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Post by Ms. on Dec 10, 2016 18:03:19 GMT
Diana Ross - An Evening Honoring Carolina Herrera (Live Medley) December 7, 2016
I don't like this at all.
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Post by ollie9 on Dec 11, 2016 13:12:04 GMT
Diana Ross - An Evening Honoring Carolina Herrera (Live Medley) December 7, 2016
I don't like this at all. I would like to see Diana close out with "All For One". A timeless and beautiful song. Does anyone know if she sung "I Will Survive" at the KC. Surely that is the one song that really does need to be...
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Post by hector on Dec 11, 2016 14:48:04 GMT
I don't like this at all. I would like to see Diana close out with "All For One". A timeless and beautiful song. Does anyone know if she sung "I Will Survive" at the KC. Surely that is the one song that really does need to be... It really does not matter what songs she chooses for her stale act, she cannot sing.
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Post by Magical Froggy on Dec 11, 2016 23:06:55 GMT
Diana Ross - An Evening Honoring Carolina Herrera (Live Medley) December 7, 2016
I don't like this at all. What's with the dated 70s-80s Bob Mackie gown at a fashion show. Isn't that a contradiction?
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Post by hector on Dec 11, 2016 23:46:30 GMT
I don't like this at all. What's with the dated 70s-80s Bob Mackie gown at a fashion show. Isn't that a contradiction? It goes along with 80s big hair she's still wearing.
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Post by hector on Dec 11, 2016 23:51:08 GMT
Diana Ross - An Evening Honoring Carolina Herrera (Live Medley) December 7, 2016
Without the background singers, I wouldn't even recognize the songs now.
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Post by drummer on Dec 12, 2016 4:27:20 GMT
Diana Ross - An Evening Honoring Carolina Herrera (Live Medley) December 7, 2016
Without the background singers, I wouldn't even recognize the songs now. she sounds like many mouse with a sore throat completely unlistenable
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Post by mpn1jco on Dec 13, 2016 0:40:04 GMT
Motown: The Musical’ to Close for Second Time on Broadway
“Motown: The Musical” is abruptly ending its return engagement on Broadway, only 19 days after it began.
The show’s producers, led by Kevin McCollum, announced on Thursday night, just as reviews were being published online, that its final performance would be July 31. The show, which began performances on July 12, had been scheduled to run until Nov. 13.
The musical, about the history of Motown Records, initially ran for 775 performances on Broadway, beginning in 2013, and then closed, vowing to return with a slimmed-down production after a national tour.
But at an intensely competitive time for Broadway, the market was not there: Last week it grossed $424,198 in eight performances at the Nederlander Theater, just 37 percent of its potential.
The closing on Broadway will be the end of the show’s North American tour. A separate production of the musical is continuing to run in London.
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Post by mpn1jco on Dec 13, 2016 0:44:38 GMT
Jersey Boys played 4,643 performances on Broadway.
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Post by roberta75 on Dec 13, 2016 1:40:41 GMT
I thought Motown the Musical was a hit. Come on guys, I need some help here.
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Post by hector on Dec 13, 2016 1:43:15 GMT
Jersey Boys played 4,643 performances on Broadway.
She looks like Oprah
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Post by mpn1jco on Dec 13, 2016 11:02:33 GMT
Just weeks after “Motown, The Musical” began its return engagement on Broadway, the show’s producers announced that it would be closing on July 31, a serious foreshortening of its intended 18-week run. In a statement, they noted that the musical had fully recouped its investment during its initial run on Broadway, which started in March 2013 and ended in January 2015, just before the national tour began. “We are delighted that this amazing company of actors and musicians has been able to bring the production full circle to Broadway . . . for the final stop on the tour.”
What no one talked about was why a show with such rich source material became something of an also-ran. Broadway is full of missed opportunities, and despite its initial profitable run, “Motown” looms as one of the biggest. In the realm of “jukebox” musicals, it is king, drawing from a plethora of baby-boomer smash hits created by such legendary groups as the Supremes, Temptations, the Jackson Five, and Smokey Robinson and the Miracles. Throw in Marvin Gaye and Stevie Wonder, and the potential is limitless. Acting as Svengali for those chart-climbing artists was Berry Gordy, the hard-driving founder and producer of Motown whose story the musical purports to tell.
The problem is that Gordy, who co-produced the musical, insisted on writing the book. The result amounted to little more than hagiography and a skeletal framework around which to weave more than 50 songs. “The ego has landed,” is how British critic Michael Billington of the Guardian described “Motown” when it opened in London last March. The critical consensus in London was similar to the mixed-to-negative reviews that greeted the musical’s Broadway debut.
Indeed, the serious panning of the book by New York critics moved Gordy to apologize to the cast for having failed them in thinking that he, a neophyte writer at 84, could pull off one of the most difficult theatrical challenges. It’s a feat that has stymied many who have attempted it solo. A recent example is Woody Allen, whose insistence on penning the book for the 2014 musical stage adaptation of his comedy hit “Bullets Over Broadway” resulted in another lost opportunity. What made that Broadway flop even more heartbreaking was the fact that Allen had his choice of seasoned co-writers. These included his frequent collaborator Marshall Brickman (“Annie Hall”), who co-wrote the long-running “Jersey Boys,” and Douglas McGrath, who worked with Allen on the film version of “Bullets” and created the book for the smash hit Carole King musical, “Beautiful.”
One could speculate whether those opting to go it alone are motivated by greed, a desire for total control, or a sincere belief that only they can do full justice to the material. When it was announced that “Motown” would return to Broadway in a “streamlined” incarnation following its national tour, the hope was that a veteran writer would have burnished the book, enabling the production, ably directed by Charles Randolph-Wright and choreographed by Patricia Wilcox and Warren Adams, to shine more brightly. Critics hailed the new leads, including Chester Gregory, as Gordy, and Allison Semmes, as Diana Ross. But the momentum that had propelled “Motown” in its first incarnation was long gone, resulting in an aborted run for a show that should have continued to employ its talented cast through at least November, if not for years to come.
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Post by mpn1jco on Dec 13, 2016 11:10:31 GMT
The public wants the truth. Too many songs and Secrets of A Sparrow style story line are to blame.
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Post by hector on Dec 13, 2016 20:21:47 GMT
The public wants the truth. Too many songs and Secrets of A Sparrow style story line are to blame. His attempt at repairing Diana Ross's public image and reputation failed. Everyone knows she was not Mother Theresa. I predicted this when I first heard that the play was being prepared for the stage. That it would be a fluff piece and would not touch any of the uglies of the Motown Story.
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Post by mpn1jco on Dec 14, 2016 19:28:02 GMT
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