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Member Name: newintown
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Birthday: - - -
Gender: Male
Location: New York, NY
Occupation: Arts
Favorite Show(s): A Catered Affair
A Little Night Music
Avenue Q
Chicago
Company
Follies
Grand Hotel
Grey Gardens
Grind
Kismet
Lady in the Dark
Nine
Pippin
Promises, Promises
Street Scene
Sunday in the Park with George
Sweet Charity
The Drowsy Chaperone
The Light in the Piazza
The Mystery of Edwin Drood
Titanic

Favorite Performer(s):

Most Recent Message Board Posts:
  • First review for BEST WORST THING EVER COULD HAPPENED  Mar 23 2017, 09:02:53 AM

    Finally saw this, and like most such documentaries, it's a strange combination of satisfying and frustrating. It ignores more questions than it answers, I think, including:

    1) Why is there SOOO much Lonny Price? (This one we can answer, of course.)
    2) Why does Jim Weissenbach disappear from the film completely after his firing? Why doesn't he get to talk about how that felt, or how if affected his life? And why is there no mention that Weissenbach's fath

  • Oregon Shakespeare Festival to include same sex Oklahoma!  Mar 22 2017, 12:45:58 PM

    I would suggest a read through of Hammerstein's libretto would show that the suggested lesbian/gay re-coupling would make no sense in a realistic production (barring extreme re-writes).

    Although the idea of a female cowhand isn't unimaginable (see Johnny Guitar), what would make no sense would be a community not only accepting but celebrating a lesbian union in rural America in 1906. And in such a gritty world, would the women really sing such fluffy

  • Patti LuPone trashes Sherie Rene Scott?  Mar 22 2017, 09:53:07 AM

    I've browsed the thread and can't find specifics - is this about Lupone's comment in the book Nothing Like A Dame that Scott was a "travesty of a leading lady?"

  • Announced Replacements That Never Happened  Mar 22 2017, 08:59:23 AM

    Jenna Elfman in the Nine revival.

  • Oregon Shakespeare Festival to include same sex Oklahoma!  Mar 21 2017, 01:28:58 PM

    Considering even further, it would be vastly more interesting (and make much more sense) to do Oklahoma as written and direct/perform it with homoerotic yearnings between Jud and Curly; Jud's attempt to own Laurey would make sense as a sublimated urge to own Curly; Curly's murder of Jud would make sense as a violent act of self repression/loathing. The scene in Jud's smokehouse offers opportunity for a lot of feelings between Curly and Jud; the Ballet could inco

  • Oregon Shakespeare Festival to include same sex Oklahoma!  Mar 21 2017, 10:29:32 AM

    Thinking more on a lesbian relationship at the core of Oklahoma - there will be those who will shout "but there were lesbians in the territories then! It was real, and their stories should be included!" That may be true, but if veracity  is your goal, then Laurey should look like a real pioneer woman (and this kind of woman would definitely not sing in a pretty, flowery, Broadway vein - her musi

  • Oregon Shakespeare Festival to include same sex Oklahoma!  Mar 21 2017, 10:14:48 AM

    And although it's been pointed out ad nauseum, Shakepeare is all about the text, not the stories (none of which he created); if you can't handle the text, there are many sweet and easy reduced versions out there for you like this:

  • Oregon Shakespeare Festival to include same sex Oklahoma!  Mar 21 2017, 09:39:00 AM

    Yes, the article is explicit in saying that Chapin and R&H are working with them on this.

    Still, without significant libretto alterations, I can't see this gimmick really making any sense, or even being particularly interesting as anything more than an idle and pretentious novelty.

    But I also feel that those Shakespeare "translations" are little more than an an idle and pretentious novelty themselves, encouraging nothin

  • Musicals that miss the point of the movie they are based on  Mar 20 2017, 10:09:56 AM

    I'm not sure that I agree with Bullets (although the move is definitely far superior to the nitwitted mess of a musical), but I agree with your other examples, and would add:

    Summer of 42 (quiet and articulate movie; wordy and idiotic musical)
    Rocky (another musical where inarticulate characters are diminished by added dialogue/lyrics)
    The Full Monty (a smoothly sentimental reduction of a more eccentric

  • PRESENT LAUGHTER Previews  Mar 20 2017, 08:53:26 AM

    Here are the major Garrys, the year of their productions, and their ages. It does seem to be one of those roles generally assayed by actors who have long passed the character's actual age:

    Noel Coward (1942) 42
    Clifton Webb (1946) 56
    Noel Coward (1958*) 58
    Albert Finney (1977) 41
    Peter O'Toole (1978*) 46
    Donald Sinden (1981) 58
    George C. Scott (1982) 55
    Tom Conti (1993) 52
    Frank Langella (1996) 58
    Peter Bowles (1996) 60
    Ian

  • Sweet Charity to transfer next season  Mar 20 2017, 08:38:52 AM

    Bruce is, once again, the one sober voice in a silly thread. A vague comment from Riedel and Coleman's widow (who was only with him for a few years before the old-enough-to-be-her-father composer passed away) is hardly reason to believe a transfer is happening.

    It's just more wishful thinking (in a bottomless well of wishful thinking and pointless conjecture).

  • PRESENT LAUGHTER Previews  Mar 17 2017, 01:13:10 PM

    I've really just realized that Garry Essendine is supposed to only be 40 years old (Coward wrote it for himself when he was 38, although he didn't play the role until he was 41); just starting to barely put one toe into middle age. Have these lines about his recent 40th birthday been changed to something more believable?

    At even a very well preserved 69, Kline may be too mature to ideally portray the role. (Langella was a flamboyant and viral 58 when he played the

  • THE PRICE Reviews  Mar 17 2017, 11:33:18 AM

    "...would she be the first female Broadway critic from The New York Times?"

    Have you heard of Margo Jefferson or Anita Gates?

  • And Miss Reardon Drinks A Little  Mar 17 2017, 08:08:03 AM

    I saw a regional production in the 70s and enjoyed it very much, but it's definitely a post-Who's-Afraid-Of-Virginia-Woolf, psychological abuse, "oh, look, the dark secrets are spilling out and neatly spaced, too" kind of play, a genre that was very popular in the 60s (and which still gets written today, hello August: Osage County).

  • PRESENT LAUGHTER Previews  Mar 15 2017, 03:37:50 PM

    Very disappointing to hear all this, but it sounds like a lot of bad choices are being made, with the worst by far being a boneheaded decision to put a Coward comedy in the cavernous St. James.

    Perhaps Kline gave up when he realized that he would have to be miked to be heard at all, sure death for high comedy. And I'm not entirely certain that von Stuelpnagel was an inspired choice to direct this kind of piece.

    I enjoyed the 1996 Langella revival enormously, a

  • Mary, Mary - 1961 play  Mar 15 2017, 11:05:21 AM

    Well, the audit is a plot device; saying that Mary, Mary is a "play about avoiding an IRS tax audit" is like saying Oklahoma is about a box social, or Nine is about a director making a movie.

    That is, the plot and the story are not the same thing: Mary, Mary is about the altering nature of love and marriage, loving the inner person rather than her appearance,

  • Mary, Mary - 1961 play  Mar 15 2017, 08:41:48 AM

    I agree that the story of Star Spangled Girl  is thin and rather inane, but it is full of some of Simon's best gags.

    I love all of After Eight's recommendations, but they are that very difficult animal to pull off decades after their conception: contemporary and rather audacious plays during their time, that are now tame distant period pieces. The tourist crowd today would find them quaint at best, incomprehensible at worst.

  • Dreams Do Come True: Rachael Lily Rosenbloom...and dont' you ever forget it!  Mar 14 2017, 08:13:10 AM

    Didn't they have the help of Jabara's sister? I thought I read that...

  • The Light Years previews~  Mar 13 2017, 08:30:21 AM

    At 1 hour, 45 minutes, it's quite a painful bore, with an amateurishly haphazard sense of pacing that makes one feel that many light years have passed in the course of the evening. Aya Cash does a very good job bringing a bit of spontaneity and life to a pair of rather silly roles, but everyone else seems to be more or less just wandering around the theatre. Many people get credit as either writers or creators, which may be a good argument against creating theatre by commit

  • First South Asian Female Lead on Broadway since Bombay Dreams  Mar 10 2017, 11:31:03 AM

    Seems a bit like splitting hairs to me, but OK.