Andre was, to me, the weakest link. His performance felt a bit wooden, a bit too rehearsed; which I fully believe is the case since about five minutes in he forgot his lines and a stagehand had to yell them to him from the wings. Yikes. "
Not quite sure what you mean by a stagehand yelling him lines - I was at the show last night, fairly close to the stage, and I didn't hear anything of the sort. Could you be mistaking the moments when the ensemble speaks in unison wi
Bumping this thread because I would really love more female examples - there seems to be a difference between male and female actors who are inked. Linked to how much more skin female performers are often asked to show?
Skip23 said: "Has anyone heard anything? Is this coming to Broadway or Off Broadway for a run?
Had a conversation with several of the cast members about a week ago - they've all been approached as to their availability for a return to NYC after San Francisco, but they have no idea in what capacity. If they do it they need to act fast though, as a lot of the actors visas only cover a year from their entering the country and depending on the cheeto the
Piggybacking on this thread to say that I really wish The Broadway would be renamed. For numerous reasons it is one of my top 3 performance spaces in New York, but I always feel ridiculous telling someone that "The Broadway" is one of my favorites. Obviously the name is supposed to point out how it is one of the few Broadway theatres actually on Broadway, but it just feels silly at this stage. Perhaps that could become the Prince? His Cabaret and Fiddler productions transferred ther
I had an absolutely fantastic time - I truly think the current stable of critics are a bit too on the "Art with a capital A" side of things. Sometimes you just need to have a good night. Not everything has to be as thought provoking as Sondheim or Kushner
Sondheimite said: "Let me first say that I don’t offer any conclusions in this nor am I sharing what I think on these matters. I’m just posing the questions.
There’s a weird thing that has to be considered and talked about. It kinda came up in the Carousel revival. And it has to do with the weird dichotomy of the best person for a role being a person of color but casting a person of color might be considered tonally tone deaf and incentive. The example be
I saw the matinee today, and loved it - reminds me of a lot of the shows that went through the Davenport in previous years - left with the same warm feeling I had from Daddy Long Legs, but for very different reasons. I could see this show doing very well in regional theatre, so long as a version is put forth without the actors playing instruments factor.
artscallion said: "Sondheim has said that the purpose of an overture is to begin getting the melodies into the patrons' heads. A song feels more familiar and hummable with repetition. So a song will be better appreciated if the audience has already heard bits of it in the overture.
The opening moments of an overture have been known to make me ugly cry, just from the excitement of what's coming. Unfortunately, as others have said, folks today tend to not realize it&
another sloe eyed vamp said: "Wow, whosponsored/where was the talk? I'd really like to hearLaurence Maslon and Kurt Deutsch talk about cast recordings. I know some ATW talks get made available on audio or video, maybe some others as well."
It was the NYU Skirball program! I took an audio recording of my own for my own reference, but I can send it over to you if a professional one is not released.
Tonight I went to a fascinating talk with Laurence Maslon, Ted Chapin, Kurt Deutsch, and Thomas Shepard about the Cast Album, and how its position in the process of musical theatre has changed over time.
Listening to them discuss the various difficulties that came with LP's vs CD's vs the current streaming era got me thinking about how the very structure of a musical had changed, and by extension, what gets put on a recording. In particular, I can't get the lack of mo
What the title says - what straight plays do you want to see back on Broadway in the next decade? Personally I am itching for a fresh production of Moliere in NYC, with my preference being Tartuffe, but I would be overjoyed for anything from his pen.