joevitus said: "Charley Kringas Inc said: "I don’t get the “equal opportunity comedy” defence. For one thing, Parker and Stone have never punched up as much as they’ve punched down."
Wrong. And if you can't take a joke as being a joke, that's kinda on you."
So I take it you consider jokes about Africans being gullible baby-raping morons to be roughly equal to jokes about Mormons being insular, sheltered do
Helen Shaw takes down both BOM and Hamilton on Vulture Dec 19
2019, 11:17:02 AM
I don’t get the “equal opportunity comedy” defence. For one thing, Parker and Stone have never punched up as much as they’ve punched down. Even if they did, are we meant to accept that jokes about how Ugandans are gullible baby-raping idiots are equal with jokes about how Mormons are repressed?
I can't comment on the current audience of Hamilton, but Book of Mormon is an abominable show written by two of the worst people in popular media in the last couple decades (who haven't a: worked for Fox or b: raped anyone, to my knowledge) and it blows my mind that it's still pummeling along.
I didn't feel like I was getting caught up in false/slant rhymes in Hadestown, either, though it is frustrating in "Wait For Me" when Hermes's first stanza has a perfect AABBCDDE scheme, and then his second stanza is AA[slant]BB[slant]CCDE, before going back to the first scheme in the third stanza. But yeah, the loose rhyming of Hadestown feels organic, as does the obstinately unrhymed Natasha and Pierre - interestingly, though both draw from folk influences, the w
Oversaturation is always possible with anything but Sweeney Todd is eternal.
Sara Holdren leaving as Vulture's theater critic Sep 18
2019, 08:56:19 AM
Oh no! I’ll miss her reviews - I can’t think of anyone else doing such in-depth and thoughtful analysis, and if anyone else can please direct me to them.
My love for this score is a little hesitant, because while it has some of ALW's best melodies, it also stretches the film's punchy dialogue into a more somber, gothic amble (with some thrilling exceptions). The balance of inevitable fate and escalating desperation is thrown off, so by the time things come to a head the potent irony has deflated.
On the other hand, almost every song connects beautifully, and the sonic world that's constructed is intoxicating. I love those we
Best Scene Changes Aug 29
2019, 12:02:58 PM
The original Carrie’s transition to Don’t Waste The Moon was also pretty spectacular, with all those headlights coming out of the darkness.
Yerma definitely deserves mention here, mostly for the fact that the transitions were so quick in the darkness. I remember reading about how they did it, but I’ve forgotten - does anyone remember?
Best Scene Changes Aug 28
2019, 03:04:45 PM
The transition to the “real” house on the Fun Home tour was pretty spectacular - so much of the show was mostly suggested with props and minor furniture, and then the wall comes up to reveal an intricately detailed mansion room with intense patterned wallpaper. The shift from abstract to almost painfully real was a little startling.
Also, kind of the opposite, but when I saw DEH I was sitting towards the back of the auditorium, and when the screen lifted up to reveal the sky a bunch of
Ivo Van Hove to direct stage adaptation of The Shining Aug 22
2019, 10:19:30 PM
As noted King originally conceived it as a play, and it has been adapted into a well-received opera, so I’m sure Van Hove could do something interesting with it.
BJR said: "The ushers would stand in the aisles just before Dolly's entrance to the Harmonia Gardens, too. Each time I saw it, I think I saw someone try to take a picture and them come running over with the flashlight. They were serious not to have that moment filmed."
For a moment I thought you were implying she came down the stairs naked.
I love the change. The phrase "the cruelty is the point" has been floating around for a while now regarding the current American situation and I find it's applicable here - it's not an accident, or some invisible hand of the market wiping him out, it's a conscious force. Americans did what they did to get what we have, and the new ending highlights that in a thrilling manner.
If you don't like it, wait for the next Oklahoma! revival. A show is not obliter
