Results tagged “glory days” from Drama Queen

...Because it doesn't look like April 1. 

So does that mean this is for real? For really real? Is American Psycho really slated to hit Broadway in 2010? 

Didn't anyone learn their lesson from The Fly, the opera? I'm all for Grand Guignol revivalism, and even more for Bennington grads making mad money, but seriously? American Psycho, the jukebox musical? Didn't The Wedding Singer satisfy everyone's '80's cravings when it closed after less than a year? Didn't Glory Days satisfy everyone's thirst for blood?

I'll bet anyone a bloody, bloody Andrew Jackson (I'm not one of those Bennington grads making mad money) that Patrick Bateman's catalogue of murders--assuming it ever makes it to the stage--will rival the Moose Murders for the terror it inspires in its investors. 

But, um, if everything does work out, who wants to drive up with me to see it? 

Below, Bennington grad Justin Theroux in the film based on Bennington grad Bret Easton Ellis' book.
September 25, 2008 11:17 AM | | Comments (3)
Ok, so now we all know that Glory Days opened and closed in one, ahem, glorious day, and by all I seriously mean all. But on this, the day of Tony nominations, it's worth noting there's more to the story than Ben Brantley's power to shut down an entire Broadway enterprise. In fact, Mr. Brantley, in his review of the show, was surprisingly gentle, and noted:

"It's been a season of thinking small for the Broadway musical. Two front-runners for the Tony, "In the Heights" and "Passing Strange," are also intimate, personal shows imported from non-Broadway houses. I can see why the producers of "Glory Days" might have thought this was an auspicious moment for a big-time New York transfer ... I do find it heartening that a pair of enthusiastic and gifted young artists have fallen in love with that beleaguered form, the musical, as a means of self-expression."

However, I think he's completely wrong about "that beleaguered form." The musical is making a comeback, though not the kind fed by producers feverishly bent on re-animating '70s film comedies or '70s music, or regurgitating sure-thing revivals, but by the generation that grew up fetishizing Rent and Moulin Rouge. 
The winds seem to have shifted with Avenue Q, the little show that could--and could while leaning heavily on irony and angst. But after last season's massive success of hormonal rocker Spring Awakening, the fact that Glory Days, a musical by 20-something recent college grads, made it to Broadway right alongside In the Heights, also written by a 20-something recent college grad, surely bodes well for those late bloomers still editing away in urban garrets around the nation. It took Stew a little longer than those other boys to create Passing Strange, but judging by today's nominations, it doesn't seem to have affected his accolades any. There's also the baby-faced team of Alex Timbers and Michael Friedman, who wowed L.A. with their emo-musical about our seventh president, Bloody Bloody Andrew Jackson. And what do all these brash new musicals have in common? None of them look or sound like a Broadway musical, several aren't even native New Yorkers, but together they all sound like a burgeoning movement.

These might be dark days for the big, bloated Broadway musical, but for the form itself? As they sing in that re-animated '70s film comedy Spamalot, "Keep him off the cart because he's not yet dead." 
May 13, 2008 3:41 PM |
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