Another week, another one swimming off the Great White Way as the large-scale musical of Big Fish announced it will play its final show on Dec. 29 after 98 regular performances. (But definitely count on it being remembered at Tony time, especially for fearless lead Norbert Leo Butz.) People are showing in droves, however, for two of this week’s new entries: The return of Billy Crystal’s 700 Sundays bagged over $1 million with only six performances last week (most shows have eight), and the Globe-inspired Shakespeare play duo at the Belasco is playing close to capacity every show, cementing Mark Rylance’s status as our premier import. Could he win, not one, but two more Tonys this season? He’s got competition aplenty already (including Patrick Stewart and Ian McKellen, also performing two shows in rep which open next weekend). But as a character in Twelfth Night says, “I have them at my fingers’ end.” Also this week is a radio play by the late Samuel Beckett (whom McKellen and Stewart are getting to know quite well with Waiting for Godot), and an Oscar-winning family dramedy that finds a new life on the NYC stage (click on the links below for full reviews): READ FULL STORY
Tag: Norbert Leo Butz (1-6 of 6)
Even before Big Fish hit movie theaters in 2003, screenwriter John August knew its yarn-spinning hero was bound for Broadway. “You look at Edward Bloom’s stories…and they feel like production numbers,” says August. “There are moments when words fail you, and you break into song. That’s what [the film] was missing.”
Buoyed by a rash of screen-to-stage hits — including three of the last five Best Musical Tony winners (Kinky Boots, Once, and Billy Elliot) — Big Fish, the moving, epic tale of a father and son opens tonight at the Great White Way’s Neil Simon Theatre. “Broadway is a risky business,” admits producer Dan Jinks, “but if the show works… investors can make far more money than they would make traditionally on Wall Street, and I’ve just always had this tremendous belief in the story that we were telling.”
It didn’t hurt that Jinks and August stacked the deck by enlisting some stage pros for the live version of his film, including composer Andrew Lippa (The Addams Family) and Susan Stroman, the director-choreographer of 2001’s Tony-sweeping hit The Producers, which was itself based on Mel Brooks’ 1968 film. So how did August, Jinks, and Stroman combine movie magic with good, old-fashioned stagecraft to hook audiences in for their fantastical re-imagining? Read on… READ FULL STORY
The splashy new musical version of Big Fish — the beloved 2003 Tim Burton film, as well as a heralded Daniel Wallace novel before that — is fully under way in previews at Broadway’s Neil Simon Theatre for an opening on Oct. 6. But you now have a cushy pre-opening seat (after the jump) to witness key moments from the new Susan Stroman-Andrew Lippa-John August tuner, which teases chorines, giants, acrobats, and elephants (oh my!), as well as the always-endearing glimpse of the inimitable Norbert Leo Butz tenderly essaying a catchy new song. And best of all, unlike the film, you don’t have to witness the irreversible sight of Danny DeVito’s bare bottom. Enjoy, stage fans!
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After a warm reception in Chicago this past spring, the musical adaptation of Tim Burton’s phantasmagorical 2003 film Big Fish will be hitting Broadway this fall, and EW has an exclusive clip to get you ready for the circus. Here in its entirety is “Time Stops”, featuring two-time Tony winner Norbert Leo Butz (Dirty Rotten Scoundrels, Catch Me If You Can) and Tony-nominee Kate Baldwin (Finian’s Rainbow), one of several new tunes penned by composer Andrew Lippa (The Wild Party). The production features a book by John August (who also wrote the film) and is directed and choreographed by five-time Tony winner Susan Stroman (The Producers).
Big Fish begins previews on Broadway at the Neil Simon Theatre on Sept. 5, with an opening scheduled for Oct. 6.
Click below to watch “Time Stops”:
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It was a notable week on the boards, one that included the Broadway debut of a most-beloved film star, a reboot of a musical two-hander with quite a vocal fanbase, and the Main Stem composing debut of an ’80s pop icon. (Click on the links below to read our full reviews.)
Lucky Guy A smoky, New York-flavored ode to Mike McAlary, the respected and feared tabloid journo who exposed corruption in the NYC police ranks, Lucky Guy brings two-time Academy Award-winner Tom Hanks to the Great White Way, courtesy of a script by the late, adored Nora Ephron (Sleepless in Seattle). But despite good notices for Hanks in most circles, critic Lisa Schwarzbaum was duly unimpressed, citing that “two hours of Lucky Guy and a theater-goer with no previous knowledge of McAlary and his tabloid cronies will still have no idea why Ephron was so enamored of this blowhard” and that the production “feels so inconsequential and dramatically inert.” EW grade: C+ READ FULL STORY
Katie Holmes, who made her Broadway debut four years ago in a revival of Arthur Miller’s All My Sons, returns to the Great White Way next month in Dead Accounts, a new comedy by Smash creator Theresa Rebeck that’s become one of the most buzzed-about plays of the season.
In this exclusive clip, the former Mrs. Tom Cruise and her costar, two-time Tony winner Norbert Leo Butz, talk about working together on the timely story of a con man who returns home suddenly flush with cash and upsets the order in his tight-knit family (including his sister, played by Holmes). The limited-run show, directed by three-time Tony winner Jack O’Brien, begins previews Nov. 3 before an official opening on Nov. 29.
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