broadway flop

Dyin' Ain't So Bad
Laura Osnes
Dyin' Ain't So Bad

This Day in History: “Bonnie and Clyde” closes after only 36 performances on Broadway. (December 30th, 2011)

In this audio clip, Laura Osnes sings “Dyin’ Ain’t So Bad” during the final performance of the show.


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— theater
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— musicals/broadway
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This Day in History: “Taboo” closes on Broadway after only 100 performances at the Plymouth Theatre (currently named the Gerald Schoenfeld Theatre) on February 8th, 2004.

The show was produced by Rosie O'Donnell and starred Boy George as Leigh Bowery, Raúl Esparza as Philip Sallon, and Euan Morton as George O'Dowd. 

most lgbt movies you see recommended are rated r, sexually explicit, etc etc. while that’s honestly great to see and something i’m personally okay with, it leaves kids and people who DON’T want to see sex alienated.

*Please note that I have not seen all or most of these movies. I will be updating this list as I find more/watch unrated ones that can be placed here. Let me know if I missed any!

Last Updated: 5/4/17

thus, here’s a list of lgbt movies that aren’t rated r:

  • The Pearl of Africa, TV-14: “In this intimate documentary, Ugandan transgender woman Cleopatra Kambugu struggles and prevails as she lives in an actively transphobic environment.”
  • Jenny’s Wedding, PG-13: “When Jenny plans to marry her girlfriend, she decides it’s time that her family, who doesn’t know she’s a lesbian, finally learns the truth.”
  • The Out List, TV-PG: “Activists, entertainers, athletes and politicians are among those profiled in this thought-provoking portrait of notable LGBT personalities.”
  • Growing Up Coy, TV-PG: “Filmmakers follow a Colorado family’s highly public battle for the rights of their transgender daughter, Coy, in a landmark civil rights case.”
  • My Transgender Kid, TV-14: “Two British families discuss the challenges they face raising children who identify as a gender different from the one they were assigned at birth.”
  • Gayby Baby, PG: “This documentary follows four youngsters as they navigate the challenges of their preteen years, including society’s bias against their gay parents.”
  • Margarita with a Straw, TV-14: “An Indian woman with cerebral palsy decides to study in New York, where she becomes involved in a life-changing affair with a blind female activist.”
  • Who’s Gonna Love Me Now?, TV-14: “A gay London man faces a positive HIV diagnosis and a decision on whether to stay with loving friends or return to his estranged parents in Israel.”
  • Game Face, TV-14: “This documentary follows the struggle of transgender MMA fighter Fallon Fox and gay basketball player Terrence Clemens for acceptance by their sports.”
  • Kumu Hina, TV-14: “This year captures a year in the life of native Hawaiian transgender teacher Hina Wong-Kalu, who embodies mahu, a sacred spirit both male and female.”
  • Big Eden, PG-13: “Henry Hart returns to Big Eden and winds up confronting his unrequited passion for his high school best friend and his feelings about being gay.”
  • Rent, PG-13: “This is the film version of the Pulitzer and Tony Award winning musical about Bohemians in the East Village of New York City struggling with life, love and AIDS, and the impacts they have on America.”
  • D.E.B.S., PG-13: “Plaid-skirted schoolgirls are groomed by a secret government agency to become the newest members of the elite national-defense group, D.E.B.S.”
  • I Am Not Your Negro, PG-13: “The late black and gay writer James Baldwin is given new voice in I Am Not Your Negro. Director Raoul Peck offers viewers the opportunity to spend 90 minutes with Baldwin’s words — his interviews, manuscripts, and influences — which offer his honest and illuminating insights on race in America.”
  • I Can’t Think Straight, PG-13: “A 2008 romance film adapted from a same name novel about a London-based Jordanian of Palestinian descent, Tala, who is preparing for an elaborate wedding. A turn of events causes her to have an affair and subsequently fall in love with another woman, Leyla, a British Indian.”
  • The World Unseen, PG-13: “A drama centered on two women who engage in a dangerous relationship during South Africa’s apartheid era.”
  • Caramel, PG: “A romantic comedy centered on the daily lives of five Lebanese women living in Beirut.”
  • You Are Not Alone, UR: “Two precocious boys explore their sexuality at boarding school.”
  • Bend it like Beckham, PG-13: “The daughter of orthodox Sikh rebels against her parents’ traditionalism and joins a football team.”
  • Camp, PG-13: “After a series of Broadway flops, songwriter Bert Hanley (Dixon) goes to work at a musical camp for young performers. Inspired by the kids, he finds an opportunity to regain success by staging an altogether new production.”
  • Chutney Popcorn, PG-13: “Reena is a young Indian American lesbian who lives and works in New York. Her sister Sarita, who is happily married, discovers that she is infertile. Reena offers to be a surrogate mother for her sister’s baby, hoping to improve her relationship with their mother, who disapproves of Reena’s sexual orientation. Reena has second thoughts when her girlfriend Lisa feels left out.”
  • The Family Stone, PG-13: “An uptight, conservative businesswoman accompanies her boyfriend to his eccentric and outgoing family’s annual Christmas celebration and finds that she’s a fish out of water in their free-spirited way of life.”
  • Saved!, PG-13: “When a girl attending a Christian high school becomes pregnant, she finds herself ostracized and demonized, as all of her former friends turn on her.”
  • To Wong Foo Thanks for Everything, Julie Newmar, PG-13: “Three drag queens travel cross-country until their car breaks down, leaving them stranded in a small town.”
  • Victor Victoria, PG: “A struggling female soprano finds work playing a male female impersonator, but it complicates her personal life.”
  • Far From Heaven, PG-13: “In 1950s Connecticut, a housewife faces a marital crisis and mounting racial tensions in the outside world.”
  • Philadelphia, PG-13: “When a man with HIV is fired by his law firm because of his condition, he hires a homophobic small time lawyer as the only willing advocate for a wrongful dismissal suit.”
  • Beautiful Daughters, TV-14: “In February, 2004, with the help of Eve Ensler and Jane Fonda, a group of transgender women put on the first all-transgender production of “The Vagina Monologues”, including a new monologue written by Ensler from their own experiences.”
  • Zorro: The Gay Blade, PG: “In 1840’s Mexico, wealthy landowner Don Diego Vega learns of his late father’s secret as Zorro, the masked folk hero, and Vega adopts his new persona. But when Vega is incapacitated by an injury, he asks Ramon, his very gay, long-lost twin brother (now calling himself ‘Bunny’), to replace him as the caped hero, who makes some drastic changes to his Zorro persona.”
  • We Think the World of You, PG: “An aimless young man, Johnny, is sent prison. He entrusts his beloved dog, Evie, to the care of his former lover and best friend, Frank. When he gets out of prison, he has to face difficulties at home. Added to this, is the fact that he may have to give up Evie to Frank.”
  • EDIT: Nina’s Heavenly Delights, PG-13: “A feisty young woman returns to Glasgow to run her deceased father’s curry house.”
  • EDIT: The Color Purple, PG-13: “A black Southern woman struggles to find her identity after suffering abuse from her father and others over four decades.”
I Remember How Those Boys Could Dance
Betty Buckley, Linzi Hateley
I Remember How Those Boys Could Dance

“Carrie”, a musical adaption of Stephen King’s classic novel, played only sixteen preview performances and closed after only five official performances at the Virginia Theatre on Broadway in 1988, losing the entire investment that was put into it and immediately becoming one of the most notorious flops in Broadway history. The show starred Linzi Hateley in her Broadway debut as Carrie White and Betty Buckley as Margaret White.

In this clip, Betty Buckley and Linzi Hateley sing “I Remember How Those Boys Could Dance” from the first preview of Carrie the Musical at the Virginia Theatre on Broadway on April 28th, 1988.

Who Needs Her? (Reprise)
Original Broadway Cast
Who Needs Her? (Reprise)

Mary Tyler Moore & Richard Chamberlain sing the “Who Needs Her” reprise from the Broadway production of the musical “Breakfast at Tiffany’s”. It only played four preview performances at the Majestic Theatre in December of 1966 before it was shut down by David Merrick, one of the leading producers of the show, making it one of the most notorious flops in Broadway history.

we deserve each other 

a mix of 30+ theatre duets to make boys sing with you. all oddly pieced together to make a story of first meetings, realizations, first dates, falling in love, falling outs, and finally getting that happy ending that was always coming. { x }

| i. no more - spiderman || ii. light my candle - rent || iii. first impressions - first date || iv. i think i got you beat - shrek || v. a million miles away - aladdin || vi. summer nights - grease || vii. portrait of a girl - bare || viii. take it like a man - legally blonde || ix. first date/last night - dogfight || x. a whole new world - aladdin || xi. i turned the corner/i’m falling in love with someone - thoroughly modern millie || xii. it’s de-lovely - anything goes || xiii. crazier than you - the addams family || xiv. baptize me - book of mormon || xv. one - bare || xvi. dead girl walking - heathers || xvii. touch my soul - bare || xviii. too late to turn back now - bonnie and clyde || xix. don’t do sadness/blue wind - spring awakening || xx. legally blonde - legally blonde || xxi. why stay/a promise - next to normal || xxii. we deserve each other - wicked || xxiii. dyin’ ain’t so bad (reprise) - bonnie and clyde || xxiv. enjoy the trip - bring it on || xxv. if i told you - the wedding singer || xxvi. next ten minutes/ten minutes ago - the last 5 years/cinderella || xxvii. do i love you because you’re beautiful? - cinderella || xxviii. right in front of your eyes - the wedding singer || xxix. hey #3/perfect for you - next to normal || xxx. seventeen - heathers || xxxi. seven wonders - catch me if you can || xxxii. almost paradise - footloose || xxxiii. something to believe in - newsies || xxxiv. you’re the one that i want - grease |

allkindsofkids  asked:

Prompt: Carol and Therese kiss and make up after their first fight. The honeymoon is over. Easy living?

On Madison Avenue (Mid-May)

On Madison Avenue, the heat was suffocating. Therese desperately tried to blame the heat. Like the hand of some enormous god, it weighed down on everything in sight. No amount of air-conditioning could help. But when she finally rushed out of the apartment and away from Carol, she knew it was not the only thing to blame. On the street, mailmen sweated through their shirts and secretaries fanned themselves with magazines. Therese did not see them. She had shocked herself more than she had shocked Carol, she was sure.

She had come home after eight long hours at Harkevy’s studio. They were working on a set for an Australian play, but the set itself was not working, and no one felt like doing anything to fix it, and no one but Therese seemed to have read the play anyway. She had tried not to raise her voice. She had left quietly. Then, on the way home, she had found a red cat by a fire escape between Lexington and Park, howling, shouting for her. It was one of those inexplicable things. It had seemed like the only living soul in the city that day.

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The Many Faces of “Dance of the Vampires”: from Film to Musical and it’s Broadway revamp

So because I was procrastinating lots of work that should’ve been done but I’m too lazy and dumb bored, I decided to write a little bit about my (second) favorite film and favorite musical, and specifically about the differences between them. Maybe for very biased reasons, I’ve always been very fascinated by how “Dance of the Vampires” (or, as it’s better known under the US title “The Fearless Vampire Killers”) was turned into a musical - and specifically one that uses Bonnie Tyler’s “Total Eclipse of the Heart” as a recurring theme (which is personally something that I would NEVER associate with that film, but nevertheless just works so well!). I guess it’s the fact that both film and musical were directed by the same man - Roman Polanski - and I just find so intriguing how a director can rework the same concept over 30 years later (and especially to a different medium), how much changes and how much remains.

The musical, originally staged in Vienna in 1997, was an instant smash hit. But when the show was brought to New York, (for a variety of reasons that are aptly covered here) it was changed drastically and almost beyond recognition, resulting in one of the biggest flops in Broadway history. 

Now, though I disliked most of the changes made for the US version (and still resent the fact that these changes made it impossible for the show to be staged in an English language production ever since), I just find them all so… fascinating. Especially when comparing to the original show and the film before it.

So, here’s my attempt to take a look at everything that was changed in this story: from film to the Vienna stage (and subsequent productions based on that staging), and from the Vienna stage to Broadway.

I know a lot of “The Fearless Vampire Killers” fans have not seen the musical (and in fact are terrified of such a concept), while many “Tanz der Vampire” fans have also not seen the film that originated it either… and of course, almost everyone is terrified of watching the whole Broadway show. So maybe this will be useful to some of you, and maybe it will spark interest to see a variation you haven’t seen before. Anyway, enjoy! (and if there’s any particular element that you feel I overlooked or forgot to point out, do let me know)

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