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Devo ammettere che spero abbiano fatto qualcosa per nascondere le gambe di ariel dietro qualcosa...part of your worl dmi ha deluso..troppo povera....anche se lei è perfetta...bravissima...e una voce davvero fantastica... smile.gif

Ma poor unfortunate souls..mio dio...nonostante i problemi di cui sopra...lei è F A V O L O S A mamma mia! Sono impresionato! Perfetta! e il costume è da paura!!!!!
Prime reazioni alla preview di Broadway!!!!!!!
Tutti hanno adorato lo show nonostante i difetti (primo fra tutti il vestito di Flounder odiato all' unanimità e qualche canzone)...
Da quel poco che ho visto il costume di Flounder lo trovo semplice ma molto carino...non so, poi magari non rende bene dal vivo huh.gif
bellissima recensione smile.gif sarei felice di vedere qualche immagine o video della versione di broadway smile.gif
Part of Your World reprise, credo sempre da Denver
ariel one
CITAZIONE (Ciro84 @ 5/11/2007, 2:05)
Part of Your World reprise, credo sempre da Denver

aaaah! pazzescamente struggente!
Una altra canzone di Ursula:

I Want The Good Times Back
Devo dire l'attrice che interpreta Ursula non mi ispirava affatto. Invece sullo stage ha saputo darsi da fare. Ha dato a Ursula una vena più ironica e "isterica" che ci può stare. Complimneti!

Una nota negativa invece per il costume di Ariel. Sembra un polipo anche lei...
Un po' di video... se li avete già messi, scusateci, ma siamo di fretta e postiamo velocemente qualcosina...

Part of Your World

Part of Your World Reprise

Poor Unfortunate Souls

I Want the Good Times Back


A little mermaid comes to the Great White Way

Rory Glaeseman/The Journal NewsAlan Menken talks about his work with "The Little Mermaid" the musical. He says the new show mixes familiar elements from the film along with quite a few surprises.Related Links
• More theater coverage
• In the Wings community theater blog

"The Little Mermaid"
Where: The Lunt-Fontanne Theatre, 205 W. 46th St.
When: Now in previews. Opens Dec. 6.
Tickets: $41.50 to $111.50
Call: 212-307-4747.

Last night, a little mermaid named Ariel was set to take her first steps on Broadway, as previews began for "The Little Mermaid" at the Lunt-Fontanne Theatre.

What is one giant leap for Mer-kind - in the person of newcomer Sierra Boggess - is just one small step in a process that began years ago for Alan Menken, the New Rochelle native who composed the Oscar-winning score for the 1989 film on which the show is based. Menken, who now lives in northern Westchester, has written 10 new songs for the Broadway adaptation.

"It's extremely rich now," Menken says. "With the film, we were working in a form where it was safe to say, 'Here's the boy. Here's the girl. Let them fall in love. OK, and let's move past that because we only have 70 minutes to tell the story.' But now, obviously, in this medium, we need to really give it dramatic and structural support."

Elements of the 70-minute film have been expanded for the stage and re-imagined by opera director Francesca Zambello and a creative team that includes Menken, book writer Doug Wright ("Grey Gardens"), choreographer Stephen Mear ("Mary Poppins") and lyricist Glenn Slater.

Slater's lyrics add to the work done for the film by longtime Menken collaborator Howard Ashman, who died in 1991.

Ashman and Menken were credited with sparking the renaissance of Disney animation with their musical retelling of the Hans Christian Andersen story of a mermaid who dreams of living on land. Their snappy songs and clever lyrics won them the best-song Oscar for "Under the Sea," and the score won Menken the first of eight Oscars.

A lot has happened in the 18 years since the release of "The Little Mermaid."

"When I first wrote this, Anna was just born and up to about 4 years old," Menken says. "And Nora was just born. So when I was writing this I had my two little girls, my Ariels, and I was watching classics that were on VHS for the first time and watching them and experiencing them with my girls.

"Howard was ill and we didn't know it," he says. "We were losing a lot of artists who were close to us. And we didn't know what this AIDS thing would be.

"I remember watching these animated features with my daughters in a very uncertain world - you're especially sensitized when your kids are young - and escaping into them. Flash forward, and I'm doing it on the Broadway stage and my Ariels are getting their sea legs and taking off. I think about them every day and I worry about them every day. I feel the parallels of the show in a very personal way."

The story is a Faustian bargain, not unlike the story of Menken and Ashman's first big success, "Little Shop of Horrors." A mermaid named Ariel dreams of being part of the human world and makes a deal with the seawitch Ursula, whereby she'll give up her voice if the man she loves doesn't kiss her by an agreed-upon time.

Did Menken fear that a little mermaid would get lost on a big Broadway stage, in a sea of sets and costumes?

"It's a matter of sensibility, not size, I think," he says. " 'Little Shop' was a trashy, tacky, Off-Broadway musical. That's what fueled it. That's what it was all about.

"Does 'Little Mermaid' belong on Broadway? Broadway is a very malleable concept, I think. You have 'Spring Awakening' on Broadway and you had 'Grey Gardens' on Broadway. Broadway is a pretty wide palette. We want to keep the intimacy, sure. But the little mermaid grew up when she became a big, animated classic. It's hard to go home again."

But Menken had no problem digging into the material and identifying moments to add, to enlarge the story and make it richer.

"One of the first things we did was to write the song for Prince Eric. And the moment that cried out for him to sing was when he's standing by the beach and in the movie he's playing the recorder looking longingly out at the sea.

"It became a song called 'Her Voice.' It's a really nuanced ballad, very adult. It gives a sense of his passion and the fact that he's haunted by Ariel. We never could have put that in an animated picture. The fact that we can do that is because we're on a Broadway stage."

If it's more adult at times, there are still the elements that audiences - including those who watched videotapes with their dads when they were 7 - will demand. Menken says the audience's familiarity with the material has its pluses and minuses.

"The plus is that people come in dying to hear 'Under the Sea' and 'Part of Your World,' and 'Les Poissons' and 'Poor Unfortunate Souls' and all the original songs. The minus is 'They changed that' or 'Where's this?'

"But judging from the Denver audience, that's not a big issue. They're enjoying the surprises."

Surprises like singing seagulls. In the film, Ariel's pal Scuttle didn't sing. Here, he has two songs.

"Is it dramatically significant to have Scuttle sing? No," Menken says. "But when Scuttle's talking about human stuff, it's a very good moment in the show to have this kind of vaudeville turn for him."

What key does a seagull sing in?

"The key of Q," Menken replies.

There are other new songs, too: a big Act 1 production number called "She's in Love," performed by Flounder and Ariel's sisters; and a number to start Act 2, sung by Scuttle and the other seagulls, called "Positoovity" - about thinking positive - "but of course he fractures all the language."

Another surprise is how the characters move when they're in the undersea realm. No water is used. Instead, the actors don Heelies, shoes with a wheel in the heel, to glide like they're swimming.

Menken, who has heard his songs sung by some of the finest voices, cannot seem to say enough about Sherie René Scott, who plays Ursula.

"She brings the house down, but she could bring the house down with 'Three Blind Mice'," he says.

He has said he writes songs for characters, not for actors, but "I came as close with Sherie as I've ever come to writing a song for a performer. She's that good."

Scott's big number is "I Want the Good Times Back," in which she bemoans how things used to be when she was on top and how she'll take her revenge on King Triton, Ariel's father (played by Norm Lewis).

"You'd think it would be a plot song, but Sherie turns it into this great performance tour de force and carries it to the back wall of the theater," Menken says. "I've heard people do justice to my songs before, but Sherie is quite an extraordinary performer."

Even with the new Broadway elements, Menken says, "it's still about this girl who wants to find her own way in the world and makes sacrifices that are potentially lethal and frightening to do that. In the end, her passion is rewarded."

Menken says that Disney Theatricals boss Thomas Schumacher insisted that the musical go into its Denver tryout in the best shape possible, keeping writing changes to a minimum.

"We've rewritten a huge amount, believe me," Menken says, "but it's much much less than it would have been."

Still, the composer is sure there'll be changes now that the show is starting a month of previews on Broadway before opening Dec. 6. "How do you put a show in front of a New York audience and not say 'Oh, what about that?' or 'Let's work on that?'

"I hope we're going to have rabidly enthusiastic audiences and I expect that, if they're anything like Denver, they'll be incredibly supportive and enthusiastic," he says. "But we still have things we'll learn in previews.

"Still, it's close. It's extremely close."
Altri video:

Part of Your World - Reprise

I Want the Good Times Back

(sempre girati durante l'anteprima a Denver)
Uaooo grande Menken!!!! Grande intervista!!!!!!!!!! clapclap.gif clapclap.gif
Bellissimo articolo (grazie veu) e bellissimi video!
Ciaooooooooooo Giagia... non ti avevamo più sentito... ci fa piacere che ti sia piaciuto l'articolo... una sera veniamo su MSN così parliamo un po', ok?
ok ragazzi/e smile.gif
INTERVISTA A DOUG WRIGHT, autore del libretto del musical "La Sirenetta":

Writer shares his big love for 'Little Mermaid'

Doug Wright has a Pulitzer, a Tony and a Drama Desk Award for 2004's "I Am My Own Wife," a play about an aging German transvestite named Charlotte von Mahlsdorf.

Last year, he was a Tony nominee for the book of the musical "Grey Gardens," about Jacqueline Kennedy Onassis' aunt and cousin who lived in squalor in the Hamptons.

Both projects involved rather dark subjects and were documentary in nature, so it might come as a surprise to learn that Wright's next project, the one that's been occupying him for years, involves a little mermaid.

Wright has written the book for "The Little Mermaid," now in previews at Broadway's Lunt-Fontanne Theatre before its official opening Dec. 6.

Wright sat down recently to talk about bringing the classic Disney feature film to Broadway.

Do you remember the first time you saw "The Little Mermaid"?

I didn't see it in the theater. But all my friends had told me it had such an exuberant Broadway-style score, and as a person of the theater, that made me want to see it. I remember sort of skulking into the children's animated films aisle and renting it. I was captivated and utterly charmed by it and it lodged itself in my heart and has been a favorite of mine ever since.

Did you have any misgivings or hesitation about working with Disney to bring "The Little Mermaid" to Broadway?

Truthfully, I actively lobbied for the job. Tom Schumacher [the head of Disney's Broadway branch, Disney Theatricals] had me into his office and said he'd seen my other work and wanted to talk about future possible collaborations. And I was brazen enough to say 'What's up with "The Little Mermaid" - because it's always been my favorite of the Disney animated musicals, and if it ever made the leap to the stage I'd love to be part of it.' So he gave me the job.

You've written two rather documentary shows - "I Am My Own Wife" and "Grey Gardens" - two shows about characters who could not be less like Ariel, the little mermaid. Is there any theme that possibly unites them, other than the man who wrote the book?

I think they're all, pardon the pun, fish-out-of-water stories, about people who for some reason are uncomfortable in their own skin and have to go on remarkable journeys in order to reinvent themselves. There's consistency there, in a funny way. The stories have something in common.

"Grey Gardens" had a cult-like following, those who had seen and loved the original documentary film. You've got an even bigger cult with "The Little Mermaid," people who know what they want to see when they come in.

As different as those two projects seem, in each instance I was taking material that is deeply beloved by a really ardent and very vocal fan base and I was reinventing it for a new medium. So it was the same responsibility, to make it work on stage as a craftsman but also to honor the memory that people have of the original.

You didn't want to be the guy who turned Ariel into chum for the critics.

No. I absolutely wanted to honor the movie.

You've made Prince Eric less of a dud than he was in the film.

Ariel yearns for a bigger, better world where she can realize her own potential, and along the way she picks up the happy dividend of Prince Eric. We wanted to make sure that Eric had his own songs and his own dilemmas in the world and that there were very specific reasons why he and Ariel were attracted to each other. We ultimately decided that Eric's a very physical guy, he loves sailing the high seas and he needed a girl who could not only keep up with him but also match him in every regard. In Ariel he finds his equal, which is important in 2007.

Some could look at Ariel as just a girl who gets her guy.

Her ambition needs to be greater. It's really to break free from the confines of her family and forge the kind of life that she feels is truest to who she is.

Can you talk about the creative process at work here? Did you get notes and go off and write?

It's highly collaborative and certainly [director] Francesca [Zambello] is a major force in shaping the material and making it as rich as it can be. But Alan Menken is at the table. His new lyricist, Glenn Slater, is there. Tom Schumacher is there. And this might sound sentimental, but I even like to believe that the guiding spirit of [original lyricist] Howard Ashman is somehow in the room, too. So when we're making changes from the original film, we're always going back to the movie to find the seeds. Because we don't want to reinvent something that worked so gorgeously. It was a heavy give-and-take.

For "Grey Gardens" and "I Am My Own Wife," you had interviews to pore over to bring your characters to life. With "The Little Mermaid," you had a movie and the original Hans Christian Andersen story, which had been wildly adapted in the making of the film. Did you find that at all limiting?

As a writer, to be given a gallery of compelling characters and a strong and interesting narrative with all of the requisite plot complications at the top, that was gift. Those are usually the hardest things to achieve, and I got handed those on a platter! So it was very welcome and I relied on that a lot. The book to the musical owes an enormous debt to the original screenwriters [Roger Allers, Ron Clements and John Musker].

What is it like to write for a sea gull?

This is the first theater piece I've ever worked on that has tap-dancing sea gulls, confetti cannons and a giant bubble machine. And I gotta tell ya: I think every show benefits from the presence of a giant bubble machine and a few tap-dancing sea gulls. I'm certainly putting them in my future works.

Were there things that you felt you had to address with "The Little Mermaid"?

I felt that the things that most excited me about the movie that I wanted to reiterate in the stage version were issues of tolerance, because one thematic through-line of the film is the undersea world and the human world and how they're at war and each carries misperceptions about the other. Ariel becomes a passionate conduit who brings the two together and allows them to find an equilibrium. Also, a parent-child story that asks basic questions: 'What's the most responsible way to parent? To keep your child safe and close to you at any cost or to endorse the sometimes threatening risks they take to realize their own identity?' And which is the more courageous act as a parent?

It's the second one. Right?

I certainly hope so.

Still, it is a show for children.

But what delights me is how sophisticated children are as viewers. When we tried out the show in Denver, we had the opportunity to bring about 20 kids together in a room who were between the ages of 8 and 12. And we asked them what the themes of the story were and which characters they connected to. They were astonishingly astute, and it was clear that they hungered for real content, too. They didn't just want firecrackers and a lot of noise. They wanted a substantive story that they could emotionally connect to. They're demanding audiences in their own right.

Did you ever feel that, because the music is so central to the success of the show, that you had to, in a way, get out of the way of the songs?

The music is a wonderful guide. It's like the songs are these gorgeous beautifully realized quilt pieces, and my job was to stitch them together as effortlessly as possible. But the music also does so much of my heavy lifting. The songs establish character, they let you know what a character's innermost desires are, they explicate the story in a really smart way, and they contribute to the joyous tone of the piece. So it's not so much staying out of their way as knowing just how deeply they're serving my task and exploiting them for all they're worth. [Laughs].

Is there a moment that you look at that you say, 'Man! We nailed that. No one's seen this before and they're going to be blown away?'

I think Francesca and her remarkable designers have created an undersea world that is unlike anything audiences have seen on stage before. And she's done it without a drop of water. The set resembles a gorgeous piece of Venetian glass and I think audiences are going to come to the Lunt-Fontanne and see a really singular world represented onstage with unusual artistry. Every time the prince's boat sails up into the skyline and we find ourselves going thousands of fathoms below the sea and we're meeting the undersea creatures for the first time, I get a visceral thrill that's unlike any other. I'm tremendously excited.
Interessantissima!!!!Grazie veu!!
Bellissimo! wub.gif
grazie veuvi clapclap.gif clapclap.gif clapclap.gif clapclap.gif
Finalmente!!!! la lista dei tanto desiderati cambiamenti rispetto alla prima di Denver!!

Some Little Mermaid changes from Denver
Posted On: 11/19/07 at 01:19 AM

First off, I want to say that Norm Lewis should get his own song. Since Denver, they actually cut down his verse in “If Only”. I would love to see him sing a song about being a father and having trouble relating to his daughter now that she is growing up. Also, it would be great to find out what exactly happened to Ariel’s mom.

Differences from the Denver try-out include:

1. They show Ariel first thing after the curtain rises. Before, we first saw Ariel when she sang “This is Where I Belong”.

2. There was less intro to “Fathoms Below” when the ship came down. The singing started immediately. I really like this change because it makes the show start more powerful than before.

3. There were Mermen guards at the performance. Before there were no male merpeople except Triton.

4. The Mermaid tails have more disconnected pieces to make them move more. The photos of Ariel that have been released show the old tail.

5. Scuttle had feathers added to the sleeves of his costume.

6. Triton has a better Trident. It is that clear glass looking material. Very pretty.

7. Triton was angrier and his temper was worse.

8. “I Want the Good Times Back” had many changes. The second chorus was different, they took out my favorite line before the song, (“Like a shellfish, mamma knows when she’s been shucked.”) and they added extra eel dancers in addition to Floatsom and Jetsam. It looked good with the extra bodies, but I lost the feeling that Ursula and Floatsom and Jetsam were outcasts. The new eels had different costumes from Flotsam and Jetsam, who had lights on their new costumes which they didn’t have in Denver. Also, this scene had flashier lights in the background and Ursula seemed more energetic during this number, as well as throughout the whole show. She was much nicer to the eels by not calling them names and saying “sing before I skin you alive and turn you both into handbags”.

9. Ariel’s grotto in “Part of Your World” seemed bigger with larger “human stuff”. Previously, when she got up out of her grotto she swung her legs around the grotto and you could see her real legs come out of her skirt. They changed it now so you don’t see it.

10. There were some lines added between transitions, such as one of the mersisters saying, “I can do her part- I know every note” after a song.

11. They added in Sebastian’s line, “Someone should nail that girl’s fins to the floor”.

12. Ariel added in a much needed part about saying, “I don’t belong here, and I never did”. I would have liked to have seen that be more developed, but at least it is out there.

13. They omitted Ursula’s line when she tells Ariel not to be scared of her because “I’ve known you since you were a minnow”.

14. After Triton destroys Ariel’s grotto he goes to storm away, then turns back to talk to her again, but then changes his mind. Ariel said her next line about hating him with such hatred! Very emotional. I don’t remember it being that dramatic in Denver.

15. Now, Eric must marry by his 25th birthday.

16. They changed “If Only”, but not for the better. Some of the lines were changed, i.e. “My shakles would be broken” to “The silence would be broken” and “How I hid behind my smile” to “How I ached behind my smile”. They also cut some of Sebastian’s speaking before his part of the song. I liked all those line changes; however the end of the song is where I had issues. They cut Triton’s verse, so now he only sings two lines by himself. They cut the lines “I’m still getting over having lost her poor sweet mother…If I loose her too, I don’t know how I can go on”. Before Triton started his verse very powerful with strong music, but it is much softer now. The parts all four sang at the end were different from before, but they seemed to blend together so I couldn’t understand much of what was said. All and all, I liked the old way better.

17. One of the contestants in the singing contests runs off while the other contestants are still onstage. She is changing to become an Ariel double.

18. There is now a battle between Ariel and Ursula at the end of the show, and it is under water. Ariel is now back to being a mermaid. There is lots of smoke, and Ursula’s demise is different. She goes though a trap door, and Triton comes up shortly after.

19. Triton changes her back to a mermaid. While many people on this board thought that was a necessity, I didn’t think it was very important. However, I loved how he helped her swim up out of the water. That was an emotional part for me, and I’m sure adults in the audience will really be touched by that part.

20. When Triton sings his “If Only” reprise Ariel sings his line saying “Oh, I love you so, if only you could know”.

The audience loved the show! There were cheers before “Part of Your World” and ‘Under the Sea”. They went crazy with when Eric drowned. It seemed to be a “wow” moment. Of course they loved Ariel’s transformation. Some people cheered when Ariel came out in her pink dress.

I enjoyed the show more than I did in Denver, but I thought it was good then. The show got a bad rap on this board, and it seems like some of the biggest critics were people who didn’t even see the show. The biggest improvements were the ending battle and Triton helping her up out of the water.

Again, I would like to see Triton sing a song about his challenges being a king and a father. Not only would it show off his voice, but adults would relate to this song. Many parents struggle with being successful at work, but not having much control over their children. Also, I would love to know what happened to Ariel’s mother. At one point Triton says “Don’t you remember what happened to your mother?” That would be a perfect time to answer that question.

This show is going to be very popular.

Mi scuso se non traduco tutto, ma purtroppo non ho tempo cry.gif cry.gif

Cmq molte cose non sono così importanti. Le uniche veramente degne di nota secondo me sono la 18 e la 19. La scena finale della battaglia è stata cambiata e ora si svolge sott'acqua e Ariel è di nuovo una sirena!!! Sarà poi Tritone a trasformarla in umana, esattamente come nel Classico... Evvaiiiiiiiiiiiiiiiiiiiiiiii
nn voglio dire questo musical è stato sospeso! post-6-1111346575.gif
No, non è stato sospeso...

Ecco una nuova foto di Ursula con un "abito" molto regale... alla "Via col vento" come dicono in USA:

In realtà si il musical è stato sospeso per un paio di settimane,come tanti altri musical per via dello sciopero di broadway (solo alcuni teatri sono rimasti aperti perchè avevano un contratto differente). Ora lo sciopero è finito e anche la Sirenetta ha riaperto.
Attendiamo notizie della apertura ufficiale (per ora è ancora in preview) spostata a gennaio a causa dello sciopero.
CITAZIONE (Scissorhands @ 7/12/2007, 2:02)
In realtà si il musical è stato sospeso per un paio di settimane,come tanti altri musical per via dello sciopero di broadway (solo alcuni teatri sono rimasti aperti perchè avevano un contratto differente). Ora lo sciopero è finito e anche la Sirenetta ha riaperto.
Attendiamo notizie della apertura ufficiale (per ora è ancora in preview) spostata a gennaio a causa dello sciopero.

scusa...ha riaperto o riapre a gennaio? huh.gif
Un altro video dal musical, sempre Part Of Your World, ma la coda è differente:
(andate nella sezione playlist)
ariel one
CITAZIONE (Bewitched @ 7/12/2007, 10:03)
Un altro video dal musical, sempre Part Of Your World, ma la coda è differente:
(andate nella sezione playlist)

post-6-1111076745.gif è pazzesco come muove le braccia alla fine della canzone! sembra proprio che la scena sia ambientata sott'acqua!! clapclap.gif clapclap.gif
Beh, proprio PAZZESCO non lo definirei, essendo un movimento che fanno tutti quelli che imitano qualcosa che sta sott'acqua, ma rende comunque l'idea.
Nuova foto di Ursula dal sito ufficiale:

Hanno cambiato un po' i tentacoli allungandoli per dare maggiore volume al personaggio, per farla sembrare più grossa, un buon lavoro!
Non vedo l'ora di vederne dei video ufficiali finali per farmi un' idea dei costumi definitivi in scena.
ariel one
CITAZIONE (Bewitched @ 7/12/2007, 18:42)
Beh, proprio PAZZESCO non lo definirei, essendo un movimento che fanno tutti quelli che imitano qualcosa che sta sott'acqua, ma rende comunque l'idea.

forse ho esagerato con il termine, cmq intendevo dire che è stata una trovata intelligente, così rende molto bene direi!
L'articolo di oggi di Jim Hill riporta la notizia che Sierra Boggess, la Ariel del musical, ha incontrato Glen Keane (l'animatore che disegnò Ariel nel 1989) mercoledì scorso... Glen Keane doveva parlare prima del musical, ma poi non non si è fatto nulla a causa dello scipero di Broadway che ha fatto sì che il musical venisse sospeso per alcune settimane.

La Sirenetta musical aprirà ufficialmente Giovedì 10 gennaio 2008.

Ecco Sierra e Glen in foto:
wow grazie Veuuuu
Nuovo video:
The Little Mermaid Musical Interview
Si vedono spezzoni di 'Under the sea' e 'If Only', oltre alla fine 'Part of Your World' già vista quest'ultima.
Sebastian mi sembra molto strano, sembra un po' una donna, mi ricorda tantissimo la donna di colore bella in carne presente nel musical di Mary Poppins. Sembra anche un po' spompato, che stia sul punto di perdere la voce e crollare esanime sul palco.
E le scene sono strane, sembra più che altro un giardino con insetti che vanno qua e là, ma bisognerà vedere alla fine come sarà il tutto!
If Only è magnifica, ma questo si sapeva già, e King Triton fa la sua gran figura!
Video Preview del Musical:


Molto bello, anche se Poor Unfortunate soul lo trovo ancora povero di coreografia e scenografia, e Sebastian continua a non piacermi in Under The Sea.
Per il resto è davvero meraviglioso!
Si, è vero, Sebastian ricorda molto Mrs. Curry di Mary Poppins e Rafiki di The Lion King (che, era una donna su palco, così come Terk era un uomo nel musical di Tarzan). Sono anch'io un po' perplesso per Under the Sea, e sono d'accordo con tutto quello che ha detto Bewitched. Tuttavia finchè non lo si gurda in diretta non si può dire (andandosene la tata via da Londra presumo stiano facendo spazio per la Sirena, e non mancherò di certo)
Nuove foto nello scrapbook del sito ufficiale!!!!
Magnifiche! w00t.gif wub.gif clapclap.gif Innamorato.gif
Veramente bellissime! Grazie Bew!
Bellissime immagini!!!!!!!!!!!!!!!

Grazie Bewitched!!!!!!!!!!!!!
I costumi dei gabbiani sono deliziosi. In effetti mi piacciono molto tutti i costumi, sono molto originali.
Stupende immaggini! biggrin.gif!!!!!!!!!!! clapclap.gif wub.gif wub.gif wub.gif
Bellissimie Immagini
Ragazzi, se guardate nei miei post prima di quello con le foto troverete un link a un video, guardatelo! w00t.gif
CITAZIONE (Bewitched @ 23/12/2007, 18:26)
Ragazzi, se guardate nei miei post prima di quello con le foto troverete un link a un video, guardatelo! w00t.gif

visto!!!Nonostante le mie riserve iniziali devo dire che Ursula spacca di brutto!!!!!!!!!!!!!!!!E' fortissima, anche se un pò diversa sal classico!!!Fa davvero paura!!! Sierra E' Ariel non ci sono altri modi per dirlo. Sebastian, mah, non so, non è poi così male.... vorrei vederlo in tutta la perfomance........
Ma non potrò!!!!!!!!!!!!!!!!!! cry.gif cry.gif
Beh dalle foto non posso non constatare che Ursula e Grimsby si sono scambiati le parti! blink.gif
Apparte scherzi, escludendo "Under the Sea" mi posso dire soddfisfatto
Non so se ne avete già parlato, ma il 21 febbraio esce il cd con la soundtrack del musical e questoa è la cover:

Ho sentito parlare molto male di questo musical dalla critica, che forse si aspettava un nuovo Lion King (scenicamente il migliore musical Disney).Spero la soundtrack sia bella perchè molto probabilmente me la comprerò (amando la soundtrack originale).
Sì le critiche sono state pesantine... cmq hanno preso una cantonata perchè come musical ha fatto boom tra il pubblico... il pubblico apprezza tantissimo questo musical!
CITAZIONE (veu @ 8/1/2008, 22:59)
Sì le critiche sono state pesantine... cmq hanno preso una cantonata perchè come musical ha fatto boom tra il pubblico... il pubblico apprezza tantissimo questo musical!

Ragà scusate, ma a quali critiche vi riferite? Il musical è ancora in preview e critiche ufficiali non ci sono ancora state... Le uniche sono quelle della prima (sempre preview) a Denver, ma si trattava di una, diciamo così, prova... Diverse cose sono state cambiate da allora... Cmq il pubblico è entusiasta....Speriamo in un nuovo grandissimo successo!!!!!!!!!!!!
Si, m i riferivo alla critiche fatte in rodaggio, e mi auguro comunque ne riceva meglio dopo la prima.
Non sapevo avesse un grande successo, vuol dire che Ariel è proprio ancora nel cuore di tutti smile.gif

P.S:Scusate se mi faccio "prendere" ma ho fatto musicals io stesso fino lo scorso anno e quindi mi sento sempre preso in causa quando se ne parla tongue.gif
Ragazzi, la prima ufficiale sarà domani, giovedì 10 gennaio!
Per 'festeggiare' questa apertura ufficiale il sito PlayBill Radio farà una preview ufficiale della colonna sonora del musical, sempre in data 10 gennaio.
L'apertura virtuale dello show presenterà anche interviste agli attori e ad Alan Menken.
Cercherò di sintonizzarmi! clapclap.gif
Interessante, grazie!
Unico problema è che è alle 21:00 ora di New York, per cui le 3 di mattina di venerdì da noi, che levataccia! eheheh.gif
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