| *not even just at the Vivian, but any new musical on broadway | |
| Last Edit: Chazwaza 01:45 am EST 01/05/22 | |
| Posted by: Chazwaza 01:33 am EST 01/05/22 | |
| In reply to: re: Multiple reviews questioned how the show even got produced - Chazwaza 12:30 am EST 01/05/22 | |
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| Women on the Verge, i forgot (because I didn't see it), was at the Belasco. Thou Shalt Not was at the Plymouth (now the Schoenfeld). I guess it ran about a month or two longer than the typical LCT scheduled run of a new musical (depends what year). Chronicle of a Death Foretold was also at the Plymouth. Sarafina! was at the Cort, and LCT produced it... it was a big hit for them by LCT run standards. And they were part of the producing powers behind Passion, also at the Plymouth, which ran about 3-5x longer, or more, than a normal LCT new musical scheduled run (but of course it wasn't scheduled in a season like that). I've never really looked at this much, but all in all, LCT has not put that many *new* musicals on Broadway given their resources (and Contact was a fluke, being not one with an original score or singing, and the rare, maybe sole "musical" they did at the Mitzi and then moved to Broadway). If I'm not leaving anything out, in over 30 years they produced 11 new musicals: Flying Over Sunset Women On the Verge of a Nervous Breakdown The Light in the Piazza The Frogs Thou Shalt Not **Contact, which doesn't count as a new musical for this Marie Christine Parade Juan Darien Chronicle of Death Foretold My Favorite Year Sarafina! (12 if Passion counts, but I don't think it does -- but some would say The Frogs was a revival, or at least not a risk for them given it is a Sondheim score people don't know, with a book and starring a huge screen and stage star) Thank goodness for the Mitzi programming to add new musicals to that. I love and value their consistently stellar and often amazing revivals, especially as a balance to the often under-budgeted Roundabout musical revivals ... but how sad that Roundabout takes so many more chances with choice of musicals to revive (though their new musicals are almost exclusively risks from a box office and reviews stand point, so bigger points there -- obviously their revivals of sure-fire hit musicals done exceptionally well is what pays for the risky new musicals). I'm not sure I'd say LCT has revived a single musical that wasn't a classic or one guaranteed to be raved about if done at the level of LCT standards. (Anything Goes, The Most Happy Fella (sort of produced by LCT), Carousel, South Pacific, King & I, My Fair Lady). In fact I'd dare say they didn't need to do King & I or My Fair Lady at all except that they hadn't had good revivals in awhile and Bart wanted to do them... doesn't seem like great reasons. I'm glad they made the theater some profit. I don't have a point to make, just that I think of LCT as having done more new musicals than they have, but also that they have done fewer revivals overall than I thought.\ I'm really just killing time and procrastinating work. Looking at this, I'm glad they finally greenlit a broadway musical mounting that wasn't directed by Bart (though it was by a broadway stalwart, but at least doing something risky and experimental)... it's been a LONG time. The last 3 revivals and 2 musicals before Flying were all Bart. Before that, Stro had 3 in a row. Both brilliant theater artists, as are all the directors they've worked with. But it's really time for some new blood. And I don't mean letting Sam Gold have run of things for the next 5 years either. |
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| Previous: | well, I tend not to *start* discussions of them, but I'll participate - Chazwaza 12:27 pm EST 01/05/22 |
| Next: | re: *not even just at the Vivian, but any new musical on broadway - Singapore/Fling 02:49 am EST 01/05/22 |
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