When was nine the musical written

It focuses on film director Guido Contini, who is dreading his imminent 40th birthday and facing a mid-life crisis, which is blocking his creative impulses and entangling him in a web of romantic difficulties in early s Venice. The original Broadway production opened in and ran for performances, and starred Raul Julia. The musical won five Tony Awards, including Best Musical and has enjoyed a number of revivals.

I was fascinated with Guido who was going through his second adolescence when I was going through my first! Sunset Playhouse is in the heart of the Elm Grove shopping district at Wall Street with ample free parking available in their spacious parking lot.

Sunset Playhouse is easily acceptable for patrons coming from all corners of the world even Italy! Each production addresses three founding tenets: Substantial roles for women, growth in craft for artists, and support for new playwrights. What style of music is this musical? Create a list ». Chicks Stuff. Weinstein Company. Stream - Music. See all related lists ». Share this page:. And these are the women Guido has loved, and from whom he has derived the entire vitality of a creative life, now as stalled as his marriage.

In an attempt to find some peace and save the marriage, they go to a spa near Venice Spa Music , where they are immediately hunted down by the press with intrusive questions about the marriage and—something Guido had not told Luisa about—his imminent film project Not Since Chaplin. As Guido struggles to find a story for his film, he becomes increasingly preoccupied—his interior world sometimes becoming indistinguishable from the objective world Guido's Song.

Guido's fugitive imagination, clutching at women like straws, eventually plunges through the floor of the present and into his own past where he encounters his mother, bathing a nine-year-old boy—the young Guido himself Nine. The vision leads him to re-encounter a glorious moment on a beach with Saraghina, the prostitute and outcast to whom he went as a curious child, creeping out of his Catholic boarding school St. Sebastian, to ask her to tell him about love.

Unable to bear the incomprehensible dread of the adults, the little boy runs back to the beach to find nothing but 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 fugitive heart. Back into the present, Guido is on a beach once more. With him, Claudia Nardi, a film star, muse of his greatest successes, who has flown from Paris because he needs her, but this time she does not want the role.

He cannot fathom the rejection. He is enraged. He fails to understand that Claudia loves him, too, but wants him to love her as a woman 'not a spirit'—and he realizes too late that this was the real reason that she came—in order to know, and now she does.

He cannot love her that way. She is in some way released to love him for what he is, and never to hope for him again. Wryly she calls him "My charming Casanova! As Claudia lets him go with "Unusual Way," Guido grasps the last straw of all—a desperate, inspired movie—a 'spectacular in the vernacular'—set on "The Grand Canal" and cast with every woman in his life. The improvised movie is a spectacular collision between his real life and his creative one—a film that is as self-lacerating as it 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 set-up, and which climaxes with Luisa, appalled and moved by his use of their intimacy—and even her words—as a source for the film, 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 beautiful failure of a film. The film is dead. The cast leaves. They all leave. Carla, with "Simple"—words from the articulate broken heart, Claudia with a letter 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' Be On Your Own.

Guido is alone. But, as the gun is at his head, there is a final life-saving interruption—from his nine-year-old self Getting Tall , in which the young Guido points out it is time to move on. To grow up. And Guido surrenders the gun. As the women return in a reprise of the Overture Reprises , but this time to let him go, only one is absent: Luisa. Guido feels the aching void left by the only woman he will ever love. In the Broadway production, as the boy led the women off into his own future to the strains of "Be Italian", Luisa steps into the room on the final note, and Guido turned toward her—this time ready to listen.

After nineteen previews, the Broadway production, directed by Tommy Tune and choreographed by Thommie Walsh, opened on May 9, at the 46th Street Theatre, where it ran for performances. Raul Julia played Guido for one year, from May 9, , to May 8,