She's been pulling these, er, antics for years, and now it's dangerous. She should have been fired at the photo shoot. I don't buy the "She's not taking her meds" line, either. I have nothing but empathy for anyone struggling with mental illness, but Dunaway's "You must never look at me... You must never wear white... I hate this wig" sh*t seems to fall into the self-indulgent, ego maniacal loony tune category. Again, she's been doing it since
Jul 20
2019, 09:27:18 AM
Miss Lindsey (and Mother's Husband, Mike Pence) are two evil closet cases doing irrevocable damage to this country and its LGBTQ community. This isn't homophobic. It's what these two scumbags deserve. Go LuPone!
He's not wrong. But the revival I really think Andy Hammerstein should call out for being godawful was the last CAROUSEL. For some reason, I'll forgive this OKLAHOMA! easier than the evisceration of CAROUSEL last season.
This OKLAHOMA! is not what Dick and Oscar intended the piece to be, but I still came away admiring certain aspects, particularly the musical treatment (save for the ballet), which was different in sound, but still proved the durability and timelessness of
Viertel's theory, like his book, is glib. And it's time for him to step down from his post as Encores! Artistic Director, too.
The reason why MACK AND MABEL doesn't work and never will work is because the book is terrible-- absolutely slapdash and amateurish. It's amazing that Jerry Herman got such a colorful, characterful score out of it. I think his songs for Mabel are among the finest of his career, and unlike Mr. Viertel, I think "Movies Were Movies" gets
Wow, those pictures of the set model are remarkable. The set finally makes sense to me now.
I think MERRILY is, despite its legend and its wonderful score, an unworkable gimmick of a show, but a fascinating one. Thanks for sharing those links!
Isn't it a shame that a musical written in 1938 isn't "woke" 81 years later? Jeez.
I'm going tomorrow. I'm excited. They don't write charts like Hans Spialek used to, and any chance to restore his work is good enough excuse for a major restoration for me. Spring is here, I hear...
Oh dear. Rob Ashford. What will his direction to the actors be like? Don't pop the neck, Cassie, and wander around aimlessly? His bag of tricks as a choreographer run out after eight bars followed a trip to the chiropractor for his corps. His bag of tricks as a director are non-existent.
I think the original film MUST be somewhere online. I highly recommend close viewing of it once before watching this, but I'd say there's enough humor (and some of the lyric lines are funny-- the coke song is great) for it to be enjoyable with just passing knowledge or just memories of seeing the Stritch segment, etc.
Look, I am typically the perfect rhyme gestapo and still cringe in the theatre at false rhymes and glaring misaccents, but I've mellowed when it comes t
My favorite bit by far was the "harpooned/rooned" diction lesson. Really great stuff, but without knowledge (sometimes shot by shot knowledge) of the original, it'll be lost on most people. But who cares? Most people suck.
I'm the leader of the false rhyme police, but I've been more lenient about it in parody because... it's parody. This is supposed to be a show that closed on opening night, right?
But it would have been nice. However, I'll save my irritation about poor craftsmanship for the score of COME FROM AWAY, etc.
So many cigarettes. Mulaney has got Sondheim down. The real Sondheim makes the exact gesture on the cover of the CO-OP album when he's coaching Dean Jones on "Being Alive" in the control room. Brilliant.
It'll probably only appeal to about 5,000 people in the country (I think a lot of younger theatre fans-- by younger I mean tweens and teens will be absolutely clueless watching it), but that's the brilliance of this series.
While it may be a bit of an ALL THAT JAZZ-retread to focus a bit on CHICAGO (or LENNY for that matter), as Nicole Fosse says in a recent interview piece I read, Bob's movie of his life is definitely "romanticized" to the point where everyone is guilty of screwing him over except the Gwen Verdon character.
And that out of town tryout was uber dramatic. And awful.
Sounds neat, and what a great opportunity for the students! Kander is a lovely man.
I only wish the original three act structure (with two intermissions) had been reinstated and tried again this time. Hal Prince was convinced by George Abbott (foolishly, as far as I'm concerned) to put the show in two acts, resulting in a very top-heavy musical. But perhaps that helped a difficult show succeed commercially, so maybe not so foolish...?
On the contrary, Sondheim knew Fields personally, I'm sure. He surely know her work, which appeared on Broadway up through SWEET CHARITY in the late1960s and SEESAW, in the early 1970s. IIRC, he even mentions her lyrics as one of the models for the pastiche numbers in FOLLIES."
According to Sondheim, Herbert Sondheim introduced Dorothy Fields to her husband, and young Steve knew her as "Aunt Dorothy" growing up. I think she was also friend
Leave well enough alone-- no rewrites. Lerner's dead. We don't need some too-obvious dramaturgy "fixing" CAMELOT. What the show needs is a good cast. I'm really curious about Miranda playing Arthur. I may eat my words, but I think he has that youthful idealistic quality needed for the part. Everyone seems to forget that that's a huge part of Arthur. Even Burton had that twinkle in his eye. Then Richard Harris did the movie and over emoted like he was passing a v
Sondheim's, shall we say, artistic prejudices have been set in stone for years. I have a few friends who knew him in the mid-late 60s long before he was "Stephen Sondheim" and just that opinionated upstart who wrote lyrics for WEST SIDE STORY and GYPSY. Thank goodness he flourished beyond that, and he's become the beloved, revered writer he is now, but he had a lot of the same feelings on Brecht, opera, and I'm assuming Ms. Parker (though I've never asked) since
