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| re: Keeping score: Which new musicals will be Tony-eligible for original music? | |
| Last Edit: WaymanWong 05:29 pm EST 02/19/20 | |
| Posted by: WaymanWong 05:21 pm EST 02/19/20 | |
| In reply to: re: Keeping score: Which new musicals will be Tony-eligible for original music? - carolinaguy 04:40 pm EST 02/19/20 | |
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| Too bad the category of Special Theatrical Event was retired a decade ago. It could've included ''American Utopia'' and ''Freestyle Love Supreme,'' etc. As for Byrne, I keep secretly hoping that his spectacular score (with Fatboy Slim) to ''Here Lies Love'' makes it to Broadway someday. Those songs are so fun and infectious, and deserve to win the Tony. I loved that story of Imelda Marcos, set to a rocking disco-pop score, and the cast was incredible. Last July, Alex Timbers, who directed ''Here Lies Love'' (and the current ''Moulin Rouge!''), was asked on a Billboard podcast about the show's future. He said: ''The dream is Broadway. We're actively working on it.'' Timbers said they had done a test version at Seattle Rep (in 2017) that sought to capture the immersive, dance-club feel of the production at the Public but in a proscenium theater. ''We're real excited about it.'' |
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| Link | 'Here Lies Love': 'A booty-shaking blast of pure joy!' |
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| would Here Lies Love have won the Tony? | |
| Last Edit: Chazwaza 02:26 am EST 02/20/20 | |
| Posted by: Chazwaza 02:23 am EST 02/20/20 | |
| In reply to: re: Keeping score: Which new musicals will be Tony-eligible for original music? - WaymanWong 05:21 pm EST 02/19/20 | |
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| I loved Here Lies Love and the score was wonderful and fun, but the show felt a little too straight-forward and surface level in its exploration of the subject and character. It was an awesome theatrical experience and the score was the key part of it, with the staging and cast as the other two parts. But I never think about it beyond that, and I wish it made me think more. And honestly, for some weird reason, I think it's one of the few original musicals I've seen and loved and not listened to the cast album of since I saw it. Had it been on Broadway the year it was off-broadway, it would have competed against either the 2013 group: Kinky Boots (winner), Matilda, Hands On a Hardbody, A Christmas Story OR 2014 group: Bridges of Madison County (winner), Aladdin, Gentleman's Guide, If/Then. I think you're right... in either year, it deserved Best Score, and would probably have easily won it. (Kinky Boots, to me, is one of the laziest and least interesting scores to ever win a Tony - so I'd have happily seen Bryne take it that year instead... and I say that as a definitely Lauper fan, for the record) I also dare day it would have won Best Musical either year as well. More easily in 2014 but still. |
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