Now I certainly would not want to see a non-black cast in the Colour Purple, Dreamgirls etc. but are we really that consistent when it comes to attitudes towards cross-racial casting? For example, we can accept and celebrate a black Valjean (I certainly have no issue here). We can also accept an Asian Aladdin (if it were a white Aladdin I can just imagine the protests now).
What is it about race that we are so protective in certain situations? I'm thinking that perhaps because
I have to agree with some others that the musical is awful, but it has its moments and even Brantley acknowledges it has "one great song" in his review (a song I love). This revival has certainly gained a lot of steam very quickly in terms of buzz, sales and critical praise. I am so much more excited to see it now - hope that Glenn manages to be resilient in the show because I can just feel if there is any show that is at risk for attendance issues it's this one (based on d
I should have seen this before the hype because it's hard not to be a little disappointed. I enjoyed the acting performances (particularly Emma Stone) and it was a cute/sad/honest story (I found the extended montage of her replaying her life with Gosling's character particularly moving) - even if it felt a bit like Once at times - but I don't quite 'get' why it was even a musical. I realise it is probably exactly what they were going for, but it feels like a pre-R&
I do find that this board is sometimes consistent with the stereotypes that right-wing people hold of left-wing people (emotions over facts; silencing or trying to silence any differences of opinions; calling sexism/racism/bigotry for behaviours that may not be as black and white as they suggest it to be). I do think this thread was an overreaction (it would have been different had Holliday said she actually supported and voted for Trump - we know that she doesn't).
Yes I suppose when I look at the overall numbers and the shows that continue to churn through - it does seem to be 'working'.
I just ask myself sometimes how and wonder how long it can go on for.....if I think about some of my favourite shows in recent times (e.g., Follies, A Little Night Music, Grey Gardens, The Scottsboro Boys, The Visit, Bridges of Madison County, next to normal, Matilda, Bright Star, Caroline, or Change), it is crazy how so many of them failed to turn a
In the NYTimes Holliday was clear that she voted for Clinton. I would certainly cringe if any performer I was a fan of performed at this inauguration, but I see this as a far different situation than if a performer actually held crazy views (see: Christine Ebersole). This is a desperate career move on Holliday's part - I'm personally not sending her to gas chamber for that.
I was thinking the other day how cool it would be if a performer sang something that was subtle
"if you isolate the frames during which JHud was in the show and extrapolate it to the full run, the show still would not have recouped. "
Can you show that calculation? I'm not sure my quick calculation is consistent with that claim. Though of course such an extrapolation would probably be an overestimation anyway of the revenue as the Jhudd fans may have started drying up over time.
In any case, I do think this is yet another example showing how unsustai
Well for the most part, shows are financial failures - so they don't. But for the successful ones, the sale of more expensive tickets makes it possible - particularly when we are talking about heavily, heavily discounted tickets such as rush seats etc. or lottery tickets etc.
Of course, that doesn't mean smart producers shouldn't set or adjust the pricing appropriately to account for supply/demand, within reason. But I just feel we need to keep in mind that this i
theatregoer3 said: "Adding to what others have said, I cannot believe the cheapest seat at this show is $98.75 with fees. This is ridiculous.
I paid $60 to see Hamilton when it opened - before all of the hype and before it was hard to get tickets...before there was such a demand. Why are they charging so much for Groundhog?! My seats to Sunday in the Park are cheaper as well and that has Jake Gyllenhaal and Annaleigh Ashford headlining not to mention a well-proven book and
I never understand why people feel the need to scream over the top of a performance they are apparently enjoying. For example, the last note was completely drowned out in praise. Do they want to hear themselves screaming over it or the actual final note of the performance?