The basic nature of the Addams characters has always been episodic and illogical - that's what made them famous and what made them entertaining.The musical's book writers, fresh from the crowd-satisfying, pedestrian, by the numbers Jersey Boys, tried to apply a trite, logical linear story where it couldn't work, which guaranteed failure (and, as pointed out, it was just plagiarized from previous narratives like You Can't Take It With Youand La C
As has been pointed out ad nauseum, flops like this don't become hits. A return to NYC isn't impossible, but its success is implausible. (Evidence: Carrie, Side Show, Gigi, etc., etc., etc.)
Here are quotes from the Times review of the original:
"But even with a dignified, assured performance by Marla Schaffel in the title role, the gloomy and mundane musical version of 'Jane Eyre' that opened yesterday
Kad wrote "It doesn't matter if everyone Finlay texted is a card-carrying, dues-paying member of the Rape Fantasy Club of America."
Legally, it does, as I pointed out above in the grotesque case of Gilberto Valle.
Look, like the ACLU says, defending rights isn't the same thing as liking actions. And again, I'm only responding here to the initial statement that individuals shouldn't be "allowed"
AC126748 wrote "You continue to ignore or elide whatever doesn't serve your argument."
I have ignored nothing here.
You seem to continue to avoid answering direct questions (another rhetorical device employed by our president and other leaders). I'm interested in your philosophy of rehabilitation versus retribution. Most Americans prefer the latter, as we are, generally, a bloodthirsty lot, reveling in tearing people into tiny bloody shred
ScottyDoesn'tKnow2 wrote "Also part of the healing process is dealing with initial anger and then letting people get over that initial anger (or even rage) so they can be mentally and emotionally open to forgiveness. You can't just bring it up when none of that has even occurred or there is no acknowledgement of the pain that they have caused or why their attitudes are actually problematic to a macro issue of attitudes towards women or other vulnerable people." <
AC126748 wrote "I will never apologize for reserving my compassion, first and foremost, for those who were victimized and not the victimizers."
That then inspires the question, "do you support the American penal system, its approach to punishment, and the death penalty? Or do you support a philosophy of rehabilitation over revenge/punishment?"
Kad wrote, "And most workplaces would agree that talking with your colleagues about how you fantasize about raping someone is sexual harassment, unprofessional conduct, and just cause grounds for termination if you were to be discovered. Doesn't matter if it's illegal."
Yes, I know; I specified above "sharing fantasies with sympathetic individuals."
"Hmmm, so you left out the rest of the sentence, ". . . so long as you do it through technology." AC126748 obviously wasn't talking about fantasies that stayed in someone's brain. Maybe go away for awhile and consider why you want to misrepresent someone's words to defend abusive men."
As pointed out above, fantasies, even shared ones, aren't illegal. Perhaps you should go away for awhile and muse on that?
Do feel free to blame others for your choice of words, but you did write sarcastically "...you should totally be allowed to fantasize about raping your colleagues with impunity..."
I merely responded to your words. It's unfortunate that you choose not to own them, but that's the state of American discourse today, dictated by our president, I su
emaxman wrote "...theater is supposed to be supportive..."
I confess that I have no idea what you could mean by such an odd statement. Can you elaborate? Surely you don't mean theatre lovers should only say "nice" things about every show ever produced? Or do you?
It may be solipsistic, but my initial reaction upon hearing stories like this is an enormous sigh of gratitude that smart phones and the internet didn't exist when I was young.
Can Critics Learn to Love the Jukebox Musical? Sep 2
2018, 11:57:21 AM
The Times piece sort of acknowledges the difference between a revue and a jukebox musical. The former makes no attempt at a linear story. Ain’t Misbehavin’ and Smokey Joe’s are definitely revues. However, an important difference between those two shows is that much of the material in the former was relatively unknown to the average audience, whereas every song (I think) in the latter is very wel-known to almost everyone.
"For instance, Leonard Bernstein famously favored a rather slow and stately tempo throughout West Side Story, and never cared much for the more upbeat or exciting tempos that other conductors and productions have uniformly favored."
I also find Bernstein's approach to tempo too slow; however, he didn't put metronome markings in his score, and "Andante" or "Vivace," etc., are legitimately up to any conductor's interpretation (within rea
Can Critics Learn to Love the Jukebox Musical? Sep 2
2018, 11:57:21 AM
