The Apple Tree is a series of three musical playlets with music by Jerry Bock, lyrics bySheldon Harnick, and a book by Bock and Harnick with contributions from Jerome Coopersmith. Each act has its own storyline, but all three are tied together by a common theme (someone who believes that they want something, but once they get what they wanted they realize that it wasn't what they wanted) and common references, such as references to the color brown. The first act is based on Mark Twain's The Diary of Adam and Eve; the second act is based on Frank R. Stockton's The Lady or the Tiger?; the third act is based on Jules Feiffer's Passionella.

The musical opened on Broadway on October 9, 1966 at the Shubert Theatre and ran for 463 performances, closing on November 25, 1967. It was produced by Stuart Ostrow, directed by Mike Nichols and starred Barbara Harris, Alan Alda, and Larry Blyden. Harris won the Tony Award for Best Actress in a Musical. The Apple Tree also received several other major Tony nominations: Bock and Harnick for Best Composer and Lyricist, Nichols for Best Direction of a Musical, Lee Theodore for Best Choreography, and the show itself for Best Musical.

The Encores! staged concert production ran from May 12, 2005 through May 16, 2005, and starred Kristin Chenoweth, Malcolm Getsand Michael Cerveris.

The Roundabout Theatre Company mounted a revival that ran from December 14, 2006 until March 11, 2007 with Kristin Chenoweth in Harris' roles, Brian D'Arcy James in Alda's roles and Marc Kudisch in Blyden's. The consensus of reviews was that the playlets themselves are all creaky with age, the music interesting but not inspired, and Chenoweth's performance a marvel and the evening's only important attraction.

Clips from Broadway revival:

Aspects of Love is a musical with a book and music by Andrew Lloyd Webber and lyrics by Don Black and Charles Hart. It is famous for the song "Love Changes Everything."

Based on the novella of the same name by David Garnett, the piece focuses on the romantic entanglements of actress Rose Vibert, her admiring fan Alex Dillingham, his underage cousin Jenny, his uncle George, and George's mistress, sculptress Giulietta Trapani, over a period of 17 years. The "aspects" of the title refers to the many forms that love takes in the show: love between couples, both as romantic infatuation and as married people; children and their parents; and there are even some hints of lesbianism (Giulietta and Rose).

Lloyd Webber was introduced to Aspects of Love in 1979, when he and Tim Rice were approached to write a few songs for a proposed film version. When nothing came of it, he suggested to Trevor Nunn that they collaborate on a stage adaptation. In 1983, they presented a cabaret of numbers they had written, but it was not until five years later that they tackled the project in earnest. For the finished project, Lloyd Webber used at least five of the tunes he had written for the 1986 one-act musical Cricket, which he had written with Tim Rice.

The West End production, directed by Trevor Nunn and choreographed by Gillian Lynne, opened on April 17, 1989 at the Prince of Wales Theatre, where it ran for 1,325 performances. The original cast included Kevin Colson, Ann Crumb, Michael Ball, Kathleen Rowe McAllen and Diana Morrison. Sarah Brightman, Barrie Ingham, and Michael Praed were among the replacements later in the run. Roger Moore was due to star in the production but dropped out.

The Broadway production, with the same creative team and many of the original London cast, opened on April 8, 1990 at the Broadhurst Theatre and closed on March 2, 1991 after 377 performances and 22 previews. Brightman and John Cullum joined the cast later in the run. The reviews were lackluster and New York Times critic Frank Rich wrote in a negative review "Whether Aspects of Love is a musical for people is another matter." When the musical closed, the entire $8 million investment was lost, which, according to the New York Times, made it "perhaps the greatest flop in Broadway history."

"Love Changes Everything" from the Tony Awards:

Bagels & Yox was a 1951 comedy/variety theater revue that successfully played in New York's Theatre District at the Holiday Theatre, in addition to running in Atlantic City and Miami Beach.  With songs by Sholom Secunda and Hy Jacobson; Additional lyrics by Millie Alpert, the show opened September 12, 1951 and played 208 performances. During intermission, bagels were served to the audience. Read the New York Times review (PDF).

Band in Berlin, a musical written and conceived by Susan Feldman. Staged, choreographed and co-conceived by Patricia Birch. Directed by Patricia Birch and Susan Feldman. The setting was memories of Germany, 1927-1935. Preview: Feb 19, 1999   Total Previews: 19 Opening: Mar 7, 1999   Closing: Mar 21, 1999   Total Performances: 17
The cast featured Herbert Rubens, Mark Bleeke, Timothy Leigh Evans, Hugo Munday, Peter Becker, Wilbur Pauley and Robert Wolinsky. 

A CurtainUp Review 

Band In Berlin 

There's a lot of fine musicality in Band In Berlin. The band of the title, German sextet known as The Comedian Harmonists -- five singers and the sixth voice, the piano player -- were the toast of Berlin and many other cities during their heyday, between 1927 and 1935. They perfected singing as a single voice. Their ability to mimic the sound of instruments was uncanny and is illustrated in Band of Berlin's deserved top applause getter, a vocal interpretation of Rossini's overture to The Barber of Seville. While the Harmonists on the stage of the Helen Hayes are obviously not the originals, the musical stage and opera trained group known as The Hudson Shad do a terrific job in recreating the magic that made them the Beatles of their day. 

As good as the Harmonists-cum-Hudson Shad are, they don't fit the image of a young glamorous group or the kind of singers and dancers audiences expect to see on a Broadway stage. Only Hugo Munday who plays the lyric baritone Harry Frommermann is blessed with a youthful, handsome appearance. Wilbur Pauley, by virtue of his basketball player height and somewhat manic eyes, is the most individualized of the group who otherwise portray personalities that are as blended (and thus bland) as the harmony of their voices. That's where the first problem with this concert masquerading as a Broadway musical comes in. The Hudson Shads and most of the show's musical numbers would be terrifically entertaining concert or even a cabaret stage. However, they are not up to bringing off the bio-musical Band of Berlin aims to be. 

That's not to say that the idea of a biographical musical about the half Jewish group is a terrible idea. Their story is an apt addition to that of many artists who were branded by Herren Hitler and Goebbels as purveyors of " degenerate art." Thus their rise and Nazi-driven fall would seem to have at least some of the potential of another dark musical spun from that era, Cabaret. This is borne out by the fact that a documentary about the group broadcast some years ago inspired two other biodramas about the Harmonists, a musical by Barry Manilow (which failed) and a German film , which just opened.

Since Band of Berlin is clearly a much smaller musical than Cabaret, and with a very different musical sensibility, the show's conceptualizers, Susan Feldman and Patricia Birch, have taken a docu-musical approach, using filmed projections on a triptych screen ( the two side screens have identical images to accommodate audiences sitting in the side sections). Much of this does indeed add a nice flavor of authenticity and life to what's happening on stage. The images of the "degenerate art" are particularly good. However, the personal stories are all filtered through the single viewpoint of the group's Jewish baritone Roman Cycowski, who became a cantor. Unfortunately, his reminiscences are snippets and not full-fledged individualized stories. What's more Cycowski isn't Cycowski at all but the actor Herbert Rubens who comes on stage at show's end to take a bow. 

I haven't yet seen The Harmonists, the German film (with English subtitles) which just opened in two Manhattan theaters, but the reviews indicate that it provides a much more complete picture of the group's private and professional lives. It also includes the women in their lives. Band of Berlin on the other hand has no gals, no glamorous guys, and German folksongs sandwiched in between the bouncier numbers -- the already mentioned Rossini overture, the delightful "Tea for Two," "Stormy Weather" and "It Don't Mean a Thing If It Ain't Got That Swing". It adds up to a tough road ahead for this odd little show to survive as a Broadway musical. The show's producers would have served themselves and the show better if they had steered it to an Off-Broadway house like the West Side Arts or the Promenade where they've enjoyed surprise successes with the likes of I Love You You're Perfect, Now Change and Old Wicked Songs. 


Barnum is a musical with a book by Mark Bramble, lyrics by Michael Stewart, and music by Cy Coleman. It is based on the life of showman P. T. Barnum, covering the period from 1835 through 1880 in America and major cities of the world where Barnum took his performing companies. The production combines elements of traditional musical theater with the spectacle of the circus. The characters include jugglers, trapeze artists and clowns, as well as such real-life personalities as Jenny Lind and General Tom Thumb.

The original Broadway production ran for 854 performances and was followed by a London production, among others.

Barnum opened on Broadway at the St. James Theatre on April 30, 1980 and closed on May 16, 1982 after 854 performances and 26 previews. It was directed and choreographed by Joe Layton, with scenic design by David Mitchell, costume design by Theoni V. Aldredge, and lighting design by Craig Miller. The musical starred Jim Dale as P. T. Barnum, Glenn Close (Charity Barnum), Marianne Tatum (Jenny Lind), Terri White (Joice Heth), and Terrence Mann (Chester Lyman).

The West End production opened on June 11, 1981 at the London Palladium, where it ran for 655 performances. Michael Crawford, Deborah Grant, and Sarah Payne headed the cast. A new production opened in Manchester in 1984 at the Manchester Opera House and ended its tour at the Victoria Palace in the West End, in 1986. The cast was headed again by Michael Crawford and a new leading lady, Eileen Battye as Charity Barnum. This production was recorded for television and broadcast by the BBC in 1986.

Reg Livermore starred in the Australian production in 1982, it opened at the Regent Theatre in Melbourne.
The Madrid production opened on September 28, 1984 at the Teatro Monumental, directed by Jaime Azpilicueta and starred by Emilio Aragón as Phineas Taylor Barnum, Clara Morales, María Fleta, Michelle McCain, Deborah Carter, Iñaqui Guevara, Marta Valverde and Toni Carrasco.

A production ran at The Asolo Repertory Theatre Sarasota, Florida, from November 12, 2008 through December 20 with Brad Oscaras Barnum, and at the Maltz Jupiter Theatre in Jupiter, Florida, in January 2009.

In 2008, it was rumoured that Cameron Mackintosh had voiced interest in producing Barnum in London with John Barrowman in the title role. This production has not happened as of February 2010. Due to issues with John Barrowman's availability, Michael Ball has also been linked with the show. In 2010, Mackintosh has again expressed interest in doing Barnum, this time on Broadway with Neil Patrick Harris starring. (Harris starred opposite Patti LuPone and George Hearn in Sweeney Todd: The Demon Barber of Fleet Street in concert in 2000/2001).

A scene from the London production:

Beg, Borrow or Steal. A musical comedy in two acts and twenty-one scenes set in a run-down section of a monster American city in the 1950's. The show featured Eddie Bracken, Howard Da Silva, Betty Garrett and Estelle Parsons. It opened February 10, 1960 and ran for 5 performances.

The Best Little Whorehouse Goes Public is a musical with a book by Larry L. King andPeter Masterson and music and lyrics by Carol Hall.

Ostensibly a sequel to the creative team's 1978 hit The Best Little Whorehouse in Texas, it is more a series of burlesque-style sketches and musical interludes than a traditional book musical. Hoping to recover $26 million in back taxes owed them by Las Vegas whorehouse Stallion Fields, the IRS lures former brothel madam Mona Stangley out of retirement to run the operation. Complications arise when billionaire Sam Dallas arranges the sale of shares in the enterprise on the stock exchange and right-wing politician Senator A. Harry Hardast objects to his plan.

The Vegas locale allows for an ongoing parade of barely-dressed showgirls in glitzy Bob Mackie costumes, Sonny and Cher, Elvis Presley, Liberace, and Siegfried and Royimpersonators, and a two-bit stand-up comic acting as emcee against a background of flashing neon lights and accompanied by the sound of ever-jangling slot machines.

After 28 previews, the Broadway production, directed by Tommy Tune and Peter Masterson and choreographed by Tune and Jeff Calhoun, opened on May 10, 1994 at the Lunt-Fontanne Theatre, where it ran for 16 performances. The cast included Dee Hoty as Mona, Scott Holmes as Sam, Ronn Carroll as the Senator, and Jim David as the emcee.

Dee Hoty sings "I'm Leaving Texas":

Big Deal is a musical with a book by Bob Fosse using songs from various composers such as Ray Henderson, Eubie Blake, and Jerome Kern. It was based on the film "Big Deal on Madonna Street" by Mario Monicelli. The musical received five Tony Award nominations, with Fosse winning for Choreography.

Fosse said that by using existing songs: "I can pick the perfect songs that will say the right things, and they're known. We'll have the greatest score in the world because they're all hit songs." Fosse said of the main character, Charlie: "That's my part! A swaggering bumbler who thinks he's a ladies' man, and he's not."

Big Deal opened on Broadway at the Broadway Theatre on April 10, 1986 and closed on June 8, 1986 after 69 performances and six previews. Directed and choreographed by Fosse, with Christopher Chadman as assistant choreographer, the musical featured Cleavant Derricks as Charley, Loretta Devine as Lilly, Wayne Cilento, Cady Huffman, Valarie Pettiford, and Stephanie Pope.

Clip from the production:

Billy Elliot the Musical is a musical based on the 2000 film Billy Elliot. The music is by Sir Elton John, and book and lyrics are by Lee Hall, who wrote the film's screenplay. The plot revolves around motherless Billy, who trades boxing gloves for ballet shoes. The story of his personal struggle and fulfillment are balanced against a counter-story of family and community strife caused by the UK miners' strike (1984–1985) in County Durham, in Northern England. Hall's screenplay was inspired in part by A. J. Cronin's novel, The Stars Look Down, to which the musical's opening song pays homage.

The musical premiered in London's West End in 2005 and was nominated for nine Laurence Olivier Awards, winning four including Best New Musical. The production is still running strongly, and its success led to productions in Australia, on Broadway and elsewhere. In New York, it won ten Tony Awards and ten Drama Desk Awards, including, in each case, best musical. It has also won numerous awards in Australia including a record-tying seven Helpmann Awards.

The musical premiered in the West End at the Victoria Palace Theatre, opening in previews on 31 March 2005 and officially on 11 May 2005; it is still running (as of December 2010). It reportedly cost £5.5 million to produce (the original film version cost $5 million). The producers were Working Title Films, Old Vic Productions Plc and David Furnish. It was directed by Stephen Daldry and choreographed by Peter Darling, as was the original film. Liam Mower, James Lomas and George Maguire were the original actors who alternated in the title role, and the supporting cast included Haydn Gwynne as Mrs. Wilkinson and Tim Healy as Billy's father. The sets were designed by Ian MacNeil, and the costumes were by Nicky Gillibrand, lighting was by Rick Fisher, and sound by Paul Arditti. The original cast album was released on 10 January 2006.

The musical received favourable reviews: the Daily Telegraph's Charles Spencer called it "the greatest British musical I have ever seen", and The Daily Mail thought it "a theatrical masterpiece".

Billy Elliott the Musical won four Laurence Olivier Awards: Best New Musical, Best Actor (awarded jointly to James Lomas, George Maguire and Liam Mower, the boys who played Billy), Best Sound design and Best Choreographer. It also won the Evening Standard Award as well as the Critcs Circle Award and the Theatregoers Choice Award, all for Best Musical. On 12 May 2006, the three original Billys appeared together in a performance of the musical to celebrate its first anniversary. The three rotated the role during the performance and were joined at the end by Sir Elton John.

The Broadway production opened at the Imperial Theatre on 1 October 2008 in previews and officially on 13 November 2008. The London production's creative team directed and designed the Broadway production. The title role was rotated among three young actors, David Álvarez, Kiril Kulish and Trent Kowalik, the last of whom had played the role in London. The supporting cast included Haydn Gwynne, reprising her role of Mrs. Wilkinson from the London production, and Gregory Jbara as Billy's father. The production received rave reviews: Time called it a "triumph"; critic Liz Smith termed it "breathtakingly brilliant" and "absolutely, unequivocally awesome"; the Daily News said it was "so exhilarating that at times you feel like leaping"; the New York Post said it was "almost like being in love" and termed it "amusing, perfect and passionate" and "the best show you will ever see"; and the Los Angeles Timescalled it a "global theatrical phenomenon". It has also been very financially successful, with $20 million taken in advance ticket sales. The production received fifteen Tony Award nominations, tying with The Producers for the most nominations ever received by a Broadway show, and winning ten. The original three boys in the lead role jointly won a Tony Award for Best Leading Actor in a Musical. The production recouped its original investment of $18 million in 14 months and, as of 2010, continues to sell strongly.

Clip from Broadway production:

Bring Back Birdie is a musical with a book by Michael Stewart, lyrics by Lee Adams, and music by Charles Strouse. A sequel to Bye Bye Birdie, it focuses on a scheme for rock 'n' roller Conrad Birdie, who disappeared after being discharged from the army twenty years ago, to make a comeback on a Grammy Awards broadcast.

After 31 previews, the Broadway production, conceived and directed by Joe Layton, set design by David Mitchell, costume design by Fred Voelpel, lighting design by David Hays, vocal arrangements by Mark Hummel, video sequences created by Wakefield Poole and Frank O'Dowd, dance music and musical coordinating by Daniel Troob, musical direction and vocal supervision by Milton Rosenstock, and Ralph Burns as the principal orchestrator. It opened on March 5, 1981 at the Martin Beck Theatre, where it ran for only four performances. The cast included Donald O'Connor (Albert), Chita Rivera (Rose), Maurice Hines (Mtobe), Marcel Forestieri (Birdie), Robin Morse (Jenny), and Maria Karnilova (Mae). The ensemble featured Cleve Asbury, Bill Bateman, Vanessa Bell, Michael Blevins, Jeb Brown, Julie Cohen, Frank De Salle, Leon Evans, Mark Frawley, Betsy Friday, Larry Hyman, Christine Langner, Zoya Leporska, Donna Monroe, Peter Oliver Norman, Howard Parker, Kevin Petitt, Rebecca Renfroe, Evan Seplow, and Barbara Dare Thomas.

Rivera was nominated for a Tony Award for Best Actress in a Musical and a Drama Desk Award as Outstanding Actress in a Musical.

Chita Rivera singing "Well, I'm Not":

Brooklyn The Musical is a musical with a book, lyrics, and music by Mark Schoenfeld and Barri McPherson. Using a play within a play concept, it focuses on a group of five ragtag homeless musicians known as the City Weeds who periodically transforms a street corner under the foot of the Brooklyn Bridge into a stage where they present their play about Parisian singer Brooklyn, named after the New York City borough from which her wayward father Taylor hailed. Orphaned when her depressed mother Faith hangs herself, the girl in quick succession is sent to live in a convent where she discovers her vocal talents, becomes a star, performs at Carnegie Hall, sets out in search of her father (who she discovers is a drug-addicted Vietnam War vet), and engages in a competition with local diva Paradice at Madison Square Garden.

Schoenfeld and McPherson had collaborated on a record more than two decades earlier but lost touch until the latter, now a Massachusetts housewife, encountered her former partner singing on a Brooklyn street corner as a means of support. She invited him home to live with her and her family, and the two began to write songs based on Schoenfeld's experiences they eventually worked into a plot boasting elements of Annie, Madame Butterfly, Movin' Out, Rent, and every fairy tale that ever ended happily ever after.

After twenty-seven previews, the Broadway production, directed by Jeff Calhoun, opened on October 21, 2004 at the Plymouth Theatre (renamed the Gerald Schoenfeld in May 2005), where it ran for 284 performances. The cast included Eden Espinosa as Brooklyn, Karen Olivo as Faith, Kevin Anderson as Taylor, Ramona Keller as Paradice, and Cleavant Derricks as a street singer who acts as the narrator.

Link to YouTube clip.

Buck White, a musical by Oscar Brown. Brown  adapted the original play by Joseph Dolan Tuotti into a musical, and he starred as Buck White during its successful run in San Francisco. The show featured Muhammad Ali in the lead role. It opened December 2, 1969 and closed after 7 performances.

Carnival in Flanders is a 1953 musical with a book by Preston Sturges, lyrics byJohnny Burke, and music by Jimmy Van Heusen. Based on the 1934 French comedy film La Kermesse Héroïque, it is set in 1616 in the small Flemish village of Flackenburg, where a Spanish duke and his entourage descend upon the community. The mayor plays dead, hoping that his ruse will force the visitors to depart, but the duke sets his sights on the man's "widow" and begins to woo her.

Harold Arlen was approached to write the score, but the task ultimately fell to Van Heusen and Burke. Bing Crosby was providing much of the financing for the production and had great faith in the songwriting team, who had written several of his hits, despite the fact that their previous theatrical collaboration, Nellie Bly (1946), had been a critical and commercial flop. George Oppenheimer, one of the book's original co-writers, withdrew from the project during pre-Broadway tryouts in Philadelphia, and Dorothy Fields joined her brother Herbert to help with rewrites. Eventually all their work was discarded by Sturges, who replaced Bretaigne Windust as director and completely reworked the book before the show reached California for a series of stagings by light opera companies prior to the New York City opening. Choreographer Jack Cole was replaced by Helen Tamiris, and several cast changes were made before the troubled production finally limped to Broadway.

Carnival in Flanders opened on September 8, 1953 at the New Century Theatre, where it ran for only six performances. The cast included John Raitt, Dolores Gray, and Roy Roberts. Critics were enchanted by Oliver Smith's sets and Lucinda Ballard's costumes, inspired by Breughel paintings, and Gray's lively performance, but universally panned every other aspect of the production. If remembered at all, it is primarily as the source of the Van Heusen-Burke standard "Here's That Rainy Day."

Dolores Gray won the Tony Award for "Best Actress in a Musical" (in photo). It remains the shortest-lived Tony-honored performance ever.

Dance from the show on Ed Sullivan:

Carrie: The Musical is a musical with a book by Lawrence D. Cohen, lyrics by Dean Pitchford, and music by Michael Gore. Adapted from Stephen King's novel Carrie, it focuses on an awkward teenage girl with telekinetic powers whose lonely life is dominated by an oppressive religious fanatic mother. When she is humiliated by her classmates at the high school prom, she wreaks havoc on everyone and everything in her path. Francis X. Clines, in The New York Times (March 2, 1988) noted that Carrie is "Mr. King's carmine variation on Cinderella".

Inspired by a 1981 performance of Alban Berg's opera Lulu at the Metropolitan Opera House, Lawrence D. Cohen, who wrote the script for the 1976 film version of Carrie, and Michael Gore began work on a musical based on the Stephen King novel. Gore's Fame collaborator, Dean Pitchford, was brought in to work on the project, which underwent numerous rewrites. In August 1984, a workshop of the first act was staged at 890 Broadway (New York City) with Annie Golden as Carrie, Maureen McGovern as Mrs. White, Laurie Beechman as Mrs. Gardiner, and Liz Callaway as Chris. It was soon announced that Carrie would be produced on Broadway in 1986. Funding was not raised until late 1987.

The show was produced by Friedrich Kurz and the Royal Shakespeare Company and had its first four-week run beginning on February 13, 1988 in Stratford-upon-Avon, England, where it received mixed reviews. Directed by Terry Hands and choreographed by Debbie Allen, the cast included Broadway veteran and cabaret singer Barbara Cook, Charlotte d'Amboise, Gene Anthony Ray, Darlene Love, and Linzi Hateley, in her stage debut, as Carrie.

The production was plagued with script and technical problems. For starters, the crew were unable to douse Hateley with fake blood without causing her microphone to malfunction. Rewrites continued following each show, and the program cited a song ("Once I Loved a Boy") which was rewritten and renamed ("When There's No One") prior to the first performance. Cook was nearly decapitated by an elaborate set piece on opening night, so she promptly resigned but agreed to stay on until a replacement could be cast, which was for the remainder of the Stratford run of the show. A musical section of the Shower Room Scene (which has come to be known as Her Mother Should Have Told Her) was removed after the initial few performances, and another song, "White Star", was later excised.

The show transferred to Broadway at an expense of $8 million (at the time an exorbitant amount). Hateley (who ultimately won a Theatre World Award) and other members of the UK cast remained with the show, but Cook was replaced by Betty Buckley (who had played the teacher Miss Collins in the 1976 film version).

The show started previews on April 28, 1988 at the Virginia Theatre. After the final song, boos were heard mixed in with applause. Ken Mandelbaum is quoted by Wollman, MacDermot, and Trask: "Ken Mandelbaum writes of an audience divided during early previews, the curtain calls of which were greeted with a raucous mix of cheers and boos. However, in an instant, when Linzi Hateley and Betty Buckley rose to take their bows, the entire theatre turned to a standing ovation. According to the New York Times, "The show had received standing ovations at some previews, as well as on opening night..."  The show officially opened on May 12, 1988. Hampered by scathing reviews, and despite the fact that the theatre was sold out every night, the financial backers pulled their money out of the show, and it closed on May 15, 1988 after only 16 previews and 5 performances, guaranteeing its place in theatre history as one of the most expensive disasters of all time. According to The New York Times, the "more-than-$7 million show...was the most expensive quick flop in Broadway history."

Although there is no official cast recording of the show, several bootleg audio tapes were surreptitiously made during live performances in both Stratford and New York, along with video footage shot from the audience, in addition to the professionally-made review tape sent to various journalists to promote the show. These recordings began to circulate soon after the show closed, and it was rumored in the early '90s that there were plans to record an official cast album, though it never happened. Buckley recorded the song "When There's No One" for her 1993 album Children Will Listen (the song also appeared on her 1999 album Betty Buckley's Broadway), and Hateley released the title song on her album Sooner Or Later. In 1999, "Unsuspecting Hearts" was recorded by Emily Skinner and Alice Ripley and released on their album of the same name.

Although Carrie is considered Broadway's biggest flop, there is a sizable cult following for it. Many fan sites have appeared with recordings and audio of the show along with the script and score for both Broadway and Stratford-upon-Avon versions. Along with fan sites, petitions have appeared online as well demanding a revival for the musical.

Betty Buckley and Linzi Hately from the Broadway production:

A Catered Affair is a musical with a book by Harvey Fierstein and music and lyrics byJohn Bucchino. It is based on both the 1956 film The Catered Affair written by Gore Vidaland the original 1955 teleplay by Paddy Chayefsky, set in 1953 in the Bronx. This is the first of Bucchino's scores produced on Broadway.

The show premiered on September 20, 2007 at San Diego's Old Globe Theatre in tryouts, with the official opening on September 30, running through November 11. It began previews on Broadway at the Walter Kerr Theatre on March 25, 2008 and opened officially on April 17. The production closed on July 27, 2008 after 116 performances and 27 previews. John Doyle directed the production, which stars Fierstein, Faith Prince and Tom Wopat. This production received 12 Drama Desk Award nominations, the most of any show from the 2007-2008 season.

A Catered Affair received mixed reviews.

Ben Brantley for the New York Times, wrote: "From Mr. Bucchino’s trickling, self-effacing score to the tight-lipped stoicism of its leading performances, from David Gallo’s tidy tenement-scape set to Zachary Borovay’s tentative photographic projections, this show is all pale, tasteful understatement that seems to be apologizing for asking for your attention... Ms. Prince, best known for her madcap musical turns in revivals of Guys and Dolls and Bells Are Ringing, scrubs down to raw-skinned plainness here. Her performance is tight, disciplined and at times quite affecting, never more so than when Aggie looks silently at some distant horizon of missed opportunities."

Clive Barnes, reviewing for the New York Post, wrote: "Under John Doyle's expert, discreet direction, it emerges less like a musical and more like a play with music: lovely, urban chamber music. But you won't come out humming the tunes, or even the scenery. You'll come out humming the characters."

But Linda Winer, for Newsday, wrote: "How bold to make a Broadway musical on such restrained material as A Catered Affair. How sad that the results are so glum. Despite the dedication of a fine cast...this is a colorless little piece of '50s social realism about a Bronx family that isn't so much emotionally repressed as emotionally deficient." She panned the "meandering, conversational melodies ba[c]ked by innocuous accompaniments", and the "tasteful but bland production", and concluded: "Winston, who wants the big wedding, observes, 'Resigning oneself to small is sad. Requesting it is tragic.' He could be talking about the show."

Faith Prince singing at the Tony Awards:

A Change in the Heir, a musical, lyrics by George H. Gorham; music by Dan Sticco; written by Dan Sticco, George H. Gorham.
Preview: Apr 10, 1990   Total Previews: 16 Opening: Apr 29, 1990       Closing: May 13, 1990   Total Performances: 23 Cast included Mary Stout.

Steven Holden, NY Times Review

'Do you read Middle Goth?'' one minor character asks of another in the new musical farce ''A Change in the Heir.''

"'I should, but I had mono that semester,'' comes the reply. ''I had her too,'' snaps the inquirer. Such jokes, at once wan and tasteless, exemplify the sad level of wit in the musical fairy tale that limped into the Edison Theater last night, after having been developed at the New Tuners Theater in Chicago, where it was first presented two years ago.

With lyrics by George H. Gorham, music by Dan Sticco and a book by both, ''A Change in the Heir'' looks and sounds like a campy, nickel-and-dime burlesque of the Stephen Sondheim-James Lapine show ''Into the Woods.'' Whole swatches of its score imitate Mr. Sondheim's musical style with a fidelity that borders on appropriation. The melody of ''By Myself,'' a song in Act II, repeats almost note for note one of the themes in the title song of ''Merrily We Roll Along.''

Set in a low-rent district of fairyland where the royal garb resembles patterned bed sheets, ''A Change in the Heir'' tells the story of how two competing branches of the same family, each hoping to inherit the crown, bring a son and a daughter up as the opposite sex. Don't ask why. The conditions by which one or the other might become the monarch are as confusing as they are arbitrary.
The show's one genuine laugh comes early in Act I when Prince Conrad (Judy Blazer) and Princess Agnes (Jeffrey Herbst), the two young rivals, appear at the castle of the kingdom's despotic regent, Aunt Julia (Brooks Almy). Making her entrance, Princess Agnes is quite a sight as she towers incongruously over the rest of the cast. ''I'm just not the kind of girl boys chase after,'' she reflects stoically while twiddling with an itchy chest hair. Agnes, however, soon discovers her true sex after being shown a book of pornographic pictures. Inevitably, the lanky princess and the diminutive prince strike up a romance.

In the show's second act the plot, involving a stolen diary, a forged birth certificate and a bogus marriage contract, becomes so convoluted that it's impossible to figure out what's going on. In the director David H. Bell's slapdash musical staging, the actors tear about the stage in a pointless frenzy of hysterical acrobatics. When they slow down long enough to talk, the tone of their dialogue seldom sinks below a shout.

Chess is a musical with lyrics by Tim Rice and music by Björn Ulvaeus and Benny Andersson, formerly of ABBA. The story involves a romantic triangle between two top players, an American and a Russian, in a world chess championship, and a woman who manages one and falls in love with the other; all in the context of a Cold War struggle between the United States and the Soviet Union, during which both countries wanted to win international chess tournaments for propaganda purposes. Although the protagonists were not intended to represent any specific individuals, the character of the American was loosely based on chess grandmaster Bobby Fischer, while elements of the story may have been inspired by the chess careers of Russian grandmasters Viktor Korchnoiand Anatoly Karpov.

Following the pattern of Jesus Christ Superstar and Evita, a highly successful concept album of Chess was released in 1984. The first theatrical production of Chess opened inLondon's West End in 1986 and played for three years. A much-altered US version premièred on Broadway in 1988, but survived only for two months. Chess is frequently revised for new productions, many of which try to merge elements from both the London and Broadway versions; however, no major revival production of the musical has yet been attempted either on West End or Broadway.

Tim Rice had long wanted to create a musical about the Cold War; in the 1970s he had discussed writing a musical about the Cuban Missile Crisis with his usual collaborator, Andrew Lloyd Webber. In 1979, Rice had the idea to instead tell the story through the prism of the American-Soviet chess rivalry; he had previously been fascinated by the political machinations of the 1972 "Match of the Century" between Bobby Fischer and Boris Spassky. Webber was busy at the time with the musical Cats, so American producer Richard Vos suggested working with Andersson and Ulvaeus instead, knowing they were looking for projects outside of ABBA. Rice, who was a fan of ABBA, agreed; he wrote later that he felt no reservations because "there is a sense of theatre in the ABBA style".[5]Rice met with the two for the first time in December 1981 in Stockholm to discuss the concept (Vos was also in attendance), and they quickly signed on to the project. (ABBA stopped performing a year later, about which Rice has joked, "maybe that's my fault".)

All through 1983 Rice, Andersson and Ulvaeus worked on the music and lyrics. Rice would describe the mood of particular songs he wanted, then Andersson and Ulvaeus would write and record the music and send the tapes to Rice, and Rice would then write lyrics to fit the music. Some of the songs on the album contained elements of music Andersson and Ulvaeus previously had written for ABBA: the chorus of "I Know Him So Well", for instance, was based on the chorus of "I Am An A", a song from ABBA's 1977 tour; while the chorus of "Anthem" used the chords of the guitar solo of "Our Last Summer". Ulvaeus would also provide dummy lyrics to emphasize the rhythmic patterns of the music, and some of them ended up in the final version since Rice found them "embarrassingly good" ("One night in Bangkok makes a hard man humble" is the most well-known example). One song, which became "Heaven Help My Heart", was recorded with an entire set of lyrics, sung by ABBA's Agnetha Fältskog, with the title "Every Good Man";though none of the original lyrics from this song were used.

It was decided to release the music as an album before any stage show was under way, a strategy that had proven successful with Rice's two previous musicals, Jesus Christ Superstar and Evita. Recording work on the album musical of Chess began in November 1983. The main recording was done at Polar Studios in Stockholm, with orchestral and choir parts recorded in London by the London Symphony Orchestra. Andersson himself played the keyboards. The protagonists, simply called the "American" and the "Russian" for the album, were sung by Murray Head and Tommy Körberg, respectively; the part of Florence, initially the American's second and subsequently the Russian's mistress, was sung by Elaine Paige while the part of Svetlana, the Russian's wife, was sung by Barbara Dickson. The album was sound-engineered and mixed by Michael B. Tretow, who worked with ABBA on all of their recordings.

The resulting album, a double LP, was released worldwide in the fall of 1984. The album's liner notes included a basic synopsis of the story. The music on the album was described by The New York Times in the contemporary review as "a sumptuously recorded...grandiose pastiche that touches half a dozen bases, from Gilbert and Sullivan to late Rodgers and Hammerstein, fromItalian opera to trendy synthesizer-based pop, all of it lavishly arranged for the London Symphony Orchestra with spl ashy electronic embellishments". A single from the album, "One Night in Bangkok", performed by Murray Head (in verses) and Anders Glenmark (in chorus) became a worldwide smash, also reaching No.3 on the US Billboard Hot 100. The duet "I Know Him So Well" by Elaine Paige and Barbara Dickson held the Number One spot on the UK singles charts for 4 weeks and won the Ivor Novello Award as the Best Selling Single ('A' Side). It was later covered by Whitney Houston and her mother Cissy on Whitney's second album Whitney, and by Barbra Streisand on her 1992 "Highlights from Just for the Record".

Chess premièred in the Prince Edward Theatre in London on 14 May 1986 and closed on 8 April 1989. It was originally set to be directed by Michael Bennett, but he withdrew for health reasons. He only did so, however, after casting the show and commissioning the expansive set and costume designs. The show was rescued by director Trevor Nunn, who shepherded the show on to its scheduled opening, though with considerable technical difficulty. The three principal singers from the concept album, Elaine Paige, Tommy Körberg and Murray Head reprised their roles on stage. Barbara Dickson declined to appear, and Siobhán McCarthy played the part of Svetlana.

JP to set designer Robin Wagner, interviewed in Lynn Pecktal's book Set Design, the original Bennett version was to be a "multimedia" show, with an elaborate tilting floor, banks of television monitors, and other technological touches. Nunn, realizing he could never bring Bennett’s vision to fruition, instead applied his realistic style to the show, although the basics of the mammoth set design were still present in Nunn's show. This included the three video walls, the main of which featured commentary from chess master William Hartston, along with appearances from BBC newsreaders.

The London version was a massive physical production, with estimated costs up to $12 million. It expanded the storyline of the concept album, adding considerable new recitative, and attracted several West End stars, such as Anthony Head, Grania Renihan, Ria Jones, David Burt, and Peter Karrie, during its three year run.

The production won the 1986 Critics' Circle Theatre Award for Best Musical, and received three 1986 Laurence Olivier Award nominations: Best Musical, Outstanding Performance by an Actor (Tommy Körberg) and Outstanding Performance by an Actress (Elaine Paige). Notably, in two of these categories (Best Musical and Outstanding Performance by an Actor) Chess lost to The Phantom of the Opera, by Rice's former collaborator Andrew Lloyd Webber.

After London, the creative team decided that the show had to be reimagined from the top down. Trevor Nunn brought in playwright Richard Nelson to recreate the musical as a straightforward "book show". Nunn brought in new, younger principals after he disqualified Paige from the role of Florence by insisting Nelson recreate the character as an American. The story changed drastically, with different settings, characters, and many different plot elements, although the basic plot remained the same. As Benny Andersson put it to Variety: "The main difference between London and here is that in London there is only about two or three minutes of spoken dialog. Here, in order to clarify some points, it is almost one-third dialog". The changes necessitated the score to be reordered as well, and comparisons of the Broadway cast recording and the original concept album reveal the dramatic extent of the changes. Robin Wagner completely redesigned the set, which featured a ground-breaking design of mobile towers that shifted continuously throughout the show, in an attempt to give it a sense of cinematic fluidity.

The first preview on 11 April 1988 ran 4 hours with an unexpected 90 minute intermission (the stage crew reportedly had problems with the sets); by opening night on 28 April, it was down to 3 hours 15 minutes. But despite a healthy box-office advance, the Broadway production did not manage to sustain a consistently large audience and closed on 25 June, after 17 previews and 68 regular performances. "And there I was, on closing night, singing and sobbing along", later wrote Time magazine critic Richard Corliss.

Overall, the show (capitalized at $6 million) since its opening, according to Variety, "has been doing moderate business, mainly on the strength of theater party advances", but by mid-June it mostly have been used up. Gerald Schoenfeld, co-producer of the show, elaborated on the reasons for folding the production: "The musical had been playing to about 80 percent capacity, which is considered good, but about 50 percent of the audience have held special, half-priced tickets. If we filled the house at 100 percent at half price, we'd go broke and I haven't seen any surge of tourist business yet this season. The show needs a $350,000 weekly gross to break even, but only a few weeks since its April 28 opening have reached that.... You have to consider what your grosses are going to be in the future" (USA Today, June 21, 1988).

The Broadway production picked up several major award nominations. It got five nods from the Drama Desk Awards: Outstanding Actor in a Musical (David Carroll), Outstanding Actress in a Musical (Judy Kuhn), Outstanding Featured Actor in a Musical (Harry Goz), Outstanding Music (Andersson and Ulvaeus) and Outstanding Lighting Design (David Hersey). Carroll and Kuhn also received Tony Award nominations in Leading Actor in a Musical and Leading Actress in a Musical categories. None of the nominations resulted in the win, but Philip Casnoff did receive the 1988 Theatre World Award for Best Debut Performance. Original Broadway Cast recording of the musical was nominated for 1988 Grammy Award in the category Best Musical Cast Show Album (won by the Stephen Sondheim's Into the Woods).

Later on, the musical had developed a cult following based primarily on the score as heard on the original concept album (Frank Rich noted in his book Hot Seat that "the score retains its devoted fans"), while Nelson's book became a frequent target of scorn from critics and fans alike, though it still has its supporters. Many subsequent attempts have been made to fix its perceived problems, but nonetheless, Nelson's book is still used in many American productions, because a contractual stipulation, ostensibly, prevents the London version, which many believe to be the source of the show's popularity and appeal, from being performed within the United States.

In 2001, in an interview with the San Francisco Chronicle Tim Rice admitted that after the "comparative failure of Chess, his all-time favourite, he became disillusioned with theatre." He commented, "It may sound arrogant, but Chess is as good as anything I've ever done. And maybe it costs too much brainpower for the average person to follow it".

Many critics panned the show, most notably Frank Rich of The New York Times, who wrote that "the evening has the theatrical consistency of quicksand" and described it as "a suite of temper tantrums, [where] the characters ... yell at one another to rock music". Howard Kissel of New York Daily News complained that "the show is shrilly overamplified" and "neither of the love stories is emotionally involving", while Newsweek magazine called the show a "Broadway's monster" and opined that "Chess" assaults the audience with a relentless barrage of scenes and numbers that are muscle-bound with self-importance".

A few reviewers, however, praised it very highly. William A. Henry III wrote an exceptionally sympathetic review in Time: "Clear narrative drive, Nunn's cinematic staging, three superb leading performances by actors willing to be complex and unlikeable and one of the best rock scores ever produced in the theater. This is an angry, difficult, demanding and rewarding show, one that pushes the boundaries of the form" (Time, May 9, 1988). His sentiments were echoed by William K. Gale in Providence Journal: "A show with a solid, even wonderfully old-fashioned story that still has a bitter-sweet, rough-edged view of the world ... exciting, dynamic theater ... a match of wit and passion."

A few months after the show closed on Broadway, in January 1989, the concert version was performed in Carnegie Hall by the original cast in a sold-out benefit performance. In September of that year, Judy Kuhn joined forces with two main principals from the West End production (Körberg and Head) in Skellefteå, Sweden, where they performed in two concert presentations of the musical during finals of the 1989 chess World Cup tournament.
Chess was now a mixed success, combining the popularity of a smash hit album and the problems of a critically-derided script — in other words, fertile ground for those seeking to "get it right," even though historical conditions and the fall of the Soviet Union severely compromised the timeliness of the story. The first major attempt at a revival was the American tour, which ran from January to July 1990. This tour, which starred Carolee Carmello, John Herrera, and Stephen Bogardus, was staged by Des McAnuff, who was brought in at the eleventh hour when Trevor Nunn declined to be involved. Robert Coe, the playwright who worked with McAnuff on revising the show, restored most of the original song order from London and deleted the new songs written for the Broadway version, but had only four weeks to complete a complex rewrite. (The performing editions in the United States retain Nelson’s book.) The seven-month-long tour was not a major success, but it did garner some positive reviews. A separate tour in the United Kingdom, starring Rebecca Storm and mostly based on the London production, was a smash.

Also in 1990 was the production at the Marriott Theatre in Lincolnshire, Illinois, near Chicago. Directed by David H. Bell and starring Susie McMonagle, David Studwell and Kim Strauss, it featured another reworking of the Nelson script. Bell's version has been performed in Sacramento and Atlanta as well. Tim Rice was involved in a 1990 production in Sydney, Australia, where Jim Sharman directed a total rewrite done primarily by Rice. It starred Jodie Gillies, David McLeod, and Robbie Krupski, with the action shifted to an international hotel in Bangkok during the chess championships, and was a critical and popular success. A later Australian production opened at the Princess Theatre, Melbourne in 1997, with Barbara Dickson taking the lead role of Florence (not Svetlana, as she had sung on the original studio cast album). Co-stars included Derek Metzger and Daryl Braithwaite.

Chess was, even in 1990, trying to keep itself modern; the ending of the Cold War was noted in all new versions of the show. Once the Soviet Union fell, the modernisation attempts died out, and the clock was set back: Tim Rice's 1990 rewrite that played a brief runoff Broadway went all the way back to 1972. The Chess mania that had begun in the UK more or less died down to a string of occasional productions of the Broadway and London versions for the next decade.

In 1995, the Los Angeles production of Chess at Hollywood's Hudson Theater starring Marcia Mitzman (who played Svetlana in the original Broadway production) as Florence and Sean Smith as Anatoly received critical praise. For their performances both Mitzman and Smith won an Ovation Award and a Los Angeles Drama Critics Circle Award.

On 12 and 13 May 2008, there were two concert performances at the Royal Albert Hall of a reworked Chess, with further changes to the song list and almost no dialogue; Tim Rice described this in the concert program as the new "official version". Josh Groban, Adam Pascal and Idina Menzel starred in the lead roles of Anatoly, Freddie and Florence respectively. Kerry Ellis also performed as Svetlana. The recording of this concert cast was released on June 16, 2009, as a DVD and 2-CD cast album in the United States and PBS showed the concert on television on June 17 and 18.

The first major revival of Chess in the United States opened at the Signature Theatre in Arlington, Virginia on August 8, 2010, and was scheduled to run until September 26, 2010, but was extended through Oct 3. The musical was directed by Eric Schaeffer and starred Jeremy Kushnier as Freddie, Euan Morton as Anatoly, and Jill Paice as Florence.

A new UK production is scheduled to open at the Theatre Royal, Newcastle on August 27, 2010. It will be directed by Craig Revel Horwood with musical direction by Sarah Travis. The producer will be Michael Harrison, who says that Tim Rice is actively involved in the production. Revel-Horwood will again adopt his innovative approach to staging, using a company of around 25 who, between them, will act, sing and play all of the music.

Clip "Anthem" from Broadway production:

Censored Scenes from King Kong, A Comic Extravaganza. Book by Howard Schuman; Lyrics by Howard Schuman; Music by Andy Roberts. Preview: Feb 26, 1980   Total Previews: 11 Opening: Mar 6, 1980  Closing: Mar 9, 1980   Total Performances: 5.  Cast: Stephen Collins, Carrie Fisher, Peter Riegert, Chris Sarandon

The Coast of Utopia is a 2002 trilogy of plays: Voyage, Shipwreck, and Salvage, written by Tom Stoppard with focus on the philosophical debates in pre-revolution Russia between 1833 and 1866.

The trilogy, nine hours in total, premiered with Voyage on 22 June 2002 at the National Theatre's Olivier auditorium in repertory, directed by Trevor Nunn. The openings of Shipwreck and Salvage followed on 8 July, and 19 July, completing its run on 23 November 2002. In 2006, directed by Jack O'Brien, the plays debuted on Broadway at the Vivian Beaumont Theater at Lincoln Center, New York City, where it closed on May 13, 2007 after staging a combined total of 124 performances.

The cast includes Tony Award winners Brían F. O'Byrne, Richard Easton, Jennifer Ehle and Billy Crudup, along with Ethan Hawke, Josh Hamilton, Martha Plimpton, David Harbour, Jason Butler Harner and Amy Irving.

The play won the 2007 Tony, New York Drama Critics’ Circle and Drama Desk Awards for Best Play.

Scenes from Voyage:

Come Summer is a Broadway musical with a book and lyrics by Will Holt and music by David Baker, based on Rainbow on the Road by Esther Forbes and vocal arrangements by Trude Rittman . The original Broadway production opened on March 18, 1969 at the Lunt-Fontanne Theatre starring Cathryn Damon, Ray Bolger, David Cryer, Margaret Hamilton and Leonard John Crofoot. Directed by Agnes De Mille it closed after 7 performances on March 22, 1969. Despite its short run, David Cryer won the 1969 Theatre World Award.

Behind the scenes, the musical was a disaster. Ray Bolger demanded that the producers expand his role; several rewrites later, de Mille herself was fired and replaced by Burt Shevelove. Only a few days after that, Shevelove exited, and "the producers asked Agnes to come back, but only to choreograph." De Mille's assistant director, James Mitchell, turned down the director's chair, but became the de facto director anyway. As a result, "neither she [de Mille] nor anyone else could say who directed the show." Come Summer turned out to be de Mille's final Broadway production.

Different Times is a musical with music, lyrics, and book by Michael Brown. It was originally produced on Broadway in 1972. It opened on May 1, 1972 at the ANTA Playhouse and closed on May 20, 1972 after 24 performances.

The show follows a Boston family from 1905 to 1970. It covers the decades and the issues like women's rights, both World Wars, anti-Semitism, and youth protest.

The 1972 Broadway production was written and directed by Michael Brown, who also supplied the music and lyrics. It was choreographed by Todd Jackson, scenic design and costume design by David Guthrie, lighting design by Martin Aronstein and his partner Lawrence Metzler. It starred Karin Baker, Mary Jo Catlett, Candace Cooke, Ronnie DeMarco, Dorothy Frank, Patti Karr, Joe Masiell, Terry Nicholson, Joyce Nolen, Mary Bracken Phillips, Jamie Ross, Sam Stoneburner, David Thomé, Barbara Williams, and Ronald Young.

Dude (The Highway Life) is a rock musical with a book and lyrics by Gerome Ragni and music by Galt MacDermot. It is an allegory about good and evil, the conflict between mankind's creative and destructive urges, the power of love, and the joy to be found in simple pleasures. Dude is an Everyman who loses his innocence and fights to regain it.

As soon as the musical Hair opened, Ragni began to work on Dude. MacDermot was busy with Two Gentlemen of Verona but finally began to compose the music. In March 1972, their studio cast album, Salome Bey Sings Songs from Dude, was recorded and released on Kilmarnock Records. The music was more influenced by country music than their previous musical, Hair.

The rehearsal period was plagued with problems: Kevin Geer, the actor who had been cast in the leading role, Dude, was unable to sing the role acceptably and had to be replaced; the script (such as it was) was far from finished; Ragni's requests of the producers were bizarre (for example, 100 butterflies to be released at the beginning of each performance); and the cast threatened to walk out.

n The Broadway Theatre, the musicians were divided, with brass and woodwinds against the wall of one side of the playing area and strings at the other. To accommodate the multimedia presentation, the theatre was gutted and reconverted, at a cost of $800,000, into a circus-like arena in the center (a theatre in the round) filled with fake dirt (real dirt had caused dust; wetting it had caused mud), ramps, runways, catwalks, columns, trapezes, trapdoors, bleachers, and various mechanical and electronic gear. Performers moved freely between the round playing area, representing "Earth", and the audience, seated in flanking "valleys and foothills," with "mountains and mountain tops" beyond and "tree tops and trees" (mezzanine) above. "Heaven and hell" were also represented. The overall effect was of a circus being performed in a primeval forest.

The previews were disastrous, as the audience could not hear with the orchestra scattered around the edges of the theatre. Despite attempts at amplification, the acoustics were still bad in the hollowed out theatre. The director and choreographer resigned, to be replaced by Tom O'Horgan, who had directed Hair and Jesus Christ Superstar. Previews were shut down, and the show went back into rehearsal. Some cast changes were made, and flamboyant visual effects were added. The director and cast confronted Ragni and forced him to rewrite scenes, including most of the second act. Actors wrote some of their own dialogue. The script finally settled down, mostly, by the second to last preview.

After sixteen previews, the Broadway production, directed by Tom O'Horgan, opened on October 9, 1972 at The Broadway Theatre. Universally crucified by the critics (and audiences), who found it incomprehensible, it ran for only 16 performances. The cast included Nell Carter, Rae Allen, Salome Bey, and Ralph Carter, who won the Drama Desk Award for Most Promising Performer.

Ralph Carter, an 11-year old African-American, replaced Kevin Geer, a white 23 year old, who was originally slated to play "Dude", due to Carter's age, Nat Morris was cast as "Big Dude" in order to still use the more mature songs. Despite leaving the show, Geer's image, with his back facing the camera was used for the show's poster.

Only five weeks after Dude closed, MacDermot experienced another major failure with the flop musical Via Galactica.

Nell Carter sings "So Long Dude":