The Bushnell in Hartford has announced six of the seven titles in its 2012-13 Broadway series, and there’s not a revival in the lot.
None of the shows dates back more than a few years, though the oldest of them—Mary Poppins, which opened five years ago on Broadway and premiered in London’s West End two years before that—has a score first written for its film version in 1964.
But while they may not be revivals, every one of the six is adapted from another medium, and in some cases several media.\
Mary Poppins (at the Bushnell Sept. 14-23, 2012) is based on the Walt Disney movie which is based on the P.L. Travers books.
Dr. Seuss’ How The Grinch Stole Christmas (Nov. 20-25, 2012, and not technically part of the Broadway subscription series) is based on the 1966 TV cartoon version of a 1957 children’s book.
The unfilled slot is in December 2012, so it might be a tour that’s already out there, or one that’s barely been announced yet. (Not to get your hopes up, but Book of Mormon, Anything Goes and a pre-Broadway tour of Frank Wildhorn’s Jekyll & Hyde will all be on the road by then. What will it be?)
Million Dollar Quartet (Jan. 8-13, 2013), which opened on Broadway in 2010, later moved Off Broadway, and has been touring since this past October, is based on famous recordings emanating from an early rock & roll summit meeting in 1956: The King, The King of Rockabilly, The Man in Black and The Killer.
American Idiot (Feb. 26-March 3, 2013) is the Michael Mayer/Tom Kitt 2010 reworking of Green Day’s 2004 comeback album.
Sister Act (April 16-21, 2013) is based on the 1992 Whoopi Goldberg comedy, which many feel swiped the idea from Dan Goggins’ popular Nunsense theater series. The musical, with a book by Cherie Steinkellner and Bill Steinkellner (added to by the ever-funny Douglas Carter Beane), lyrics by Glenn Slater and music by Alan Menken, had been tried out on regional stages for five years before hitting Broadway just last April.
Catch Me If You Can (May 28-June3, 2013) is based on the Steven Spielberg film based on professional fraud Frank W. Abagnale Jr.’s memoirs. Marc Shaiman & Scott Wittman (whose latest triumph is the Spielberg-produced TV series Smash) did the score, and the great writer of modern ensemble comedies, Terrence McNally, did the book.
Billy Elliot (June 18-23, 2013) is based on the heartwarming ballet-boy movie directed by Stephen Daldry, who also directed the musical version. (Can you imagine if they’d let John Waters or Paul Bartel or Terry Gilliam or Mel Brooks stage-direct the movies based on their movies?) The soundtrack, featuring a blistering union anthem and some lovely dance music, is by Mr. Gnomeo & Juliet himself, Elton John.
So nothing technically “original,” yet what a range! 1950s roots rock, 1960s Disney and Dr. Seuss pop, 1970s jet-set skullduggery, 1980s working class ballet rock, 1990s sacred R&B, and mainstream punk from the turn of the 21st century.
Best way to see all these show for a reasonable price in good seats, it seems, is to already be a Bushnell Broadway subscriber and simply renew your subscription. Current subscribers can renew as early as March. New subscribers can contact the Bushnell and get on a waiting list. Single tix won’t go on sale until summertime.
So let’s all hope the yet to be announced production is “The Book of Mormon.” Wouldn’t that be great!