To those indulging in dream casting, remember that no one in this show is past his early 30s. Denis O'Hare could play one of their fathers.
Even with a cast of tv celebs, I suspect that this won't be universally well received. It conveys a simplistic and unattractive message about gay life that straights still like to hear, but not many gay folk do.
"...they also learn in up-close detail exactly how the casting process works, which is something you can only learn by watching it unfold."
Having worked in a few casting offices many years ago (briefly), I can vouch that it's not brain surgery; in fact, although a trained monkey probably couldn't do it, it's not skilled labor. Often, it's the refuge of an actor or director who couldn't succeed in their first chosen profession, but who still wants
"Follies flopped all three times on Broadway, which is kinda mega in its own right."
I should probably define terms, you're right. Mega-flop, to me, means a show that closes fast (Chess ran for two months; Follies for a year and two months), and was also poorly received by critics. Follies, as we all know, is generally extremely highly regarded. Frank Rich has
I subscribed from the first season through 2014, but abandoned it after that, because:
1) earlier seasons sort of followed a mission of presenting scores that either hadn't been recorded (or hadn't been recorded well), or that most living theatre-goers had had little-to-no chance of hearing done live. As they drifted further and further from that paradigm, my interest waned;
2) as the years went on, Encores began amplifying/miking the orchestra more and more, resulting i
I think if you're a good person, and eat your vegetables, and every night you say a little prayer that there'll always be producers who are dumb enough to miss the fact that reviving mega-flops never results in a hit - maybe then you'll get your wish.
Far be it from me to point out the errors in your argument, but it should be noted that there have been many Off Broadway works that have had significant extended life without ever having been on Broadway (including Vogel's How I Learned To Drive). A short list would include Little Shop of Horrors, March of the Falsettos, Three Tall Women, The Miss Firecracker Contest, A Coupla White Chicks Sittin Aro
"...but of course Broadway is nowhere near the best of New York or American theatre."
THIS cannot be said enough. The best plays today are to be found at regional theatres and Off Broadway. Sometimes they transfer to an uptown commercial run, but Broadway is, for the most part, tourist fodder.
Exactly, M.O.A.I. - we liberals believe that we are immune from knee-jerk responses, and it's far from true, when a party line is espoused that basically implies that the work of women artists and artists of color are beyond reproach, because not only can any criticism of such work only come from misogyny and/or racism, not bestowing all available commercial awards upon these works is also a work of fascism and white patriarchy.
I think it might be verging on a kind of paranoia to say that Vogel's prior plays were not produced on Broadway because she's a woman. And, personally, I thought Hnath's play was the better of the two. I haven't seen Oslo, but Rogers has been plugging away for 25 or so years and this is his Broadway debut - what's the excuse for that?
"I personally feel both shows deserved better from critics and audiences alike."
Again, plays don't deserve anything - you write them, produce them, put them out there, and they find an audience or they don't. Blaming others for one's own failure(s) is excessively immature and ultimately self-destructive.
Brantley's review of Indecent was not a pan, but it was mixed, and it was not a Critic's Pick.
But poor unfortunate Vogel blaming white men for the failure of her play is as sadly wooly-headed as Theresa Rebeck blaming misogyny for her numerous failures. Indecent has much to recommend; but, personally, I found it to be a triumph of wonderful staging and acting over rather shapeless and fuzzy writing. Nevertheless, it was cle
"I think it is criminal that B'way cannot support a Pulitzer prize winning play."
1) Pulitzers are awarded by a small group of journalists, none of whom are any more expert in theatre than several posters on this site. A Pulitzer is nice to have, but it doesn't confer any additional "quality" to a play/musical.
2) "B'way" has supported quite a number of Pulitzer winners, beginning with Why Marry?