Jan 112013
 

Loretta Goggi Gypsy 500x332 A new Mama Rose gets her turn in Italys first ever GypsyOn 15 Janu­ary, will wel­come a new Rose to the stage as Gyspy opens in Italy.

Lor­etta Goggi has been a house­hold name in Italy for half a cen­tury. She made her début in tele­vi­sion as a girl and hasn’t been far from the small screen or stage since. Start­ing out as a child act­ress, she found her tal­ent for singing when she was a small girl, and later a tal­ent for mim­ick­ing. Her impres­sions, espe­cially those of Italian singing icon Mina, are replayed con­stantly on tv, from her early days in black and white, onwards. Dur­ing the 70s and 80s Goggi had sev­eral suc­cesses as a pop singer, but the stage and small screen have always been her true home.

Goggi starred in the Italian première of They’re Play­ing Our Song in 1981, was a mem­or­able Dolly Levi in 1999, and now in this new pro­duc­tion of Gyspy she will be the first Italian Rose for, amaz­ingly, the Arthur Laurents’ 1959 musical, with music by Jule Styne, lyr­ics by Stephen Sond­heim, has never been presen­ted in Italy.

The pro­du­cer, M.A.S. (Music, Arts & Show) moun­ted the ori­ginal Aus­tralian pro­duc­tion of  in Milan last sea­son, com­plete with LED-lit bus and Tim Chap­pel and Lizzy Gardiner’s Tony Award win­ning cos­tumes. This was an excep­tional invest­ment in a coun­try where a per­man­ence of more than three months is almost unheard of. Two or three weeks is the usual allot­ted period in Milan or Rome for a musical, with only a few days in the smal­ler cit­ies. Tour­ing con­sid­er­a­tions are essen­tial in Italy, so Priscilla has caused major logistic head­aches. , how­ever, is an all-Italian affair, with Stefano Gen­ov­ese dir­ect­ing, and Mat­teo Piedi’s design­ing sets and cos­tumes, and will surely be more lightweight.

But there is noth­ing light­weight about Lor­etta Goggi who has all the cre­den­tials neces­sary to dazzle in one of the most coveted roles of the Broad­way stage. She’s got no need to “get a gim­mick” for hers is genu­ine and rare talent.

Ya either got it, or ya ain’t, and she’s got it!

 

Gypsy runs at Teatro Nuovo, Milan from 15 Janu­ary to 3 February

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  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
  • wp socializer sprite mask 16px A new Mama Rose gets her turn in Italys first ever Gypsy
Feb 252012
 

Priscilla Milan 1 Priscilla the Musical gives the Milan catwalks an added dash of kitsch

Today is car­ni­val day in : Sabato Grasso. It comes later than all the other car­ni­val cel­eb­ra­tions, and this year was blessed with a 20°C sunny day which gave the tour­ists a good excuse to get out their shorts and sandals.

Priscilla Milan 2 Priscilla the Musical gives the Milan catwalks an added dash of kitsch

As car­ni­val week also coin­cides this year with a fash­ion week, Moda Donna, the streets were crowded, espe­cially out­side one of the strangest cat­walk shows Milan has seen this week. The pro­du­cers of the musical cap­it­al­ised on the big crowds to give Oscar-winning designer Lizzy Gardiner’s cos­tumes an air­ing out­side the walls of the theatre. The crowds loved it…

Priscilla Milan 4 Priscilla the Musical gives the Milan catwalks an added dash of kitsch

Priscilla, La Regina del Deserto: Priscilla Palace –Teatro Ciak, Milan[con­tinue reading]

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Dec 182011
 

Priscilla show Debutto a Milano di “Priscilla, la regina del deserto”“True col­ors are beau­ti­ful, like a rain­bow” can­tava Cyndi Lauper negli anni ’80…E veri, spettacol­ari e col­or­a­tis­simi sono le scene, le luci, i cos­tumi e la colonna son­ora del musical “Priscilla, la regina del deserto”, andato in scena per la prima volta in Italia mer­coledì 14 dicembre, presso il Teatro Ciak Webank di (rib­at­tezzato per l’occasione Priscilla Palace).

Tratto dall’omonimo film di Simon Philips del 1994 e dopo il debutto nel 2006 a Sid­ney, cui sono seguite le produzioni di Lon­dra, Toronto e (nel marzo 2011), Priscilla arriva final­mente a Mil­ano, dopo due anni di lavorazione allo spettacolo, dichiara emozionato il diret­tore di MAS , Daniele Lup­pino, poco prima dell’inizio della rappresentazione.

Pink car­pet, cock­tail di benven­uto e un boa di piume di struzzo per ogni spettatore, hanno car­at­ter­izzato la serata della prima.

[con­tinue reading]

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Dec 182011
 

Priscilla show Priscilla struts into Milan in her high heels...  and will survive!

in itali­ano

“True col­ors are beau­ti­ful, like a rain­bow” sang Cyndi Lauper in the 80s…and true, spec­tac­u­lar and multi-coloured are the sets, lights, cos­tumes and music of the musical “Priscilla, la regina del deserto” (Priscilla Queen of the Desert — The Musical) which opened in Italy last Wed­nes­day, Decem­ber 14, at Teatro Ciak Webank in , christened for the occa­sion, Priscilla Palace.

Based on Simon Philips’ 1984 film of the same name, and after its début in 2006 in Sydney, fol­lowed by pro­duc­tions in , Toronto and New York (in March of this year), Priscilla has finally arrived in after two years of plan­ning, announced the dir­ector of MAS Italy, pro­du­cer Daniele Lup­pino, just before the begin­ning of the show.

[con­tinue reading]

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Nov 272011
 

Priscilla show Priscilla Queen of the Desert kicks off its heels in Milan“Every con­ceiv­able sur­face has been decked with sequins, spattered with col­oured lights, plastered in mirrored chips or trimmed in feath­ers and fringe in “Priscilla Queen of the Desert,” said the Times, and it will be the same pro­duc­tion which comes in to Milan in two weeks’ time.

Movie

The Adven­tures of Priscilla, Queen of the Desert is one of the most suc­cess­ful Aus­tralian movies of all time. Shot almost entirely on loc­a­tion in just six weeks and on a tiny budget, it called for almost guerrilla-style film­mak­ing. Loc­als were pulled off the street to be extras, cos­tumes were held together with glue, loc­a­tions were secured at the last minute and cast and crew battled with both the flies and the heat of the desert.… [con­tinue reading]

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Oct 042011
 

The Broad­way musical “”, win­ner of 10 Tony Awards in 2009 and a hot ticket for much of its run, will close on Janu­ary 8, 2012, after 3 years and 3 months of performances.

The decision to close came after a some­what pre­cip­it­ous decline in ticket sales that accel­er­ated through the late spring and sum­mer amid com­pet­i­tion from new music­als like “The ” and “”, hit reviv­als like “Any­thing Goes” and “How to Suc­ceed in Busi­ness Without Really Try­ing”, and “Mem­phis”, the dur­able recip­i­ent of the 2010 Tony for best musical.

“Billy Elliot” was one of the most suc­cess­ful music­als in New York in recent years, earn­ing back its cap­it­al­iz­a­tion of $18 mil­lion – a high fig­ure for Broad­way – in just 14 months.… [con­tinue reading]

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May 162011
 

priscilla Musicians Union says Broadways ‘Priscilla’ uses too much recorded musicIn a bid to pro­tect jobs, the Broad­way musi­cians’ union is waging an unusu­ally aggress­ive, political-style cam­paign against the new musical “ Queen of the Desert” in hopes of under­cut­ting the use of recor­ded music dur­ing live the­at­rical per­form­ances. The Amer­ican Fed­er­a­tion of Musi­cians has chosen to make an example of “” by object­ing to its employ­ment of only nine musi­cians and use of some taped music.

While recor­ded music is not par­tic­u­larly on the rise on Broad­way, pro­du­cers of music­als, which typ­ic­ally cost $10 mil­lion to $15 mil­lion, often talk to their com­posers or dir­ect­ors about whether they can slim down the size of the orches­tra to save money. Marc Shai­man, who wrote the music and co-wrote the lyr­ics for the new Broad­way show “Catch Me if You Can,” said he threatened to leave the pro­ject years ago when the pro­du­cers pro­posed a smal­ler num­ber of musi­cians than he believed neces­sary and asked if he could make it work.… [con­tinue reading]

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