I saw this last night. It's a very very bad play -- warmed over Beckett/Albee/Ionesco, dumbed down and cuted up. You'll see where it is going soon enough. The actors do their best, but it is a losing battle against a silly sophomoric text. The most interesting thing about the show was that it got me wondering if Signature ever returns a play to one of their Resident Playwrights because it simply isn't good enough, or is there some kind of contractual loopho
Well, actually, yeah it is the job of the musical to depict the relationship's break up in a convincing manner. Opinions are clearly gonna differ on this. It just felt very abrupt to me, more of a dramatic contrivance to add weight to a pair of comedy relief characters who wouldn't have it otherwise than an
I'd have been interested to see a documentary about Gander and the events of 9/11, or read a really good article on the subject. The musical just goes very broad very quickly, making the most obvious points about everybody and everything and at the end everybody feels better and well, okay, whatever. There's nothing particularly distinguished in the book or score. The direction and performances keep the energy high throughout, but it all felt very by the numbers to m
Well, yeah, it is a period piece -- it's set in a very specific time and place, with references to Napoleon and the social obligations about marriage and the way women are expected to behave. It also upsets the expectations of typical period drama by adding deliberate anachronism like neon sneakers and Pierre's reference to spending hours at his screen in order to draw parallels between that period in history and this period in history. It's a fairly common practice, n
I saw the show once in the Meatpacking District, and twice in the tent next to the Imperial. Saw it on Broadway a few months back, when Groban was out, from Orchestra seats which were merely okay. Saw it again the other night, from first row of the front mezz, and I'd heartily recommend that as being the ideal way to see the show on Broadway -- it's all right there, and the sound mix sounds so much better without being bounced around under the mezzanine.
Yeah, I'm in the "what's to be confused about?" camp -- it seemed pretty straightforward to me. I only got lost, the first time I saw at Kazino a few years back, during the Abduction scene, with Balaga and all the running around. I just had no idea what was going on, but I rolled with it, and was soon back on track. The next time I saw it I realized that Mr. Toschi and Mr. Steele had evidently fumbled some words that first time, it was clear as day the second tim
Once upon a time, PBS didn't censor programming. Naughty language was broadcast as is. And then the GOP got all huffy and puffy over TALES OF THE CITY because "ewwwwwww, faggots!" and that was the end of that.
There is no equivalence between Mike Pence and Obama. Mike Pence has actively endorsed bigotry against most of the people in that building last night. The only thing Obama ever did to his critics is be black.
There was no slip in the program for GREAT COMET on Thursday night announcing that Scott Stangland would be playing Pierre, not in the program I got, not in the program my husband got. There was a stuffer with the revised billing for Ars Nova, but NO SLIP AT ALL referring to a replacement Pierre. There was no announcement before the show either.
Groban was out last night. No announcement before the show, no note inserted in the program, no word of any kind, but they did send out an e-mail at 7:30 p.m., a half hour after the show started, with information about exchanges/refunds. Not well handled, guys.
I didn't think there was anything so wrong with Staunton's performance that a quick recalibration for video rather than stage wouldn't have fixed -- she was so clearly playing for the folks in the balcony rather than the camera that had zoomed into a tighter than tight closeup that she seemed to be bizarrely overplaying so much of it. There's no denying the brilliance of her Everything's Coming Up Roses.
Pretty good overall, but over-reached in that British way of adding a "Darker Vision" to material that doesn't really need it, most evident in the decision to costume and make-up the imperishable trio of strippers Mazeppa, Electra and Tessie as if they were White Walkers from Game Of Thrones. The total abject humorlessness of the production just became choking after a while. Ms. Staunton did quite well, I thought, but I couldn't help wondering, by time Rose final
I saw the Actors Fund benefit performance last night, my second trip after having seen it in the spring of this year and having listened to the album pretty frequently ever since. I'm so glad to have had the opportunity to revisit this show -- it's got to be the truest cliche around that you just can't get it all in one viewing or listening, there's just way too much going on. I heard my husband gasp more than once at little nuances in the lyrics that we'd neve
I'd have liked the documentary a lot more if it hadn't featured cameos from George W. Bush, Laura Bush, Paul Ryan and some creature from Fox Business News. Why give vermin like this a chance to polish their reputations by association with an important American cultural event? A sad sad error.