By Steven Suskin
Broadway Season 1999-2000 is a different and distinctive consultant to the theatrical yr proposing forty six varied indicates. the quantity includes a finished dialogue of each express that opened on Broadway in the course of the 1999-2000 season in addition to numerous non-Broadway productions of value or basic curiosity. each one access is followed by way of credit and forged lists, scorecards summarizing total serious reception for every exhibit, and a recap of every show's monetary functionality. a brand new form of theatre annual, this special quantity discusses what the exhibits are literally like (instead of purely counting on plot synopses or photographs). it really is an interpretive checklist, that includes not just dates and names but in addition the tales in the back of the data. beginning evening identify pages illustrate every one exhibit dialogue. Appendices contain a roundup of the season's significant awards, memorable performances of the 12 months, obituaries, long term leaders, indicates nonetheless operating from past seasons, scheduled indicates that by no means reached Broadway, and a accomplished index. Steven Suskin has supplied a correct and irreverent checklist of the year's memorable excessive issues (and low points). Written from an insider's point of view, the e-book is a professional, fascinating, provocative, and exciting.
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Extra resources for Broadway Yearbook, 1999-2000: A Relevant and Irreverent Record (Broadway Yearbook)
Or whenever you were 19. The place is New York City (Brooklyn & Manhattan) Original London Cast Recording: Polydor 557 932 Saturday Night Fever 37 So this guy sat down and wrote Show Boat. I am simplifying things here, needless to say, but Oscar Hammerstein — with composer Jerome Kern — started something right then and there, which Hammerstein went on to develop (with Richard Rodgers) into the model of the wellmade modern-day American musical. Movie musicals have been adapted into Broadway musicals, at an increasing rate, since the early 1970s.
OCTOBER 29 Wise Guys I t is against all rules of civilized society to review Wise Guys, which was presented as a “special workshop” at the New York Theatre Workshop for three weeks in November 1999. This was a work in progress, presented with no scenery, no costumes, and a minimal band of three pieces. The full show was only barely presented; audiences attending the ﬁrst week saw the ﬁrst act; half of the second act was added sometime later; and the whole show—at least as much as was ﬁnished, in the preliminary sense of the word — was presented to the ﬁnal audiences.
But they, typically, at least hoped that the reviews People were disco dancing to the wouldn’t be too harsh. The Saturoverture; one fellow seated in the front day Night Fever people pretty row was doing kind of a hand-snap, much knew what was in store; head-whip step. Poor guy almost poked but they knew, too, how to sell tickets regardless. (Quote from his eye out. ”) You’re talking about Robert Stigwood here, a fellow who knows something about selling pop music. He’s the guy who signed up young Brits Andrew Lloyd Webber and Tim Rice, producing the original New York and London companies of Jesus Christ Superstar and Evita; he also produced the ﬁlm version of Grease and the original Saturday Night Fever.