When I saw Six in Chicago, the audience was very broad in terms of age range and they all seemed to enjoy it. I don't think it's more of a question of age, but of gender as the audience was mostly women. I think that any woman of any age can find something relatable in this show. The question is can it also appeal to men--but, then, probably the kind of men that wouldn't like this show wouldn't be seeing a musical on Broadway to begin with.
I thought that I would miss the English accents, too, but I didn't when I saw the Chicago production. It helped that they took out really specific British lingo (like "mates"
I also think that Miss Saigon challenges the "white savior" narrative. I think it's important to remember that the authors are French, everything in the show that seems to glorify American culture is actually a critique of it. The Engineer's obsession with American consumerism and culture is shown to be an unfulfilled and ultimately empty dream.
I agree that Chris is an asshole and he's unintelligent. I also think that Thuy is a complex character. It's easy to
Blood Brothers - it's funny because the show obviously hits you over the head with the class theme. But they spend so much time diverting your attention, making you focus on the superstition and everything else, that you don't really think about it until the narrator actually asks you. And then it hits like a gut punch.
Passion and Cabaret - both incredible shows, but the endings just raise it to a whole new level for me
So I feel the need to defend the movie because I love it, although I agree that the singing is... not great. Basically, do you like Baz Luhrman films? if you do, then you'll like MR. If you don't, then you'll dislike it.
The difference between this and Will Smith's Genie is, IMO, that Aladdin had a built-in audience: all of the now-grown up kids who are nostalgic for the original, and their children. I don't really know a ton of people who are nostalgic for Cats. Overall, I don't really know who this movie is for.
It's hard for me to take her videos seriously after I saw her extremely uninformed review of the Six studio recording (and her appended review, which still managed to be incredibly uninformed). Also, she says "sound track." I mean, I get that we're losing that battle, but it will forever grate on me.
The only part of the soundtrack that made me feel any real emotion was "He Lives in You," which is apparently played over the credits.
I am not a fan of the stage show but "Endless Night," "Shadowland," and "He Lives in You" are fantastic additions to the score and not including them was a mistake.
I mean, there are women who argue they should be able to walk down the street topless if they want--after all, men do it all the time. If that's the society we're heading towards, how is sharing a pic of a woman's breasts actually something wrong?
Because, as as society, we have not reached that point yet. I would argue that sharing nude photos of a man has entirely different ramifications from sharing nude photos of a woman (in fact, men a
It's great that you've come to terms with it, but that doesn't mean everyone has. Nor should they have to, when instead of going "oh well, some people are just jerks" we could actually expect people to behave better and even have them face consequences when they don't.
I personally think that the Me Too movement is about, hey, maybe instead of questioning why the woman did something, we put the onus on the man to do the right thing?
I shudder to think what these poor girls will end up experiencing, as they think there is an inviolable wall of protection around them no matter what choices they make, and will lack any ability to summon the strength to get through the suffering and cruel experiences that, unfortunately, all human beings encounter one way or the other.
I find it incredibly amusing that you think women are reaching the level at which we will assume no responsibility for sexu
I haven't seen the stage show, but I've seen the movie tons of times. I have my doubts about the stage adaptation because so much of made Moulin Rouge great is specific to film--such as editing, cinematography, and sound editing--and would be hard to replicate in a live theatre adaptation. I'm wondering if maybe that's why some people are coming away less than impressed.
I went to a Catholic school and our theatre department put on Jesus Christ Superstar (although a pretty sanitized version, especially concerning Mary Magadelen), Godspell, Joseph and the Amazing Technicolor Dreamcoat, The Wiz, Little Shop of Horrors, and more recently Phantom of the Opera and Leader of the Pack.
