Kad said: "I mean, they already had generally hacked down the length of most theatre reviews to a couple hundred words.
Wasn't that always their model, though? Even their lead reviews were generally in the 600-700 word range, for as long as I can remember. Most of the reviews were 300-word quick-hits that could easily be converted into a 75-word capsule.
The theater is a hard proscenium configuration, and the first rows are VERY close to the stage. For some productions, this can be partial view, depending on the set. I would recommend getting seats at least 4-5 rows back, if not more. The entire house is only 12 rows deeps, and I don't really think there's a bad seat once you get at least a few rows back.
This production treats The Little Foxes with respect, reverence even. That is often its impediment. This story of avarice in the American South at the turn of the century is sharply written, both as a piece of dramatic literature and as a morality tale of sorts. The current Broadway revival neither produces the crackling delight of which the Hubbards are capable, nor does it squarely land its more profound message about the wicked people who eat the earth.
I received a couple initial offers for the ticket, but they've all since backed out. The performance is on Mother's Day, which some people didn't seem to realize at first. So I'm still looking for a firm buyer. No one has tried to lowball me, and the price is firm, especially considering the run is sold out.
In addition to the miscasting of several key roles and the fact that the added songs were nowhere near as good as the ones they replaced, the film never quite nailed the musical's rueful tone. It often felt like an empty pageant -- but what else would you expect from Rob Marshall?
Matthew Murray - I like him as a person, but he's an odd "reviewer" - and he's not paid to review anything, just like people on Broadway World aren't paid to review - they're just people who want free tickets and have a site to post their thoughts.
I've seen you try to make this argument multiple times, both here and on ATC -- is "he's not paid, therefore he's not a 'real' critic" really the best you can do?
Opera and music critics would also frequently leave performances before they were over, a fact that would be noted in their reviews (e.g., "Left prior to Brunnhilde's immolation," etc). At some point, they determined that opera reviews appearing overnight were not a matter of dire consequence...
Best: I know people value the Booth for its intimacy, but it's never been my favorite. The sightlines are terrible unless you're sitting dead-center, and there always seems to be a lot of street noise. The Music Box and the Belasco have the best combination of everything as far as I'm concerned.
Worst: Studio 54. Terrible acoustics, horribly uncomfortable seats, and anything past the sixth or seventh row of the orchestra feels very far away from the stage. Sitting in the re