Threaded Order Chronological Order
| "Ain't Too Proud" Kennedy Center 3 minute video | |
| Posted by: broadwaybacker 02:12 pm EDT 06/23/18 | |
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| I know that were a couple of negative comments here about this show at the Berkeley Rep even though (if I recall correctly) it got pretty much rave reviews, but this video produced by The Kennedy Center makes me want to see it. I guess the question's gonna be: Is it the next Jersey Boys or the next Escape to Margaritaville? |
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| Link | Ain't Too Proud video |
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| re: "Ain't Too Proud" Kennedy Center 3 minute video | |
| Posted by: PatrickThomas 09:20 pm EDT 06/24/18 | |
| In reply to: "Ain't Too Proud" Kennedy Center 3 minute video - broadwaybacker 02:12 pm EDT 06/23/18 | |
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| I reviewed the show for TalkinBroadway. Though I thought the show had a lot going for it, it suffered from two flaws. One, the book was incredibly fat. Unlike "Jersey Boys," which told its story in a very efficient way, Dominique Morisseau had many lines that were unnecessary or redundant. Two, the band is hidden upstage and not revealed until the curtain calls. When it was, you felt the energy in the room lift. The link will take you to my review. |
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| Link | https://www.talkinbroadway.com/page/regional/sanfran/s1805.html |
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| re: "Ain't Too Proud" Kennedy Center 3 minute video | |
| Posted by: garyd 01:48 am EDT 06/24/18 | |
| In reply to: "Ain't Too Proud" Kennedy Center 3 minute video - broadwaybacker 02:12 pm EDT 06/23/18 | |
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| It is okay and received sort of mixed reviews as I remember but I have not gone back to research. At any rate, it was very well received by Berkeley Rep audiences who, in my experience, are not necessarily attuned to this sort of production.(not an "Escape...." audience). Knowing what they assumed to be my apparent fondness for musicals, many an acquaintance wanted to know if I had seen it and "didn't I agree that it was such great fun?". It may do very well. | |
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| Des McAnuff | |
| Posted by: student_rush 02:28 pm EDT 06/23/18 | |
| In reply to: "Ain't Too Proud" Kennedy Center 3 minute video - broadwaybacker 02:12 pm EDT 06/23/18 | |
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| I waffle so much on Des McAnuff. "Jersey Boys" was tight and lean - a combination of visual clarity and wit, sophistication, and just enough darkness for a commercial smash. vs. "Jesus Christ Superstar" was a fucking mess. Ugly, cheap, lazy ... made my blood boil. vs. "Fetch Clay, Make Man" at the NYTW. A nonmusical, it was visceral, raw, honest and exciting. Launched Ray Fisher into his current DC Film Universe (a separate nightmare). vs. "Guys and Dolls" - The less said, the better. Outside of Lauren Graham and Oliver Platt (casting that worked for me), this was a total failure. Why is this guy so completely hit or miss? |
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| "Sidekick Sergio" | |
| Posted by: Ballerina56 11:26 am EDT 06/24/18 | |
| In reply to: Des McAnuff - student_rush 02:28 pm EDT 06/23/18 | |
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| It seems like his go-to choreographer, Sergio Trujillo, has just as many hits and misses. His slick staging in "Jersey Boys," and his athletic choreography in "Memphis" were the only two that made an impact on me. All the rest, not so good. | |
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| Trujillo hasn't gotten his due from Tony nominators | |
| Last Edit: WaymanWong 03:13 pm EDT 06/24/18 | |
| Posted by: WaymanWong 03:08 pm EDT 06/24/18 | |
| In reply to: "Sidekick Sergio" - Ballerina56 11:26 am EDT 06/24/18 | |
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| Trujillo did terrific work in ''Jersey Boys'' and ''Memphis,'' but didn't get nominated for either, both Tony-winning Best Musicals. (After ''Memphis'' debuted in London to raves, Trujillo won an Olivier Award for Best Theatre Choreographer.) After a decade of choreographing about 10 Broadway shows, he finally got his 1st Tony nod in 2016 for ''On Your Feet!'' This year, the Tony nominators passed over Trujillo again, this time for ''Summer.'' However, he won this year's Chita Rivera Award for Best Broadway Choreography for ''Summer'' (over Justin Peck in ''Carousel,'' etc.), and the awarding committee included Anna Kisselgoff, Robert LaFosse, Donna McKechnie and Lee Roy Reams. Maybe his interpretation of the Temptations' moves in ''Ain't Too Proud'' ultimately will allow him to dance away with a Tony. |
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| Sergio Trujillo's "Mambo Kings" choreography, unseen in NY | |
| Posted by: dreambaby 01:21 pm EDT 06/24/18 | |
| In reply to: "Sidekick Sergio" - Ballerina56 11:26 am EDT 06/24/18 | |
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| The ill-fated musical, "The Mambo Kings" didn't make it to Broadway following its San Francisco try-out, but the one indelible element of that unfulfilled show was its absolutely thrilling choreography by Sergio Trujillo. I didn't see "On Your Feet!", so I don't know if that was a vehicle for his choreography equal to "Mambo Kings." If it wasn't, then I think NY theatergoers may not have yet seen how his work can soar as high and vibrantly as it did in "Mambo Kings." | |
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| Also, Trujillo's choreography for Carmen... | |
| Posted by: Shutterbug 05:24 pm EDT 06/24/18 | |
| In reply to: Sergio Trujillo's "Mambo Kings" choreography, unseen in NY - dreambaby 01:21 pm EDT 06/24/18 | |
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| A couple of years ago, Sergio Trujillo choreographed CARMEN: AN AFRO CUBAN MUSICAL, under the direction of Moises Kaufman with musical direction by Arturo O'Farrill. The show ran for about a month down in Olney, Maryland - outside of Washington DC. It had a few problems but the choreography and the constant movement was inventive and thrilling. I loved it. | |
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| re: Des McAnuff | |
| Last Edit: WaymanWong 02:52 pm EDT 06/23/18 | |
| Posted by: WaymanWong 02:51 pm EDT 06/23/18 | |
| In reply to: Des McAnuff - student_rush 02:28 pm EDT 06/23/18 | |
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| Even a sampling of McAnuff's directing career would be incomplete without ''Big River'' or ''Tommy,'' which earned him Tonys. McAnuff's been directing for more than 30 years on Broadway (and that doesn't include all his work with Dodger Productions). If you've achieved any kind of longevity in theater, there are many hits and misses. McAnuff's far from alone. That's showbiz. |
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| re: Des McAnuff | |
| Posted by: student_rush 03:22 pm EDT 06/23/18 | |
| In reply to: re: Des McAnuff - WaymanWong 02:51 pm EDT 06/23/18 | |
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| Ah yes, but those were before my time ;) | |
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| re: Des McAnuff | |
| Last Edit: Chazwaza 03:14 pm EDT 06/23/18 | |
| Posted by: Chazwaza 03:07 pm EDT 06/23/18 | |
| In reply to: re: Des McAnuff - WaymanWong 02:51 pm EDT 06/23/18 | |
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| Des had two massive successes with Big River and Tommy (almost 10 years apart). But oh lordy have you seen what's happened since? -H2S, a ghastly revival of a great show terribly directed (though moderately successful... I'll give credit for trying to make it modern for a time when sexual politics in the work place was a key issue, but it didn't work in my opinion) -Dracula the musical, a ghastly new musical terribly directed (i would have walked out if it weren't free) (-The Wiz, a very disappointingly directed production that was intended to go to Broadway except that in closed in SD and didn't resurface... I'm throwing this in because I saw it, and it seemed tailor made for Des but he did a bad job with it in my opinion) -700 Sundays, a good solo play by a hugely famous and beloved comedian - nicely directed, but not much to speak of -Jersey Boys, a hit on all levels... a sharp, stylish production of a jukebox musical that tourists love -The Farnsworth Invention, a short lived production of a mediocre play -Guys & Dolls, another ghastly revival of a great show, terribly directed, and flopped -Jesus Christ Superstar, a bad or at least disappointing flop revival of a difficult show -Doctor Zhivago, a flopped new musical with bad reviews that I didn't end up seeing along with most people -Summer, another jukebox musical by Des... verdict is out on whether it's a hit yet, but it looks pretty mediocre, and most of what I've heard or read has confirmed. Suffice to say, this is not the resume of the great and visionary director who won Tonys for Big River and Tommy... that director seems to have faded away in 1995. This is the resume of a working and successful director who keeps getting jobs off of his original two Tonys and the memory of his work on Tommy, and/or off his monster hit jukebox musical Jersey Boys. He seems to recognize that that's where his strengths or paychecks come from now, because he has JB, Summer and Ain't Too Proud. |
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| re: Des McAnuff | |
| Posted by: KingSpeed 08:15 pm EDT 06/23/18 | |
| In reply to: re: Des McAnuff - Chazwaza 03:07 pm EDT 06/23/18 | |
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| No director hits every time or even most of the time. Most show flop on Broadway. Three hits for him is to his credit. | |
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| re: Des McAnuff | |
| Posted by: Chazwaza 01:39 am EDT 06/24/18 | |
| In reply to: re: Des McAnuff - KingSpeed 08:15 pm EDT 06/23/18 | |
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| 3 hits out of how many... And I would say he has one of the worst track records. Name another director who is as known and oft-hired as he is who has an equally bad (since 1995, besides Jersey Boys) or worse track record... |
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| 'How to Succeed' with Des | |
| Last Edit: WaymanWong 05:51 pm EDT 06/23/18 | |
| Posted by: WaymanWong 05:43 pm EDT 06/23/18 | |
| In reply to: re: Des McAnuff - Chazwaza 03:07 pm EDT 06/23/18 | |
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| ''H2S, a ghastly revival of a great show terribly directed (though moderately successful... I'll give credit for trying to make it modern for a time when sexual politics in the work place was a key issue, but it didn't work in my opinion)'' I gotta say that I really enjoyed McAnuff's 1995 revival of ''How to Succeed,'' starring Matthew Broderick and Megan Mullally (pre-''Will & Grace''). It won Broderick his second Tony and ran for 548 performances. … And its treatment of sexual politics in the workplace came to a head in ''The Brotherhood of Man.'' It put Miss Jones (Lillias White) at the center of the number, where she taught Finch and Womper to scat, and welcomed in all the secretaries (''sisters'') to join this ''Brotherhood.'' And Wayne Cilento choreographed it all (and was Tony-nominated, as was McAnuff). Perhaps the MeToo movement helped inspire the recent revival of ''How to Succeed'' at the Kennedy Center, directed by Marc Bruni and choreographed by Denis Jones, to do a variation of it. By the way, if this past Broadway season was skimpy, the 1995 one was even moreso. There were only 2 new musical nominees (''Sunset Boulevard''; ''Smokey Joe's Cafe'') and only 2 musical revivals (''Show Boat''; ''How to Succeed''). Though Best Actor in a Musical featured 4 nominees, the Tony nominators named only 2 Best Actress in a Musical nominees. But they easily could've fielded 2 more for a quartet. In addition to Glenn Close and Rebecca Luker, they could've included Elaine Stritch and Mullally. |
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| Link | 1995 Tonys: 'The Brotherhood of Man' from ''How to Succeed' |
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| re: 'How to Succeed' with Des | |
| Last Edit: JereNYC 03:31 pm EDT 06/25/18 | |
| Posted by: JereNYC (JereNYC@aol.com) 03:30 pm EDT 06/25/18 | |
| In reply to: 'How to Succeed' with Des - WaymanWong 05:43 pm EDT 06/23/18 | |
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| Regarding the sexual politics in the 1995 revival of HOW TO SUCCEED, we should also remember that that production cut the Act II opener "Cinderella, Darling" and replaced it with a new version of "How To Succeed" with new lyrics that underlined the idea that the women were just as much sharks as the men, only with a different goal in mind. I never liked the change, although I do understand that some have issues with "Cinderella, Darling." (One production I saw years ago included "Cinderella, Darling," but the program had an asterisk next to the bio of every woman involved in the show that lead to a program note essentially saying that the ideas expressed in the song "Cinderella, Darling" were not endorsed or embraced in real life.) Another option I've seen done is simply to cut the first scene of Act II and the song with it. HOW TO SUCCEED is a long show and, to be honest, the show doesn't lose a whole lot with the loss of that material. In general, I really liked that production, especially the brilliant video scenic elements, which were pretty innovative at the time and were a McAnuff trademark. Megan Mullally took a role that's really colorless in the writing and played an actual character. In a show chock full of brilliantly drawn featured character roles, the leading lady is curiously underwritten, but Mullally obviously didn't care and filled in the blanks herself, just as any sharp character woman would. Cilento's choreography really served the piece well, but I really hate that he added a little dance break that allowed the production (and Mullally) to cheat on the famous "Paris Original" quick change. When that moment is done well, it always gets a reaction when the leading lady completely changes her costume, shoes, and hair in seconds. And, whatever issues and quibbles one may have had with the 1995 production, it was head and shoulders above the more recent revival starring Daniel Radcliffe. That one was just...dismal...in every department. That production was just completely wrong-headed at every turn and I found little, if anything, redeemable about it. |
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| re: 'How to Succeed' with Des | |
| Last Edit: Chromolume 11:49 pm EDT 06/23/18 | |
| Posted by: Chromolume 11:37 pm EDT 06/23/18 | |
| In reply to: 'How to Succeed' with Des - WaymanWong 05:43 pm EDT 06/23/18 | |
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| I've always been a little put off by that version of "Brotherhood." I also wonder if the "white guys have to be taught to clap on the upbeats" joke would play well nowadays. As I see it, the 1992 revival of Guys And Dolls stole a moment from "Brotherhood" - namely, having the otherwise non-singing General Cartwright open up with a big high note in a newly-added musical section in "Sit Down," similar to what happens with Miss Jones (after her solo section) in the original "Brotherhood." So I surmise that the "H2$" team felt they needed to do something else. But IMO, the original construction of the number works so well, it didn't need "improvements." (Neither did the rest of the score, IMO - I have to admit I find that whole recording painful to listen to because it feels like a brutal deconstruction of a formerly brilliant score.) Broderick's feeble falsetto scat moment wasn't necessary either. To me, what once was a really perfect 11:00 number got a very weak rethinking. |
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| re: 'How to Succeed' with Des | |
| Posted by: Singapore/Fling 04:22 pm EDT 06/24/18 | |
| In reply to: re: 'How to Succeed' with Des - Chromolume 11:37 pm EDT 06/23/18 | |
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| "I also wonder if the "white guys have to be taught to clap on the upbeats" joke would play well nowadays." That joke will stop playing well when white folks stop clapping on the downbeat, which will probably be never. I can recall recently watching a mixed crowd at "Marie and Rosetta", and seeing the black patrons begin clapping on one beat while the white patrons obviously clapped on the other beat. White Rhythm is real, y'all 😊 |
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| re: 'How to Succeed' with Des | |
| Posted by: Singapore/Fling 05:56 pm EDT 06/23/18 | |
| In reply to: 'How to Succeed' with Des - WaymanWong 05:43 pm EDT 06/23/18 | |
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| Were either Stritch or Mullally considered in Leading? They may have been put in the Featured category. | |
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| re: 'How to Succeed' with Des | |
| Last Edit: WaymanWong 07:12 pm EDT 06/23/18 | |
| Posted by: WaymanWong 07:09 pm EDT 06/23/18 | |
| In reply to: re: 'How to Succeed' with Des - Singapore/Fling 05:56 pm EDT 06/23/18 | |
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| The Tony nominators have had the discretion to bump performers up or down in a category, regardless of their billing. Stritch, of course, was nominated for Leading Actress in ''Company'' (though I consider Joanne a Featured role). And in 1995, the Drama Desk nominated Stritch in ''Show Boat'' for Leading Actress in a Musical. After she wasn't Tony-nominated, she said: ''I don't want to win a Tony for Support at my age. When I have billing on the same line as [John McMartin as] Cap'n Andy, I wanted to be nominated for Leading Lady. I don't give a [bleep] how many lines I have or how many songs I have. I don't want to be up for Support. Not that I have anything supporting players - the name itself is my idea of theater - but very much like 'Company,' everybody in 'Show Boat' is an ensemble player. There is no star in 'Show Boat.' '' [For the record, McMartin WAS nominated for Leading Actor in a Musical in ''Show Boat.''] |
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| ugh... Des McAnuff...why? | |
| Posted by: Chazwaza 02:25 pm EDT 06/23/18 | |
| In reply to: "Ain't Too Proud" Kennedy Center 3 minute video - broadwaybacker 02:12 pm EDT 06/23/18 | |
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| All I could think of in the first 30 seconds of this was "Why did they hire Des to direct this kind of thing AGAIN? Give a black director a chance for once." and then of course "well who gives a f*ck what Des McAnuff thinks about Motown?!" I know he got raves for his work with Jersey Boys, and every producer wants their pop-music-jukebox-bio-musical to be the next Jersey Boys. But this would have been the perfect chance for a black director to get a chance, which is so rare on Broadway, and with a show that has a built in audience to start. |
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| re: ugh... Des McAnuff...why? | |
| Posted by: garyd 01:55 am EDT 06/24/18 | |
| In reply to: ugh... Des McAnuff...why? - Chazwaza 02:25 pm EDT 06/23/18 | |
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| We could celebrate the writer. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: broadwaybacker 02:36 pm EDT 06/23/18 | |
| In reply to: ugh... Des McAnuff...why? - Chazwaza 02:25 pm EDT 06/23/18 | |
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| When I read your post, I wished that you had said, “Why couldn’t they have hired _________to direct this show?”, with the blank filled in with the name of a specific black director that you think would have been a better choice. But in today’s climate, it’s problematic, in my view, to suggest that an unspecified black director be hired simply because he or she is black. | |
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| re: ugh... Des McAnuff...why? | |
| Last Edit: Chazwaza 02:54 pm EDT 06/23/18 | |
| Posted by: Chazwaza 02:47 pm EDT 06/23/18 | |
| In reply to: re: ugh... Des McAnuff...why? - broadwaybacker 02:36 pm EDT 06/23/18 | |
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| I think you're really reading today's climate backwards. I think for anyone who cares looking at this, it is much more problematic to hire a white director to tell a very black story about black people and starring black people simply because there is no black director with similarly recognizable credits or successes to beat the white director for the job. If you think for a second that they didn't feel more comfortable hiring Des because they have a black writer to write the book, you're mistaken. In today's climate, to suggest that if I can't think of a black director big enough to do the job then there isn't one, which just perpetuates the fact that there isn't one (other than George C. Wolfe who I'm assuming isn't interested anyway) is backwards. Today the move is to create opportunities so that at the very least POC get the opportunity to tell the stories of POC, let alone ones not specifically related to race - and that includes the director, and that should include a bio musical about a famous black Motown group. Ain't Too Proud sells itself. They could absolutely have hired a black director and made a "hot" director for hire out of them by giving them a chance with this probable hit. But instead they hired a super successful white guy to tell this black story, who has as many failures or artistic disasters as he does hits or acclaim. I think that's the kind of thing "today's climate" is hoping to change and make less acceptable and common. |
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| re: ugh... Des McAnuff...why? | |
| Posted by: KingSpeed 05:57 pm EDT 06/23/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Chazwaza 02:47 pm EDT 06/23/18 | |
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| So they should put out a notice that says HIRING DIRECTOR: MUST BE BLACK? | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Singapore/Fling 06:58 pm EDT 06/23/18 | |
| In reply to: re: ugh... Des McAnuff...why? - KingSpeed 05:57 pm EDT 06/23/18 | |
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| No. They should - and possibly did - do a thorough search of all credible black and brown candidates. Anyone who could direct this scale of a show would likely already be known to the producers. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Chazwaza 01:36 am EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Singapore/Fling 06:58 pm EDT 06/23/18 | |
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| I would say it's that kind of thinking that has kept there from being almost ANY directors of color on broadway. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Singapore/Fling 03:23 pm EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Chazwaza 01:36 am EDT 06/24/18 | |
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| What kind of thinking is that, precisely? Part of my job is to identify and find shows for directors of color, so I fully understand and practice the work that must be done to bring diverse voices to our theater. I understand how few directors are at a level where they can successfully pull off these shows, and the steps that must be taken through smaller productions to build these directors to this level. And I know that Broadway isn't the space where you correct the lack of access for directors of color. I also understand how disastrous it is for all parties when a director does not deliver on a show, something you do not seem to give thought to. On a show of this size, a director's job isn't to sell a show, it's to bring the show in on time, on budget, with the story clearly told. There are not many people on that list, much less who want to direct biographical jukebox shows. You complain about the lack of directors, but you don't appear engage in the hard work required to rectify that. Even in this realm of fantasy staffing, you don't engage in the difficult conversation about credible candidates who can do the work, refusing to even toss out one name. You seem to imagine there is an unknown director who could pull off this show if only they were discovered, but that is extremely unlikely at this level, on a show this complicated. Until you treat this topic seriously, you're neither being a constructive ally nor are you showing appreciation for the actual work that must be done to dismantle white supremacy. |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Singapore/Fling 04:26 pm EDT 06/23/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Chazwaza 02:47 pm EDT 06/23/18 | |
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| I think it's a fair question, and it reminds us that we are talking deeply about people's total careers and the oftentimes lack of opportunities for black directors to reach the level where they will be trusted with a giant, tech heavy Broadway musical. The directors that immediately come to mind - Wolfe, Bill T. Jones, Kenny Leon, and Niegel Smith - either likely wouldn't do it (Wolfe, Jones, and Smith) or wouldn't do it very well (Leon). In another five to ten years, Stevie Walker-Webb might be worth taking a risk on. Perhaps Robert O'Hara, but I was underwhelmed by his work on "Bella". Liesl Tommy's work feels very hit or miss, and arguably Des would bring as much authenticity about the American black experience as she would (dangerous words I know). Who am I forgetting? |
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| Maybe Billy Porter would be interested? | |
| Posted by: KingSpeed 06:00 pm EDT 06/23/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Singapore/Fling 04:26 pm EDT 06/23/18 | |
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| He's directed before. Also Ken Roberson, the choreographer of AVE Q. | |
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| re: Maybe Billy Porter would be interested? | |
| Posted by: Singapore/Fling 06:56 pm EDT 06/23/18 | |
| In reply to: Maybe Billy Porter would be interested? - KingSpeed 06:00 pm EDT 06/23/18 | |
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| Have either of them directed big musicals? "Ain't Too Proud" is a huge production, and their tech schedule was quite tight. You'd need to find someone who has shown an ability to steer a big ship. | |
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| re: Maybe Billy Porter would be interested? | |
| Posted by: KingSpeed 08:11 pm EDT 06/23/18 | |
| In reply to: re: Maybe Billy Porter would be interested? - Singapore/Fling 06:56 pm EDT 06/23/18 | |
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| I know that Billy directed a production of COMPANY many years ago. Ken, like I said, has choreographed on Broadway. Not sure about directing. | |
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| re: Maybe Billy Porter would be interested? | |
| Posted by: Singapore/Fling 03:24 pm EDT 06/24/18 | |
| In reply to: re: Maybe Billy Porter would be interested? - KingSpeed 08:11 pm EDT 06/23/18 | |
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| There is Ruben Santiago-Hudson, who has done strong work with August Wilson. Giving him a show of this scale might backfire, but he would at least be with having a conversation with. | |
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| re: Maybe Billy Porter would be interested? | |
| Posted by: Singapore/Fling 04:18 pm EDT 06/24/18 | |
| In reply to: re: Maybe Billy Porter would be interested? - Singapore/Fling 03:24 pm EDT 06/24/18 | |
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| And there's also Kwame Kwei-Armah, who would probably have been the best candidate, except that he's gone back to the UK to run the Young Vic. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: broadwaybacker 03:40 pm EDT 06/23/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Chazwaza 02:47 pm EDT 06/23/18 | |
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| We're on the same side with respect to giving POC opportunities to succeed not only in the theater but in every walk of life. I believe in the benefits of affirmative action (even after seeing Admission. :)) But I don't think I'm reading the political climate wrong at all. There is a very large percentage of the population (and it might be a majority but I have no data to support that) that is offended by the suggestion that a person of color be hired to do a certain job "merely" because of their color, which you seem to be saying, and Trump did, is and will take advantage of that sentiment. It's the "anti political correctness" or anti "identity politics" feeling that many have, not all of them racists. What I'm saying is that if the choice was between hiring a white director and a black director for this show, I'd lean in favor of the black director, even if significantly less experienced, provided it was felt that he or she was capable. (By the way, maybe the black director should have been hired much earlier in this project's development?) | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Chazwaza 01:33 am EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - broadwaybacker 03:40 pm EDT 06/23/18 | |
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| I'm not quite sure where your politics lean... but I think it's pretty safe to say the vast majority of the theater and broadway community is left, to say the least, and the left side of the country, especially the entertainment portion of it, I think would definitely agree with me. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: broadwaybacker 09:07 am EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Chazwaza 01:33 am EDT 06/24/18 | |
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| Chaz, I don't want this to become either overly personal nor overly political. Your initial point was that Des McAnuff should not have been hired to helm this show because he's white and that a "black (unspecified) director should have been given a chance." And you state in a recent post that "I'm not quite sure where your politics lean... but I think it's pretty safe to say the vast majority of the theater and broadway community is left, to say the least, and the left side of the country, especially the entertainment portion of it, I think would definitely agree with me." While it should be clear to you that my politics lean left, which in fact is an understatement, to say that the left side of the country, and especially the entertainment portion of it agrees with you seems to ignore the responses in this thread, as none that I've seen actually agree with you at all. Statements such as this person SHOULD have been hired for a particular job "just because" they are a POC or a woman or gay hurt the cause of the left and feed into every negative stereotype of what being "liberal" or "progressive" means. |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Chazwaza 10:56 am EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - broadwaybacker 09:07 am EDT 06/24/18 | |
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| I absolutely did not say a person should be hired ""just because" they are POC"... in fact I even further clarified that they should be hiring a good director who is also a POC. I think mixing up the two ideas is pretty problematic, because again to me it reads like you are assuming they looked and determined there just simply isn't one, and so if they were to hire a black director it would be simply because they are black. Which also dismisses any importance to hiring a black director to tell a black story. And to be clear I'm not saying Des or any white director couldn't do a great job with this. But we'll never know what a black director would have done or how it might have been more authentic - maybe not at all. I'm not saying that the director HAS to be black. I'm not even saying the writer has to be. But I do think many in the left/liberal entertainment world right now would object or at least raise an eyebrow very high at the fact that it's not - and even more in the black community would. But I'm just surprised they didn't hire someone who brings that to it and instead hired someone who other than Jersey Boys hasn't done good work on Broadway since 1995 (and I know Jersey Boys being a hit is a supremely relevant thing for this particular show, but it also would make me not want him because it's so similar - a bio jukebox musical about a male singing group). But I stand by that it is the opposite of the point to say you shouldn't suggest a black director do it instead of a white one unless you have a specific black director who is clearly as good or better than the white director. I'm never saying you just hire anyone "just because" they are black, I'm saying you find someone who is and who is a good director for the job... unless you're saying none exist. And again, that just perpetuates the issue of there being little to no opportunities for black directors on Broadway. There will never be one "ready for this kind of show" until they hire people who can prove themselves. The fact that there isn't a black Marc Bruni for something like this ... he didn't make a splash as a hot new director, he was the assistant and associate director of two major (though mediocre) directors for a decade before he got a chance taken on his for Beautiful... another show that sells itself. And that's a hit also. |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Singapore/Fling 03:31 pm EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Chazwaza 10:56 am EDT 06/24/18 | |
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| "The fact that there isn't a black Marc Bruni for something like this ... he didn't make a splash as a hot new director, he was the assistant and associate director of two major (though mediocre) directors for a decade before he got a chance taken on his for Beautiful" Des's team includes a black Assistant Director, so the industry is implementing the hiring practices that you are asking for but not recognizing. This AD has been with the show since the California production. Perhaps in another decade, she will be able to step forward and direct a Broadway show of her own, though she is in no way ready for that just yet. |
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| re: ugh... Des McAnuff...why? | |
| Posted by: broadwaybacker 11:20 am EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Chazwaza 10:56 am EDT 06/24/18 | |
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| If I misinterpreted your original post, I apologize, though if you read through the thread you’ll see that I wasn’t the only one who did. So, in that I agree with what you’ve said here, we can leave in peace. 😊 |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Chazwaza 02:57 pm EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - broadwaybacker 11:20 am EDT 06/24/18 | |
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| :) | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: lordofspeech 08:09 pm EDT 06/23/18 | |
| In reply to: re: ugh... Des McAnuff...why? - broadwaybacker 03:40 pm EDT 06/23/18 | |
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| Does anybody really think the lightness or darkness of a person’s skincolor should determine if they’re hired to direct an original musical? The skills and talents and track record are so much more important than the look or ancestry of a director. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Singapore/Fling 03:33 pm EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - lordofspeech 08:09 pm EDT 06/23/18 | |
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| In this case, the question wasn't about skin color but about cultural awareness and authenticity. Absolutely, a black or brown director would be preferable to direct black and brown culture on stage. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Chazwaza 08:05 pm EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - Singapore/Fling 03:33 pm EDT 06/24/18 | |
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| This was my entire point. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: broadwaybacker 08:42 pm EDT 06/23/18 | |
| In reply to: re: ugh... Des McAnuff...why? - lordofspeech 08:09 pm EDT 06/23/18 | |
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| I don’t but apparently Chazwaza does. | |
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| re: ugh... Des McAnuff...why? | |
| Posted by: Chazwaza 01:35 am EDT 06/24/18 | |
| In reply to: re: ugh... Des McAnuff...why? - broadwaybacker 08:42 pm EDT 06/23/18 | |
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| No... I think you FIND a director capable or with the right vision, and especially *these days*, if it's a black story it behooves you to find a black director to tell the story otherwise you're basically saying there were no black director capable. | |
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