I actually thought the use of “Love is an Open Door” was poetic and powerful. Disneyland and DCL’s shows both end this way, and when young Anna and Elsa appear with their mom and dad and sing “Say goodbye to the pain of the past, we don’t have to feel it anymore,” it was such a dramatic, gasp-inducing moment and a theatrical punch in the face. They reclaimed that song for themselves and redefined what it meant for the story. And I thought that was powerful.
I really enjoyed reading Green's review. What a breath of fresh air for the NYT! I agree with a lot of his sentiments. I saw the show last week and I enjoyed it. I thought it was good, but it has the potential to be GREAT. I'm very proud of Disney for going in the direction they have with this material, but I agree that Elsa is underwritten or at least closed off from the audience. We don't learn enough about her other than her fear. Anna, on the other hand, has so much more to wo
Has anyone had a chance to listen to the new West End Recording of KINKY BOOTS? I've always hoped this score would be recorded live and, in my opinion, this score doesn't disappoint. It really captures the energy that the OBCR was sadly lacking. With that said, as a whole, I do enjoy the Broadway cast more than the London one, so it's a trade-off between the two without one being vastly superior over the other for me. Hearing the live orchestrations, howeve
Gotcha. Thank you. I figured that might be the case, which means a slightly better alternative/possibility to getting tickets at a less outrageous price. One date I looked at had the cheapest ticket in the Rear Mezz priced at almost $800.
Part of my rage about this whole ordeal is directed to Ticketmaster. For a company that should be opposing scalped tickets, the've all but endorsed it through their authorized resell program. A resell should
So we all know a very large % of HAMILTON tickets are being resold on authorized ticket resell sites or by scalpers on the street, eBay, etc. My question is: do all these outrageously priced tickets actually end up getting sold or does each performance of HAMILTON have a portion of seats sitting empty?
Oh trust me dramamama I know & I agree with you, and his acting ability is something I called into question. But, as I was saying, (in my opinion) he seems like the perfect type. He is an incredibly energetic performer with a fantastic voice, and I do think he could carry a show like that based on his experience if he could indeed act it. He is a very outspoken supporter of gender equality and gay rights to boot (not saying those are qualifications, but I think the role
Hedwig questions Aug 27
2015, 10:11:55 PM
He has the long hair, so yes that's probably the one you're thinking of haha.
Okay, so nobody fly off the handle when I say this, but I'm being completely serious when I ask:
Does anyone else thing that Harry Styles from One Direction would make a good Hedwig? Assuming his acting chops could be brought up to par I feel like he would be an excellent person to take on the role in the London production (albeit maybe in a few years - though Darren Criss proved anything is possible). He has that dramatic yet edgy personality and look for it, not to mention the vo
Forgive me if I am just stating the obvious, (I didn't realize this when I saw the show) but after a few listenings I'm pretty sure "All of London is Here Tonight" is just a re-hash of "Circus of Your Mind" with different lyrics...
It's now available on iTunes! Listening to it on Apple Music right now because my pre-order hasn't kicked it yet. It sounds great - better than it did in the theatre, actually, from what I can remember. I usually never say that about an OBCR unless it's live.
It seems that Ken is dead set on this being a limited run, but I bet that could change (like I said earlier) if this becomes a runaway success at first. Not saying he would move to an open run, but maybe just a season-long run and close after the Tonys.
My guess is the Nederlander will become available - perhaps even well enough in advance of load-in – giving them the option to switch theatres entirely. That's a long shot, but stranger things have (believe it
It would not be hard to move this show to a different theatre, so if it's a big enough hit I would almost guarantee an extension – even if it's not at the Brooks.
I would also agree re: the artwork. That is way too flashly and bright for such a stripped down, dark show. It almost makes it look like a family musical! There is no allusion to what makes this production special, and there absolutely should be.
I was at FINDING NEVERLAND tonight and after regular bows, the curtain came back up and each cast member was holding a rainbow Playbill in their hands, some had them folded so only the rainbow title was visible. Audience responded very loudly. Nothing too big, but it was neat nonetheless.
It does worry be that we are less than 20 days from its alleged release date and there have been no releases about concept art, track listing, or song previews. Not even a page on amazon to pre-order. This is beginning to look a lot like the concept album all over again Announced for April, then never appeared on its initial release date, only to find out later that day it is coming out in June - as if that was the real date all along.
Hey all, I am trying to get tickets for On the 20th Century and and I noticed that the farthest seat over to the stage right side if the house in Row A of the Mezz is listed as "partial view," yet the same seat on the opposite end of row A is not. For those that have seen it, is this a severely obstructed view for a certain moment or what? I just found it interesting that that one seat would be marked that way, but not B or C behind it.