Oh wow, you're nice. Hoping someone loses millions of dollars.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
oh come on....like if this bombs mel brooks is gonna be poor? i think not. If you're gonna be that ballsy to gample millions of dollars, you'd better be prepared to lose it. Aren't you just a little sick of paying hundreds of dollars to see movies on stage?
"oh come on....like if this bombs mel brooks is gonna be poor?"
Did I say he would be poor? No. No matter how much money someone has, losing millions still would not be too pleasant.
" If you're gonna be that ballsy to gample millions of dollars, you'd better be prepared to lose it."
This is true. However, it is rather rude to wish someone failure.
"Aren't you just a little sick of paying hundreds of dollars to see movies on stage?"
As long as the show is good, I don't really care what the source material is.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
i dont' necessarily wish him failure personally, I wish the show failure so that Broadway standards are raised. THe Producers has closed, let's get over it and try something new.
But what if the show is good? Why would Young Frankenstein failing be "rasing Broadway standards"?
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
and this is where i get sick of answering stupid questions.
Then go away and stop talking.
Ljay, with JoAnne Worley doing CHAPERONE on Broadway, Anne Rogers doing CHAPERONE (playing the same role as Worley curiously enough) in London, Garber saying that FOLLIES ruined his voice and he definitely won't be doing it on Broadway, and the recent news of Victoria Clark's casting as Iphygenia (sp?) during the Fall (around the time FOLLIES was rumored to play at the St.James), I feel it's absurd to keep lying to myself thinking the show is indeed going to transfer. It just seems like all parties have moved on and I'm like Sally Durant holding on to a dream that's never really going to happen.
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
The Menken-Ashman score gives Mermaid something very solid on which to build. Young Frankenstein better be good or it might get the Pirate Queen treatment.
I think that they will both open...then eventually become "tourist traps"...then go to the Tonys...scrape every award...more people will see them...they will think the show's are over-rated...the shows will close...
That's My Prediction!
A little known fact is that in the original screenplay, Pan's Labyrinth was Pan's FLAByrinth. Hmmmmmmm...glad they changed it.
I believe there was an article on playbill.com not too long ago where Garber stated that his voice was in bad shape all throughout FOLLIES. I saw the show opening night and he apologized at the stagedoor because he had lost his voice during rehearsals. I found his Ben Stone to be quite vulnerable and well-connected with Phyllis, I loved his scene with Carlotta (where he tries to get her to bed) because he sounded like a child, so weak. I agree that he did rely a lot on his script (though nothing like Baranski whose eyes were permanently glued to it) but I found him truly charming. Oh well, either way I'm quite convinced by now that FOLLIES is a no-go
"Some people can thrive and bloom living life in a living room, that's perfect for some people of one hundred and five. But I at least gotta try, when I think of all the sights that I gotta see, all the places I gotta play, all the things that I gotta be at"
I think Mermaid will be a huge financial success due it's name but the overall quality of recent Disney shows creates a lot of hesitation for me. The only think that is keeping me interested is the return of a Ashman/Menken score to Broadway.
As for YF, I think Brooks is banking too much on the wave of acclaim he recieved for the Producers. Unforutnately, he hasn't done things that have put him in good light. All this searching for a theater business and the high ticket prices is turning me off to this project. It will be really sad if this ultra talented cast gets bogged down by the politics of their pompous leader.
I think that they will both be successful with their own markets. I wouldn't think there would be a lot of "crossover" business though. FRANKENSTEIN is for adults and MERMAIDS is for a much younger (dare I say kids?) crowd, especially little girls.
Everyone seems to be complaining about the prices for Young Frankenstein. As far as I have read (on another post on this message board I think), the rediculously priced seats are the premium seats. The regular prices are much like the norm for Broadway these days. I am not sure of the specifics, but I think they were around (estimated) $50, $80, $120. I recall someone saying that they are not that different than Legally Blonde currently is.
I could be wrong, but that is what I believe I have heard.
Yes, it's a great cast but the majority of theatergoers are tourists and the only person they will recognize is Mullally. I don't think Brooks is going to get the audience he's expecting.
Is In the Heights opening next season? Because I think In the Heights is gonna be a huge hit. The score is more pop than Broadway and we know that Young Frankenstein will be big, brassy Broadway like The Producers and The Little Mermaid is feel good Disney, like Mary Poppins. Mary Poppins is a hit, but the real hit of this past season was Spring Awakening(love it or hate it). In the Heights has the same allure as Spring Awakening; it is so different.