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> Frozen - Il Musical
Arancina22
messaggio 20/4/2017, 17:17
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Amelia, Hamilton è un discorso ancora diverso, tanto che da alcuni è stato accusato di razzismo al contrario (cosa assurda, ma tant'è...) perchè ai casting chiama espressamente attori "non bianchi". Tutto il tessuto narrativo è imperniato su questo ribaltamento d'ottica, per la quale i Padri Fondatori sono *necessariamente* non caucasici; il contrasto è voluto.
Blind casting al 100% è quello, ad esempio, di Natasha, Pierre And The Great Comet Of 1812 in cui Natasha, eroina tolstojana, a Broadway è stata interpretata da un'afroamericana mentre Off-Broadway (che io ricordi, eh) aveva un'etnia diversa.
Io in generale favorisco sempre questa pratica perché mi incuriosisce e mi emoziona molto vedere persone di diversa etnia che hanno la possibilità di "dare la loro impronta" a un personaggio, scardinando le vecchie convenzioni di "ruoli da bianchi" e "ruoli da asiatici/afroamericani/marziani"... Il teatro è un medium più libero, completamente diverso dal cinema dove invece si predilige la fedeltà etnica, perlopiù.
Poi, come dice Fulvio, ognuno ha la sua opinione smile.gif


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Capitano Amelia
messaggio 20/4/2017, 18:02
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CITAZIONE (Arancina22 @ 20/4/2017, 18:17) *
Io in generale favorisco sempre questa pratica perché mi incuriosisce e mi emoziona molto vedere persone di diversa etnia che hanno la possibilità di "dare la loro impronta" a un personaggio, scardinando le vecchie convenzioni di "ruoli da bianchi" e "ruoli da asiatici/afroamericani/marziani"... Il teatro è un medium più libero, completamente diverso dal cinema dove invece si predilige la fedeltà etnica, perlopiù.

Ma infatti sono d'accordo con te, credo di essere incappata nella legge di Poe nel mio post precedente visto che credevo bastasse l'emoticon ad esternare il mio vero pensiero... I discorsi sul razzismo al contrario io li trovo assurdi e non capisco perchè si punti spesso il dito sull'etnia di un attore quando si tratta di musical invece di domandarsi se magari la persona in questione sia stata scelta per suo talento. Sempre attori professionisti sono...


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Grazie Simba !

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Arancina22
messaggio 20/4/2017, 18:48
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Tranquilla Amelia, nessuna offesa, ci mancherebbe. smile.gif Ho capito perfettamente che siamo "sintonizzate" sull'argomento e mi fa molto piacere. happy.gif
La mia era una precisazione un po' pignola, volendo. Quando si parla di musical salto sempre su come una molla, ahimé. tongue.gif


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Capitano Amelia
messaggio 20/4/2017, 20:20
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CITAZIONE (Arancina22 @ 20/4/2017, 19:48) *
Tranquilla Amelia, nessuna offesa, ci mancherebbe. smile.gif Ho capito perfettamente che siamo "sintonizzate" sull'argomento e mi fa molto piacere. happy.gif
La mia era una precisazione un po' pignola, volendo. Quando si parla di musical salto sempre su come una molla, ahimé. tongue.gif

E che ti confesso che mi sono sentita un pochettino come se tu avessi equivocato completamente il mio discorso e che recepissi che la mia opinione fosse campata in aria... Poi ho pure paura di essere io in realtà quella che equivoca e che recepisca uno svalutamento nei miei confronti inesistente visto che ho notato che hai capito che io ti avevo frainteso. Comunque mi fa piacere che ci siamo chiarite! hug.gif


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Grazie Simba !

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IryRapunzel
messaggio 21/4/2017, 11:41
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CITAZIONE (Arancina22 @ 20/4/2017, 18:17) *
Blind casting al 100% è quello, ad esempio, di Natasha, Pierre And The Great Comet Of 1812 in cui Natasha, eroina tolstojana, a Broadway è stata interpretata da un'afroamericana mentre Off-Broadway (che io ricordi, eh) aveva un'etnia diversa.

Off-Broadway era Phillipa Soo, che poi è diventata Eliza in (appunto) Hamilton wink.gif E lei è americana con origini asiatiche.


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Arancina22
messaggio 21/4/2017, 18:14
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CITAZIONE (IryRapunzel @ 21/4/2017, 12:41) *
Off-Broadway era Phillipa Soo, che poi è diventata Eliza in (appunto) Hamilton wink.gif E lei è americana con origini asiatiche.

Ecco, come volervasi dimostrare smile.gif
Quindi ricordavo bene. Grazie della conferma Iry!
(Ho visto Hamilton e... addio. heart.gif )


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IryRapunzel
messaggio 21/4/2017, 21:59
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CITAZIONE (Arancina22 @ 21/4/2017, 19:14) *
(Ho visto Hamilton e... addio. heart.gif )

eheheh.gif eheheh.gif

Lo so. rolleyes.gif rolleyes.gif

(E io non l'ho neanche visto! Solo ascoltato!)


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Daydreamer
messaggio 6/8/2017, 8:59
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Ecco il bel poster ufficiale del musical

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messaggio 10/8/2017, 16:53
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Il musical presenterà delle variazioni rispetto al film.
Ci sarà molta meno commedia e molto più dramma interiore delle protagoniste.
Non ci saranno né Marshmallow né i troll, questi ultimi sostituiti dagli Omini Nascosti, figure della cultura Scandinava, che sono belli e di colore verde. Canteranno in lingua norvegese.

Dal sito NY Times:

Disney’s Challenge: Keeping It ‘Frozen,’ but Still Fresh

DENVER — Yes, you will hear “Let It Go.”

Nearly an hour into the stage adaptation of Disney’s “Frozen,” Elsa, Queen of Arendelle, will embrace her fearsome power and turn the stage into a shimmering wintry landscape, at once chilly and magical. The song that launched an ocean of tributes will rev up, and, as the Act One curtain falls, audience members will race out with that impossible-to-shake lyric (“The cold never bothered me anyway”) still in their heads.

But to get there — to create a must-see musical out of the juggernaut movie that made a superstar of Idina Menzel and a belter of many a 5-year-old — has meant several years of tricky decisions, the sort that Disney has largely, but not always, mastered in turning successful movies into stage hits.

That entertainment giant has set the bar for Broadway blockbusters with “The Lion King,” which has grossed $7.9 billion globally. And “Frozen” is no ordinary property, even for Disney. The film, released in 2013, was the highest-grossing animated movie ever, and the stage musical was fast-tracked even before it reached theaters.

Despite an exceptional Broadway track record, from “Beauty and the Beast” to “Aladdin,” the company is still smarting over a pair of high-profile flops (“The Little Mermaid” and “Tarzan”) about a decade ago, and is determined to get this show right.

Along the developmental journey, a period that includes readings and rehearsals, there have been distracting disruptions indicative of the high stakes: two directors (Alex Timbers was dismissed last summer and replaced with Michael Grandage); three choreographers (now Rob Ashford); two set designers (now Christopher Oram, who is Mr. Grandage’s husband and longtime collaborator); and two Elsas (now Caissie Levy).

The show is scheduled to begin previews here on Thursday, Aug. 17 before transferring to New York next spring. Disney is unveiling to the public new songs and special effects that to this point it has held very close.

Given the title and subject of the show, one of the big questions that looms: As Elsa sings her self-affirming power ballad, how will Disney create an ice palace before our very eyes on stage? The filmmakers had close-ups and computer animation; the theatermakers must deliver a parallel punch with sets, sound, lighting and video.

Thomas Schumacher, the president of Disney Theatrical Productions and a veteran of adapting animated films for the stage, bluntly acknowledged that the fame of the song and movie’s young and fervent fan base is a mixed blessing.

“This is the first time we’ve done one of this scale with so much social media around the movie,” he said. “That means that you have seen a lot of ‘Frozen’ around you. I’m sure you could go online and find bleating goats that sing ‘Let It Go.’ Firemen. And schoolchildren.

“People know this material profoundly, and have seen lots of different interpretations,” he added. “That can be a very positive thing, or maybe not a positive. I don’t know.”

Just Enough Surprises

For Disney there is great potential. “Frozen” is expected to cost between $25 million and $30 million to develop, on the high side for Broadway but a small sum for a company that grossed about $56 billion in its last fiscal year.

But when “Frozen” was set in motion, Disney could not have known it would arrive on Broadway during an especially competitive time — directly opposite the new and acclaimed “Harry Potter” play. Another complication: “Frozen” fever is pervasive — the show has been adapted on ice, at Disney California Adventure Park and on a Disney cruise ship, and its characters and costumes are highly merchandised.

Because the “Frozen” material is so familiar, and the fans so intense, finding the right balance between replica and reinvention is complicated.

“You want to do everything they know the piece to be, and go much deeper,” said Mr. Grandage, the show’s director. “It is incumbent upon us to come up with surprises.”

That means new elements starting right at the beginning: Whereas the movie opens on a frozen lake, with a group of singing ice harvesters, the musical will start in a verdant landscape, with a group of scruffy (covered in greenery), sexy (greenery only goes so far), tailed creatures, called hidden folk, drawn from Scandinavian folklore and chanting in Norwegian.

But there will also be lots that is familiar in the show, including the basic narrative, the major characters and even some of the jokes.

“Frozen,” as die-hard fans know, is loosely (very loosely) based on “The Snow Queen,” the great 19th century Hans Christian Andersen fairy tale about the formidable power of love — more specifically, in the Andersen tale, about a young girl’s drive (abetted by a reindeer) to rescue her best friend, a boy whose heart and mind have been frozen by ice shards, from the snow-walled palace of a wintry monarch.

In the musical, as in the film, the snow queen figure Elsa is not evil but tormented — her power, which is the magical ability to create snow and ice, is also a problem, because she is unable to control it. Elsa’s struggle strains her relationship with her younger sister, Anna; that relationship between the sisters, now princesses (this is, after all, Disney) is at the heart of the story as Anna, driven by love (also aided by a reindeer), determines to save Elsa.

Still here: Olaf, the lovable snowman who naïvely fantasizes about sunbathing; Hans, a handsome prince; Kristoff, a rugged ice harvester; and Sven, the reindeer, played by the ballet-trained Andrew Pirozzi. Onstage, he wears a head-to-toe costume with prosthetic hooves attached to his hands and feet, and walks with his feet en pointe; offstage he spent days on the floor of his apartment, studying how his dog moves.

A few minor characters have been dropped: Gone is Marshmallow, the giant snow monster, as well as the pack of menacing wolves — Mr. Grandage has opted for more psychological, and less physical, drama. The trolls have been replaced with the hidden folk, making that aspect of the show less cute and more mystical; the townspeople are dressed in costumes inspired by the bunad, a traditional Norwegian folk garment, giving them a touch of authenticity.

The show’s writer, Jennifer Lee, and the married composers, Kristen Anderson-Lopez and Bobby Lopez, have spent months crafting new material. The musical, about 20 minutes longer than the film, will have about a dozen new songs, in addition to seven from the film, aiming to deepen the characters’ back stories and relationships.

Among the highlights: a new first act song for Elsa, “Dangerous to Dream,” and a new, and vocally flashy, second act number in which she grapples with the implications of having a power that she cannot control.

Patti Murin, the actress playing Anna, is one of a handful of cast members who have been with the project since the beginning; Ms. Levy auditioned for an early developmental lab, but didn’t get cast, and then was brought in as Elsa last summer.

Both women are 36, each is a “Wicked” alumna (Ms. Levy as Elphaba and Ms. Murin as Glinda) and each has previously originated roles on Broadway. But “Frozen” is a major career break for both of them.

“We know that we’ve got a big project on our hands,” Ms. Murin said.

“I knew what a massive opportunity this was, and how special it would be to be creating this character for the stage,” Ms. Levy agreed. “I never thought I’d get to be a Disney princess, that’s for sure.”

The pair will lead a company with a large cast (40 performers) and a big orchestra (22 musicians). The doors to the palace are 20 feet high. And there are 64 wigs.

One unusual, although not unprecedented, element of the “Frozen” development is that the actors and stage managers involved will share in any profits the show makes.

Profit-sharing has become an increasingly hot topic in commercial theater, particularly because of the enormous success of “Hamilton.” That show’s cast hired a lawyer to successfully press for profit-sharing when it became clear it was going to be a long-running hit, and Disney has decided that 0.5 percent of any profits from “Frozen” will go to actors and stage members represented by Actors’ Equity and hired to work on the show between the fall of 2016 and the Broadway opening.

A Sense of Familiarity

Denver has brought good — and not-so-good — luck to Disney before.

This is where the first touring company for the blockbuster “Lion King” began. It’s also where “The Little Mermaid” had its start — a show that wobbled its way through a Broadway run memorable because actors used “wheelies” onstage to convey the sensation of gliding underwater.

Crews here have experience working on a Disney scale. And the Denver Center for the Performing Arts audiences (drawn from a wide geographic area) are big enough to support a seven-week run.

The creators will be listening for the reactions of theatergoers.

“Our audiences know that the ways in which they respond to the stories onstage will be one of the considerations as to whether changes are made, or not made, and they embrace that,” said John Ekeberg, the executive director of the Denver Center’s Broadway division.

Revisions will be tucked in during the comparatively high number of days in Denver without performances. Then come three months for rewriting and redesigning before Broadway rehearsals begin in January. The show is to begin previews at an expanded St. James Theater (its rear wall is being moved back 10 feet to create more stage space) on Feb. 22, and to open on Broadway in March.

“We’re only halfway up the mountain, even though we’ve been working on this for four years,” Ms. Anderson-Lopez said. “You stand there in the back, and you listen for laughs, and you listen for the moments. And then your job after that show is how to figure out, ‘How do I get them to lean in?’ You won’t know until you watch a 5-year-old and a 95-year-old watching this musical in Denver.”

Letting It Go

Ms. Levy sat cross-legged on a red plastic chair in a Times Square rehearsal studio. It was months before Denver and she was talking about — what else? — “Let It Go” with Mr. Grandage, her director. They were dissecting the lyrics.

“We have to forget the iconography that the song has taken on, because otherwise you can’t play it,” he reminded her. “It’ll become a concert performance rather than something that is actually happening in our own narrative.”

By last Sunday, in Denver, Ms. Levy was on a purplish stage for technical rehearsal, as members of the creative team turned to the remaining requirement for the scene: the creation of that ice palace. Her regal gown was dark against the Northern Lights, as they debated what shades of blue should surround her.

“The snow glows white on the mountain tonight,” she sang, building slow and low as she tested her moves against the scenery. With each sweep of her hands, winter appeared on an abstracted mountain landscape. Glittering snow from above, and fog from below. Walls of ice, and a twinkling curtain of Swarovski crystal snowflakes.

As she transformed from self-doubting to self-accepting, there was a hiccup. A stage effect didn’t quite work, and Ms. Levy noticed. She smiled uncertainly for a moment, and then gamely powered through.

“Let it go, let it go,” she belted, her sound booming through the cavernous Buell Theater at the Denver Center, a few dozen members of the show’s crew and creative team her only audience.

She removed an unseen hairpin, causing the blonde braid coiled around her glittering tiara to cascade down her right shoulder. “The cold never bothered me anyway.”



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messaggio 19/8/2017, 21:57
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Prima immagine dei protagonisti in costume di scena:




Qui l'elenco delle canzoni del musical (notate che Let It Go chiuderà il primo atto ed è posizionata diversamente rispetto al film animato):

Act I

Vuelie (Company)
Anna and Elsa (Young Anna, Young Elsa, Townspeople)
A Little Bit of You (Young Elsa, Young Anna)
Do You Want to Build a Snowman? (Young Anna)
For the First Time in Forever (Anna, Elsa, Townspeople)
Hans of the Southern Isles (Hans)
Dangerous to Dream (Elsa, Townspeople)
Love Is an Open Door (Anna, Hans)
Reindeer(s) Are Better Than People (Kristoff)
What Do You Know about Love? (Anna, Kristoff)
In Summer (Olaf)
Hans of the Southern Isles (Reprise) (Hans, Wesleton, Townspeople)
Let It Go (Elsa)

Act II

Hygge (Oaken, Kristoff, Anna, Olaf, Ensemble)
For the First Time in Forever (Reprise) (Anna, Elsa)
When Everything Falls Apart (Olaf, Kristoff, Anna)
Fixer Upper (Bulda, Olaf, Hidden Folk)
Kristoff Lullaby (Kristoff)
Monster (Elsa, Hans, Volunteers)
Hans of the Southern Isles (Reprise 2) (Hans)
True Love (Anna)
Colder by the Minute (Pabbie, Anna, Kristoff, Elsa, Hans, Townspeople)
Vueille (Love Thaws) (Townspeople)
Resolution (Company)



Qui le reazioni alla prima di Denver: Click



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messaggio 13/9/2017, 23:20
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Alcune immagini del dietro le quinte:







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messaggio 14/9/2017, 22:04
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Dal sito The Wrap ecco le nuove foto tratte dal musical:

‘Frozen': First Look at Broadway-Bound Musical That Just Won’t Let It Go (Photos)


A stage version of Disney's animated hit "Frozen" opens Thursday at the Buell Theatre in the Denver Center for the Performing Arts, before an expected Broadway run starting in February 2018. Here's a first look at director Michael Grandage's new production.



The company of "Frozen" perform. The show's music and lyrics -- including new songs -- are by the movie composers Kristen Anderson-Lopez and Robert Lopez. The script is by the movie's director-screenwriter, Jennifer Lee.



Patti Murin (Anna) and Caissie Levy (Elsa) with Jacob Smith.



Jelani Alladin (Kristoff) and Andrew Pirozzi (Sven).



Jelani Alladin (Kristoff) and Patti Murin (Anna) meet up on an icy bridge.



Patti Murin (Anna) and John Riddle (Hans) dance to choreography by Tony winner Rob Ashford.


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messaggio 19/10/2017, 22:45
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Dal sito LaughingPlace:

Story Changes in the Broadway Version of “Frozen”

Disney Theatrical’s stage version of Frozen is heading to Broadway next February, but I got a chance to see the pre-Broadway engagement in Denver, Colorado, on September 23rd. The purpose of a pre-Broadway tryout is to give the creative team the chance to test out a new show in front of a real audience and they are constantly making changes to ensure that the final show enjoys a successful run amongst steep competition on the great white way. While the final show is expected to have the same cast, there could potentially be many changes along the way.

Seeing the show about a week before the end of its 7-week Denver run increases the likelihood that the version I saw will be close to the final production. One song listed on the show’s Wikipedia page called “When Everything Falls Apart” appears to have already been cut. Translating an animated film to the stage always requires some changes, but Frozen ends up being more of a literal translation.

SPOILER WARNING: If you want to walk into the show fresh, then please stop reading. Below is a list of story changes that include some spoilers.

No Trolls

Scrolling through the cast list, you will notice Timothy Hughes as Pabbie, Olivia Phillip as Bulda, and that the song “Fixer Upper” is performed by these two characters along with an ensemble of “Hidden Folk.” The Hidden Folk serve the same purpose as the trolls in the film and Pabbie even takes on a narrator role.

At the top of the show when the curtain rises, Pabbie is standing in a giant mossy cloak with a Troll headdress on his head ala The Lion King. As he removes the cloak, he reveals a chiseled bare chest and furry pants with a tail. The Hidden Folk have glowing crystal necklaces like the Trolls in the film and hide in plain sight in the mountains. All of them have dreadlock hair styles (reusing wigs from Tarzan?) and the women are modestly covered while the men bare everything from the hips up. The song “Fixer Upper” also has modified lyrics and a more primitive tempo than the film version.

The Source of Elsa’s Magic

While the show doesn’t make any profound revelations about how Elsa got her magic powers, it is revealed that her mother, Queen Iduna, is one of the Hidden Folk who left her family and married King Agnarr. When she summons her people to help cure Anna after her head gets frozen, the Hidden People seem to knowingly understand why her child was born with magic powers. Pabbie has no follow-up questions after hearing that Elsa has Hidden Folk DNA within her.

Elsa’s Anxiety Over Becoming Queen

One of the lighter changes involves Elsa revealing how anxious she is to become queen through song. In the film, it’s a quick moment where she removes her gloves and hopes her powers don’t show. In the show, Elsa opens up about it through a new tune called “Dangerous to Dream.” The theme is also repeated later in Act II.

No Marshmallow

Elsa’s giant marshmallow monster doesn’t make an appearance. After Elsa accidentally blasts Anna’s heart and her hair begins to turn white, Kristoff convinces her to leave to seek help from his friends (aka, the Hidden Folk). This is enough for the stage version of Anna to leave her sister after their emotional reunion.

Other than the Trolls becoming dreadlock mountain people, the other changes seem minor. This is largely due to the fact that both the film and show have a consistent writer in Jennifer Lee. It’s not often that the book to a Broadway show is written by the same person who penned the screenplay. As a film, Frozen felt very theatrical. Its translation to the stage feels like a very natural fit and I hope every fan gets the chance to see it, whether through a trip to New York or on the inevitable national tour.







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messaggio 10/12/2017, 12:52
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Dal sito Vanity Fair:

Frozen on Broadway: Inside Disney’s Latest Stage Adaptation

The extravagant reimagining of the 2013 animated film will enrich the familiar original with some poetic new ideas and “more gravitas,” according to director Michael Grandage.

For director Michael Grandage, the themes of Disney’s Frozen are Shakespearean. The story line, familiar to grade-schoolers everywhere, resembles As You Like It (albeit with a talking snowman). “Two girls are locked in a palace,” Grandage explains, “and they escape.” If the Broadway adaptation of Frozen, opening in March, repeats the spectacular success of the 2013 animated film, audiences will likewise be forever escaping into the St. James Theatre. To delight Frozen fanatics and attract new devotees, Grandage and his creative team have aimed, simultaneously, to remain true to the source material while introducing to the stage iteration “more gravitas,” he says. Layered into the fairy tale are darker motifs, derived from the liminal world of Norse mythology. The comedic rock trolls, for example, have morphed into shadowy “Hidden Folk,” inspired by the huldra, a Scandinavian forest spirit. Even Sven the reindeer, now a lifelike puppet, has become “poetic,” Grandage says. According to the director, the powerful bond between sisters Elsa and Anna—played by a luminous Caissie Levy and a winsome Patti Murin, respectively—explains why the tale resonates so deeply. And, of course, there is that mighty showstopper, “Let It Go,” the musical climax of the 19-song, two-act extravaganza. “It appeals to the underdog and to the outsider,” says Grandage. “People who need a voice have adopted it as their anthem.”




Caissie Levy as Elsa, Patti Murin as Anna, and Jelani Alladin as Kristoff, photographed in the Rocky Mountain town of Leadville, Colorado.
Photograph by Andrew Eccles.


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messaggio 16/4/2018, 22:19
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Abbiamo letto che il musical ha fatto il botto per ora e si sta confermando un successone


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messaggio 1/5/2018, 21:33
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Ecco i testi delle nuove canzoni:


MONSTER

[ELSA]
It’s finally come, come to knock down my door
I can’t hide this time like I hid before
The storm is awake, the danger is real
My time’s running out, don’t feel, don’t feel

“Fear will be our enemy
And death its consequence”
That’s what they once said to me
And it’s starting to make sense
All this pain, all this fear began because of me
Is the thing they see, the thing I have to be

A monster, were they right?
Has the dark in me finally come to light?
Am I a monster full of rage
Nowhere to go but on a rampage?
Or am I just a monster in a cage?

[HANS & MALE ENSEMBLE]
End this winter, bring back summer
Keep your guard up

[HANS]
No harm comes to her

[HANS & MALE ENSEMBLE]
End this winter, bring back summer
Keep your guard up

[ELSA]
What do I do?
No time for crying now
I’ve started this storm, gotta stop it somehow

Do I keep on running?
How far do I have to go?
And will that take the storm away
Or only make it grow

I’m making my world colder
How long can it survive?
Is everyone in danger as long as I’m alive?

Was I a monster from the start?
How did I end up with this frozen heart?
Bringing destruction to the stage
Caught in a war that I never meant to wage

Do I kill the monster?
Father, you know what’s best for me
If I die, will they be free?
Mother, what if after I’m gone
The cold gets colder and the storm rages on?

No!
I have to stay alive to fix what I’ve done
Save the world from myself
And bring back the sunIf I’m a monster then it’s true
There’s only one thing that’s left for me to do
But before I fade to white
I’ll do all I can to make things right
I cannot be a monster
I will not be a monster
Not tonight!



DANGEROUS TO DREAM

[ELSA]
I can’t be what you expect of me
And I’m trying every day with all I do
And do not say
Here on the edge of the abyss
Knowing everything in my whole life has lead to this
And so I pull inside myself
Close the walls put up my guard
I’ve practised every single day for this
So why is it so hard

‘Cause I can’t show you
I’m not as cold as I seem
There are things you cannot know
And it’s dangerous to dream

[ANNA: Sorry I’m late!]

[ELSA]
I know I’ll never see that sunny day
When this trial is finally through,
And it could just be me and you
I can’t dwell on what we’ve lost
And our secrecy and silence comes at such a cost

I wish I could tell the truth
Show you who’s behind the door
I wish you knew what all this pantomime
and pageantry was for

I have to be so cautious
And you’re so extreme
We’re different, you and I
And it’s dangerous to dream

It’s dangerous to wish
I could make choices of my own
Dangerous to even have that thought

I’m dangerous just standing here
For everyone to see
If I let go of rules
Who knows how dangerous I’d be?



I can’t believe that I’m standing here
Did I really make it through?
Father, I did it
Now I’m tied to you

I can’t stop smiling, how strange
Does this mean that things are different?
Could they really change?

And could I open up the door
And finally see you face to face
I guess the queen can change the rules
But not the reasons they’re in place

I can’t be what you expect of me
And I’m not what I seem
But I would love to know you
Is it dangerous to dream?



WHAT DO YOU KNOW ABOUT LOVE?

[ANNA, spoken]
Hans is not a stranger

[KRISTOFF, spoken]
Okay. So, what’s his last name?

[ANNA, spoken]
Of the Southern Isles!

[KRISTOFF, spoken]
That’s not a last name

[ANNA]
You’ve got opinions on my life and my relations
But let me tell you what

[KRISTOFF, spoken]
Okay. Enlighten me

[ANNA]
Love is the one thing that has zero complications
And I can trust my gut

[KRISTOFF, spoken]
Okay. You frighten me

[ANNA]
Some people know their hearts
The minute true love starts

[KRISTOFF]
Some people read a lot of books

[ANNA, spoken]
I like books!

(sung)
Some people simply know
When true love says “Hello”!

[KRISTOFF]
Some folks are taken in by curly locks and princely looks!

[ANNA, spoken]
He does have princely looks. We agree on that one!

[KRISTOFF, spoken]
Right! Ah, by the way, what color eyes does he have?

[ANNA, spoken]
Dreamy

[KRISTOFF]
All I’m sayin’ is when you go to climb a mountain
You don’t just jump to the top

[ANNA, spoken]
If it’s true love you can!

[KRISTOFF]
There’s scalin’ and scramblin’
And too many steps for countin’
And the work doesn’t stop

[ANNA, spoken]
Maybe for you

[KRISTOFF]
Love’s not an easy climb:
You have to take your time!

[ANNA]
We get a whole life, that’s the plan

[KRISTOFF, spoken]
That’s not a plan!

(sung)
Love’s not a thing you get
It’s work and tears and sweat

[ANNA]
So says a sweaty, smelly mountain man!

[ANNA & KRISTOFF]
Oh, what do you know about love?
What do you know about love?

What do you know about love?
What do you know about love?

[ANNA]
Have you even kissed a girl?
I mean, a human girl!

[KRISTOFF]
Oh

[ANNA & KRISTOFF]
What do you know about
Anything, anything?

[KRISTOFF]
Anyone with half a brain
Would have worn some winter gear!

[ANNA]
Anyone with half a life
Would have one friend who’s not a deer!

[KRISTOFF, spoken]
I do!

(sung)
Any fool who jumps headlong
Is gonna bang their head!

[ANNA]
Any fool who doesn’t jump right now
Is probably gonna end up dead!

[KRISTOFF]
Whooooooa!

[ANNA]
Like I said

(spoken)
You okay there?

[KRISTOFF, spoken]
I’ve been better…

[ANNA, spoken]
Don’t worry, I’ve got you. You should have listened to me! I know danger when I see it. Just like, I know love when I see it. Whoa!!!

[KRISTOFF, spoken]
Whoa! Whoa! Whoa! Thank you!

[ANNA, spoken]
Ah, that’s not quite how I thought we’d end up

[KRISTOFF, spoken]
You’ve got to think things through in life, and… in love

[ANNA, spoken]
Touché

[KRISTOFF, spoken]
Here. Grab on and brace yourself. Ready? Here we go!

[ANNA, spoken]
Whoa! Whoaa! Whoaaa!

(sung)
I’d like to point out that we’ve come a good long way here
And that you’re–wow–really strong!

[KRISTOFF, spoken]
I lift a lot of ice

(sung)
You saved my life just now
I guess I gotta say here
My first impression was wrong

[ANNA, spoken]
And see? You’re nice!

[KRISTOFF]
That jump was really brave

[ANNA]
Your catch was quite a save

[KRISTOFF]
You’ve got some guts!

[ANNA]
You’ve got some brains!

[KRISTOFF, spoken]
Thanks

[ANNA & KRISTOFF]
With miles and miles to go
I guess it’s nice to know
That I can trust you
Though the question still remains…
What do you know about love?

[KRISTOFF, spoken]
Just, be careful

[ANNA & KRISTOFF]
What do you know about love?

[ANNA, spoken]
Have a little faith

[ANNA & KRISTOFF]
At least we know one thing:
This trip should be interesting!

What do you know about love?
What do you know about love?



TRUE LOVE

[ANNA]
I’ve sat alone in this room before
Hours and hours on end
I know this delusional wish
The door would open to reveal a friend
I know this solitude
I know this kind of cold
But I had faith in what the stories told
Of true love
How I’d find true love

And here I am in this room again
Just as lost and small
That lonely girl with a desperate heart
Is who I am after all
There’s no escaping her
But now the dream is gone
Because I spent a lifetime
Counting on true love
True love

I was looking for a fairytale
Turns out you can’t find love
If you don’t know what it is

And now it’s clear
I’ll never leave this room
It ends as it began
With no one but myself to blame
I played my part in the plan
Dreaming got me here
And yet the dream won’t die
I can’t wish it away
No matter how hard I try
True love
True love
True love


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nicolino
messaggio 18/5/2018, 18:44
Messaggio #41


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Da poco sono state rilasciate le canzoni, che trovo molto carine nel complesso.
A mio parere, è un po' troppo marcata l'ispirazione (chiamiamola così) che il musical ha chiaramente preso da Wicked, ma vabbé, non è la prima volta che questo accade.

Caissie Levy è pazzesca, la sua Let it go è magistrale e fa KO la versione di Idina (la quale, oltre a non piacermi in generale, non ha dimostrato di saperla cantare dal vivo senza fare disastri epocali).

Patty Murin forse non ha la bellezza e l'età di un'Anna ideale, ma vocalmente in effetti la sua voce si avvicina molto a quella di Kristen Bell. Peccato che abbiano scelto di darle un'accento che, dai commenti su YouTube di persone americane, leggo essere da "campagnola", proprio per darle un'impronta grezza ed evidenziare ancora di più la differenza tra lei ed Elsa.
Sinceramente ciò è alquanto fastidioso e specialmente nella seconda parte di For The First Time in Forever la sua voce diventa a lungo andare irritante. Ma vabbè, alla Disney odierna piacciono queste trovatine stupide per rendere le principesse "moderne" (vedi tutte le idiozie che si sono inventati per dare più carattere alla Belle della Watson) a discapito dell'elemento che poi contraddistingue una principessa stessa: la grazia (qualità che nel film Anna, seppure con la sua sbadataggine e tutti i suoi difettucci, mantiene).

Dalle Clip costumi, scenografie, luci etc. sembrano curatissimi, sinceramente spero che approdi presto a Londra per andarlo a vedere.
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CostanzaM
messaggio 18/5/2018, 18:55
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CITAZIONE (nicolino @ 18/5/2018, 19:44) *
Peccato che abbiano scelto di darle un'accento che, dai commenti su YouTube di persone americane, leggo essere da "campagnola", proprio per darle un'impronta grezza ed evidenziare ancora di più la differenza tra lei ed Elsa.

Se è per questo, a Broadway ho visto una Belle che camminava come una camionista e una Bestia che sembrava una via di mezzo tra Fonzie e un cowboy. Molto meglio la versione italiana.
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nicolino
messaggio 24/5/2018, 16:16
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Oddio, la Belle che cammina come una camionista posso anche immaginarla grazie ad Emma Watson, ma per la bestia Fonzie-cowboy non riesco (e non voglio) sforzarmi di capire come possa essere stato. Non ho mai visto la versione Broadway ma ho amato la versione italiana.

(EDIT) Che poi, ora che mi viene in mente, non so se possa essere stato peggio di ciò che sono stati capaci di fare per la nave da crociera Disney: un musical totalmente ispirato al live action del 2018, con tanto di attrice tutta spettinata che scimmiotta le movenze da gangster della Watson (ah, quanta personalità aggiunta a Belle!) e oggetti del castello che sono pupazzi-marionette mossi da attori. Non posto il video perché è aberrante, ma il making of si trova tranquillamente su youtube.

Messaggio modificato da nicolino il 24/5/2018, 16:25
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Daydreamer
messaggio 24/5/2018, 19:00
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Nicola per caso hai visto Aladdin a Londra?
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nicolino
messaggio 25/5/2018, 16:22
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CITAZIONE (Daydreamer @ 24/5/2018, 20:00) *
Nicola per caso hai visto Aladdin a Londra?


Yep!
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Daydreamer
messaggio 25/5/2018, 19:03
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Se un giorno ti va, facci sapere com'è sul topic apposito, grazie mille smile.gif
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nicolino
messaggio 1/6/2018, 13:45
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Lo farò presto Daydreamer!

Intanto sono stati girati e messi on line i video dei numeri di For the first time in forever e Let it go.

https://www.youtube.com/watch?v=mHd8Ug4ljN4

https://www.youtube.com/watch?v=VQVpwNV1Gms

Mentre trovo FTFTIF noioso e spento, Let it go è una bomba, una gioia per gli occhi! Caissie Levy prende le note più alte con la stessa facilità con cui si lava i denti la mattina XD
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veu
messaggio 22/4/2019, 21:49
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Ecco le foto promozionali del musical a Broadway con la tag line "Let yourself go Frozen"






Novità:

Il musical arriva a Londra nel 2020




Qui il trailer del musical a Londra:

Click


Sito dedicato al musical a Londra:

Click


Foto di produzione con il nuovo cast del musical a Broadway:















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