I saw both the London take on the story of MM and the Broadway take.
IMO the London version was much better than the Broadway version, which was atrociously bad. The London show was much more ambitious, with a huge 'but'. It struck me as an attempt to make a musical about MM, but to ripoff Evita as much as possible in the process. The thing I most remember was that there was a Che Guevara type character who, as I recall, played 'the camera',never part
Stephen75 said: "JBroadway said: "I was just looking over the upcoming season, and it looks likethe Leading/Play categories are shaping up to be very interesting.
Glenda Jackson vs. Janet McTeer vs. Anette Bening, plus Celia Keenan-Bolger, Andrea Martin, and Kerry Washington.
And on the male side, we have a packed set of heavy-hitting contendersincluding Bryan Cranston, Jeff Daniels, Tracy Letts, Michael Urie, Paddy Considine, Nathan Lane, Paul Dano, an
InTheBathroom1 said: "I'm reading these reviews and trying to figure out what is so special about this play or what makes it good. Cause right now it seems like it's just gonna be another family drama with a super white and male cast and creative team. And we've seen so many of those. And it's almost 3 and a half hours long."
Have you seen it?
While there are more men than women in the show, the female roles are IMO stronger roles than the male
-- Beautiful is proving the doomsayers wrong again. As with prior years, fall business is exceeding summer business,which we all know is not typical. Unless it is forced to vacate, I am guessing that it will be around until at least next summer (unless this winter is particularly frigid).
-- Chicago remains on course to have its highest grossing year ever. Since the breakeven was undoubtedly a LOT lower 20 years ago, I have no
raddersons said: "Really pulling for Torch Song -- one of my favorite plays I saw last year. I think word of mouth will help -- Three Tall Women was doing around the same gross-wise on its first few weeks (maybe a little better) and it ended up selling out the entire run.
Not that they're in any way comparable, subject-wise. I'm just hoping for the best for this one."
Actually, Three Tall Women's lowest gross for an 8 performance
I only saw the show once in late May. Both were out, which really pissed me off, since the show had barely been open. By the time the show was over, I didn't care. I doubt that anyone could make much of an impression in those roles. Nevertheless, they did not demonstrate knowledge of 'the show must go on', and I will never make an effort to see either one of them again.
I immediately thought of Home For The Holidays too. Then I wondered whether someone is trying to come up with some Broadway versions of the British Christmas pantomimes that seem to be very popular for a short time around the Christmas Holidays. HFTH certainly wasn't a good start,and I can't help thinking this is going to be a disaster,if not on the epic scale of HFTH.
I have 6 Playbill binders displayed on shelving in my family room. Two are for my favorite shows ever (over 50 years and counting); another is for (obnoxiously) the worst productions I have ever seen; another is focused on great stars that I have seen (not otherwise included in the 'best' binder; the fifth on great productions that may not have been top favorites. (I am admittedly type A+ personality). The sixth contains favorite British prog
I am very happy that this got pretty good reviews because I loved it. I have to admit that the only reason I saw it was because it had a Monday evening performance and that cast. I ended up being very surprised how much I liked it. Naysayers have rightfully pointed out that none of the characters really changed, but it was a dramatized point / counterpoint about very relevant issues today.
As someone who is a little tired of 80 minute plays (I tend to &nbs
I will be in NYC over Christmas because of a wedding. I have purchased tickets to see Network. I have already seen The Ferryman, earlier this evening. It is a major production, the likes of which we see very infrequently. I cannot imagine that any production of Network will even approach the magnificence of this production.
The last time I personally saw a production of this quality was when I saw Cate Blanchette in Streetcar in DC 6 - 8 years ago
I saw this Wednesday afternoon, as part of a 5 play stopover between Cape Cod (not a single musical...no interest in HOH, Pretty Woman, King Kong). I thought that it was very entertaining, but I enjoyed it more post-intermission than pre. I just thought the first half went on too long.
I saw the show when it originally opened, and loved Harvey Fierstein lo those many years ago. I thought that Michael Urie almost made me forget Harvey in the role, he was so good.
I Was always surprised that The Full Monty was not a huger hit. I assumed that it got lost in the juggernaut that was The Producers (which was to me one of THE most entertaining shows ever...with Nathan Lane. I would like to see it revived, but suspect that it willed a star in the lead role, based on the first run underperforming. I also agree with those who vote for Urinetown. As to Spelling Bee, I hated it, so I could care less...would just be a show I would miss. &n
I am absolutely amazed that she was performing split week engagements at that point in her career, and at the age of appx 75. Talk about a trooper. I always thought that the last Broadway engagement (I think both of her return engagements were at the Lunt-Fontanne) was the end. I wonder if it seemed anti-climatic to be ending her historic run in a split week in Lubbock and Austin, Texas. Not exactly the glamorous end that Bette had after
IMO it was a pretty mediocre show the first time around; unless they reworked the book and the score dramatically (liked redid), I can't imagine it being any more successful than it was the first time around.
I saw the movie last night. I liked it, but didn't love it. I admit that I think the 1954 film as as good as movie musicals get; also, I generally dislike the type of music that was included in the movie (although I did like the ballads, none stood out on first hearing). I happened to read Rex Reed's review (via Fandango) and -- despite how much people on this board revile him when his name comes up occasionally -- I thought that his favorable review was right on. Th
I have seen this show 6 times and loved it as much as the first time in all subsequent viewings. It is truly the perfect illustration of a feel good show: I always felt better leaving the theatre than when I entered it. A wave of warmth and love flew off of that stage and enveloped the audience. I have to admit that I was hoping that it would outlast Trump.
SomethingPeculiar said: "Jarethan said: "I have not seen Parade, nor have I actually ever listened to the score."
What makes you think Eisenberg (or anyof these people)would be good for the role, then?
Thinking more, I actually wonder if Eisenberg is likeable enough to pull it off (box office aside). It's such tricky, dark material, andthe show really only works if the audience believesthatLeo is innocent. In 2018, it's especi
Chicago is on target to have its best year ever, in terms of total annual gross (admittedly thanks to ticket price inflation). Given operating cost increases over the past 20 years, I have no idea what its average weekly breakeven is, but its weekly gross is headed towards an average of $700K per week.
That is absolutely amazing. Everyone associated with this show must be bowing to a picture of Ron Marshall at least once a day. I imagine the show would have clo
Lot666 said: "Jarethan said: "Standing ovations once meant something. Now, they are a joke. The point of a standing ovation -- to acknowledge something remarkable -- has been lost."
You mean like gratuities in the U.S.?"
I am not sure that I understand the analogy, unless you are saying the people seem to tip more than in the past, regardless of service. I have to admit that I do tip more than in the past (standard 15% is now 20%),
I have not seen Parade, nor have I actually ever listened to the score. Other than the ensemble Now You See Me, Eisenberg hasn't had a hit since Social Network. I think he would probably be excellent, assuming he can carry the score, but don't see him selling tickets in advance; maybe if it and he get mega-great-reviews, his presence will then help to sell tickets.
Of course, there are other questions that impact the possible answers: (1) non-profit or for-prof
