In May of last year, while visiting Buenos Aires, I stumble upon this piece. I thought I had seen everything the stage had to offer based on Judy Garland. It was late, I didn't want to go. I knew it wasn't a drag-show but it was an all-male cast. I'm pretty sure I've seen some kind of something like this before. I even was afraid that I would fall asleep. Instead… ZING! I enjoyed an original, sexy, and unexpectedly emotional theatrical experience. It was like hearing the songs for the first time. I realized how little I knew of Garland's songbook, aside from what we are mostly accustomed to hear.
The show's uniqueness was puzzling. I was amazed by how sexy and lusty her songs were. Here is a 20 something years old guy singing "The man that got away," pouring his own emotions into the notes. The contrast is difficult to explain. Imagine the 60' Rat Pack, or today's Warblers performing these songs and you're half way there.
I met with the writer and director, Alejandro Ullua - one of the greatest contemporary directors in Argentina. We talked about how much Judy had meant for his father, who had recently passed away. This tribute was a way to celebrate his father's memory. And that aspect, although not expressed literally in the piece - came through in its honest uniqueness. It was more than a concept. It was a love letter. I told Alejandro that I'd love to someday bring the piece to the US. The choreography was designed by Gustavo Wons, a phenomenal dancer who spends a great part of the year working here in NYC. That realization provoked me to think: Someday? What's wrong with now? And here we are. Our goal is to mount the show for at least 2 weeks at an off-broadway venue. In those two weeks, we would like to invite producers, theater, musical venue owners and every one of you that is making this possible. The best way we thought of making you part of the journey is by granting you access to every step of the process. At the $100 level, you'll get access to a PRODUCERS LOUNGE website, where we will have videos from the first casting call - all the way through rehearsals and opening night. There will be a forum, where your comments will be heard and you can chat with other producers. The funds acquired through this campaign will be destined to adjust the show to the US standards. We'll need a Musical Director and some Legal logistics to secure grand rights for the score. The rest will go into rehearsal rooms, renting the venue and feeding cake to the performers and tech crew. As we define who's stepping into these roles we will keep you posted. If you have any suggestions for us, we'd love to hear them!
I'm privileged to bring this show to you. And even better, have you be part of it.
ALEJANDRO ULLUA - writter/director
Author, teacher, director and réggiseur. Directed plays: Sumario de la muerte de Kleist (Alexander Tantanian), Hipólito y Fedra, la pasión desbocada, which he also wrote. Hic et nun (Patricia Zangaro), Edgardo práctica, Cósima hace magia (Patricia Suarez), Herr Klement (Suarez and Giacometto), Todos los judíos fuera de Europa (Leonel Giacometto), Batalla de arroz en un ring para dos (Mauro Rasi), África, un continente (Patricia Zangaro), among others. Within musical theater, Ullua created Cabaret Songs (Male Newcomer Award at ACE) and direct the one-man musical Retrato en blanco y negro and Viejitos Chotos, both performed by singer Marikena Monti, among others. Also, he oversaw the regie of the operas La Descente d'Orphée aux enfers (Marc-Antoine Charpentier), I Capuleti e I Montecchi (Bellini), Acis & Galatea (Handel) and The Canterina (Haydn). He received numerous nominations from ACE, Trinidad Guevara, Florencio Sánchez and HUGO Awards for theater, and musical theater.
GUSTAVO WONS - choreographer
Choreographed Nacha Guevara's show 60 años no es Nada in Madrid and No te Prometo Amor Eterno. Wons was associate choreographer in the production of Victor Victoria and responsible for the choreography of the musical Sweet Charity (ACE Award Nomination for best Choreography). His latest work as choreographer were EVA, el Gran Musical Argentino and Caravan, the jazz musical, for which he won the Ace Award for Best Choreography 2009. On 2010, he was resident director in the musical Chicago and choreographed Argentina's leading TV show Susana Gimenez. Fulbright scholarship winner, National Endowment for the Arts. In New York he worked as a dancer on Broadway’s Fiddler on the Roof and national tours of Cats King and I , Man of La Mancha, Damn Yankees, West Side Story and Radio City Christmas Show. In Argentina he performed in the musicals Chicago, Kiss of the Spider Woman, Cats, Aggiungi Un Posto a Tavola, Molly Brown, 42nd Street, and Me and My Girl , among others.
For more information, visit us at: www.judyonbroadway.com
Risks and challenges
To perform the songs within the structure of a play, we need to acquire "Grand Rights" from the publishers. We are actively working on this. Since Garland's songbook was so vast and diverse, this process becomes quite complex and may not be resolve by our tentative opening date at the end of March. We are confident that we will obtain these rights. Maybe some songs will need to be replaced. Worse case scenario, we will present the show in a concert format.Learn about accountability on Kickstarter
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