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| re: COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN opens Nov 2 at the Workshop Theatre | |
| Posted by: winters 06:19 pm EDT 10/23/17 | |
| In reply to: COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN opens Nov 2 at the Workshop Theatre - Official_Press_Release 05:41 pm EDT 10/23/17 | |
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| Saw the play. Very weird. Not a very good play. Had a really good time though. Saw the film several times. Same reaction as seeing the play. I'd see this production but......think about the cast that I had originally seen....how would I stop my brain from doing a comparison? *****SPOILER ALERT***** With the rise of transgender information in the news----turns out the play was ahead of its time. |
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| Actually saw both versions: Hudson Guild, Martin Beck | |
| Last Edit: Delvino 06:57 am EDT 10/24/17 | |
| Posted by: Delvino 06:48 am EDT 10/24/17 | |
| In reply to: re: COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN opens Nov 2 at the Workshop Theatre - winters 06:19 pm EDT 10/23/17 | |
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| I thought I was alone. I'm among the handful of people who saw both the original off-b'way production at the Hudson Guild* (1980; long, choppy, but fascinating -- and directed by Barbara Loden), and the B'way edition (riveting, and loaded with stars). Wth Cher, Kathy Bates, Karen Black, Sandy Dennis, Sudie Bond ... it couldn't find an audience and closed after a couple of months. Imagine. Between February 18 and April 4, '82, it only ran for 52 performances at the {then} Martin Beck. Unless my mind has failed me, I believe the original used doubles for the younger characters. The Altman B'way version, which everyone knows from the film, (wisely) had the cast double as their younger selves. I still remember how wonderful Cher was, though Atlman made her perform her big monologue completely upstaged. *Hudson Guild Theater |
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| re: Actually saw both versions: Hudson Guild, Martin Beck | |
| Posted by: stgmgr 04:21 pm EDT 10/25/17 | |
| In reply to: Actually saw both versions: Hudson Guild, Martin Beck - Delvino 06:48 am EDT 10/24/17 | |
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| My recollection is that the Hudson Guild version used doubles, which allowed both casts (past and present) to exist within the same space. I seem to recall that I actually found the single casting of the Broadway version problematic as it related to staging. The "past" version existed upstage of the onstage mirror above the counter, which meant that the "present" actors had to scuttle upstage to represent their younger selves. | |
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