#nan knighton

[doyouknowthismusical]

[margueritestjusts]

tbh the musical does one of the worst jobs adapting marguerite's character and i think that's because wildhorn and knighton misunderstood the purpose of marguerite's character and her motivations. there's a lot of internal emotional angst that she has (which gets neglected when the focus is shifted on percy imo lmao) but there are ways to balance them out, as seen in tsp '34.

i think this fault with the musical is shown the most is in the fact st. cyr barely gets any coverage? besides like. the opening number, the wedding, and the one off mention in the garden scene, when that is basically one of the most important aspects of her character in the novel. it's the source of her guilt and the cause of the estrangement, and also taking away armand's part in the st. cyr thing. him being beaten almost to death is the whole reason why margot denounces st. cyr and he ends up getting executed. in the musical it seems like she's done it for no reason (which, i mean... understandable from percy's pov) but then in the footbridge scene she doesn't give ANY explanation besides "chauvelin made me do it" and instead the main conflict is "will my husband slutshame me because i slept with another guy before i married him?" ??????????!?!?!?!?!?!?

i know that it would be a valid worry in this time period, but frank wildhorn HIMSELF said he doesn't want to write a 1905 story. so WHY would you make the fear of being slutshamed a main component of marguerite's character—and have chauvelin slutshame her in the process ("what would your husband think if he knew what sort of woman you are?")—when that wasn't in the novel????? it's just extremely distasteful and gross imo.

[gibberishquestion]

JUST realized that percy and chauvelins signature songs both rhyme fire/higher. fuck dude.

[dis-astre]

THE JUNE REBELLION: NOT THE FRENCH REVOLUTION

i fear we need to talk about this since i've seen so many tiktok referring to the french revolution when talking about les miserables and it needs to be addressed (aka i'm going to get it out of my system once and for all so i can stop being bitter about it)

i mean, i see those kind of tiktok too much and i am annoyed so bare with me:

so, let's start with les miserables: when does it takes place ?

the chronology of les mis is very long, but the part everyone is referring to (and everyone's favourite part) is the barricades. the barricades takes place during the June Rebellion.

now what is the June Rebellion?

it's a two days rebellion that arise in Paris in an era of political and social instability.

in 1832. 43 years after the french revolution.

so it's safe to say, the plot of les miserables is not at all taking place during the french revolution. and this rebellion was a failure (a flop, as some might even say) and did not overthrow the government (sadly) at all for various reasons.

(see this post here about it, even thought pinpointing the reasons to why a revolution fails is, imo, a bit hard and i am in no way shape or form an historian)

now, for the French Revolution.

keeping it very simple, it starts in may 1789 and end on november 9th 1799 when napoleon did a coup and took the power (others (marxists mostly) might argue that it ended with the death of robespierre, soooo pick your poison). so right of the bat: the french revolution is not one big battle and boom, it's a long period of changes and instability.

i think what people refer to when saying "the french revolution" might be the 14th of July, with the Prise de la Bastille. i know it's a very important event as it is our national day (yay liberty) and it's historically the first big intervention by the parisians (as in the people as in the poor) in the revolution. personally i'm not crazy about this moment (i really really like the march of the women to Versailles in october 1789, insane) it wasn't actually that big of a battle but the repercussions were huge so good job. but here is the problem then, what would make you think this successful battle is the battle we see in les miserables?

[i'm gonna go on a personal mini-rant here but it seriously worries me that so many people, mostly Americans, have so little knowledge of this. i'm not saying you should know everything about french history (as a matter of fact you should not why would you do that to yourself) but it's like... basic knowledge. and what worries me the most is that they think a failed two days rebellion is the french revolution as if it was not an event that reshaped the entirety of the french political system and was a trigger to a lot of changes in europe???? i mean... look at that: ]

i know we have a lot of revolutions in french history but if you need to know one, know the French Revolution, at least just the fact that it was a years long event with successful battles and a successful outcome (not gonna go into the whole it's a revolution for the bourgeoisie thing even if... well it kinda is).

and if you have not read/seen les miserables with your eyes closed, you know that it is very not successful at all !

anyway, that's it !

to summarise:

French Revolution = 1789 / very long / successful outcome / successful battles / not in Les Miserables

June Rebellion = 1832 / 43 years after / two days long / failure / in Les Miserables

Recommendations of...

Movies during the French Revolution = Danton (Andrzej Wajda) / La Revolution Française I and II (Robert Enrico & Richard T. Heffron)

Musicals during the French Revolution = La Revolution Française (Alain Boublil & Claude-Michel Schoenberg, yes same dudes that made les mis the musical) / Les Amants de la Bastille (not good but definitely super fun to watch) / The Scarlet Pimpernel (Nan Knighton, haven't seen it but some of the songs SLAPS)

Now you can obsess on the french revolution correctly ! and it's all very good recommendations too ! yes !!!!!!

(some of my fav les miserables adaptations here too)

i'm done, thanks for sticking with me, i love you all and i will stop yapping now ! buh-bye!

[siena-sevenwits]

A Web Weave for Anders Solmor

A Web Weave for Anders Solmor

Frantisek G. on Unsplash / "The Anthem of Mr. Dark" by the Arcadian Wild / "Accounting" on Unsplash /"Asleep" - art by me / "Skye Boat Song" by Robert Louis Stevenson / Gif by @stim-lord / "Shipwreck" by Knud Baade / "Naughty" by Tim Minchin / "Detail of Two Bronze Swords" by Christ Linnett on Unsplash / I'll Be There by Walk the Earth / "When Will My Life Begin - Reprise 2" by Glenn Slater and Alan Menken / "Into the Fire" by Nan Knighton and Frank Wildhorn / "Tangled" by Walt Disney Animation / Quora / "Spiked Pickle Night" - art by me / Coast photo by Shifaaz Shamoon on Unsplash / "Naughty" by Tim Minchin / "Level Up" by Vienna Teng / Gif by newmic /Mansfield Park by Jane Austen

[humanfist]

Flaco is still at large and is now spying on Nan Knighton. https://www.msn.com/en-us/travel/news/flaco-the-famous-new-york-city-owl-has-become-a-peeping-tom/ar-AA1lGkQA

I for one welcome our new strygine overlord. :)

Backstory: This gentleman escaped from Central Park Zoo in March after his enclosure there was vandalized, and there was a lot of concern over whether or not he could/would survive out of captivity. Unconcerned by this, Flaco settled himself in a particular area of Central Park and spent all the spring, summer, and most of the fall eating large numbers of rats, and genially allowing himself to be photographed by an ever-growing cadre of bird paparazzi.

Then a few weeks ago, possibly irked by repeated mobbing by assorted hawks and corvids, Flaco took off from his normal haunts and went on a brief tour of apartment-building courtyards on the Lower East Side. Now he's on the Upper West Side, within sight of Central Park (so food's no problem, should he feel like heading back that way to hunt), and shouting for everybody to hear that he owns the place. The image above shows him on the water tower of an apartment building at 86th and CPW.

If you look back through the Manhattan Bird Alert and Above 96th Twitter feeds, you'll see many splendid pictures of him. He's a handsome lad, and it's good to see him thriving.

What's in his future? Hard to tell. (Though some people on Twitter are suggesting he should run for mayor.) He may head upstate at some point. But he may decide he's quite happy to be a Manhattanite. As a fellow one, I wish him very well. :)

[littleeyesofpallas]

Now gaze on our goddess of justice with her shimmering glimmering blade, As she kisses these traitors, she sings them a last serenade! As she severs you ...You'll be smitten with Madame Guillotine! ... Now come let out lady possess you, in her breathtaking, hair-raising bed! She will tingle your spine as she captures your heart and your head! As she severs you ...Our Delilah will shave you razor clean! ... She will ravish you ...Give her more to bite! She's a hungry queen! Hail, Her Majesty, Madame Guillotine!

Frank Wildhorn's musicals that aren't Jekyll & Hyde are absolutely a hard hit or miss even at their best, but he's always got a few wild hits in each show, and Nan Knighton's lyricism in personifying the reign of terror in revolutionary France as the opening scene of Scarlet Pimpernel is one of those songs that always just blows me away. It's between this and Falcon In The Dive that just had no reason to channel this much energy when the rest of the show is just so silly.

[harrypotterhousequotes]

SLYTHERIN:

"I wasn't born to walk on water. I wasn't born to sack and slaughter. But on my soul, I wasn't born to stoop, to scorn, and knuckle under. A man can learn to steal some thunder a man can learn to work some wonder, and when the gauntlet's down, it's time to rise and climb the sky."

–Nan Knighton (Chauvelin: The Scarlet Pimpernel: Falcon in the Dive)

[alkalineleak]

do with this.As you will

would you believe me if i told you that the reason i realised this was bc i was looking at songs from the scarlet pamphlet show

[absoluterpmemetrash]

below are select lyrics from Frank Wildhorn & Nan Knighton’s THE SCARLET PIMPERNEL, a musical adaption of the book of the same name. feel free to change pronouns as needed.

I give you the judgement of God!

The world may be ugly but each man must do what he must!

In a year you will be pretty dust!

I trust you will be there to find me.

I place my faith in you.

In the darkness, please defend me.

Open your eyes to this one bright moment embracing us.

You have one life, let it be gay.

Shouldn't one do as one's told to?

Darlings, life is such romance.

No one need give you permission!

Life is too short to be guarded!

No, stay … I don't care what you've said or done.

Come back and be the woman who I knew.

Help me to believe in you!

How could you let me love like this?

I'm broken, but I'm still alive!

Let us ride home again with a story to tell!

You can tremble, you can fear it, but keep your fighting spirit alive.

I wasn't born to walk on water.

a man grows older but his soul remains alive.

Let my heart grow colder and as bitter as a falcon in the dive.

There was a dream - I don't remember...

Here in hell, the blood runs deeper.

When I look at you what I always see is the face of someone else who once belonged to me.

Even though that melody plays on, he's gone.

Why do you smile his smile?

If you could look at me once more, with all the love you felt before --

When I look at you, he is touching me.

I would reach for him, but who can hold a memory?

You changed and now I don't know who you are.

Could it be that I never really knew you from the start?

Even a memory is paradise for all the fools like me...

Indeed, and I'm the queen of Spain!

I'm sure I'd fall in love if he would cross my path!

And I hear he carries several ... Whips …

Where's the girl with the blaze in her eyes?

Now and then I still dream she's beside me.

Where's the girl who could turn on the edge of a knife?

She and I took this world like a storm!

Bring your renegade heart home to me.

Don't forget I know who you are.

We had dreams that were worth dying for.

A man's duty is to wield the sword!

A man's duty is to uphold the banner of beauty!

Each species needs a sex that's fated to be highly decorated.

Life is cold, and the game is old.

Betray him first, and the game's reversed!

Can I trust you? Should you trust me, too?

Through the mist, your lover is beckoning.

Year by year, we're falling like stars.

Can I run to you? Are you true to me?

I'll do unto you as you do to me!

Every Judas once loved a Jesus.

Only fools follow golden rules.

We all are caught in the middle of one long treacherous riddle.

Is he in heaven or is he in hell?

The ladies seek him everywhere!

I hear the words you want to say.

Come meet my eyes one moment more.

Don't turn away -- it's only love.

We can't go back to where we were.

Don't be afraid to feel tonight.

Open your heart and show me.

In a spill of moonlight she was there.

When she whispered through the dark, I tried hard to hold my ground.

I believed I had a choice 'til the music in your voice turned my whole world around.

She slipped beneath my skin, just as if she'd always been right there!

Listen to me, I have beautiful dreams I can spin you.

I'll sing you stories of lovers whose love used to fill me.

In my dreams such beautiful lovers have found me.

Is it only in dreams that we find our ideal love?

If you can't be sweet as you seem I'd rather dream!

Come and wake me! Come be the love I can hold now!

Show me the way to stop dreaming!

Love me now!

We are all of us bruised and alone.

Now we both will have nothing to hold!

There is a child inside my heart tonight.

You are the one who reaches through the dark.

You are my peace. You are my prayer.

You are my home.

In this world of strangers, I belong to someone.

Others may leave, but you will still be there.

When I am lost, you are my light.

You are the love that never dies.

I will not walk away from you!

[margueritestjusts]

also, unpopular musical opinion: i do not care all that much for into the fire, creation of man, or where’s the girl

[bridgetwinderart]

“Gold.” (2 feet, 4 inches x 2 ft, 6 1/2 inches; graphite, water-based oils and metallic acrylic) 

- 

ART and VOCALS by BRIDGET WINDER. EDITING, MIXING and EFFECTS by AMANDA WINDER and BRIDGET WINDER. MUSIC and LYRICS: “Gold" by Frank Wildhorn and Nan Knighton, 2002. 

- 

All rights reserved. Unauthorized duplication is a violation of applicable laws without artist consent or a credit line: Bridget Winder Art. 

- 

www.BridgetWinder.com 

Bridget Winder Art, LLC

[arts-dance]

Camille Claudel’s 155th Birthday

Born 8 December 1864 - Fère-en-Tardenois, Aisne, Second French Empire Died 19 October 1943 (aged 78) - Montdevergues, Vaucluse, Vichy France

Camille Claudel (French pronunciation: [kamij klɔdɛl] (listen); 8 December 1864 –  19 October 1943) was a French sculptor who died in relative obscurity, but has gained recognition for the originality and quality of her work.[1][2] Claudel is known for such sculptures as The Waltz, The Mature Age, and others.

The national Camille Claudel Museum in Nogent-sur-Seine opened in 2017, and the Musée Rodin in Paris has a room dedicated to her works.

Creative period

Study with Alfred Boucher

Claudel was fascinated with stone and soil as a child, and as a young woman she studied at the Académie Colarossi, one of the few places open to female students.[5] She studied with sculptor Alfred Boucher.[6] (At the time, the École des Beaux-Arts barred women from enrolling to study.)

In 1882, Claudel rented a workshop in Paris with Jessie Lipscomb, Emily Fawcett and Amy Singer, the daughter of John Webb Singer, whose foundry in Frome, Somerset, made large-scale bronze statues that are familiar today. Several prominent Frome works are in London, including the Boadicea group on the Embankment, Cromwell, which graces the lawn in front of the Houses of Parliament, and the figure of Justice atop the Old Bailey. General Gordon on his camel at Chatham Barracks was also cast in Frome, as were the magnificent eight lions that form part of the Rhodes Memorial in Cape Town. Claudel visited Frome and the families of her fellow sculptors. All of these English friends had studied at the South Kensington Schools – that would become the Royal College of Art – before moving to Paris to be at the Academie Colarossi, where they had all met. Camille obviously felt very at home with Amy’s family in Frome and prolonged her stay.[7]

Alfred Boucher had become Claudel's mentor, and he also provided inspiration and encouragement to the next generation of sculptors such as Laure Coutan. Claudel was depicted by Boucher in Camille Claudel lisant,[8] and later she sculpted a bust of her mentor.

After teaching Claudel and the other sculptors for over three years, Boucher moved to Florence. Before he left he asked Auguste Rodin to take over the instruction of his pupils. Rodin and Claudel met, and their artistic association and the tumultuous and passionate relationship soon began.

Auguste Rodin

Claudel started working in Rodin's workshop around 1884 and became a source of inspiration for him. She acted as his model, his confidante, and his lover. She never lived with Rodin, who was reluctant to end his 20-year relationship with Rose Beuret.

Knowledge of the affair agitated her family, especially her mother, who already detested her for not being a boy and never approved of Claudel's involvement in the arts.[9][10][11] As a consequence, Claudel left the family home.

In 1892, after an abortion, Claudel ended the intimate aspect of her relationship with Rodin, although they saw each other regularly until 1898.[12]

Le Cornec and Pollock state that after the sculptors' physical relationship ended, she could not get the funding to get many of her daring ideas realized, because of gender-based censorship and the sexual element of her work. Claudel thus had to either depend on Rodin to realize them, or to collaborate with him and let him get the credit as the lionized figure of French sculptures. She also depended on him financially, especially since her loving and wealthy father's death. This allowed her mother and brother, who were suspicious of her lifestyle, to keep the money and let her wander around the streets dressed in beggars' clothes.[13]

Claudel's reputation survived not because of her once notorious association with Rodin, but because of her work. The novelist and art critic Octave Mirbeau described her as "A revolt against nature: a woman genius." Her early work is similar to Rodin's in spirit but shows imagination and lyricism quite her own, particularly in the famous The Waltz (1893).

Louis Vauxcelles states that Claudel was the only sculptress on whose forehead shone the sign of genius like Berthe Morisot, the only well-known female painter of the century and that Claudel's style was more virile than many of her male colleagues. Others, like Morhardt and Caranfa, concurred, saying that their styles have become so different, with Rodin being more suave and delicate and Claudel being vehement with vigorous contrasts, which might have been one reason that led to their break up, with her becoming ultimately his rival.[14][15][16]

Claudel's onyx and bronze small-scale La Vague (The Wave) (1897) was a conscious break in style from her Rodin period. It has a decorative quality quite different from the "heroic" feeling of her earlier work.

Legacy

Though she destroyed much of her work, about 90 statues, sketches and drawings survive.

Some authors argue that Henrik Ibsen based his last play, 1899's When We Dead Awaken, on Rodin's relationship with Claudel.[53][54][55][56]

In 1951, Paul Claudel organized an exhibition at the Musée Rodin, which continues to display her sculptures. A large exhibition of her works was organized in 1984. In 2005 a large art display featuring the works of Rodin and Claudel was exhibited in Quebec City (Canada), and Detroit, Michigan, in the US. In 2008, the Musée Rodin organized a retrospective exhibition including more than 80 of her works.

The publication of several biographies in the 1980s sparked a resurgence of interest in her work.

Camille Claudel (1988) was a dramatization of her life based largely on historical records. Directed by Bruno Nuytten, co-produced by Isabelle Adjani, starring herself as Claudel and Gérard Depardieu as Rodin, the film was nominated for two Academy Awards in 1989. Another film, Camille Claudel 1915, directed by Bruno Dumont and starring Juliette Binoche as Claudel, premiered at the 63rd Berlin International Film Festival in 2013. The 2017 film Rodin co-stars Izïa Higelin as  Claudel.

Composer Jeremy Beck's Death of a Little Girl with Doves (1998), an operatic soliloquy for soprano and orchestra, is based on the life and letters of Camille Claudel. This composition has been recorded by Rayanne Dupuis, soprano, with the Slovak Radio Symphony Orchestra.[57] Beck's composition has been described as "a deeply attractive and touching piece of writing ... [demonstrating] imperious melodic confidence, fluent emotional command and yielding tenderness." [58]

Seattle playwright S.P. Miskowski's La Valse (2000) is a well-researched look at Claudel's life.[59][60]

Composer Frank Wildhorn and lyricist Nan Knighton's musical Camille Claudel was produced by Goodspeed Musicals at The Norma Terris Theatre in Chester, Connecticut in 2003.[61]

In 2005, Sotheby's sold a second edition La Valse (1905, Blot, number 21) for $932,500.[62] In a 2009 Paris auction, Claudel's Le Dieu Envolé (1894/1998, foundry Valsuani, signed and numbered 6/8) had a high estimate of $180,000,[63] while a comparable Rodin sculpture, L'éternelle Idole (1889/1930, Rudier, signed) had a high estimate of $75,000.[64]

In 2011 world premiere of Boris Eifman's new ballet Rodin took place in Saint-Petersburg, Russia. The ballet is dedicated to the life and creative work sculptor Auguste Rodin and his apprentice, lover and muse, Camille Claudel.[65]

In 2012, the world premiere of the play Camille Claudel took place. Written, performed and directed by Gaël Le Cornec, premiered at the Pleasance Courtyard Edinburgh Festival, the play looks at the relationship of master and muse under the perspective of Camille at different stages of her life.[

In 2019, to mark the 155th anniversary of Claudel's birth, Google released a Google Doodle commemorating her.

https://en.wikipedia.org/wiki/Camille_Claudel

Camille Claudel née à Fère-en-Tardenois (Aisne) le 8 décembre 1864, et morte à Montdevergues (Montfavet - Vaucluse) le 19 octobre 1943, est une sculptrice et artiste peintre française.

Collaboratrice, maîtresse et muse du sculpteur Auguste Rodin2, sœur du poète, écrivain, diplomate et académicien Paul Claudel, sa carrière est météorique, brisée par un internement psychiatrique et une mort quasi anonyme. Un demi-siècle plus tard, un livre (Une femme, Camille Claudel d'Anne Delbée, 1982) puis un film (Camille Claudel, 1988) la font sortir de l'oubli pour le grand public.

Son art de la sculpture à la fois réaliste et expressionniste s'apparente à l'Art Nouveau par son utilisation savante des courbes et des méandres.

https://fr.wikipedia.org/wiki/Camille_Claudel

[larryland]

CHATHAM, NY — Break out the bell-bottom pants and boogie shoes for Saturday Night Fever, the most requested show of the summer at

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here.  The disco inferno of a musical will perform for three weeks, July 6 through 23.

This is the 40th Anniversary of the 1977 film that sparked a cultural phenomenon with a story of young people coming of age to the pulsing rhythms of the new disco beat.  Tony, the leader of the group, hopes his dancing will break the dead-end Brooklyn mold he’s grown up in.  He courts a new partner, Stephanie, who also has dreams beyond the neighborhood, to help him do it.  Ordinary, even boring days turn into nights of energy and power as they all turn to the disco club 2001 Odyssey for escape, but soon must face unforeseen, life-changing events.

The biggest hits of the BeeGees will have you reliving those swinging disco days as you hum along to Night Fever, More Than A Woman, How Deep is Your Love, What Kind Of Fool, If I Can’t Have You, Stayin’ Alive and more.

New to MHT for this show, Daniel Velasquez will play Tony Manero and Kate Zualaf will be Stephanie Mangano.  His credits include Billy Lawlor in 42nd Street and Conrad in Bye Bye Birdie as well as lead vocalist and featured dancer spots with regional theatres and cruise lines; she has extensive musical theatre experience.

Mac-Haydn veterans Gabe Belyeu and Aneesa Folds lead the Saturday Night Fever cast as Monty, the DJ and Candy, the singer at the 2001 Odyssey disco club.  Mr. Belyeu just kept the audience laughing hysterically as Lawrence Jameson in Dirty Rotten Scoundrels.  Ms. Folds did the same while thrilling with her powerful voice as Deloris Cartier in last summer’s favorite show Sister Act.

Tony’s pals, the ‘Faces’, are Dan Macke as Bobby, Sam Pickart (Billy Crocker in Anything Goes) as Gus, Ross Flores as Double-J and Alex Carr (Jospeh in Joseph and the Amazing Technicolor Dreamcoat) as Joey.  Erin Spears Ledford (Stepmother in Into The Woods, Alice Beineke in The Addams Family) and Pat Wemitt will be Tony’s parents Flo and Frank Manero.

John Saunders (Dirty Rotten Scoundrels) directs and James Kinney (Chicago 2016) takes on the task of choreographing the show that is noted for its dynamic and distinctive disco style dancing.

Saturday Night Fever performs for three weeks: July 6 to 9, 12 to 16 and 19 to 23.  The show is already proving popular with Mac-Haydn patrons – to get further information on performance times and to order your tickets as soon as possible call 518-392-9292 or visit www.machaydntheatre.org.

“Saturday Night Fever” Brings Disco Inferno to the Mac-Haydn for Three Weeks CHATHAM, NY -- Break out the bell-bottom pants and boogie shoes for Saturday Night Fever, the most requested show of the summer at…

[brothermarc7theatre]

Musical Monday

This week we continue journeying through the 1998 Tony Awards season, and this musical is a doozey! The score is quite beautiful, and it certainly had the oomph to make a splash on Broadway. Unfortunately, it did not come up with a Best Musical trophy in hand. With that, let’s get on to the highlights!

Musical Monday date: 3/18/2019

Musical: The Scarlet Pimpernel

Book, Music, and Lyrics: Nan Knighton, Frank Wildhorn, and Nan Knighton

Broadway Run: November 9, 1997 - January 2, 2000

Awards Won: 1998 Theatre World Award (Douglas Sills)

Other: Within its 772-performance run, The Scarlet Pimpernel closed at the Minskoff Theater, only to re-open 10 days later, still at the Minskoff, as a newly-revised production. It would later transfer to the Neil Simon Theater, where it would remain until it closed in 2000.

Fun Fact: The original cast boasted such Broadway names as Douglas Sills, Terrence Mann, Christine Andreas, and Sutton Foster. The revised cast included Rex Smith, Rachel York, and Mark McGrath.

Not a bad showing for a musical that didn’t win any Tony or Drama Desk awards. There’s definitely a population who are keen to the scores of Frank Wildhorn, and this is, indeed, one of his loveliest, in partnership with Nan Knighton. Next week we round out 1998 with one of my personal favorite musicals, a show I sure wish I could go back to before and see in its original shape. Have a great week, fellow thespians! Go listen to some Wildhorn and then go see a show!

[broadwayworld]

Backstage with Richard Ridge: Frank Wildhorn, Nan Knighton & Gabriel Barre Get Ready to Go Back Into the Fire with THE SCARLET PIMPERNEL! https://www.broadwayworld.com/article/Backstage-with-Richard-Ridge-Frank-Wildhorn-Nan-Knighton-Gabriel-Barre-Get-Ready-to-Go-Back-Into-the-Fire-with-THE-SCARLET-PIMPERNEL-20190208 https://www.broadwayworld.com/article/Backstage-with-Richard-Ridge-Frank-Wildhorn-Nan-Knighton-Gabriel-Barre-Get-Ready-to-Go-Back-Into-the-Fire-with-THE-SCARLET-PIMPERNEL-20190208