JayElle said: "A dumb question perhaps,but do they speakShakespeare verbatimor modernize the language? I never liked Shakespeare decades ago in school bc I found it difficult to read. Just wondered."
They definitely are not modernizing the language–otherwise, it ain't Shakespeare.
Recently, Gold has become a bit obsessed with having a 'signature style' (doubtless because directors' theatre is all the rage right now) and it has not done him any favors.
whatdoesntkillme said: "Can someone explain the logistics of a co pro like this—between two NYC theaters but performed at a third rented house? I’m only familiar with co pros between regional theaters in different cities. How does it work in terms of splitting resources? Or is it purely financial? Any insight would be appreciated!"
The New Group does not have a home, so they often perform at the Pershing Square center. Plus, the Vineyard Theatre could nev
LightsOut90 said: "Synecdoche2 said: "Branden Jacobs-Jenkins is a talented writer and no doubtGloriahas much to say of interest, but the choice to show the Act One finale on stage is absolutely morally reprehensible."
Branden Jacobs-Jenkins is a talented writer and no doubt Gloria has much to say of interest, but the choice to show the Act One finale on stage is absolutely morally reprehensible.
To those interested in seeing this, it's strictly for Fugard fans. Slow-moving and without much action, it's mostly a tone piece that comments on the ramifications of Apartheid on individuals' psychologies. There is some interesting dialogue and it mostly holds the attention for the 2-hour (intermission-less) runtime, but it's never exceptional. Perhaps a different director could find a more life-filled production.
Who is the phantom? Jan 23
2019, 07:49:31 PM
Okay Im at Phantom and the playbill is totally incoherent. Who is playing the Phantom. Depending on where you look in the playbill, its listed as Laird MacKintosh, Jeremy Stolle, and Ben Crawford.
Extremely ambitious and ultimately successful, though the first act needs some serious work. One of the few musicals I've seen that doesn't take too long to end.
Sadly a dud. Sure, the book is sloppy, the dialogue embarrassing, and the cast seemingly on Ambien, but the show really has two fatal flaws
1. For some reason, it's unendingly heterosexual. Why is it so difficult to make a Cher musical gay?
2. The show has no perspective on Cher as legend. The show seemingly wants the audience to feel a sense of connection with the legend, but Cher's mythos has always been effective because of how ephemeral and unreach
Pass Over definitely will be a contender. Perhaps The Revolving Cycles too? If the committee had any sense, Mlima's Tale, Is God Is, Miles for Mary, and Emma and Max would be major contenders as well.
I heard from a friend that he was certain the three Pulitzer frontrunners were The Niceties, What the Constitution Means to Me, and the upcoming Slaveplay at New York Theatre Workshop, which seemed like an odd list, but I didn't have too many titles that seemed like Pulitzer bait to refute. Can anybody think of any other plays that seem destined to be nominated for that increasingly dubious award? Dance Nation is probably the only c
