Ado Annie D'Ysquith said: "Every time I read the synopsis on Wikipedia, I'm floored by how twisted the whole thing is and how somebody actually came up with the...erm...plot. And by the fact that it actually gets produced multiple times while other shows wallow in anonymity!
Seriously, New Group? The Sutton Foster-led Sweet Charity...to this?!"
It was critically acclaimed and won multiple Olivier Awards in London. It was also bolstered by
How are designers, choreographers, and directors- who are also unionized, with designers having their own companies- employed on productions? The model that is used for them can easily be applied to casting directors.
I sat in BB15 for Dave Malloy's performance post-Tony awards. It's an excellent vantage point for the whole production. The big interaction in the area is Anatole sitting down during "The Abduction," but there generally a lot of acknowledgment from the cast.
It is also probably the best vantage point to watch Grace McLean's track, if you're a fan (and I sure am).
little_sally said: "This cast is great and I'm so glad I got tickets when I did. I'm surprised to see that Oswald and the Balladeer are cast as separate performers. Is this how that it typically get cast now?"
They may have done that to expand the cast for this occasion.
I applaud everyone's bravery in coming out to say that they are fans of a critically lauded, commercially successful, and multiple award-winning musical. Truly, you all have been found and shall wave through windows no more.
Wilson is certainly very well-represented. The issue is that playwrights of color generally are not well-represented on Broadway or at the Tonys as a whole. The last African-American playwright, for instance, to win Best Play was actually Wilson himself... in 1987.