FWIW, I thought Caissie Levy was great in Murder Ballad, which was belty but wasnt necessarily brooding or morose (that was Rebecca Naomi Jones' job). Good for her for trying to get a gig that asks more of her than her (pretty phenomenal) voice.
kmissa said: "MisterBill2 said: "kmissa said: Unless it states the ID policy, it should be fine. I’ve been using my moms account for years and have never had an issue. We have the same last name. They don’t even always ask for ID."
Where is the ID policy posted? My son has gotten us tickets a few times and he always picks them up. Last time he did so at Evita (City Center) they only wanted his credit card so in theory I c
QueenAlice said: "Fish cut almost all the choreography out of Oklahoma along with all the music that went with it.And Agnes DeMille’s contribution to that show was right up there with Jerome Robbins’s on West Side Story. To say Fish didn’t cut anything is to miss the point completely. Yes he did. He cut a lot."
this doesnt seem complicated: as much as you may miss the original choreo, the Fish production did not cut any songs, dialogue, plot. It was
SouthernCakes said: "Well, it is tricky. I don’t think they’d post a typical “closing notice” since it wasn’t there decision and wasn’t due to “low ticket sales.”
I’m not sure what move I’d make next? I mean a tour makes sense and maybe they could use it at the Universal Parks? But a move to another theater seems wrong. When you downsize it doesn’t seem it ever workouts."
QueenAlice said: "And I agree about OKLAHOMA. Daniel Fish's OKLAHOMA had years of development and shocking purists before it made it to Broadway. Maybe this WEST SIDE should have started in Europe."
I say this as someone who (1) hasnt seen this WSS revival and has no opinion as to whether it works or not, and (2) has enjoyed some of this director's work in the past- including the much-derided Crucible, but from what I am reading here, the comparison to Fish
ACL2006 said: "Did anyone else sign the petition to keep the show open via change.org?"
ill never understand these sorts of petitions, unless it includes a binding pledge to actually buy tickets to keep the show open (in this case, buy tickets 9 months in advance because the show*is*still*going*to*run*through*the*spring*)
i dont understand the controversy. there was a contract. the theater owners enforced it. GASP!
and it isnt even being forced out immediately- its got the opportunity to pack that house (with added urgency in advertising) for another *seven* months. if it does booming business from now to then, and has a healthy advance in the springtime, it could very well transfer to a different theater because...its a business, and if its a moneymaker the capitalists will find a way. sh
Havent read through all of these posts ( i will try) but it strikes me as perfectly reasonable to debate whether rhyming lyrics are better/worse/necessary/preferable. I thought Hadestown's music was its highlight and didnt mind one bit how it was lyrically constructed.
But to cast something you choose not to do (something that is harder to do: rhyme) as The Patriarchy! is not only shockingly immature, its infuriating to those of us who know that a patriarchal society does exist, ha
dramamama: not to be glib, but really both of these shows are performed dead center stage. For the Sound Inside, I sat front left Orch so its possible that sitting in the back of the mezz in that barn will remove you from the intimacy of the play- but you wont miss anything no matter where you sit. Id just get as close as possible to bask in Mary Louise Parker.
as for Slave Play, there is no bad seat in the Golden, and the performances are loud and projected to the back of the house. J
Brooks0214 said: "Can he sing these songs 8 times a week though? And is he THAT good on an actor for this role?"
I certainly see no reason to believe he cant handle the vocals- at least as well as previous actors have-- and he did 8 shows a week in Hamilton. This seems to me to be a solid choice, and if he also happens to bring in gamers or disney fans or whoever, so be it.
Stunt casting, to me, means hiring someone famous to sell tickets even if they are lacking in talent. Melanie B in RENT comes to mind. Adam Driver or Bryan Cranston are famous but I would hardly consider their work last season as stunt casting.
Jordan Fisher is incredibly talented and sings like a dream. Yeah hes too old for the role (isnt he replacing a 14 year old?) but I would love to see him tackle this. Great casting.
Lot666 said: "I won't say it's a perfect show; the actress playing Frankie lacksthe necessary vocal talent, and it takes too long for act one to get started ( we weren't really engaged until "That I Would Be Good" ). We felt that the first act spent too much time at a low simmer while setting up each character, but it did finishstrongly and act two was much better.
We disagree with those who suggested that the show includes too many plot points, and t
Didnt see a more recent thread for this. Wanted to just share that I really enjoyed this more than I thought I would. Its not a great play but it has its moments- and i thought Marisa Tomei was simply perfect. The second act was much better than the first, but I thought she was pretty remarkable throughout. Real charisma both when she was joyous, heartbroken, demented and aroused. Well directed and well sung, too.
despite the recent revival, the right production could certainly make a go of it (the 2012 revival lasted a year in a huge theater, despite poor reviews, poor word of mouth,...) but here, they aren't filling City Center by any stretch, and the reviews (particularly from NYT) were not kind enough to warrant pumping more money into this...
this is the first production of Evita I have seen, and I absolutely thought that the show's POV was that Eva was corrupt but sincere and saintly. that is, of course, a lie- she was at best complicit in atrocities, and at worst, protector of nazis. but it didnt occur to me that THIS production lionized her more than the original...