"Comparing it to Side Show is not really the best example."
Your point is valid. Monty did run much longer than Side Show, at 770 performances. However, if it did recoup, it squeaked by, and its first national tour rather famously closed after only a few stops. Although it may be somewhat popular with amateur groups (I saw 1/2 of a community theatre production once, I recall), I think that few would call i
It's a very enjoyable revival, and one that still doesn't approach (for me) the brilliance of the original. Still, it's superior by far to the Menier and Kennedy Center revivals.
The orchestra, although a bit over-amplified for my taste, is perfect. A group of top musicians at the top of their game. My favorite performances are those of Ashley Park, Phillip Boykin, Ruthie Ann Miles, and Jenni Barber. These people all sing and act beautifully, and really make t
The acoustics there were unbearable, even plays had to be miked. For musicals, orchestras were physically located on another floor of the building (not so unusual today, but that was the first time I had seen it). If you're a fan of acoustic sound, it was a nightmare.
i remember the space opened with a show called Suds, a mindless jukebox review of 60s pop tunes linked to a story about a jilted woman trying to commit suicide in a laundromat, and the three angels who t
On this question of "should I prepare for Sunday?", all I can say is - the first time I saw it was late in previews for the original Broadway production when I was an undergrad, and it hit me immediately, like a ton of bricks. With no familiarity with the material in the least.
Repeated viewing revealed more things, but... I have to say, if you don't "get it" right away, there's either 1) something wrong with the product
"Specifically the strings, who continuously played Jonathan Tunick's orchestrations out of tempo, and with a lack of precision that should be required if one attempts "pointillism" in music."
This sounds extra strange; are there more strings in this production than the 4 (2 violins, 1 viola, 1 cello) in the original? I can't imagine that a professional Broadway string quartet couldn't get this score right after a normal rehearsal p
"He is cute, but honestly - so was Harvey at the time of this play..."
Well, no. And that's why so much of the text of the play is tied to Arnold's low self esteem about his attractiveness. Remember the last line of the opening monologue - "with a face and a voice like this I could always drive a cab."
I like Urie fine, but a cute, sexy Arnold seems somewhat antithetical to the entire point of the play(s).
I also think that what was once riveting, sui generis, and game changing will come off now as a little more than a cute period piece, particularly with an actor less... unique than Fierstein at the center. I remember how underwhelming David Garrison was in the role as a Broadway replacement years ago.
Hogan wrote: "The proof is in the pudding and if there were such a show, the stop clause is obviously subject to invocation."
Under normal conditions, you're certainly right. But this tureen of producers is unusually wealthy and powerful; the type who can pay to get the rules bent, if not changed. Why they would do so is a mystery; it seems like a lot of money and favors called in, merely to satisfy the whimsical ego of a bored