Munchkin-sized tuner
By GORDON COX
"Wicked" plans to be big in Japan. But for now, it's a little smaller.
The Universal Studios theme park in Osaka recently opened a 30-minute version of the "Wizard of Oz"-themed tuner, of which U is one of the producers, as the centerpiece of an Oz-themed area at the park.
The "Wicked" hors d'oeuvre is priming the pump for the full meal. "We now have fairly definite plans with the Shiki Theatrical Company" -- which has produced successful Japanese tours of "Mamma Mia!" and "The Lion King" -- "to undertake a full Japanese-language production in 2007," says "Wicked" producer Marc Platt.
Until then, though, Japanese auds can develop a taste for the show at the $4 million theme park production. The pared-down story, assembled with the input of composer Stephen Schwartz and book writer Winnie Holzman and maintaining the design of the original, strings together what Platt calls "the essentials of the first act," focusing on the relationship between Wicked Witch-to-be Elphaba and Glinda the Good Witch, and finishing with the climactic number "Defying Gravity."
It's a rare instance of the creative content of a Broadway show appearing as a live theme park attraction. Disney parks have developed short shows based on the same properties that inspired the company's Rialto tuners, but Disney Theatrical Prods. keeps its content separate, in part to help define its Broadway brand as not just for kids.
Platt originally resisted requests from U's theme parks to do a reduced version of "Wicked." It's still early in the show's life, he points out, and the market is still growing. (Consistently the Rialto's top earner since it opened in 2003, "Wicked" also has a national tour out, a sit-down in Chi and upcoming productions in L.A. and London.)
But the opportunity to introduce the property to Japan, while sticking closely to the creative elements of the original, was too good to pass up.
The half-hour show, which runs several times a day at Universal Studios Japan, has three pairs of actresses alternating in the roles of Elphaba and Glinda. All three Elphabas are American or Australian, to enhance the green girl's status as an outsider in Oz, playing opposite Japanese Glindas.
And Platt estimates that while most of the show has been translated, about 30% remains in English, especially Elphaba's lines.
That helps keep the theme park incarnation from stepping on the toes of the upcoming, fully translated version. Besides, "part of why the consumer goes to a theme park in Japan is to have the full 'American' experience," he says.
But don't look for a reduced "Wicked" to appear at any of Universal's U.S. theme parks anytime soon. "At some point way down the line, perhaps," Platt says.
For now, he aims to maintain the status of "Wicked" as an in-demand theatrical experience. "It's why we haven't rushed to a film," he says.
London calls 'Drowsy'
Cameron Mackintosh is hot for "The Drowsy Chaperone."
The Brit producer has said he's a fan of the Tony-winning tuner, and those involved in "Drowsy" say he'd like to get a London production up and running ASAP.
But it's too soon to say where another incarnation of the production might show up first. Producer Kevin McCollum says he's still deciding whether the next step for "Drowsy" is a U.K. production or a U.S./Canadian tour.
http://www.variety.com/article/VR1117947179?categoryid=2076&cs=1
"Wicked" plans to be big in Japan. But for now, it's a little smaller.
The Universal Studios theme park in Osaka recently opened a 30-minute version of the "Wizard of Oz"-themed tuner, of which U is one of the producers, as the centerpiece of an Oz-themed area at the park.
The "Wicked" hors d'oeuvre is priming the pump for the full meal. "We now have fairly definite plans with the Shiki Theatrical Company" -- which has produced successful Japanese tours of "Mamma Mia!" and "The Lion King" -- "to undertake a full Japanese-language production in 2007," says "Wicked" producer Marc Platt.
Until then, though, Japanese auds can develop a taste for the show at the $4 million theme park production. The pared-down story, assembled with the input of composer Stephen Schwartz and book writer Winnie Holzman and maintaining the design of the original, strings together what Platt calls "the essentials of the first act," focusing on the relationship between Wicked Witch-to-be Elphaba and Glinda the Good Witch, and finishing with the climactic number "Defying Gravity."
It's a rare instance of the creative content of a Broadway show appearing as a live theme park attraction. Disney parks have developed short shows based on the same properties that inspired the company's Rialto tuners, but Disney Theatrical Prods. keeps its content separate, in part to help define its Broadway brand as not just for kids.
Platt originally resisted requests from U's theme parks to do a reduced version of "Wicked." It's still early in the show's life, he points out, and the market is still growing. (Consistently the Rialto's top earner since it opened in 2003, "Wicked" also has a national tour out, a sit-down in Chi and upcoming productions in L.A. and London.)
But the opportunity to introduce the property to Japan, while sticking closely to the creative elements of the original, was too good to pass up.
The half-hour show, which runs several times a day at Universal Studios Japan, has three pairs of actresses alternating in the roles of Elphaba and Glinda. All three Elphabas are American or Australian, to enhance the green girl's status as an outsider in Oz, playing opposite Japanese Glindas.
And Platt estimates that while most of the show has been translated, about 30% remains in English, especially Elphaba's lines.
That helps keep the theme park incarnation from stepping on the toes of the upcoming, fully translated version. Besides, "part of why the consumer goes to a theme park in Japan is to have the full 'American' experience," he says.
But don't look for a reduced "Wicked" to appear at any of Universal's U.S. theme parks anytime soon. "At some point way down the line, perhaps," Platt says.
For now, he aims to maintain the status of "Wicked" as an in-demand theatrical experience. "It's why we haven't rushed to a film," he says.
London calls 'Drowsy'
Cameron Mackintosh is hot for "The Drowsy Chaperone."
The Brit producer has said he's a fan of the Tony-winning tuner, and those involved in "Drowsy" say he'd like to get a London production up and running ASAP.
But it's too soon to say where another incarnation of the production might show up first. Producer Kevin McCollum says he's still deciding whether the next step for "Drowsy" is a U.K. production or a U.S./Canadian tour.
http://www.variety.com/article/VR1117947179?categoryid=2076&cs=1
