Archiv - Musical
Martin Bruny am Montag, den
25. April 2011 um 16:20 · gespeichert in Musical, Awards
Am 20. Mai 2011 werden die begehrten Drama League Awards im New Yorker Marriott Marquis Hotel verliehen. Es ist dies die traditionsreichste Preisverleihung der USA für besondere Leistungen auf dem Gebiet des Theaters. Die Drama League wurde 1916 gegründet, seit 1933 werden Awards unter anderem für das beste Musical, das beste Theaterstück, das beste Musical-Revival und das beste Revival im Bereich des Sprechtheaters vergeben. Die Nominierungen für die 77. Drama League Awards aus Musicalsicht:
Distinguished Production of a Musical
The Book of Mormon | Eugene O’Neill Theatre
Catch Me If You Can | Neil Simon Theatre
Elf | Al Hirschfeld Theatre
In Transit | Primary Stages
The People in the Picture | Roundabout Theatre Company
Priscilla, Queen of the Desert | Palace Theatre
Sister Act | Broadway Theatre
Distinguished Revival of a Musical
Anything Goes | Roundabout Theatre Company
Hello Again | The Transport Group
How To Succeed in Business Without Really Trying | Al Hirschfeld Theatre
Die komplette Liste der Nominierungen bietet broadwayworld.com.
Martin Bruny am Sonntag, den
24. April 2011 um 09:37 · gespeichert in Musical
Joop van den Ende und Sylvester Stallone arbeiten an einer Musicalversion des Spielfilms “Rocky”. Stallone schaffte mit dem Boxerfilm 1976 seinen internationalen Durchbruch, nun soll die von ihm entwickelte Story ein international erfolgreiches Musical werden.
“Rocky - The Musical” ist bereits mehrere Jahre im Gespräch, 2007 hieß es, Lynn Ahrens & Stephen Flaherty wären an dem Projekt interessiert.
Link
- musicalworld.nl: Stage Entertainment komt met Rocky the Musical
Martin Bruny am Samstag, den
23. April 2011 um 12:24 · gespeichert in Musical, Absurditäten
Viel über das Musicalgenre an sich philosophiert Andreas Bieber in einem Interview mit dem Bayerischen Rundfunk. In der Sendung “Showbühne” wird Bieber unter anderem zum Thema “The Producers” befragt und stellt die These auf, dass das Stück einfach unter den falschen Rahmenbedingungen gelaufen sei und im Burgtheater vermutlich ein Riesenerfolg gewesen wäre. Die VBW hätten weder die Musicalleute noch das normale Theaterpublikum überzeugen können. Eine These, die man natürlich, wie jede These, aufstellen kann, aber ist sie haltbar? Die Kritiker wurden mit “The Producers” in Wien überzeugt, daran hats also nicht gelegen, und das Burgtheater ist ein Repertoire-Theater. Die Behauptung Biebers, “The Producers” wären in Berlin dann ein Erfolg gewesen, ist schlicht falsch.
Bieber im Interview nachzuhören –> hier.
Martin Bruny am Freitag, den
22. April 2011 um 01:00 · gespeichert in Musical, Wien
“Jesus Christ Superstar”, das (fast) alljährliche Osterspektakel der Vereinigten Bühnen Wien, ist noch bis Sonntag im Wiener Ronacher zu sehen. Karten wird man nur mehr schwer bekommen. Da sich jedoch bei der Besetzung einiges getan hat, noch einmal ein Hinweis auf die Show.
Mit dabei unter anderem James Sbano als Herodes, weiters Gernot Romic, Sebastian Smulders und Florian Theiler, Namen, die in den bisherigen Ankündigungen fehlten.
Die Regie hat, wie schon in den letzten Jahren, Dennis Kozeluh übernommen, für das Staging verantwortlich: Jerome Knols. Bühnenbild: Robert Hirner. Es spielt das Orchester der Vereinigten Bühnen Wien unter der Leitung von Koen Schoots.
Cast
Jesus: Drew Sarich
Maria Magdalena: Caroline Vasicek
Judas: Mischa Mang
Herodes: James Sbano
Simon/Annas: Rob Fowler
Pilatus: Alexander di Capri
Petrus: Norbert Kohler
Kaiphas: Dennis Kozeluh
Soulgirl: Cornelia Braun, Melanie Ortner, Marle Martens
Ensemble: Angelina Markiefka, Jennifer Pöll, Barbara Schmid, Dà³ra Strà³bel, Robert D. Marx, Gernot Romic, Sebastian Smulders und Florian Theiler
Optische Eindrücke der Show bietet Isabell Schatz in ihrem Blog — hier.
Mehr dann über die Show in der nächsten Ausgabe von “musicals”.
Aufführungstermine
- Freitag, 22. April 2011, 19:30 Uhr
- Samstag, 23. April 2011, 19:30 Uhr
- Sonntag, 24. April 2011, 18:00 Uhr
Tickets –> hier
Martin Bruny am Donnerstag, den
21. April 2011 um 11:06 · gespeichert in Musical, Broadway
USA Today [Elysa Gardner]
History has taught us that there are few subjects as polarizing as religion. But a few current Broadway productions suggest otherwise.
This season’s two most winning new musicals to date both put faith in the forefront with a mixture of satire and sweetness that can be embraced by the pious and non-believers alike.
The latest entry, Sister Act: A Divine Musical Comedy (***½out of four), may be less giddily profane, and thought-provoking, than The Book of Mormon, but it has its own distinct and surprising charms.
Variety [Steven Suskin]
Whoopi Goldberg looms large over the new musical comedy “Sister Act,” and that’s part of the problem. While she co-produced, Goldberg isn’t onstage, and the outsized sense of hilarity mixed with humanity she brought to the 1992 motion picture is sorely missed. Patina Miller makes an altogether impressive Broadway debut as diva-on-the-run Deloris Van Cartier, singing up a veritable storm, but the decision to plaster Goldberg’s name on numerous signs outside the theater raises comparisons that flatter neither Miller nor this garish production.
New tuner has various assets that place it comfortably in the feel-good entertainment category, and might have launched it to the top last season or even three months ago. But timing is everything. “Sister Act” comes in on the heels of a handful of musicals, including another disco-beat film adaptation (”Priscilla Queen of the Desert”), and comparisons are not favorable.
The New York Times [Steve Suskin]
Mr. Menken, who wrote the lustrous period-pop score for «Little Shop of Horrors†(with the lyricist Howard Ashman), is a skillful interpreter of the Philadelphia sound. And he and Mr. Slater supply dutiful versions of the musical-theater sacraments: comic numbers for the club owner, Curtis (Kingsley Leggs), and his henchmen; a romantic Lou Rawls-style groove for Chester Gregory as Deloris’s adorer and protector, the policeman assigned to guard her; and climactic soul-baring ballads for Deloris and the mother superior, and Sister Mary Robert too, in which each questions the tenets of her personal faith.
But with the exception of a couple of those roof raisers, the songs in «Sister Act†are more serviceable than memorable. Maybe that’s not so surprising given the predictable plot proceeding mechanically along two suspense-free tracks: Will Deloris escape the bloodthirsty Curtis and his minions? And will her tutelage of the singing nuns help save the church from being sold to a couple of bachelor antiques dealers? (That gag is one of Mr. Beane’s gay-friendly interpolations into the new production.)
The musical’s draggy conventionality lifts only when the sisters break out into their rousing gospel numbers, which grow more lavish as the evening proceeds, and the church is, for all intents and purposes, transmogrified into a fabulous reproduction of the old Limelight, the Manhattan nightclub housed in a former church in the 1980s. (It now contains a bouquet of high-end boutiques, possibly what Mr. Beane’s joke about those antiques dealers was alluding to.)
The Hollywood Reporter [David Rooney]
Lead producer Whoopi Goldberg is the name above the title of “Sister Act,” playing indefinitely at New York’s Broadway Theater.
This enjoyable family-friendly musical adaptation’s biggest draw is the brand she was instrumental in forging in the 1992 Touchstone movie and its sequel. But paradoxically, Goldberg is also a handicap here, demonstrating that hers are tough shoes to fill in a comedy.
But despite some missteps, “Sister Act” comes together to provide payoff in laughs, emotional uplift and spectacle. Who doesn’t want to see nuns in silver-sequined habits boogie down while a giant Virgin Mary statue subs for a disco ball, and a wall of stained-glass church windows pulses like a multicolored dance floor?
In the end, these brides of Christ are not so different from the spotlight-loving drag queens a few blocks away in “Priscilla Queen of the Desert.” And for audiences seeking entertainment without penance, that’s probably no bad thing.
New York Post [Elisabeth Vincentelli]
Big, glitzy numbers are the toast of Broadway musicals. The only thing better? Big, glitzy numbers . . . with nuns! «Sister Act†has plenty of both — and it’s one of the season’s happiest surprises.
Menken evokes the lush, funky sound of Philly soul without falling into mere pastiche: «When I Find My Baby†starts off like bedroom R&B before the lyrics take a hilarious turn. «Take Me to Heaven†and «Spread the Love Around†bloom into full-throttle disco epics, the latter building up to an ecstatic finale.
Associated Press [Mark Kennedy]
It’s time to stop mocking Mormons. And high time to have fun with Roman Catholics.
“Sister Act” — the crowd-pleasing musical that rhymes “chicks” with “crucifix” — opened Wednesday at the Broadway Theatre, having imported its dancing nuns from a well-received stint in London.
Calibrated to be frothy, giggly and yet often poignant, the Jerry Zaks-directed musical is based on the 1992 movie of the same name starring Whoopi Goldberg, who is now producing. This is a musical that hits all the right spots, achieving something close to Broadway grace.
amNewYork.com [Matt Windmann]
This has not been a great season for Broadway musicals based on movies. «Women on the Verge of a Nervous Breakdown†was a total bust, and «Catch Me If You Can†was a disappointment, too.
So it’s a pleasure to find that «Sister Act,†a new adaptation of the 1992 Whoopi Goldberg film comedy, is energetic, hilarious and thoroughly enjoyable. In spite of a few issues, it has all the makings of a feel-good hit.
The one-liners by Douglas Carter Beane, who rewrote the book’s scenes for Broadway, are cute. Composer Alan Menken and lyricist Glenn Slater provide a catchy score built on period pop and disco with a few touches of gospel.
Patina Miller delivers a breakout performance as Deloris, displaying genuine sex appeal, musical-comedy chops and a phenomenal voice. Tony winner Victoria Clark is similarly terrific as the strict but sincere Mother Superior.
Bloomberg News [Jeremy Gerard]
Whoopi Goldberg, who carried the «Sister Act†film franchise in the early 1990s, returns as a lead producer of the Broadway version of the comedy. And just as the films confirmed Goldberg’s box office appeal, so the show is likely to sprinkle stardust on a roof-raising singer named Patina Miller.
Miller plays that supreme wannabe Deloris Van Cartier, who witnesses her married boyfriend (Kingsley Leggs) killing a colleague of dubious loyalty.
Miller’s big, brassy voice and unwholesome swagger inject just the right amount of sizzle into the proceedings. In short order, she transforms a group of mousy nuns from meek choir singers to foot-stomping, palm-waving, ear-splitting cheerleaders for Jesus.
Praise the Lord, or Jerry Zaks, the enterprising director who has turned a chancy enterprise, which debuted in London, into a ripping goodtime hit.
New York Magazine [Scott Brown]
Miller’s an enormous presence, and what she lacks in character detail (there’s precious little to build on in Douglas Carter Beane’s very funny, very thin book), she generally makes up in brass and goodwill. Be warned: This is a show that’s not afraid to do a rappin’ granny number (the same rappin’ granny number, in fact, from The Wedding Singer). If that sort of thing doesn’t put a hitch in your rosary, you’ll likely get religion at Sister Act.
Martin Bruny am Donnerstag, den
21. April 2011 um 09:57 · gespeichert in Musical
Rainer Mennicken, Intendant des Linzer Landestheaters, kündigte dieser Tage eine “Musical-Initiative” seines Hauses an. Mit Eröffnung des neuen Musiktheaters 2013 möchte man vier Musicalproduktionen pro Saison am Spielplan haben.
Geschaffen wird dafür ab 2013 eine Musicalcompagnie unter der Leitung des designierten Musical-Chefs Matthias Davids. Weiters geplant: Kooperationen, unter anderem mit der Anton Bruckner Universität, wo man nun daran denkt, einen eigenen Musical-Ausbildungszweig zu installieren, mit dem Landesmusikschulwerk und der MusicalTheaterAcademy Puchenau.
Musicals möchte man nicht nur im neuen Musiktheater spielen, auch im Großen Haus und in den Kammerspielen soll produziert werden, unter anderem Shows für Kinder.
Links
- Musiktheater Linz
Martin Bruny am Montag, den
18. April 2011 um 14:05 · gespeichert in Musical
Das Stadtheater Klagenfurt präsentierte heute seinen Spielplan für die Saison 2011/12. Mit dabei am Musicalsektor Klassiker wie “West Side Story” und “My Fair Lady”. Und die österreichische Erstaufführung des Musicals “King Kong” von Paul Graham Brown. Es spielen Bettina Mönch, Dominik Hees und Christof Messner.
Paul Graham Brown und James Edward Lyons haben den Kampf der Kulturen aufgenommen – den Kampf zwischen Mensch und Menschenaffe, Prähistorie und Moderne, Liebe und Hoffnung, zartem Schönen und gewaltig Monströsem, sicher Geglaubtem und Ungeahntem. In ihrem Musical “King Kong”, nach dem Abenteuerroman von Delos W. Lovelace der dreißiger Jahre, lassen sie drei Darsteller und einen Musiker auf King Kong treffen.
Vom Ehrgeiz zerfressen und besessen vom Drang, die Welt – wenigstens in Bildern – zu erobern, fährt der Abenteurer Carl Denham bis ans Ende der Welt. Er zieht dabei die erfolglose Schauspielerin Ann Darrow und den zynischen Aussteiger Jack Driscoll in seinen Bann. Die Reise wird zu einer emotionalen und gefährlichen Odyssee, nicht nur für die drei der Gattung homo sapiens, sondern auch für King Kong, der sich in Ann verliebt. Das sicher geglaubte Rollenverhalten der beiden
Männer gerät dadurch ins Wanken. Carl Denham und Jack Driscoll kämpfen nun nicht nur mehr gegeneinander um Anns Liebe. Kong wird auch hier zum ungleichen Gegner. Ann erlebt mit ihm zum ersten Mal so etwas wie Vertrautheit. Er zwingt die drei Eindringlinge, sich mit ihrer eigenen Natur zu konfrontieren, und wird zum Katalysator ihrer Ängste und Aggressionen, aber auch ihrer Möglichkeiten und Hoffnungen.
King Kong
Musical von Paul Graham Brown
nach dem Roman von Delos W. Lovelace
Deutsche Fassung von Edward Lyons
Musikalische Leitung: Jeff Frohner
Regie: Nicole Claudia Weber
Bühne und Kostüme: Judith Leihkauf, Karl Fehringer
Dramaturgie: Sylvia Brandl
Cast
Bettina Mönch, Dominik Hees, Christof Messner
Premiere: 19. April 2012
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My Fair Lady
Musical nach Bernard Shaws “Pygmalion” und dem Film von Gabriel Pascal
Buch und Liedtexte: Alan Jay Lerner
Musik: Frederick Loewe
Deutsch von Robert Gilbert
Wiener Fassung von Gerhard Bronner
Musikalische Leitung: John Owen Edwards
Regie: Josef E. Köpplinger
Choreographie: Karl Alfred Schreiner
Bühne: Rainer Sinell
Kostüme: Marie-Luise Walek
Choreinstudierung: Günter Wallner
Dramaturgie: Sylvia Brandl
Cast
Lotte Ledl, Hanne Rohrer, Nicole Claudia Weber, Nadine Zeintl, Stefan Bischoff, Gerhard Ernst, Matthias Freihof, Christof Messner, Hannes Muik, Rudolf Zollner u. a.
Chor des Stadttheaters Klagenfurt
Kärntner Sinfonieorchester
Premiere: 4. Dezember 2011
———————————————————————————
West Side Story
Musical in zwei Akten
Nach einer Idee von Jerome Robbins
Buch: Arthur Laurents
Musik: Leonard Bernstein
Gesangstexte: Stephen Sondheim
Deutsche Fassung von Frank Thannhäuser und Nico Rabenald
Die Uraufführung wurde inszeniert und choreographiert von Jerome Robbins
Original Broadway Produktion von Robert E. Griffith und Harold S. Prince nach Übereinkunft mit Roger L. Stevens
Musikalische Leitung: Peter Marschik
Regie: Josef E. Köpplinger
Choreographie und szenische Umsetzung: Ricarda Regina Ludigkeit
Bühne: Rainer Sinell
Kostüme: Bettina Breitenecker
Dramaturgie: Heiko Cullmann
Cast
Anna Montanaro, Katja Reichert, Nadine Zeintl, Frank Berg, Michael Duregger, Wolfgang Kraßnitzer, Peter Lesiak, Hannes Muik, Daniel Prohaska, Christian Schleinzer,
Andreas Wanasek, Erwin Windegger u. a.
Kärntner Sinfonieorchester
In deutscher Sprache mit englischen Songtexten
Premiere: 29. März 2012
———————————————————————————
Der Gestiefelte Kater
Weiters am Spielplan: “Der Gestiefelte Kater”, ein Schauspiel mit Musik von Jan Demuth, frei nach den Gebrüdern Grimm. Die Musik komponierte Jeff Frohner - ein Auftragswerk des Stadttheaters Klagenfurt.
Es spielen: Sophie Aujesky, Zeynep Buyrac, Emanuel Fellmer,
Tino Leo, Matthias Schlüter, Peter Windhofer u. a.
Regie: Nicole Claudia Weber
Musikalische Leitung: Jeff Frohner
Choreographie: Philip Ranson
Bühne und Kostüme: Judith Leikauf, Karl Fehringer
Dramaturgie: Sylvia Brandl
Premiere: 12. November 2011
Martin Bruny am Montag, den
18. April 2011 um 11:51 · gespeichert in Musical, Broadway
Am 17. April 2011 fand im Marquis Theatre die Broadway-Premiere von Frank Wildhorns Musical “Wonderland” statt. Die Kritiken sind wie üblich wenige Stunden später erschienen. Würde man von “gemischten” Reaktionen sprechen, wäre das wohl fast etwas übertrieben. Jetzt liegt es einzig und allein am Publikum, ob sich “Wonderland” am Broadway durchsetzen kann.
Variety [Steve Suskin]
“Wonderland” stands out for its lack of distinction. In this case, Alice is not a young girl but a thirtysomething school teacher who lives in Queens. When this Alice runs out of steam, the authors send their villainous Mad Hatter back home to kidnap Alice’s daughter Chloe. At which point we have Alice and Chloe in Wonderland, the latter handcuffed to a tractor. So much for inventive plotting.
Show marks the first Broadway appearance for composer Wildhorn, who has been juggling a half-dozen musical theater projects over the last decade, since the dead-on-arrival “Dracula” in 2004. Compared to his earlier “Jekyll and Hyde,” “The Scarlet Pimpernel” and “The Civil War,” “Wonderland” — based on a single hearing — seems to have a more interesting score. But a single hearing is enough.
Similarly problematic musicals have been lifted by the ministrations of the cast, but there is little here that is compelling. As Alice, Janet Dacal (”In the Heights”) gives an unengaging performance that matches the level of the material. None of the actors in the assorted anthropomorphic roles stand outs either.
The New York Times [Charles Isherwood]
Mr. Wildhorn’s absence from Broadway since his 2004 adaptation of «Dracula†has not exactly occasioned widespread hand-wringing, and his competent rendering of various pop styles in «Wonderland†probably won’t win him a host of converts. Mr. Murphy’s lyrics are of a matching blandness, with Alice’s earnest ballads of self-discovery amply stocked in clichà©. («I remember every moment when my heart was young and free,†she sings upon meeting — literally — her inner child, «and to my surprise I look through your eyes and once more I can see.â€)
New York Magazine [Scott Brown]
Wonderland is the worst kind of nonsense, the sort that attempts little and achieves less. Turgid with its own emptiness, this unctuously charmless show is proof that nothing from nothing somehow equals less than nothing. Its clone-songs, pop-cultured in the shallowest of Top 40 petri dishes, are all one-touch samples of erstwhile hits, most of them (weirdly) from the nineties. (Boy bands? Marc Anthony? No «ironic†cutaway or wink is too dated for this show—even by Broadway’s forgiving standards. It sounds piped-in from Hell’s very own lite-FM station.) The story, meanwhile, seems designed to frack out any stubbornly sticky soul-matter the music hasn’t already corroded away from your innermost chambers. Nominally a Hook-like revision of the Carroll tales—centering on a harried modern mom named Alice (Janet Dacal) who must travel back to Wonderland to relocate her youthful optimism—the narrative is just an excuse to plant us in a tacky, crass, not-so-vaguely creepy new version of Alice’s fantasy world. This is a «grown-up†Wonderland, which apparently means it’s designed like a mid-budget Miami swing club: The Mad Hatter has been replaced by a similarly chapeau’d villainess (Kate Shindle) in steampunk fetishwear that’s practically still got the Ricky’s receipt hanging from the bustier; the Queen of Hearts has apparently developed a strange ass fixation to go with her axe fixation. (Herewith, a sample of Jack Murphy’s stunningly puny lyrical prowess: «I’m almost never never all quite there / Noblesse oblige—my derriere.â€) Each beloved character has been «updatedâ€: The Cheshire Cat (Jose Llana), now called «Che,†is now a Latin-pop star with a rim-spinning hoopty and Ricky Martin-era song stylings. (Again: I use the word «updated†loosely.) The Caterpillar (E. Clayton Cornelius) calls himself «Puff Caddy.†Hilarious, no? (I stress: The performers are doing all they can to save this stuff. It’s just not saveable.)
NothJersey.com [Robert Feldberg]
If Sondheim has demonstrated the wit, sophistication and dramatic artistry to which musical theater can rise, “Wonderland,” which recklessly opened Sunday at the Marquis Theatre, reveals the appalling depths to which it can fall.
Not to put too fine a point on it, but the show is awful in every way.
Bloomberg News
Alice is grown up in «Wonderland,†a hummable, cheerful Broadway fairy tale best suited to kids and their parents.
While the new musical’s characters are based on Lewis Carroll’s 1865 «Alice’s Adventures in Wonderland,†the plot recalls «The Wizard of Oz.†The cast is appealing, the costumes and choreography are inventive and the score, by Frank Wildhorn and Jack Murphy, is easy on the ears.
Adult entertainment it isn’t, notwithstanding a reference to the mad Tea Party and musical snippets of «Gypsy†and other shows.
New York Daily News
There’s potential to make the story here sing, but both its pop score and pop psychology end up sounding trite.
And another issue, which grows curiouser: Where’s the wonder in Wonderland?
abc NEWS
Part of the problem is the story’s mishmash of directions, as if it was made by committee. Is it for children? Then why are there so many references to heads being cut off and enslavement and executions? If it’s for adults, then what’s with the often insipid dialogue? For both? Then neither walk away satisfied, despite the references to bootylicious and “South Pacific.”
“Wonderland” doesn’t know whether it wants to be a fairy tale or a rock opera or a trippy joke or a cartoon. The show, which had an extensive pre-Broadway stop in Tampa, Fla., proves that even out-of-town tryouts can’t always help something that is unsound.
Associated Press
The book by Gregory Boyd and Jack Murphy is a jumble of competing ideas thrown on stage in desperate hope that something will stick. Songs by Frank Wildhorn (”Jekyll & Hyde”) and Murphy are too inconsistent, derivative and often wallowing in unintended self-parody. What would the Queen of Hearts say? Off with their heads!
The Hollywood Reporter [David Rooney]
His lumbering period pieces have notched up some of the most consistently scalding reviews of any seasoned Broadway composer, but Frank Wildhorn keeps coming back, like indigestion. It would be gratifying to report that his latest musical, Wonderland, deserves a warmer welcome, but this clumsy Lewis Carroll update shuffles bland ‘80s pop imitations and third-rate show tunes to minimal effect.
St. Petersburg Times
Eventually, a lot of the elements familiar to veteran Wonderland watchers turn up again in this latest incarnation, but Wildhorn and his collaborators — director Gregory Boyd and lyricist Jack Murphy, both credited with the book — have failed to bring a little coherence to the story. Some of the changes work, some of them don’t, but many seem so arbitrary that you wonder what the point could ever be.
New York Post [Elisabeth Vincentelli]
There’s a lot of talk about time in “Wonderland.” There’s also so much laborious exposition and overexplaining, you’d think this flat new Broadway musical was inspired not by Lewis Carroll, but by Stephen Hawking.
This show clearly casts a wide net, but it also takes family-friendliness as a license to be simplistic. Come on, “Wonderland,” test us — we’re smarter than you think.
Entertainment Weekly
Considering the massive success of the Broadway juggernaut Wicked, it’s actually quite surprising that someone took seven years to hatch a musical update of Lewis Carroll’s Alice in Wonderland — a fairytale that appeals to children and adults, an age-old story that crosses all language barriers (perfect for non-English-speaking ticket buyers!), a colorful storybook setting that possesses unlimited visual potential. Yet Wonderland is no Wicked; it’s actually a crashing bore, from its clunky New York City-set beginning to its cliched happily-ever-after finish.
Tampa Bay Online
Lead Janet Dacal can deliver a sing, dance with fluidity and has a flair for comedy. She is a captivating charmer as Alice, a harried wife and mother who goes on a symbolic journey into her imagination (which happens be in the basement of her apartment building).
She’s an aspiring writer who has split with her husband much to the dismay of her daughter Chloe, played by Carly Rose Sonenclar who has an amazing voice for her age – or any age.
Darren Ritchie as her imaginary hero and husband Jack still gets laughs and applause for the boy band number “One Knight.” He joins forces with a bluesy caterpillar (E. Clayton Cornelious) and goofy cat El Gato (Jose Llana) to help Alice get through Wonderland.
But she must deal with a chop-happy Queen (Karen Mason) and a wicked Mad Hatter (Kate Shindle). All of the key characters have impressive turns at songs written for them by composer Frank Wildhorn and lyrics by Jack Murphy.
Martin Bruny am Sonntag, den
17. April 2011 um 09:44 · gespeichert in Musical
Frank Wildhorn ist jemand, der macht glücklich, und zwar nicht nur das Publikum, sondern auch die Sänger. Ich glaube, ich bin nicht der einzige, der das sagt. Frank Wildhorn schreibt so, dass man das Gefühl hat, man hat Gold in die Kehle geschissen bekommen. Man singt es und man fühlt sich wirklich so, als ob man auf einen Schlitten aufspringt und gen Himmel fliegt. Das ist ganz großartig, was dieser Mann schreibt. [”If I Sing”, Theater Akzent, 16. April 2011]
Martin Bruny am Freitag, den
15. April 2011 um 23:26 · gespeichert in Musical, Wien
2012 feiert das Levay/Kunze-Musical “Elisabeth” sein 20-jähriges Jubiläum. Spekulationen über eine neue Wiener Produktion gibt es schon länger, oder wird es doch eine Tourproduktion sein, die durch die Wiener Stadthalle pfeift?
Michael Kunze hat diesbezüglich gestern auf seiner Website gepostet:
“Wenn Elisabeth 2012 nach Wien kommt, dann in einer neuen Großproduktion. Mein Wunschtheater dafür wäre das Raimundtheater.” [storyarchitekt.com]
Das nenn ich mal ne Ansage.
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