Production
The Pirate Queen debuted at Chicago's Cadillac Palace Theatre in an out-of-town tryout on October 3, 2006, and ran through November 26, 2006.
The Broadway previews began at the Foxwoods Theatre (then the Hilton Theatre) on March 6, 2007, with the opening on April 5. It closed on June 17, 2007 after 85 performances and 32 previews. Frank Galati directed, with musical staging by Graciela Daniele, Irish Dance choreography by Carol Leavy Joyce, and additional choreography by Mark Dendy. Musical direction and orchestrations were by Julian Kelly, with sets by Eugene Lee, costumes by Martin Pakledinaz and lighting by Kenneth Posner. Moya Doherty and John McColgan, creators of Riverdance, produced, with Edgar Dobie and Ronan Smith, of Doherty and McColgan's Riverdream production company, Executive Producers.
Linda Balgord received a Drama Desk Award nomination for Outstanding Featured Actress in a Musical for her performance as Queen Elizabeth I.
A studio recording of the original Broadway cast, produced by Masterworks Broadway, was released on July 3, 2007. The recording does not include the full score, but only highlights.
Read more about this topic: The Pirate Queen
Famous quotes containing the word production:
“From the war of nature, from famine and death, the most exalted object which we are capable of conceiving, namely, the production of the higher animals, directly follows. There is grandeur in this view of life, with its several powers, having been breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
—Charles Darwin (1809–1882)
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“Constant revolutionizing of production ... distinguish the bourgeois epoch from all earlier ones. All fixed, fast-frozen relations, with their train of ancient and venerable prejudices are swept away, all new-formed ones become antiquated before they can ossify. All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.”
—Karl Marx (1818–1883)