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Houdini
Sept 20, 2013 3:33:42 GMT -5
Post by lucky on Sept 20, 2013 3:33:42 GMT -5
So long development time for a musical is usual I think. For Wicked it was 5 years.
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jo
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Houdini
Sept 20, 2013 5:46:53 GMT -5
Post by jo on Sept 20, 2013 5:46:53 GMT -5
Not unless you're as prolific and has such an ear for melody like Andrew Lloyd Webber --
*Except for Bombay Dreams which he only produced and Wizard of Oz for which he only wrote additional music.
List does not include film music he has composed or songs to mark special occasions ( such as Amigos Para Siempre for the Barcelona Olympics) or additional music for filmed versions of his musicals ( such as You Must Love Me, which won an Oscar for Evita).
There have been occasions that shows have been rewritten ( such as Sunset Boulevard and Love Never Dies) but those are few.
I guess I have been spoiled by the prolific outputs of Webber - I have seen most of his shows and they leave you with a strong impact when you leave the theatre. He has written so many beautiful and memorable songs - they simply linger in the memory cells. Hugh has actually performed the role of Joe Gillis in Sunset Boulevard and almost had the chance to be the film version's Phantom ( save for his forthcoming The Boy from Oz on Broadway).
He has had health issues lately but this did not really slow down his efforts - his latest Stephen Ward will be opening soon. He composed his first song when he was nine years old. It surfaced as the complete and more sophisticated "Chanson d'Enfance" in ASPECTS OF LOVE. Aspects of Love is my favorite of his works, followed by Sunset Boulevard.
Jo
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jo
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Houdini
Sept 20, 2013 6:10:25 GMT -5
Post by jo on Sept 20, 2013 6:10:25 GMT -5
In fairness to Stephen Schwartz, he took over the musical HOUDINI around April/May of 2011 ( around the time of Hugh's one-man show at the Curran) and hopefully will have completed the revised musical by early to mid 2014? I wonder if he is using any of the music composed by first composer Danny Elfman? With all the changes in composers, lyricists, and bookwriters, Houdini is certainly taking its time to reach Broadway  Jo |
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Houdini
Sept 28, 2013 22:20:03 GMT -5
Post by lucky on Sept 28, 2013 22:20:03 GMT -5
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Houdini
Sept 28, 2013 23:48:32 GMT -5
Post by mamaleh on Sept 28, 2013 23:48:32 GMT -5
I'm thinking he's going to base his decision on the quality of the piece so far, come the reading later this fall. If he gives it a thumbs up, he'll stay with the project; if not, bye-bye HOUDINI.
Ellen
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jo
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Houdini
Sept 29, 2013 11:01:41 GMT -5
Post by jo on Sept 29, 2013 11:01:41 GMT -5
I posted exactly the same interpretation of what he said on the "Film Role Rumors" thread, Ellen.
He is not going to wait for a project which he feels may not have strong potential - he has waited long enough! But if the musical score and book first draft has really great potential, he will likely rearrange his schedule to fit it in sometime in the future.
But I do wonder -- not so long ago, he was interviewed about HOUDINI and he said it may arrive on Broadway within a 12-month to 18-month time frame. I thought he was willing to give it that chance for the show to finally shape up. Now the tone seems to have changed. He is going to make a decision right after the first reading! It could turn out to be GOODBYE to the project!
Jo
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jo
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Houdini
Sept 29, 2013 23:54:48 GMT -5
Post by jo on Sept 29, 2013 23:54:48 GMT -5
One other thing -- Schwartz categorically said in his last interview that the readings will be in December...while Hugh talks of making a decision within a month ( October or so?) in the recent Zurich press conference -- when are the readings supposed to happen?
smiley-signs002
Jo
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Houdini
Sept 30, 2013 2:47:25 GMT -5
Post by lucky on Sept 30, 2013 2:47:25 GMT -5
Do you have a link to that interview? Is it a new one?
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Post by klenotka on Sept 30, 2013 5:11:16 GMT -5
Maybe the date changed since Schwartz said that. This project has been in development for so long that I wouldn´t be surprised if it didn´t happen. There were too many changes - especially writer, leaving in the middle of the project, can´t be a good sign. If Sorkin finished only first part and the second would be written by someone else, it could be incredibly inconsistent. Sorkin is a great writer but I think he is too busy with various projects (The Newsroom probably takes a lots of time as well) and maybe he missed the deadline...everybody says something else each month. It can´t be good for any project.
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jo
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Houdini
Oct 1, 2013 15:35:46 GMT -5
Post by jo on Oct 1, 2013 15:35:46 GMT -5
Just a little bit of hope now -- www.modernluxury.com/jezebel/story/taking-no-prisonersThanks to Nancy for the link. So, workshop rehearsals are now underway ( or at least recently, as Hugh was busy with promotion for PRISONERS including the recent European leg), with the cast borrowed from WICKED??  I guess what he said during the Zurich press conference -- makes sense now. I thought he was going to make a decision even before a workshop takes place ( which Stephen Schwartz said might take place in December). Jo |
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Houdini
Oct 1, 2013 18:16:10 GMT -5
Post by jo on Oct 1, 2013 18:16:10 GMT -5
I wonder which actresses were part of the workshop rehearsals --
Maybe those currently playing Elphaba, Glinda, and NessaRose? Or maybe even Madame Morrible ( if the trio inlcudes an older woman) ?
This is assuming that the book is still focused on Houdini's fight with three women spiritualists?
Jo
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Houdini
Oct 17, 2013 21:56:26 GMT -5
Post by jo on Oct 17, 2013 21:56:26 GMT -5
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Houdini
Oct 18, 2013 7:11:35 GMT -5
Post by foxie on Oct 18, 2013 7:11:35 GMT -5
Fantastic it is the one play I cant wait for!!!!He will be fantastic!!
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Houdini
Oct 18, 2013 7:29:42 GMT -5
Post by mamaleh on Oct 18, 2013 7:29:42 GMT -5
Too bad reality isn't like TV, where SMASH showed that one could mount a full production within a few months.  Ellen |
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jo
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Houdini
Oct 18, 2013 8:22:51 GMT -5
Post by jo on Oct 18, 2013 8:22:51 GMT -5
Lol - even jukebox musicals take longer than " a few months" |
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Post by jo on Nov 9, 2013 21:48:46 GMT -5
Excerpts reposted from the article on Hugh Jackman's Advocacies, posted by Fan2 on BWW -- It looks like Hugh was able to persuade Stephen Schwartz to advance the first draft for an October rather than a December workshop. And he sounds as if the project is a GO, as far as he is concerned, subject to finishing touches? LOL - Let's try and arrange his schedule and that of the show Houdini *Chappie (HJ) *Rewrite show, for first workshop proposed changes, if any? *Maybe Aldolpho, if timing is right? (HJ) *Promotion for Days of Future Past ( scheduled for late May 2014 release) (HJ) *Maybe initial casting, production design ( sets, costumes,) and orchestrations for Houdini? Followed by first set of rehearsals? *Maybe final workshop for Houdini, after rewrites -- midyear? *Maybe out-of-town tryout for Houdini ( Chicago)? *Maybe rehearsals for Broadway ( late summer?) *Previews for Broadway ( early to mid-fall)? *Official opening on Broadway ( mid-fall)? What could be unexpected is if he can squeeze in another movie, not Drowsy Chaperone, although it might be difficult to find 4 months or so to film a lead role in a big movie project. I am hoping it would be the "Section 6" thriller which already has a script, actually a highly-touted Black List script (which is the perfect start for the project). I hope he gets the role! Since Chappie may only take 2 weeks, if the film project can be ready for mid-winter filming, maybe there is enough time till he is needed for promotions for Days of Future Past in May?I wonder how long he will be in Houdini? Including the tryouts ( summer?), he may decide to be with the show till the Tonys in 2014? Or if things are protracted - they may decide to try out the show in Chicago in the fall, and a possible Broadway spring 2015 opening for the stage musical. That will give room for one or maybe even two film projects, excluding Chappie. I am not in favor of a protracted involvement in Houdini, just like The Boy from Oz, because that practically took him out of the cinemas for two years! There is so much in store for him as a film actor now!How does that sound, folks Jo |
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suefb
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Houdini
Nov 10, 2013 6:25:40 GMT -5
Post by suefb on Nov 10, 2013 6:25:40 GMT -5
Excerpts reposted from the article on Hugh Jackman's Advocacies, posted by Fan2 on BWW -- It looks like Hugh was able to persuade Stephen Schwartz to advance the first draft for an October rather than a December workshop. And he sounds as if the project is a GO, as far as he is concerned, subject to finishing touches? LOL - Let's try and arrange his schedule and that of the show Houdini *Chappie (HJ) *Rewrite show, for first workshop proposed changes, if any? *Maybe Aldolpho, if timing is right? (HJ) *Promotion for Days of Future Past ( scheduled for late May 2014 release) (HJ) *Maybe initial casting, production design ( sets, costumes,) and orchestrations for Houdini? Followed by first set of rehearsals? *Maybe final workshop for Houdini, after rewrites -- midyear? *Maybe out-of-town tryout for Houdini ( Chicago)? *Maybe rehearsals for Broadway ( late summer?) *Previews for Broadway ( early to mid-fall)? *Official opening on Broadway ( mid-fall)? What could be unexpected is if he can squeeze in another movie, not Drowsy Chaperone, although it might be difficult to find 4 months or so to film a lead role in a big movie project. I am hoping it would be the "Section 6" thriller which already has a script, actually a highly-touted Black List script (which is the perfect start for the project). I hope he gets the role! Since Chappie may only take 2 weeks, if the film project can be ready for mid-winter filming, maybe there is enough time till he is needed for promotions for Days of Future Past in May?I wonder how long he will be in Houdini? Including the tryouts ( summer?), he may decide to be with the show till the Tonys in 2014? Or if things are protracted - they may decide to try out the show in Chicago in the fall, and a possible Broadway spring 2015 opening for the stage musical. That will give room for one or maybe even two film projects, excluding Chappie. I am not in favor of a protracted involvement in Houdini, just like The Boy from Oz, because that practically took him out of the cinemas for two years! There is so much in store for him as a film actor now!How does that sound, folks Jo Thanks for this detailed analysis, Jo. I am not terribly familiar with the process of putting a Broadway production together (or a movie for that matter, but at least movies require less involvement from the actors until the actual start of filming), so it's very helpful to see somebody's educated guess of a scheduled based on what we know right now. I, too, would LOVE to see him do this Section 6 movie, and I really hope it comes together quickly rather than taking years and years, like Prisoners did, which was also a Black List script. Of course he's not even confirmed on Section 6, just "interested". And I hope they find some different director than the possibilities that were floated in the news articles about it. |
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Houdini
Nov 10, 2013 7:24:53 GMT -5
Post by jo on Nov 10, 2013 7:24:53 GMT -5
Mine is more wishful thinking than an educated guess, Suefb Stage actors also do not get involved in a production during development as a rule. Unless one is hired to sing the parts while the score is being developed ( but not in the case of Hugh)... But Hugh has been involved in this project ( together with the producers and the creative team) since 2008. Unfortunately because of changes in the creative team, the development has been unusually protracted. Hugh has said that he really wanted the experience of seeing a show develop from Day 1, till it opens on Broadway. My own guess is that Hugh could be a producer for this show, although I think his name may not be listed...or be involved in such arrangements to give him producer privileges. He was involved as producer in the TBFO arena tour. Actually, this would be the same when he is involved as a producer in a film project. He helped get the director and probably the casting for the Wolverine spinoff movies. He also worked to get the tax break privileges that allowed the movies to be filmed in his native Australia ( as that would impact on the project cost). When SEED was active, he was even more involved -- including identifying viable projects and getting them greenlit... and then the phases of pre-production, production, and maybe even post-production. Also, he is heavily involved in promotional activities ( at least for stage shows, the promotion is limited to NYC media work), even in foreign markets. It is interesting that his own talent agency, WME, where his longtime agent Patrick Whitesell is a co-CEO, has also been actively involved in packaging film deals and we find Hugh's name being attached early on. Jo |
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Houdini
Nov 10, 2013 21:50:08 GMT -5
Post by jo on Nov 10, 2013 21:50:08 GMT -5
To Ellen ( our resident theatre cognoscente) -- How will a late fall 2014 opening impact on the box office for the lean winter months? We know what happened to TBFO in early 2004 -- although I am hoping HOUDINI is going to be a much better musical ( artistically-speaking) than how TBFO was perceived by critics. Ironically, the support of the Ozalots for the show in those lean months ( I remember that the lowest attendance rate plunged to low to mid-70%) was what endeared these staunch wintertime fans ( I wasn't among them , because I am a child of the tropics  ) to Hugh! Although I remember seeing it in December 2003 and my feet froze at the stagedoor while waiting for some friends to come...and also while hoping that Hugh would turn up. BIG FISH, the show that almost hooked in Hugh but caught Norbert Leo Butz instead, is closing at the end of the year, only after a very short run. Maybe it did not really interest theatregoers but for it to sustain a winter run might have been more self-defeating. There is another show which has also decided to close soon. Some shows are able to weather the long months from January to March ( such as perennials like Phantom, Lion King, Wicked, etc) but they are already established tourist attractions and will benefit from any winter visits to NYC by domestic and international tourists, even if these are not too many. Would it be better if HOUDINI planned an early spring 2015 previews and an official opening in April ( end of April is the new deadline for the TONYs)? Unless they decide to postpone what Hugh mentioned as a planned opening in late 2014 to the spring of 2015? I think he has a unique problem because he has to juggle this with his film schedules. I guess one lesson from this is for him to be less involved in the early stages of a show in development and simply look at options which are fairly close to staging. Will we ever know why the first creative team and its first draft was junked ( we know that Danny Elfman had already completed the score and Glenn Slater had worked on the lyrics), as well as why Aaron Sorkin decided to drop off from the project? How do you manage to see shows during winter, esp when the weather is almost unbearable? What kind of attendance rates would be normal? Low rates would lengthen the breakeven period for new shows, and can it sustain such a waiting time? I remember that TBFO hardly met its breakeven - it was only in the second to the last week that they announced that the show would recoup ( and that was after Hugh had won the TONY). Your thoughts? Jo
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Houdini
Nov 11, 2013 0:11:39 GMT -5
Post by Kelly on Nov 11, 2013 0:11:39 GMT -5
To Ellen ( our resident theatre cognoscente) -- How will a late fall 2014 opening impact on the box office for the lean winter months? We know what happened to TBFO in early 2004 -- although I am hoping HOUDINI is going to be a much better musical ( artistically-speaking) than how TBFO was perceived by critics. Ironically, the support of the Ozalots for the show in those lean months ( I remember that the lowest attendance rate plunged to low to mid-70%) was what endeared these staunch wintertime fans ( I wasn't among them , because I am a child of the tropics ) to Hugh! Although I remember seeing it in December 2013 and my feet froze at the stagedoor while waiting for some friends to come...and also while hoping that Hugh would turn up. BIG FISH, the show that almost hooked in Hugh but caught Norbert Leo Butz instead, is closing at the end of the year, only after a very short run. Maybe it did not really interest theatregoers but for it to sustain a winter run might have been more self-defeating. There is another show which has also decided to close soon. Some shows are able to weather the long months from January to March ( such as perennials like Phantom, Lion King, Wicked, etc) but they are already established tourist attractions and will benefit from any winter visits to NYC by domestic and international tourists, even if these are not too many. Would it be better if HOUDINI planned an early spring 2015 previews and an official opening in April ( end of April is the new deadline for the TONYs)? Unless they decide to postpone what Hugh mentioned as a planned opening in late 2014 to the spring of 2015? I think he has a unique problem because he has to juggle this with his film schedules. I guess one lesson from this is for him to be less involved in the early stages of a show in development and simply look at options which are fairly close to staging. Will we ever know why the first creative team and its first draft was junked ( we know that Danny Elfman had already completed the score and Glenn Slater had worked on the lyrics), as well as why Aaron Sorkin decided to drop off from the project? How do you manage to see shows during winter, esp when the weather is almost unbearable? What kind of attendance rates would be normal? Low rates would lengthen the breakeven period for new shows, and can it sustain such a waiting time? I remember that TBFO hardly met its breakeven - it was only in the second to the last week that they announced that the show would recoup ( and that was after Hugh had won the TONY). Your thoughts? Jo If he has to break the fourth wall again to ensure success, I predict he will. |
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Houdini
Nov 11, 2013 9:07:36 GMT -5
Post by mamaleh on Nov 11, 2013 9:07:36 GMT -5
Jo, as we all know, Hugh is now considered one of the most--if not THE most--bankable Broadway stars today. His BACK ON BROADWAY had a late-fall opening and broke house records. Jude Law's fall HAMLET fared exceedingly well, too. But you're right; it's likely easier for a show without a star or a pedigreed, in-demand creative team (see BOOK OF MORMON) to catch fire with a spring opening, especially if it gets to perform on the Tonys. Of course, there are exceptions. Powerhouses such as THE LION KING and WICKED opened in the fall and caught fire fairly rapidly, both without stars. But look what happened to CHAPLIN--fall opening, winter closing. Same fate for BIG FISH and many others. I tend to agree; even with a star of Hugh's magnitude and drawing power, a spring opening can only help the box office. It can make the difference between a consistently sold-out house and one that's doing, say, 90-95 percent business.
Weather does indeed play a part, at least for me, and I have to think I'm not alone in this. For instance, I chose to rush TWELFTH NIGHT last week (and had that glorious, out-of-the-blue Hugh encounter) instead of later in the season because I did not want to line up for two hours outside a theater in the bitter cold. I tend to rush more in the fall, spring and summer. What's more, although I attend theater year-round, I tend to hold off buying tickets until the last minute in case of dire weather predictions. I would think that tactic translates to the thought patterns of many theatergoers who are winter-wary or would prefer to stay home rather than brave subfreezing temperatures and possible snowstorms. Look at what happened to the admittedly substandard "revisal" of ON A CLEAR DAY. It had a big star, Harry Connick, Jr., who packed them in at every performance of THE PAJAMA GAME a few years earlier. I expected that, like Hugh's TBFO situation, CLEAR DAY, with all its flaws (as TBFO was perceived to have) would nonetheless survive because of star power. But it opened in the dead of December and closed the following month. Attendance rates usually do dip, even for the top sellers, during the coldest periods. T.S. Eliot had it wrong: December, not April, is the cruelest month.
In sum, I agree. Why take chances? A spring opening--with or without a star--is always more desirable, assuming a theater is available. HOUDINI is not exactly a household name to younger people, and although Hugh's star power is strong, why create an unnecessary hindrance at the outset? I hope they decide on an April opening after all.
Ellen
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jo
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Houdini
Nov 11, 2013 9:24:46 GMT -5
Post by jo on Nov 11, 2013 9:24:46 GMT -5
Thanks for sharing your insights, Ellen smiley-signs101
I have a feeling that Hugh is prodding the team (by announcing that he is looking forward to an end of 2014 opening) to work faster...but could really have an April 2015 official opening in mind.
He could have time for another major movie project sometime in 2014, with a spring 2015 opening for HOUDINI.
Jo
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Houdini
Nov 11, 2013 13:19:03 GMT -5
Post by carouselkathy on Nov 11, 2013 13:19:03 GMT -5
Now Hugh, if you could time it around spring school break, that would be fine.
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Houdini
Nov 11, 2013 19:31:13 GMT -5
Post by njr on Nov 11, 2013 19:31:13 GMT -5
I don't know, I think the name HOUDINI is quite well known by young & old. The word has worked its way into the common vernacular just like no matter what kind of facial tissue you use, you always call it Kleenex. Nancy |
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Houdini
Nov 12, 2013 3:10:29 GMT -5
Post by marymagdalene on Nov 12, 2013 3:10:29 GMT -5
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OZalots HQ - a place to celebrate The Boy(s) From OZ
) to Hugh! Although I remember seeing it in December 2003 and my feet froze at the stagedoor while waiting for some friends to come...and also while hoping that Hugh would turn up. 
