The night I saw it, each “switch” was clearly evident as it happened. The effect was still fun, and it got big laughs and a hand, but I was disappointed, as it detracted from what really needs to be – and should be – an entirely seamless trick. But then I read people’s reviews here and talked to friends, and no one else thought it was noticeable, so maybe they were having an off night when I was there. They were only about a week into previews, so t
Auggie27 said: "(I didn't know Benton struggled in the theater. When I saw it, she was quite wonderful. It is rangy for her? Or is it the "At the Ballet" styled belt that arrives thus and challenges? A layperson's question, don't beat me up, singers.)"
Singer friends of mine have said that much of the score sits in a weird part of her break, and they feel that because she has to spend so much time negotiating that, it gets in the way
I didn’t care for the show as much as you did, uncageg, but the Jeremy Pope performance you describe sounds very much like the performance I saw two months ago. While the book doesn’t exactly give him a ton to build a character from (first he’s required to react; then he’s required to emote), I don’t think Pope is up to snuff acting-wise or vocally here. Or: if he has notable talent, this material doesn't allow him to display it.
I understand the knocks Buffett takes. He has a catalogue filled with frivolity. He also has knack for economical, aching storytelling (“He Went to Paris" )and melancholy evocativeness (“Come Monday" ). And given his age and musical milieu, his introspective treatment of male angst might surprise casual listeners. (Pro tip: the protagonist who pleads with a woman to get drunk and screw is not a hero, but a pathetic, alpha-male poseur.) My point is, he&r
Wow. GREAT COMET leads by 2 even with no Supporting Actress noms. Good for them! I’m also very pleased with all of the GROUNDHOG DAY and FALSETTOS recognition. Aside from Amber Gray not being nominated, this is a pretty solid pack.
More Grace McLean support here. The larger space of the Imperial has diluted – or maybe just re-contextualized – the show’s “wow” moments, all of which felt more explosive at Kazino, but Grace still registers what is a relatively minor role, material-wise, in a big way. I’ll also add lots of love for Gelsey Bell’s Princess Mary, who knocks it out of the park. I’ve seen a few different Marys, but nobody can touch the range of emotions she wrings
If he did that, he would be using his faculties in the manner of a critic, which he despises. For After Eight, his opinions – i.e., those silly lists of adjectives – don’t need justification. They are correct without explanation, they are the Truth, and you can take them or leave them. (And whichever you choose is irrelevant because, either way, he’s still right. And he has the nerve to rail against smugness. Amazing, isn’t it?)
If you have the choice and aren’t attached to Josh as a name, see Dave. I saw Dave three times and have seen Josh twice, and I’m really sad I won’t make it back while Dave is subbing. Josh is terrific. He really is. You’d be more than satisfied with his performance. But Dave owns Pierre.
I actually enjoy the movie on its own terms, but it took me awhile to get to that point, as I’m very attached to the show. Do I wish more than half the score hadn’t been cut? Yes. Is there a much better movie adaptation to be made from NINE? Yes, and I hope someday we see it. I kind of love DDL’s performance in the movie – because it works in the movie. Those choices would never work in the show, nor do I think that’s he’d make those choices i