My favourite dream ever was one I had where Patti LuPone, Glenn Close, and Jerry Orbach were all on "Celebrity Survivor" (the weird thing was that everyone was dressed up in evening gowns) and Patti and Glenn made an alliance and voted Jerry out of the tribe. Once voted off, Jerry high kicked Glenn in the face. -ahmelie
the story continues...
But it would be better seeing Patti kick Glenn in the face. -me
Ya know, I'd be happy seeing anyone kick Glenn Close in the face. ...and I'd be happy seeing Patti kick anyone in the face.
But put 'em together and you've got my (sadistic, diva-licous) version of heaven. -ahmelie
Early in her career Clark played Smitty in How to Succeed and Pennywise in Urinetown. Like Sara Jane Moore, both roles require a bit of zany comic energy (especially Pennywise) so I think it actually is a pretty perfect fit for her.
There's a really lovely aspect of a little play about a little remembered play finally getting its due. I'm thrilled it will be sticking around for a little longer!
Well, to be fair, many of the costumes in Act I will always be the same, since they all have to match the painting. Regardless, I don't think they would have merited an nomination in what was a strong year for costume design. I also think someone like Taylor Trensch would have been nominated had Mike Faist not been. That's not a knock on any of the supporting men in Sunday, but I don't think any of those roles are ones that receive awards attention.
I will grant that I was more lukewarm on this revival than most, but I don't think it would have gotten much outside of Revival, the leading actors, and maybe lighting. The supporting cast were all fine in small roles, the design was either a copy of the original (the costumes) or non-existent (the set). I get that a lot of people were passionate about this one, but in such a crowded season I don't think it would have swept even the nominations.
Without two dynamite leads I can't see it selling well- and I don't know who they could convince to do it on the road who are also good fits for the part. If the show has any life beyond LuPone and Ebersole, my bet is that they try to recast the Broadway company before looking to tour it.
It's Only a Play was one of the most boring things I've ever seen on Broadway, but I blame the script for that more than anything. Maybe different direction could have given it some oomph, but it's a two hour play that should be a 15 minute sketch. Doesn't help when Matthew Broderick is the one tasked with giving the frequent, long, and painfully earnest monologues.
I tried today- got there at 8 and the line was extremely long. At 10:30 or so someone came down and let us know that there was no way we could get tickets.
If any show could have used streaming from the theatre, it was Comet, who still managed to pull off the most impressive performance of the night.
Rudin is a jerk, but I'm also sure if Bette really wanted to perform, she could have forced his hand. I really enjoyed this production, but a lot of this has left a sour taste in the mouth for sure.
As is always the case in threads about race on BWW, I'm getting the distinct impression that a lot of the people talking about it are white (which to be clear, I am too). But when actors of color repeatedly talk about the hurdles they face to get work, maybe stop talking and believe them.
Right. It also feels like backpedaling to say "Well, Broadway isn't where the best stuff plays, so who cares who makes it there anyway!". Of course there's often great work being done off-Broadway, but Broadway is where the most money and attention are.
I think it's also disappointing because Vogel's play is about queer women and so few of those stories get told in theatre, Broadway or otherwise, yet we get god knows how many plays about well-off white gay men. I am a white gay man, the disparity is troubling.
Also, bringing up he number of black artists who have won Tonys doesn't account for the severe lack of Asian/Pacific Islander and Hispanic artists up for these awards. Conversations about racial diversity shouldn't just be about black actors.
Eh, I think Vogel has something of a point. I think Brantley and Green were needlessly dismissive towards both plays, and I say that as someone who didn't love Sweat. As much as critics have an impact, these two have the most, and a woman or a person of color could have been hired in Green's place who might have had a different take on both plays. I think it's also a reaction to the Tonys, which gave Best Play to the only play not written by a woman and featuring few women, all of
I don't see how Michaelson puts them into a deeper hole. Is she as big a star as Groban? No, but she's not a nobody and certainly is a bigger name than Britain Ashford. We'll see who they have lined up for Pierre in the fall, but I don't think this was a bad decision.
I'm curious to know what impact the Comet performance had on their sales. I thought it was a standout of the night and likely the best number they could have done- lots of energy and fun. But, they were pretty absent on the rest of the broadcast since their two awards were presented off-screen.
