inmyownlittlecorner said: But what we’re talking about here is when it does get out of hand. Depression and Anxiety are just short hand for their actually names, Major Depressive Disorder and and Anxiety Disorder (there are many types). You can’t kind of have it, it is a you have it or you don’t. But, yes, coverage and benefits for everyone working in the theatre is very important! I can’t imagine what those ushers go through with the state of theatre et
I've only seen the film with Walter Matthau, but it seems to me that Broderick is a bit miscast here. I just hope he doesn't bring along some of that 'nebbish nerd' shtick he's been doing since The Producers, which is tiresome and annoyingly unfunny. Parker is a great comedienne, though, so this could be interesting.
Depression and anxiety in and of themselves are not mental illnesses because every human being will experience them in various situations and not necessarily become debilitated by them. It's when these emotional states become outside the normal range of experiences that they can progress to mental health issues or even mental illness. It's not a 'you have it or you don't' thing', which is why proper treatment is important if someone is progressing along tha
fbueller said: "Wasn’t Valerie also reported to be difficult on the set of her NBC sitcom ‘Valerie’? That fight got pretty nasty, leading to a major lawsuit.
Supposedly, the production company reneged on salary promises they had made to her. She and her husband sued and won and were awarded around 2 million (I think) and I think she got some percentage of show profits, too. That indicates that whatever stand she took was warranted.&n
I'm not a big fan of the film, but I still think this recording, with it's medleys and cacophony of song segments, distracts more than it adds to the original. There's so much going on and I feel frequently pulled out of the story by all the 'oh-that-song" nostalgia for radio back in the day. Karen Olivo once again proves she's the real deal but Tveit, unfortunately, once again proves he's got the pipes but not the power to always c
If you weren't around then, she was a sensation as Rhoda Morgenstern on MTM. She had some of the funniest scenes and lines imaginable but she never went for mugging or cheap laughs. She was a natural actress who with a turn of the phrase and that very expressive face could bring the house down. Valerie made Rhoda so much more than a stereotype or stock character, on MTM and the series Rhoda. The character became iconic thanks in no small
Much as I'm not a fan of how Sondheim allows just about any change or reinterpretation of his musicals, or makes them himself, I think the combination of these two actresses makes this an exciting prospect. They're both talented and charismatic actresses who should bring a lot of interesting dynamics to this production. I disliked the John Doyle revival, which I found clumsy and lifeless, but this sounds exciting.
Best and Favorite are the same: Sweeney Todd (original Broadway production)
Others in that category: West Side Story, Gypsy, Mame, Nine, Titanic, Ragtime, Caroline or Change
Flawed Favorites would be: Follies, Sunday in the Park with George, Into the Woods, A Catered Affair -- I think these shows have great scores but definitely book problems.
The book 'Not Since Carrie', about Broadway flops, has a section on this show where it says the critical response was negative and the score, save for the title song sung by Dolores Gray, was weak. The author stated that "if anyone ever woke up a sleeping show, it was Gray" (ouch). Also, in those days shows typically recorded cast albums the weekend after opening but, even though Sherry! lasted just over 2 months, no one was interested in recor
In the same "Quintet" number from the film, when the Sharks sing their first section, each time they sing the word "tonight" someone's voice is noticeably off key. I'm surprised that was left in.
JSquared2 said: "AADA81 said: "Spencer is just a vapid, abrasively shrill show-biz type who gets all of her "hard news" from People Magazine. Her unsophisticated viewpoints are matched only by sycophantish devotion to celebrity culture. Who cares what she thinks. Her mea colpes over this are a damage control maneuvers enforced by ABC to protect the brand of the atrociously low brow GMA."
Spencer is just a vapid, abrasively shrill show-biz type who gets all of her "hard news" from People Magazine. Her unsophisticated viewpoints are matched only by sycophantish devotion to celebrity culture. Who cares what she thinks. Her mea colpes over this are a damage control maneuvers enforced by ABC to protect the brand of the atrociously low brow GMA.
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
