I saw this production and do remember a production number for "Papa." HIGH BUTTON SHOES is one of those entertaining, well crafted shows that isn't produced much any more. Melody Top did it one other time, with Gabe Dell and Margaret Whiting. It's a fun show, and I agree that it would be a good choice for Encores.
Most of the people who attacked Angela Lansbury's initial comments did so on the basis of having read incomplete, clickbait accounts on the internet. Those who did have access to full versions of the original interview probably did not read it carefully or all the way through. I applaud the fact that she didn't evade a difficult question and tried to answer it seriously and honestly, even though she probably didn't have time to carefully prepare the wording of what she said. Actua
As I recall, "World Take Me Back" was done in the hay and feed store near the start of Act 1--maybe around the time of the "I'm going to marry Horace Vandergelder for his money." monologue. I clearly remember that Ethel Merman was wearing Dolly's first costume, the plaid dress, for the song.
I liked quite a bit about the most recent Broadway revival, especially Angela Lansbury, whom I thought the best of the many I've seen in the role. I saw that production several times. Early in the run, Catherine Zeta-Jones was not bad at all as Desiree, although I disliked her approach to "Clowns." Late in the run, I thought her performances became erratic and inconsistent. I considered Bernadette Peters better in the role, but wasn't crazy about all the crying she did in &q
I'm a woman and have been traveling to New York and seeing shows there alone for almost fifty years. I have never felt odd or uncomfortable going on my own, although some people view it that way. I sometimes miss being able to converse about the show with a friend afterward, but that's no reason to skip seeing it at all. Yes, it's easier to get a good single ticket and nice not to worry about another person's preferences on show choice or other plans for the evening. I fr
I saw it at Radio City Music Hall. It was a musical revue with emphasis on dance. There was old and new music. Don Correia, Bill Irwin, Armelia McQueen, Ken Sacha, Marge Champion, and the Rockettes were also featured. The show was directed and choreographed by Ron Field.
I saw her in Toronto after having seen Glenn Close in Los Angeles and New York. I found Carroll wooden. Watching the video of her in the final scene surprised me, as I don't remember her being that effective in that scene. Perhaps she had some nights when she was off her game and I caught one of those.
I don't think I've ever seen or heard a comment that a show is weakened because it deals with men's issues, but I've seen many comments saying that the stress on women's issues is a weakness in WAR PAINT. Somehow the male experience is seen as significant subject matter for everyone, while some people (not all, obviously) see the female experience as trivial "chick lit." I doubt that this will ever change, but it bothers me anyway. I certainly think it has had an
I agree that Diana's limited appearances in the shorter televised version did lessen her impact. The fact that she has more stage time in the play makes her more prominent, although she doesn't really say much more in that context. One thing I liked about the play and the television production was that Diana, Camilla, and Kate were characterized somewhat differently than the ways most of the public views them. It made me think about our tendency to believe we know public figures who a
I thought the ghost of Diana was important because she motivated Charles and William to make the crucial decisions that drive the plot and its climax when she tells each that he will be the greatest king of all.
A couple of weeks ago, I saw a huge, beautifully sung, elaborate production at the 2000 seat Paramount Theatre in Aurora, Illinois. This included a full orchestra and the original orchestrations. It worked like gangbusters, and the almost sold out audience was crazy about it. I saw the brilliant original production (still the best production) several times, and many people were confused and put off by it in 1979. The show now has a fantastic established reputation and a real following. The pu
I'm aware that many people who saw it didn't like it. I loved it, although I can't say that I remember many specifics. I thought the chairs were a clever and effective substitute for the van. There were quite a few scenes in the van, and a more realistic vehicle would have made it difficult to see everything. Maybe a simple van framework would have been okay, but then the chairs couldn't have been rearranged as easily for other locations. None of the settings were realistic. I
MrsSallyAdams said: "Folks on the board: would you want "Mame" to have a revised book or be left as it is?
I feel that Mame's relationship with Patrick is horribly underwritten. I don't have a sense of who he is or why he turns on her in Act two. That's always a challenge connecting the dots when two actors play one role
I've always assumed that Patrick grows away from Mame because she leaves him behind when she goes on
I saw the original production of SWEENEY TODD many times in New York. DC, Chicago, and Los Angeles. While Angela Lansbury was the best known person in it and the biggest draw, as I recall, the main problem that some critics and quite a few audience members had with the show had more to do with the gruesome aspects of the story. It took a while for people to catch up with this masterpiece. It had been over a decade since MAME, and Miss Lansbury had done other roles since then. Some might
In response to the original question, the Paddy Chayefsy television script for the non-musical MARTY was printed as a play in at least one high school textbook. The television production starred Rod Steiger and was so successful that it was expanded into a movie with Ernest Borgnine.