Drama Book Shop closing next year Oct 25
2018, 08:00:08 PM
This was a very lovely gesture on LMM’s part, and I truly mean that. But I do hope that’s not the extent of his devotion to saving the shop. I hope he — and really the entire NY theatre community — continues to rally around them in the coming months.
Having seen Glenda do Lear in London: it is a marvelous performance, but my pick out of the two would be Elaine May. And with Glenda winning last year, I can see them giving it to May. Although that didn't stop Metcalf from winning 2 years in a row. Also I suppose Glenda's performance could have a different feel under new direction. Although knowing what we now know about Glenda's relationship with Mantello during 3TW, I can't really imagine her altering her performance much b
LarryD2 said: "The voice hasn't held up particularly well. The last time I saw her, a couple years ago in a regional gig, she sounds screechy and was off-pitch a lot. She faked whatever notes she couldn't actually hit. As an actor, I'd say she's fair at best."
I’m surprised to hear that, because I saw her in concert only about 5 years ago, and her voice sounded in great shape. But then again, she was singing songs that she handpick
SomethingPeculiar said: "The Broadway revival is a commercial transfer of the 2nd Stage production, in a theatre that happens to be owned by 2nd Stage. Weird situation, but it was talked about in more detail on another thread a few weeks ago."
For reference, here is the thread in which we discussed it:
SomethingPeculiar said: "So is Straight White Men new or a revival?"
It’s on Broadway for the first time, and they didn’t say anything about it being put into the Revival category via the “Classics Rule,” so it will be considered new.
Which I think makes sense, even though this production is not a transfer of the original Off-Broadway production. Compared to the shows that fall under the “Classics Rul
West End Lengends we want on Broadway Oct 19
2018, 11:22:11 AM
@John Adams, i completely agree that London has amazing theatre, and that seeing these actors in the wonderful and intimate off West End theatres is indeed a treat. But I imagine for most people, a plane ticket to NY is a lot more manageable financially than a plane ticket to London. And if you live in NY already - as many of us do - it’s obviously no comparison as to which is easier (not that we have anything to complain about, having such easy access to NYC theatre).
I wouldn't really call it "dreadful" either, but I would say that this show gave me a stronger negative reaction than a lot of truly dreadful shows I've seen. I find that IN MY OWN PERSONAL EXPERIENCE, if a show is really, really awful, more often than not it's because they tried something unusual and it went horribly wrong. They made strong choices that worked terribly. And honestly, I'd rather see something like that than something lazy and safe like Mother of
2019 Tony Rulings Round 1 Oct 18
2018, 04:36:53 PM
I’m surprised Ben Schnetzer from The Nap wasn’t put in Leading.
Way Too Early 2019 Tony Predictions thread Oct 18
2018, 10:57:16 AM
I definitely think the Kong puppet is a strong contender for the Special Achievement Tony. Much like the puppetry in War Horse was. In fact I’d be very surprised if they DON’T get the soecial Tony. Although the key difference between War Horse and King Kong is that War Horse was actually well-received outside of the puppetry alone. So maybe anti-Kong sentiment will dissuade the committee from giving them the award.
It would give all new meaning to “Waving Through the Window” given that he literally can’t fit through the door.
Would Broadway benefit from a second in the round theatre? Oct 12
2018, 02:12:38 PM
OP: I think the reason it seems like it’s in high demand is because every time an Off-Broadway musical talks about transferring to Broadway, at least one person on this board suggests that it should go into the Circle in the Square, even if, in all likelihood, it’s not one that they’re looking at.
Hmm...I'll have to disagree with you there. I wouldn't call myself an expert on the Vietnam war by any means. Most of what I know is the very basics (the US went in, it was controversial, the draft was a big thing, etc.) and I felt like I followed it just fine. Did I catch every nuance of the political landscape presented in the play? Unlikely, but I personally didn't feel like it was all that necessary to understand all of it. The point was the anger and frustration, the feeling
I just got back from the show and I very much enjoyed it. Very tightly written, engaging, poignant, and often quite funny. I appreciated seeing a play about young people where they actually felt like fully fleshed out individuals instead of just archetypes and stereotypes.
All 5 actors were excellent, including Tavi Gevenson, who was actually a standout in an already-strong ensemble. I enjoyed her performance in The Crucible well enough, but up until tonight, I still couldn't
I had heard a few songs from it before, but they never did much for me. I’m not a fan of that “contemporary MT” style with the bouncy music and the rambling, 2-dimensional lyrics with all the quirky, hyper-specific references (think Andrew Byrne’s “Contemporary Musical Theatre Song” parody). I usually find it kind of grating, and Ordinary Days does frequently fall into that category.
But I’ll be damned if this show didn’t leave m
Oct 6
2018, 08:00:32 AM
Double
Oct 6
2018, 08:00:30 AM
The person who posted the video says in one of the comments that it was for a concert.
I feel like I’ve been using the phrase “one-note” a lot recently to describe new plays, but this one really takes the cake.
Every single line Glenn Close has in this play (and she has many) is some variation on one of the following:
1. “Oh I hope Joan is safe. I’m so worried about her” 2. “Joan, you’re not doing enough to take care of yourself! I know what’s best!” 3. “Wow! This royal court sure is fancy!”
Ove
Is Oct 4
2018, 12:41:24 PM
Guys, can we just take a second to acknowledge that this will be the FOUTH CONSECUTIVE season that Laurie Metcalf has appeared on Broadway. Count ‘em: 4 in a row! We are truly in the Golden age of Laurie Metcalf.
