Profile for SporkGoddess

So I wasn't familiar with the Broadway version other than the Tonys performance. I really liked the parts of the story with Emma, Alyssa, and the high school, but I found the parts with the older "celebrities" completely obnoxious. I'm not sure how much of that was the role and writing themselves vs. my hatred of James Corden, but the satire just felt soooo heavyhanded. It felt like they were constantly winking at me. And I didn't care at all about their emotional j

I came to BWW because people on the Lincoln Project twitter post were arguing about who the singer is, and I knew we'd have the expertise here to figure it out! I agree that it doesn't sound like Patti. I could see Laura Benanti. Someone on Twitter also suggested Lisa Howard, which also sounds plausible to me.

Passion is my favorite Sondheim show! I absolutely love it. I haven't seen the show live, but I have seen the filmed versions with Donna Murphy and Patti LuPone. I mainly love it for the score, but the story is also just very interesting and I like how it explores the ideas of passion and love.

I personally feel that the success of the show depends on the actress playing Fosca and how well she can convey the character. IMO Patti came across as very undignified and just extremely an

I think LBB was a combo of both a voice shredding role and not-great technique, but I'll let the experts chime in.

Reading through this thread and saw Ruthie Henshall's name. I haven't heard her sing in quite some time (not that I was looking for her either) so out of curiosity I turned to YouTube to hear what her voice sounds like nowadays and found this ... "I Still Believe" (Lytham Festival)

I think LBB was a combo of both a voice shredding role and not-great technique, but I'll let the experts chime in.

Reading through this thread and saw Ruthie Henshall's name. I haven't heard her sing in quite some time (not that I was looking for her either) so out of curiosity I turned to YouTube to hear what her voice sounds like nowadays and found this ... "I Still Believe" (Lytham Festival)

I loved her voice. It was so unique. I especially loved the timbre of her soprano. However, the unique qualities came at the cost of longevity because it was due to poor  technique. Also, lots of cigarettes and alcohol. Her voice is shredded now, it’s in the worst shape of any high profile musical theatre person with vocal damage, that I have ever heard. There are clips of her when she is so below a note she almost out by a full tone. It’s a terrible shame but that&r

I saw a production of Parade at a local school with an all-white cast. Although my family who'd never seen the show still really liked it, I felt like it was really missing a big piece of the story. I think I'd feel the same about Once On This Island, too.

I was told by someone quite knowledgeable on the subject that Sierra Boggess really hurt her voice in The Little Mermaid and you can tell when you hear her sing now.

I'm super curious about Ruthie Henshall - what happened to her voice? Was she using incorrect technique when singing those soprano roles?

I absolutely loved him in the Toxic Avenger cast recording. RIP.

Chiming in as a soprano: the reason the title song cadenza in Phantom is so difficult is because it's a sustained series of high notes ending in an E6. It's not so much the notes themselves but how long you have to stay there and how long you have to hold them for. I'm honestly not familiar enough with "Thank Goodness" to know what precedes the high note at the end, but I doubt it's as vocally strenuous. A sustained F6 would be difficult no matter what, though--even

I just want to chime in as someone who lives in "flyover country." I definitely will still attend live productions of shows I've seen filmed onstage. For instance, I still drove four hours to see The Light in the Piazza national tour even after the Live from Lincoln Center broadcast. 

I acknowledge that I am not your modal theatregoer here in the Midwest, but I think that here to the more casual theatregoers it's more about the experience of going to the

Honestly, I feel that way about David Yazbek and The Band's Visit. I haven't liked any of his other scores.

As a huge Light in the Piazza fan, I am familiar with the criticism of its storyline. I definitely see the concerns and I think that it's a delicate balancing act that hinges a lot on the actress playing Clara and the actor playing Fabrizio. I read that Kelli replaced Celia Keenan-Bolger in the Broadway production because Celia's approach to Clara was thought to be too childlike and immature. If you watch the film based on the novella with Olivia DeHavilland, Clara comes across as chi

Does anyone have any thoughts as to why her behavior on the set of Ragtime was tolerated? It's not like she was that famous at the time or couldn't be replaced. Did she keep that side of her hidden from people who could actually do something about it?

I'd also love an all-Latino production.

And I second the recommendation of Donna Murphy's performance. She makes it sound like a Bond theme!

Adrienne Warren, unless we're saving her for the inevitable live action version of The Princess and the Frog.

They didn't accept Dracula for D either.

I have to admit that I found it slightly amusing when Cynthia Erivo was cast as Harriet Tubman and there was a lot of internet outrage over that (I believe it was because she is British, if I remember correctly).

Something Rotten - sorry, I know that a lot of people on this board like it, but I absolutely hated it. It was a tour version so I didn't get to see the OBCR or anything.

The Lion King

All Shook Up