GeorgeandDot said: "Just a really rude comment on Umphress, who is super gorgeous and curvy in all the right places. She's a great performer and it sucks to me that her entire performance is basically ignored to focus on the shape of her body as if it is her only defining factor. Can we stop acting like actors need to look a certain way? Can't we just have humans onstage telling human stories? I like seeing curvy, plus-sized, and overweight actors onstage because they have st
What I find more offensive and upsetting is that Ben Vereen was there opening night posing for pictures and smiling and making jazz hands after his disgusting behavior during the production of HAIR he directed in Florida recently. That's okay now?
And bk is right. Not that I condone Mr. Simon's attacks on the physical attributes of actresses, but he said Liza had the face of a beagle and commented on Madeline Kahn's breast size in print. They went o
I recall some of you on this board partaking in the "Good thing Bob Fosse isn't alive during #MeToo" nonsense, which is fine, but wrong, and not helping victims of sexual abuse in the theatre. Plus, we could use someone like Bob Fosse... or at least someone who behaved the way Bob Fosse did in auditions. There are the stories of Fosse kindly explaining to rejected performers WHY he was rejecting them, wishing them we
The circumstances of this man's death, and recollections of that last rehearsal, horrify me. The more I wade slowly into this industry, and the more I learn about the behavior of certain high-powered individuals in it, I feel deeply cynical, disillusioned and frustrated that such behavior is either sanctioned or ignored. I certainly won't partake in it. I hope Equity does indeed investigate CHICAGO's stage management and the actions of its director, Walter Bobbie. From reading abo
If she does consider a revival of a classic, how about THE VISIT (the Duerrenmatt play, not the K&E musical) with Kevin Kline as Schill? Even as a Shakespeare in the Park summer production? I am dying to see her play that brilliant,, glamorous old lady.
Sounds rather liked how he staged PASSION (with some curtains, if I recall correctly). I loved that production. PACIFIC OVERTURES... not so much. However, now I'm looking forward to this. It should be more than a curiosity. It got fabulous reviews in 1945 and may have even gotten the general public more interested in grand opera, as they were for those post-war years. (Lenny B. may have helped, too.) Hammerstein's lyrics and text-- they cannot be called a "translation" becau
I don't think a TV performance would have captured the essence or the magic of that performance. The cast album certainly didn't, unfortunately. You had to be there. Clips or an awards show or talk show performance wouldn't have been the same. It's like Jolson or Garland post-Metro (though she comes across well enough on TV) or the original company of A CHORUS LINE. You just had to see it to believe it, I suppose. I'm sorry you're disappointed that you missed
The new (wonderful) HOWARD documentary directed by Don Hahn makes it very clear that Howard and Marvin Hamlisch did not get along. Hamlisch behaved like a pompous egomaniac with no sense of theatre or character development, and Ashman, usually in control at the WPA (where LITTLE SHOP OF HORRORS originated and where he was artistic director for a long time), was treated poorly and condescendingly. The producers were inexperienced. More experienced hands like "The Shuberts" and David
NEW GIRL IN TOWN with Katrina Lenk is the new Encores! dream show I'm going to start campaigning for.
Despite some very charming songs and great opportunities for a talented choreographer, it's not a very good show, and therefore PERFECT for Encores!. And I think Lenk is special enough to tackle a role the very special Gwen Verdon originated.
I don't post much at all here anymore, but I do lurk to read Whizzer's really articulate reviews of shows in previews, mostly. But I couldn't resist the following...
Jan Maxwell gave one of those unforgettable performances (for me, anyway) as Phyllis in FOLLIES in 2011. (Her colleague, Danny Burstein, did the same thing as Buddy.) This news hits me like a ton of bricks. Despite her announced retirement, I had hoped for a grand return. She was a true creature of the stage, and we were lucky to have her. I send my condolences to her colleagues, her loved ones, and her family. She will live on in the memories of the many very lucky theatregoers who saw
Rick leaves behind a wonderful legacy of scholarship, important documentation, and joyous enthusiasm. It was wonderful to communicate with him now and then, and I'm terribly sorry to hear this. Jordan, my condolences to you, and to his countless friends and loved ones all over the country.
That's one of the most inventive things in the show! They cut those? Too bad. I've heard that the singing and orchestra is simply glorious-- as it should be.
jv92, I've always enjoyed your contributions here- maybe BWW needs a separate board for the more... mature members?
I'm afraid that board will have to exist over drinks. There are a lot of people in the industry I personally like, and some more whose work I adore and feel ill when potshots are taken at them and their creativity. And because I know several of these people, since I've "grown up" a bit since my FOLLIES discovery days, I think it's best t
Ado Annie D'Ysquith said: "Wow John, thank you so much for your kind words! They're just what I needed to hear, as yesterday I was wondering if any of my work had any tangible purpose in this world...
I'm currently at work on a new play-with-music that is mostly a fantasia on a female director's experience, but some of my best lyrics are in it! I'd be happy to send you an excerpt.
I think anyone who writes or creates anything is brave, b
Also, I have not posted here in some time, and that will continue. This site and board has gotten a bit too much for me, as much as I love the knowledge and enthusiasm of several of you on here. But when it comes to something I know about, care about, and want to make sure continues (i.e. the writing of well crafted, interesting and good musicals), I'm happy to sometimes contribute. To all of you people writing anything, good luck! We're all in the same boat, believe it or not. <
Your description describes further "studies" and the work promoted and encouraged by the Workshop in NYC. Not all-- but most. Again, some friends may stone me for this, but I really think once one learns the AABA and typical song forms and the tools behind perfect rhymes and scansion, etc. (which one can readily learn from Sondheim's own lecture at the 92nd St. Y from 1971-- it's available from many sources, and if one joins the VERY NECESSARY Dramatists Guild, it's avai
Ado Annie D'Ysquith said: "Thanks for your timely reply, Mr. Guettel. I can now say that she is a role I CAN and would love to perform one day!
I'm a lyricist too, although I applied to BMI as a librettist this year. After two rejections as a lyricist, thought I'd try my luck differently this time. I would love to have a conversation about work sometime!
I can assure you, as someone who has spent too much time in the
I don't know about definitive production, but Tracy Letts was the definitive George for me in VIRGINIA WOOLF
I could not agree more. I think the production was probably the one that made Martha least monotonous. Uta Hagen was good, and Elizabeth Taylor certainly got the screaming down, but Amy Morton gave her some colors. But Letts was astounding. I would even go so far as to call that production definitive.
