Dear World coming to America?

[Joviedamian]

Per BWW interview:

Gillian Lynne-

"We're running for eight weeks, but we hope to be picked up during that time. There is colossal interest, from America too."

Read more: http://westend.broadwayworld.com/article/BWW-Interviews-Gillian-Lynne-About-DEAR-WORLD-And-CATS-20130121-page2#ixzz2Ih45iXXg

[goldenboy]

I would love for them to bring it here so I don't have schlep back to London in the
Spring.

[emilyfaye48]

yes please

[After Eight]

"There is colossal interest, from America too"

I wonder why there would be "colossal" interest ftom America in presenting Dear World when there has been practically none here in the 44 years after its premiere.

Does everything have to have a London imprimatur to accord it value? And does anything with said imprimatur immediately have it?

But by all means, let's hope it comes.

Because, dear world, do we ever need Dear World now.

[Wynbish]

Could Betty's involvement be the catalyst for why it's "colossal" now?

[After Eight]

^

Maybe.

But she didn't seem to generate much interest --- or box office -- in White Lies a few years ago.

[Reginald Tresilian]

That's true. On the other hand, she didn't sing in that.

I think the combination of Buckley back in a musical, and a seldom-seen but often-discussed show might just work.

[castlestreet]

Small theater, would be Buckley's first go on a Broadway stage since I believe Triumph of Love- might sell. Especially if word of mouth is strong our of London.

[PalJoey]

I would go see Betty Buckley sing this score, especially "I Don't Want to Know." In a heartbeat.

[Mr Roxy]

Angela L could not sell it so why will Betty be able to?

[Matt Rogers]

Wasn't this some big flop when it originally opened? It played on Broadway a couple of months in the late 60's and then closed. Unless this is some sort of revealatory reinvention , WHY BOTHER?

[hushpuppy]

Why bother? Because, IMHO, the show has a wonderful score by one of America's great musical composer/lyricists. Yes, it was a major flop in 1969, but if you refer to Jerry Herman's autobiography, he describes how the original production was mis-conceived as a 'big' musical, booked into a huge house (the Mark Hellinger), where it is really a small show that should have been staged more intimately. Plus, audiences were expecting to see the glamorous Angela Lansbury from MAME, not a dotty old hag. Listen to the score, it's marvelous. Besides, if we don't revive and re-examine flops, we're doomed to endless revivals of OKLAHOMA! and THE SOUND OF MUSIC.

[Matt Rogers]

Well, I don't say this often, but, point taken! Do we think Miss B will behave herself?

[Dollypop]

What's wrong with THE SOUND OF MUSIC?

[Mr Roxy]

Dolly. Nothing wrong with TSOM

I saw the original and agree the score is a gem. I still see no reason for a revival

[frontrowcentre2]

Having recently seen a scaled down local production, the musical doesn't really work because the writing is too heavy-handed. Also it is not really a show for a big lady star. Yes, the countess is central to the story, but the role might be more effective when played by a performer with less high wattage presence.

The score - as has been noted - is wonderful but it is not the right score for such a delicate piece. It plays big and brassy when what the source material requires is more of a chamber opera approach. (Something more along the lines of PIAZZA.) Trouble is, people who know the songs from the OBCR want to hear the songs in that style, but what works on a record doesn't always work in the theatre.

[After Eight]

"Also it is not really a show for a big lady star. "

The Giraudoux play was performed by Marguerite Moreno, Edwige Feuillère, Martita Hunt, and the movie by Katharine Hepburn. Big lady stars, high wattage presence.


The score works in the theatre and on record. The last thing Dear World, or any show needs, is an etiolated, ugly chamber score à la Piazza.

[jayinchelsea]

Saw the original show, and while Angela was excellent and there are some really good songs, the book was a mess and the evening overall was a bore. Is there a Broadway producer out there who has millions of dollars to invest in a show that doesn't work? And can Betty Buckley sell a bad show? It wasn't the production that was a problem, it's the show.