I am, however, left wondering what’s going to happen to Karen – they can’t just drop her, right?
No, she is the STAR. She’ll either be the understudy or in the chorus or in the competing My Fair Lady production, till poor Ivy breaks her ankle falling out of bed with the director.
And what’s going to happen when the gay songwriter finds out that his ador’ed star is shtupping the director he loathes?
Or they could split the role and keep Ivy as Marilyn and Karen as Norma Jean, right?
I didn’t see the pilot but watched this episode and this was exactly what I thought they were going to do. Since everything else I thought was going to happen happened (the brutal audition, the missed dinner, the husband showing up for the adoption performance) I was surprised when it didn’t.
What was that adoption performance art? There’s group therapy for adopters now?
I called it in post 11. And especially with their non-linear, non traditional script, that seems exactly what they’re going to do.
I must say - Every time they start singing in rehearsals, and suddenly PLASH! they’re in a dream sequence of the actual performance, I get goosepimples. They really know what’s going on in the actors’ head, AND what it feels like. Its what Glee should remember to do.
You most certainly did! How’d I miss that?
Now I have to watch just to see if you’re right.
I was expecting that to be the big reveal last night – guess they’re going to come up with the idea more slowly than amarinth did. 
So do Julia and Tom write the book for the musical as well or just the songs? Because- as in fact was mentioned- they need to start on the actual story. In fact that would be the hardest part about writing a musical on Marily: everybody knows the most basic facts so you’ll need to both hit the high points and keep some interest going (i.e. make them pay attention even though they know DiMaggio/Miller/JFK are going to come and go). (Also never too early to start wooing Caroline Kennedy Schlossberg to attend opening night.)
I was actually glad Ivy got the role. This is too big a vehicle (the musical within the show I mean) to pin on a newcomer. And I had no idea Julia’s son was supposed to be 8, I thought he was supposed to be about 17 at least, and thought it weird either way that he was upset at not having a baby brother or sister to [del]sacrifice[/del]play with.
Can somebody remind me again which Landers’ sister Megan Hilty was cloned from? And does anybody else keep expecting Jack Davenport/Derek Wills to say “Mister…Potter…” when he’s pissed?
And lest it be not clear, I’m liking the show, especially as GLEE chops off more and more bits of itself to be chum in the shark tank they’ve both jumped and jumped-into.
They commented on the fact that they keep writing songs but need to start putting the structure of the show itself together, which would entail writing the book I think.
I don’t think she was naive about it at all and I think she knew exactly what she was in for when she went up there. She was just resolved to keep it professional and not let anything happen. I think she did consider going through with it and in fact, I think she’s kinda into him (there was another scene later that made me think this as well).
I won’t be surprised if Karen ends up in bed w/ the director out of choice, not quid pro quo, and it’ll cause the requisite strife in her relationship with political guy.
What? No way is that kid supposed to be only 8 years old! He’s got to be at least a teenager within the show. IMDB says the actor playing him is 21 years old.
No, no, no–what we are saying is that the lines are written as if they are *for *an eight-year-old, but weirdly they are being *spoken *by a teenager.
Ah, sorry, my bad. I misread.
I have a few Theatre 099 questions:
[Angelica Huston’s character] said she is paying $200,000 for the Marilyn musical workshop. Is a workshop a standard part of a Broadway play? Is it basically just a development period in which the actors and presumably the other crew are paid?
Does anybody know how long a workshop lasts? Even without the sets and the lights and all I can’t imagine $200,000 is going to last very long, especially if you have to rent the studio out of it and if you’re paying full cast and whatever crew is essential.
I know that pre-production plays have ‘rehearsal wages’; does this apply to workshops as well?
Would Derek, as director/choreographer, receive a percentage of the show during its run? The reason I’m asking is that he said he’s spent 3 years of his life in limbo on the My Fair Lady project, and I was wondering why an in-demand director/choreographer would even consider doing that if he didn’t have a financial interest in the project. (Obviously he’s either rich from previous ventures or inheritance OR he’s been taking other gigs in the meantime, but he’s spent enough time working on MFL that he feels a major connection to it, not just a “Derek Wills is interested if funding ever comes through” attachment.)
And other than raising the money is there anything that would delay such a project for three years?
Goodness, I wish I knew . . . I was in The Show Business so long ago that the big debate was whether we should wear tights when backing Lydia Thompson in The Black Crook at Niblo’s Garden.
Eve just never was the same after that little piece of Stanford White brain splattered on her dance skirt.
My guess (well, my wife’s guess that I fully agree with) is that Ivy is going to come down with a serious case of the pregnant, and have to give up the role. She’ll still be around, probably plotting and scheming, but giving Karen the break she needs.
I predict the kid will have something I’ll call “transtemporality” . . . an eight-year old who’s trapped in a teenager’s body. Yes, he always suspected that he was different, but didn’t know why. And he’s hoping that someday there’ll be corrective surgery, to restore him to his “actual” age.
I think she’d just go to the nearest clinic though. She doesn’t seem the motherly type.
Unless Debra offers to hold the lead for her in exchange for the baby.