Huss417 said: "Falsettolands said: "They also made an announcement they would be replacing the conductor as well! I wonder if there was an altercation between the two of them..."
"The Conductor"?
"
This is a spoof on the Mean Girls thread from a week / few weeks back.
JBradshaw said: "What’s the Merriam Theatre like these days? I went to UARTS and haven’t been in that theatre in years"
Beautiful, but dreadfully uncomfortable. I was at the Sutton concert, too, and the leg room in the balcony––the second of three tiers in this venue––is the worst I think I've ever experienced anywhere... I woke up in pain the next day.
On the concert itself, I have to echo the thoughts of LetTheSun
Are you basing that off of the National Theatre production? I didn't see this production on stage or on screen, but I imagine Cooke will try to replicate his vision of the piece for his film version (for better or worse).
The announced producers had me a little underwhelmed, but Heyday Films, in addition to the Harry Potter franchise, is behind some very impressive pictures including Gravity and this season's Once Upon a Time in Hollywood and Marriage Story. Small consideration, but it seems they can definite handle a prestige film.
The Hollywood Reporter just shared news that Dominic Cooke will direct a film of Follies after helming the National Theatre revival in 2017. Sondheim commented that Cooke's stage production was the first time he envisioned the material as cinematic. It will be a BBC Films and Heyday Films production.
This is a trickier situation than Jan Maxwell's back in 2010 because Jan had one performance eligible in each of the categories, as you said (it was for "The Royal Family" and "Lend Me a Tenor," not "Follies" though).
The fact that "Drive" runs through the spring and therefore coincides with Tony season elevates Parker's chances of a nod for that performance. Reviews for her performance in "Sound Inside" were excellent, tho
jagman1062 said: "Do you think that Kalukango and Nolan might be bumped up to leads simply because they appear in the "third act" of the play, which is raw and intense giving them much more content to perform (although Nolan's performance is rather limited in the "second act" and Kalukango has few lines but speaks volumes in body language). If they are bumped up to lead recognition, I certainly see Kalukango being a contender but think Nolan would be a long sh
givesmevoice said: "Is Kalukango Featured? I would've assumed she was Leading. Based on that thinking, I would've had Annie McNamara as a front runner in the Featured Actress category."
She will be in the Featured category unless the Tony nominating committee decides to bump her up to Actress (which I assume would go for Paul Alexander Nolan, too). I think it's entirely possible that Kalukango's category placement changes, but for now she
Jarethan said: "I do not know if The Sound Inside will win Best Play, Mary Louise Parker Best Actress, or the woman with the British husband in Slave Play (whose name I can still not remember) will win Best Supporting Actress. If they do not, there isreal brilliance yet to come in those categories.
Darren Criss Headed back to Broadway!? Oct 28
2019, 12:11:10 AM
The Steppenwolf production from a decade ago listed its run-time at an hour and forty minutes, including intermission. The pacing might / will vary under Neil Pepe than how Amy Morton staged it then, but it is likely to remain around 90 minutes.
In their announcement of the American Buffalo revival this season, the New York Times included the following update on Glengarry:
"Last August, it was announced that Mr. Richards and Mr. Traxler were part of the producing team for an all female-revival of a different Mamet play, “Gl
FranklinDickson2018 said: "My issue is that he said they are doing what R & H wrote."
They are "doing what R & H wrote," though, are they not? They haven't changed any of the lyrics or the score, and he didn't say they're using Robert Russell Bennett's original orchestrations, which they're not. His comment reflects that they're employing the original material (unchanged) in a production that captures the revolutionary s
I haven't seen all of the shows you're considering, but I'd highly recommend The Sound Inside. Parker is brilliant, the previews thread has nothing but good comments, and it just got a flurry of rave reviews. It is sneaky in its simplicity, but open to so many interpretations and as soon as it ended I really wanted to see it again. Definitely something you'll think about long after its over and, if you're seeing it with someone, it's a great piece to disc
A rave from the New York Times. Green says Parker has never been better in her thirty-year stage career, calls Hochman her worthy partner, loves the tweaks Rapp made between Williamstown and now, and above all praises Cromer's directing:
I saw this last Sunday and think it's an excellent play. Mary-Louise Parker is incredibly good, at once captivating, funny, moving, and eerily detached. I don't know how the Tony Award nominations will shake out with Parker vying for two bids in the same category, but this is most certainly a performance worthy of a nomination. Hochman is great as well. Cromer's directing and staging is subtle, but very effective. I can't really say more without spoilers (see below;
northlandfan said: " Just wondering if anybody was at the Hadestown table at the end of the day as they were not budging on the price of autograph playbills nor autograph window cards. The price was 150 for a window card and $80 for an autographed playbill which I found quite steep. I really don’t understand why they won’t lower the price in order to make more money for charity instead of taking back all the product for the following year when the hype is less....&qu
