How would a …WHOREHOUSE revival fare today?

With the death of Dolly and a lot of discovery/rediscovery of the film version of THE BEST WHOREHOUSE IN TEXAS, I wonder if we are long overdue for a revival, if not an Encores run.

On one hand, it had a surprisingly sharp core about hypocrisy, sexual commerce, and political grandstanding, which, properly directed, could lean into the satire of it all and make the material feel relevant as opposed to nostalgic. On the other hand, “the good ol’ boy” culture and some of the sexual politics can be seen as very dated and seen as regressive.

I’d love to see Jennifer Nettles and Will Chase take a crack at Miss Mona and the Sheriff

Without Reba or Jennifer prob not

quizking101 said: "DomPhilly said: “Probably would not fare well today for a variety of reasons."

Care to elaborate on your reasons"

IMHO, We are in a different time, and place in terms of culture, But that is just my opinion.

As far as I know, Jeffrey Richards is still trying to get a revival of this off the ground, with Michael Mayer directing. Rob Ashford and Sarna Lapine were previously attached at various points, and Kristin Chenoweth did a reading of it a decade ago.

Sam Pinkleton or Jessica Stone feel like better fits for the material than any of the directors above.

Feels like it needs to start small, with no big Broadway aspirations.

Star casting is basically mandatory for a musical revival nowadays, and finding someone under 60 who would nail the music AND the comedy AND sell tickets AND commit to a commercial production for 9-12 months narrows the list. I don't see Nettles selling on her own, I'm doubtful that Kelly Clarkson would say yes to 8x a week for that long (especially now that she's a single mom), and at 71 Reba's time as probably come and gone. But I'm no country music expert.

Rentaholic2 said: "I think it's long overdue, and I strongly disagree with people who say it can't be done today. Most people really don't care about the "problematic" aspects of shows like this, even if they act like they do. If it looks like a fun time, audiences will show up, and they're smart enough to appreciate that this show reflects the society and mores of its time, not ours. With the right director, who isn't afraid to embrace the humor and sexuality of the show, it could be a total romp. I would move some of the songs around though (it should open with Lil' Ole Bitty Pissant Country Place, for example).

Kelly Clarkson, please."

I agree - except (IMO) "20 Fans" is better suited as the opening number for exposition. I also like the way the tempo builds.

The nice thing about "Best Little Whorehouse..." Is that even the politically incorrect aspects are quaintly palatable. There's also room for both (equal opportunity) female and male gawking at states of undress.

Other shows have not been shy about male nudity, or undress. "Whorehouse..." could up the ante from previous versions of "The Aggie Song".

Updated On: 9/1/26 at 02:14 PM

DomPhilly said: "quizking101 said: "DomPhilly said: “Probably would not fare well today for a variety of reasons."

Care to elaborate on your reasons"

IMHO, We are in a different time, and place in terms of culture, But that is just my opinion."



We are. But the beauty of the theatre, for me, is that it can transport you to different places, cultures and times and can be thoroughly enjoyed if one is not familiar with those times and does a bit of research before seeing the show. I never compare cultural times at a show, I just let a show take me wherever it goes. And I also realize that the past happened and can separate current culture from past culture when seeing a show depicting the past. And in doing that, I have seen and enjoyed some very good theatre. JMO and random thoughts.

Updated On: 9/1/26 at 02:26 PM

fashionguru_23 said: "Sidenote: I always wanted to buy the tour cast recording starring Anne Margret as Mona at the FYE I use to go to, but my Dad wouldn't let me get it, because it said "whore" on it, and Margret was wearing nothing but a white sheet"

As someone who saw that tour, let me assure you...you didn't miss much.

OhHiii said: "Richards was also the rights holder for Damn Yankees as well with Bryan Cranston attached to play the devil, but that was also in the works for over a decade. Not sure if he's who would bring in the rumored NPH revival."

Julie Boardman and Hayley Swindal are the lead producers of Sergio's DAMN YANKEES.

Richards is trying to get CHEZ JOEY and MILLIONS to Broadway, and did the off-bway runs of ARE YOU NOW OR HAVE YOU EVER BEEN and DATA. He's working, but Seaview, Wagner-Johnson, and Sonia Friedman are now occupying the place he and Rudin once had as the preeminent prolific producers of plays.

I did like the idea of Pinkleton as a director for this. He might be able to mine the comedy and raunchier aspects while making it socially observant.

Instead of the usually “why can they just leave the girls alone?” question, I think he can ask and answer about what happens when an imperfect but functioning private arrangement becomes profitable public outrage—and why do the least powerful people bear the consequences?

I loved this show when I first saw it mainly because of Tommy Tune's brilliant staging. It's just a sweet little show with a lot of heart.



The movie ruined it. There is a reason why the stage show was a hit a the movie a complete flop. They absolutely gutted the score. Also, having the two leads become romantically linked changed the dynamics. It didn't help that Burt Reynolds was DREADFUL! The only time the movie becomes alive is during Charles Durning brief but amazing turn as governor.

I have to admit that I did not much like this when I saw it 40 years ago. I cannot imagine it succeeding today. First of all, Ann-Margaret may have toured it, but the role of Mona is pretty small; I can;t see why a real star with alternative work options would want to tie herself up to appear in this. Secondly, the real sar of the show was Tommy Tune's staging; unless they simply copy it, they are never going to improve upon it. 40 Years ago, there were people who thought it was raunchy and that that helped the box-office. Today it is quaint.

To the person who referred to Mame and Funny Girl; Funny Girl was always a flawed show that could succeed with a great star turn because there were enough high-spots to offset the low ones, e.g., book scenes, Rat-tat-tat-tat,listening to Nicky Arnstein sturm-un-drung, etc.

I continue to believe that Mame could succeed with a great star performance. It is a fun, old-fashioned musical comedy with several great roles, opportunities for show-stopping numbers, lots of brass in the orchestra, a number of well-loved songs, Bsst Little Whorehouse has the title.