Profile for carolinaguy

The lack of discussion about this production on this site is really staggering to me. Were the tickets too pricey for anyone to bite?

I don't see how this could ever be a satisfying stage experience. It's a story and situation made for the big screen. There's no real character arc, and the thing that makes it most enjoyable is the huge number of cinematic setpieces, which could never be realized in live theater.

If you want to do a play (or musical!) of a Hitchcock film, look at Notorious or Vertigo.

jkcohen626 said: "Great to hear this show has a future. Hopefully this means it'll be filmed. Would KILL for them to get Rachel Bay Jones back for this. She was the heart and soul of this show."

Unfortunately for the theater, Rachel Bay Jones is getting a nice network paycheck now as a regular on the Young Sheldon spinoff series. Her availability for any stage work will be very limited for the next few years, most likely.

inception said: "What it means is they have been wasting their time writing for Movies & TV instead of for the stage."

 

Thank you, Charley Kringas! :)

 

This great discussion brings to mind a very specific question I've had about Moulin Rouge since it opened. What kind of negotiation did they do for music royalties? It's not even a catalogue show where they could negotiate with one artist or estate. It's about a billion songwriters. Did they do some kind of package deal that keeps the rights costs manageable?

It’s a little scattered, but it looks like the schedule makes allowances for Election Day, opening night, and Thanksgiving. 

Some of the posts here mention audience participation or involvement during parts of the show. Can anyone elaborate on that?

There was Frank Wildhorn’s musical version of Dracula about 20 years ago. That was a horror on Broadway, but not in the way this thread intended. 
 

Carrie was the same. 

For anyone who purchased from Telecharge:

I emailed tickets@telecharge.com this morning and they did respond quickly. Since it is not a Telecharge-owned show, they had to request a refund from the independent box office due to star absence. They sent that for me and said they would follow up when they received a response.

Had a 90-minute wait in the queue, but no technical issues and plenty of availability on a Saturday night in November.

I like the songs he wrote with Jack Murphy for Linda Eder's It's No Secret Anymore and It's Time albums much more than anything he ever wrote for the stage. I think he's a song writer, not a musical writer. B&C was the only time he ever even came close to trying to have a musical language across a whole show. Otherwise, his songs could be interchangeably plunked into any of his shows. 

I'm not sure The Notebook was done a favor with this showcase. The characters presented at different ages is made clear in the theater, but it looked clunky and confusing on TV, with all those people wandering around in random circles. Vasquez sounded off to me, like he was trying to find his pitch in the pre-recorded backing track. I was hoping Joy Woods would do "My Days," but maybe they don't want to give that one away for free.

If you pre-order the album on iTunes, "Bright" and "Masquerade" download immediately.

I also think it would be money well spent for The Notebook to ask for a performance slot, as it's a familiar title, will almost certainly tour, and has a range of songs to choose from that would make sense removed from the show.