were people of all shapes and sizes in the ballet. The only part of the program I was a bit disappointed in was ballroom dancing. It really fell short of what it should have been. Yet, I more than got my money's worth of enjoyment for the $10 tickets.
A few days later I was watching a show on local public television: "Do we DESERVE the Arts?"
This prevailing attitude by some of the wealthy patrons is what helps kill the potential popularity of live theatre. They make sizable donations, which I appreciate, but then castigate everyone because they cannot plop down 40, 50, 70 dollars or more for a theatre ticket! In other words if you cannot afford to pay you do NOT DESERVE to enjoy the arts?
I guess they are right because I can't afford to regularly pay that kind of money for a ticket (times two!) and stand a more than fair chance of encountering a stinker.
Originally saw the NY cast at the Century City, L.A., Schubert Theater and love it -- I predict the revival is a shoe-in for the Tony Award. The movie was flacid and the musical numbers looked like they were actually staged by Michael Douglas.
I would like to see it live, maybe I will some day. I have the movie which I enjoy very much from time to time. I didn't pay too much attention to Michael Douglas or the periphery. I enjoyed the dancing.
Last week when I was watching a dance production the college put on, the thought of the movie crossed my mind and as I watched the dancers I almost felt like the Michael Douglas character making mental notes of which dancers I liked the best.
Of course they were the tall girls with the long legs and high kicks. :wink:
The camera work on the musical numbers was very uneven -- Attenborough had never directed a musical and it shows. Even the soundtrack was sketchy -- no substitute for a live performance with the orchestra nearly at one's feet.
The movie, BTW, was a box office flop and sounded the death knell for filmed musicals (okay, along with some other burnt offerings like "Paint Your Wagon").
Need to contact Mr Breglio
I wouls like to send Mr Breglio my resume to be up for the 2006 Chrous Line. If anyone knows the office e-mail address please let me know. I am in the UK at the present but would give anything to be in this production. Thanks
Here's his office address, StarrMann. Good luck.
John F. Breglio
Paul, Weiss, Rifkind, Wharton & Garrison LLP
1285 Avenue of the Americas
New York, New York 10019-6064
AChrous Line 2006
Thank you so much bree, sending my stuff off to them now. Hope I see you openning night, StarrMann
Chorus Line is such a classic-- but I have to say I have seen it so many times in so many different venues that I don't know how anxious I would be to see it again!
mac11 wrote:How about betting that the revival of Chorus Line will be in the Schubert?
I'm on for the CD!
Just bumping this up to remind us about our little wager...
http://www.able2know.com/forums/viewtopic.php?p=1127257#1127257
Oh, I hadn't forgotten our bet, mac, and I'm planning on holding you to it! At the moment, Spamalot looks like it's safely ensconced at the Shubert for the indefinite future.
On the other hand, it was just announced that Lion King will be moving out of the New Amsterdam and into the Minskoff next fall, so that the new stage version of Mary Poppins (which is a big hit in London) can open at the New Amsterdam. I suppose that, if Spamalot agreed to do a similar switch to let the revival of A Chorus Line play at the Shubert, I could still lose the bet -- but it's a long shot.
I agree, it's a long shot.
I wonder why Lion King is moving - isn't that fairly unusual? I'll have to check that out.
Wait - the Lion King is moving ? That surprises me - do shows move stages a lot like that?
Well, it's been a year since our bet, bree.
Since Spamalot is currently selling tickets thru 11/5/06, should we call it a done deal? Or shall we wait and see?
