Importance of Being Earnest - The Musical Sep 12
2019, 01:56:02 PM
I can't recall the creators of "Earnest in Love" but believe that some well-regarded writers (maybe they came well-regarded on later projects) were involved.
The theaters I don't like are those with long but narrow halls, such as the Lunt-Fontanne, the August Wilson, and even the Golden. If you are far back in the orchestra you are a long way from the stage, and the mezzanine and balcony get pushed back, too. Theaters like the Broadhurst, the Schoenfeld, and the Jacobs are better.
For many years the Belasco was a down-on-its luck theater. Often vacant, and apparently the last choice of producers. It's seen a resurgence in recent years. Not sure why.
This production was taped for PBS, I think the Great Performances series. If you can find a copy (I threw mine out because I had it on VHS), you will have some clue as to why the other commenters praised it so highly.
The Tonys have never found a good way to showcase the play nominees. It would be feasible for them to present short scenes maybe five minutes each, from the nominees -- about the length of time allotted to the musicals -- but you get the feeling they would prefer to do away with the plays altogether. For myself I would rather see scenes from the plays rather than musical numbers from shows that haven't even been nominated but for which their producers have purchased airtime.
I saw this. Lillie was top billed, so they gave her more time on-stage than in the original and gave her a couple of songs with chorus that added nothing to the show. Louise Troy had the thankless role of Ruth and made it quite clear why Charles would have preferred Elvira. Walter Kerr wrote of Tammy Grimes that she "strides right, strides left, and then strides right again," which was an accurate description of the staging for her "Home Sweet Heaven."&nb
Katharine Hepburn in "West Side Waltz" drew a big crowd. Of course no one dared asked for an autograph. She came out smiling and was greeted by applause, then got into her limo and drove off waving at the crowd with her Queen of England wave.
I doubt that Renee Zellweger, even at her best, can outdo the great Judy Davis in the TV biopic, which of course used Garland's own voice for almost all the songs.
Back around 1971, when Sondheim won his first Tonys for "Company," he said on accepting one award, "I"ve never thought much of these awards, but it's nice to win one." Then he won a second award (perhaps there was one for lyrics and one for music) and said, "It's even nicer to win two."
I don't have a problem with the singing style but I do with the acting. This ought to be a flirtatious duet, but the Laurie sings the song flatly without any particular emotion. She doesn't act it well.
This theater is named after Brooks Atklinson, former NYT drama critic. If you want to call it by a shorter name, that should be the Atkinson, not the Brooks. It's as if you referred to the Neil Simon as the Neil or the Richard Rodgers as the Richard.
What amazes me is how long some of these shows go. Hasn't everyone who wants to see Phantom or Chicago seen it? Are there that many repeat customers?
Similarly, in days gone by when a movie of a still-running play came out, the play shuttered. Immediately. Now we've had the movie versions of Phantom, Rent, Les Miz, Chicago, etc., and they haven't dampened attendance at the legit version; they've boosted it.
I saw that production -- superb in every respect. Fortunately Channing was cast in the movie version, and if you want to know whether it's legendary, you can watch it and judge for yourself.
