goodlead said: " Do we really need a Neil Simon revival? Hasn't comedy evolved beyond his 1960s sensibility?"
I was thinking the same thing. I saw the movie version of California Suite a few months ago on TCM and could not believe how bad it was; I knew it was dated, but I have enjoyed other movies / revivals that were dated, and still enjoyed them. The constant (dated) jokes included in NS plays make some of them a
bdn223 said: "VintageSnarker said: "I wonder how much Cursed Child was hurt by Harry Potter/The Wizarding World taking a hit as a brand after the Fantastic Beasts sequel. I can't imagine it has to do with the replacement cast since the original cast were pretty unknown."
If I had to place my finger on it,Curse Childwas hurt the mostly by the prolonged delay between the releasing of ticket blocks. The show sold 85% of tickets for the first ye
I saw this on NT Live and liked it a lot, although I felt that Act 2 was not as good as Act 1, and that Act 3 was not as good as Act 2, i.e., it was on a slow downward slope after a brilliant Act 1. With The Audience and One Man, Two Governors, having seen them first on NT Live, I wanted to see them really live when they came to NYC. I don't feel a strong need to see this one live. It may be because of the story telling nature of this
The moreI think about this, the more I think it is a dumb idea. We have to wait 20 years to see the film version of a known property. This was not the case with Boyhood. I fear that lightening will not strike twice.
The gimmick was really clever the first time, and we really saw a child grow into adolescence. Platt and Feldstein are already adults AND talented performers. They are going to grow older, but they are not going to change the wa
The Wiz is a musical that I think was 'of its time'. I don't care who directs it or who is in it...I think it'd be a horrible failure if produced today. IMO the score is mostly crummy, with 3 of 4 good to very good songs: Ease on Down the Road, If You Believe, Home and maybe (sic) Don't Nobody Give Me No Bad News. The TV production a few years back serves, at least to me, to highlight that there is a lot of boring material at the beginning to the sho
I saw Sherry twice in that original run. I would imagine that it falls into the guilty pleasure category, but I thoroughly enjoyed it; I was a kid at the time, so nostalgia meant nothing to me...not even sure I was familiar with The Man Who Came to Dinner.
I enjoyed a number of songs, including the title number. I was not familiar with Dolores Grey (I had never heard of her), and enjoyed her singing of the title song. Unfortunately, later in the show, they
Luminaire2 said: "Wow Waitress!! I’m so happy Colleen is such a draw. Congrats to her. They’ve had decent names in the lead but haven’t seen this big a jump.
Also wow to Moulin Rouge. Huge hit."
Assume I am showing my age here, but who is she? I have never heard of her?
ggersten said: "Sauja said: "Other things spiked because it was their last week, and we already lost a few shows last week, but I do think it's notable that Tootsie had the worst percentage of gross potential this week, the lowest attendance, and one of the lower average prices. Things just aren't looking good for them. I wonder how long the show has. To January if it's lucky?"
I know it's really all about the money that comes in, but mor
My favorite musical is Mame (of course, I am referring to the 1966 and 1981 productions, which benefited from a great Mame and terrific Vera's and Gooch's).
The best musical I have ever seen falls into two categories: great but flawed; and just great. In the former, I would name Follies; in the latter, probably Sweeney Todd.
Re plays, I would say that my favorite play / production ever was A Moon for The Misbegotten, with Dewhurst and Robards; but that I think the
hollebolle said: "I already bought the the $90 seats they have available in rows G and H of the mezzanine (I.e. the small rows of three at the ends). Anyone know why those are full view, but the ends of closer rows are partial? (Did that sentence make sense?)"
Geometry. If you are on the extreme side, you are going to see more of the stage from further back.
The worst seats I ever had in a theatre were when I saw Tommy decades ago.
The article didn't say that Manilow was complaining about the grosses -- he must have a zillion dollars -- but about attendance, i.e., looking out at a lot of empty seats. As someone else pointed out, in a limited engagement, with a limited number of performances per week, it is only filling the theatre at 82% of capacity. If some performances are selling out, that means that some performances were possibly 60% - 70% attended.
This is entirely the wrong question to ask and does not understand why some people are frustrated with the show. And 'sin' is a pretty loaded word to use in itself.
Had the show been structured even slightly differently, with no changes to the plot, I suspect audiences would leave the show feeling very differently about Evan as a character.
I think the extreme majority of attendees at a DEH performances feel e
Dollypop said: "Patti LuPone tells the story about making her debut in a play called WOMAN IN CHAINS. Joe Papp was producing it and during intermission he ran backstage and announced he was closing the show right then and there. He then went on stage and sent the audience home.
LuPone's character didn't appear until the 2nd act, so her debut was put off for a while."
That is a great story...makes one wonder just how bad the show was, as he allowed
DoTheDood said: "How badly does a show have to do to only have one performance? I'm also curious on if they are even more uncommon now, why would that be?"
Producer's vanity. That is what kept Honeymoon in Vegas, Disaster, King King, Amazing Grace, that musical that played at Circle in the Square a few seasons ago and others running much longer than sane people would allow. It is like they convince themselves into thinking word-of-mouth
GreasedLightning said: "I 100% believe that Beetlejuice’s Tony performance helped them tremendously. A rare feat."
I definitely agree. Would go one step further:and Tootsie's was hurt by their number, which was as mediocre on TV as it was live. But it is word-of-mouth that is killing it. People don't want to pay for even somewhat discounted tiekets if their friends were all lukewarm in their appraisals.
JSquared2 said: "CindersGolightly said: "What’s Erin Davie’s role like? Is there a potential nomination for her in this show? She’s so overdue for Tony recognition it’s insane."
How exactly is she "so overdue"?? She's been in 5 Broadway shows -- and 2 of those were as a replacement!"
You beat me to it. I was going to say the same thing. There is more hyperbole in this board than a Trump s
