Marquis Theatre, (11/17/2005 - 2/19/2006)

First Preview: Oct 28, 2005
Opening Date: Nov 17, 2005
Closing Date: Feb 19, 2006
Total Previews: 20
Total Performances: 109

Category: Musical, Drama, Original, Broadway
Setting: Limmeridge, Cumberland; Blackwater House, Hampshire; London, England

Opening Night Production Staff

Theatre Owned / Operated by The Nederlander Organization (James M. Nederlander: Chairman; James L. Nederlander: President)

Produced by Boyett Ostar Productions, Nederlander Presentations, Inc., Sonia Friedman Productions, The Really Useful White Company, Inc., Lawrence Horowitz, Jon Avnet, Ralph Guild, Bill Rollnick, Bernie Abrams and Michael Speyer; Produced in association with Clear Channel Entertainment and Stage Entertainment BV

Music by Andrew Lloyd Webber; Book by Charlotte Jones; Lyrics by David Zippel; Freely adapted from the classic novel by: Wilkie Collins; Music orchestrated by David Cullen; Orchestration Supervised by: Andrew Lloyd Webber; Musical Director: Kristen Blodgette

Directed by Trevor Nunn; Movement Direction by: Wayne McGregor

Lighting Design by Paul Pyant; Video Design by William Dudley; Scenic Design by William Dudley; Costume Design by William Dudley; Sound Design by Mick Potter; Associate Scenic Design: Paul Weimer; U.S. Associate Lighting Design: Vivien Leone; U.K. Associate Lighting Design: David Howe; U.S. Associate Costume Design: Scott Traugott; U.K. Associate Costume Design: Margie Bailey; Associate Sound Design: Paul Gatehouse

General Manager: 101 Productions, Ltd.; Company Manager: Penelope Daulton

Projection Realisation and System Design by: Mesmer; Technical Supervisor: David Benken; Production Stage Manager: Rick Steiger; Stage Manager: Lisa Dawn Cave

Musical Supervisor: Simon Lee; Associate Musical Supervisor: Kristen Blodgette; Conducted by Kristen Blodgette; Musical Coordinator: David Lai; Associate Conductor: Milton Granger; Keyboard: Milton Granger, Mat Eisenstein and Ann Gerschefski; Viola: Debra Shufelt-Dine and David Blinn; Cello: Sarah Seiver and Dorothy Lawson; Horn: Russ Rizner and Shelagh Abate; Oboe/English Horn: David Young; Clarinet/Bass Clarinet: Paul Garment; Percussion: Daniel Haskins; Acoustic Bass/Electric Bass: Jeff Cooper; Flute/ Piccolo/ Alto Flute/ Bass Flute: Kathleen Nester; Bassoon: Michael Green; Music Copying: Emily Grishman Music Preparation

Casting: Jim Carnahan; Press Representative: Barlow-Hartman Public Relations and Dennis Crowley; Marketing: HHC Marketing; Fight Captain: Greg Mills; Dance Captain: Greg Mills; Animal Trainer: William Berloni Theatrical Animals, Inc.; U.K. Fight Director: Malcolm Ranson; U.S. Fight Director: Tom Schall; Dialect and Vocal Coach: Deborah Hecht; Advertising: Serino Coyne, Inc.; U.K. Movement Associate: Paul Kemble

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Opening Night Cast

Michael BallCount Fosco
Ron BohmerSir Percival Glyde
Adam BrazierWalter Hartright
Walter CharlesMr. Fairlie
Angela ChristianAnne Catherick
Maria FriedmanMarian Halcombe
Jill PaiceLaura Fairlie
Richard Todd AdamsCon Man
Justis BoldingCorn Dolly Girl
Lisa BresciaEnsemble
John DewarMr. Fairlie's Servant
Courtney GlassEnsemble
Patty GobleNurse
Norman LargeSignal Man
Michael Shawn LewisEnsemble
Elizabeth LoyacanoEnsemble
Daniel MarcusEnsemble
Greg MillsEnsemble
Elena ShaddowEnsemble
Daniel TorresEnsemble

Swings: Laura Dekkers, Roger E. DeWitt, Leah Horowitz and Sean MacLaughlin

Understudies: Richard Todd Adams (Sir Percival Glyde), Lisa Brescia (Marian Halcombe), Laura Dekkers (Laura Fairlie), John Dewar (Mr. Fairlie, Signal Man), Roger E. DeWitt (Mr. Fairlie, Signal Man), Courtney Glass (Anne Catherick), Leah Horowitz (Marian Halcombe), Norman Large (Count Fosco), Michael Shawn Lewis (Walter Hartright), Elizabeth Loyacano (Anne Catherick), Daniel Marcus (Count Fosco), Greg Mills (Sir Percival Glyde), Elena Shaddow (Laura Fairlie) and Daniel Torres (Walter Hartright)

Awards and Nominations

Tony Award®

 2006 Best Original Score [nominee] 

Lyrics by David Zippel; Music by Andrew Lloyd Webber

Theatre World

winner 2006 Award [recipient] 

Maria Friedman


music by Andrew Lloyd Webber; lyrics by David Zippel

ACT 1 Sung By
I Hope You'll Like It HereMarian Halcombe and Mr. Fairlie
PerspectiveMarian Halcombe, Laura Fairlie and Walter Hartright
Trying Not to NoticeMarian Halcombe, Walter Hartright and Laura Fairlie
I Believe My HeartWalter Hartright and Laura Fairlie
You See I Am No GhostAnne Catherick
A Gift for Living WellCount Fosco
The Holly and the IvyCompany
All for LauraMarian Halcombe
The DocumentSir Percival Glyde, Laura Fairlie, Count Fosco and Marian Halcombe
Act I FinaleCompany
ACT 2 Sung By
If I Could Only Dream This World AwayLaura Fairlie
The NightmareCompany
Evermore Without YouWalter Hartright
Lost SoulsCompany
You Can Get Away With AnythingCount Fosco
The SeductionCount Fosco and Marian Halcombe


AP: "Webber's 'The Woman in White'"

Is there any composer more perfect for Victorian melodrama than Andrew Lloyd Webber, the man behind "Cats" and "The Phantom of the Opera"?

His scores are expansive, emotional and always embroidered with a few melodies you can't get out of your head.

There are at least two such insistent tunes in "The Woman in White," Lloyd Webber's tasteful, decorous take on Wilkie Collins' compelling mystery novel which opened Thursday.

Yet despite all the passion in story and song, this lavish production, directed by Trevor Nunn, only fitfully raises the theatrical temperature at Broadway's Marquis Theatre. Most of the heat is provided by Maria Friedman, playing the odd-woman-out in a love triangle that is one of the evening's many plot lines.

Friedman, who gamely returned to the production last week after breast-cancer surgery, plays heroine Marian Holcombe with an intensity and commitment that makes you believe all the more in her portrayal of the show's spunky, selfless heroine. Marian is the one who, in the end, does the right thing, including giving up the man she loves.

The actress, making her Broadway debut, has a strong singing voice, too, able to negotiate her big Act 1 ballad with considerable skill, while defining the intelligent, strong-willed Marian in the process.

Collins' convoluted tale has been drastically condensed by playwright Charlotte Jones, author of "Humble Boy."

Yet this "Woman in White" still contains a lot more story than most musicals these days. It's a thriller of sorts, although by today's brutal, bloody standards, its chills are on the genteel side.

The title character is first seen within minutes of the opening, a spectral figure glimpsed by handsome young drawing-master Walter Hartright (strongly sung by Adam Brazier) on his way from a spooky railway station to tutor two half-sisters, Friedman's Marian and the beautiful, yet more fragile Laura (Jill Paice).

This ghostly yet very real apparition, portrayed with earsplitting screechiness by Angela Christian, has a dastardly secret, one that eventually will spill out - and not particularly shock anyone.

Meanwhile, Laura, who bears a strong resemblance to that ethereal creature, is engaged to the evil Sir Percival Glyde, whose all-consuming insincerity is delightfully delivered by a sneering Ron Bohmer.

Glyde's pursuit of Laura is aided by his good friend, Count Fosco, a rotund, rodent-loving Italian nobleman. This colleague in misdeeds is impersonated by a jovial, ingratiating Michael Ball, done up in a stylish fat suit that makes him look like a circus ringmaster gone to seed.

It's Ball who provides the show's few moments of humor, particularly with his Act 2 ditty, "You Can Get Away with Anything," in which he cavorts with a large white rat that scampers back and forth across his arms and around his collar.

Lloyd Webber's score is not as adventurous as his last theatrical outing - "The Beautiful Game," an under-appreciated musical set in strife-torn Northern Ireland, and still, unfortunately, not seen in New York. Still, there are some lovely moments, particularly the eerie opening railway sequence and some beautiful trios for that love triangle of Marian, Laura and their art tutor.

More conventional are several typical Lloyd Webber pop anthems, in which David Zippel's workmanlike lyrics are not at their best. "I believe my heart, it believes in you," goes one of the more persistent, awkward lines.

Nunn's direction never stops, to say the least. That's because designer William Dudley's turntable setting is awash in video projections. They move quickly from that railway station to a baronial mansion to green fields to a graveyard to a grim London street and beyond. This astonishing marriage of film and stage provides some novel if sometimes head-spinning visuals.

Those ever-revolving projections are about the only special effects to be found in "The Woman in White." No crashing chandelier like in "The Phantom of the Opera" or performers on roller skates like in "Starlight Express."

This latest from Lloyd Webber is more refined and, consequently, a little dull around the edges.


Replacement/Transfer Info

The following people are credited as replacements or additions if they were not credited on opening night.

Marquis Theatre

(11/17/2005 - 2/19/2006)
Press Representative: Ryan Ratelle.


Jennifer Hope Wills
Ensemble (Feb 10, 2006 - Feb 19, 2006)

Understudies: Jennifer Hope Wills (Laura Fairlie).

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