Today is Tuesday, April 14, and well, I hope you've all saved the date!
The BroadwayWorld community has all been cordially invited to celebrate the OPENING NIGHT performance of IT SHOULDA BEEN YOU on Broadway!
This new musical is complete with blushing brides, nervous grooms, overbearing moms, unexpected guests, and enough twists and turns to make even the most experienced wedding planner throw up his hands and say 'holy matrimony!'.
The cast features Tyne Daly, Harriet Harris, Sierra Boggess, Lisa Howard, David Burtka, Montego Glover, Chip Zien, Josh Grisetti, Adam Heller, Michael X. Martin, Anne L. Nathan, Nick Spangler, and Edward Hibbert, all of whom, are under the adroit direction of David Hyde Pierce.
Honestly, this is the show this spring that I have the least sense of what to expect. I could see a bloodbath, I could see broad disagreement, I could tepid non-reviews, I could see surprised-as-you-are raves. I am oddly curious just to see how it pans out.
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.
There could be a lot of playing nice in an effort to keep David Hyde Pierce (who is clearly a minor-yet-significant power in the Broadway scene) happy, but that seems to be only a remote possibility.
I could see the reviews being more dismissive than anything else. I would be very surprised to see anything particularly glowing, though, aside from praise for some of the performances (Harris, Daly, and Howard are deserving of that much; the men and the material itself, not really).
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Philly, Friday evening was a press night. In order to ensure that the theatre was completely full, a large amount of seats were papered (including my ticket). Tons of shows do this during preview/press performances.
I'm also incredibly curious to see what the reviews will be like. While it's a pretty poorly written, generic script an score, I had an asbolute blast at the show. This is thanks mostly to hilarious performances by Tyne Daly, Harriet Harris, Edward Hibbert, and a warm central performance by Lisa Howard.
-There's the muddle in the middle. There's the puddle where the poodle did the piddle."
"I met a tony voter online. Did you know they get 2 house seats to every show?? I'm gonna ask him to take me to shows for freeeeee :)"
Phil, for someone claiming to be in the business, there seems to be a lot about the business of which you know nothing. The tickets are part of the Tony rules.
"the producer of the production must invite, in a timely manner and free of charge, each of the eligible Tony voters, as well as the members (including those designated on an ex officio basis) and alternate designees of the Tony Awards Administration Committee, to attend a performance of the production. Invitations shall be extended, either via postal service and/or email, for performances occurring no later than the earlier of 16 weeks after the production officially opens or the day before the annual Tony Nominating Meeting."
Good luck in getting someone you just met "online" to grant you such a boon.
To quote IT'S ONLY A PLAY: "this town's gonna eat you alive."
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.
I'm so confused. Is the book good or not? People on here have said its one of the best books of a musical in a while and others call it poorly written. It can't be both.
The general consensus (among those of us who liked or loathed it) is the the book is like a 70s or 80s sitcom script.
It's up to the individual to decide if that means "good" or "bad." To me, it was clumsy and hokey to the Nth degree, yet still less annoying than the unbearably stupid new book for Gigi.