I should have specified, I was looking at the TDF membership. I believe that, since I’m out of state, I can buy a membership for $20 and gain access to those discounts, but I wasn’t sure how good the seats were/how early I could buy them.
I’m essentially trying to find a balance between price and planning in advance. TKTS makes me nervous because I’m not a big fan of queueing for tickets day-of (which is why rushing when I only have a few days in the city also
I'm making my annual trip up to New York mid-June and wanted to save a bit of money this time, as there's only a couple of shows I'm really enthusiastic about seeing. I believe I'm going to buy my tickets to Angels in America and Three Tall Women beforehand, but am willing to wait for discounted tickets for everything else. Is TDF or TodayTix the best option for this? I haven't used either in the past, and would love some guidance.
As others have said, the closing performance of The Color Purple revival. Pure magic. Honorable mention goes to The Cursed Child-- I was lucky enough to happen to be in London for two nights that happened to be the first preview performances. Every person in that audience was a massive fan, and the genuine gasps and cheers throughout at the stage-magic made the whole performance that much more enjoyable.
There's two very different and hard to reconcile arguments to be had in a casting issue like this. First, the tendency for white people to view casting as a white/non-white issue. The idea that whiteness is the norm and all other races and ethnicities are a deviation and thus all belong in the same category is hugely problematic, both within niches like this and one a broader scale. The oppression, stereotypes, and historical subjugation that different races have faced, both in American s
I got curious the last time Javier Munoz went on a twitter rant about how uninvolved his followers were and went down the rabbit hole a bit. I read a majority of his @ tag for the days prior, looking for what behavior, exactly, he found so egregious. There was absolutely nothing. People regularly tweet him asking how his day was, or thanking him for being a role model, etc. etc. etc. but a) he doesn't get that many tweets to begin with and b) the ones he does, actually do center on politi
When I saw Something Rotten on Broadway, I didn't hate it, but I definitely felt my evening could have been spent at a better production. When I saw it on tour (admittedly with several more drinks in me) I could appreciate it for what it was without wishing it were something else.
Book of Mormon for me. I saw it once on Broadway with the original cast and loved it, then twice more in the span of two years with friends when it began to tour. A majority of Book of Mormon's jokes rely on at least a little bit of shock value, so once you know what's coming they lose their punch.
Can't help but be unimpressed with the set, as it is an exact reproduction of the Sam Wanamaker Playhouse.
For those that have seen it, did it feel like an intimate production? The Belasco has about 700 more seats than the Wanamaker, so I'm curious how well the show/set is translating to the larger space. ]
Call_me_jorge said: "elephantseye said: "Call_me_jorge said: "What I’m shocked about is that if there are people who have been victims of sexual assault, why don’t they come out with their stories themselves? Why do they need a NYT article? I’m not trying to cause speculation, but this is just an honest question."
A variety of reasons. A publication like the NYT with a solid reputation publishing a story lends it credibility--
Call_me_jorge said: "What I’m shocked about is that if there are people who have been victims of sexual assault, why don’t they come out with their stories themselves? Why do they need a NYT article? I’m trying to cause speculation, but this is just an honest question."
A variety of reasons. A publication like the NYT with a solid reputation publishing a story lends it credibility-- there's people working on the story who have literally been pai
BroadwayBen said: "It's sort of fascinatingthat Michael Paulson is writing this upcoming article. When he was at The Boston Globe, he missed the Boston church pedophilia story. If you listen closely in SPOTLIGHT they mention how The Globereligion desk refused to deal with it, which is why it went to their special research area. I believe he is mentioned by name. (Paulson was the religion beat editor at the time.) Hopefully he will make up for lost ground with this opportunity (as
Trish2 said: "LizzieCurry said: "Trish2 said: "Today is Gypsy of the Year for BCEFA. I feel it would be a very insensitive time to release any type of negative Broadway press such as this--given the overwhelming charity of the community."
I'm sure the NYT will take your sentiments into account."
Second Stage Theater has announced that Armie Hammer and Tom Skerritt will appear in the Broadway production of Young Jean Lee's dark comedy, STRAIGHT WHITE MEN, directed by Anna D. Shapiro. Previews to begin on Jun