Tommy Tune

On stage 6 productions, 27 years

Each row is a staging this name appears in the cast list of, read from the production record rather than from the person record. The person record names works instead, and a work cannot say which run somebody was in — that is how Elaine Stritch ends up filed under Show Boat 1927 when she was in the 1994 revival. No row here says what part was played, because no cast list records it.

Worked with more than once4 names

Both names in the same cast list, more than once. It is not evidence of a partnership — a long-running company puts the same forty people together every night — but it is where one would start looking. 3 of these names are not links because we hold no record behind them; the name is set from the identifier and its punctuation may be wrong.

Also credited on6 works

Nine
Grand Hotel
The Will Rogers Follies
The Best Little Whorehouse in Texas
A Day in Hollywood/ A Night in the Ukraine
The Best Little Whorehouse Goes Public

These come off the person record, which names a work and not a production. So we can say this name is attached to the work and we cannot say which staging, or in what capacity. For a composer or a writer that is the whole career we hold; there is no cast list to find them in.

In the literature8 passages

• Thirty-one years after At the Grand floundered, Wright and Forrest revised it as Grand Hotel and returned the story to its original location of Berlin. With Tommy Tune at the helm as director and choreographer, the tryout proved to be difficult, and Tune asked Maury Yeston to step in to provide new material, much to Wright and Forrest’s d…ebooks/Dietz, Dan/Complete Book of 1950s Broadway Musicals, The - Dan Dietz.txt
• “No one can play the road like Carol,” says Tommy Tune. “She’s the one who taught me that you have to get out there, for if you don’t, the people in the rest of the country won’t know who you are.”ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
• That was hardly the extent of the work. Bennett brought in his friend Tommy Tune, not yet well known to Broadway, to choreograph the two big numbers for Larry, who was played by Bill Starr. When Tune had finished them, Bennett had Tune replace Starr in the role.ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
• When the show began workshop performances at the Actors Studio, Masterson was the director. And while he knew he needed some help, when Tommy Tune agreed to come on, Masterson at least held on to a co-director credit.ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
• Once Tommy Tune listened to the tape of Maury Yeston’s music and lyrics for Nine that had been left at his apartment building, he became quite excited. Although the musical version of 8½ had had a number of growing pains, Tune saw possibilities in the story of megalomaniacal movie director Guido Contini. He delivered a production that ear…ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt
• But producer Allan Carr had already secured the rights and signed Mike Nichols and Tommy Tune to co-direct, Tune to choreograph, Maury Yeston to write the score, and Jay Presson Allen to pen the book. The team would Americanize the property, moving it from St. Tropez to New Orleans and calling it The Queen of Basin Street.ebooks/Filichia, Peter/B007L4OWCU EBOK - Peter Filichia.txt

Passages naming this person, found by keyword across 178 books. A keyword match is not a biography, and a common name will pull in the wrong one.

What this page does not know

• What this person played. No cast list we hold records a character against a performer.
• Which of the credits above the roles on this record — director, choreographer, actor — apply to. The roles sit on the person and never on a credit, so a director who also acted looks the same here as one who did not.