My high school English curricula included Oedipus, Hamlet, Waiting for Godot, The Crucible, Raisin in the Sun, The Glass Menagerie, and Death of a Salesman. I think if we are approaching this from a "plays as literature" perspective, that's a decent sampling.
But I did go to an arts program, so the plays read in my theatre classes were far more diverse and far too numerous to list here. And, honestly, would probably have been objected to by many parents if they were
Lane is such interesting casting as Roy Cohn that it's hard not to be excited by the prospect of seeing him do the role.
The fact that the revival was occurring, let alone with Andrew Garfield and Nathan Lane, was enough to get me to start potentially planning a London trip. It seems like it would be a surefire hit on Broadway, especially with the increase of high-profile repertory productions (Wolf Hall pts 1 and 2, Twelfth Night/Richard III, Harry Potter), which
I love Amber Gray, too. Her "Charming" is a showstopper; Lilli Cooper, while certainly a great performer and arguably a more technically proficient singer, wasn't able to nail the song the same way when she played Helene in Boston. Amber Gray has real star quality and brings it to every role she plays.
I saw Dear Evan Hansen back in May, and honestly... I can recall very little of it, other than loving Rachel Bay Jones, being impressed with Ben Platt, and thinking that the show ends on a massive copout.
Great Comet stuck with me from the first time I saw it back in 2013 and my fondness for it has only grown more intense since.
QueenAlice said: "I largely agree Kad, though I have a certain nostalgic fondness for that brand of musicals having lived through that era. I don't know if its really true or not, but there has always been a rumour surrounding this show that Jeanine Tesori ghost wrote some of the music for THE SECRET GARDEN - or at the very least took a lot of Lucy Simon's musical ideas and 'enhanced' them into fully fledged musical pieces. "
Yes, Finn, it would seem, has a habit of working backward from a word he wants to rhyme (for whatever reason) and not deviating from it. Jesse Green really put this best: "Finn grabs at a rhyme as if it were the last canapé on a tray" and also, importantly in terms of character in relation to lyric, asks: if “hepatitis” did not rhyme, sort of, with “excite us,” would Trina have it?" I think this is an astute criticism of Finn's style. I
I don't find the show at all confusing, since the plot is pretty simple. The character diagram in the program is useful as a primer for how everyone fits together without having to know War and Peace and the opening number is playful way to not only introduce the characters, but the tone of the show and to dismiss any preconceived notions about seeing a piece of theatre based on Russian literature.
The recent Lincoln Center concert really made me realize how mediocre the material is, aside from a few standout songs, and how dependent it is on production value. The show is really a relic from the 80s epic, public domain sourced, soaring emotional aria-filled, large production musical era.
I can't see a full-scale commercial revival being particularly viable in this day and age.