I saw Wayne Brady on Tuesday, and while he hit all the right notes, I found him extremely lacking in presence. Burr no longer felt like a leading role, or the prime narrator, he just felt like another one of the guys, a role on the same level as Washington, Lafayette, and Mulligan. Because of that, the through line of the tension between Burr and Hamilton didn't really come through, and the show just felt very episodic and expositional. I was amazed in how one performer lacking gravitas c
I saw the show last night and my feelings were very mixed. I've been a fan of Landau for years, and her work was a delightful visual treat, but so little of the show felt like the SpongeBob world I grew up with, for better or for worse. I haven't read the entirety of this thread, so if I am just repeating what others have said, I apologize.
My main problem with the show was the score. The problem (for the most part) was not that the songs felt too disparate and eclectic to be o
The plot structure of a show counts as a book. In my opinion, Hamilton has a fantastic, Tony-worthy book because of its structure. Lyric writing is more of a moment-to-moment thing, but how they connect is totally different. Evita is a sung-through show that I would say has a weak book because the structure is so sloppy. If you accept the basic principle of a linear plot as one event causes the next, which causes the next, until the last do
For me, the main reason to see the show was the always-astounding Larry Yando in the role of Prospero. The magic was fun and usually well-integrated, but the music and the Pilobolus choreography felt like they came from a different world. I also wished that the songs set some of Shakespeare's text to music instead of writing new lyrics--there's so much to pull from, and what they came up with really stuck out. I was also very unimpressed with the young actress playing Miranda. I could
Fascinating to see such negative sentiment here. I remember five years ago, when Elaine Stritch did A Little Night Music, she refused to have an earpiece because of her dignity, which led to numerous long, awkward pauses as she tried to recall her lines. People then seemed to say that she should have sucked it up and used an earpiece like Angela Lansbury, who originated the role in that revival, did.
Scarywarhol said: "Saw the NT Live broadcast of this and feel so alone. I thought it was gimmicky, tacky, and over-wrought. The production, that is--good performances. I've seen this whole bag of tricks used so many times. "
You are not alone. I also saw the broadcast and thought it was alternately extremely irritating and laughably bad. I love the play, and I think that the 2010 revival really captured what is so great about the piece. This production is so fille
The play was extremely well-received in its world premiere in Chicago last year, directed by the (tragically) recently deceased PJ Paparelli. As a big fan of Karam's writing, and this play in particular, I am glad to hear your positive reactions. I love how Karam makes an essentially plotless story so compelling by weaving in a building sense of suspense into the proceedings. The characters he crafts are so believable, relatable, and lovable. I consider Karam to be among the ver
EricMontreal22, that was indeed the case with Cromer's production. The first act was left in its original state, but the second act consisted of just the first scene of act two in the published script, relocated from the cocktail lounge to (if I am remembering correctly) a pier at or near the Finley residence. The third act of Cromer's production consisted of the second scene of act two and the entirety of the third act in the published script. The only thing that didn't work for
To clarify for Mr Roxy, a production was announced for Broadway a few years back with David Cromer set to direct Nicole Kidman and James Franco in the lead roles. That production fell through, but Cromer was able to stage his production in Chicago with Diane Lane and Finn Wittrock in those roles. The production was very well-received and sold remarkably well, but no transfer occurred. I am glad it worked out the way it did, as Lane and Wittrock were better than I could imagine Kidman and
I'm not much of a fan of Van Hove's work, but everything else about this so excites me. I don't mind if Proctor is significantly younger than he historically was as long as it makes sense within the world created onstage. It's historical fiction; I don't mind if some details are fudged. But the most exciting thing about this, for me, is Phillip Glass's score. I am very much looking forward to hearing thoughts on what will probably be a very divisive production.
I know that West Side Story is generally understood to be a staple of high school drama programs, but I have never actually known anyone whose high school did the show. It requires a lot of men with dance ability, and so few high schools have that.
It's nice to see lots of very strong shows that can really inspire a love of theatre on this list. However, seeing favorites of mine produced so commonly also makes me very nervous--as Gaveston said, there's nothing like a
I do try to dress decently when I see plays, but I never care what fellow patrons wear--I'm there to watch the show, not my fellow audience members. Dress codes at performances recall the pre-Wagnerian days when attending a performance was as much a social event as it was entertainment. By turning off our phones, we are agreeing that we only care about what is happening on stage.
When Vincintelli (a person I continually grow to loathe with each word she says) closes
I saw her alternate, Christina DeCicco, in the role, and i thought she was wonderful. Ricky Martin was, as everyone keeps repeating, very underwhelming as Che. I loved this production's staging and design for its willingness to part from the cartoonish Hal Prince staging that has been reproduced for decades. This was the first production of Evita I have seen in which it seemed that someone actually realized that the show is set in Argentina. The orchestrations sounded more Latin and the
I have to disagree with you. I was disappointed with this production, but having seen what I thought was a wonderful production of the play not quite two years ago, I am tempted to say the fault lies in this production and its performers. I could not believe Angela Lansbury as southern or Jewish, and I frequently had trouble understanding what James Earl Jones was saying. They played their scenes in a very slow, almost melodramatic manner that really didn't work for me. I was never able to co
I'm disappointed to hear that those two songs that really, really work (and you can't say that about much of the score) are gone, and nobody has mentioned anything about further development of the minor characters. Of course, on Lippa's last musical, Big Fish, he cut a song that worked really well ("The River Between Us") and left an embarrassingly awkward clunker untouched ("Showdown," anyone?).
I imagined that Sutton would be miscast, and the video clips (which, gra