I agree with everything Whizzer said. The show left me glowing for days, which is something only the rare production of the rare show can do.
I adored Danny Burstein's Tevye--and, yes! the progression of his reponses from Tzeitel to Chava was probably the finest I have ever seen. (I did NOT like Alfred Molina's performance. Not one moment of it. I did like Harvey's but it was definitely along the lines of seeing a Zero Mostel--a larger-than-lif
My understanding of it was that this man, a descendent of the family, has arrived in Anatevka (the train station set) because he is retracing his roots.
I thought that too. I have often thought of visiting Russia, and taking a tri (a pilgrimage?) to the town of Bobruysk in Belorussia, where my grandparents lived. It is now an industrial suburb of Minsk, and I'm sure there is little if anything left of the shtetl that was their Anatevka. B
A very powerful production, the highlights of which are Danny Burstein's soulful Tevye, the absolutely flawless script and score and Hofesh Schecter's elaboration on the spirit of Jerome Robbins's choreography. The idea always was that it would NOT look like Broadway razzmatazz and it would also NOT look like folk dancing. Schecter creates gestures and stomps that borrow from the joyousness of Hasidic dance and create something that helps Bartlett Sher move&
You picked a perfect first opera. Not my favorite production, but you'll be seeing a Ukrainian soprano named Liudmyla Monastyrska, and I hear her voice is gorgeous.
There are two half-hour intermissions. I recommend having a glass of (overpriced) Champagne and strolling and people-watching. We like to prepay our drinks with the bartender before the first act begins. That way they are waiti
I believe it was PalJoey (who else COULD it have been?) who eloquently stated that the key to a good production of Follies is that the director has to know what the ghosts represent.
Yes, the lack of a truly original ghostlike atmosphere was my overall disappointment with Schaefer and Carlyle's work. (That and the horrendous blunder of putting Sally in red initially and forcing Elaine Paige to sing to the chorus boys and a criminal failur
Hal Prince has talked about the fights he and Michael Bennett had over bringing Neil Simon in. Simon and Bennett had become friends when they worked on Promises Promises together, and Bennett later would direct Simon's play God's Favorite and bring Simon in to write additional uncredited material for A Chorus Line.
The way Prince describes the fights with Bennett over Follies is that Prince agreed that the book of Follies needed fixing and he even
Yeah. That last paragraph on page 27 is what it was like: Michael doing coke, Michael getting hepatitis, Michael not doing coke, Treva saying oh-by-the-way-Michael-hired-me-to-write-additional-dialogue-for-Dreamgirls...
Watch that same moment with Yul Brynner and Patricia Morrison in the original staging, then Brynner and Deborah Kerr in the movie staging and Ken Watanabe and Kelli O'Hara in Christopher Gattelli's Lincoln Center restaging: