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While Olympic ceremonies and Broadway productions/craftspeople have intersected before, never has it been more blatantly apparent as this season.

Am in NYC for a week of Broadway shows. And while George Tsypin who created the SOchi 2014 opening ceremony and designed that monumental Broadway turkey, SPIDERMAN, of the 7 shows I hope to see by tomorrow, already 3 have outright creative people behind the shows trumpeting their Olympic ceremonies work in their Playbill bios. SO far --

AN AMERICAN in PARIS - good show; projections by 59 Projections who worked in London 2012 OC.

DR. ZHIVAGO - heavy, grandiose work; like a LES MISERABLES with a Russian accent. Lucy SImon's music is beautiful but too many power and soaring ballads. Scenic design by Michael Scvott-Mitchell who...and it says so right in this bio credits: the Cauldron and Ceremonial stage for Sydney 2000.

Last night, I saw FINDING NEVERLAND which I think will be the big hit of the season. Wonderful upbeat score; Matthew MOrrison and Kelsey Grammer are both terrific leads!! Costumes by Suttirat Anne Larlarb who had some ugly costumes for London's OC. NEVERLAND opens tonight. There is some wonderful golddust effects in the show. Can't wait for the OCR when it comes out.

Today I see GENTLEMAN's GUIDE TO LOVE & MURDER; ON THE TOWN; and tomorrow, THE VISIT. Then back home after that.

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While Olympic ceremonies and Broadway productions/craftspeople have intersected before, never has it been more blatantly apparent as this season.

Am in NYC for a week of Broadway shows. And while George Tsypin who created the SOchi 2014 opening ceremony and designed that monumental Broadway turkey, SPIDERMAN, of the 7 shows I hope to see by tomorrow, already 3 have outright creative people behind the shows trumpeting their Olympic ceremonies work in their Playbill bios. SO far --

AN AMERICAN in PARIS - good show; projections by 59 Projections who worked in London 2012 OC.

DR. ZHIVAGO - heavy, grandiose work; like a LES MISERABLES with a Russian accent. Lucy SImon's music is beautiful but too many power and soaring ballads. Scenic design by Michael Scvott-Mitchell who...and it says so right in this bio credits: the Cauldron and Ceremonial stage for Sydney 2000.

Last night, I saw FINDING NEVERLAND which I think will be the big hit of the season. Wonderful upbeat score; Matthew MOrrison and Kelsey Grammer are both terrific leads!! Costumes by Suttirat Anne Larlarb who had some ugly costumes for London's OC. NEVERLAND opens tonight. There is some wonderful golddust effects in the show. Can't wait for the OCR when it comes out.

Today I see GENTLEMAN's GUIDE TO LOVE & MURDER; ON THE TOWN; and tomorrow, THE VISIT. Then back home after that.

Lucky for some.

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Mmm, Mathew Morrison!

Matthew-Morrison-1.jpg

It's really not all that surprising. If you think about it, they're really the best ones to help produce a show on such a grand scale that will translate well for a live audience and TV viewing on a field that large. Although I think the London OC is a terrible example of that as that was catered far more to the home audience rather than the people who it should have catered more to, the ones who spent probably a thousand plus for a seat in that stadium.

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It's really not all that surprising. If you think about it, they're really the best ones to help produce a show on such a grand scale that will translate well for a live audience and TV viewing on a field that large. Although I think the London OC is a terrible example of that as that was catered far more to the home audience rather than the people who it should have catered more to, the ones who spent probably a thousand plus for a seat in that stadium.

Based on spectator videos, I'd say that, of all the accusations against the London OC, that's the least justifiable. It's very apparent that there was a huge effort to make a genuine stadium show which could also function as a "live movie" rather than creating a TV show which happened to have a stadium audience. I commented a few weeks ago on how recently-uploaded spectator videos of the Sochi OC revealed that it was staged and lit essentially for the cameras- one thing which made London a "messy" TV experience was that it was staged for the stadium audience.

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Something Rotten is pretty funny I saw it the other week. It's on previews so it's not in a Broadway theater yet.

Actually, it's at the St. James.

OK, saw the last of my Broadway shows tonight. My rankings:

1. THE VISIT - Broadway at its best. And not because it may be Chita Rivera's last show,,,but it is Fred Ebb's last show before he died in 2004. His composing partner, John Kander, finished the score. Kander and Ebb were responsible for CHICAGO, CABARET, KISS OF THE SPIDER WOMAN among others. Terrific, haunting music! (9 out of 10)

2. A GENTLEMAN's GUIDE TO LOVE AND MURDER - Last year's Tony Best Musical winner. Clever, inventive, complicated, stylish. Again, something that only the best minds in Broadway could conceive! (Also 9 out of 10)

3. FINDING NEVERLAND - Was OK. SCore by the Take That (?) guys. Reviews weren't all glowing. (Maybe a 7.5)

4. GIGI - Frothy, very elegant, old-fashioned show. Just love that classic Lerner & Loewe score. (7 / 10)

5. DR. ZHIVAGO - Very ambitious, soaring, monumental work. Poor scenic design (by that Michael Scott-Mitchell guy). WOuld be very surprised if it won any TONYs this year -- except maybe for either Best Actor or Best SUpportingh Actor. But it's a very heavy show. (6/10)

6. AN AMERICAN in PARIS - Stylish, epitome of Gershwin and very balletic. Leading man Robert Fairchild of the New York CIty Ballet is gorgeous and he moves with such amazing masculine grace. Great designs. (6.5 /10)

7. ON THE TOWN - A turkey. I walked out shortly after the 2nd Act started. Was also the cheapest ticket I paid for ($59 already). (2 out of 10)

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3. FINDING NEVERLAND - Was OK. SCore by the Take That (?) guys. Reviews weren't all glowing. (Maybe a 7.5)

To be precise, by Gary Barlow, the one member of Take That who has consistent ability as a composer. Routinely derided "Mr Nice Guy" who just keeps on quietly coming up with the goods.

Interesting that you hated "On the Town"- did they make major changes since the successful opening last October?

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Interesting that you hated "On the Town"- did they make major changes since the successful opening last October?

I don't think they would. I think it got good reviews. And for the most part, it's frozen after it opens.

It just had too much schtick -- esp the female characters. I just hated the female taxi cab driver and the judge's fiancee. I don't know how they got away with that in the 50s. They were just stickboard, stupid characters. And a scene changed at the drop of a hat, i.e., the flimsiest excuse to move from one nightclub setting to the next. Just plain stupid.

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