Saw this at the Pels, and was surprisingly underwhelmed by it. Felt like one long cliche about being a 20-somenthing gay man, surrounded by a group of callow, selfish girlfriends. Went because of the subject matter and the mostly rave reviews. I love Barbara Barrie, so glad she is still active and amazing. but can't think of any other reason to see this again. Meh.
Saw the original (and thanks to Jim Brichu for his recollections), and frankly forgot that I didn't see David Burns in the play. But Harold Gary was great, and basically "stole" the show from the other actors. This is not one of Miller's better plays, as noted earlier. Noticed no one has mentioned Jessica Hecht, not one of my favorite actors and variable, to say the least. How was she?
Interesting to read the pans given by some to this production (and in the case of AfterEight, to the show itself), after it has rightly been given "masterpiece" status by most who have seen it, either in the original, the brilliant London production at Studio 54, or in this recent revival. Yes, I'm one of those people who start crying at the first notes, and seeing the City Center production was amazing, and can't believe some of the criticism I'm reading on this si
Look, SUNDAY is a great show. It was great in its initial run, the first revival with Jenna and Daniel was amazing, and the recent concert version was breathtaking. Let's all be glad that we have this chance to see one of the great musicals of the 20th century, which is happening because of Jake, and stop carping at him, rather than being grateful. A whole new audience will get to see why this show is held in such high regard, and for many people, is considered Sondheim's masterpiece.
Most unfortunate decision. I was there just this week, looking for info on an old movie and if anyone knew where and how I might get it. Someone had posted about it this past week, I went to the recommended site and purchased the film on video. I have also made copies of unavailable films for other IMDB readers, just because I want to share my films and film knowledge with others. This will no longer be possible with the message boards gone. A shame, really.
...SUPERMAN was mostly stolen by Jack Cassidy, in his truly awe-inspiring way, and by the young Linda Lavin with her two great songs. But Bob Holiday, who had had a small role in FIORELLO! as a young law clerk, really shone as Clark Kent/Superman. He had just the right mix of straight-arrow and tongue-in-cheek that the role needed. The show was just okay, and it was during the Prince-producing time when the last row at every performance went for $2, amazingly cheap even in the days of $9.90 t
Beautiful to look at, great opening, great ending, two attractive leads, but doesn't rate very high on the film musical list. The few songs are mediocre, and while the leads do the best they can, they are neither singers nor dancers. Watching the Garland/Kelly/Astaire/Vera-Ellen/Donald O'Connor/Crosby/Reynolds films during the holidays only makes LA LA LAND pale in comparison.
The Sondheim show we want to love, but it almost never delivers. There have been so many book revisions (I thought the latest was by James Lapine, but the only credit was Furth's, no mention of Lapine anywhere), that by now it really should have played better than it does. But very little lands during the first two hours. Arden's direction, the choreography and set design are so busy, that it is unclear as to what to look at and when. And for a show that moves backwards, I'm
I intensely disliked the earlier Broadway production, especially Lindsay Duncan, who I found weak and ineffectual in the role. Thought the film was great, although Malkovich was perhaps a tad too slimy, but Glenn Close was as good as she has ever been. Liked the current production a lot, saw it at a late preview, and was surprised at its lackluster critical reception.
Not surprised by these early comments, but more concerned than ever that Jerry Zaks has been handed the directing reins on HELLO, DOLLY! Yes, it's an old-fashioned show, but in the best sense, and while it doesn't necessarily need a lot of shtick added to it, a brilliant comic director like John Rando would have been a much more interesting choice.
And although most Sondheim shows barely pay back their investors, and business generally falls off after we Sondheim fanatics have been three or ten times, this would be very different. Audiences would flock to see Jake in a musical (yes, even a Sondheim musical), so come on, producers, get on the ball!
And yes, how amazing a recording would be. Of course, we know someone on this site has already made a recording, right? Don't be shy...
Back in 1984, when SUNDAY was being introduced at Playwrights, I moved heaven and earth to get in to one of the performances. I had a tiny relationship with Steve (I was a charter member of the NYC Gay Men's Chorus, and he had not only worked with us twice, a master class in itself, but had given us leave to do all and any of his work at no charge), and wrote to him, begging for a ticket. He put me on a waiting list, but it didn't happen (and as we all now know, there was only on
Great production, great acting across the board. Paid full price (discounted seats were not good), but even in the second row mezzanine center, sometimes had trouble hearing the dialogue. And I think the ending (POSSIBLE SPOILER?) should have been exactly as it was in the film, since both this adaptation and the screenplay were by Christopher Hampton. Still very worth seeing.