You're about *thisclose* to the 'Why the black people gotta be lazy and shiftless?? Why can't they help themselves???'
White people love nothing more than a black celebrity who now has a modicum of privilege telling other people of color that all you have to do is go out and make the change yourself! To get an idea of what POC are actually up against institutionally in this business, look no further than Matt Damon explaining to a b
Oooooh, doodle! Prettybelle! I absolutely adore 'To a Small Degree'.
Someone recently asked me what my favorite song was that I've ever performed, and I surprised him (and myself) when I said 'Serenade' from The Baker's Wife. It's such a heartbreaking quartet, and it's the first thing that comes into my mind when i think of my favorite moments on stage.
Um. No. I don't. But thanks for telling me how I feel.
As an audience member, I don't give a Shit. But as we're sitting here, talking about casting this show, I start to think about the choices I would personally make and how I would try to be mindful that any casting choices wouldn't send a message I wasn't intending (like the situation I described with Damn Yankees). As a cis, white man, I'd want to put thought into it were I invol
Well...I don't agree that this is the same as a Shakespeare production. One of the central conflicts is over slavery in the Colonies. So, I don't know how color 'blind' it will be. A decision will have to be made over what kind of message to send with Molasses to Rum to Slaves. There should be thought given to that decision.
A friend was cast as Young Joe in a college production of DAMN YANKEES. Old Joe was cast with a bl
And, of course, 'diversity' doesn't mean everybody gonna be black. How about:
Jose Llana for Rutledge Stephen McKinley Henderson for Franklin Guillermo Diaz for Adams
If only Renee Elise Goldsberry and Phillipa Soo were available as Abigail and Martha, respectively. So how about Anika Noni Rose and Ashley Park? Or maybe Karen Olivo might make a beautiful Abigail. I'm very interested to see who gets cast!
Since someone already mentioned my most memorable moment (Natasha Richardson singing the title song from CABARET), I'll go with my runner-up. It was the second number in the first Broadway show I ever saw. From the blare of the opening trumpet to the stillness achieved by the dancers through most of the song to their bodies forming a slithering, amoebic-like unit, I was changed forever. That would be Big Spender from the '86 revival directed and choreographed by Bob
^ Well...sure. But there is a credited choreographer and those numbers have set choreography. It's not a lot, but it's there. I'd also argue that rent has choreography, particularly in Contact. I'd never call either of these dance musicals, but, as a musical actor who doesn't really do a lot of choreography, I couldn't do what those that little kid in Fun Home does...nor could I dance Contact in Rent. But the rest of newintown's list i
The Other One said: ""My White Knight" is more glorious, with a build to a higher note, but "Being In Love" reflects the thoughts of a more grown, mature, realistic Marian. I could see preferring either."
I was going to bring up Being In Love, but you said it so much better than I ever could. So, Imma just co-sign.