Hmm... seems my original response is now missing. Didn't think it was controversial enough to remove.
I simply said I was surprised that it hasn't been done before, and that I once got a copy of the film script and as an project tried to puzzle out how to adapt it.
Oh yes.. and I wondered, incidentally, if the film had influenced Marc Cherry when he was creating Desperate Housewives.
I applaud Dame for bringing this up. If you entered the SA addiction recovery program and they discovered you were gay, you'd be thrown out.. and that was less than ten years ago.
I just checked their website and it "appears" that they have changed their policy. But I'm still suspect.
I know this much... if they have recently changed their policy it is only because people like Dame continued to make people aware that they were fine wit
Sincerely surprised that it hasn't been done before. Years ago I got a hold of the script and tinkered with the idea of doing it. I recall that there are some challenges (as in all stage adaptions) but that it was totally doable.
Incidentally, I've always wondered if Marc Cherry was inspired by the film when he was creating Desperate Housewives.
Donna Murphy in Hello Dolly Aug 21
2018, 11:52:20 AM
Honestly didn’t think much of the production or Midler when I saw it over a year ago. Didn’t understand all the love..
... but last night... WOW!
Murphy was a MARVEL. She wasn’t just a larger than life personality... she was a big hearted woman wanting to love again and on the way help others love too.
Magical. Haven’t seen a DOLLY with this much joy since I saw Channing’s last tour.
Does anyone know how standby actually works? Am I to spend the day by my laptop in hopes an access code is texted to me? Has that ever worked for anyone?
Also, when general sales open on the 8th, is it at 12 a.m. eastern time?
"If I have to pay $100+ to "imagine" sets...I'll pass. "
That a very important and very valid point. Expectations for Broadway based on what you are paying dictate they give you more bang for your buck...and from that perspective the show is a disappointment. Production values for London went way overboard, Broadway, you could argue, made a similar error but in the other direction.
Saw the performance tonight and was truly surprised at how well it played. After reading the reviews here I was expecting a show that would inspire Ken Mendalbaum to come out of hiding and write NOT SINCE CHARLIE AND THE CHOCOLATE FACTORY.
What I saw tonight was a simpler, less convoluted, and ultimately better show than the London version. The authors have committed to their choices - and while I don't agree with some of them - they are making them work. For exam
Her original response with the hostile self-pity and "f"-you attitude is the real Holliday. The well phrased, oh so sensitive follow up is nice back peddling on the part of her PR team.
Again.. I'm done with her.
I'm tired of the decades of belly-aching and arrogant bitterness.
She should perform for Trump. Her angry personality is in line with him and his supporters.
Over the years it has been very difficult to appreciate her single yet-mammoth achievement from 300 years ago due to the just plain unpleasantness of her personality. In interviews and actions she continues to seem bitter, resentful, and angry. Even when she claimed to be "at peace" and "better" it never was convincing. But I continued to champion her among my fellow theatre enthusiasts.
Michael Arden's direction is fine. The dressing room design was interesting for a minute, but as the scenes went on, it felt more and more like an underdeveloped idea for the sake of having a concept for the show that dressed up the stage.
What the West End production proved is that you don't need showy directorial splashes to make the piece work. Strong actors, well guided, are enough to prompt
"I had tickets to see the show this weekend but when I read the thread and saw Wayne Brady was out of the show, I immediately called the box office and Wallis and had my tickets changed to later in the run."
That was a mistake, Wayne Brady was terrible. Wooden, bland, unconvincing and dull. Almost as bad was Saycon Sengbloh with her all-attitudinal, non-acting... great pipes.. but it was like she went to the Tyler Perry school of stock reactions and grimaces.
I saw it. In those days LBCLO did a lot of good work given their resources with many productions inspired by the original.
I remember the production ve really solid with Burnett being effective but not very layered.
It was there production of CHICAGO using the original set and I'm assuming at least some of the staging that REALLY had people reacessing the power of the show. .aan
Saw the show tonight and it is jelling nicely. My opinion of the title song, DINOSAURS, and act two in general are the same, but listening to the score a third time it just gets richer and better.
Arden now has new lines about her friendship with her clientele, advice about what sacrifices are necessary if you want to succeed. She also had a new line at the end of PINK. Tonight she picked up a pick object from h
