Is there an issue? Send a MessageReason:
None
Changed line(s) 49 (click to see context) from:
** Following the hair-raising vicissitudes of putting ''Chess'' on stage, Andersson and Ulvaeus swore off musical theatre for good. That is, until, years later, when Judy Craymer, Rice's assistant during ''Chess'''s production, got them to sign off on using their songs for [[Theatre/MammaMia a musical]] she was cooking up.
to:
** Following the hair-raising vicissitudes of putting ''Chess'' on stage, Andersson and Ulvaeus swore off musical theatre for good. That is, until, years later, when Judy Craymer, Rice's assistant during ''Chess'''s production, got them to sign off on using their ABBA songs for [[Theatre/MammaMia a musical]] she was cooking up.
Is there an issue? Send a MessageReason:
None
Changed line(s) 49 (click to see context) from:
** And, following the hair-raising vicissitudes of ''Chess'', Andersson and Ulvaeus swore off musical theatre for good...
to:
** And, following Following the hair-raising vicissitudes of ''Chess'', putting ''Chess'' on stage, Andersson and Ulvaeus swore off musical theatre for good... good. That is, until, years later, when Judy Craymer, Rice's assistant during ''Chess'''s production, got them to sign off on using their songs for [[Theatre/MammaMia a musical]] she was cooking up.
Is there an issue? Send a MessageReason:
None
Changed line(s) 49 (click to see context) from:
** Following the hair-raising vicissitudes of 'Chess'', Andersson and Ulvaeus swore off musical theatre for good...
to:
** Following And, following the hair-raising vicissitudes of 'Chess'', ''Chess'', Andersson and Ulvaeus swore off musical theatre for good...
Is there an issue? Send a MessageReason:
Expanded Chess
Changed line(s) 40 (click to see context) from:
* Trouble with ''Theatre/{{Chess}}'' (music by Benny Andersson and Björn Ulvaeus of Music/{{ABBA}}, lyrics by Tim Rice) in London started when its original director had to drop out before just before rehearsals, then went on to include trouble with the show's highly technical sets that threatened its ability to open on time. Then the Broadway rewrite (which ended up torn apart by critics and flopped) had enough behind-the-scenes drama that ''Vanity Fair'' [[https://archive.vanityfair.com/article/1988/5/chesss-backstage-drama wrote a]] [[http://squareone.org/Chess/vanity.html feature]] on it, including claims of a director who was nearly unreachable, an ill producer, and a rush to open the show in time to compete with Creator/AndrewLloydWebber's ''The Phantom of the Opera''. Later revivals and concert productions involved more song and book changes. Strike up a conversation about ''Chess'' with a fan of the show and the first question will be, "Which one?"
to:
* Trouble with Strike up a conversation about ''Theatre/{{Chess}}'' (music by Benny Andersson and Björn Ulvaeus of Music/{{ABBA}}, lyrics by Tim Rice) in London started when its original director had to drop out before just before rehearsals, then went on to include trouble with a fan of the show's highly technical sets that threatened its ability to open on time. Then show and the Broadway rewrite (which ended up torn apart by critics and flopped) had enough behind-the-scenes drama that first question will be, "Which one?" Ask which production was most troubled...well, ''Vanity Fair'' had [[https://archive.vanityfair.com/article/1988/5/chesss-backstage-drama wrote a]] a lot]] [[http://squareone.org/Chess/vanity.html feature]] on it, including claims of a director who was nearly unreachable, an ill producer, and a rush to open the show in time to compete with Creator/AndrewLloydWebber's ''The Phantom of the Opera''. Later revivals and concert productions involved more song and book changes. Strike up a conversation say]] about its way from London to Broadway.
** After the ''Chess''with a fan studio album (music by Benny Andersson and Björn Ulvaeus of Music/{{ABBA}}, lyrics by Tim Rice) was released to acclaim, Bernie Jacobs and Gerald Schoenfeld, heads of Broadway's Shubert Organization, optioned it for stage development, putting [[https://en.wikipedia.org/wiki/Michael_Bennett_(theater) Michael Bennett]], director of the show smash hits ''[[Theatre/AChorusLine A Chorus Line]]'' and ''Theatre/{{Dreamgirls}}'' and a Shubert golden boy, in the director's chair. Bennett then set to work on casting and the physical production.
** However ingenious his concepts--not least of which was the presence of dozens upon dozens of video screens obsessively broadcasting the titular chess match--Rice suspects Bennett's heart really wasn't into ''Chess''. For one, two musicals of his, ''Scandal'' and ''The Children's Crusade'', had died in the very workshop process he helped form, and, even with two smashes to his name, Bennett was paranoiacally aware that Broadway only cares about one's last show. Moreover, Bennett was just beginning to make up with Bernie Jacobs, whom he regarded as a father figure, after the latter had thwarted his efforts to start a New York theatre empire of his own.
** With cast in place, sets commissioned, and a London theatre booked, Bennett vanished in a flurry of gossip and rumor. He was stricken with AIDS and ashamed of it, and so swore the producers to secrecy. Meanwhile, Rice, Andersson, and Ulvaeus were left uninformed. To the press, Bennett declared his withdrawal was due to a heart condition.
** Seeking a director who could take the helm at such a late stage, the Shuberts, et al, approached Trevor Nunn to take over. Nunn agreed provided the Shuberts financed a revival engagement of his and John Caird's marathon adaptation of ''Nicholas Nickleby'', the production that made their Stateside careers. (The engagement eventually sank without a trace.)
** The London production opened to mixed reviews but healthy houses, many critics and album fans recognizing the circumstances Nunn faced. When Nunn began to look to Broadway, he decided to start from square one, to do ''his'' ''Chess''. He ordered a new physical production and began altering the material extensively, this time with frequent collaborator Richard Nelson on book. Among other changes, there was now a bona fide book. For another, the character of Florence was changed from a Hungarian-born Englishwoman to a Hungarian American, effectively foreclosing the possibility of Elaine Paige reprising the role on Broadway. Rice (who had been Paige's secret lover for years) was especially chagrined by rumors that Judy Kuhn, the new Florence and Broadway's firstquestion will be, "Which one?"Fantine, was having an affair with Nunn.
** Bernie Jacobs was then afflicted by "transient global amnesia", leaving any artistic decisions vis-a-vis Shubert in the hands of Gerald Schoenfeld. Bernie was the more artistically minded of the two, while Gerald handled the organization's real estate.
** Given all these late-cropping change-ups and obstacles, outside observers why ''Chess'' seemed like it was barreling toward Broadway, especially with ''Theatre/ThePhantomOfTheOpera'' poised as the musical to beat that season. ''Phantom'' itself might have been the reason; Rice would square off with his old collaborator, just as Nunn would square off against the man who had him fired from ''Phantom''.
** Not only did ''Chess'' open on Broadway to apathetic reviews, its Cold War plot was already old news by 1988 when the writing was on the wall for the Soviet Union.
** Following the hair-raising vicissitudes of 'Chess'', Andersson and Ulvaeus swore off musical theatre for good...
** After the ''Chess''
** However ingenious his concepts--not least of which was the presence of dozens upon dozens of video screens obsessively broadcasting the titular chess match--Rice suspects Bennett's heart really wasn't into ''Chess''. For one, two musicals of his, ''Scandal'' and ''The Children's Crusade'', had died in the very workshop process he helped form, and, even with two smashes to his name, Bennett was paranoiacally aware that Broadway only cares about one's last show. Moreover, Bennett was just beginning to make up with Bernie Jacobs, whom he regarded as a father figure, after the latter had thwarted his efforts to start a New York theatre empire of his own.
** With cast in place, sets commissioned, and a London theatre booked, Bennett vanished in a flurry of gossip and rumor. He was stricken with AIDS and ashamed of it, and so swore the producers to secrecy. Meanwhile, Rice, Andersson, and Ulvaeus were left uninformed. To the press, Bennett declared his withdrawal was due to a heart condition.
** Seeking a director who could take the helm at such a late stage, the Shuberts, et al, approached Trevor Nunn to take over. Nunn agreed provided the Shuberts financed a revival engagement of his and John Caird's marathon adaptation of ''Nicholas Nickleby'', the production that made their Stateside careers. (The engagement eventually sank without a trace.)
** The London production opened to mixed reviews but healthy houses, many critics and album fans recognizing the circumstances Nunn faced. When Nunn began to look to Broadway, he decided to start from square one, to do ''his'' ''Chess''. He ordered a new physical production and began altering the material extensively, this time with frequent collaborator Richard Nelson on book. Among other changes, there was now a bona fide book. For another, the character of Florence was changed from a Hungarian-born Englishwoman to a Hungarian American, effectively foreclosing the possibility of Elaine Paige reprising the role on Broadway. Rice (who had been Paige's secret lover for years) was especially chagrined by rumors that Judy Kuhn, the new Florence and Broadway's first
** Bernie Jacobs was then afflicted by "transient global amnesia", leaving any artistic decisions vis-a-vis Shubert in the hands of Gerald Schoenfeld. Bernie was the more artistically minded of the two, while Gerald handled the organization's real estate.
** Given all these late-cropping change-ups and obstacles, outside observers why ''Chess'' seemed like it was barreling toward Broadway, especially with ''Theatre/ThePhantomOfTheOpera'' poised as the musical to beat that season. ''Phantom'' itself might have been the reason; Rice would square off with his old collaborator, just as Nunn would square off against the man who had him fired from ''Phantom''.
** Not only did ''Chess'' open on Broadway to apathetic reviews, its Cold War plot was already old news by 1988 when the writing was on the wall for the Soviet Union.
** Following the hair-raising vicissitudes of 'Chess'', Andersson and Ulvaeus swore off musical theatre for good...
Is there an issue? Send a MessageReason:
None
Changed line(s) 40 (click to see context) from:
* Trouble with ''Theatre/{{Chess}}'' (music by Benny Andersson and Björn Ulvaeus of Music/{{ABBA}}, lyrics by Tim Rice) in London started when its original director had to drop out before just before rehearsals, then went on to include trouble with the show's highly technical sets that threatened its ability to open on time. Then the Broadway rewrite (which ended up torn apart by critics and flopped) had enough behind-the-scenes drama that ''Vanity Fair'' wrote a feature on it, including claims of a director who was nearly unreachable, an ill producer, and a rush to open the show in time to compete with Creator/AndrewLloydWebber's ''The Phantom of the Opera''. Later revivals and concert productions involved more song and book changes. Strike up a conversation about ''Chess'' with a fan of the show and the first question will be, "Which one?"
to:
* Trouble with ''Theatre/{{Chess}}'' (music by Benny Andersson and Björn Ulvaeus of Music/{{ABBA}}, lyrics by Tim Rice) in London started when its original director had to drop out before just before rehearsals, then went on to include trouble with the show's highly technical sets that threatened its ability to open on time. Then the Broadway rewrite (which ended up torn apart by critics and flopped) had enough behind-the-scenes drama that ''Vanity Fair'' [[https://archive.vanityfair.com/article/1988/5/chesss-backstage-drama wrote a feature a]] [[http://squareone.org/Chess/vanity.html feature]] on it, including claims of a director who was nearly unreachable, an ill producer, and a rush to open the show in time to compete with Creator/AndrewLloydWebber's ''The Phantom of the Opera''. Later revivals and concert productions involved more song and book changes. Strike up a conversation about ''Chess'' with a fan of the show and the first question will be, "Which one?"
Is there an issue? Send a MessageReason:
None
Changed line(s) 53 (click to see context) from:
** From the earliest backers' auditions to its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and placing musicians throughout the auditorium. The result was a filthy, inaudible mess.
to:
** From the earliest backers' auditions to its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] country-fied Everyman story (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and placing musicians throughout the auditorium. The result was a filthy, inaudible mess.
Is there an issue? Send a MessageReason:
None
Changed line(s) 20 (click to see context) from:
** From its first tryout in Philadelphia to Boston, audiences that had been primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. She went on each night while rumors swirled she was going to be replaced.
to:
** From its first tryout in Philadelphia to Boston, audiences that had been primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more diametrically opposed to Moore's bright public persona. She Moore went on each night while rumors swirled she was going to be replaced.
Is there an issue? Send a MessageReason:
None
Changed line(s) 22 (click to see context) from:
** During the Boston run, when it seemed like the creators might have had the insight to knead the material in a way that satisfied audiences while retaining its darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name. The billing changed from "a new musical comedy" to, simply, "a new musical".
to:
** During the Boston run, when it seemed like the creators might have had the insight to knead the material in a way that satisfied audiences while retaining its darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he Albee [[Theatre/WhosAfraidOfVirginiaWoolf had made made]] [[Theatre/ADelicateBalance1967 his name.name]]. The billing changed from "a new musical comedy" to, simply, "a new musical".
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,20 (click to see context) from:
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson and Sidney Michaels made an attempt at writing a book for such an unconventionally dark musical before admitting defeat. Abe Burrows took up the writing challenge on top of directing.
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. She went on each night while rumors swirled she was going to be replaced.
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. She went on each night while rumors swirled she was going to be replaced.
to:
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson and Sidney Michaels made an attempt at writing a book for such an unconventionally dark musical before admitting defeat. Joshua Logan toyed with directing until he decided that a hardened Holly just wouldn't play. Eventually, Abe Burrows took up the both writing challenge on top the book and of directing.
directing what was then known as ''Holly Golightly''.
** From its first tryout in Philadelphia toBoston (under the title ''Holly Golightly''), Boston, audiences that had been primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. She went on each night while rumors swirled she was going to be replaced.
** From its first tryout in Philadelphia to
Is there an issue? Send a MessageReason:
None
Changed line(s) 53 (click to see context) from:
** From the earliest backers' auditions to its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and placing musicians throughout the auditorium.
to:
** From the earliest backers' auditions to its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and placing musicians throughout the auditorium. The result was a filthy, inaudible mess.
Is there an issue? Send a MessageReason:
None
* Following their groundbreaking smash hit, ''Theatre/{{Hair}}'', Galt [=McDermont=] and Gerome Ragni began work on their follow-up ''[[https://en.wikipedia.org/wiki/Dude_(musical) Dude]]'', but it was plagued with problems. The ''New York Times'' provided this [[https://www.nytimes.com/1972/10/22/archives/dude-an-800000-disaster-where-did-they-go-wrong-dude-an-800000.html?searchResultPosition=2 post-mortem]].
** From the earliest backers' auditions to its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and placing musicians throughout the auditorium.
** While the show quickly closed, the extensive environmental modifications to the Broadway Theatre helped inspire the staging of a successful revival of ''Theatre/{{Candide}}'' a couple of years later.
** From the earliest backers' auditions to its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and placing musicians throughout the auditorium.
** While the show quickly closed, the extensive environmental modifications to the Broadway Theatre helped inspire the staging of a successful revival of ''Theatre/{{Candide}}'' a couple of years later.
Deleted line(s) 55,57 (click to see context) :
* Following their groundbreaking smash hit, ''Theatre/{{Hair}}'', Galt [=McDermont=] and Gerome Ragni began work on their follow-up ''[[https://en.wikipedia.org/wiki/Dude_(musical) Dude]]'', but it was plagued with problems.
** From the earliest backers' auditions to its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and placing musicians throughout the auditorium.
** While the show quickly closed, the extensive environmental modifications to the Broadway Theatre helped inspire the staging of a successful revival of ''Theatre/{{Candide}}'' a couple of years later.
** From the earliest backers' auditions to its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and placing musicians throughout the auditorium.
** While the show quickly closed, the extensive environmental modifications to the Broadway Theatre helped inspire the staging of a successful revival of ''Theatre/{{Candide}}'' a couple of years later.
Is there an issue? Send a MessageReason:
Dude
Changed line(s) 55 (click to see context) from:
* Following their groundbreaking smash hit, ''Theatre/{{Hair}}'', Galt [=McDermont=] and Gerome Ragni began work on their follow-up ''[[https://en.wikipedia.org/wiki/Dude_(musical) Dude]]'', but it was plagued with problems ranging from the lead actor quitting to real dirt and butterflies being part of the show! While the show quickly closed, the extensive environmental modifications to the Broadway Theatre were not all for naught, since they helped inspire the staging of the successful revival of ''Theatre/{{Candide}}'' there a couple of years later.
to:
* Following their groundbreaking smash hit, ''Theatre/{{Hair}}'', Galt [=McDermont=] and Gerome Ragni began work on their follow-up ''[[https://en.wikipedia.org/wiki/Dude_(musical) Dude]]'', but it was plagued with problems ranging from problems.
** From thelead actor quitting earliest backers' auditions to real its closing, everyone involved fretted over Ragni's book, which was criticized as an incoherent jumble, effectively a country-fication of [[https://en.wikipedia.org/wiki/Everyman_(15th-century_play) Everyman]] (and, according to producers who knew Ragni personally, mixed with heaping helpings of autobiography). Ragni was apparently more concerned with ''Dude'''s environmental presentation, which entailed gutting its theatre, dumping actual dirt on stage, and butterflies being part of placing musicians throughout the show! auditorium.
** While the show quickly closed, the extensive environmental modifications to the Broadway Theatrewere not all for naught, since they helped inspire the staging of the a successful revival of ''Theatre/{{Candide}}'' there a couple of years later.
** From the
** While the show quickly closed, the extensive environmental modifications to the Broadway Theatre
Is there an issue? Send a MessageReason:
None
Changed line(s) 55 (click to see context) from:
* Following their groundbreaking smash hit, ''Theatre/{{Hair}}'', Galt [=McDermont=] and Gerome Ragni began work on their follow-up ''Dude'', but it was plagued with problems ranging from the lead actor quitting to real dirt and butterflies being part of the show! While the show quickly closed, the extensive environmental modifications to the Broadway Theatre were not all for naught, since they helped inspire the staging of the successful revival of ''Theatre/{{Candide}}'' there a couple of years later.
to:
* Following their groundbreaking smash hit, ''Theatre/{{Hair}}'', Galt [=McDermont=] and Gerome Ragni began work on their follow-up ''Dude'', ''[[https://en.wikipedia.org/wiki/Dude_(musical) Dude]]'', but it was plagued with problems ranging from the lead actor quitting to real dirt and butterflies being part of the show! While the show quickly closed, the extensive environmental modifications to the Broadway Theatre were not all for naught, since they helped inspire the staging of the successful revival of ''Theatre/{{Candide}}'' there a couple of years later.
Is there an issue? Send a MessageReason:
None
Changed line(s) 20,21 (click to see context) from:
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. Truman Capote himself announced in the press that he didn't care for the musical.
** After the Boston run, when it seemed like the creators might have had the insight to knead the material in a way that satisfied audiences while retaining its darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name. The billing changed from "a new musical comedy" to, simply, "a new musical".
** After the Boston run, when it seemed like the creators might have had the insight to knead the material in a way that satisfied audiences while retaining its darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name. The billing changed from "a new musical comedy" to, simply, "a new musical".
to:
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. She went on each night while rumors swirled she was going to be replaced.
** Truman Capotehimself announced in saw the press that show in Boston and, in a page-one interview with ''Women's Wear Daily'', declared he didn't care for the musical.
musical, suspecting that patterning it after the novella rather than the film may have been a bad idea.
**After During the Boston run, when it seemed like the creators might have had the insight to knead the material in a way that satisfied audiences while retaining its darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name. The billing changed from "a new musical comedy" to, simply, "a new musical".
** Truman Capote
**
Is there an issue? Send a MessageReason:
None
Changed line(s) 61 (click to see context) from:
* ''Hot Spot'', a musical burlesque of the Peace Corps that flopped on Broadway in 1963 with an ailing Judy Holliday in her final starring role, had more than its share of troubles. Four days before rehearsals started, orchestrator Robert Ginzler (''Theatre/{{Gypsy}}'', ''Theatre/ByeByeBirdie'' and ''Theatre/HowToSucceedInBusinessWithoutReallyTrying'') suffered a fatal heart attack. The preview period was repeatedly extended for numerous ghostwriters (including Music/StephenSondheim, who helped write a new opening number) to improve the book and lyrics. By one account, the show went through nine directors. Herbert Ross ultimately took over both direction and choreography, but the program credited nobody for either.
to:
* ''Hot Spot'', ''[[https://en.wikipedia.org/wiki/Hot_Spot_(musical) Hot Spot]]'', a musical burlesque of the Peace Corps that with Creator/JudyHolliday in what was to be her final starring role, flopped on Broadway in 1963 with an ailing Judy Holliday in her final starring role, had after encountering more than its share of troubles. Four days before rehearsals started, orchestrator Robert Ginzler (''Theatre/{{Gypsy}}'', ''Theatre/ByeByeBirdie'' and ''Theatre/HowToSucceedInBusinessWithoutReallyTrying'') suffered a fatal heart attack. The preview period was repeatedly extended for numerous ghostwriters (including Music/StephenSondheim, who helped write a new opening number) to improve the book and lyrics. By one account, the show went through nine directors. Herbert Ross ultimately took over both direction and choreography, but the program credited nobody for either.
Is there an issue? Send a MessageReason:
None
Changed line(s) 32 (click to see context) from:
* Webber's ''Theatre/{{Cats}}'' is one where the production troubles are the stuff of lore, given how overwhelming the odds against it and the inversely proportional success the musical enjoyed.
to:
* Andrew Lloyd Webber's ''Theatre/{{Cats}}'' is one where the production troubles are the stuff of lore, given how overwhelming the odds against it and the inversely proportional success the musical enjoyed.
Changed line(s) 35 (click to see context) from:
** Even if investors had been willing to take a gamble on what they considered dubious source material and a thin plot, they were still put off by the absence of any recognizable stars in the cast. Outside of Webber, the budget was met by small investments made by 220 people who answered a newspaper ad.[[note]]With an estimated return over the years of 3,500%, they are some of the luckiest in history[[/note]]
to:
** Even if investors had been willing to take a gamble on what they considered dubious source material and a thin plot, they were still put off by the absence of any recognizable stars in the cast. Outside of Lloyd Webber, the budget was met by small investments made by 220 people who answered a newspaper ad.[[note]]With an estimated return over the years of 3,500%, they are some of the luckiest in history[[/note]]
Changed line(s) 37 (click to see context) from:
** Then Creator/JudiDench snapped her Achilles tendon within days of the premiere and had to be replaced by Elaine Paige on short notice. This led Webber and producer Cameron Mackintosh to tell director Trevor Nunn that the show was over; Nunn ignored them and went ahead with the premiere despite the theater getting a bomb threat on opening night.
to:
** Then Creator/JudiDench snapped her Achilles tendon within days of the premiere and had to be replaced by Elaine Paige on short notice. This led Lloyd Webber and producer Cameron Mackintosh to tell director Trevor Nunn that the show was over; Nunn ignored them and went ahead with the premiere despite the theater getting a bomb threat on opening night.
Changed line(s) 88 (click to see context) from:
* After Webber began work in earnest on the ''Phantom'' sequel ''Theatre/LoveNeverDies'' after years in DevelopmentHell, his cat climbed on his digital piano and accidentally deleted the score. Plans to open the show in three different countries (England, the U.S., and China) at once fell through due to logistics. That was probably for the best: The London production was so poorly received, particularly by the ''Phantom'' fanbase, that by the end of 2010 it was extensively retooled. But the highly-unpopular underlying plot and changes to the characters were mostly intact, and it ultimately ran less than two years. The Broadway production that was supposed to follow on from London's in Fall 2010 never happened (and was even partially blamed for the premature closing of the Vegas production of ''Phantom'' in 2012, as it was expected to drum up interest in the original show). However, the retooled, better-received Australian production spawned several others, including a North American tour.
to:
* After Andrew Lloyd Webber began work in earnest on the ''Phantom'' sequel ''Theatre/LoveNeverDies'' after years in DevelopmentHell, his cat climbed on his digital piano and accidentally deleted the score. Plans to open the show in three different countries (England, the U.S., and China) at once fell through due to logistics. That was probably for the best: The London production was so poorly received, particularly by the ''Phantom'' fanbase, that by the end of 2010 it was extensively retooled. But the highly-unpopular underlying plot and changes to the characters were mostly intact, and it ultimately ran less than two years. The Broadway production that was supposed to follow on from London's in Fall 2010 never happened (and was even partially blamed for the premature closing of the Vegas production of ''Phantom'' in 2012, as it was expected to drum up interest in the original show). However, the retooled, better-received Australian production spawned several others, including a North American tour.
Is there an issue? Send a MessageReason:
None
Changed line(s) 22 (click to see context) from:
** Burrows, insulted by candid remarks Albee had made about his book in the news, resigned as director; he was replaced by Joseph Anthony.
to:
** Burrows, insulted by candid remarks Albee had made about his book in the news, resigned as director; he was replaced by Joseph Anthony. For his part, Merrill turned out an almost entirely new score to mesh with Albee's concept.
Is there an issue? Send a MessageReason:
None
Changed line(s) 23 (click to see context) from:
** These changes did little good, and the Broadway production played [[https://www.ibdb.com/broadway-production/breakfast-at-tiffanys-12867 four previews]] to booing and catcalling houses. Merrick then made an announcement that, "rather than subject the drama critics and the public to an excruciatingly boring evening," he would close.
to:
** These changes did little good, and the Broadway production played [[https://www.ibdb.com/broadway-production/breakfast-at-tiffanys-12867 four previews]] to booing and catcalling houses. catcalls. Merrick then made an announcement that, "rather than subject the drama critics and the public to an excruciatingly boring evening," he would close.close immediately.
Is there an issue? Send a MessageReason:
None
Changed line(s) 18 (click to see context) from:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario [[https://en.wikipedia.org/wiki/David_Merrick David Merrick]]; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore and Creator/RichardChamberlain fresh off their respective star-making TV shows and making their musical comedy debuts. What could possibly go wrong?
to:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario [[https://en.wikipedia.org/wiki/David_Merrick David Merrick]]; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore as Holly Golightly and Creator/RichardChamberlain fresh off their respective star-making TV shows and making their musical comedy debuts.as the Capote stand-in/love interest. What could possibly go wrong?
Changed line(s) 21 (click to see context) from:
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name. The billing changed from "a new musical comedy" to, simply, "a new musical".
to:
** After the Boston run, when it seemed like the creators might be able have had the insight to knead the material in a way that satisfied audiences while retaining the novella's its darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name. The billing changed from "a new musical comedy" to, simply, "a new musical".
Is there an issue? Send a MessageReason:
None
Changed line(s) 18,19 (click to see context) from:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario [[https://en.wikipedia.org/wiki/David_Merrick David Merrick]]; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore and Creator/RichardChamberlain fresh off their respective star-making TV shows and making their musical comedy debuts. What could possibly go wrong? Plenty.
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson and Joshua Logan made an attempt at writing a book for such an unconventionally dark musical before admitting defeat. Abe Burrows took up the writing challenge on top of directing.
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson and Joshua Logan made an attempt at writing a book for such an unconventionally dark musical before admitting defeat. Abe Burrows took up the writing challenge on top of directing.
to:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario [[https://en.wikipedia.org/wiki/David_Merrick David Merrick]]; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore and Creator/RichardChamberlain fresh off their respective star-making TV shows and making their musical comedy debuts. What could possibly go wrong? Plenty.
wrong?
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson andJoshua Logan Sidney Michaels made an attempt at writing a book for such an unconventionally dark musical before admitting defeat. Abe Burrows took up the writing challenge on top of directing.
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson and
Changed line(s) 21 (click to see context) from:
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name. Posters were quickly edited to alter the billing from "a new musical comedy" to simply "a new musical".
to:
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name. Posters were quickly edited to alter the The billing changed from "a new musical comedy" to simply to, simply, "a new musical".
Changed line(s) 23 (click to see context) from:
** These changes did little good, and the Broadway production played [[https://www.ibdb.com/broadway-production/breakfast-at-tiffanys-12867 four previews]] at which audiences were vocally, um, ''enthusiastic''. Merrick then made an announcement that, "rather than subject the drama critics and the public to an excruciatingly boring evening," he would close.
to:
** These changes did little good, and the Broadway production played [[https://www.ibdb.com/broadway-production/breakfast-at-tiffanys-12867 four previews]] at which audiences were vocally, um, ''enthusiastic''.to booing and catcalling houses. Merrick then made an announcement that, "rather than subject the drama critics and the public to an excruciatingly boring evening," he would close.
Is there an issue? Send a MessageReason:
None
Changed line(s) 23 (click to see context) from:
** These changes did little good, and the Broadway production played [[https://www.ibdb.com/broadway-production/breakfast-at-tiffanys-12867 four previews]] at which audiences were vocally, um, ''enthusiastic''. Merrick made an announcement that, "rather than subject the drama critics and the public to an excruciatingly boring evening," he would close.
to:
** These changes did little good, and the Broadway production played [[https://www.ibdb.com/broadway-production/breakfast-at-tiffanys-12867 four previews]] at which audiences were vocally, um, ''enthusiastic''. Merrick then made an announcement that, "rather than subject the drama critics and the public to an excruciatingly boring evening," he would close.
Is there an issue? Send a MessageReason:
None
Changed line(s) 19,22 (click to see context) from:
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson and Joshua Logan made an attempt at writing a book for such an unorthodoxly dark musical before admitting defeat. Abe Burrows took up the writing challenge on top of directing.
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been (unintentionally) primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. Truman Capote himself announced in the press that he didn't care for the musical.
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name.
** Burrows, insulted by candid remarks Albee had made about the book in the news, resigned as director; he was replaced by Joseph Anthony.
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been (unintentionally) primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. Truman Capote himself announced in the press that he didn't care for the musical.
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name.
** Burrows, insulted by candid remarks Albee had made about the book in the news, resigned as director; he was replaced by Joseph Anthony.
to:
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson and Joshua Logan made an attempt at writing a book for such an unorthodoxly unconventionally dark musical before admitting defeat. Abe Burrows took up the writing challenge on top of directing.
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been(unintentionally) primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. Truman Capote himself announced in the press that he didn't care for the musical.
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made hisname.
name. Posters were quickly edited to alter the billing from "a new musical comedy" to simply "a new musical".
** Burrows, insulted by candid remarks Albee had made aboutthe his book in the news, resigned as director; he was replaced by Joseph Anthony.
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his
** Burrows, insulted by candid remarks Albee had made about
Is there an issue? Send a MessageReason:
None
Added DiffLines:
** For their musical adaptation, Merrick and Merrill wanted to follow the example of Capote's hard-edged novella, less so the softer derivation that was the 1961 film. Both Nunnally Johnson and Joshua Logan made an attempt at writing a book for such an unorthodoxly dark musical before admitting defeat. Abe Burrows took up the writing challenge on top of directing.
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been (unintentionally) primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. Truman Capote himself announced in the press that he didn't care for the musical.
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name.
** Burrows, insulted by candid remarks Albee had made about the book in the news, resigned as director; he was replaced by Joseph Anthony.
** These changes did little good, and the Broadway production played [[https://www.ibdb.com/broadway-production/breakfast-at-tiffanys-12867 four previews]] at which audiences were vocally, um, ''enthusiastic''. Merrick made an announcement that, "rather than subject the drama critics and the public to an excruciatingly boring evening," he would close.
** From its first tryout in Philadelphia to Boston (under the title ''Holly Golightly''), audiences that had been (unintentionally) primed for a musical comedy were dismayed by its hard-edged heroine who couldn't have been more opposed to Moore's bright public persona. Truman Capote himself announced in the press that he didn't care for the musical.
** After the Boston run, when it seemed like the creators might be able to knead the material in a way that satisfied audiences while retaining the novella's darker colors, Merrick recruited Edward Albee to write a brand new book. (He also reverted to the title ''Breakfast at Tiffany's''.) Albee's big change: Holly becomes a figment of the Capote stand-in's imagination, a character he's writing and revising in the moment. This was on top of the colorfully frank and filthy language on which he had made his name.
** Burrows, insulted by candid remarks Albee had made about the book in the news, resigned as director; he was replaced by Joseph Anthony.
** These changes did little good, and the Broadway production played [[https://www.ibdb.com/broadway-production/breakfast-at-tiffanys-12867 four previews]] at which audiences were vocally, um, ''enthusiastic''. Merrick made an announcement that, "rather than subject the drama critics and the public to an excruciatingly boring evening," he would close.
Is there an issue? Send a MessageReason:
None
Changed line(s) 18 (click to see context) from:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario [[https://en.wikipedia.org/wiki/David_Merrick David Merrick]]; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore Creator/RichardChamberlain fresh off their respective star-making TV shows and making their musical comedy debuts. What could possibly go wrong? Plenty.
to:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario [[https://en.wikipedia.org/wiki/David_Merrick David Merrick]]; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore and Creator/RichardChamberlain fresh off their respective star-making TV shows and making their musical comedy debuts. What could possibly go wrong? Plenty.
Is there an issue? Send a MessageReason:
None
Changed line(s) 18 (click to see context) from:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario David Merrick; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore Creator/RichardChamberlain fresh off their respective star-making TV series and making their musical comedy debuts. What could go wrong? Plenty.
to:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario [[https://en.wikipedia.org/wiki/David_Merrick David Merrick; Merrick]]; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore Creator/RichardChamberlain fresh off their respective star-making TV series shows and making their musical comedy debuts. What could possibly go wrong? Plenty.
Is there an issue? Send a MessageReason:
Breakfast at Tiffany's
Added DiffLines:
* Before its first out-of-town tryout, ''[[https://en.wikipedia.org/wiki/Breakfast_at_Tiffany%27s_(musical) Breakfast at Tiffany's]]'' seemed like a winner. Adapted from the [[Literature/BreakfastAtTiffanys bestselling Truman Capote novella]]; bolstered by name recognition thanks to the [[Film/BreakfastAtTiffanys recent Audrey Hepburn film]]; produced by powerhouse impresario David Merrick; book by Abe (''Theatre/GuysAndDolls'') Burrows; songs by Bob (''Theatre/FunnyGirl'') Merrill; starring Creator/MaryTylerMoore Creator/RichardChamberlain fresh off their respective star-making TV series and making their musical comedy debuts. What could go wrong? Plenty.
Is there an issue? Send a MessageReason:
None
Changed line(s) 58 (click to see context) from:
** David Susskind, primarily a film and television producer, backed by a team of other theatrical newbies, took up ''Kelly'' having met with Charlap and Lawrence's approval. (They were apparently attracted to the fact that its prickliness had scared off other producers.) Pre-Broadway tryouts were set for Philadelphia and Boston in fall and winter 1964.
to:
** David Susskind, primarily a film and television producer, backed by a team of other theatrical newbies, took up ''Kelly'' having met with Charlap and Lawrence's approval. (They were apparently attracted to the fact that its prickliness had scared off other producers.) Pre-Broadway tryouts were set for Philadelphia and Boston in fall and winter 1964.
Changed line(s) 62 (click to see context) from:
** Injunction or no, the Broadway production opened in February 1965 to lethal reviews, and the producers were forced to close after only [[https://www.ibdb.com/broadway-production/kelly-3225 one performance]] having effectively exhausted their funds. At $650,000, it was the biggest financial flop to date.
to:
** Injunction or no, The writers' injunction motion failed, and the Broadway production opened in February 1965 to lethal reviews, and the reviews. The producers were forced to close after only [[https://www.ibdb.com/broadway-production/kelly-3225 one performance]] having effectively exhausted their funds. At a loss of $650,000, it was the biggest financial flop on Broadway to date.
Is there an issue? Send a MessageReason:
None
Changed line(s) 56 (click to see context) from:
* Even if it was the biggest money loser up to that point, in time, 1965's one-performance Broadway musical ''Kelly'' might have been forgotten had producer David Susskind not invited a journalist to tag along for the out-of-town tryouts. Lewis H. Lapham's subsequent [[https://www.google.com/books/edition/Second_Act_Trouble/H8mb_JMx4u0C?hl=en&gbpv=1&dq=%22lewis+h.+lapham%22+AND+%22has+anybody+here+seen+kelly%22&pg=PA330&printsec=frontcover write-up]] captured the blow-by-blow in excruciating detail.
to:
* Even if it was the biggest money loser up to that point, in time, 1965's one-performance Broadway musical ''Kelly'' ''[[https://en.wikipedia.org/wiki/Kelly_(musical) Kelly]]'' might have been forgotten had producer David Susskind not invited a journalist to tag along for the out-of-town tryouts. Lewis H. Lapham's subsequent [[https://www.google.com/books/edition/Second_Act_Trouble/H8mb_JMx4u0C?hl=en&gbpv=1&dq=%22lewis+h.+lapham%22+AND+%22has+anybody+here+seen+kelly%22&pg=PA330&printsec=frontcover write-up]] captured the blow-by-blow in excruciating detail.
Is there an issue? Send a MessageReason:
Augmenting page quote from Larry Gelbart
Changed line(s) 3,4 (click to see context) from:
-->-- '''Larry Gelbart'''
to:
-->-- '''Larry Gelbart'''
Gelbart''', trapped out of town with ''[[https://en.wikipedia.org/wiki/The_Conquering_Hero The Conquering Hero]]''
Is there an issue? Send a MessageReason:
None
Changed line(s) 74 (click to see context) from:
** Choreographer Michael Shawn was fired that August and replaced with Alan Johnson. Shawn took the producers to court, alleging they had fired him for his diagnosis of AIDS. The case was settled out of court; Shawn died in April 1990. [[note]]Allen himself also died of AIDS in 1993. Suppon died of a brain tumor in March 1989.[[/note]]
to:
** Choreographer Michael Shawn was fired that August and replaced with Alan Johnson. Shawn took the producers to court, alleging they had fired him for his diagnosis of AIDS. As Allen himself was a tireless champion of AIDS awareness, the lawsuit was something of an embarrassment. The case was settled out of court; Shawn died in April 1990. [[note]]Allen himself also died of AIDS in 1993. Suppon died of a brain tumor in March 1989.[[/note]]
