Call_me_jorge said: "I wonder how much of this is due to the lack of involvement from the original creative team.
The creative teams for both shows are off doing other projects and I wouldn’t blame them if they had trouble find the time to return to their respective shows. Casey Nicholaw has like what seems like a million other shows in the pipeline, plus he has 2 other shows currently running on broadway, it was 3 just recently. Robert Lopez has frozen stuff to work
It's a very intellectually shaky essay. Not a very auspicious beginning for someone I thought more of than this. But oh well, Sara was gonna be missed anyway.
@joevitus OK. We have different impressions regarding Hair being done, but I am fine disagreeing about that now that I understand your position. It could be a separate subject but I am sure we do not want to get Hair mixed up in a discussion of male orgasm now do we?
joevitus said: "I mean there are shows that are performed all over all the time--or at least for a good many decades. They get revived. They get performed by regional theaters. When the rights become available, they are done in schools over and over. A list would include:Oklahoma! Hello,Dolly!My Fair Lady,Guys and Dolls, among others. They form a kind of canon of Broadway shows that if you grow up in America, you are likely to encounter. Then there are other shows that are huge hits
Well, I cannot predict the future but Two Gents was revived in '05, and is the first place that Renee Elise Goldsberry and Oscar Isaac made an impression.But in any event, the fact is most best musicals are not revived, including quite a few that some here seem to think are major. Moreover, I certainly imagine someone is planning on reviving it someday, just as Hadestown will be done after its time on the main stem. But spew what nonsense you want.
The Hellinger is another question that gets asked often, and the answer never changes. It is not gonna happen. They are not interested in engaging. They don't care if you think it is odd; they think we are odd.
We play out this discussion pretty often and nothing has actually changed. The theatre owners, save possibly ATG, have been satisfied with the number of theatres. It is worth reflecting on the fact that, while audiences may not care, there are many times that there are a lot of theatres lying fallow (something landlords DO care about) and relatively few times when there are actually shows not opening because of a traffic jam (and note that B'juice, which started this, could have another t
I don't think there is ALL that much air between what we are saying. I think the main distance is on the subject of what I called "to your ear." I think people interested in musical theatre "learn" that perfect rhymes are "the craft." I think you acknowledge something close to that, that they are taught what to expect. We both know there is no right or wrong answer here, and it does not really matter whether any of us agree because we are all ent
GavestonPS said: "Since you reference a previous post of mine, I wish you had read it. I never said anything about "right" or "wrong" art. I just voted in an online poll for HADESTOWN as best OBCR of 2019.
What I actually said was that perfect rhymes serve a specific purpose in the theater, where lyrics must compete with a lot of other elements. I used the word "amok" to refer to a silly theory equating perfect rhymes with male orgasms. <
The only thing I see that has run amok is this thread LOL.
There is a broader point, that does not rely on the patriarchy theory, which is, at best, debatable. I would think we can all agree that there are demographics in which perfection and, for lack of a better term, completion, are of elevated importance. And others in which they are not. And those broader characteristics can correlate to how one views perfect rhymes. As with so much else we talk about here, it is about resonance,
Sorry but not equal. He was a very well rounded bigot but the majority of people are not susceptible to bigotry victimhood. He may have been nasty to them but there is a difference in being nasty about a performance and being nasty from a place of hate. I say ROH. He and his fellow countryman Milošević can smell up the same ash pit.
JSquared2 said: "There's really no way to "appraise" it -- since technically it has zero value. It's worth whatever someone is willing to pay for it. Same as with any other memorabilia -- you just need to find the right buyer at the right time."
That is not correct. There are plenty of appraisers of autographs (and that's what you want, as ephemera it has hardly any value), and to say that the value is "technically ... zero" is nonsens
my current favorite app is Transit (Transit App, Inc.) To save you a minute, you can pre-load the destination and either save it or just leave it atop your recents.
the size of the theatre is a nonsense explanation for the flop, the sort of thing that makes people who like the show feel better but nothing else. The only time that house size has more than a miniscule effect is when it has an effect on supply and demand. Clearly, that was not the case here. So what we are left with is the extremely marginal cost differential (much of which is avoidable or waivable all other things being equal) for things like house staff and utilities. This show did not fa
