It was bad enough that the snivelling afterschool special called DEAR EVAN HANSEN won all those incredibly undeserved awards -- we had to suffer through Kevin Spacey's attempts at humor, with his Johnny Carson and Bill Clinton impressions (ever cutting edge, that Spacey). And his teasing "coming out/closet" jokes seemed really grossly inappropriate in a show where more than one same-sex spouse was acknowledged and thanked by people with the guts to live out and proud, guts
"Directed by Rob Marshall" tells you everything you need to know about why NINE is an unspeakable disaster. The name "Anthony Minghella" appearing among the screenwriters tells you even more -- guaranteeing a bogus solemnity that is completely out of place in an adaptation of Fellini's 8 1/2.
Valentina3 said: "see I don't agree with that. His change of heart did not come too late. He was constantly protesting Gaston's stupid things (like leaving Maurice out to die, and then lying for him later). Those things did not happen near the end of Le Fou's character. He became slowly disillusioned. Changing your heart is not an easy "I just saw the real him" moment kind of thing, and I'm glad they didn't treat it like that. Yes, the innuendos were grossly
"Unrequited love is an offensive stereotype? I haven't seen the movie, but from all reports the gay subtext is barely even noticeable. What made it offensive or stereotypical?"
It's not about "unrequited love." In the movie, LeFou is presented as a slimy little sidekick to Gaston, with actual smirking sexual designs on him, and he's a vile little collaborator in Gaston's schemes -- it's a tasteless throwback to 1970s Gay Vill
Believe it or not, I want to love every movie I see. Really, truly. I don't ask for much, I don't think -- I'll forgive a whole lot as long as I don't feel that my intelligence is being insulted 24 frames a second for two hours. Bill Condon's CGI with humans version of Disney's BEAUTY AND THE BEAST can't manage that basic requirement. I'm in something of a state of shock here -- how could they have ****ed this up thi
Front row seats will miss some business involving the window because it is blocked by the sofa -- you'll know what I mean. Otherwise it's fine. Overall it's an amusing time-killer, some good laughs. As noted, profound it ain't.
I can't imagine that at any time in the play's 70 plus year history, that Amanda Wingfield has been called an "ugly babbling old witch" with less conviction than Joe Mantello's Tom was barely able to summon at last night's performance.
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.