Ado Annie D'Ysquith said: "This might sound weird, and/or misinformed, but I feel like the Sondheim Theatre would be too large for KISS ME KATE. As much as I like the show, it doesn't have the same kind of "timeless fun" that ANYTHING GOES offers. It's more of a "period piece," if you'll pardon the expression.
I think it would be smarter for Roundabout to pull a SHE LOVES ME and put this production in a smaller house."
EllieRose2 said: "Like Jeremy Jordan, Audra McDonald, and Norm Lewis, Aaron Tveitis best live, and on stage. He was eno incredible as Bobby last year in Company. And in literally everything he has done on stage.He will be amazing. Yes, this was a produced music video that has nothing to do with what you will see on stage, besides Aaron of course."
It is ridiculous to compare him to those people, especially MacDonald. He was good in NTN, but was positively woode
tomwsjr said: "In my opinion the Mark Hellinger is the most beautiful theatre on broadway, with not a bad seat in the house. I’ll never forgive the Nederlanders for selling it"
I totally agree. The last time I was at the theatre, it was depressing because it was so in need of refurbishment. But, what a gorgeous theatre and what a spectacular lobby. There are opera houses that don't have lobbies as beautiful as the Hellinger. &nbs
raddersons said: "Yeah, my thing about Once on this Island is... Fun Home recouped after 8 months of sold out houses atCircle. Once on this Island probably has a larger capitalization cost and running cost than Fun Home did, and it's grosses are lower. At this rate, if it recoups, it'll need to be running for three years."
Since it is apparently barely breaking even, I would conjecture that it will NEVER return much or any of its investments unless the grosse
BrodyFosse123 said: "From my past experience, I was excited to start exposing my niece and nephew to Broadway like my parents did when I was a kid. My first show on Broadway was the original 1972 Broadway production of PIPPIN. I became obsessed with not just Broadway but Bob Fosse as well. I was 7 years old.
I started taking my niece and nephew to see Broadway shows when they were 5 years old. Paying top dollar at that time (no children prices). I must have taken
-- I am amazed that 3 Tall Women is doing better than Angels. I know it got great reviews, but so did Angels. I am assuming three reasons why it is doing better: (1) (far and away key reason) Glenda Jackson return to Broadway with reviews of a lifetime; (2) Too recent revival of Angels Off-Broadway; and (3) time / cost commitment to see Angels.
-- I am still amazed that A Bronx Tale will have run for almost two years if it closes around Labor Day, as
I have seen the co ing attractions to this movie 3 or 4 times now. If Meryl Streep was even in them, it was for a split second (which could explain why I didn't see her). Does anyone know -- is Donna dead in this movie, driving the reminiscing about her youth and Lily James? Even Cher is highlighted in the coming attractions, although I assume she has a cameo role.
At least she opened it up, something The Producers painfully failed to do. They would have been better up (creatively and financially) if they had taped the show and played it on Fathom Events, followed by a DVD release.
What a pathetic season this was for original works on Broadway. I looked at the Drama Critics website to see what won best play, because I could not imagine anything from this Broadway season actually winning the award. Not only was I right, but sadly so. They listed the first four vote getters and not one was from Broadway. So sad!
I was unable to see the revival of Barefoot in the Park, although I did see the original production twice. I was actually going to reference that as an example of something that failed despite being a 'better candidate' for revival. I am curious...was the revival itself just a bad production or was it another illustration of a show that was of its time? (I always thought it was probably the best of the late fifties to early 70s comedies...and have wondered wheth
I had the same reaction. IMO the weakest part of Spamelot was the musical numbers, most of which were (again IMO) thoroughly mediocre. Why not just see Monty Python and the Holy Grail.
In the past 50 years, I have seen many concerts on Broadway -- Judy G, Liza M, Bette M, Diana Ross, Shirley MacLaine, Hugh Jackman, Bing Crosby, Frank Sinatra and Ella Fitzgerald, Debbie Reynolds, Patti Lupone; living in Sarasota now, I have seen Audra twice in the past two years, Kristen Chenoweth, Patti Lupone and Mandy Patinkin, and others. I mention those because I am not sure that I have ever enjoyed any as much as the MacDonald shows (and there were some incredible shows). &
It will be interesting to see if the 12 Tony nominations triggers a lot of people who have been on the fence to finally bite the bullet and see it. A Gentleman's Guide finally took off once the Tony nominations were announced, although it was pretty clear by that time that it was going to win musical, which I do not assume is the case here.
I have not understood the love from the beginning. I saw her in Trip to Bountiful and decided that I was expecting too much because of her reviews. Her performance did nothing for me. Then I saw Romeo and Juliet and thought she was bad; at least she got some mediocre reviews for that one. Then I saw ADHP2 and really didn't understand all the fuss. I have no interest in seeing St. Joan, based on the reviews and her being in the lead. Although she did get
I was actually going to say that re the editing. The first time I saw the movie, I also hated it because of the editing. It literally gave me an eye-strain induced migraine. The second time I saw it, I somehow managed to look away occasionally (especially in the first 30 minutes), and I enjoyed it much more. That is one of the reasons I am looking forward to this...while I still expect my senses to be bombarded, at least I won't have to deal with the editing.
Unless they can get a mega-star to appear in this, it is inconceivable to me that this could be successful on Broadway in 2018. This was a success in a different time, when (s)light comedies could be very successful. When is the last time that a revival of a light comedy was a success? I can only think of Boeing Boeing which, ironically, was a major flop in its original run; and I certainly assumed at the time that its success was due to Mark Rylance's performance..
NievesG said: "Denzel and Michael Potts were the only things keeping me awake during this thing. One clearly has to be a huge O'Neill fan to appreciate this. I've seen stagings of A Moon for the Misbegotten that were more bearable."
I find the dismissal of A Moon for the Misbegotten pretty mind-boggling. In 50+ years of frequent theatre going, the single most memorable production I have ever seen remains the 1973 production of A Moon for the Misbegotten
If the show really only broke even three weeks ago, with the grosses it had for nine months, followed by decent grosses since then, someone did a terrible job working out the economics of the show. That could explain why the show is closing...maybe the weekly nut -- even without Bette -- is just too high. Not sure why it would be so much higher than, say, Kinky Boots, which has not grossed $1MM per week in ages (other than the Urie interval and holiday weeks) and has still been ru
HAs there EVER been a show that seemed quite so 'critic-proof' as this one? Although, based on the feedback on this board and all the Oliviers, I am assuming this will get good reviews (I have not yet been deigned worthy to purchase tickets -- the only time I made the cut, the tix were $299 for each part, too rich for my blood). That said, I am not sure the reviews are going to make one bit of difference.
