Alanis Morissette gave us one of the best break-up songs of all time with “You Oughta Know” and now we can enjoy it on the big stage — Broadway. Alanis Morissette’s Jagged Little Pill album is going to become a Broadway musical. (So pay your nanny, Alanis. You can afford it.) From Daily News:
The 39-year-old musician’s repertoire will form the scaffolding of the play, which is scheduled to open in 2014.
“I look forward to taking the heart of ‘Jagged Little Pill’ and expanding its story, fleshing it out into deeper layers of emotionality, specificity, humanity, power, physicality, spirit, and fabulism,” Morissette said in a press release.
The singer will collaborate with Vivek J. Tiwary and Tom Kitt for the show.
“‘Jagged Little Pill’ was a triumph of self-expression — an album that was impossible to ignore with its massive sound and raw honesty,” Tiwary said in a statement. “I’m proud to be working with Alanis to bring that same emotional power and bravery onto a Broadway stage.”
So yeah, this is really happening. Would you see it? Let me rephrase, would you see if it you were in NYC and had time and tickets were reasonable? What if they were free?
I’m guessing Dave Coulier won’t. Fuck that guy!
Follow us on Twitter | Facebook
Orlando Bloom (still exists!!!) and Condola Rashad are set to star in Broadway’s first ever interracial production of Romeo and Juliet. Weren’t Romeo and Juliet teenagers? I guess they’re changing that up too.
What is this poster? Is this not the worst and cheesiest bit of Photoshop you’ve ever seen?
Here’s some info about the play, directly from Playbill:
Orlando Bloom (“The Lord of the Rings”) and Tony Award nominee Condola Rashad (Stick Fly, The Trip to Bountiful) will be the star-crossed lovers of a new Broadway revival of Romeo and Juliet, to be staged by Tony Award nominee David Leveaux this August at the Richard Rodgers Theatre.
The revival will begin previews Aug. 24 towards a Sept. 19 opening.
According to producers, “In this new production, the members of the Montague household will be white, and the blood relatives of the Capulet family will be black. While race defines the family lineages, the original cause of the ‘ancient quarrel’, passed down by successive generations to their young, has been lost to time. Shakespeare’s dramatization of the original poem sets the two young lovers in a context of prejudice, authoritarian parents, and a never ending cycle of ‘revenge.’ Against this background, the strength of their love changes the world.”Producers have also announced that 100 tickets per performance will be set aside at $20 for purchase by students and educators.
Tickets for Audience Rewards members go on sale beginning April 1 at noon. They will go on sale to the general public on April 8 via Ticketmaster.com.
Let’s hope this one goes over better than Breakfast At Tiffany’s on Broadway.
Seriously though, that poster. Come on.
Breakfast At Tiffany’s, the Truman Capote novella, was famously adapted to film starring Audrey Hepburn and recently for Broadway, starring Emilia Clarke. Unfortunately, the reviews suggest they should have stopped at the movie. Let’s take a look.
Emilia Clarke is obviously talented, but she is so miscast as Holly Golightly that it’s kind of shocking.
There’s no palpable connection between [lead characters] Fred and Holly…[Clarke] has the air of an impostor, which is good (and her best quality in this role)…But this is not a nuanced performance that reveals personal dislocation or pain, or some emptiness inside, or any kind of journey.
The Hollywood Reporter:
Clarke doesn’t demonstrate the maturity to convey Holly’s unique dichotomy of breezy insouciance and jaded calculation…[her] delivery mostly comes off as effortful over-enunciation…Far more than the casting or writing, however, the insurmountable problem is Mathias’ cloddish direction. One scene bumps into the next with painfully awkward transitions…
Emilia Clarke…can’t pull it off. She’s likable, she sings her one song (not “Moon River”) well, and she looks lovely in Colleen Atwood’s costumes. But when a girl named Golightly has to work at effervescence, something’s wrong—and it’s wrong throughout the production…Breakfast at Tiffany’s gets dreary pretty fast.
Richard Greenberg’s new stage adaptation of Breakfast at Tiffany’s is a meandering misfire lacking the charm and oomph of either Capote’s 1958 novella or the 1961 movie…[Clark] she comes off as shrill rather than insouciant…Greenberg’s entire first act is a slog, bogged down with dreary exposition and the introduction of far too many quirky but uninteresting characters.
All of the reviews agree on one thing: the cat is fantastic. Yeah, that’s a real-life motherf-cking cat, and it steals the whole motherf-cking show.