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Big, the Musical 1998

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Big, the Musical 1998 Big, The Musical 1998 When frustrated adolescent Josh Baskin wishes he were "big" and wakes up the next morning a 30 year­ old man, he discovers there's much more to being an adult than he'd bargained for - and learns we must all grow up at our own pace, in our own time. A witty, moving, insightful book and a dazzling, energetic, heartfelt, contemporary score make this already­ classic motion picture fantasy into an unforgettable theatrical experience. Musical Numbers Can't Wait - Young Josh, Mrs Baskin, Billy, Children and parents Talk To Her/ The Carnival - Young Josh, Billy, Cynthia, Cynthia's Friends, Mr. Baskin, Mrs. Baskin, Zoltar, Ensemble This Isn't Me - Josh I Want To Go Home - Josh Say Good Morning to Mom - Mrs. Baskin Big Boys - Billy, Josh The Time Of Your Life - Salespeople Fun - MacMillan, Josh Dr. Deathstar - The Deathstarrettes Welcome to MacMillan Toys - Executives Here We Go Again - Susan Welcome to MacMillan Toys - Part 2 - Josh, Billy, Paul, Susan, Execs, MacMillan Stars, Stars, Stars - Josh, Susan Let's Not Move Too Fast - Susan Do You Want To Play Games? - Josh, Susan Little Susan Lawrence - Susan Tavern Foxtrot - Paul and Company Cross The Line - Josh, Kids, MacMillan, Grown-ups Outta Here! - Billy Stop, Time - Mrs. Baskin Happy Birthday, Josh - Children Dancing All The Time - Susan I Want To Know - Young Josh, Josh Coffee, Black - Josh, Susan, MacMillan, Executives The Real Thing - Diane, Abigail, Tom, Nick The Real Thing (reprise) - Susan Once Special Man - Susan When You're Big - Josh We're Gonna Be Fine - Susan, Josh Skateboard Romance - Children I Want to Go Home I Stars, Stars, Stars - Susan and Josh PACE Theatrical Group, Inc. & Magicworks Entertainment book by music by lyrics by JOHN DAVID RICHARD WEIDMAN SHIRE MALTBY, JR starring JIM JACQUELYN RON NEWMAN PIRO HOLGATE NICK BRETT JOSEPH DEMAREE COKAS TA BISEL MEDEIROS ALEXANDER and JUDY McLANE KEVIN BERNARD MATTHEW BREINER SHERRI EDELEN BEVERLY EDWARDS DALE HENSLEY JOHN HOSHKO JULIE KLEINER BRUCE LINEBERRY DANA LYNN MAURO JOE PAPARELLA ANDREW REDEKER DES TA SHERIDAN KELLEY SWAIM LESLIE STEVENS BRANCH WOODMAN scenic design costume design lighting design sound design ZACK WILLIAM KEN PETER BROWN IVEY LONG BILLINGTON FITZGERALD orchestrations by production musical director musical director/conductor dance music arrangements DOUGLAS DON CONSTANTINE MICHAEL BESTERMAN PIPPIN KITSOPOULOS MORRIS casting assistant director production stage manager musical coordinator STUART HOWARD &: FRANK BILL WILLIAM AMY SCHECTER, CSA LOMBARDI ROBERTS MEADE executive producer general management national press representative BETH NIKO THERESA SMITH ASSOCIATES BURTON choreography by KARMA CAMP J directed by ERIC D. SCHAEFFER Originally produced on Broadway by JAMES B. FREYDBERG, KENNETH FELD, LAURENCE MARK, KENNETH GREENBLATT in association with FAO SCHWARZ - FIFTH AVENUE based on the Motion Picture "big" written by Gary Ross and Anne Spielberg a TWENTIETH CENTURY FOX film Volume 1, Issue 2 9 "B15.""'. IS a ..' USIC8 . I about a boy who wishes he show in Detroit hung a sign on us: tbat we were a were big. Around the time "Big" hit Broadway, commercial enterprise that was designed to sell there were probably those associated with the toys. (A toy store features prominently in the show who wished perhaps parts of it weren't so story.) F.A.0. Schwarz became a sponsor (of the big. show) after we had finished writing it and was The musical has had a rocky joilmey to the ready to go to rehearsals. After the sign got hung, stage. It was'_inspired by the 1988 film starring it never got unhung and there wasn't anything we Tom Hariks:about a boy named Josh who, could do about it." · • ~cal Maltby acknO\vledge('f there were~~ in spell:be~ the Broadway version oftti:e sh~ that grown-up p,hysi­ didn't work, especially some of the big, visual Cally, before;realiz­ things: "The number of things that seemed nec­ ing that being a kid essary at the time were actually unriecessary. We = isn't so bad~ found ourselves in a very elaborate set, which Actress Didi co~dn't do some of the things we'd written - i= Conn, wife of com­ transitions and things like that. Also.we'd decided poser David<Shire, to emphasize a chorus of dancing ch!lclren. We O r- was watchlQg a had these spectacular dancers. They were bril­ television bpd­ liant, but they interfered with the st4ryline." cast of the movie Once again, the show's creators sat down to "Big" when~she retool the musical. The national touiing version is fl) thought it mJght now substantially different from the'Broadway ' ~ make a goo<l stage show, they said. I E musical. Shie . "I think the version which is now on the road ·.o then dilled en a is a better written version of the shew," said Wei­ ......... longtime cohabo- Jim Newman, as dman. "We had the opportunity to Iciok at the ·- rator, lyriciSt grown-up Josh. show that we opened at the Schubert Theatre (on ~ Richard Malby Jr., Broadway). The structure of the stOJ)' and the () and librettiSt.John Weidman. way it's told-I like what's on the road better." 0 V') ' "There "were some problems that the show Most notable of the changes is a ~tronger char­ I ~ posed, not the least of which is that the main acter for Josh's love interest, Susan. and an inten- character i!f'.13 years old," Maltby said by phone sified love story. , ~ recently froirt Toronto, where he's rehearsing a "The main thing is really by givillg Susan a new musical based on Bob Fosse dance numbers. strong character line and much be~r songs, the = :~ "Whether we could write something eloquent whoJe story's taken off," Maltby said. ''Mostly, and ~omething touching and really get under the I'm happy with it now." ... ·- ~ skin of a 131year-old was something we weren't (/)· s:: sure of." Weicl.man, too, had his misgivings, but "the - ~ moi:e Richard Maltby and I talked about it, the ......... more we thi>ught it had to do with fundamental i= .§ issues -&wing up, what it means to move om a c _ an-adult." iliaid. bYlbone .from his office itl.New York. "And thosethings lend 0 themselves to musicals. They're elementat~ ~ tions. It seemed like it would be-exciting to tell· I.. " the story in musical terms." § The production debuted in Detroit in Febru­ ary 1996, iria run plagued by technical difficulties ~ V') ·and mixed tb bad reviews. The creative team went into s\\bstantial rewrites and changed much of the scorebefore taking it to Broadway. ~ ~ When "Big" opened on Broadway in April ,. 1996, the r~ews ranged from raves (The New "'0... -- ~ ~~ York Times called it "so exuberantly gifted that 0 b it gives yotrthe helium high of a balloon flight") to pans (Yatiety called it "a long loaf of Wonder ·- ~ Bread in a season ·rich with grainier fare"). In m that seaso~ which also saw the Broadway debuts ... ., of "Rent" and "Bring in 'Da Noise, Bring in 'Da Funk;" "Big'' did not even receive a Tony Award nomination for best musical. "I think the timing was bad," Weidman said. "I think i~ certainly could've been better. We had a certain amount of bad luck through a series of <fir~stan~s that I ~ in the end was fairlY. cofupolii1rateO. 'The vatibt:v critic that saw the • .r . ($;; j great1{91e. Mu­ Broadway's Big sic aycomedy fans- will find Mixed-up 'Bilj arrives in Seattle muc~to like in Big, The score offers auclien ....... - ): mix of by Milton W. Hamlin hefi(felt bal~ Contributing Writer la~ comedy a little too lit : · secpiences, a Big, the Broadway musical adapted from cou,Ple of show­ the award winning film that made To(ll Hanks st<_Wpi ng tap a superstar, arrived in Seattle this week and nu"'1bers and Theater review .has settled into the Paramount Theatre for th~~how's fa­ "BIG." Book by John Weidman, mi«. an audience-pleasing run through March 1. m~r.s "Fun" by David Shire, lJrics by Richard Mitlt~: The show is a tuneful, likable musical that is n1'ptber dam_;ed Jim Newman in Big by, Jr. Directed ~ Eric Schaeffer. Para­ much better than theater buffs had any right oa stage-wide i}n k bo d Photo by Carol Rosegg mount Theatre, 911 Pine St., Seattfl: to expect. P7:0 ey ar The original Broadway edition of Big - ...,. $erves the show well. Tuesdays-Sundays through March 1. opened three seasons ago and was a big, ; Performances are top notch with Jim 206-292-ARTS. splashy flop, dropping a reported $I 0 mil­ Newman, a Tony nominee from last year's lion in its attempt to lure a family audience Steel Pier, making a great leading role de­ BY JANET I-CHIN Tu back to Broadway. Its composers, David but as the "big" Josh, the Tom Hanks role. Seattl.e Times theater critic Shire and Richard Maltby, Jr., were Broad­ J.oseph Medeiros makes a likable "little" The touring sho~ "Big" is a scaled.;. way vet(!rans but had never clicked as col­ Josh, and Brett Tabisel reprises his Tony­ laborators with a really big show. nominated role as Billy, Josh's best friend. production. Elaborate sets and p~odu~tjoo Broadway's Baby and off-Broadway's Jacquelyn Piro is great as the adult love in­ n~bers have been jettisoned, the score Closer 1Jian Ever and Starting Here Start- terest, and R?n J:f olgate and Jud>:_ McLane revised and the storyline revamped. .B1.1t ing ow a wonnu e a perhaps it's been scaled down too much.
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