Love Is Love Art Print Mini by Victor Maury
| Ix | |
|---|---|
 Original Playbill | |
| Music | Maury Yeston |
| Lyrics | Maury Yeston |
| Book | Mario Fratti (original volume) Arthur Kopit (revised book) |
| Basis | 8½ past Federico Fellini Tullio Pinelli Ennio Flaiano Brunello Rondi |
| Productions | 1982 Broadway 1984 U.s. national tour 1996 West End 2003 Broadway revival |
| Awards | Tony Honor for All-time Musical Tony Award for Best Original Score Tony Award for Best Revival of a Musical |
9 is a musical whose original conception and music and lyrics are by Maury Yeston, with a book by Arthur Kopit. It is based on Federico Fellini'due south semi-autobiographical 1963 film 8½.
The show tells the story of film director Guido Contini, who is dreading his imminent 40th birthday and facing a midlife crisis, which is blocking his creative impulses and entangling him in a spider web of romantic difficulties in early-1960s Venice.
Conceived and written and composed by Yeston as a class project in the BMI Lehman Engel Musical Theatre Workshop in 1973, it was later adjusted with a book by Mario Fratti, and then with another a book by Arthur Kopit. The original Broadway production opened in 1982 and ran for 729 performances, starring Raul Julia. The musical won 5 Tony Awards, including Best Musical, and has enjoyed a number of revivals.
Groundwork [edit]
Yeston began to work on the musical in 1973.[ane] Equally a teenager, he had seen the Fellini motion-picture show and was intrigued by its themes. "I looked at the screen and said 'That's me.' I still believed in all the dreams and ethics of what information technology was to be an creative person, and here was a motion picture about an artist in trouble. Information technology became an obsession," Yeston told the New York Times.[2] He would get on to say "Nine was the affair I really desperately wanted to write—never thinking for a minute that it would ever be produced. The moving picture had a phenomenal impact on me when I saw information technology as a teenager when it first came out. I was fascinated with Guido who was going through a 2d adolescence when I was going through my start! Every bit I grew I began to realize that in that location was room to explore the reactions of the inner workings of the women in Guido'southward wake. I recall that's what opened the gateways of creativity for Nine—to hear from these extraordinary women. The peachy clandestine of 9 is that information technology took 8 1/ii and became an essay on the power of women by answering the question, "What are women to men?" And Nine tells y'all: they are our mothers, our sisters, our teachers, our temptresses, our judges, our nurses, our wives, our mistresses, our muses."[three] Playwright Mario Fratti began working on the book of the musical in 1977, but the producers and director Tommy Melody eventually decided his script did non work, and brought in Arthur Kopit in 1981 to write an entirely new book, working (as Fratti had) with Maury Yeston every bit composer/lyricist, but at present using Yeston's music, and Fellini's motion picture, as the source. Kopit's new book, forth with Yeston's now completed score, became the script that was produced on Broadway in 1982.
Fellini had entitled his film viii½ in recognition of his prior body of work, which included vi total-length films, two short films, and one moving picture that he co-directed. Yeston's championship for the musical accommodation adds another half-credit to Fellini's output and refers to Guido's age during his first hallucination sequence. Yeston called the musical 9, explaining that if you add music to viii½, "it'south like one-half a number more."[2]
Plot [edit]
Guido Contini, famous Italian movie director, has turned xl and faces double crises: he has to shoot a moving picture for which he can't write the script, and his married woman of 20 years, the film star Luisa del Forno, may exist about to exit him if he can't pay more attention to the marriage. As it turns out, it is the same crisis.
Luisa's efforts to talk to him seem to be drowned out by voices in his head: voices of women in his life, speaking through the walls of his retentiveness, insistent, flirtatious, irresistible, strong. Women speaking beyond words (Overture delle Donne). And these are the women Guido has loved, and from whom he has derived the entire vitality of a creative life, now equally stalled as his marriage.
In an attempt to find some peace and save the wedlock, they go to a spa near Venice (Spa Music), where they are immediately hunted down past the printing with intrusive questions about the marriage and—something Guido had non told Luisa virtually—his imminent picture show project (Not Since Chaplin).
As Guido struggles to find a story for his flick, he becomes increasingly preoccupied—his interior globe sometimes becoming indistinguishable from the objective globe (Guido'due south Song). His mistress Carla arrives in Venice, calling him from her lonely hotel room (A Call from the Vatican), his producer Liliane La Fleur, former vedette of the Folies Bergeres, insists he brand a musical, an idea which itself veers off into a feminine fantasy of extraordinary vividness (The Script/Folies Bergeres). And all the while, Luisa watches, the resilience of her love being consumed by anxiety for him and a gathering dismay for their lives together (My Married man Makes Movies / Only With You).
Guido's fugitive imagination, clutching at women like straws, somewhen plunges through the floor of the present and into his own past where he encounters his mother, bathing a nine-year-former boy—the immature Guido himself (Nine). The vision leads him to re-run across a glorious moment on a beach with Saraghina, the prostitute and outcast to whom he went every bit a curious child, creeping out of his Catholic boarding schoolhouse St. Sebastian, to inquire her to tell him about love. Her answer, be yourself (Ti Voglio Bene / Be Italian), and the trip the light fantastic toe she taught him on the sand echoes down to the forty-year-one-time Guido as a talisman and a terrible reminder of the consequences of that night—punishment by the nuns and rejection past his appalled mother (The Bells of St. Sebastian). Unable to bear the incomprehensible dread of the adults, the picayune boy runs back to the beach to detect nothing only the sand and the wind—an image of the vanishing nature of love, and the cause of Guido Contini's artistry and unanchored peril: a avoiding heart.
Dorsum into the present, Guido is on a beach one time more. With him, Claudia Nardi, a motion-picture show star, muse of his greatest successes, who has flown from Paris because he needs her, but this time she does not desire the role. He cannot fathom the rejection. He is enraged. He fails to empathise that Claudia loves him, too, but wants him to love her as a woman 'not a spirit'—and he realizes likewise late that this was the real reason that she came—in society to know, and at present she does. He cannot beloved her that fashion. She is in some way released to love him for what he is, and never to promise for him again. Wryly she calls him "My charming Casanova!" thereby involuntarily giving Guido the very inspiration he needs and for which has ever looked to her. As Claudia lets him go with "Unusual Fashion," Guido grasps the last straw of all—a desperate, inspired movie—a 'spectacular in the colloquial'—set on "The Thousand Canal" and cast with every woman in his life.
The improvised flick is a spectacular standoff betwixt his real life and his artistic one—a film that is as cocky-lacerating as information technology is cruel, during which Carla races onto the set to announce her divorce and her delight that they can be married only to be brutally rejected by Guido in his desperate fixation with the next fix-up, and which climaxes with Luisa, appalled and moved by his use of their intimacy—and even her words—as a source for the picture show, finally detonating with sadness and rage. Guido keeps the cameras rolling, capturing a scene of utter desolation—the women he loves, and Luisa whom he loves above all, littered like smashed porcelain across the frame of his hopelessly cute failure of a film. "Cutting. Print!"
The film is dead. The cast leaves. They all get out. Carla, with "Simple"—words from the articulate broken centre, Claudia with a letter of the alphabet from Paris to say that she has married, and Luisa in a shattering exit from a marriage that has, as she says, been 'all of me' (Exist On Your Ain).
Guido is alone. "I Tin't Brand This Motion-picture show" ascends into the scream of "Guido out in space with no direction,' and he contemplates suicide. Just, equally the gun is at his head, there is a last life-saving intermission—from his ix-year-old self (Getting Tall), in which the immature Guido points out it is fourth dimension to move on. To grow up. And Guido surrenders the gun. As the women render in a reprise of the Overture (Reprises), but this fourth dimension to let him get, only one is absent-minded: Luisa. Guido feels the agonized void left by the only woman he volition always love. In the 2003 Broadway production, as the boy led the women off into his own future to the strains of "Exist Italian", Luisa steps into the room on the terminal note, and Guido turned toward her—this time ready to listen.
Productions [edit]
Workshop [edit]
Originally conceived as a male person/female cast, many of the changes into a by and large all women cast were created in a workshop that rehearsed in the upstairs theatre at the New Amsterdam Theatre in the Autumn of 1981. For their participation, the workshop cast was given a modest percentage of the bear witness for a limited amount of time. Kathi Moss was the only cast member of the original Broadway bandage that did not participate in the workshop (Pat Ast played the role of Saraghina in the workshop).
Original Broadway Production [edit]
After nineteen previews, the Broadway production, directed by Tommy Tune and choreographed by Thommie Walsh, opened on May nine, 1982, at the 46th Street Theatre, where information technology ran for 729 performances. The cast included Raul Julia equally Guido, Karen Akers as Luisa, Liliane Montevecchi equally Liliane, Anita Morris as Carla, Shelly Burch equally Claudia, Camille Saviola as Mama Maddelena, Kathi Moss as Saraghina, Cameron Johann every bit Young Guido, and Taina Elg every bit Guido's mother. Rounding out the bandage were Christopher Evans Allen, Jeanie Bowers, Stephanie Cotsirilos, Kim Criswell, Kate DeZina, Colleen Dodson, Lulu Downs, Louise Edeiken, Laura Kenyon, Linda Kerns, Nancy McCall, Cynthia Meryl, Rita Rehn, Dee Etta Rowe, Jadrien Steele, Frankie Vincent, Patrick Wilcox, Alaina Warren Zachary. Raul Julia played Guido for i year, from May nine, 1982, to May 8, 1983. (Bert Convy replaced Julia while he was on holiday for two weeks, beginning January ten, 1983.) Sergio Franchi starred as Guido for 330 performances, from May 9, 1983, to February iv, 1984, the appointment the production closed; composer Maury Yeston added a Franchi-style carol, "At present Is the Moment," to the lovely Italian-sounding score.[4] Other replacements were Maureen McGovern and then Eileen Barnett as Luisa, Wanda Richert as Carla, Priscilla Lopez equally Liliane, and Barbara Stock as Claudia. Once the original boys reached the required height for their roles, they were replaced by Derek Scott Lashine as Little Guido, Jeffrey Vitelli (besides the understudy for Little Guido), Braden Danner, and Peter Brendon. The musical won 5 Tony Awards, including best musical and three Drama Desk Awards, including Best Music, All-time Lyrics, and All-time Musical. An original bandage recording was released past Sony and was nominated for a Grammy Award.
National Tour [edit]
The original plans were for the Broadway show to continue even as the National Tour commenced. Notwithstanding the new producers (James Nederlander and Zev Buffman) made the right offer for the road show, and the Broadway production was airtight and so that the whole Broadway cast could go on the road with Sergio Franchi equally the headliner.[5] 19 cities were originally planned, but several venue changes were made during the tour. The near prominent was the canceling of a Baton Rouge venue so that show could serve for the 1000 Opening of the Los Angeles Borough Calorie-free Opera season. This was to accommodate the cancellation of On Your Toes later Leslie Caron (the star) was hospitalized due to a hip injury.[6] When the conclusion was fabricated to close the road prove afterward the San Francisco shows, Louisiana fans were upset that an alternate date had not been created for them. (Sergio Franchi was extremely pop in Louisiana.)[7] The reviews were by and large very favorable, although a DC reviewer lamented some production changes (although admitting that they had not viewed the original Broadway production).[8] The production venue was changed from a spa to a railroad station, principally to adapt the volume of scenery that needed to be transported from location to location.[9] The other change lamented in DC was the lighting. One review of the Florida product acknowledged that the greyness railroad station with light-studded arches may have been "even more surreal than its creators may have intended."[10] In dissimilarity, the San Diego reviewer expressed adoration for Marcia Madeira's "flattering light design" and alleged "Nine" to be "wonderful to scout."[11]
- 1984 "Ix" – The National Bout – Sergio Franchi starring equally Guido Contini (although not a consummate listing, the following references were found):
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-
-
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- Washington, DC – Kennedy Eye Opera House – April 4, 1984 through April 21, 1984[12]
- Miami Beach, FL – Miami Beach Theater of Performing Arts – May 4, 1984 through May 17, 1984[13]
- Los Angeles – Dorothy Chandler Pavilion Music Center - May 23, 1984 through June 1, 1984[14]
- Dallas, TX – Majestic Theater – June v, 1984 through June 17, 1984[15]
- San Diego, CA - Fox Theater - July 2, 1984 through July 7, 1984[11]
- Seattle, WA - 5th Artery Theater - July x, 1984 through July 15, 1984[16]
- San Francisco, CA - Week of August 24, 1984[7]
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London productions [edit]
On June 7, 1992, the largest production of Nine to engagement was presented in concert in London at Royal Festival Hall with Jonathan Pryce, Becky Norman, Elizabeth Sastre, Ann Nibble, Kate Copstick, and Liliane Montevecchi. 165 people were in the cast, including male characters, as originally conceived. The production was directed past Andrew MacBean and a recording of the concert (with Elaine Paige stepping in as Claudia) was released by RCA Victor.
On December 12, 1996, a minor-scale production directed by David Leveaux and choreographed past Jonathan Butterell opened at the Donmar Warehouse, where it ran for three months. Performers included Larry Lamb (Guido Contini), Ian Covington (Young Guido), Sara Kestelman (Liliane La Fleur), Clare Burt (Carla), Eleanor David (Claudia), Susannah Fellows (Luisa), Jenny Galloway (Saraghina), Ria Jones (Stephanie Necrophorus), Dilys Laye (Guido'southward Female parent), Kiran Hocking (Our Lady of the Spa). Other bandage members included Emma Dears, Kristin Marks, Tessa Pritchard, Sarah Parish, Norma Atallah and Susie Dumbreck.[17] It was designed by Anthony Ward.[eighteen]
Broadway Revival [edit]
In 2003, the Roundabout Theatre Visitor produced a Broadway revival with director Leveaux and choreographer Butterell. Information technology opened on April ten, 2003, at the Eugene O'Neill Theatre, where information technology ran for 283 performances and 23 previews and won ii Tony Awards, including Best Revival of a Musical. The cast included Antonio Banderas as Guido (who received a Tony Award nomination), Mary Stuart Masterson as Luisa (who received a Tony Award nomination), Chita Rivera every bit Liliane, Jane Krakowski as Carla (winning the Tony), Laura Benanti equally Claudia, and Mary Beth Peil as Guido'due south mother. Replacements after in the run included John Stamos as Guido, Eartha Kitt as Liliane, Rebecca Luker as Claudia, and Marni Nixon as Guido's mother. Yeston replaced a waltz dance from the original Folies Bergere number with a showstopping Tango Duet for Banderas and Rivera, A revival cast recording was released by PS Classics. Jenna Elfman was hired and advertised to join the cast as Carla at the same time that Stamos and Kitt were joining the production. A few days earlier the opening information technology was appear she needed more than rehearsal fourth dimension and that her understudy Sara Gettelfinger would take over temporarily.[nineteen] Elfman never did bring together the company and Gettelfinger played the rest of the run.
International productions [edit]
The European premiere of 9 opened in Sweden, at the Oscarsteatern, Stockholm, September 23, 1983, with Ernst-Hugo Järegård (Guido), Siw Malmkvist (Luisa), Viveka Anderberg (Claudia), Suzanne Brenning (Carla), Anna Sundqvist (Saraghina), Berit Carlberg (Liliane La Fleur), Helena Fernell (Stephanie), Maj Lindström (Guido's Mother), Moa Myrén (Lady of the Spa), Ewa Roos (Mama Maddalena), Lena Nordin[20](Maria). Other bandage members included Monica Janner, Marit Selfjord, Berit Bogg, Ragnhild Sjögren, Solgärd Kjellgren, Ann-Christine Bengtsson, Siw Marie Andersson, Anna Maria Söderström, Susanne Sahlberg, Vivian Burman, Hanne Kirkerud, Susie Sulocki, Annika Persson, Charlotte Assarsson, Anna-Lena Engström, and Kim Sulocki (Guido as a kid).
The Australian premiere of Ix was staged in Melbourne at the One-act Theatre in 1987. John Diedrich produced, directed and starred every bit Guido Contini. As Luisa Contini, Maria Mercedes's portrayal received critical acclaim and nominations for Best Actress in a Musical at the Melbourne Green Room Awards and the Sydney Theatre Critics Circle Awards . Maury Yeston after attention the Sydney opening dark proclaimed that Maria Mercedes was the definitive Luisa Contini. The cast also included a young Tina Loonshit, the Australian vocaliser, songwriter and actress who went on to accept an international recording and performing career. Other cast members included Nancye Hayes (equally Liliane La Fleur), Peta Toppano equally Claudia, Caroline Gillmer as Sarragina, Jackie Rees, Gerda Nicholson, Kerry Forest, Anna Lee, Emerge Anne Bourne, Alana Clark, Sally Clark, Alison Jiear, Donna Lizzio, Cammie Munro, Marie-Jackson, Sharon Jessop, Alix Longman, Lisa O'Dea, Anne Sinclair, Janice Torrens, Penny Richards, and Mimi Rubin. A cast recording of the Australian product was recorded for Polydor and later released on CD by the TER record label. Information technology won the ARIA Accolade for Best Original Soundtrack or Cast Album.
The Argentinian premiere of Nine (1998) won several ACE Awards including Mejor Musial. Performers included Juan Darthes (as Guido), Elena Roger, Ligia Piro, Luz Kerz, Sandra Ballesteros and Mirta Wons.
The musical premiered in Germany at the Theater des Westens in 1999 in Berlin.
The musical played in Malmö, Sweden at Malmö Opera in 2002 with Jan Kyhle (Guido), Marie Richardson (Luisa), Sharon Dyall (Claudia), Petra Nielsen (Carla), Marianne Mörck (Sarraghina), Lill Lindfors (Liliane La Fleur), Annica Edstam (Stephanie Nechrophorus), Victoria Kahn (Gudio's Mother).
A Dutch production of Nine opened in an open-air theatre in Amersfoort in June 2005. Directed by Julia Bless, the production starred René van Zinnicq Bergmann, Frédèrique Sluyterman van Loo, Marleen van der Loo, Kirsten Cools, Tine Joustra, Veronique Sodano, Aafke van der Meij and Donna Vrijhof. The Dutch translation was by Theo Nijland.
The original Japanese product premiered in Tokyo in 2005 with Tetsuya Bessho as Guido Contini and Mizuki Ōura as Liliane La Fleur. In 2021 the Umeda Arts 2021 production in Tokyo and Osaka Nine won Japan's Yomiuri Theatre Laurels for Best Musical, Best Leading Role player: Yu Shirota, and Best Managing director: Shuntaro Fujita.
The musical premiered in San Juan, Puerto Rico in the fall of 2010 with Ernesto Concepción as Guido Contini, Sara Jarque as Luisa, Wanda Sais as Carla, Marian Pabón equally Lilliane Le Fleur, Tita Guerrero as Lina Darling, Michelle Brava equally Claudia Nardi, Aidita Encarnación as Saraghina, Yezmín Luzzed equally Stephanie Necrophorus and Hilda Ramos as Mamma. The production was directed by Miguel Rosa who previously directed the Puerto Rico premiere of Rent in 2009.
The Phoenix Theatre in Arizona revived Nine in the spring of 2011, starring Craig Laurie (Guido), Patti Davis Suarez (Mother), Jeannie Shubitz (Luisa), Kim Manning (Liliane), Jenny Hintze (Claudia), and Johanna Carlisle (Saraghina).
The musical premiered in Manila, the Philippines, in September 2012, produced past Atlantis Productions. Jett Pangan starred every bit Guido Contini aslope an all-star cast of women, breathtaking blueprint by Tony Honor-winning David Gallo and costume design past Robin Tomas.[21]
The musical premiered in the Czech Democracy, at the Josef Kajetán Tyl Theatre in Pilsen in December 2012.
The Greek production opened in theatre Pantheon in Athens in Nov 2015, starring Vassilis Charalampopoulos as Guido, Helena Paparizou as Saraghina.
The musical premiered in Brazil, at Teatro Porto Seguro, in São Paulo,[22] directed past Charles Möeller and Claudio Botelho, starring Italian actor Nicola Lama as Guido, Ballad Castro as Luisa, Totia Meireles as Lili la Fleur, Malu Rodrigues every bit Carla, Karen Junqueira eastward Vanessa Costa alternating as Claudia, Letícia Birkheuer as Stephanie, Beatriz Segall, Sonia Clara alternate as Guido's mother and Myra Ruiz as Saraghina .[23]
A Spanish production is scheduled to premiere on 7 June 2018 at the Teatro Amaya in Madrid, with a cast formed by Alvaro Puertas every bit Guido Contini, Roko as Luisa Contini, Patrizia Ruiz equally Claudia Nardi, Chanel Terrero equally Carla Albanese, Marcela Paoli equally Liliane Le Fleur, Idaira Fernández every bit Saraghina, Chus Herranz equally Stephanie and Angels Jiménez as Guido'due south Mother.
Casting [edit]
| Character | 1982 Broadway | 1984 National Tour | 1992 London | 1996 Donmar Warehouse | 2003 Broadway |
|---|---|---|---|---|---|
| Guido Contini | Raul Julia | Sergio Franchi | Jonathan Pryce | Larry Lamb | Antonio Banderas |
| Liliane La Fleur | Liliane Montevecchi | Jacqueline Doughet | Liliane Montevecchi | Sara Kestelman | Chita Rivera |
| Claudia Nardi | Shelly Burch | Lauren Mitchell | Elizabeth Sastre | Eleanor David | Laura Benanti |
| Carla Albanese | Anita Morris | Karla Tamburrelli | Becky Norman | Clare Burt | Jane Krakowski |
| Luisa Contini | Karen Akers | Diane Grand. Hurley | Ann Crumb | Susannah Fellows | Mary Stuart Masterson |
| Lina Darling | Laura Kenyon | Chikae Ishikawa | Nadia Strahan | Norma Atallah | Nell Campbell |
| Our Lady of the Spa | Kate Dezina | O'Hara Parker | Sarah Payne | Kiran Hocking | Deidre Goodwin |
| Guido'south Female parent | Taina Elg | Leigh Beery | Fiona O'Neill Eileen Page | Dilys Laye | Mary Beth Peil |
| Stephanie Necrophorus | Stephanie Cotsirilos | Kathryn Skatula | Anita Dobson | Ria Jones | Saundra Santiago |
| Saraghina | Kathi Moss | Camille Saviola | Ellen O'Grady | Jenny Galloway | Myra Lucretia Taylor |
| Immature Guido | Cameron Johann | Danny Barak | Danny Mertsoy | Ian Covington | William Ullrich |
| Diana | Cynthia Meryl | Margareta Arvidsson | N/A | Tessa Pritchard | Rachel deBenedet |
| Juliette | N/A | Rona Figueroa | |||
| Maria | Jeanie Bowers | Candace Rogers | N/A | Sarah Parish | Sara Gettelfinger |
| Annabella | Nancy McCall | Northward/A | Kristin Marks | ||
| Olga von Hesse | Dee Etta Rowe | Lou Ann Miles | N/A | Susie Dumbreck | Linda Mugleston |
| Renata | Rita Rehn | Pegg Winter | North/A | Emma Dears | Elena Shaddow |
| Sofia | Due north/A | Kathy Voytko | |||
| Mama Maddelena | Camille Saviola | Holly Lipton Nash | One thousand thousand Johnson | Northward/A | |
| Francesca | Kim Criswell | Barbara Walsh | N/A | ||
| Giulietta | Louise Edelken | N/A | |||
| Gretchen von Krupf | Lulu Downs | Mary Stout | N/A | ||
| Heidi von Sturm | Linda Kerns | Mary Chesterman | N/A | ||
| Ilsa von Hesse | Alaina Warren Zachary | Melody Jones | N/A | ||
| A Venetian Gondolier | Colleen Dodson | Philip Maranges | N/A | ||
| Young Guido's Schoolmate | Evans Allen Jadrien Steele Patrick Wilcox | Jason Dinter Jonathan H. Florman | N/A | ||
Film [edit]
On April 12, 2007, Variety announced that Rob Marshall would direct a feature moving-picture show adaptation of Nine for the Weinstein Visitor. Marshall had previously directed Chicago for the Weinsteins while they were all the same at Miramax. The screenplay is written by Anthony Minghella with Michael Tolkin serving equally an uncredited co-scripter. The cast consists of Academy Award winners Daniel 24-hour interval-Lewis, Marion Cotillard, Penélope Cruz, Judi Dench, Nicole Kidman, and Sophia Loren, with University Honour nominee and Gilded Earth winner Kate Hudson and Grammy winning singer Fergie.[24] Among other bandage changes in the film version, the character of Mama Maddelena does not appear, and Claudia's surname was changed from Nardi to Jenssen. The script makes Guido 50 (24-hour interval-Lewis's actual age), non 40 every bit in the stage original. The film's concluding coda is more than hopeful and optimistic than the phase version. In addition, managing director Marshall cutting most of the original production's score, with only "Overture delle Donne," "Guido'south Song," "A Phone call from the Vatican," "Folies Bergeres," "Exist Italian," "My Husband Makes Movies," "Unusual Way," and an extended version of "I Can't Make This Motion-picture show" making information technology into the concluding edit of the film. Composer Maury Yeston wrote three new songs for the motion picture including "Picture palace Italiano," "Guarda la Luna" to replace the championship song, and "Take It All" in identify of "Be On Your Ain," as well as the instrumental concluding the moving-picture show. The film is co-produced by Marshall'south own product visitor Lucamar Productions. The film was released in the U.s. on December eighteen, 2009, in New York and Los Angeles and opened for wide release on December 25, 2009.
Musical numbers [edit]
|
|
- Maury Yeston added a new number, "Now is the Moment" for Sergio Franchi.
- The 2003 revival eliminated "The Germans at the Spa".
Awards and nominations [edit]
Original Broadway production [edit]
| Year | Honor | Category | Nominee | Result |
|---|---|---|---|---|
| 1982 | Tony Award | Best Musical | Won | |
| Best Book of a Musical | Arthur Kopit | Nominated | ||
| Best Original Score | Maury Yeston | Won | ||
| Best Performance by a Leading Actor in a Musical | Raul Julia | Nominated | ||
| All-time Operation past a Featured Actress in a Musical | Karen Akers | Nominated | ||
| Liliane Montevecchi | Won | |||
| Anita Morris | Nominated | |||
| Best Direction of a Musical | Tommy Tune | Won | ||
| Best Choreography | Thommie Walsh | Nominated | ||
| Best Scenic Design | Lawrence Miller | Nominated | ||
| All-time Costume Design | William Ivey Long | Won | ||
| All-time Lighting Design | Marcia Madeira | Nominated | ||
| Drama Desk Award | Outstanding Musical | Won | ||
| Outstanding Featured Actress in a Musical | Shelly Burch | Nominated | ||
| Liliane Montevecchi | Won | |||
| Anita Morris | ||||
| Outstanding Director of a Musical | Tommy Tune | Won | ||
| Outstanding Lyrics | Maury Yeston | Won | ||
| Outstanding Music | Won | |||
| Outstanding Costume Blueprint | William Ivey Long | Won | ||
| Outstanding Lighting Pattern | Marcia Madeira | Won | ||
| Theatre World Award | Karen Akers | Won | ||
| 1983 | Grammy Laurels | Best Musical Prove Album | Nine | Nominated |
Original London production [edit]
| Yr | Honour | Category | Nominee | Result |
|---|---|---|---|---|
| 1996 | Laurence Olivier Award | Best New Musical | Nominated | |
2003 Broadway revival [edit]
| Year | Award | Category | Nominee | Upshot |
|---|---|---|---|---|
| 2003 | Tony Award | All-time Revival of a Musical | Won | |
| Best Performance past a Leading Thespian in a Musical | Antonio Banderas | Nominated | ||
| All-time Performance past a Featured Actress in a Musical | Jane Krakowski | Won | ||
| Mary Stuart Masterson | Nominated | |||
| Chita Rivera | Nominated | |||
| Best Direction of a Musical | David Leveaux | Nominated | ||
| Best Lighting Design | Brian MacDevitt | Nominated | ||
| Best Orchestrations | Jonathan Tunick | Nominated | ||
| Drama Desk Award | Outstanding Revival | Won | ||
| Outstanding Actor in a Musical | Antonio Banderas | Won | ||
| Outstanding Featured Extra in a Musical | Mary Stuart Masterson | Nominated | ||
| Chita Rivera | Nominated | |||
| Jane Krakowski | Won | |||
| Outstanding Managing director of a Musical | David Leveaux | Nominated | ||
| Theatre Globe Award | Antonio Banderas | Won | ||
| Mary Stuart Masterson | Won | |||
| 2004 | Grammy Honour | All-time Musical Show Album | Nine | Nominated |
References [edit]
- ^ Q&A with Yeston in Broadway.com
- ^ a b Kalfatovic, Mary. "Maury Yeston", Contemporary Musicians (ed. Luann Brennan). Vol. 22, Gale Group, Inc., 1998
- ^ Cline, Sara (2014-06-10). "REVIEW: Musical 'Nine' offers comic please in Mansfield". The Enterprise . Retrieved 2019-07-xiii .
- ^ Arnold, Christine. "Franchi: Italian to the 'Ix.'" (May 21, 1984). Los Angeles Times
- ^ Foil, David. (January 25, 1984). "En Harde / Notes from all over." The Advocate (Louisiana), Billy Rouge, LA
- ^ "'On Your Toes' Cancelled." (April 26, 1984). Los Angeles Times
- ^ a b No headline. (August 24, 1984). The Advocate (Louisiana), Baton Rouge, LA
- ^ "'Ix': Fellini Sans Feeling." (April 13, 1984). The Washington Mail service, Washington, DC
- ^ Sheward, David. (1994). It'southward a Hit! The Backstage Book of the Longest-Running Broadway Shows. (Watson-Guptil, New York). ISBN 0823076369
- ^ Arnold, Christine. (May 21, 1984). "Franchi: Italian to the 'Nine'." Los Angeles Times
- ^ a b Harper, Hillard. (July xiv, 1984). "'9' in S.D. / Fob [theater] Tests Voices of Play's Cast." Los Angeles Times
- ^ "Performance / Mini Reviews." April 20, 1984). The Washington Mail," Washington, DC
- ^ Advertizing. (May 3, 1984). The Miami News, Miami Beach, FL
- ^ Drake, Sylvia. (May 26, 1984). "An Italian-Style 'Nine' Makes Points of its Own." Los Angeles Times
- ^ "Dallas / Theater / 'Nine' at Dallas Majestic June 5–17." (June, 1984) Texas Monthly, (Ennis Publishing; Austin, TX)
- ^ Advertizing. (June 24, 1984). "'Nine' at the 5th Avenue July 10–fifteen, 1984." The Seattle Times, Seattle, WA
- ^ Domar Warehouse production Archived 2009-11-24 at the Wayback Machine
- ^ "Library Services - Data Services - University of Kent". Retrieved on iv February 2017.
- ^ Hernandez, Ernio."Report: Jenna Elfman Replaced by Sara Gettelfinger in '9'" playbill.com, October ten, 2003
- ^ operasolisterna. "Lena Nordin – Kungliga Teaterns Solister". Retrieved 2019-02-12 .
- ^ "Nine". Atlantis Productions Inc. Archived from the original on ii July 2012.
- ^ Carvalho, Eduardo. "Novo musical de Charles Möeller e Claudio Botelho, 'Nine' estreia 21 de maio, no Teatro Porto Seguro, em São Paulo" Archived 2016-03-05 at the Wayback Machine. Retrieved on 4 February 2017.
- ^ Carvalho, Eduardo. "Ix - Um Musical Felliniano (2015)". Retrieved on 4 February 2017.
- ^ Ix synopsis and cast on Apple Movie Trailers
External links [edit]
- Nine at the Internet Broadway Database
Source: https://en.wikipedia.org/wiki/Nine_%28musical%29
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