The Music Man : Show Development and Promotion

[jo]

Not directly related to The Music Man --

but some interesting comments re key cast of West Side Story --

Beyond Dharon, with Tony and Riff both being played by understudies tonight due to the principals’ injuries, it is a shame that Shareen Pimentel, the lead Maria, didn’t perform tonight either. The understudies were plucky, but of course, one looks forward to seeing the real leads in the key roles, at least in previews.

Shareen Pimental has missed several shows recently. Does she have a cold or other infection, or is she also injured? If she's injured as well, there's got to be some serious discussion going on about whether some things need to be adjusted.

Btw, the original casting of Riff ( one of the major cast) had to be permanently replaced because of injury.

In heavily dance-oriented musicals, this can happen...remember how Hugh nursed a stress fracture after the TONYs till the closing of TBFO.

Hopefully, the month-long workshop last year, which seemed dance-oriented, would have looked at the options which are generally manageable and not risk injury to the cast. During Hugh's music tour, didn't they have an injury... and Dance Captain Mishay Petronelli worked it out so that the choreography fitted for the original dance troupe would work as well for the lesser number.

Thankfully, The Music Man will probably not be as dance-intensive as West Side Story. Although I wouldn't mind seeing Hugh and Sutton do a tapdance pas de deux

Maybe that is why The Music Man is holding a second long workshop soon...and why there is a long preview period (from Sept 9 to official opening of October 15) even for a revival!

When did you get tickets for?


Jo

[jo]

With the announcement of the Winter Garden as the home of the revival of THE MUSIC MAN, it looks like we may be seeing some publicity about the musical, its creatives, and its cast.

Here's a major summary of Hugh Jackman's career with a focus on his theatrical portfolio from the New York Theatre Guide --

www.newyorktheatreguide.com/actor-profile/hugh-jackman

Home » Stars on Stage » Hugh Jackman

Hugh Jackman On Stage - Theater Credits, Bio and Tickets

Hugh Jackman is set to star in The Music Man at the Winter Garden Theatre on Broadway from September 9, 2020.


Hugh Michael Jackman was born on October 12, 1968 in Sydney, Australia. He is a Golden Globe and Tony Award-winning actor and Academy Award nominee, probably best known for his role as Logan (aka Wolverine) in 20th Century Fox’s “X-Men” movie franchize and for his roles in the movie musicals “Les Misérables” and “The Greatest Showman.”

Jackman attended Pymble Public School and Knox Grammar School on Sydney’s Upper North Shore and would eventually earn a bachelor degree in Communications from the University of Technology in Sydney, graduating in 1991. He studied acting at the Actors’ Centre there and went on to attend the Western Australian Academy of Performing Arts at the Edith Cowan University in Perth, graduating in 1994.


On stage, Jackman’s first major role was Gaston in the Australian production of Disney’s Beauty and the Beast in Melbourne in 1995, which he followed up by playing the leading male character of Joe Gillis in the 1996 Australian production of Sunset Boulevard. He would make his London stage debut in 1998, starring as Curly McLain in the acclaimed National Theatre revival of Rodgers & Hammerstein’s Oklahoma! and receiving an Olivier Award nomination for his efforts. In 2002, Jackman graced the stage of New York’s Carnegie Hall, playing Billy Bigelow in a special concert engagement of another Rodgers & Hammerstein classic, Carousel. He would finally make his Broadway debut, however, in September 2003 when he starred as Peter Allen in the Broadway premiere of The Boy from Oz at the Imperial Theatre. His celebrated portrayal resulted in his first Tony Award win (for ‘Best Actor in a Musical’) in 2004, alongside a Theatre World Award, Drama League Award and a Drama Desk Award to boot.

Since The Boy from Oz, Jackman has starred on Broadway in A Steady Rain (opposite Daniel Craig) at the Gerald Schoenfeld Theatre from September through December 2009, in a special concert series Hugh Jackman, Back on Broadway at the Broadhurst Theatre from October 2011 through January 2012 (receiving a Special Tony Award later that season), and in the Broadway premiere of Jez Butterworth’s The River at Circle in the Square from October 2014 through February 2015.



On screen, Jackman’s first major TV role was Kevin Chambers in the Australian ABC series “Correlli” in 1995 and went on to appear as Duncan Jones on the Nine Network’s “The Man from Snowy River” in 1996. Since then, he has mainly concentrated on film and following his 1999 appearances in “Paperback Hero” and “Erskineville Kings,” he shot to global superstardom in 2000 after landing the role of Logan (aka Wolverine) in 20th Century Fox’s blockbuster “X-Men.” He has played the popular Marvel superhero in a grand total of 9 films in the movie franchize, including “X2” (2003), “X-Men: The Last Stand” (2006), “X-Men Origins: Wolverine” (2009), “X-Men: First Class” (2011), “The Wolverine” (2013), “X-Men: Days of Future Past” (2014), “X-Men: Apocalypse” (2016), and, finally, “Logan” (2017).


He has also left his mark on the movie musical genre, starring as Jean Valjean in the 2012 film adaptation “Les Misérables,” which led to his first Academy Award nomination in 2013 (alongside a BAFTA nomination and his first Golden Globe win). He also starred as P.T. Barnum in 2017’s hugely popular “The Greatest Showman,” earning a Golden Globe nomination and winning his first Grammy Award (for ‘Best Compilation Soundtrack for Visual Media’).

His other notable film credits include a 2002 Golden Globe-nominated performance in “Kate & Leopold,” the titular role in “Van Helsing” (2004), “The Prestige” (2006), “The Fountain” (2006), “Australia” (2008), “Real Steel” (2011), “The Prisoners” (2013), “Chappie” (2015), and the role of Blackbeard in “Pan” (2015). In animation, he has voiced roles in “Flushed Away” and “Happy Feet,” both in 2006, “Rise of the Guardians” (2012), and “Missing Link” (2019).

Jackman has also served as Host of The Tony Awards on four separate occasions (2003, 2004, 2005, and 2014), even winning an Emmy Award in 2005 for ‘Outstanding Individual Performance in a Variety or Music Program’. He also hosted the Academy Awards in 2009.



Jackman returns to Broadway to star as Professor Harold Hill in the eagerly anticipated revival of The Music Man at the Winter Garden Theatre from September 9, 2020.


© 2020 NewYorkTheatreGuide.com

[jo]

It looks like the show is now being actively promoted, especially with the official designation of the Winter Garden as the official theatre. I have seen ads selling tickets on some websites --

musicmanonbroadway.com/?musicmanonbroadway.com&gclid=EAIaIQobChMIw9PHrsaT5wIVGF69Ch3Ebw5vEAEYASAAEgKEAvD_BwE

However --

It seems the opening times for performances vary -- sometimes it is 2:00 pm or 3:00 pm for some performances ( happens on weekdays and weekends). It also happens for evening performances -- sometimes it is 7:00 pm or 8:00 pm ( happens on weekdays and weekends). No distinction is noted when the standard time reverts back to original.

Maybe it might be best to check any overlapping appointments on your chosen date(s)...and do check your performance times when you see the show!


Jo

[jo]

Some enterprising businessmen are already pushing for vacation packages to include tickets to The Music Man.

What I find funny is that they are using the selling point that it stars Hugh Jackman ( you know, Wolverine!)

It seems that they believe that would be the best selling point to push the show which stars Jackman, the erstwhile Greatest Showman - LOL!

Jo

[jo]

But I am glad the tour operators are already putting it in as part of their tour attractions. I think the tour inclusion was part of why Phantom of The Opera has lasted this long ( over 30 years?) on Broadway! Just like Phantom, the Music Man will be an excellent theatrical introduction for people on holiday who are not theatregoers!

Jo

[jo]

We have already seen Hugh Jackman perform many major dance routines (#tmtmts / TheGreatestShowman / Back On Broadway / The Boy From Oz / various TONYs and OSCARs hostings).

Will Hugh and Warren refresh the MUSIC MAN revival with new choreography surprises?

PS: Hugh did say that there is a great similarity between fight and dance choreography. And maybe we can also relate his great love for sports as simply another form of physicality that Hugh enjoys doing.

Jo

[jo]

The casting of Shuler Helmsley as Marcellus ( Harold Hill's former partner-in-crime) who lives in fictional River City is the pair's team-up for the 5th time ( Oklahoma!/SomeoneLikeYou/VanHelsing/TheGreatestShowman).

This 1999 interview when they were on the yearlong run of Oklahoma! gives us more details on why the two thespians like working together --

Nov 8, 2013 23:29:19 GMT -5 jo said:

Lucky I could still find that interview of Hugh and Shuler in that West End theatre magazine, Musical Stages --

TWO GENTLEMEN OF OKLAHOMA!






Hugh Jackman and Shuler Hensley join Lynda Trapnell of Musical Stages
magazine for a light supper before the show. Issue 17 SPRING 1999

The two actors, one Australian and one American, have got to know each other well during Oklahoma!'s two runs, firstly at the National Theatre and currently at the Lyceum Theatre. They have become good friends with a shared sense of the absurd and a habit of chucking hilarious insults at each other. Well, Nick Davies, Oklahoma!'s MD, who was also with us taking photographs, warned me. Furthermore, I hardly need to ask any questions since Hugh conducts his own interview with Shuler as well!

Once we've established our group in a quiet corner of Joe Allen's restaurant - quiet except for an intermittent drill, that is - I ask what led up to each man's arrival in London.

'To put it all in perspective', says Hugh, 'both my parents are English. My mother and five out of us six kids live here and I've been over about ten times in the past few years. I was playing Joe Gillis in Sunset Boulevard, which Trevor directed, in Australia. The National Theatre has always been a dream for me so I asked if there was any chance of getting an audition. His response was "Great - it'll be lovely to see you!" I came over on holiday and he told me to come in and bring a Shakespeare monologue and sing 'Oh What a Beautiful Morning'. I hadn't done any Shakespeare since drama school, so I crammed a speech of Hotspur's.'

'My liege!' interrupts Shuler.

'Excuse me, what's a liege?' demands Hugh.

They sit quoting out-of-context and therefore nonsensical Shakespearean phrases, ending with 'Lame, lame, lame!' in chorus. We return to Hugh's audition.

In addition to Trevor Nunn, Hugh found about eight people waiting for him, but the entire panel joined in the second chorus of OWABM and he was offered the role of Curly.

'Just like that?' I ask, 'No call-backs at all?'

'No, none!'

So we have Hugh's story. Shuler pretends to wake up from a deep, bored slumber.

'What? What! Oh, my turn. Well, I was in Germany doing Phantom and I have a British wife.....'

The drill starts whining in the background.

'....all right honey,' says Shuler 'I'll be there in a minute! We came over here to see my wife's family,' he continues. 'I heard they were doing Oklahoma! at the National, got an agent and sort of forced my way in! I met Trevor and the rest of the guys and had about four or five call-backs.'

'Really?' asks Hugh.

'Hello! Who's doing this interview?' responds Shuler, continuing, 'Because I was new here, the call-backs were more of a chance for Trevor to get to know me. And Susan Stroman had to check whether I could move - that kind of thing. Still, I was told quite early on that I had the role'.

Hugh is back in my chair. 'Did you do monologues?' he asks Shuler.

'Actually', Shuler says, 'I like doing monologues from movies 'cos they're never done.' (That's a good tip, readers!) 'I did one from The Hustler, basically the same type of character. It was such a cool experience. Trevor faced me to a wall and suggested imagine I'm talking to a hostage rather than a girlfriend. I guess he wanted to see how I was with direction.'

'So when you hit him, it didn't bother him?' asks Hugh.

'No', drawls Shuler with a big grin. 'We kissed and made up!'


--------------------------------------------------------------------------------

It's great fun sitting between these two keenly intelligent, humorous men. Hugh with his rangy build and wide smile is a dramatically good contrast to Shuler's broad-shouldered, powerful presence and unexpectedly sweet expression. Hugh's voice, despite his English parents, is pure Australian and he speaks quickly and expressively. Shuler's voice is slower, deep and resonant with a touch of the South in his American accent.

'Brilliant rehearsal period', says Hugh. 'We didn't sing for about five weeks!'

'Well, we all knew I could sing!' Shuler puts in.

'What you had was what we were going to get', says Hugh. 'So they might as well save it....'

Was the move to the Lyceum popular with them? The show seemed so very at home in the Olivier Theatre where the thrust stage and available depth leant itself perfectly to the great sweep of the landscape. At the Lyceum, it seems to be a little cramped by comparison.

'It's really only a matter of about four feet,' Hugh explains. 'There are elements at the Lyceum I really enjoy. It has a great natural acoustic and you can hear back, which you can't at the National. But the National has the best sound department in the world! Although I miss having the conductor at the front.'

The orchestra is still on stage behind a scrim. I tell them that I know their current conductor would rather be in the pit.

'Really?' says Shuler. 'I've heard he's a bit of a hothead! But he's Welsh. And vegetarian.'

The three of them then digress into a discussion about the upcoming rugby match and I have to force them back into the interview by reminding Nick that he's the photographer!

'I think,' says Hugh, 'that both of us feel we would not have been so quick to jump in again if a lot of the original cast had changed. Particularly for me,' indicating Shuler, 'this guy here. Trevor, in rehearsals, gives a fantastic feeling of freedom to everybody - we did the scene in the smokehouse about four different ways.'

'In my role,' Shuler adds, 'I don't relate to many of the people on stage, so if Hugh and those others had not stayed, neither would I. The National creates a great community of actors and we had that foundation of being born and rehearsed and nurtured there. But it has been like three different shows. The National, then the film which is completely different - more detailed and the sets were more enclosed - then the Lyceum, different again.'

Hugh takes over. 'I think very few actors could honestly say they loved doing anything for twelve months. But at the end of three months, I felt I wouldn't mind doing some more. Usually, at that point, it becomes hard work. And I love the smokehouse. It's exciting because I never know what's going to happen!'

Shuler joins in. 'There's a huge trust between Hugh and me in that scene so I've never been worried. We seem to be connected in such a way that there's always a reason for what we do with it.'

'I have to tell that story now,' interrupts Hugh.

'Uh-oh, here we go!' says Shuler.

'There was one time,' Hugh begins, 'when the house didn't revolve, so the smokehouse was facing stage left and you couldn't see a thing. I'm basically stuck and the music has got to where I knock at the door. Shuler is on stage, looking through at me and wondering what to do.'

'So Hugh started clucking like a chicken,' adds Shuler.

'And I start yelling at him to come outside, but I don't know what I'm going to say when he does - but I've made my bed and I've got to run with it. Shuler comes out and I start saying things like "You goin' to the dance with Laurey?"

Shuler takes over his part. 'Yup!'

'Then I said, "Any chance I could have a dance with her? Or maybe with you?" I was just burbling, saying anything!'

'I watched him in amazement,' Shuler says, 'as he dug himself deeper and deeper in!'

'Then what did you say?' asks Hugh.

'I said "You wanna play a game of cards?" ' purrs Shuler.

'And I said, "Yes, yes"!'

'But we couldn't get back to the script so we couldn't sing Poor Jud Is Dead!' Shuler explains.

The run at the Lyceum ends on 26 June and bookings are pretty solid. Then there will be the film. Or video, surely?

'It is getting a release of sorts,' Hugh says, 'and it was negotiated with us on a film contract, so there will be a cinema release somewhere. Wagga Wagga maybe.'

'Welcome to Wagga Wagga,' begins Shuler, 'where every night, Oklahoma! will be shown as a prelude to....'

'.....Armageddon!' finishes Hugh.

The first time Hugh can remember performing is standing on a box, singing songs from Camelot at age five. Then he did school plays and eventually went to drama college. During that time, he worked in a service station and has fond memories of being the only petrol pump attendant who couldn't put oil in cars. He acts it out for us.

"Excuse me, can you help me? My car needs some oil."

'Sorry Ma'am, but for security reasons....'

Shuler also acts out his spare time job at a drive-in burger bar, giving an excellent imitation of the static preceding the scripted dialogue.

'Zzzzhhh! Would you like fries with that? Zzzzhhh! What about a coke?'

Shuler went to classical music school first. His mother, a ballet director, used him in her productions of The Nutcracker when he was four or five and had always said that ballet and classical training was the best. That's what he did, but he was at college on a baseball scholarship. This news excites Hugh.

'A baseball scholarship. Really? Does that mean you were hand-picked for a possible professional baseball career?'

'Well, I was actually recruited out of high school for the pros for baseball. But I didn't do it. I went to New York and did the whole opera thing.'

'Did you see a lot of opera as a kid?' Hugh is still in interviewing mode.

'I never saw any opera until I was 18 or so, I guess,' says Shuler. 'And I thought it was somewhat boring, but studying it is different. The whole concept of sitting in a huge hall with no mikes and having to project your voice with a fifty-piece orchestra - it's pretty overwhelming.'

So will Shuler go into opera at some point?

'I didn't enjoy the whole concept of opera-acting per se. Opera singers seem only to be worried about the notes sounding good, but it should be so much more than that. So I got out of it to do some straight stuff and the musical theatre. Working with Trevor was perfect because it came from the acting point of view.'


--------------------------------------------------------------------------------

Both men have loved being in the UK. 'Australia has a healthy appetite for theatre and the standard is very high,' says Hugh. 'But it's kind of mind-blowing, coming to a place where the entertainment listings are as big as the employment listings back home. There's a lot going on, but it's nothing compared with here, which is a huge community. I've met some interesting people and found the conversation not always dominated by talk of acting. This show has been the most satisfying work and the most fun I've had on stage. I love the fact that Shuler and I are from opposite sides of the world and can come together in the same show. His way of approaching the work is a mixture of his big heart and an intellectual take.'

'The show makes the world smaller,' Shuler takes over. 'Hugh's and my paths have never crossed before, yet we have all these things in common. Trevor put together a small town in Oklahoma and made it real by using people from all over the world! It's the most rewarding experience.'

The drill has started up again and anyway, it's time for all three of my companions to get across the road into the theatre for the evening performance. Hugh and Shuler offer to pay the bill. I wouldn't hear of it - they were worth every penny!

© Lynda Trapnell, 1999

[njr]

Those two are so great together! ❤️

[jo]

It looks like another Tour Company is marketing tickets to The Music Man as part of its tour package attractions. Rare to see it for a show that has yet to open till 7 months from now! And... usually, if a Broadway show is part of the tour package -- it is for the older and more established shows! Of course The Music Man has its own pedigree...but Hugh's involvement in it must be an extra special attraction itself!

Even if any prospective clients for this tour company do not take the ticket offer, they may actually decide to get tickets themselves ( maybe for much better seats?) upon learning of the revival with Hugh?

[jo]

If you wanted to see THE MUSIC MAN at very close range, hope you got your tickets early.

They have raised the price for Top Premium Seats!


www.telecharge.com/Broadway/The-Music-Man/Schedules-Prices


Based on availability on test-checked dates for the first 4 months, it looks like Top Premium seats are selling very, very well!

Lol - we all want to stare at Hugh Jackman

Jo

[jo]

There are still seats available during the high season and in Jan-Feb, but the Top Premium seats seem to be practically gone or maybe partly withheld?


Jo

[jo]

HOWEVER --

The pricing structure with TOP Premium Price which has been raised ($599 & $ 550, both excl fees) is good only from Sept 9 to Dec 30, 2020. No tickets are being sold for Opening Night and New Year's Eve!

When January comes around till April - the lower pricing structure for Top Premium becomes operative again - "dynamic pricing" ( originated by the Shuberts since A STEADY RAIN) for you!

Jo

[jo]

Tickets have been on sale up to April 25 for sometime now -- these are for a NEW BLOCK OF TICKETS which are now being offered. Pricing is based on their winter pricing structure ( from January 5 to April 25). It is really only for Top Premium where prices differ between periods. Btw, if you got your tickets when it was first made available in September or around that time, TOP Premium tickets ( Highest level) cost $ 100 less per ticket.

If you have been trawling the site quite regularly, there is not much new availablity -- but maybe they are talking of rows in both Orchestra and Mezzanine?

I hope the secondary market sellers ( such as StubHub) are not cornering them fast. What I have observed is that these secondary sellers seem to have banded together when it comes to a central inventory of available tickets ( they basically draw from the same source) -- but the pricing may not be the same for each secondary market seller. Also, if you buy from them, there is commission that is tagged on top of the quoted price.


Jo

[njr]

This is the first time I recall you mentioning any tickets were $100! If so, I would have gotten them!

[jo]

Sorry, if the sentence was misunderstood - but this is what I wrote :

TOP Premium tickets ( Highest level) cost $ 100 less per ticket.

It was $ 499 then... now it has been raised to $ 599, during weekends.


Jo

[njr]

Figured it was too good to be true!

[mamaleh]

Aren't there still some mezzanine seats for $100 ($99)? Looks that way on Telecharge.

Ellen

[jo]

Now holding auditions for the role of Winthrop --


www.broadwayworld.com/article/Broadway-Bound-THE-MUSIC-MAN-Will-Hold-Open-Call-for-Winthrop-Paroo-20200211

www.signupgenius.com/go/904094eadac2aa0f94-themusic

Interesting --

*They will be casting someone in the 7-10 year old range. Can he be the son of Mrs. Paroo, given the age and look of the actress playing her?

*They also welcome all ethnicities for the role. If the casting turns out to be a person-of-color, will this be simply a case of suspension of disbelief ( as is the tradition in the theatre)?

Or could he be a foundling and adopted by Mrs. Paroo?

Also, it is confirmed again that rehearsals start in July, 2020.


Jo

[njr]

Feb 11, 2020 13:43:31 GMT -5 mamaleh said:

Aren't there still some mezzanine seats for $100 ($99)? Looks that way on Telecharge.

Ellen

You are correct Ellen - I just looked. For some reason, the seating chart wasn’t showing up so you could pick your seat. I would like to go, but maybe not until next April. This year I’ve spent a lot on an upcoming cruise Mar. 28-Apr. 4 and trip to Liverpool and London in late Aug/early Sept.

Nancy

[mamaleh]

Have a great time on your travels, Nancy.

Ellen

[jo]

At least on ATC - the discussions are more befitting a theatre board!

First, they are asking if Sutton can sing the soprano voice needed for the role of Marian ( obviously with Barbara Cook and Shirley Jones as the templates).

www.talkinbroadway.com/allthatchat_new/d.php?id=2479366

Follow through the discussions - some interesting points raised, especially if you are familiar with the music score and how they were originally sung on stage and in the movies.

[jo]

And then they ask about Hugh's singing ability --

www.talkinbroadway.com/allthatchat_new/d.php?id=2479378

Related question: Can Hugh Jackman sing the score?
Posted by: NoPeopleLike 12:54 pm EST 02/12/20
In reply to: Can SUTTON sing THE MUSIC MAN as written? - StaunchKarakter 12:11 pm EST 02/12/20

Or will we get his usual shouting of the songs?

Posted by: PlayWiz 01:07 pm EST 02/12/20
In reply to: Related question: Can Hugh Jackman sing the score? - NoPeopleLike 12:54 pm EST 02/12/20

Preston had musicality and rhythm and pizzazz up the wazoo, especially shocking as he hadn't really had any prior musical productions or films on his resume, and he had a basically nice singing voice with excellent diction. (Yes, he overdoes the end of "Movies were Movies were MOOOOOOOOooooVIIEEEEES" in "Mack and Mabel.") But otherwise, he gives the songs in his shows their due.

Jackman will be fine, as this is an easier score to sing certainly than "Les Miz" (!) where his rather unpleasant blend of nasality and throatiness really couldn't be overlooked by looking at him being charming, whereas Harold Hill, like his Peter Allen, you probably can. I wouldn't put it past him if he tries to do that one-person "Rock Island" thing as an encore at the end of the show, though it's not as good as he thinks it is.

Posted by: Chazwaza 12:56 pm EST 02/12/20
In reply to: Related question: Can Hugh Jackman sing the score? - NoPeopleLike 12:54 pm EST 02/12/20

I'm not sure where you're drawing this idea from that he shouts his songs... but if Robert Preston, a man of very limited singing ability, can sing the score then Jackman can handle it. To say nothing of Matthew Broderick...

Whether he has the ideal voice or mix of acting performance and vocal performance for this specific score and character, I don't know yet.

Posted by: Pokernight 12:58 pm EST 02/12/20
In reply to: re: Related question: Can Hugh Jackman sing the score? - Chazwaza 12:56 pm EST 02/12/20

If he could sing Curly in Oklahoma, I think he can manage this.

[jo]

Further discussions --

Posted by: JereNYC ([e-mail]) 12:42 pm EST 02/12/20
In reply to: re: Can SUTTON sing THE MUSIC MAN as written? - PlayWiz 12:26 pm EST 02/12/20

There was a good deal of discussion about this here when Foster's casting was announced. Some made the point that, just because we haven't heard this kind of singing as yet from Foster doesn't mean that she can't do it. Others made the assumption that keys would be lowered for her because, if she had that kind of voice in her, surely we'd have heard it by now, given that Foster has been a Broadway star for nearly 20 years at this point.

The point was made that, if keys are being lowered specifically for Foster, that's kind of a shame given that casting her was unnecessary since the production will likely sell out completely on Jackman's name alone. And, since we know that to be the case, why not cast a lesser known or unknown actress who can sing the role and make her a star. Also it was pointed out that Marian's music is unique in the show for a reason and lowering the keys works against that dramatically and harms the character and the storytelling.

But here's the thing...nobody here knows anything for sure and those that do know, likely the producers, the music staff of the production, and Foster herself aren't talking. If the keys are lowered, I will be curious to see if that is addressed by anyone in any way or if it will just be ignored.

I was reminded this week of the 2000 revival by Rebecca Luker's sad health news. Whatever faults that production had, and it had many, Luker was in glorious voice and it was worth seeing just to hear her do the big numbers with her soaring soprano.

i do REALLY wish they'd have cast an unknown or barely broken rising star as Marion
Last Edit: Chazwaza 12:49 pm EST 02/12/20
Posted by: Chazwaza 12:45 pm EST 02/12/20
In reply to: re: Can SUTTON sing THE MUSIC MAN as written? - JereNYC 12:42 pm EST 02/12/20

For the exact point you made. Not to mention that not only do I think Sutton can't sing this role as written, I think she is miscast for it.
But putting that aside, as it is not everyone's opinion, but the real point is that it's VERY rare for a broadway show to be a sure-fire hit on the name of one lead actor alone, and this was a chance to discover and/or enormously propel the career of someone who isn't a name and hasn't had a star career at all let alone for almost 20 years.
And whether it meant casting an unknown or a stalwart broadway actress, either way I'd love to hear the role sung as written.

re: Can SUTTON sing THE MUSIC MAN as written?
Last Edit: KingSpeed 04:59 pm EST 02/12/20
Posted by: KingSpeed 04:58 pm EST 02/12/20
In reply to: re: Can SUTTON sing THE MUSIC MAN as written? - JereNYC 12:42 pm EST 02/12/20

Luker was awesome. Most thought Audra couldn’t sing like Billie Holiday. Power balance would be too far off with an unknown going up against Jackman. A star is necessary.

re: i do REALLY wish they'd have cast an unknown or barely broken rising star as Marion
Posted by: winters 06:56 am EST 02/13/20
In reply to: re: i do REALLY wish they'd have cast an unknown or barely broken rising star as Marion - broadwaybacker 01:39 pm EST 02/12/20

Given that Foster is talented and could surprise my limited imagination of her in the role (Sorry. I am not the biggest fan. I find her ‘the same’ in most of the roles she plays, including television.)... I would much rather see Osnes as Marion. Jackman, also a good pick, will sell the tickets....Osnes will sing it...beautifully.

[carouselkathy]

Maybe Sutton will surprise us. My first choice would have been Kelli O'Hara.

[jo]

I found this clip of Barbara Cook's version of 'til There Was You ( original Broadway cast recording) --




Hugh will be sad that his friend and No 1 fan, Barbara, will no longer be around to see him in The Music Man!


Robert Preston joins her towards the end… looking forward to hearing Hugh doing the same melodic duet with Sutton!



Jo