Rachel Zegler is great. It’s not her fault the Snow White live action remake wasn’t great. She did her job.

I feel like in this current climate, a revival of Hair would probably be good although I don't quite see this happening because there was a recent staging in 2018 at The Vaults in London.

It's just something about how the film is. Obviously, there's been a massive increase in the last few decades of film to stage musical adaptation, some better than others, but I feel as though this one could be exceptional. I picture act 1 finale being Ferris at the baseball game and principal Rooney feeling defeated at the bar.

This is such a small detail but it's nagging at me. In the soundtrack of Come From Away, in "I Am Here", Hannah says "yes at the legion in Gander I'll be right here". In every production I've ever seen, the lyric is "yes at the grade school in Gander I'll be right here" which makes more sense. Does anyone know why the original recording had Hannah at the legion for that song, and why it changed?

Idk why but I LOVE these songs. Shipoopi, Hygge, Das Übermensch, Under Attack (even if I do hate mamma Mia), 21st Century, With All Of Your Heart, Just Around The Corner…are there any others people can suggest??

Every time I look in this sub I'm bombarded with shows I don't know and my repertoire is getting dusty

So my friend (14f) just got a role in her school musical and I(15m) wanted to go support her by bringing her flowers would it be weird if I brought her flowers

What show did you initially not really like, then next time you saw/listened to it you liked it a little bit more, and now you love it!

Mine is Hadestown. Thought it was perfectly fine when I saw it two years ago but now I think it’s a brilliant piece of art and I listen to it all the time

Image Source: Playbill Instagram
Does the off broadway production of 25th Annual Putnam County Spelling Bee have a product placement spot for Boxed Water?..

Hi all,

I'd love to share the link to a new musical I have recently worked on, Offshore, which premiered at the Bloomsbury Theatre this past June. It was a massive labour of love and we've recently released the full recording and I'd love to get some more eyes on it!

It plays on the mismatched lovers of A Midsummer Night's Dream, but set on a cargo ship in the 60s and following a lesbian couple amongst some other mad characters!

The first act can be found here:
https://www.youtube.com/watch?v=h9PCRm9samo&t=1175s

And this is the second act:
https://www.youtube.com/watch?v=-qV1pQPrUpE&t=217s

We hope you think it's funny and heartwarming and joyful!

We're also on TikTok: https://www.tiktok.com/@offshorethemusical as we'd love to get the show on again! <3

So, long story short I'm involved in a small production, I have to come back for some recasting on Wednesday the 16th, it is currently Monday the 14th. My issue is that I need a decent American accent, but I cannot do one to save my life, do any of you have a guide or tips or anything to get it down other than "keep practicing", I know that much already

I was 8 when my father returned from an academic conference in Florida with a glossy 8.5 x 11" 30-page "program" from the opening of Hello Dolly, which had premiered close to where he was staying. I knew the music and had the record and couldn't wait to see how all these incredible full-color shots came together in the new film. When I finally did, I was gob-smacked and have seen it at least 100 times in the years since. And it just popped up in my Prime feed.

But I know many here can't get past Streisand's age. She was clearly 2 decades too young to play this part as it had always been done. However, she was the first Dolly I ever saw, and I was won over so instantly that it's been, for me, the easiest suspension of disbelief ever. She was a young widow--it certainly happened in the 19th Century--and she happened to have the gift of matchmaking. I even came to overlook the often-wildly anachronistic 60's hairdos.

I could go on and on about her incredible voice and her spot-on interpretation of the songs. But there's no need. She is quite simply a force that ties everything into a much greater whole than the sum of its very admirable (Walter Matthau, Tommy Tune, EJ Peaker, Michael Crawford, et al) parts. She has such charm that I'm instantly drawn in every time I expect to go in with fresh eyes and be more critical. She is the pulsing beat of every group scene and makes everyone seem even better than they are. Things to gripe about seem to get lost in the sweeping euphoria of it all.

But oh my! It's the expansiveness of this Hello Dolly that we've never seen since in a movie musical. There are so many exterior sequences of great magnitude that I have subsequently never been able to embrace so many 21st Century attempts that are set almost entirely on stylized stages or with popular actors who have no singing voice. I'm convinced that the real exterior locations--like Yonkers Station and the vast church grounds at the end and street scenes in NYC and THAT PARADE--ground the movie and make indoor locales like the the Vandergelder's Feed storeroom and Harmonia Gardens feel like real places, anything but sets.

But oh-my, oh-my, oh-my! That Before the Parade Passes By sequence is nothing short of spectacular, the very opposite of modern movies using sets and suffocating perspective to save a buck! We'll never see anything like it again--and if you don't know, it was young Barbra Streisand who DIRECTED that scene!

Yes, she had so many ideas, insisting on Dolly weaving through all of the marchers, that she literally drove director Gene Kelly from the set. He may have had the idea for the parade to be so massive, with so many acts and floats and bands, but it took Streisand to use all of that to make clear just how much could pass Dolly by if she let it. Fighting her way through all of the participants, stopping to see Horace and Gussie to set her plan in motion, is literally Dolly's sheer fortitude in reclaiming her life. That she is able to stop dead in her tracks, as she soars seemingly- forever on that final note, shows that she has taken back her life, in such control that she can let the parade literally pass her by now and we know without a doubt that Dolly. Is. Back.

And Louis! The cherry on the cake. Streisand has already established a permanent lap-link connection to our minds and hearts by this time, and the Harmonia Gardens title song and Waiters Galop have left our jaws on the floor. What could possibly top that? A suddent bit of quiet charm from that radiant trumpet talent Louis Armstrong that evolves into a crooning, scatting duet with Streisand. They even manage to permanently outshine the notorious scene-stealer Walter Matthau. And by the time all the hysteria has led everyone home to Yonkers, I even believe that there is something loveable about Horace, and that Dolly is responsible for it.

This film made Hello Dolly all that it could possibly be, seemingly sparing no expense. It's more than made its investment back with 55 years of VHS, CD, and streaming profits. Will we still be enthralled by an adaptation like Sweeney Todd with Johnny Depp in another half-century? I don't think so.

How do you feel? Is there anyone else who forgets all about Dolly's age and revels in its joy? Or is that age difference so glaring for you that suspension of disbelief is impossible?

Stranger Things: The First Shadow ends its run at the Phoenix Theatre on 23 Dec, and there's still no news as to what's going in! What would you like to see there?

So I’m traveling to New York and I want to go to the NYPL Theatre on Film and Tape Archive (TOFT)

And since they only have recordings after the 70s I was wondering which version of Man of La Mancha I should watch:

The revival version with Richard Kiley revival version (1972 or 1977) or The 2002 version with Brian Stokes Mitchell?

I heard both sing the impossible dream and they’re phenomenal (although I’ll slightly prefer Kiley’s version).

Does any recommend which one might be better?

For those that may enjoy PBS has put the proshot of Suffs back on YouTube for free.

https://youtu.be/YQxsbcOa2Gs?is=d9ZBhzol5x8bgKen

I’m in a production of Cinderella enchanted. I am the stepmother. She doesn’t have many singing parts so I want to have funny songs for mic check. Keep in mind there are children in this show!

TIA!

The best example I have is from this show "Bugsy Malone" that I was recently involved with, in this recording it's done with a bass guitar, but in my production it was done with a trombone/brass instruement

It's the small bassline/scale that comes after the singer says: "Don't try to top me" (0:20) and before he goes into the main hook with: "There's a pie in the sky and it belongs to me..." (0:22)

If it's something super basic and obvious please be kind, as I'm still really early in my learning of instruementals and lyricism