Audience interaction changes for The Play That Goes Wrong Aug 19
2019, 11:56:50 PM
Definitely not a plant re: a ledger. He will literally just keep repeating the line until someone gives up and shouts at him. Second time I saw it I swear he had to keep going for three minutes straight (which, in theatre-time, is ABSURD), so if it was a plant then they were REALLY messing with him that night. Last time I saw it someone said “it’s underneath” almost immediately, effectively ruining the bit, and the actor looked at them and said, “Really?” in an entirely unamused voice before jum
Audience interaction changes for The Play That Goes Wrong Aug 19
2019, 06:05:11 PM
I saw it three times when it was on Broadway and while the opening bits were always essentially the same (looking for the dog/helping Annie set up), I could have sworn it was different at intermission each time.
The first time (with the original cast) and final time (with the replacement cast), I can’t remember anyone doing anything particular at all, though members of the “crew” were walking around. The first time I also distinctly remember hearing commotion from the Mezz or Balcony,
THE LIGHTNING THIEF Officially Announces Broadway Run Aug 13
2019, 11:58:53 AM
Assuming they do keep the touring cast, I’m at least excited to see Chris McCarrell on Broadway again. I thought he was fantastic as Marius in the most recent LES MIZ revival.
Hercules at the public distribution Aug 8
2019, 11:49:01 AM
According to a friend involved with the production they are highly limiting comps—according to her some of the performances are already out of comp tickets (at least for the team—not sure how it is with donors). They are really trying to make it as accessible to the public as possible!
Rushing is always an option, too. I often rush on the weekends/days when I don't have morning classes. With most shows you can snag a ticket by waiting ~2-3 hours, four at the most (sometimes even less, but getting there earlier does tend to yield better seat locations). It helps if your campus is closer to Broadway. (Of course, there are a few, like Hadestown, where there are cases of people waiting 12+ hours in line. But take it from a fellow
“So inspiring how a 37-year-old man suspended from a minor supporting role in a show over sexual misconduct involving a woman over a decade his junior can bravely persevere and be rewarded with a major supporting role in a show alongside many women over a decade his junior. Sexual harassment is despicable regardless of age, of course, but Ramasar and his cohorts in their exchanges specifically fetishized and degraded 19/20-year-old women — so now wh
Genuinely curious — in The Ferryman, did she have any objections to the young baby being onstage as well, or just the animals? Because one can make pretty much the same argument for a baby being onstage as I can imagine they could for live animals (inability to consent, not understanding what's happening, exploitation, bright lights causing irritation, etc).
Not saying your friend is wrong/right for disliking the live animals onstage, but I
For the sake of providing better answers -- what exactly do you define as appropriate for your thirteen-year-old? Are you referring to stuff that can be considered "inappropriate" (ie. sex/swearing/drugs/etc.), or are you just asking for shows that thirteen-year-olds generally like? If it's the former, it would be helpful for you to define specifically what types of content you do not want your child seeing.
I was at the matinee yesterday and I’m not at all surprised to hear Laura finally had enough and did this. There were no cell phone rings (a couple beeps here and there, but no RINGS); however, during the ALL OF “Why Can’t the English” and a good bit beyond (a good ten to fifteen minutes) people were talking. I don’t even mean whispering, I mean people were full-out CONVERSING at the beginning of the show. It didn’t even seem to be concentrated to one
theminutepast said: "Is the loser code the same every day? I forgot to enter the lottery for today, but I have the code from yesterday.
Has anyone bought tickets on TKTS? Do they usually cost more than the $59 lotto loser tickets?"
If you download the TKTS app it’ll tell you the price range of tickets being sold that day. Usually they’re on there for 50% off, though, so most seats are probably a somewhat more expensive than t
Musicals most people hated, but you liked May 22
2019, 11:59:24 PM
This season? BEETLEJUICE was an absolute delight for me. The humor was shockingly modern, which I was not expecting at all — at times it dove right into the fantastic absurdist qualities of Millennial/Gen-Z humor, which I haven’t seen another show capture so far.
Overall? Not sure anyone “hated” it — but I seem to love CURTAINS a heck of a lot more than most people I know. I still think it should’ve beat SPRING AWAKENING (another show I adore, but I don’t think that’s a controversial o
While I am a part of the minority on this board that really enjoyed BEETLEJUICE, I’m more than willing to say that the entirely of the Netherworld Song (“If I Knew Then”, I’d assume it’s called?) fell flat on its face. The song itself already feels like a placeholder so the lack of good humor in it really makes it drag—I think the only part that got an audible reaction from the audience was the Shrunken Head gag, and that’s likely because it was
Tony Host May 22
2019, 11:24:24 PM
Confused a bit by all the vitriol in this thread towards LaneBryant’s point. While I wouldn’t go so far as to say the Tony Awards has any sort of intentional racism problem, I do think it’s quite fair to say it would be nice to have a female and/or person of color host the awards.
As SomethingPeculiar pointed out, it has now been a decade since a woman or POC has hosted the Tony Awards (alone). While I have absolutely no issue with James Corden hosting, (in fact I rather enjoyed his pr
Beetlejuice. Ended up seeing it twice about a week apart (once intentionally, once because a friend offered me a free ticket) and found it just as delightful the second as the first. I agree the music is far from perfect and the book loses shape in Act Two, but honestly? It's just silly fun IMO and sometimes that's enough, y'know?
Lottery Ticket Prices These Days May 16
2019, 02:08:47 AM
If I may say — I do think there is a much more interesting discussion here (if no one minds a slight digression), and it is not regarding prices, but rather location of seats.
Multiple above posters mentioned how lottery seats used to be in better locations than they are now, which I have noted to be true (many, in fact, are partial view). So while there is a perfectly reasonable inflation of ticket prices (as dramamama helpfully calculated), I do think there is a fair argument regardi
Not sure if many people would call it a "great score," but when I saw the recent Off-Broadway production of Alice By Heart I couldn't help but be struck by how much I enjoyed the musical numbers as individual moments vs. the overall plot and spoken scenes. I thought they did some rather brilliant stuff with some of the music in that show (and the design elements, but that's another discussion), but unfortunately the book made me leave the show feeling over
Someone in a Tree2 said: "As a proud white male theatergoer about to turn 63, I want to proclaim my own abject love for HADESTOWN and all that's contained therein: the score, the cast, the staging, the design, the effortlessly moving story. This show gave us the most satisfying night of musical theater probablysince...well, since Act I ofAN AMERCIAN IN PARIS 4 or 5 years ago. So no, my friends, HADESTOWN is not just a hit with millennials; it's captured the heart of many of u
Apologies if there's another thread on this out there somewhere that I missed -- I've been searching to no avail. The title is really my whole question: who chooses which seats are available at rush? How are they (if at all) different from seats available on TKTs or other discount apps? Why do they sometimes give away fantastic seats that they could probably get more money for elsewhere during the course of the day?
I am finding myself rather dumbfounded by some of these choices — in what world is Hadestown not the clear "Best Score" winner out of this year's bunch, for example? While I don't have any issues with the other scores, Hadestown's first point of praise by fans and (most) reviewers has always been its music -- and that's in a show which generally has many points to praise! To say it shouldn't win "Best Score&qu
