Filmic exactly in what way? Many Hal Prince stagings (though not Prince exclusively) are/were "filmic", using "cuts" onstage with precise light changes and entrances. Follies, for example, was staged as a series of disjointed moments. The background music (played by an onstage band and supported, I think, by the orchestra) actually shifted between moments as it might in a realistic film document of a backstage party, switching mid-song as characters appeared here and there on the set.
That kind of visual guidance is similar to one of the most basic concepts in film editing, which is described by Walter Murch as finding the "dot" on-screen that audiences are watching and making sure its path doesn't get muddled from shot to shot.
Visually, as in lighting/equipment, there was a production of three Antonioni films that was staged on a blue-screen with cameras on tracks and big lights, and the audience watched the live performance both on the stage and on big screens above it, which displayed the camera output. I don't know how successful or entertaining it was but you can watch a clip here: https://vimeo.com/80484327
The original production of DREAMGIRLS has often been described as very cinematic, with the rotating mirrored columns and exquisite lighting (someone else perhaps who saw it could give a better explanation!)
Watching the DVD of Love Never Dies often made me feel like I was watching an actual film instead of a filmed stage production. While a lot of that had to do with camera angles and close-ups, one could argue that the overall design of the show (lighting and scenery in particular) lent itself to a more cinematic approach.
"Was uns befreit, das muss stärker sein als wir es sind." -Tanz der Vampire
Yeah Phantom's the same way, some scenes just feel like you're inside a movie. It's magical. Also some scenes and sets in Newsies give off a movie feel. I think so many others are includes but I just can't think of them
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Josh Logan's staging of SOUTH PACIFIC was considered to be cinematic, at least for its time. Oddly, when he directed the film version nine years later his direction was quite stagy.
I'm not 100% sure what this question is asking for, but to me, there are some sequences in the current Broadway production of Les Mis that definitely feels "filmic" to me (most prominent in my mind is the scene in the sewers).
"Impossible is just a big word thrown around by small men who find it easier to live in the world they've been given than to explore the power they have to change it. Impossible is not a fact. It's an opinion. Impossible is not a declaration. It's a dare. Impossible is potential. Impossible is temporary. Impossible is nothing.”
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It was discussed in great detail in articles and reviews at the time. Everything from "reverse angles" to onstage costume changes that felt more like cross-cutting.
Michael Bennett, Michael Bennett, Michael Bennett ...
"Jaws is the Citizen Kane of movies."
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The Dreamgirls staging was based in part on the use of the movable - and automated - light standards (which a large amount of the budget went towards). They would move and create a "swipe" edit. The lights could focus on one section of the stage and flip quickly to other sides - and really direct your attention. The standards cut the stage up into different clusters. Robin Wagner was the designer of the light standards (and also did City of Angels, among many others). Robin Wagner Wagner's scenic design for Dreamgirls lost the Tony to Nicholas Nickelby) but Tharon Musser won for Lighting Design - even though in Dreamsgirls, the lighting design was so dependent on the scenic design!
I don't know that it was "filmic staging" but Bennett restaged the opening of A Chorus Line for the Tony Award broadcast cameras. I guess that was staging for film - and not the audience.
Jerome Robbins's transitions in the original West Side Story (from the dress shop to the dance at the gym, into and out of the dream ballet) were "filmic."
Bad Luhrmann's La Boheme was extremely filmic and simultaneously very theatrical. In fact, I think they used many film techniques/instruments when it came to the lighting.
For some reason I thought that Let the Right One In felt cinematic. Obviously the Hoggett gesture-choreography was very theatrical, but other than that it felt cinematic to me. Partly because of the incidental music, and partly because of the general flow and pacing of the script.