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| The Unsinkable Molly Browm | |
| Posted by: FinalPerformance 07:25 pm EST 02/13/20 | |
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| It was worth the trip to the Abrons Theate Center to see this version last night. Beth Malone really shined as Molly. She flew across the stage and into the arms of a very loving cast. I felt like I was at the Menier Chocolate Factory watching one of their productions. The music is pleasant but not that memorable. The staging and professional cast made up for it. | |
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| re: The Unsinkable Molly Browm | |
| Posted by: lowwriter 01:23 am EST 02/14/20 | |
| In reply to: The Unsinkable Molly Browm - FinalPerformance 07:25 pm EST 02/13/20 | |
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| I thought this was a very entertaining show and liked the new songs. The whole cast and choreography are engaging. I loved one song, Wait for Me, in act two. Why isn’t Kathleen Marshall working on Broadway these days? She certainly knows what she’s doing. |
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| re: The Unsinkable Molly Browm | |
| Posted by: Delvino 06:58 am EST 02/14/20 | |
| In reply to: re: The Unsinkable Molly Browm - lowwriter 01:23 am EST 02/14/20 | |
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| (Is "Are You Sure" still in? My favorite, always, on the OBC. It was re-purposed and sung in a different context at the Muny, but still intact.) | |
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| Kathleen Marshall | |
| Posted by: Chazwaza 03:38 am EST 02/14/20 | |
| In reply to: re: The Unsinkable Molly Browm - lowwriter 01:23 am EST 02/14/20 | |
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| I'm not sure why she isn't working on Broadway but I can't say I miss her presence, if you can call it that. Always standardly good or solid work, sometimes but rarely inspired. I think for the amount of work she's done as a director and/or choreographer, she's one of the least interesting directors to ever have a career on broadway... but sometimes a show, especially a classic revival just needs a sure hand and not an interesting vision, and she is usually good for that. | |
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| re: Kathleen Marshall | |
| Posted by: dbdbdb 07:53 am EST 02/14/20 | |
| In reply to: Kathleen Marshall - Chazwaza 03:38 am EST 02/14/20 | |
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| She probably doesn't work on Broadway much because her commercial record is spotty at best. Her last three shows has all been flops. Her biggest successes in recent years were revivals at the Roundabout. I believe she has spent a fair amount of time trying to get Molly Brown on, so it may have taken most of her time recently. | |
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| re: Kathleen Marshall | |
| Posted by: Chazwaza 11:38 am EST 02/14/20 | |
| In reply to: re: Kathleen Marshall - dbdbdb 07:53 am EST 02/14/20 | |
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| To be fair to someone i just basically bashed respectfully, I don't think her work can be blamed for the shows flopping, not in the way you're implying. For most of them I would blame the show and its ability to draw audiences today, and it's more the producers fault for getting behind revival these shows with big budgets (or putting together a new but tired revue like "Nice Work If You Can Get It"), and a lot also must be said for the casting... perhaps a different set of leads to any of those projects might have gotten more response from a broadway-scale ticket buying audience. But then again perhaps lot of of audiences agree with me that her work is almost never fresh or exciting and never even approaching visionary means less people want to shell out for her revivals because they are never "events" under the leads are extraordinary in a "must see even if you don't care about the show" way. |
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| re: Kathleen Marshall | |
| Posted by: lowwriter 11:11 pm EST 02/15/20 | |
| In reply to: re: Kathleen Marshall - Chazwaza 11:38 am EST 02/14/20 | |
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| Some of her best work was done for Encores. I thought her work on Hair was fine and maybe better than the Broadway revival. I loved her direction for Carnival. I also liked what she did with Anything Goes. I agree that Nice Work If You Can Get It wasn’t visionary but when I went back to see the show with Kelli O’Hara and Will Chase, the show was much more charming than with Matthew Broderick. And it certainly was better than the direction/choreography of Big Fisk and Bulletd Over Broadway. |
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| re: Kathleen Marshall | |
| Posted by: JereNYC (JereNYC@aol.com) 12:12 pm EST 02/14/20 | |
| In reply to: re: Kathleen Marshall - Chazwaza 11:38 am EST 02/14/20 | |
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| Not specifically about Marshall, but NICE WORK IF YOU CAN GET IT was not a revue. It was a pretty traditional book musical written around the Gershwin catalogue, like CRAZY FOR YOU and MY ONE AND ONLY and AN AMERICAN IN PARIS. Nonetheless, "tired" was an apt description, considering that the show, while a lovely evening, didn't have much special about it, despite the presence of an A-Level cast. My impression was that the show had been designed for schools and community theatres that didn't have the dancing talent to properly do CRAZY FOR YOU. Or that whomever was controlling the Gershwin estate at the time commissioned the show in another attempt to earn money from a catalogue rapidly approaching the public domain. Possibly both. | |
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| re: Kathleen Marshall | |
| Posted by: dlevy 01:33 pm EST 02/14/20 | |
| In reply to: re: Kathleen Marshall - JereNYC 12:12 pm EST 02/14/20 | |
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| In the was that Crazy For You was (very loosely) based on Girl Crazy, Nice Work if You Can Get it was (very loose) based on Oh, Kay!. I don't know that there was any real mercenary thought behind its creation beyond "wouldn't it be nice if there was a version of Oh, Kay! that worked for 21st century theatergoers." | |
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