MICHAEL RIEDEL EXCLUSIVE
Last updated: 2:46 am
March 27, 2009
Posted: 2:40 am
March 27, 2009
WHAT do you call a $40 million theatrical extravaganza that features gigantic, perspective-skewing sets, 3-D projections, more aerial acrobatics than Cirque du Soleil, a cast of heroes and villains from Marvel comic books and a rock score by Bono and The Edge?
The phrase "Broadway musical" doesn't seem grand enough to convey the size and scope of "Spider-Man: Turn Off the Dark," which is due to open in New York at the Hilton Theater in January 2010.
And, in fact, its director, Julie Taymor, who staged "The Lion King," recently warned a group of theater insiders to steer clear of the word "musical."
Spider-Man, she added, "is not going to sing and dance in tights."
A better description of her show, she suggested, is a "circus rock-'n'-roll drama."
Taymor, Bono and The Edge lifted the curtain a bit on "Spider-Man" this week for an audience of ticket brokers and group-sales agents. The event was closed to the press, but like any good reporter from The Daily Bugle, I managed to finagle a ticket.
The stage version of "Spider-Man" will be nothing like the movie franchise, Taymor said, adding that she drew on the old Marvel comics for the story and production design.
"Our show is going to have a comic-book, pop-up sensibility," she said.
The sets, drawings of which were on display, are brightly colored and enormous. The Chrysler Building, the Brooklyn Bridge and The Daily Bugle Building all figure prominently, their perspective skewed to match Spider-Man's shifting viewpoint as he soars through the city.
Peter Parker is at the center of the story, surrounded by a bunch of nerdy friends, a sort of "geek chorus," said bookwriter Glen Berger.
As Spider-Man, Peter clashes with a parade of Marvel villains -- Green Goblin, Carnage, Electro, Rhino, Swarm and Lizard.
Berger and Taymor have invented a new baddie for the show -- Swiss Miss, whose costume, designed by Oscar winner Eiko Ishioka ("Bram Stoker's Dracula"), consists of rotating knives and swirling corkscrews.
Five young singers performed six songs from the show, including the haunting "Rise Above," which is as good as any rock ballad in "Rent."
The kid who sang that song, Reeve Carney, fluttered the hearts of all ladies in the auditorium. He seemed to have impressed Bono as well, and is said to be the leading contender to play Peter Parker.
Bono said he decided to write for the stage after attending a dinner honoring Andrew Lloyd Webber.
"I'd like to thank so many people," Bono quoted Lloyd Webber as saying. "But in particular, I'd like to thank rock musicians for leaving me alone for 25 years. I've had the theater all to myself."
Bono added, "We've decided to give Andrew a little competition."
michael.riedel@nypost.com
http://www.nypost.com/seven/03272009/news/columnists/spidey_senses_tingling_161570.htm
Saturday, March 28, 2009
BAZ BAMIGBOYE on how the new Phantom Of The Opera still has the old magic
By Baz Bamigboye
Last updated at 9:09 PM on 26th March 2009
The Phantom Of The Opera sequel, Love Never Dies, will open in the West End first, rather than on Broadway, the show's composer Andrew Lloyd Webber has decided.
He revealed to this column that London 'will have the edge over everybody', with the show opening at the Adelphi Theatre in late October or early November. (The original Phantom is still running, at Her Majesty's, London, 23 years after opening.)
The composer also told me - as I listened to a full orchestra playing his new score - that he wants Ramin Karimloo and Sierra Boggess, who have developed the roles of the Phantom and his protegee, to originate the roles in London.
Ramin is the current Phantom in London, and Sierra was in a Phantom production in Las Vegas.
The idea is to open Love Never Dies in London, Toronto, New York and Shangai in quick succession. It's a mammoth undertaking that, combined, will cost many millions. Tickets for the Adelphi show are expected to go on sale in late May or early June.
'The Phantom has been so extraordinary in my life - the biggest musical I've been involved with so far. Somehow, after nearly 25 years, to come back to it again, it releases a lot,' Andrew old me, his voice trailing away wistfully.
Rehearsals with three full casts will take place in South-East London from August 17 for three months. Soon after its Adelphi inaugural, it will open at Toronto's Royal Alexandra Theatre and then, around next April, the cast from Toronto will drop down to Broadway - winding up in all likelihood at the Neil Simon Theatre.
Sometime, in the middle of all this, a production of Love Never Dies will open in Shanghai. It's a highly ambitious schedule, such a roll-out around the globe would normally take two years or more.
'Are you nuts?' I asked director Jack O'Brien, who has been working with Andrew, lyricist Glenn Slater and designer Bob Crowley. He laughed wryly: 'Some would think so. I prefer to think of myself as enthusiastic.
'It makes sense, though, rather than spend time doing this over a course of two or three years.'
He added that by rehearsing it all together, all the main casts will have a sense of 'ownership' of the project. However, it's Ramin and Sierra who have been laying down the blueprint.
For much of this week they were to be found at Abbey Road studios with Andrew, his regular recording team, Jack, Glenn, plus a 90-piece orchestra, laying down tracks from Love Never Dies for a concept album that may be released before or after the show opens.
'We don't believe in the recession in here,' the composer joked, as I watched conductor Simon Lee put the orchestra through its paces.
The lavish score will have to be re-adjusted for the stage production, which will feature a much smaller orchestra (probably about 26 musicians).
From what I've heard, it sounds like the best work Andrew has produced in decades. I confess, I didn't know he still had it in him - it's a score of high passion, full of longing and regret.
Director O'Brien noted that the music - and the show's story - are about maturity. 'Not only that, but a vast repository of his [Lloyd Webber's] own life and themes are coming back and being newly re-explored.'
He added pointedy: 'He's not phoning this in - it's all new stuff.'
Indeed, it is a completely different sound to the main melodies in the original Phantom show - however, the composer noted that there are a couple of tiny motifs that will be familiar to the many millions who have seen Phantom on stage or screen.
Love Never Dies finds the Phantom living in a fairground on Coney Island. He is somehow reunited with Christine, now married to Raoul and with a son.
Slater observed that the first Phantom was driven, emotionally, by youthful insecurities. This older Phantom is driven by adult regrets. 'It's about choices and consequences,' O'Brien added. 'This is about the road not taken.'
The director paid tribute to Lloyd Webber's 'passion'.
'It is like the last flowering of a great era of lyric romanticism - the theatre doesn't seem to have that any more.
'No one coming up feels this way, with that passion. And here's a story that no one knows better than he knows. Not only has he produced it, but he's outdone himself.'
http://www.dailymail.co.uk/tvshowbiz/article-1165114/BAZ-BAMIGBOYE-new-Phantom-Of-The-Opera-old-magic.html
Last updated at 9:09 PM on 26th March 2009
The Phantom Of The Opera sequel, Love Never Dies, will open in the West End first, rather than on Broadway, the show's composer Andrew Lloyd Webber has decided.
He revealed to this column that London 'will have the edge over everybody', with the show opening at the Adelphi Theatre in late October or early November. (The original Phantom is still running, at Her Majesty's, London, 23 years after opening.)
The composer also told me - as I listened to a full orchestra playing his new score - that he wants Ramin Karimloo and Sierra Boggess, who have developed the roles of the Phantom and his protegee, to originate the roles in London.
Ramin is the current Phantom in London, and Sierra was in a Phantom production in Las Vegas.
The idea is to open Love Never Dies in London, Toronto, New York and Shangai in quick succession. It's a mammoth undertaking that, combined, will cost many millions. Tickets for the Adelphi show are expected to go on sale in late May or early June.
'The Phantom has been so extraordinary in my life - the biggest musical I've been involved with so far. Somehow, after nearly 25 years, to come back to it again, it releases a lot,' Andrew old me, his voice trailing away wistfully.
Rehearsals with three full casts will take place in South-East London from August 17 for three months. Soon after its Adelphi inaugural, it will open at Toronto's Royal Alexandra Theatre and then, around next April, the cast from Toronto will drop down to Broadway - winding up in all likelihood at the Neil Simon Theatre.
Sometime, in the middle of all this, a production of Love Never Dies will open in Shanghai. It's a highly ambitious schedule, such a roll-out around the globe would normally take two years or more.
'Are you nuts?' I asked director Jack O'Brien, who has been working with Andrew, lyricist Glenn Slater and designer Bob Crowley. He laughed wryly: 'Some would think so. I prefer to think of myself as enthusiastic.
'It makes sense, though, rather than spend time doing this over a course of two or three years.'
He added that by rehearsing it all together, all the main casts will have a sense of 'ownership' of the project. However, it's Ramin and Sierra who have been laying down the blueprint.
For much of this week they were to be found at Abbey Road studios with Andrew, his regular recording team, Jack, Glenn, plus a 90-piece orchestra, laying down tracks from Love Never Dies for a concept album that may be released before or after the show opens.
'We don't believe in the recession in here,' the composer joked, as I watched conductor Simon Lee put the orchestra through its paces.
The lavish score will have to be re-adjusted for the stage production, which will feature a much smaller orchestra (probably about 26 musicians).
From what I've heard, it sounds like the best work Andrew has produced in decades. I confess, I didn't know he still had it in him - it's a score of high passion, full of longing and regret.
Director O'Brien noted that the music - and the show's story - are about maturity. 'Not only that, but a vast repository of his [Lloyd Webber's] own life and themes are coming back and being newly re-explored.'
He added pointedy: 'He's not phoning this in - it's all new stuff.'
Indeed, it is a completely different sound to the main melodies in the original Phantom show - however, the composer noted that there are a couple of tiny motifs that will be familiar to the many millions who have seen Phantom on stage or screen.
Love Never Dies finds the Phantom living in a fairground on Coney Island. He is somehow reunited with Christine, now married to Raoul and with a son.
Slater observed that the first Phantom was driven, emotionally, by youthful insecurities. This older Phantom is driven by adult regrets. 'It's about choices and consequences,' O'Brien added. 'This is about the road not taken.'
The director paid tribute to Lloyd Webber's 'passion'.
'It is like the last flowering of a great era of lyric romanticism - the theatre doesn't seem to have that any more.
'No one coming up feels this way, with that passion. And here's a story that no one knows better than he knows. Not only has he produced it, but he's outdone himself.'
http://www.dailymail.co.uk/tvshowbiz/article-1165114/BAZ-BAMIGBOYE-new-Phantom-Of-The-Opera-old-magic.html
Friday, March 27, 2009
Stage Addiction: Inside the Preview of "Spider-Man: Turn Off The Dark" With U2's Bono and The Edge
From MODERN FABULOUSITY
You know, some days I really like my job.
This evening, after seeing a matinee of Exit The King (more on that challenging, exciting, difficult, witty, utterly brilliant production later), I headed down to The Times Center on 41st Street for a special sneak preview of Spider-Man: Turn Off The Dark, the new mega-musical opening next January at Broadway's Hilton Theatre. The talent is tremendous -- Julie Taymor (The Lion King) directing, Eiko Ishioka (Coppola's Dracula and the Beijing Olympics Opening Ceremony) on costumes, and, of course, U2's Bono and The Edge, composing their first-ever score for the stage. I think it's safe to say that no other musical this decade has generated more excitement or interest, and its pre-sales -- currently available only through specialty groups -- are through the roof.
But is it any good? Are the casting rumors true? Will Taymor's vision please both fanboys and theatre queens? Your intrepid editor was about to find out...and perhaps shake hands with Bono. (Hot!)
The presentation began with Taymor, who spoke at length about the elements that drew her to the project...essentially, the classical structure of Peter Parker's journey from everyman to hero. Unlike Sam Raimi's Spider-Man films (which moved from the story's comic book roots toward a more naturalistic, real-world interpretation), Taymor is, unsurprisingly, going the other way -- embracing the webcrawler's inherent theatricality, and placing him inside a stylized New York City populated with heroes and (multiple) supervillains.
The set designs, displayed on the huge projection screen in the photo above, drew inspiration from the pop-art colors and the lines of comic book panels while playing with multiple perspectives. Ishioka's costumes were breathtaking -- a rogues gallery of the villains that appear onstage in the musical received audible gasps from the audience, including the Green Goblin, Lizard, Kraven, Swarm, and a new female villain created at the behest of Taymor, Swiss Miss (dressed in immaculate white dominatrix gear and multiple knives...hot!). Fans of Dr. Octopus and Sandman should know, however, that neither made an appearance in the presentation, although Taymor hinted at a special villain yet to be identified who appears in the piece.
Taymor addressed the question on everyone's mind right away: will Spider-Man spin webs and fly through the air? The answer was a resounding yes...the character will swing through the theatre and over the audience. She then showed a video from last year's top-secret "flying workshop" in Los Angeles, where she, stunt designers from the Spider-Man movies, and aerialists from Cirque du Soleil spent two weeks in a studio lot working on "webslinger technology" for the musical. The results were pretty impressive...the wires are visible, but the moves are so stunning you forget them very fast. I'm only one opinion, but I loved the effect. Can't wait to see it with all of the production elements next January!
After a rambling, geektastic speech by book writer Glen Berger, there was nothing left but to hear the songs. To wild applaus, Taymor introduced Bono and The Edge, and the two men ambled out onto the stage. Perhaps the biggest surprise of the day -- these two global superstars, who have played stadiums all over the world and won every award imaginable, actually seemed a little nervous playing these songs to an audience for the first time! They were, if you can imagine it, even a little adorable, like kids with a new toy...playful, smart, interesting, and genuinely excited to be working on a stage musical. (Bono mentioned that they first got the idea to do a musical from Andrew Lloyd Webber, and name-dropped Rodgers and Hammerstein in their opening remarks.)
Bono and The Edge previewed eight songs (five in their entirety and three snippets) over speakers in what sounded like prerecorded studio demos. The vocals, however, were sung live by five unknown actors who, Taymor mentioned, had only had one day of rehearsal. (This quintet was not, necessarily, part of the cast; she also mentioned that they had just started the audition process, and throughout the day there was never a reference to ANY possible cast members...not even the oft-mentioned Evan Rachel Wood and Jim Sturgess.)
My favorite songs included two beautiful ballads written for Peter Parker which bookended the presentation, "Rise Above" and "Boy Falls From The Sky." Both were incredibly successful at marrying story to lyric; they also managed to simultaneously sound like U2 rock tracks AND Broadway classics. I also liked the title ballad, "Turn Off The Dark," a minor-chord metaphor for heroism, and an uptempo rocker, "Bouncing Off The Walls," which will have Peter taking the title literally...with walls that move to accomodate his bouncing!
Less successful were a character number called "Bullying By Numbers," a percussive track called "Pull The Trigger," and a ballad that (I think) was called "If The World Should End." The latter might have just been the female performer, who had breathing problems and sang out of tune for long sections. It's hard to evaluate songs that haven't yet been taken to the production level, so I reserve the right to change my opinions, for good or ill, once it opens!
All in all, though, I was thoroughly impressed...energized, even, by Taymor's thoughtful approach to the material, the dynamic execution of the designers, and the palpable energy of the production team. Can we dare to hope that Spider-Man: Turn Off The Dark might be a great musical in the making? A week ago, I didn't imagine such a thing was possible. Today, I'm not only thinking it. I'm betting on it.
http://modernfabulousity.blogspot.com/2009/03/stage-addiction-inside-preview-of.html
You know, some days I really like my job.
This evening, after seeing a matinee of Exit The King (more on that challenging, exciting, difficult, witty, utterly brilliant production later), I headed down to The Times Center on 41st Street for a special sneak preview of Spider-Man: Turn Off The Dark, the new mega-musical opening next January at Broadway's Hilton Theatre. The talent is tremendous -- Julie Taymor (The Lion King) directing, Eiko Ishioka (Coppola's Dracula and the Beijing Olympics Opening Ceremony) on costumes, and, of course, U2's Bono and The Edge, composing their first-ever score for the stage. I think it's safe to say that no other musical this decade has generated more excitement or interest, and its pre-sales -- currently available only through specialty groups -- are through the roof.
But is it any good? Are the casting rumors true? Will Taymor's vision please both fanboys and theatre queens? Your intrepid editor was about to find out...and perhaps shake hands with Bono. (Hot!)
The presentation began with Taymor, who spoke at length about the elements that drew her to the project...essentially, the classical structure of Peter Parker's journey from everyman to hero. Unlike Sam Raimi's Spider-Man films (which moved from the story's comic book roots toward a more naturalistic, real-world interpretation), Taymor is, unsurprisingly, going the other way -- embracing the webcrawler's inherent theatricality, and placing him inside a stylized New York City populated with heroes and (multiple) supervillains.
The set designs, displayed on the huge projection screen in the photo above, drew inspiration from the pop-art colors and the lines of comic book panels while playing with multiple perspectives. Ishioka's costumes were breathtaking -- a rogues gallery of the villains that appear onstage in the musical received audible gasps from the audience, including the Green Goblin, Lizard, Kraven, Swarm, and a new female villain created at the behest of Taymor, Swiss Miss (dressed in immaculate white dominatrix gear and multiple knives...hot!). Fans of Dr. Octopus and Sandman should know, however, that neither made an appearance in the presentation, although Taymor hinted at a special villain yet to be identified who appears in the piece.
Taymor addressed the question on everyone's mind right away: will Spider-Man spin webs and fly through the air? The answer was a resounding yes...the character will swing through the theatre and over the audience. She then showed a video from last year's top-secret "flying workshop" in Los Angeles, where she, stunt designers from the Spider-Man movies, and aerialists from Cirque du Soleil spent two weeks in a studio lot working on "webslinger technology" for the musical. The results were pretty impressive...the wires are visible, but the moves are so stunning you forget them very fast. I'm only one opinion, but I loved the effect. Can't wait to see it with all of the production elements next January!
After a rambling, geektastic speech by book writer Glen Berger, there was nothing left but to hear the songs. To wild applaus, Taymor introduced Bono and The Edge, and the two men ambled out onto the stage. Perhaps the biggest surprise of the day -- these two global superstars, who have played stadiums all over the world and won every award imaginable, actually seemed a little nervous playing these songs to an audience for the first time! They were, if you can imagine it, even a little adorable, like kids with a new toy...playful, smart, interesting, and genuinely excited to be working on a stage musical. (Bono mentioned that they first got the idea to do a musical from Andrew Lloyd Webber, and name-dropped Rodgers and Hammerstein in their opening remarks.)
Bono and The Edge previewed eight songs (five in their entirety and three snippets) over speakers in what sounded like prerecorded studio demos. The vocals, however, were sung live by five unknown actors who, Taymor mentioned, had only had one day of rehearsal. (This quintet was not, necessarily, part of the cast; she also mentioned that they had just started the audition process, and throughout the day there was never a reference to ANY possible cast members...not even the oft-mentioned Evan Rachel Wood and Jim Sturgess.)
My favorite songs included two beautiful ballads written for Peter Parker which bookended the presentation, "Rise Above" and "Boy Falls From The Sky." Both were incredibly successful at marrying story to lyric; they also managed to simultaneously sound like U2 rock tracks AND Broadway classics. I also liked the title ballad, "Turn Off The Dark," a minor-chord metaphor for heroism, and an uptempo rocker, "Bouncing Off The Walls," which will have Peter taking the title literally...with walls that move to accomodate his bouncing!
Less successful were a character number called "Bullying By Numbers," a percussive track called "Pull The Trigger," and a ballad that (I think) was called "If The World Should End." The latter might have just been the female performer, who had breathing problems and sang out of tune for long sections. It's hard to evaluate songs that haven't yet been taken to the production level, so I reserve the right to change my opinions, for good or ill, once it opens!
All in all, though, I was thoroughly impressed...energized, even, by Taymor's thoughtful approach to the material, the dynamic execution of the designers, and the palpable energy of the production team. Can we dare to hope that Spider-Man: Turn Off The Dark might be a great musical in the making? A week ago, I didn't imagine such a thing was possible. Today, I'm not only thinking it. I'm betting on it.
http://modernfabulousity.blogspot.com/2009/03/stage-addiction-inside-preview-of.html
Monday, March 23, 2009
Playbill Jobs: Love Never Dies - A New Musical - Equity Chorus Call/ Singers
Job Details
Producer: The Really Useful Group
Music: Andrew Lloyd Webber
Lyrics: Glenn Slater
Director: Jack O’Brien
Choreographer: Jerry Mitchell
Musical Supervisor: Gareth Valentine
General Manager: The Charlotte Wilcox Company
Casting: Telsey + Company
1st rehearsal: Approximately August 2009. Opening Night: Approximately October 2009.
Casting Director's note: "Due to the ambitious nature of this production, which will premiere in London and New York in the same season, exact opening dates and cities cannot be confirmed at this time. However, it's confirmed that rehearsals will take place in London prior to an out-of-town tryout, probably in Toronto, before opening on Broadway. We anticipate that these plans will be confirmed before final auditions or contract offers."
In 1907 New York, the mysterious "Maestro" who runs the theatre at Coney Island announces a one-off concert by legendary Parisian soprano Christine Daaé. Her arrival in New York with husband Raoul, Victome de Chagny and son Gustave, and their subsequent meeting with the "Maestro," bring the cataclysmic events of 10 years earlier at the Paris Opera crashing back into all their lives.
Seeking:
Male Ensemble Singers: 20s – 50s, all ethnicities. Seeking interesting types of different shapes and sizes and all vocal ranges to play various characters in the ensemble and possibly understudy principal roles. Included are Mr. Gangle (tenor/baritone) and Mr. Squelch (tenor/baritone), who are strange and mystical characters who comment on the story.
Female Ensemble Singers: 20s – 50s, all ethnicities. Seeking interesting types of different shapes and sizes and all vocal ranges to play various characters in the ensemble and possibly understudy principal roles. Included is Fleck (mezzo soprano), who is a strange and mystical character who comments on the story.
More @ The Link
http://www.playbill.com/jobs/find/job_detail/25362.html
Producer: The Really Useful Group
Music: Andrew Lloyd Webber
Lyrics: Glenn Slater
Director: Jack O’Brien
Choreographer: Jerry Mitchell
Musical Supervisor: Gareth Valentine
General Manager: The Charlotte Wilcox Company
Casting: Telsey + Company
1st rehearsal: Approximately August 2009. Opening Night: Approximately October 2009.
Casting Director's note: "Due to the ambitious nature of this production, which will premiere in London and New York in the same season, exact opening dates and cities cannot be confirmed at this time. However, it's confirmed that rehearsals will take place in London prior to an out-of-town tryout, probably in Toronto, before opening on Broadway. We anticipate that these plans will be confirmed before final auditions or contract offers."
In 1907 New York, the mysterious "Maestro" who runs the theatre at Coney Island announces a one-off concert by legendary Parisian soprano Christine Daaé. Her arrival in New York with husband Raoul, Victome de Chagny and son Gustave, and their subsequent meeting with the "Maestro," bring the cataclysmic events of 10 years earlier at the Paris Opera crashing back into all their lives.
Seeking:
Male Ensemble Singers: 20s – 50s, all ethnicities. Seeking interesting types of different shapes and sizes and all vocal ranges to play various characters in the ensemble and possibly understudy principal roles. Included are Mr. Gangle (tenor/baritone) and Mr. Squelch (tenor/baritone), who are strange and mystical characters who comment on the story.
Female Ensemble Singers: 20s – 50s, all ethnicities. Seeking interesting types of different shapes and sizes and all vocal ranges to play various characters in the ensemble and possibly understudy principal roles. Included is Fleck (mezzo soprano), who is a strange and mystical character who comments on the story.
More @ The Link
http://www.playbill.com/jobs/find/job_detail/25362.html
'LOVE NEVER DIES' CASTING NOTICE
Breakdown for
LOVE NEVER DIES – A New Musical — EPAs
The Really Useful Group
New York, NY
Production (League)
In 1907 New York, the mysterious “Maestro” who runs the theatre at Coney Island announces a one-off concert by legendary Parisian soprano Christine Daaé. Her arrival in New York with husband Raoul, Victome de Chagny and son Gustave, and their subsequent meeting with the “Maestro”, bring the cataclysmic events of 10 years earlier at the Paris Opera crashing back into all their lives.
Casting Director’s note: “Due to the ambitious nature of this production, which will premiere in London and New York in the same season, exact opening dates and cities cannot be confirmed at this time. However, it’s confirmed that rehearsals will take place in London prior to an out-of-town tryout, probably in Toronto, before opening on Broadway. We anticipate that these plans will be confirmed before final auditions or contract offers.”
Seeking:
Phantom:
Caucasian man, 35 – 40. As mysterious as ever, but thanks to his new surroundings and the private assistance of old supporters, he now enjoys the seeming freedom to walk among “the normal” as an entrepreneur in Coney Island, of all places! In fact, over the past 10 years, he’s achieved a place of power and success. But he is haunted by a creative passion that once filled his heart. Must possess effortless gravitas and sexuality. Powerful rock tenor singing voice. Must be able to sing to top B flat. STARRING ROLE.
Christine:
Caucasian woman, mid - late 20s. Now a semi-retired opera superstar and a mother, Christine is still gorgeous, iconic, elegant, every inch a star. Although she has a curious echo of sadness and distance about her, she must possess an equal blend of technical superiority and raw emotionality. Glorious soprano singing voice. Must be able to sing to top B flat. STARRING ROLE.
Raoul:
Caucasian man, 35 - 40. Christine’s husband. Now a functioning, stoic alcoholic with more than a glimmer of his previous self as an affluent and handsome aristocrat. A
beauty on the turn. Must possess domineering gravitas and sexuality. Powerful tenor singing voice, with an instinct for lyricism. Must be able to sing effortlessly to A flat.
Meg:
Caucasian woman, mid - late 20s. Madame Giry’s daughter and a Coney Island fairground star. Gothic, mystical, unusual, sweet, charming, fun; has a broken baby-doll vulnerability, edge, sexiness, and a heart of steel. Strong mezzo soprano singing voice. A spunky voice, preferably with a raspy quality, up to top F sharp (top line, treble clef). Must be able to belt as well as sing with a lyrical ability when in balladic mode.
Madame Giry:
Caucasian woman, 40 – early 50s. Intent on making things happen for her and her daughter Meg, while having attained the position of business manager to the Phantom. She thus feels entitled to prominence and distinction. She will make sure that nothing or no one gets in her way. Has much pent-up aggression, like a compressed Piaf, if you will. Solid contralto singing voice. A character voice up to D within treble clef.
Gustave:
Caucasian boy, 10 – 12. Seeking a child singer/ actor to play Christine’s son. Must have an ethereal, other-worldly essence (Think Tim Burton-esque or Britten’s “Turn of the Screw”); an innocent beauty; an off-kilter attractiveness and character. Preferably small in stature and preferably blonde. Strong boyish voice up to top F sharp. Must have good musical instincts and a keen sense of pitch.
http://www.actorsequity.org/CastingCall/browse_notice.asp?NoticeID=18140&NoticeType=1
Click "Breakdown"
LOVE NEVER DIES – A New Musical — EPAs
The Really Useful Group
New York, NY
Production (League)
In 1907 New York, the mysterious “Maestro” who runs the theatre at Coney Island announces a one-off concert by legendary Parisian soprano Christine Daaé. Her arrival in New York with husband Raoul, Victome de Chagny and son Gustave, and their subsequent meeting with the “Maestro”, bring the cataclysmic events of 10 years earlier at the Paris Opera crashing back into all their lives.
Casting Director’s note: “Due to the ambitious nature of this production, which will premiere in London and New York in the same season, exact opening dates and cities cannot be confirmed at this time. However, it’s confirmed that rehearsals will take place in London prior to an out-of-town tryout, probably in Toronto, before opening on Broadway. We anticipate that these plans will be confirmed before final auditions or contract offers.”
Seeking:
Phantom:
Caucasian man, 35 – 40. As mysterious as ever, but thanks to his new surroundings and the private assistance of old supporters, he now enjoys the seeming freedom to walk among “the normal” as an entrepreneur in Coney Island, of all places! In fact, over the past 10 years, he’s achieved a place of power and success. But he is haunted by a creative passion that once filled his heart. Must possess effortless gravitas and sexuality. Powerful rock tenor singing voice. Must be able to sing to top B flat. STARRING ROLE.
Christine:
Caucasian woman, mid - late 20s. Now a semi-retired opera superstar and a mother, Christine is still gorgeous, iconic, elegant, every inch a star. Although she has a curious echo of sadness and distance about her, she must possess an equal blend of technical superiority and raw emotionality. Glorious soprano singing voice. Must be able to sing to top B flat. STARRING ROLE.
Raoul:
Caucasian man, 35 - 40. Christine’s husband. Now a functioning, stoic alcoholic with more than a glimmer of his previous self as an affluent and handsome aristocrat. A
beauty on the turn. Must possess domineering gravitas and sexuality. Powerful tenor singing voice, with an instinct for lyricism. Must be able to sing effortlessly to A flat.
Meg:
Caucasian woman, mid - late 20s. Madame Giry’s daughter and a Coney Island fairground star. Gothic, mystical, unusual, sweet, charming, fun; has a broken baby-doll vulnerability, edge, sexiness, and a heart of steel. Strong mezzo soprano singing voice. A spunky voice, preferably with a raspy quality, up to top F sharp (top line, treble clef). Must be able to belt as well as sing with a lyrical ability when in balladic mode.
Madame Giry:
Caucasian woman, 40 – early 50s. Intent on making things happen for her and her daughter Meg, while having attained the position of business manager to the Phantom. She thus feels entitled to prominence and distinction. She will make sure that nothing or no one gets in her way. Has much pent-up aggression, like a compressed Piaf, if you will. Solid contralto singing voice. A character voice up to D within treble clef.
Gustave:
Caucasian boy, 10 – 12. Seeking a child singer/ actor to play Christine’s son. Must have an ethereal, other-worldly essence (Think Tim Burton-esque or Britten’s “Turn of the Screw”); an innocent beauty; an off-kilter attractiveness and character. Preferably small in stature and preferably blonde. Strong boyish voice up to top F sharp. Must have good musical instincts and a keen sense of pitch.
http://www.actorsequity.org/CastingCall/browse_notice.asp?NoticeID=18140&NoticeType=1
Click "Breakdown"
Wednesday, March 18, 2009
Love Never Dies... check it out!
WWW.REALLYUSEFUL.COM
Mar 17, 2009
Ever wondered what Phantom of the Opera fans around the world think about the show?
As Andrew Lloyd Webber continues to work on Love Never Dies, the sequel to The Phantom of the Opera, there is a new destination where fans around the world can take their Phantom passion to a whole new level... especially Phans with a Twitter account.
As a Phantom fan in Birmingham, UK watches the film version of Phantom, over in Fredricksburg, USA another fan is listening to the soundtrack. In Buenos Aires, they're talking about the 19th March premiere of Phantom and in London members of Twitter are starting to ask when Love Never Dies is due to open.
A case of The Phantom of the Opera is there... inside everyone's minds? Not quite. The new Love Never Dies website picks up mentions of The Phantom of the Opera, Andrew Lloyd Webber and Love Never Dies made by fans across the worldwide web.
So if you've got a Twitter, Flickr or other social networking account, keep your eyes on www.loveneverdies.com and find out if your Phantom comments and photos have made it onto the site... ... but be warned… it can become addictive!
http://www.reallyuseful.com/news/love-never-dies..
Canadian premiere for 'Love'
'Phantom' stage sequel to open in Toronto
By RICHARD OUZOUNIAN
TORONTO -- The rumor for several months now has been that "Love Never Dies," the long-awaited stage sequel to musical blockbuster "The Phantom of the Opera," would open simultaneously in New York, London and Shanghai.
But industry reports confirmed Monday that the show's North American premiere will take place in October at Toronto's Canon Theater, where the original "Phantom" launched its Canadian run in September 1989. That engagement played for 10 years, making it the longest run in the country's theater history.
Neither Mirvish Prods., the Canadian presenters, nor composer Andrew Lloyd Webber's Really Useful Group would officially confirm or deny the reports, but insiders insist it's a done deal.
One of the driving forces behind the decision is said to be the presence in the leading role of Iranian-born, Canadian-bred Ramin Karimloo. The 29-year-old actor currently is playing the masked man in the West End "Phantom," and is being touted to reprise the role in the sequel when it hits Canada.
With a book by Ben Elton, based on an original concept by Frederick Forsyth, "Love Never Dies" is set in Coney Island in 1907, when a mysterious maestro hires Christine Daae to sing for him. She brings along her husband Raoul and their son Gustave, who might be the Phantom's child.
The "Hairspray" team of director Jack O'Brien and choreographer Jerry Mitchell will stage the musical, which is expected to go into production in London in the fall.
http://www.variety.com/article/VR1118001295.html?categoryid=19&cs=1
By RICHARD OUZOUNIAN
TORONTO -- The rumor for several months now has been that "Love Never Dies," the long-awaited stage sequel to musical blockbuster "The Phantom of the Opera," would open simultaneously in New York, London and Shanghai.
But industry reports confirmed Monday that the show's North American premiere will take place in October at Toronto's Canon Theater, where the original "Phantom" launched its Canadian run in September 1989. That engagement played for 10 years, making it the longest run in the country's theater history.
Neither Mirvish Prods., the Canadian presenters, nor composer Andrew Lloyd Webber's Really Useful Group would officially confirm or deny the reports, but insiders insist it's a done deal.
One of the driving forces behind the decision is said to be the presence in the leading role of Iranian-born, Canadian-bred Ramin Karimloo. The 29-year-old actor currently is playing the masked man in the West End "Phantom," and is being touted to reprise the role in the sequel when it hits Canada.
With a book by Ben Elton, based on an original concept by Frederick Forsyth, "Love Never Dies" is set in Coney Island in 1907, when a mysterious maestro hires Christine Daae to sing for him. She brings along her husband Raoul and their son Gustave, who might be the Phantom's child.
The "Hairspray" team of director Jack O'Brien and choreographer Jerry Mitchell will stage the musical, which is expected to go into production in London in the fall.
http://www.variety.com/article/VR1118001295.html?categoryid=19&cs=1
Mitchell Will Choreograph Lloyd Webber's Love Never Dies; May Play Toronto Before Broadway
By Andrew Gans
16 Mar 2009
Love Never Dies — the sequel to the international hit musical The Phantom of the Opera — will feature choreography by Tony Award winner Jerry Mitchell, who will also choreograph the upcoming Scott Wittman-Marc Shaiman-Terrence McNally musical Catch Me If You Can.
According to a Love Never Dies casting notice, the new Lloyd Webber (music)-Glenn Slater (lyrics) musical will feature direction by the previously announced Jack O'Brien as well as choreography by Mitchell and music supervision by Gareth Valentine.
Rehearsals will begin "approximately [in] August 2009." Opening night will be "approximately [in] October 2009."
As previously reported, Lloyd Webber hopes to open his newest musical in several cities simultaneously.
In the casting notice, the casting director's note reads, "Due to the ambitious nature of this production, which will premiere in London and New York in the same season, exact opening dates and cities cannot be confirmed at this time. However, it's confirmed that rehearsals will take place in London prior to an out-of-town tryout, probably in Toronto, before opening on Broadway. We anticipate that these plans will be confirmed before final auditions or contract offers."
The casting notice also offers a brief description of Love Never Dies: "In 1907 New York, the mysterious 'Maestro' who runs the theatre at Coney Island announces a one-off concert by legendary Parisian soprano Christine Daaé. Her arrival in New York with husband Raoul, Victome de Chagny and son Gustave, and their subsequent meeting with the 'Maestro,' bring the cataclysmic events of 10 years earlier at the Paris Opera crashing back into all their lives."
Actors are currently being sought for the roles of Phantom, Christine, Raoul, Meg, Madame Giry and Gustave.
Jerry Mitchell won a Best Choreography Tony Award for the revival of La Cage aux Folles and was also Tony-nominated for his choreography for The Full Monty, Hairspray, Never Gonna Dance, Dirty Rotten Scoundrels and Legally Blonde The Musical. He also directed the latter.
http://www.playbill.com/news/article/127339.html
16 Mar 2009
Love Never Dies — the sequel to the international hit musical The Phantom of the Opera — will feature choreography by Tony Award winner Jerry Mitchell, who will also choreograph the upcoming Scott Wittman-Marc Shaiman-Terrence McNally musical Catch Me If You Can.
According to a Love Never Dies casting notice, the new Lloyd Webber (music)-Glenn Slater (lyrics) musical will feature direction by the previously announced Jack O'Brien as well as choreography by Mitchell and music supervision by Gareth Valentine.
Rehearsals will begin "approximately [in] August 2009." Opening night will be "approximately [in] October 2009."
As previously reported, Lloyd Webber hopes to open his newest musical in several cities simultaneously.
In the casting notice, the casting director's note reads, "Due to the ambitious nature of this production, which will premiere in London and New York in the same season, exact opening dates and cities cannot be confirmed at this time. However, it's confirmed that rehearsals will take place in London prior to an out-of-town tryout, probably in Toronto, before opening on Broadway. We anticipate that these plans will be confirmed before final auditions or contract offers."
The casting notice also offers a brief description of Love Never Dies: "In 1907 New York, the mysterious 'Maestro' who runs the theatre at Coney Island announces a one-off concert by legendary Parisian soprano Christine Daaé. Her arrival in New York with husband Raoul, Victome de Chagny and son Gustave, and their subsequent meeting with the 'Maestro,' bring the cataclysmic events of 10 years earlier at the Paris Opera crashing back into all their lives."
Actors are currently being sought for the roles of Phantom, Christine, Raoul, Meg, Madame Giry and Gustave.
Jerry Mitchell won a Best Choreography Tony Award for the revival of La Cage aux Folles and was also Tony-nominated for his choreography for The Full Monty, Hairspray, Never Gonna Dance, Dirty Rotten Scoundrels and Legally Blonde The Musical. He also directed the latter.
http://www.playbill.com/news/article/127339.html
Tuesday, March 10, 2009
Wildhorn's WONDERLAND to Premiere at Tampa Bay Performing Arts Center Fall 2009
Thursday, March 5, 2009; Posted: 10:03 AM - by BWW
As the first initiative of the Broadway Genesis Project at the Tampa Bay Performing Arts Center, TBPAC will produce a new Frank Wildhorn musical, to debut in Tampa late this year. The new show, WONDERLAND: Alice's New Musical Adventure will begin performances on November 24, 2009 at the Tampa Bay Performing Arts Center.
Plans for the show are extensive and the web site has already launched at Wonderlandthemusical.org featuring song clips, video interviews and other exciting content. A studio album will be recorded in late Spring in New York city featuring several Broadway stars and Wildhorn favorites as the show's publicity machine gears up for the new musical's eagerly anticipated launch.
Broadway Genesis is intended to help create new works of American theater to play the Tampa market, and then possibly tour other performing arts centers or move to Broadway. The first venture will be Wonderland: Alice's New Musical Adventure, slated to have its world premiere in Tampa on Saturday, Dec. 5, 2009 in TBPAC's Ferguson Hall. The music for Wonderland is by Frank Wildhorn, the composer of The Civil War and Jekyll & Hyde, with lyrics by Jack Murphy and a book by Phoebe Hwang. Gregory Boyd will direct. Other members of the creative team will be announced at a later date.
Wonderland is set in present-day Manhattan and a timeless Wonderland. The new musical tells the story of author Alice Cornwinkle (a descendent of Lewis Carroll's muse Alice Liddell), who is struggling with her career and her daughter, Chloe.
With a chaotic Wonderland in danger of disappearing into nothingness, only Alice can restore balance and joy. Audiences will journey with her through the Looking-Glass from New York City to a strange-yet-familiar place where she must reclaim her daughter, defeat the Queen of Hearts and learn to follow her heart.
Tony and Grammy nominated composer Frank Wildhorn, who, in 1999, had three shows running on Broadway simultaneously, is about to duplicate that feat in Europe, with three new original musicals, RUDOLF: THE MAYERLING AFFAIR, CARMEN, THE COUNT OF MONTE CRISTO and CYRANO all open or opening later this year. Now, he's back in the United States as well, which is good news for the composer's many fans.
TBPAC, one of the largest and most prolific performing arts facilities in the country, will serve as lead producer for Broadway Genesis - using its facility, administrative structure and other resources. "I am so excited about the Broadway Genesis Project," said Judith Lisi, president of the Tampa Bay Performing Arts Center. "This is the next logical step in TBPAC's artistic development. Our wonderful facility and dedicated staff will provide the ideal creative workplace for extraordinary works of theater for years to come."
"We've assembled a top-notch team that is going to take this new musical in magnificent directions as we move into pre-production, casting, rehearsal and beyond," Lisi said.
Wonderland will be part of TBPAC's 2009-2010 Bank of America Best of Broadway Tampa Bay series, which will be announced in full later this year. Numerous community partnerships, master classes and workshops will be connected to the production.
Wildhorn and Wildhorn Productions will join forces with MG Sound/HitSquad Records in Vienna to both produce and internationally distribute the concept recording of Wonderland. The partnership, known as MWB (Music Without Borders), has produced several chart-topping European successes including recordings of Carmen, Rudolf - The Last Kiss, Dracula and the concept recording of The Count of Monte Cristo. The concept recording of Wonderland is scheduled for a summer 2009 release in the United States and a fall/winter 2009 release internationally.
http://broadwayworld.com/article/Wildhorns_WONDERLAND_to_Premiere_at_Tampa_Bay_Performing_Arts_Center_Fall_2009_20090305
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