In the Guardian, Reggie Nadelson visits New York and the set of the new "The Producers," which has made an unprecedented (at least, as far as we know) screen-to-stage-to-screen journey, from a movie about a Broadway musical to a Broadway musical to a movie musical about a Broadway musical. Got that? We would think this would make it a kind of post-musical, if you will, but apparently not:
"The point about the Producers," production designer Mark Friedberg says, "is that this is a movie about New York made by New Yorkers. At the height of it, we had 400 people working and every one of them, every scenic painter, knew the city, the streets, how it looks, how it smells. We made it realistic – but it was always a stylized realism that harked back to the style of old Hollywood musicals."
Todd S. Purdum in the New York Times looks at the enduring, unslayable popularity of one such old Hollywood musical, "The Sound of Music," reminding us that Pauline Kael was fired from her post of critic at McCall‘s for trouncing all over the film when it came out, but even she had to acknowledge that it may have been blatant about tugging at the heartstrings, but the heartstrings nevertheless were tugged: "Whom could it offend? Only those of us who, despite the fact that we may respond, loathe
Not a musical (oh, don’t we wish!), but on the stage and inspiring some awesome drubbing: Val Kilmer in "The Postman Always Rings Twice." David Poland is in London and covers the carnage in his Hot Button column.