"But it’s incumbent upon our critics to think out loud about how a stage work might register with a 21st century audience. To do otherwise is to make theater nothing more than a scholastic enterprise."
As the first to complain about the Hughes review on these boards (and notice I took offense to Green's review as well) I find this paragraph to be particularly specious. The complaint (Viertel and mine) is not about her "think[ing] out lo
As I said earlier, I don't mind if a good critic places a revival within a cultural context.It actually happens very rarely. After seeing the current, wonderful "Sunday" revival I guarantee the critics will not be placing it in a "cultural context" in their review. Because there IS NONE.
However, a young, privileged white boy getting "woke" to the indecencies of racism seems to me utterly currently culturally contextual. But instead, Hu
I have no problem with a critic placing works within a cultural context. The problem is SHE DOESN'T UNDERSTAND WHAT THAT CULTURAL CONTEXT IS!!
Oh, and aren't we a progressive anti-progressive for condemning those progressives who find that the PC culture has worn out it's once useful welcome. Or to the point, the PC Police allow liberals to wail against minor, stupid, narrow "injustices", feel good about themselves for doing "something" and ignore th
About ten years ago (possibly more) I saw Sally Field's Amanda at the Kennedy Center. She was the finest Amanda Wingfield I had ever seen and have since seen (including Cherry Jones). Her's was the only Amanda I could easily imagine as once the coquettish Southern belle with a room full of gentlemen callers. Her entire history was written on her performance. As she was probably too old for the role even then (though she's always had a youthful veneer) I was a little surprised she
I actually didn't think I'd miss Isherwood so quickly. But this misshapen, confusing and contradictory review by this Hughes critic sure makes me rethink my hallelujahs at his firing.
This is how she ends the review: " I’m not arguing for rewriting Twain or for consigning “Big River” to the scrap heap. But especially right now, with the United States plumbing its own soul over questions of privilege and belonging, the show doesn’t seem to have a
Sometimes when great pieces of literature are translated to stage or screen, the first person direct address"story theatre" approach is used to get across the author's direct POV and also help cutting through pages of plot. "Ragtime" used this approach to the max.
I really enjoyed Nich Barasch's very naturalistic take on Huck. It was almost surprising as his Arpad in She Loves Me was extreme musical comedy acting (appropriately so). It shows what a truly tal
Dear God, Whizzer. "Harmless fun"? No. No, Not only is "Huckleberry Finn" one of the most ironic novels ever written, it's a dangerous book. For it's irony AND it's edge. Though he had some ambivalence on race relations at times, Twain was an abolitionist and an advanced thinker.
Not only that, but because of (or maybe in spite of) it's strange alchemy of creation, "Big River" is possibly the greatest musical the
It also seems very un-PC to actually say, when referring to non-traditonal casting, that the POC actor is playing WHITE. They have not changed a character that, given said character's time, opportunities, and relationships, would be anything other than white (Audra's Lizzie in "110 in the Shade" comes to mind). But that rarely comes up when people defend color-blind casting. But it's all pretend, so why not say it?
The biggest problem with Lion King is that it never gets better than that opening number (which mad me cry uncontrollably for reasons I'm still not sure. But there is a beauty to what is happening around you mixed with the beauty of that song).
What makes Mame such a wonderful character (and difficult) is that she is this mixture of privileged pretension and extreme heart. Roz is perfection in the film, and I'm sure Lansbury was in the musical. But to find that combination I have to go with Jane Krakowski. She has demonstrated again and again that she has the right delivery and persona to make a wonderful Mame. And though perfect, her casting would also seem "out of the box".
songanddanceman2 said: "Sorry but if he thought it got weaker them he shouldn't be a critic"
Songanddnaceman2 is a liar. Not that he knows he's lying, He's a fabulist. But he doesn't know he's a fabulist. His delusions appear in the form that he completely believes his world view and his alone is reality.
icecreambenjamin, the Theatre Du Chatelet "Night Music" was one of the best, if not THE best productions of the show I'd ever seen. The director (who was not as successful with "Sunday" a couple years ago) had some marvelous ideas. Breathtaking at times, well sung (except for Leslie Caron, who was excellent star casting, but not terrible persuasive in the role of Madame Armfeldt).