CarlosAlberto said: "OlBlueEyes said: "I have no degree in theater; I will just make one observation and apply it only to myself.
The 2018 revival of Carousel, which ran for 180 performances and 40 previews, cast a black man in the role of Billy. Had I seen this production with no advance knowledge of Carousel, and noted the evident direct comparison between Billy and Mr. Snow, I would have taken it that the book author was, at least in part, telling us that black
R & H were very specific about the creation of their shows and very particular about revivals, which they often produced or oversaw during their lifetimes. I'm not surprised that Rogers would have taken exception to straying too far from the original concept of his shows and I understand what he had that perspective. As times change, approaching older material can become trickier as sensibilities change and so adaptation almost becomes a necessity. A total reinv
I saw the original production 4 times in 4 months, whereas I almost never see any production more than once. There was so much to take in from one viewing that I wanted to see it again and again. I will definitely take in this production because the show is one of the greats as far as I'm concerned.
I think The Light in the Piazza is one of the three or four most accomplished and unforgettable scores of the last 30 years. It is simply superb. My only complaint is that Guettel hasn't followed it up with many more because it is an all-time great achievement. Here's hoping for more.
When I saw the show, I was initially off-put by Duanno but as the performance progressed I thought he was terrific. Like so much about this production, I think I resented the straying from the original, only to realize how invigorating this production and these actors are.
I did listen to this, because of the Tony wins mostly, but I didn't care for it. It wasn't an enjoyable recording for me, the songs weren't particularly memorable and some of the performances (such as Andre De Shields, whom I typically enjoy) seemed a bit overdone. It's doubtful I'll want to listen again, but you never know.
I disagree with you. The movie is 'sound'-stage bound, no doubt, but it has other charms. Hepburn is game but a bit miscast for the Cockney scenes, though her comic timing is terrific and her scene at the racetrack is simply superb. She's utterly beguiling during her "princess" moments. Harrison is a bit of a cold fish but so is the role so it works, and Gladys Cooper makes for a chatty and delightfully blunt Mrs. Higgins. The screenplay ret
I saw the first touring company in Boston. I thought the show was pedestrian for the most part. The opening scene, of course, was astounding but after that it was made for the kiddies. Much of the text is silly child-like chattering and the staging is ineffective. "Endless Night" could have been an emotional home-run, but in the staging it was a one-off and over with no resonance. Very disappointing.
qolbinau said: "hahahaha. I kind of get the criticism - I do. She might have been sick at the time (isn't she 'always' when I saw her in Dolly but her voice does seem to have declined a little even in the last 5 years. <>, and her line readings of latecan sometimes be a bit puzzling (I. Don't. Want. To. Fight. With You. Phyl - I don't have to) - although sometimes als
For the last performance of Dirty Rotten Scoundrels, Lucie Arnaz came out as intermission ended and addressed the audience. She'd been out with an injury when the closing went up and came to do the final performance though she was still unable to dance. She explained that during her big second act duet, she'd start the song, would switch with with her understudy who would do the dancing, and then she'd come back on to finish the song.&n
Desiree Armfeldt in A Little Night Music. She participates in 2 songs during Act I, neither of which are leads, and then has "Send in the Clowns" in Act II. It's a well-written part, so a good actress will make the most of it.
I think the business of Broadway has changed, as has the business of television, which plays a part in what you've observed. In the 1950s, a Broadway hit could make someone a star beyond Broadway. While that was less true in the 1960s, it was still possible. With each subsequent decade, this has become less true. The mega-musicals of the 1980s succeeded on property and/or composer and less on the star and in this age of Disney musicals and franchise properties
I'd go with the original recording. The production values may leave something to be desired but the performances of Robert Preston and Bernadette Peters are superb. No one has ever sung "Time Heals Everything" as effectively as Peters. Unforgettable.
OlBlueEyes said: "Vivian Beaumont. Thrust stage. Sit in the first two rows of the orchestra to either side of the pit and you are on stage. Seats level with stage.
Kelli and Ruthie Ann walk towards you to deliver their numbers, stopping about fifteen feet from you. You can see every facial expression."
I forgot about the Vivian Beaumont. That's my favorite BW theater. Haven't been there in a while.
My favorites are the Schubert, the Broadhurst and the August Wilson because I've seen shows from each in different locations and enjoyed them all. Least favorites are the Broadway, the Palace and the Gershwin.
I still think Titanic has the best score of any Broadway musical since 1997, with Ragtime, Caroline, or Change,The Light in the Piazza, Gray Gardens and A Catered Affair following. The show had its staging issues but that score is superb and memorable.
when I saw her in Dolly but her voice does seem to have declined a little even in the last 5 years. <>, and her line readings of latecan sometimes be a bit puzzling (I. Don't. Want. To. Fight. With You. Phyl - I don't have to) - although sometimes als
