What really strikes me is the comment "nobody likes her" or something to that effect. We forget Broadway World is a closed system, feeding and cannibalizing opinions from these, here message boards. And we find ourselves living in it's bubble. I get it. I didn't go see Carousel in previews because of reports on here. Then I read the reviews and advanced from the group think and went to see it myself and it was mostly wonderful.
Well, it was up against American Idol which has come back fairly strong this new season. They pull the same basic type of viewers. But most of these viewers will have DVR'd one or the other, so I'm pretty sure when added in JC Superstar's ratings will uptick.
CallMeAl2 said: "RaisedOnMusicals said: "This brings back so many memories of buying the OCR in 1971 and rushing home to play the records on my stereo. (Yep, I’m old). I remember thinking that the score was a masterpiece. I still think so."
Yeah. I first heard the score in my Catholic high school religion class. As soon as the record was released the priest that taught the class brought it in and played itfor us. Back then it was a while before I c
Glenda was of course amazing (as was Allison Pill) but the stand out to me was Laurie Metcalf. Just an astounding performance. (I'm sure I would be completely drooling over Glenda if I had not been lucky enough to see her King Lear at the Old Vic). The direction was so fine. The original staging was very simple letting the play's words carry the power, yet with a much more high concept concept, the play is so great it isn't overwhelmed by it, i
GeorgeandDot said: "The Menier Chocolate Factory production was glorious. It was a pretty immersive, terrifying experience. It was scary, loud, and violent. The British described our nation to a T. I would love for it to transfer with an American cast. I still have chills from the "birth of the nation" when the clown proprietor is birthed from a giant, glowing, decapitated clown doll head at the start of the show."
I don't understand these "tone" complaints. A musical comedy tone is already completely different than a realistic comedy film tone. Plus, who cares. It's not the film. There is no requirement that this story "feel" like the movie's story. There's actually no real need for it to tell exactly the same story. It's an adaptation.
Actually, I think the musical should have strayed further from the film, especially in the second act.
Kad said: "A Doll's House Part Two is deliberately anachronistic."
Well, yes it was, but it's not what I was referring, as casting a black actress as the daughter of two white people is actually more biologic than anachronistic.
The greatest Rent I've ever seen was a Cromer directed, traverse staged production in Chicago a couple of years ago.
I love that this Broadway and off-Broadway director (by the time NTN is produced a possibly Tony winning director) still comes back to Chicago to direct second tier regional productions!
Sally Durant Plummer said: "Argh. Why do people find colorblind casting so hard? Or misinterpret it. Colorblind casting, no matter what the actor or director politically correctively say, is generally a person of color, generally black, PRETENDING to be white! Most of these colorblind shows are set in a very VERY racist past where Mr. Snow would never marry a black woman or an Oklahoma sheriff would never consider marrying a woman of color, no matter if she looks and sings like A
WayTooBroadway said: "From the recent NYT article:
Scott Rudin, the lead producer of the current revival, said the creative team, led by the director Jack O’Brien, would not be changing the show’s text (other than a possible minor tweak to reflect the fact that Mr. Henry is African-American).
“We’re going to do it as written — it’s what they wrote, and it’s the truth of the characters,” he said. “Julie does n
Sally Durant Plummer said: "Here's one of my main issues with this staging. I don't believe in colorblind casting. Casting is context. Everyone walks in with baggage about what they are seeing on stage, due to the structure this country was built on. So what I was interested in seeing in this production was how they dealt with how Billy and Jigger are POC actors who serve to enact the primary violence in this play. Mostly, this production ignored it. Some lines fit in very we
The Distinctive Baritone said: "I really hope that Daisy Eagan is used as Martha. Also, if there was already a pre-Broadway production going, why start from scratch with a new director? This is very strange."
A friend of mine was in the last three incarnations (a tour that hit Seattle, DC and Houston). He said the director (artistic director of 5th Avenue I believe) never had a handle on the show and it actually got worse as the tour progressed. It was meant to come
