Well, it is admittedly a bit strange to have a Latino person play Tony given the show's subject matter. However, I'm not so surprised by the rest of it:
He still looks pretty good for his age, and I'm sure all parties involved are happy to suspend their disbelief a bit for this mutually beneficial casting arrangement (Heredia gets paid, the theatre gets to advertise a Tony winner). And type-wise, he fits the role well enough.
VernonGersch said: "Whoa, that's really exciting and a surprisingly a quick turn around from the end of November opening at NYTW”
To be clear, what Brian1973 said has not been confirmed. They are merely sharing a rumor that they heard. Maybe from a reliable source, maybe not. I said this before, but I’ll say it again: even if they have their eye on a Broadway space, and even if investors are circling this like vultures, it won’t me
zainmax said: "I think that they would wait until after it comes to Bway."
After the mixed-to-negative reception it has received, I doubt that it's going to Broadway at this point. But I think you're right to point out that it's an important variable here. They probably won't make an Off-Broadway cast album until it becomes clearer that they won't be transferring.
(FYI: Percy is able-bodied. The word you’re looking for was “neurotypical” )
Broadway’s “Memphis” 10 Years Later... Oct 19
2019, 07:51:48 PM
The tour aspect of this is interesting. I feel like that hasn’t been as much of a factor in recent years. Or rather, it flipped, in the sense that the award now goes to shows that NEED the award in order to make money on tour.
Also, this is just my anecdotal experience, but back then I was living in San Francisco, and I recall seeing both American Idiot and Fela there. As far as I’m aware, Memphis never made it to San Francisco, which is interesting given that they usually got all the
But overall I appreciated the experience of it. When I saw it, the audience was very vocal, and it was clear that the performance had turned into a kind of endurance test for us, which fostered a strange sense of community in the House. There was an atmosphere in the room of “alright, we have to get through this together.” Not because the play was bad, but because the content was so viscerally discomfortin
VintageSnarker said: "But I'm glad for the exposure and success it broughtMontego Glover and some others in the cast. To me that's the real legacy of the show."
I agree! Especially James Monroe Iglehart, who arguably had his initial breakout with that show. It's particularly significant because I think, in this industry, it's very rare for a plus-sized performer to be given the opportunity to show off their dancing and movement skills, a
I never saw the show live, but I saw a screening of the filmed version in a movie theater. I thought the show was solid and safe, with a relatively cohesive book, but a forgettable score, and bland, cliché plot (and yes, problematic).
I definitely think there was a degree of "right place, right time" to its Tony wins. It was a notoriously weak year for Best Musical. American Idiot, Fela!, and Million Dollar Quartet were the other nominees. Many people felt th
JSquared2 said: "I promise you -- no one outside of this board and the Broadway stan community knows who Josh Gad is."
It's true that people on this board frequently over-estimate the fame of our own beloved Broadway stars, but in this case I do think Gad has broken out and gained SOME mainstream notoriety. If only for Frozen and Beauty and the Beast. At worst, I'd say he's someone who people look at and go "oh yeah, that guy! I kn
Campbell5 said: "Hi, what are the best seat locations for this at St. Ann's?"
I sat in Iran and thought it was perfect. I had a good vantage point to see everything in the space, but I also felt like I was part of the action. Only problem is you're sitting on a cushion, not a chair. But you are on a raised platform, and you can lean back on the wall behind you.
The seats very close to the stage (Afghanistan and Sudan) will like
I mean, to be fair, I can't imagine this HURTING his career. I don't think he's quite famous enough for this to be beneath him yet, especially since it's still the leading role in a major Broadway show - not like he's returning to some bit part. And if he just wanted to do a 1-month run or something like that, just for old times sake, he wouldn't have to be turning down film roles for it.
Kad said: "Wasn't the show also half its current length when playing those touring venues?"
I believe the added length was implemented either before the tour, or it began with the tour. From what people have said on here, it sounds like almost nothing has changed between the tour and Broadway. And I can tell you the show was around 2 hours with an intermission when I saw it at the Beacon back in March.
Fosse76 said: "It should also be pointed out thatthe show played in the same venues across the country thatPhantom, Hamilton, Les Miz, Wicked, Dear Evan Hansen, etc. have all played. So why should the venue now matter all of a sudden?"
Probably because most of the people who are making that complaint didn’t see the show in any of those venues around the country, so it wasn’t relevant to
Seared @ MCC Oct 16
2019, 07:39:51 PM
After reading the raves on here, I found this show pretty disappointing.
I thought it was far too shouty, and painfully repetitive. The whole play was basically just the same argument retread over and over for two hours (could EASILY have been under 90 minutes). I thought Bernhardt/Hamlet had the same problem. I also just found the dialogue to be over-written and preachy. Esparza was really the only actor who felt grounded to me, and even he was directed to scream his way through the s
IMO - the show can be interpreted as either a musical or a play with music depending how you choose to look at it. The songs are more mood-driven and less character-driven than your average musical theatre piece. But the songs are also non-diegetic, and they drive the core of the show - both of which are common traits of musical theatre.
For my money, the show is a better play with music than it is a musical - as in, the show holds up better under the standards of a play with mus