This show really doesn't have an audience,thats the thing. It will run for 3 months and then it will be over. It certainly won't work in a large theater.
One thing I'm not sure I agree with here: the suggestion that this is too much of a cult piece to have a wide audience. It's a show that has gained fans more and more over the years, and the movie has a loyal fan base that I think will translate into ticket buyers. If they tried to transfer it back when it started, it never would have worked. But I think it has real potential these days.
That you think it's reasonable that people need to learn to deal with you perfectly illustrates what a delusional twerp you are.
Well, yeah, asshole, people do need to learn to deal with someone with an autism spectrum disorder. That's part of life, as any forensic level psychologist could tell you. But that's incidental to what we're talking about here, since my ASD has absolutely nothing to do with the topic, why I write posts the way I do, or why I think NPH can't do it.
In order: * Topic is NPH above the title in Hedwig, not me. * I write posts the way I do because if someone's **** stinks I'm going to tell them, and I'm not going to let any pissant stand in my way. * Why I think NPH can't do it: the role is not a fit at this stage in his career, the music is out of his range, and it smacks of bad stunt casting to more than just me, so I can't be crazy. (Well, I can, but it can't have anything to do with my thoughts on the subject.)
To an earlier poster who said look at Sutton Foster in ANYTHING GOES... I hated Sutton Foster in ANYTHING GOES. Just like I've hated her in everything she touched. Same thing with Harris. This will be tough for me to enjoy...
"I know now that theatre saved my life." - Susan Stroman
It's a cheap show to do, put it in Circle in the Square for a three month run, extend it when NPH wins the Tony (and you better all get used to that idea RIGHT NOW because barring some act of God he will) and if you're sill doing OK let the recasting begin.
If I produced it I'd set up a "$20 first two rows regulars" deal or the like and cultivate that Rent crowd who sat through that show dozens of times.
'To an earlier poster who said look at Sutton Foster in ANYTHING GOES... I hated Sutton Foster in ANYTHING GOES. Just like I've hated her in everything she touched. Same thing with Harris. This will be tough for me to enjoy...'
Well...but then that's just your thing, isn't it? It's like me with Helen Hunt. I'd rather be curbstomped by someone with an autism spectrum disorder. But I recognize that that's inside me, and has nothing to do with the bigger picture.
Some of us have a very long history with this show. Some of us have a long history with NPH's work. Some of us can see how it might just work.
Some of us have a very long history with the show and STILL don't think this will work. And it's not just my thing. I know a lot of people who just plain can't stand the guy and his "talents".
"I know now that theatre saved my life." - Susan Stroman
Sure...and there are a lot of people who hate Helen Hunt as well...but when it comes to a multiple Emmy winner and an Oscar winner, I'm probably in the minority, so I accept that...and realize it's just my problem. Foster and Harris are very well-respected in the industry. They have a lot of fans. And for some reason, they don't work for you. And that's cool. But let's not pretend that they aren't headlining stars in the theater world.
And just for the record, the only person I'd ever call myself a fan of is Audra McDonald. Everybody else is just another actor.
My personal take, being unfamiliar with HEDWIG (though I've long hoped to see it as, by its reputation, it is well-heralded.)
NPH appears to me to be one of the most well-adjusted child-to-adult performers we've seen in recent times, and that maturity has been evident in his very successful and savvy choice of projects over the last 20 years or so. He has fostered good will and respect in a lot of different communities and, though this will be his first time originating a headlining role on Broadway (and the best of luck to him in this respect) he is a nationally-known and generally-liked star who is (through the Tonys and his other musical work for the Emmys and Oscars) associated with musical theatre and Broadway.
Furthermore, he knows his stuff. He knows the shows, and the cult status and baggage that comes with, I have to believe. Given his track record of career choices, I sure hope he would have turned it down if he didn't A) want to take it on and B) think he could pull it off.
Whether he will or not, I can't say, nor can any of us until we see it. But I've always liked him, always wanted to see this show, and look forward to the opportunity come the spring to check this out. May the Theatre Gods smile upon their production. ('Cause they surely know that any show with cult status can be torn asunder by the ****storm riptide of expectations high and low.)
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
"If he does, I'll be glad to revise my [arbitrary, ill-informed] opinion. This is one instance [because there are certainly no others] where the author [not to mention original star] directing would definitely be a help [because I lack the imagination to understand that another director could possibly come up with something good] rather than a hindrance [like Autism Spectrum Disorder]."