Remember that @ev tweet?
Anyway, Fox is going to try it.
If successful, live theater can be an important cushion for movie studios, whose financial fortunes often whipsaw from quarter to quarter as films hit or miss. As the film business becomes more treacherous because of rising costs, studios see Broadway as a safe place to dabble because the investment required is relatively small, especially compared with the potential upside. Losing $20 million on a failed stage musical seems like nothing in Hollywood, where a movie bomb can result in a write-down of $100 million or more.
Musicals based on movies will probably do fine because of the exposure the property already has from the movie. But I do question how good an Aliens musical would be.
Leave it to jazz musicians to think the problem with jazz is the audience and not the art form.
When we ask “How do we develop and maintain a strong jazz audience?” what we are really saying is “How can we convince millions of people to alter and expand their aesthetic sensibilities and their cultural proclivities so that they include jazz to such an extent that they will regularly attend concerts and purchase recordings?” And that statement itself is embedded within another Herculean task: “How can we convince people to embrace music that is no longer part of the popular culture?”
Related: it drives me nuts when I read some conductor say that the way to bring in younger people to classical music concerts is to allow them to leave and enter the auditorium freely during performances. Really? The problem is that these young people need to stretch their legs and wander a few times during the evening?
If you’re creeping on me you could check out the Wilder Weekend, a performance of three Thornton Wilder shorts, the theatre group I’m involved in is putting on this weekend.
Our director speaks with Todd Moe of North Country Public Radio about the program.
A look at the history of the Upright Citizens Brigade.
The licensing agencies that be took away the rights to a modified performance of Little Shop of Horrors performed by the Boxcar Theater Company. The modifications violate the terms and conditions that performance groups agree to in order to be allowed to do a show. This report on Playbill.com hints at some of the changes made in the Boxcar production.
I think this response from Jason Robert Brown1 is closest to my thoughts:
The problem that Nick doesn’t seem to want to acknowledge is that the words “LITTLE SHOP OF HORRORS” are what sold his tickets. He needed the authors’ work in order to do his job of making wonderful, thrillingly creative theater out of it. But to suggest that those authors shouldn’t be allowed to collaborate (by their approval) in his process is grossly unfair.
I think if you’ve ever used a Creative Commons license you may feel the same way.