Kimbo said: "jayinchelsea said: "The best show of this past season, by far, was THE NEW YORKERS, from Cole Porter. Were there really no better choices, or is Jack Viertel just too lazy to do the work? "
Your message is condescending and self-contradictory. "The New Yorkers" was the most lavish restoration job Encores has ever done, for which Jack Viertel himself (for whom it had been a passion project for years) wrote the new book adaptat
JSquared2 said: "Because they have a LOT of tickets to sell, and it's Show BUSINESS, not Show "Let's Produce a Bunch of Old Forgotten Shows That No One Except For A Few Dozen Old Theatre Queens Care About" !!
Wow, what the f**k is your problem? To quote Encores! mission from their website, their aim "celebrates the rarely heard works of America’s most important composers and lyricists" and has generally been to
Totally bummed about the choices, talk about lazy! Neither ME AND MY GIRL or GRAND HOTEL are great shows, or have great scores, so why these choices? Where are the still unproduced shows of Rodgers and Hart, or Jerome Kern? Or WIDCAT or some of the other shows of the 40s, 50s and 60s that are waiting to be seen? The best show of this past season, by far, was THE NEW YORKERS, from Cole Porter. Were there really no better choices, or is Jack Viertel just too lazy to do the work? Yes, some of th
I appreciate reading the differing opinions of Doyle's work on the show, and I assume that Sondheim and Weidman have agreed to them. Doyle is a variable talent, imo; he truly brought THE COLOR PURPLE to life, but his work on THE VISIT, which I saw years ago at Signature and loved, did not help the piece at all.
PACIFIC OVERTURES is a difficult show; over the years I have come to admire and even love it. I am seeing it later this month, and am hopeful that this version respects
Hopefully this will die where it begins. The director is not the second coming, and why doesn't he pick on someone else, for example, Neil Simon? His work reminds me of theatre 20-odd years ago, when every "serious" play ended with deconstruction. Nothing really revolutionary, just pretentious. And no, Arthur Miller would not have applauded what has been done, and neither would Joe Mankiewicz.
Sure that Henry and Mueller will be fine, but have been hoping that someone would do CAROUSEL with Pasquale and Osnes, who were amazing in the Lyric Opera production. And if that had not been totally misdirected by the awful Rob Ashford, we would have gotten this much sooner. Here is the clip from youtube of the "bench scene" from Chicago, and watching it makes me wish for Steven and Laura to do these roles.
I am so heartsick to hear these comments about PO. While it is not my favorite Sondheim show (I've been watching it since its tryout in Boston in 1975), it sounds as though Doyle has eviscerated the show. And I love watching the original on youtube. Hoping that Weidman can effect some changes on what Doyle has wrongheadedly wrought.
The PR folk at AVENUE Q ran a brilliant campaign, and it rightfully won over WICKED, which is a loud, bloated musical loaded with Stephen Schwartz anthems (yes, I like "For Good" too, but not much else). AVENUE Q, may I remind everyone, is still running, albeit off-Broadway, after doing 2534 performances on Broadway, and it has already racked up several thousand more at New World Stages. So take that, WICKED!
For a bit more background on this play: I saw the famous Mike Nichols staging at Lincoln Center back in the 1960s, and Anne Bancroft as Regina and Margaret Leighton as Birdie were memorable (as was George C. Scott as Ben). The next major production with Elizabeth Taylor was better than anyone expected (her non-award-acceptance speech at the Tonys was hilarious), and although Maureen Stapleton as Birdie was the standout, Taylor held her own. The last LC production with Stockard Channing as Reg
After reading all the reviews, this sounds pretty much like the show I saw last year in Chicago. Long, uninvolving book, pedestrian songs, dull musical staging. It's about the women, and while they are both terrific, there's really nothing for them to play but stereotypes. Reviews were better than expected, but once the target audience has been exhausted, who's going to plunk down full price for this show? And stating that it's better than DEH...what kind of drugs are you on?
Well, even if the show is as bad as many of you say it is, and it gets correspondingly negative reviews, I still think it could have a successful tour. Look at the dreck of FINDING NEVERLAND, which somehow managed to last on Broadway despite negative reviews, and is now touring the country. There is a pre-sold element to this show, thanks to the book and the movie, and kids will want to see it.
There has to be a recording of this production! And better yet, a video, perhaps for Broadway HD? It would be a shame if this isn't preserved for all of us and for future audiences. Yes, the original was glorious, and the last revival broke my heart (I cried so much at the final performance, we sat right across from Sondheim, we were all sobbing). But please keep posting about this!
Love Aaron Tveit, have ever since NEXT TO NORMAL, but will not watch THE GOOD FIGHT, even with this great cast. I am outraged that CBS started the series on network TV, but now you have to pay to watch the rest of it on their cable station. Just think, now we can pay to watch 641 episodes of BIG BROTHER, bfd.
Frankly, kind of surprised that the play is being revived again; the last revival at Roundabout was only seven years ago, and was no great shakes (nor was the Langella revival back in 1996). As I am now living out of NYC, and so many shows are coming in the next few weeks, my days of seeing everything are over, and PRESENT LAUGHTER is not on my list.
I first saw DOLLY as a Brooklyn teen back in January, 1964 (and my tickets said DOLLY: A DAMNED EXASPERATING WOMAN, the original title, I should have kept those stubs), and two weeks later won a school lottery and saw Channing again, and this time met the wonderful Alice Playten (she had gone to school with my "date". Thus began my "DOLLY odyssey" which included Betty Grable, Pearl Bailey (several times) and Ethel Me
Also saw this in Chicago, and expected it to be good trashy fun. It was not. It was dull and predictable, and the only "laughs" it got were from Patti's accent and malapropisms. I was not a fan of GREY GARDENS, although Christine in the second act was very special. Sounds as though little has improved since Chicago, when I saw the show at a Saturday matinee, filled with older women and a few gay men. The audience response was polite but tepid; even the final "confrontation&