Mom MiaSet for music, Benny Andersson and Björn Ulvaeus of Abba are an absolutely different whodunit, with bombarded pop scores soaking, asking you to dance in the aisles (“Dear, honey, money, money, money, money, money,” “The Queen of Dance” has had a box office of $4.5 billion worldwide since its debut in 1999, and its revival, freshly installed in the winter gardens, has not been completely tiptipoe tiptoe back to town. Its seven previews are over $1.5 million, and in its first week on Broadway, it ranked fourth in the top five (behind the evil,,,,, The Lion King and Hamilton).
British writer Catherine Johnson concocted the plot that appeared regularly between songs. A 20-year-old bride-to-be born in Wedlock, he wanted his father to walk through the aisle with her. She wanted it so much that she investigated her mother’s diary for twenty years and invited candidates. They extend on three continents: an American architect named Sam Carmichael, an Australian writer consultant named Bill Austin and a British banker named Harry Bright. Which fountain blessing? We will never find out. Upgraded by more pressing weddings, the mystery of the primordial side was pushed aside and never resolved.
The current revival attributes it to two continents, giving up the Australian accent completely, a blessing for Birmingham boys like actor Jim Newman. “Bill Austin was born and raised in the United States when I got the script,” he told Observers. “I don’t think they let him get him Australian on the trip anymore because there’s so much Australian accent and they laugh.”
Newman is very good. “When we gave up acting school and came to New York, we thought we were going to play so many roles, but why?” he wondered. “Over the years, we learned that it’s better not to think that you’re a completely different person. It’s better to look at the character and find the part like you. Then, if you live the life of this character, you can decide how to react like Jim Newman. I think that makes it a lot easier, and I think it makes the audience look more honest.
For Newman, the adventure began in 1997. “That was when I started working professionally in New York, doing horrible drama and a lot of bad Broadway and off-Broadway. A few years ago, I took part in the National Tour (Big,,,,, Joseph and the amazing technology colorful dream,,,,, Kiss me, Kate), my body feels and trust me every year. I know at some point I have to pay the Piper. Doing eight shows a week, especially as a singer dancer – I know my body can cause harm. ”
One night, after the Broadway show he was doing, the stage manager came to Newman and said, “Lisa is waiting for you in her limousine.” Of course, he thought he was joking, but when he put on his backpack and started to leave, the stage manager said, “I’m serious. Liza Minnelli is performing tonight and she wants to see you. She’s in the limousine.” As he walked out of the stage door, the limousine door opened and she said, “Jimmy! Jimmy! Take me to supper.” She took him to Sardi’s words: “Next year, I’ll have a show on Broadway in the palace, and my mother makes a comeback there. It’s all about my father’s movie.” A year later, he was in the palace, standing on the stage with his arms on the stage, and the man became his friend and turned the lights on their duet. “It was a great experience for me. People said to me: ‘This show is just about Lisa and her boys in the chorus.
“In the green room after the show, whenever there were stars in the green room, Lisa would go into my locker room and say, ‘Jimmy! Jimmy! Not letting my self make a decision for me.”
Newman said he was most proud of his relationship with John Kander and Fred Ebb. “I sing since I was a kid and they became my friends. They are just the best.”
His first Kander and Ebb were in 1997 Steel wharfin the dance marathon of the 1930s, with Karen Ziemba, Daniel McDonald and Gregory Harrison. “This is my first contract and my first original Broadway actor. Monk Debra was my love interest, Kristin Chenoweth – this was her first Broadway show, my wife. It changed my career – but lasted for four months.”
He also caught them in the end of his collaboration Over and over againalthough actors include Dorothy Loudon and Mario Cantone, the 1999 musical was never played. It’s a beautiful score, but musicalized by Thornton Wilder’s music The skin of our teeth It turns out to be heavy lifting.
Ebb and Kander’s last musical, Star Fastufe, died curtain– Broadway’s boundaries. “It’s a little sad without Fred because there’s a lot of stuff in that show,” Newman said. “He would be glad it wasn’t there and it was produced. The reason they were so successful was because John was this desperate romanticism, and Fred was the mania, hilarious, funny, to do.”
Newman is a great believer who fixes his personality on the role at hand. “I’m the happy guy – the first person to take over the dance floor at the party. I think it’s always my nature, even as a kid. I use these qualities to connect with my character Bill Austin. The show is really about women, let’s not lie to anyone, but men can bring conflict, but if you’re any kind of story you’ll find your story, you can find this world in this world.
“Bill attended the wedding and just thought it was going to be a party and he met some old friends. Then, he found out that he might have an adult daughter! At first, he didn’t know what to do. But by the end of the script, he was thinking, ‘What do you know?
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