This week marks the release of a feature film adaptation of the 2016 award-winning stage musical, Dear Evan Hansen, in movie theaters nationwide. Leading the cast is Ben Platt, who's reprising his role as the title character from the original Broadway cast. For the stage incarnation, he ended up winning so many accolades for his performance. Which included a Tony Award for Best Lead Actor in a Musical, a Grammy Award (as a principal soloist on the original cast recording) for Best Musical Theater Album, and a Daytime Emmy Award for Outstanding Musical Performance in a Daytime Program from when the cast performed on The Today Show. Not that I'm expecting it to happen, but if Platt were to win an Oscar for the movie, he'd become the first person in history to have completed their EGOT all for the exact same property.
Though what I'm really here to discuss is another interesting position Ben Platt happens to be in. He originated a role on Broadway, he won a Tony for it, and has gotten to play that same role in a movie adaptation. John Lloyd Young has in interviews cited that as like the dream trajectory for any theatre actor. Normally, the person who originates a starring role on Broadway gets turned down for a film version in favor of a bigger celebrity (even despite all the success the former received on stage). What you're about to see is a list of performers who are the exceptions to that rule.
While there are several Tony winners who repeated their performances in a film/TV adaptation, I'm mainly focusing on men who were the original leads in a Broadway musical. On a side note, I should add that for three of them, despite being the male lead of their shows, they ended up winning the Tony as a featured actor. That was because for a while, the American Theatre Wing had rules where only those billed above the title could compete in lead while those billed below the title could only compete in featured. Nowadays, their characters would clearly be ruled eligible as lead. But in any case, let's get started with the list.
Though what I'm really here to discuss is another interesting position Ben Platt happens to be in. He originated a role on Broadway, he won a Tony for it, and has gotten to play that same role in a movie adaptation. John Lloyd Young has in interviews cited that as like the dream trajectory for any theatre actor. Normally, the person who originates a starring role on Broadway gets turned down for a film version in favor of a bigger celebrity (even despite all the success the former received on stage). What you're about to see is a list of performers who are the exceptions to that rule.
While there are several Tony winners who repeated their performances in a film/TV adaptation, I'm mainly focusing on men who were the original leads in a Broadway musical. On a side note, I should add that for three of them, despite being the male lead of their shows, they ended up winning the Tony as a featured actor. That was because for a while, the American Theatre Wing had rules where only those billed above the title could compete in lead while those billed below the title could only compete in featured. Nowadays, their characters would clearly be ruled eligible as lead. But in any case, let's get started with the list.
Yul Brynner - The King & I
Prior to getting involved with the original production, Yul Brynner had appeared on Broadway in a 1941 revival of William Shakespeare's Twelfth Night, a 1943 Patricia Coleman play titled The Moon Vine, and a 1946 musical titled Lute Song that starred Mary Martin. When Richard Rodgers & Oscar Hammerstein II were developing The King & I, they struggled for a while trying to find an actor to play The King of Siam. Mary Martin, who had worked with the pair on South Pacific, was the one who suggested to Yul Brynner that he should audition for it. At first, he was reluctant about going back on stage because at that point in his career, he started to find success as a director on television. Though after reading the script, Brynner not only became fascinated with the character of The King of Siam, but he was also eager to do the musical. Originally, The King & I was written for Gertrude Lawrence, so she was billed above the title while Yul Brynner was billed below the title (so therefore, he won the 1952 Tony Award for Best Featured Actor in a Musical).
When 20th Century Fox brought The King & I to the big screen in 1956 with a film adaptation directed by Walter Lang, Brynner reprised his role as The King of Siam while Deborah Kerr took over as Anna Leonowens since Gertrude Lawrence sadly passed away on September 6th, 1952 shortly after giving her final performance in the Broadway production. In fact, 1956 ended up being a pretty big year for Yul Brynner as he also had prominent roles in a couple other movies such as The Ten Commandments and Anastasia. When he won the Oscar for The King & I, he luckily ended up doing so as lead.
Other cast members from the original Broadway production who appeared in the film included Terry Saunders (who had taken over for Dorothy Sarnoff) as Lady Thiang, Rex Thompson as Louis Leonowens (which he had previously understudied), and Patrick Adiarte (who had previously played one of the royal children) as Prince Chulalongkorn. Not to mention that Martin Benson got to reprise his role as The Kralahome in the film after having originated it London's West End back in 1953.
Prior to getting involved with the original production, Yul Brynner had appeared on Broadway in a 1941 revival of William Shakespeare's Twelfth Night, a 1943 Patricia Coleman play titled The Moon Vine, and a 1946 musical titled Lute Song that starred Mary Martin. When Richard Rodgers & Oscar Hammerstein II were developing The King & I, they struggled for a while trying to find an actor to play The King of Siam. Mary Martin, who had worked with the pair on South Pacific, was the one who suggested to Yul Brynner that he should audition for it. At first, he was reluctant about going back on stage because at that point in his career, he started to find success as a director on television. Though after reading the script, Brynner not only became fascinated with the character of The King of Siam, but he was also eager to do the musical. Originally, The King & I was written for Gertrude Lawrence, so she was billed above the title while Yul Brynner was billed below the title (so therefore, he won the 1952 Tony Award for Best Featured Actor in a Musical).
When 20th Century Fox brought The King & I to the big screen in 1956 with a film adaptation directed by Walter Lang, Brynner reprised his role as The King of Siam while Deborah Kerr took over as Anna Leonowens since Gertrude Lawrence sadly passed away on September 6th, 1952 shortly after giving her final performance in the Broadway production. In fact, 1956 ended up being a pretty big year for Yul Brynner as he also had prominent roles in a couple other movies such as The Ten Commandments and Anastasia. When he won the Oscar for The King & I, he luckily ended up doing so as lead.
Other cast members from the original Broadway production who appeared in the film included Terry Saunders (who had taken over for Dorothy Sarnoff) as Lady Thiang, Rex Thompson as Louis Leonowens (which he had previously understudied), and Patrick Adiarte (who had previously played one of the royal children) as Prince Chulalongkorn. Not to mention that Martin Benson got to reprise his role as The Kralahome in the film after having originated it London's West End back in 1953.
Ray Walston - Damn Yankees
Prior to getting involved with the original production, Ray Walston already had about 13 Broadway credits to his name, appearing in both plays and musicals. One of them in particular was this comedy by Joseph Stein & Will Glickman titled Mrs. Gibbons' Boys. It only ran for about 5 performances on Broadway back in May of 1949. That play was directed by George Abbot, who went on to co-write the book (in collaboration with Douglas Wallop) for the musical, Damn Yankees, where he also got to direct the original production in 1955 with Ray Walston starring as the devil known as Applegate. The show ended up winning 7 Tony Awards the following year, including Best Musical and Best Lead Actor in a Musical for Walston.
When Warner Brothers brought Damn Yankees to the big screen in 1958 with a movie directed by George Abbott (in collaboration with Stanley Donen), almost every single original principal cast member got to reprise their roles. Which not only included Walston, but also Gwen Verdon as Lola, Russ Brown as Benny Van Buren, Shannon Bolin as Meg Boyd, Robert Shafer as Joe Boyd, Rae Allen as Gloria Thorpe, and Jean Stapleton as Sister Miller. The only major exception was Stephen Douglass as Joe Hardy; he got replaced by Tab Hunter. In fact, 1958 actually ended up being a pretty good year for Ray Walston as he also appeared in a feature film adaptation of Rodgers & Hammerstein's South Pacific as Luther Billis, which he had previously originated in London's West End back in 1951.
Prior to getting involved with the original production, Ray Walston already had about 13 Broadway credits to his name, appearing in both plays and musicals. One of them in particular was this comedy by Joseph Stein & Will Glickman titled Mrs. Gibbons' Boys. It only ran for about 5 performances on Broadway back in May of 1949. That play was directed by George Abbot, who went on to co-write the book (in collaboration with Douglas Wallop) for the musical, Damn Yankees, where he also got to direct the original production in 1955 with Ray Walston starring as the devil known as Applegate. The show ended up winning 7 Tony Awards the following year, including Best Musical and Best Lead Actor in a Musical for Walston.
When Warner Brothers brought Damn Yankees to the big screen in 1958 with a movie directed by George Abbott (in collaboration with Stanley Donen), almost every single original principal cast member got to reprise their roles. Which not only included Walston, but also Gwen Verdon as Lola, Russ Brown as Benny Van Buren, Shannon Bolin as Meg Boyd, Robert Shafer as Joe Boyd, Rae Allen as Gloria Thorpe, and Jean Stapleton as Sister Miller. The only major exception was Stephen Douglass as Joe Hardy; he got replaced by Tab Hunter. In fact, 1958 actually ended up being a pretty good year for Ray Walston as he also appeared in a feature film adaptation of Rodgers & Hammerstein's South Pacific as Luther Billis, which he had previously originated in London's West End back in 1951.
Robert Preston - The Music Man
Prior to getting involved with the original production, Robert Preston had spent decades toiling as both a Paramount contract player and a freelancer in films. He also had about 8 Broadway credits to his name, all of which were straight plays. When Meredith Willson was developing The Music Man, he and the creative team went through a long list of actors to play the starring role of larger-than-life traveling salesman, Professor Harold Hill. Among the actors who were approached, but turned it down included Danny Kaye, Gene Kelly, Ray Bolger, Milton Berle, and Art Carney. Director Morton DaCosta actually remembered Robert Preston from having worked with him before in summer stock, and thought he was perfect for the role. When Preston came in to audition for Meredith Willson, he performed what is considered to be the most difficult song in the entire score, 'Ya Got Trouble'. By the time it was over, Willson offered him the role of Harold Hill, feeling that if he could do that song, he could do the rest of the show. The Music Man not only marked Robert Preston's first time doing a musical, but also his first time even singing professionally at all. When the show opened on Broadway in 1957, it became a huge hit, turning Preston into a star, and immediately got offered even more musicals after that.
When The Music Man was getting adapted for the big screen, Warner Brothers originally did not want Robert Preston to reprise his role as Harold Hill. Despite all the success he received for the original Broadway production, he was seen more as a B-list actor in Hollywood than an A-lister. Therefore, the studio had their doubts about having Preston lead a major motion picture. In fact, they were about to sign Frank Sinatra when Meredith Willson came up to them and said that he would not let them make the movie if they don't keep Robert Preston. Since Warner Brothers already had Shirley Jones, who at that point was established on the big screen with her lead performances in film adaptations of Rodgers & Hammerstein's Oklahoma! and Carousel as well her Oscar-winning supporting performance in a 1960 nonmusical movie called Elmer Gantry, on board to play Marian Paroo, they felt comfortable enough to pair up Preston with her. As a result, the 1962 film adaptation of The Music Man (which was also directed by Morton DaCosta) not only ended up becoming a hit when it was released in theaters, but it also helped raise Robert Preston's profile in Hollywood.
Other original cast members who appeared in the film were Pert Kelton as Mrs. Paroo, The Buffalo Bills (a real-life barbershop quartet) as The School Board, Peggy Mondo as Ethel Toffelmier, and Adina Rice as Alma Hix. Not to mention that Paul Ford (who had replaced David Burns as Mayor Shinn on Broadway) also got to be in the movie as well as three cast members from the first national tour: Susan Luckey as Zaneeta Shinn, Harry Hickox as Charlie Cowell, and Monique Vermont as Amaryllis.
Prior to getting involved with the original production, Robert Preston had spent decades toiling as both a Paramount contract player and a freelancer in films. He also had about 8 Broadway credits to his name, all of which were straight plays. When Meredith Willson was developing The Music Man, he and the creative team went through a long list of actors to play the starring role of larger-than-life traveling salesman, Professor Harold Hill. Among the actors who were approached, but turned it down included Danny Kaye, Gene Kelly, Ray Bolger, Milton Berle, and Art Carney. Director Morton DaCosta actually remembered Robert Preston from having worked with him before in summer stock, and thought he was perfect for the role. When Preston came in to audition for Meredith Willson, he performed what is considered to be the most difficult song in the entire score, 'Ya Got Trouble'. By the time it was over, Willson offered him the role of Harold Hill, feeling that if he could do that song, he could do the rest of the show. The Music Man not only marked Robert Preston's first time doing a musical, but also his first time even singing professionally at all. When the show opened on Broadway in 1957, it became a huge hit, turning Preston into a star, and immediately got offered even more musicals after that.
When The Music Man was getting adapted for the big screen, Warner Brothers originally did not want Robert Preston to reprise his role as Harold Hill. Despite all the success he received for the original Broadway production, he was seen more as a B-list actor in Hollywood than an A-lister. Therefore, the studio had their doubts about having Preston lead a major motion picture. In fact, they were about to sign Frank Sinatra when Meredith Willson came up to them and said that he would not let them make the movie if they don't keep Robert Preston. Since Warner Brothers already had Shirley Jones, who at that point was established on the big screen with her lead performances in film adaptations of Rodgers & Hammerstein's Oklahoma! and Carousel as well her Oscar-winning supporting performance in a 1960 nonmusical movie called Elmer Gantry, on board to play Marian Paroo, they felt comfortable enough to pair up Preston with her. As a result, the 1962 film adaptation of The Music Man (which was also directed by Morton DaCosta) not only ended up becoming a hit when it was released in theaters, but it also helped raise Robert Preston's profile in Hollywood.
Other original cast members who appeared in the film were Pert Kelton as Mrs. Paroo, The Buffalo Bills (a real-life barbershop quartet) as The School Board, Peggy Mondo as Ethel Toffelmier, and Adina Rice as Alma Hix. Not to mention that Paul Ford (who had replaced David Burns as Mayor Shinn on Broadway) also got to be in the movie as well as three cast members from the first national tour: Susan Luckey as Zaneeta Shinn, Harry Hickox as Charlie Cowell, and Monique Vermont as Amaryllis.
Dick Van Dyke - Bye Bye Birdie
Prior to getting involved with the original production, Dick Van Dyke made his Broadway debut in a 1959 musical revue titled The Girls Against the Boys. When he went on to get cast as songwriter Albert Peterson in Bye Bye Birdie, he told director/choreographer Gower Champion that "I can't really dance". So he ended up learning a lot about that as well as singing on stage throughout the process. Though while the show was having its out-of-town tryout in Philadelphia, the producers wanted to replace Dick because they didn't think he was coming through. However, Gower Champion was the one who really stood up for him. In 1961, Bye Bye Birdie ended up winning 4 Tony Awards, including Best Musical and Best Featured Actor in a Musical for Dick Van Dyke. In fact, he had already left the Broadway production by the time the Tonys took place as he had moved out to Hollywood to star in his own sitcom, The Dick Van Dyke Show. So Charles Nelson Rielly (who was the standby for Albert Peterson) had to accept the award on his behalf. Dick Van Dyke didn't even know he had won until his maid found a telegram that was hidden under the mat by the front door of his house for three days.
When Columbia Pictures brought Bye Bye Birdie to the big screen in 1963 with a film adaptation directed by George Sidney, Dick Van Dyke got to reprise his role as Albert Peterson, which also marked his motion picture debut. Although the movie actually deviated a lot from the Broadway show. It was all mainly because after (newcomer at the time) Ann-Margret was cast as Kim MacAfee, the filmmakers shifted the focus onto that character in order to showcase her talents as much as possible. Several members of the original Broadway cast (including Dick Van Dyke) admitted how unhappy they were with the adaptation because of that character shift.
The only other original Broadway cast member who appeared in the film was Paul Lynde as Harry MacAfee. Although Jesse Pearson also got to be in it as Conrad Birdie after having previously played that role in the first national tour.
Prior to getting involved with the original production, Dick Van Dyke made his Broadway debut in a 1959 musical revue titled The Girls Against the Boys. When he went on to get cast as songwriter Albert Peterson in Bye Bye Birdie, he told director/choreographer Gower Champion that "I can't really dance". So he ended up learning a lot about that as well as singing on stage throughout the process. Though while the show was having its out-of-town tryout in Philadelphia, the producers wanted to replace Dick because they didn't think he was coming through. However, Gower Champion was the one who really stood up for him. In 1961, Bye Bye Birdie ended up winning 4 Tony Awards, including Best Musical and Best Featured Actor in a Musical for Dick Van Dyke. In fact, he had already left the Broadway production by the time the Tonys took place as he had moved out to Hollywood to star in his own sitcom, The Dick Van Dyke Show. So Charles Nelson Rielly (who was the standby for Albert Peterson) had to accept the award on his behalf. Dick Van Dyke didn't even know he had won until his maid found a telegram that was hidden under the mat by the front door of his house for three days.
When Columbia Pictures brought Bye Bye Birdie to the big screen in 1963 with a film adaptation directed by George Sidney, Dick Van Dyke got to reprise his role as Albert Peterson, which also marked his motion picture debut. Although the movie actually deviated a lot from the Broadway show. It was all mainly because after (newcomer at the time) Ann-Margret was cast as Kim MacAfee, the filmmakers shifted the focus onto that character in order to showcase her talents as much as possible. Several members of the original Broadway cast (including Dick Van Dyke) admitted how unhappy they were with the adaptation because of that character shift.
The only other original Broadway cast member who appeared in the film was Paul Lynde as Harry MacAfee. Although Jesse Pearson also got to be in it as Conrad Birdie after having previously played that role in the first national tour.
Rex Harrison - My Fair Lady
Prior to getting involved with the original production, Rex Harrison already had a long list of stage and film credits to his name. His second Broadway appearance in particular, Anne of the Thousand Days, won him the first of his two Tony Awards in 1949 in the category of Best Lead Actor in a Play. When Alan Jay Lerner & Frederick Loewe were developing a stage musical adaptation of the George Bernard Shaw play, Pygmalion, Noël Coward was originally offered the role of phonetics professor, Henry Higgins, but he turned it down, suggesting the producers cast Rex Harrison instead. After long and careful consideration, Harrison ended up accepting the part. My Fair Lady ended up winning 6 Tony Awards in 1957, including Best Musical and Best Lead Actor in a Musical for Rex Harrison.
When Warner Brothers was getting ready to adapt My Fair Lady for the big screen with a film adaptation directed by George Cukor, producer Jack L. Warner originally opted not to keep any of the musical’s original stars, Julie Andrews nor Rex Harrison. Andrews at the time hadn't made any movies yet, so Warner had his doubts about having her lead a major motion picture. So Audrey Hepburn ended up starring as Eliza Doolittle. Meanwhile, Peter O'Toole, Cary Grant, Noël Coward, Rock Hudson, Michael Redgrave, and George Sanders were each offered the role of Henry Higgins. When Cary Grant turned it down, he even told Jack Warner that he wouldn't even see the movie if Rex Harrison wasn't starring in it. While Rex was desperate to be cast in the film, he refused to do a screen test since he felt this was beneath his dignity. Although he did promise Jack Warner that he would not repeat his stage performance, but instead adapt it accordingly for the movie. Apparently after a rough cut, Warner rose in silence, turned to Rex Harrison, and bowed. The 1964 film adaptation of My Fair Lady ended up winning 8 Academy Awards (including Best Picture). While Audrey Hepburn was overlooked for a Best Actress nomination that year (where the Oscar ironically ended up going to Julie Andrews for her motion picture debut as Mary Poppins), she did get to present Best Actor to her co-star, Rex Harrison. In his acceptance speech, he dedicated the award to his "two fair ladies", Julie and Audrey.
The only other original Broadway cast member who appeared in the film was Stanley Halloway as Alfred P. Doolittle. He was Tony nominated for the Broadway production, but ended up losing to Sydney Chaplin for Bells are Ringing. He was also Oscar nominated for the film version, but ended up losing to Peter Ustinov for Topkapi.
Prior to getting involved with the original production, Rex Harrison already had a long list of stage and film credits to his name. His second Broadway appearance in particular, Anne of the Thousand Days, won him the first of his two Tony Awards in 1949 in the category of Best Lead Actor in a Play. When Alan Jay Lerner & Frederick Loewe were developing a stage musical adaptation of the George Bernard Shaw play, Pygmalion, Noël Coward was originally offered the role of phonetics professor, Henry Higgins, but he turned it down, suggesting the producers cast Rex Harrison instead. After long and careful consideration, Harrison ended up accepting the part. My Fair Lady ended up winning 6 Tony Awards in 1957, including Best Musical and Best Lead Actor in a Musical for Rex Harrison.
When Warner Brothers was getting ready to adapt My Fair Lady for the big screen with a film adaptation directed by George Cukor, producer Jack L. Warner originally opted not to keep any of the musical’s original stars, Julie Andrews nor Rex Harrison. Andrews at the time hadn't made any movies yet, so Warner had his doubts about having her lead a major motion picture. So Audrey Hepburn ended up starring as Eliza Doolittle. Meanwhile, Peter O'Toole, Cary Grant, Noël Coward, Rock Hudson, Michael Redgrave, and George Sanders were each offered the role of Henry Higgins. When Cary Grant turned it down, he even told Jack Warner that he wouldn't even see the movie if Rex Harrison wasn't starring in it. While Rex was desperate to be cast in the film, he refused to do a screen test since he felt this was beneath his dignity. Although he did promise Jack Warner that he would not repeat his stage performance, but instead adapt it accordingly for the movie. Apparently after a rough cut, Warner rose in silence, turned to Rex Harrison, and bowed. The 1964 film adaptation of My Fair Lady ended up winning 8 Academy Awards (including Best Picture). While Audrey Hepburn was overlooked for a Best Actress nomination that year (where the Oscar ironically ended up going to Julie Andrews for her motion picture debut as Mary Poppins), she did get to present Best Actor to her co-star, Rex Harrison. In his acceptance speech, he dedicated the award to his "two fair ladies", Julie and Audrey.
The only other original Broadway cast member who appeared in the film was Stanley Halloway as Alfred P. Doolittle. He was Tony nominated for the Broadway production, but ended up losing to Sydney Chaplin for Bells are Ringing. He was also Oscar nominated for the film version, but ended up losing to Peter Ustinov for Topkapi.
Zero Mostel - A Funny Thing Happened on the Way to the Forum
Prior to getting involved with the original production, Zero Mostel already had 12 Broadway credits to his name. He also had one Tony Award under his belt for his performance as John in the 1961 Eugene Ionesco play, Rhinoceros. When A Funny Thing Happened on the Way to the Forum was being developed, the creators originally offered the role of Pseudolus to Phil Silvers, but he turned it down because he feared an onstage accident would happen due to him not being able to wear his glasses in the show. Milton Berle also passed on the role before it was eventually accepted by Zero Mostel. At the 1963 Tony Awards, the show ended up winning 6 accolades, including Best Musical and Best Lead Actor in a Musical for Mostel.
When United Artists was getting ready to bring A Funny Thing Happened on the Way to the Forum to the big screen with a movie adaptation, it was always considered essential that Zero Mostel would reprise his role, but he demanded director approval before agreed to take part. He submitted a shortlist that consisted of Orson Welles, Charles Chaplin, Jean Renoir, Mike Nichols, Richard Lester, and Seth Holt. Any of whom, he would accept as director. It was Lester who ended up getting the job. Although the script was constantly being re-written, with Denis Norden, cameraman Nicolas Roeg, and Richard Lester all making uncredited contributions. The creators of the original stage musical were annoyed with the numerous changes made for film, and Richard Lester and Zero Mostel expressed dissatisfaction with the finished product.
Other original Broadway cast members who appeared in the 1966 movie version were Jack Gilford as Hysterium, Lucienne Bridou as Panacea, and Myrna White as Vibrata. Not to mention that Leon Greene got to reprise his role as Captain Miles Gloriosus in the film after having originated it London's West End back in 1963. In fact, Phil Silvers actually got to play Marcus Lycus in the film. Not only that, but he also went on to play Pseudolus (with his glasses on) in the first Broadway revival of A Funny Thing Happened on the Way to the Forum in 1972, which ended up winning him a Tony Award for Best Lead Actor in a Musical.
Prior to getting involved with the original production, Zero Mostel already had 12 Broadway credits to his name. He also had one Tony Award under his belt for his performance as John in the 1961 Eugene Ionesco play, Rhinoceros. When A Funny Thing Happened on the Way to the Forum was being developed, the creators originally offered the role of Pseudolus to Phil Silvers, but he turned it down because he feared an onstage accident would happen due to him not being able to wear his glasses in the show. Milton Berle also passed on the role before it was eventually accepted by Zero Mostel. At the 1963 Tony Awards, the show ended up winning 6 accolades, including Best Musical and Best Lead Actor in a Musical for Mostel.
When United Artists was getting ready to bring A Funny Thing Happened on the Way to the Forum to the big screen with a movie adaptation, it was always considered essential that Zero Mostel would reprise his role, but he demanded director approval before agreed to take part. He submitted a shortlist that consisted of Orson Welles, Charles Chaplin, Jean Renoir, Mike Nichols, Richard Lester, and Seth Holt. Any of whom, he would accept as director. It was Lester who ended up getting the job. Although the script was constantly being re-written, with Denis Norden, cameraman Nicolas Roeg, and Richard Lester all making uncredited contributions. The creators of the original stage musical were annoyed with the numerous changes made for film, and Richard Lester and Zero Mostel expressed dissatisfaction with the finished product.
Other original Broadway cast members who appeared in the 1966 movie version were Jack Gilford as Hysterium, Lucienne Bridou as Panacea, and Myrna White as Vibrata. Not to mention that Leon Greene got to reprise his role as Captain Miles Gloriosus in the film after having originated it London's West End back in 1963. In fact, Phil Silvers actually got to play Marcus Lycus in the film. Not only that, but he also went on to play Pseudolus (with his glasses on) in the first Broadway revival of A Funny Thing Happened on the Way to the Forum in 1972, which ended up winning him a Tony Award for Best Lead Actor in a Musical.
Robert Morse - How to Succeed in Business Without Really Trying
Prior to getting involved with the original production, Robert Morse already had three Broadway credits to his name. Which were The Matchmaker, Say, Darling, and Take Me Along. The latter two earned him Tony Award nominations, yet it was his star-making turn as window washer-turned-business man J. Pierrepont Finch in How to Succeed in Business Without Really Trying that secured him a win. The show itself ended up winning about 7 accolades overall (including Best Musical) in 1962.
When United Artists was getting ready to bring How to Succeed to the big screen with a movie adaptation directed by David Swift, Dick Van Dyke was considered for Finch, but he turned it down due to his concerns of being too old for the role. So the filmmakers instead ended up keeping Robert Morse. This marked the second time he got reprised one of his theatrical roles on screen, the first being in a 1958 film adaptation of Thornton Wilder's The Matchmaker, where he played Barnaby Tucker. Although he did eventually win a Primetime Emmy Award in 1993 for his performance as Truman Capote in PBS' broadcast of Jay Presson Allen's one-man show, Tru, which previously won him a second Tony.
Other original Broadway cast members who appeared in the 1967 movie version were Rudy Vallée as J.B. Biggley, Ruth Kobart as Miss Jones, and Sammy Smith in the roles of Mr. Twimble and Mr. Wally Womper. Not to mention that Michele Lee, who took over for Bonnie Scott as Rosemary Pilkington in the Broadway production, got to make her motion picture debut in that same role in the film. Over a decade later, she became more known for her role as Karen Fairgate MacKenzie in the long-running primetime television soap opera, Knots Landing.
Prior to getting involved with the original production, Robert Morse already had three Broadway credits to his name. Which were The Matchmaker, Say, Darling, and Take Me Along. The latter two earned him Tony Award nominations, yet it was his star-making turn as window washer-turned-business man J. Pierrepont Finch in How to Succeed in Business Without Really Trying that secured him a win. The show itself ended up winning about 7 accolades overall (including Best Musical) in 1962.
When United Artists was getting ready to bring How to Succeed to the big screen with a movie adaptation directed by David Swift, Dick Van Dyke was considered for Finch, but he turned it down due to his concerns of being too old for the role. So the filmmakers instead ended up keeping Robert Morse. This marked the second time he got reprised one of his theatrical roles on screen, the first being in a 1958 film adaptation of Thornton Wilder's The Matchmaker, where he played Barnaby Tucker. Although he did eventually win a Primetime Emmy Award in 1993 for his performance as Truman Capote in PBS' broadcast of Jay Presson Allen's one-man show, Tru, which previously won him a second Tony.
Other original Broadway cast members who appeared in the 1967 movie version were Rudy Vallée as J.B. Biggley, Ruth Kobart as Miss Jones, and Sammy Smith in the roles of Mr. Twimble and Mr. Wally Womper. Not to mention that Michele Lee, who took over for Bonnie Scott as Rosemary Pilkington in the Broadway production, got to make her motion picture debut in that same role in the film. Over a decade later, she became more known for her role as Karen Fairgate MacKenzie in the long-running primetime television soap opera, Knots Landing.
Joel Grey - Cabaret
Prior to getting involved with the original production, Joel Grey already had five Broadway credits to his name. The opportunity for him to do Cabaret came about when he got a call from his friend, director Hal Prince. He had seen Joel in a musical titled Stop the World - I Want to Get Off, and thought he would be a good fit for the character of The Master of Ceremonies. Despite being the male lead of Cabaret, Joel Grey ended up winning the 1967 Tony Award for Best Featured Actor in a Musical due to him being billed below the title for the original production. Luckily, when Alan Cumming went on to win for playing The Emcee in the 1998 Broadway revival, he won it as lead.
When Allied Artists was getting ready to bring Cabaret to the big screen with a film adaptation, director Bob Fosse didn't want to use anything from the original musical at all (aside from a few of the songs), which also included performers who had been in the show before. His first choice for The Master of Ceremonies was apparently Ruth Gordon, who at that point was coming off of an Oscar win for her supporting performance in 1968's Rosemary's Baby. However, the producers really wanted Joel Grey to reprise his role from the original Broadway cast. Fosse's response to that was "It's either me or Joel Grey", which was followed-up with "Then it's Joel Grey". So he ended up being the only original Broadway cast member to have reprised their role in the film.
Although several months after principal photography wrapped up, Joel Grey was able to catch a screening of the movie where all of his big musical numbers were reduced to snippets, making his character of The Emcee little more than a cameo. He was so furious that he called the producers, and they told him not to worry because his songs were going to be restored. Indeed they were as The Emcee's role in the film became more of a supporting character. As a result, Joel Grey ended up winning the 1972 Academy Award for Best Supporting Actor for his performance, over James Caan, Robert Duvall, and Al Pacino for The Godfather.
Prior to getting involved with the original production, Joel Grey already had five Broadway credits to his name. The opportunity for him to do Cabaret came about when he got a call from his friend, director Hal Prince. He had seen Joel in a musical titled Stop the World - I Want to Get Off, and thought he would be a good fit for the character of The Master of Ceremonies. Despite being the male lead of Cabaret, Joel Grey ended up winning the 1967 Tony Award for Best Featured Actor in a Musical due to him being billed below the title for the original production. Luckily, when Alan Cumming went on to win for playing The Emcee in the 1998 Broadway revival, he won it as lead.
When Allied Artists was getting ready to bring Cabaret to the big screen with a film adaptation, director Bob Fosse didn't want to use anything from the original musical at all (aside from a few of the songs), which also included performers who had been in the show before. His first choice for The Master of Ceremonies was apparently Ruth Gordon, who at that point was coming off of an Oscar win for her supporting performance in 1968's Rosemary's Baby. However, the producers really wanted Joel Grey to reprise his role from the original Broadway cast. Fosse's response to that was "It's either me or Joel Grey", which was followed-up with "Then it's Joel Grey". So he ended up being the only original Broadway cast member to have reprised their role in the film.
Although several months after principal photography wrapped up, Joel Grey was able to catch a screening of the movie where all of his big musical numbers were reduced to snippets, making his character of The Emcee little more than a cameo. He was so furious that he called the producers, and they told him not to worry because his songs were going to be restored. Indeed they were as The Emcee's role in the film became more of a supporting character. As a result, Joel Grey ended up winning the 1972 Academy Award for Best Supporting Actor for his performance, over James Caan, Robert Duvall, and Al Pacino for The Godfather.
Nathan Lane - The Producers
Prior to getting involved with the original production, Nathan Lane was already well established as a bonafide Broadway star. He had one Tony Award under his belt for his performance as Pseudolus in the 1996 revival of A Funny Thing Happened on the Way to the Forum, was Emmy nominated twice for guest starring on different sitcoms such as Frasier and Mad About You, and was known for his movie roles as Timon in the 1994 Disney animated film, The Lion King, and as Albert Goldman in the Mike Nichols-helmed The Birdcage. Nathan Lane was swimming in a pool at the Hotel Ritz in Paris when he bumped into Mel Brooks and Anne Bancroft. Mel not only told him that he was working on a stage musical adaptation of his 1968 Academy Award-winning cult film, The Producers, but also that he wanted Nathan to play the role of Broadway producer Max Bialystock. When the show opened on Broadway in 2001, it became a smash hit (in large part due to the dynamic duo of powerhouse performances from Nathan Lane & Matthew Broderick), and went on to win a record-breaking 12 Tony Awards (including Best Musical), setting an all time record as the most awarded production in the history of the American Theatre Wing. Nathan also managed to win Best Lead Actor in a Musical, although he did bring Matthew on stage with him to accept the award as he knew he couldn't have done it alone.
In fact, near the end of a documentary about the making of the original Broadway cast recording, Mel Brooks mentioned "We should make a movie of this show". In response to that, Nathan Lane guessed Danny DeVito and Ben Stiller would star in it. Although when Universal Pictures brought The Producers to the big screen in 2005 with a film adaptation, a lot of people from both the cast and creative team of the Broadway production were kept. Director/choreographer Susan Stroman was at the helm while four of the original Broadway principals got to reprise their roles. Which were Nathan Lane as Max Bialystock, Matthew Broderick as Leo Bloom, Gary Beach as Roger De Bris, and Roger Bart as Carmen Ghia. While Brad Oscar was replaced by Will Ferrell in the role of Franz Liebkind, he did at least get to make a cameo as a cab driver.
Prior to getting involved with the original production, Nathan Lane was already well established as a bonafide Broadway star. He had one Tony Award under his belt for his performance as Pseudolus in the 1996 revival of A Funny Thing Happened on the Way to the Forum, was Emmy nominated twice for guest starring on different sitcoms such as Frasier and Mad About You, and was known for his movie roles as Timon in the 1994 Disney animated film, The Lion King, and as Albert Goldman in the Mike Nichols-helmed The Birdcage. Nathan Lane was swimming in a pool at the Hotel Ritz in Paris when he bumped into Mel Brooks and Anne Bancroft. Mel not only told him that he was working on a stage musical adaptation of his 1968 Academy Award-winning cult film, The Producers, but also that he wanted Nathan to play the role of Broadway producer Max Bialystock. When the show opened on Broadway in 2001, it became a smash hit (in large part due to the dynamic duo of powerhouse performances from Nathan Lane & Matthew Broderick), and went on to win a record-breaking 12 Tony Awards (including Best Musical), setting an all time record as the most awarded production in the history of the American Theatre Wing. Nathan also managed to win Best Lead Actor in a Musical, although he did bring Matthew on stage with him to accept the award as he knew he couldn't have done it alone.
In fact, near the end of a documentary about the making of the original Broadway cast recording, Mel Brooks mentioned "We should make a movie of this show". In response to that, Nathan Lane guessed Danny DeVito and Ben Stiller would star in it. Although when Universal Pictures brought The Producers to the big screen in 2005 with a film adaptation, a lot of people from both the cast and creative team of the Broadway production were kept. Director/choreographer Susan Stroman was at the helm while four of the original Broadway principals got to reprise their roles. Which were Nathan Lane as Max Bialystock, Matthew Broderick as Leo Bloom, Gary Beach as Roger De Bris, and Roger Bart as Carmen Ghia. While Brad Oscar was replaced by Will Ferrell in the role of Franz Liebkind, he did at least get to make a cameo as a cab driver.
John Lloyd Young - Jersey Boys
Prior to getting involved with the original Broadway production, John Lloyd Young didn't have any musical theater ambitions. He had worked his way up through the ranks of the theater scene with roles in numerous regional and off-Broadway plays. Although he did have a few small speaking parts in musicals like Camelot. When Young first auditioned for the world premiere production of Jersey Boys at the La Jolla Playhouse in California, he originally went in for Tommy DeVito, but director Des McAnuff thought that he would be a much better fit for real-life musician Frankie Valli. Yet, actor David Noroña end up getting cast in that role instead. In the fall of 2005, the show moved to Broadway, but with a different star. David Noroña, who is based in California, chose not to continue with Jersey Boys, so Des McAnuff called John Lloyd Young, inviting him to come audition again. This time, Young was cast as Frankie Valli, which in 2006 ended up winning him Outer Critics Circle, Drama Desk, Tony, and Theatre World Awards in the same season.
When Warner Brothers was getting ready to bring Jersey Boys to the big screen with a film adaptation directed by Clint Eastwood, the Hollywood legend chose to look at veterans of various stage companies to put together his cast. He came to see the Broadway production in 2013, which just so happened to have been during John Lloyd Young's return engagement as Frankie Valli. After the show, Clint came backstage, met with Young, and the latter thanked the former for coming. The performance Clint Eastwood attended was pretty much John Lloyd Young's audition for the movie as the two of them didn't meet again until they were on set.
Other original Broadway cast members who reprised their roles in the 2014 film adaptation were Donnie Kehr as Norm Waxman and Erica Piccininni as Lorraine. Not to mention that other alums from various North American productions of Jersey Boys who got to be in the movie included Erich Bergen as Bob Gaudio, Michael Lomenda as Nick Massi, and Renée Marino as Mary Delgado.
Prior to getting involved with the original Broadway production, John Lloyd Young didn't have any musical theater ambitions. He had worked his way up through the ranks of the theater scene with roles in numerous regional and off-Broadway plays. Although he did have a few small speaking parts in musicals like Camelot. When Young first auditioned for the world premiere production of Jersey Boys at the La Jolla Playhouse in California, he originally went in for Tommy DeVito, but director Des McAnuff thought that he would be a much better fit for real-life musician Frankie Valli. Yet, actor David Noroña end up getting cast in that role instead. In the fall of 2005, the show moved to Broadway, but with a different star. David Noroña, who is based in California, chose not to continue with Jersey Boys, so Des McAnuff called John Lloyd Young, inviting him to come audition again. This time, Young was cast as Frankie Valli, which in 2006 ended up winning him Outer Critics Circle, Drama Desk, Tony, and Theatre World Awards in the same season.
When Warner Brothers was getting ready to bring Jersey Boys to the big screen with a film adaptation directed by Clint Eastwood, the Hollywood legend chose to look at veterans of various stage companies to put together his cast. He came to see the Broadway production in 2013, which just so happened to have been during John Lloyd Young's return engagement as Frankie Valli. After the show, Clint came backstage, met with Young, and the latter thanked the former for coming. The performance Clint Eastwood attended was pretty much John Lloyd Young's audition for the movie as the two of them didn't meet again until they were on set.
Other original Broadway cast members who reprised their roles in the 2014 film adaptation were Donnie Kehr as Norm Waxman and Erica Piccininni as Lorraine. Not to mention that other alums from various North American productions of Jersey Boys who got to be in the movie included Erich Bergen as Bob Gaudio, Michael Lomenda as Nick Massi, and Renée Marino as Mary Delgado.
Harvey Fierstein - Hairspray Live!
Prior to getting involved with Hairspray, Harvey Fierstein had worked on and off-Broadway as both an actor and playwright throughout the 1980s and early 1990s. He managed to win Tony Awards for creating and starring in Torch Song Trilogy as well as writing the book for the musical, La Cage aux Folles. Eventually, Harvey faded into obscurity due to depression from losing his friends during the AIDS crisis. During that period, he appeared in several movies such as as 1993's Mrs. Doubtfire, 1994's Bullets Over Broadway, 1996's Independence Day, and the 1998 Disney animated film, Mulan. He also received an Emmy nomination for an episode of Cheers back in 1992. When a stage musical adaptation of the 1988 John Waters movie, Hairspray, was being developed, the creative team chose to have the role of overbearing mother, Edna Turnblad, played by a man in drag just like Divine did in the original film. At first, they weren't interested in seeing Harvey Fierstein, but his manager kept pushing them saying that he wants to come in and audition. When he did, the creative team knew there was no one else for the role. When Hairspray opened in 2002, it marked Harvey's first Broadway appearance since a brief stint in his play, Safe Sex, back in 1987. At the 2003 Tony Awards, the show ended up winning 8 accolades, including Best Musical and Best Lead Actor in a Musical for Harvey Fierstein.
When Hairspray was brought back to the big screen by New Line Cinema in 2007 with a film adaptation of the musical, John Travolta ended up playing Edna Turnblad. Since most of the money that went into the budget for that movie came from China, the producers knew they needed a name not just for commercial appeal, but also to gain enough interest from Chinese investors. No one in China has any familiarity with Harvey Fierstein, so the movie instead had a star studded cast that included Christopher Walken, Queen Latifah, Michelle Pfeiffer, and James Marsden in addition to John Travolta. Though for NBC's 2016 live television production, Harvey Fierstein not only adapted the musical's book, but he also returned to his signature role as Edna Turnblad. This marked the second time he reprised one of his theatrical roles on screen, the first being in a 1988 film adaptation of Torch Song Trilogy. Harvey got to be in a cast that also included Martin Short, Jennifer Hudson, Kristin Chenoweth, Ariana Grande, and Derek Hough.
Other original Broadway cast members who reprised their roles in the telecast were Kamilah Marshall, Judine Somerville, and Shayna Steele as The Dynamites. Not to mention that Marissa Jaret Winokur, who was the original Tracy Turnblad, made a cameo appearance in the middle of 'Welcome to the 60s'.
I'll probably end up doing a similar list with a different focus at some point. Though in the meantime, what do you think of this one?
Prior to getting involved with Hairspray, Harvey Fierstein had worked on and off-Broadway as both an actor and playwright throughout the 1980s and early 1990s. He managed to win Tony Awards for creating and starring in Torch Song Trilogy as well as writing the book for the musical, La Cage aux Folles. Eventually, Harvey faded into obscurity due to depression from losing his friends during the AIDS crisis. During that period, he appeared in several movies such as as 1993's Mrs. Doubtfire, 1994's Bullets Over Broadway, 1996's Independence Day, and the 1998 Disney animated film, Mulan. He also received an Emmy nomination for an episode of Cheers back in 1992. When a stage musical adaptation of the 1988 John Waters movie, Hairspray, was being developed, the creative team chose to have the role of overbearing mother, Edna Turnblad, played by a man in drag just like Divine did in the original film. At first, they weren't interested in seeing Harvey Fierstein, but his manager kept pushing them saying that he wants to come in and audition. When he did, the creative team knew there was no one else for the role. When Hairspray opened in 2002, it marked Harvey's first Broadway appearance since a brief stint in his play, Safe Sex, back in 1987. At the 2003 Tony Awards, the show ended up winning 8 accolades, including Best Musical and Best Lead Actor in a Musical for Harvey Fierstein.
When Hairspray was brought back to the big screen by New Line Cinema in 2007 with a film adaptation of the musical, John Travolta ended up playing Edna Turnblad. Since most of the money that went into the budget for that movie came from China, the producers knew they needed a name not just for commercial appeal, but also to gain enough interest from Chinese investors. No one in China has any familiarity with Harvey Fierstein, so the movie instead had a star studded cast that included Christopher Walken, Queen Latifah, Michelle Pfeiffer, and James Marsden in addition to John Travolta. Though for NBC's 2016 live television production, Harvey Fierstein not only adapted the musical's book, but he also returned to his signature role as Edna Turnblad. This marked the second time he reprised one of his theatrical roles on screen, the first being in a 1988 film adaptation of Torch Song Trilogy. Harvey got to be in a cast that also included Martin Short, Jennifer Hudson, Kristin Chenoweth, Ariana Grande, and Derek Hough.
Other original Broadway cast members who reprised their roles in the telecast were Kamilah Marshall, Judine Somerville, and Shayna Steele as The Dynamites. Not to mention that Marissa Jaret Winokur, who was the original Tracy Turnblad, made a cameo appearance in the middle of 'Welcome to the 60s'.
I'll probably end up doing a similar list with a different focus at some point. Though in the meantime, what do you think of this one?