From WhatsOnStage:

Merrily We Roll Along producer says Broadway recording "is not a capture... it's its own genre" of film
Sonia Friedman expressed her excitement as the film edges closer to public release


No substantive discussion of the upcoming release; just Friedman gushing with pride in her sister's work translating their production for the screen, for sixty seconds at the tail end of this podcast.  (Which is fine, but the modern tic of hyping these captures as a brand-new art form being born before our eyes — cf., the "Hamilfilm," which may have started this unfortunate trend — still rubs me the wrong way).

Meanwhile, from BroadwayWorld...

Rialto Chatter:  Is Merrily We Roll Along Coming to Movie Theaters This December?

...December 5, to be specific?  Maybe, maybe not;  three days after BWW published that, the AMC Theaters link in their article takes me to a page listing Merrily's release date as January 1, 1900 [sic].  Perhaps the Dec. 5 date had been listed there prematurely — which doesn't necessarily mean inaccurately — and was subsequently removed, pending an announcement more official than "Rialto chatter".

Oh my!  The was a brief, concise article!  

After apparently having shown up at the Tonys the other night (maybe he was on the red carpet, which I didn't watch, before the ceremony?), the Opera Ghost sent handwritten notes to a few news outlets today:

You cannot view this attachment.

The Tonys are always my favorite awards ceremony, partly because I use them as a shopping list to which cast albums I want to listen to. This year I didn't think too much of the numbers chosen from any of the new musicals  (I thought Operation Mincemeat looked particularly bad on TV, but that actually made me more interested in it). I don't think the TV treatment did Floyd Collins any favors either, unfortunately. That's the one cast album I'm most excited about.

I'm also now more curious about Oh, Mary!: How well might it translate to regional theatre?

English is part of the Denver Center upcoming season.

And I believe Cynthia Erivo can do no wrong, although she looked hot (temperature-wise) in the opening number.

This one isn't complete, but it's worth watching just for Jordan's and Gotay's irrepressible energy even behind their microphones.

For the full track, we'll have to wait for the album release, July 11 in both digital and physical formats:

https://www.broadwayrecords.com/products/floyd-collins-original-broadway-cast-recording

Quote from: scenicdesign71 on Jun 06, 2025, 01:15 PM
I designed our custom airplane gobo in haste ten days before opening when it belatedly became apparent that projections — always intended to be a major part of this show's design, as they had been for many of my previous Surflight designs years ago — were no longer feasible with the remaining equipment at hand.  This gobo is the only projection-like element we were able to manage, and while it serves just one fairly brief and minor book scene near the top of Act 2, it elicits a gasp of delight from the audience.  Despite being as visibly patched-together from chewing gum and a prayer as the rest of the set, it becomes by default the evening's one sort of "wow" scenic (and lighting) moment.

I was also going to say that the airplane is just delightful and I really love it!!  

Any Disney fans here?



Coming June 20 to Disney+.

The SandPaper:   Surflight's Top Hat a Very Smooth Musical

Quote from: Rick Mellerup, The SandPaper June 4, 2025...Additional kudos are in order. Costume designer Keith Schneider re-created the 1930s to a tee. Then there's scenic designer David Elser's sets. If the show were on Broadway, God only knows how much money would be spent on them – I believe a small plane would even fly through the air on almost invisible wires. Surflight doesn't have a Broadway budget, but Elser did a more than credible job with what he had. I especially loved what he did with the plane scene.

I designed our custom airplane gobo in haste ten days before opening when it belatedly became apparent that projections — always intended to be a major part of this show's design, as they had been for many of my previous Surflight designs years ago — were no longer feasible with the remaining equipment at hand.  This gobo is the only projection-like element we were able to manage, and while it serves just one fairly brief and minor book scene near the top of Act 2, it elicits a gasp of delight from the audience.  Despite being as visibly patched-together from chewing gum and a prayer as the rest of the set, it becomes by default the evening's one sort of "wow" scenic (and lighting) moment.

Speaking of which: additional additional kudos are in order for our lighting designer, Cliff Spulock, who made my whole janky contraption look better than it has any reason to.  And even Mellerup's lavish praise can't do justice to our brilliant (and saintly) director-choreographer Paula and her magnificent cast.  If my own work doesn't look altogether embarassing (a big enough "if" to have me pondering whether the misspelling of my name in this review, both times it's mentioned, mightn't be a blessing in disguise), it's all due to them.

I've nursed a mild obsession with irises ever since grad school when I saw John Arnone's gorgeously simple yet striking set for Anna Deavere Smith's Twilight: Los Angeles, 1992 several times during its too-brief Broadway run.  As recently as this spring, I tried to get an irising portal of sorts into my Top Hat design; but between the summer-stock schedule and the harrowing logistics of that particular space, the only surviving remnants of that idea are a grey traveller curtain and matching header used in tandem just once, to frame a brief two-character book scene set aboard a small private airplane.  The traveller on its own — manually dragged open and closed by two assistant stage managers without the rigidly-framed edge I had designed — otherwise plays in only two or three of my originally planned nine or ten configurations, without the header; mostly, it just gets opened and closed throughout the evening for downstage "crossover" scenes covering the show's seventeen scene changes, in what has become the summer-stockiest element (against stiff and crowded competition) in a regrettably summer-stock-y-looking set.

So this New Yorker video showcasing Dane Laffrey's spectacular use of irising portals in Maybe Happy Ending, in addition to goosing my interest in seeing the show, also makes me more than a little wistful.  Even without the added cool-factor of his niftily responsive LED-lined edges, irising portals are harder to make truly clean and elegant than their seductive simplicity-in-principle might suggest; I've attempted them in several other shows, some more successfully than others, but never as effectively as Laffrey or Arnone (or countless other designers — most of them working, it should be said, with budgets I've only ever been able to dream of).

There's undoubtedly a lot more to be said about Scott Pasks's set than this short feature would suggest (more about those Mason jars, please!); but concision is good, and these pieces aren't written for nerds like me:

NYT:  In One Image:  Good Night, and Good Luck