#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.

[theragamuffininitiative]

3, 6, 16, 23 👀

3. favourite musical to listen to:

I'm suddenly regretting reblogging this ask, this is like choosing between children. However! I have the unfortunate theatre nerd honor of loving lots of versions of musicals that are not the OBC so choosing purely from albums....

I think I would have to say The Scarlet Pimpernel. It's one of my favorites in general but that soundtrack goes so stinking hard. Esepcially everything Douglas Sills does as Percy. When Percy thinks he can't trust his wife and resolves to continue anyway during "Prayer"??? 😭 and Marguerite's mirrored despair at losing the man she thought she knew in "When I Look At You" (AND THEIR DUET) The hilarity of "The Creation of Man" and and "The Scarlet Pimpernel and "They Seek Him Here"???? ("I said brief, not infinitesimal" and his book-perfect inane laugh my beloved) The sweeping epic opening of "Madame Guillotine?" !!!!! The amazing sibling love in "You Are My Home" and the exhilarating swashbuckling of "Into the Fire" and the PEAK villain ballad, "Falcon in the Dive" ksudfnlsdkjfsnldfkjsd. Frank Wildhorn musicals my forever beloved, and Nan Knighton's one and only absolutely perfect book and lyrics. 👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏

6. favourite musical you've seen live

I have been blessed to see several touring productions of beloved shows as well as some really wonderful local productions. I'm going to cheat and say two bc the one doesn't exist anymore lol. I got to see the out-of-town tryout production of The Last Days of Summer starring Corey Cott and can I tell you that experience will stay with me for all my life. I think I wrote a massive post about it on here somewhere way back then. But the true answer should be Wicked. Wicked is the first professional (tour) production I ever saw, and a bonding point with many friends, and I got to see it on Broadway last year as my first bway show. 😊 This show is not overrated, it is literally perfection of stage craft from the top down and deserves every accolade and I hope the movie is good but it will never replace the show in my heart.

16. favourite musical that's underrated

(I love so many unknown/underrated musicals hhhhh)

Nobody now talks about The Secret Garden but it was certainly not underrated when it was on bway, people have just forgotten about it. 😭 Same with The Scarlet Pimpernel. So I have to say Bandstand, right? Absolutely, of course I do, and I'm gonna.

Corey Cott (him again) earned that (nonexistent) Tony nomination. I would be sad if he was nominated and lost, but I will eternally be Salty As Ever Living Heck that he wasn't even nominated. But the show in general is just so amazing, musically and storyline and visually and acting and lksjdnfsdkgjneiosfdk. This show is so so important to me, you don't even know. War widows and brotherhood and grief and survivor's guilt and finding love again and throwing off the glamor to expose the truth. Laura Osnes's #withtheband vlogs from backstage while they were in the show have taken up residence in a corner of my soul.

Wicked is only the first show I saw on bway because Bandstand closed after Dear Evan Hanson swept the awards, and I didn't have enough time to make the trip to see it.

BUT! I did get to see the tour! The fall before covid hit AND CLOSED IT TOO I got to see the national tour cast and I was very unconvinced that they would be able to do it justice when the OBC cast are some of my favorite humans in the whole wide world, but man oh man. When Zack Zaromatidis broke down as Donny telling Julia his awful dark secret, Zack bent at the waist like he had sucker-punched himself and from my seat a few rows from the stage I watched a single tear fall from his face and hit the stage floor and I'm telling you, I lost it. He did Donny and Corey right and proud. And my friend and I got to meet him and a bunch of the cast after!

I may or may not have access to the Bandstand proshot they made right before closing and I may or may not be willing to totally share so you can be obsessed too...

23. favourite lyric from a musical

I literally can't do this, you can't make me, I'm just gonna pull some of my absolute beloved lyrics from the aforementioned shows off the top of my head, ok go:

The Scarlet Pimpernel: Oh Lord, how could you let me love like this? / No one dies upon a kiss / and only fools believe in bliss... With time, I'll find a way to right this wrong / if it takes my whole life long / Lord, I'll fight my battles all alone / but make me / strong.

(Idk any of the lyrics from Last Days of Summer and it's a criiiimme)

Wicked: Let me say before we part / So much of me / is made of what I learned from you / and you'll be with me / like a handprint on my heart / Now whatever way our stories end / I know you have rewritten mine / by being my friend.

Bandstand: They'll say right this way / we've reserved this just for you / you've been waiting for this day / it's the least that we can do / you've arrived at last my friend / after fighting for far too long (it's a privilege sir may I say?) / "Right this way."

-deep breath- Ok, well, good to know my inner theatre nerd is still alive and well. XD

[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. :)

[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)

[nordleuchten]

I am a bit late, but I was tagged by @acrossthewavesoftime (thank you for that my dear :-)) to share my top-three albums I have been listening to as of late.

1. H.M.S. Pinafore; or, The Lass That Loved a Sailor by Gilbert and Sullivan:

I gave myself a terrible earworm and we all know what the best cure is - to listen in full to the tune that is stuck in your head. That is what I have been doing for the last month or so. The success is scant but I am not complaining :-D

2. The Scarlet Pimpernel by Frank Wildhorn and Nan Knighton, featuring Douglas Sills:

I truly love a good musical, especially the ones that are a bit lesser known - such as The Scarlet Pimpernel for example. My number one musical is normally Les Misérables (and everybody who ever listed to the piece would know why) but lately The Scarlet Pimpernel has caught up - is the reason for that Douglas Sills, a man whom I would pay good money to sing literally everything, from my electricity bill down to laundry labels? We will never know.

3. Rock meets Classic 4:

The title basically says it all; a selection of some of the best 80’s rock songs, performed by a philharmonic orchestra. Songs from the 80’s combined with classical music is the best of two world and an absolute win in my book!

Since I have completely lost track who already participated and who might be interested in participating I am just merrily tagging away and there is absolutely no pressure :-)

@fightinglaffy, @made-by-our-history, @lordansketil and @clove-pinks

[theragamuffininitiative]

@keytonesworld yes there is a musical too! By Frank Wildhorn and Nan Knighton and it is a Masterpiece and a Delight also. Embraces far more of the comedy of the story but is equally enjoyable. 😊

[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!

[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

[margueritestjusts]

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

[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

[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

[theragamuffininitiative]

My heart is so full. 😍😭😍😭😍😭😍

[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!