And here I thought you were talking about the wordless, pointless scene added to the end of this production...
The exclamation seems to be solely in their logo. Roundabout's website never once stylizes it with an exclamation point. I wouldn't read too much into it.
Also this Oklahoma! was initially a 75th anniversary staging when it debuted at St. Ann's. In 2018.
HERCULES to Play the Public Theatre this summer!! Feb 6
2019, 01:22:06 PM
Doesn’t seem unreasonable that this would follow the same path as Twelfth Night: an initial Public Works production, then a “full” production in one of the Shakespeare in the Park slots in a future summer, and then licensing to follow.
Also been hearing Ashley Park is Meg. Hercules in the Park with Park.
Yeah it wasn't Oak's choice to leave early. He, and Brittain when Ingrid came in, were both notified well after their star replacements had started rehearsing.
ljay889 said: "Descriptions like lack of a driving plot and difficult melodies are often used to describe Sondheim shows which eventually turn out to have cult followings. I wonder if this could be one of those shows? I can't wait to see it next week. It definitely doesn't sound like a show that will instantly please an average theatergoer, tourist, or teenager. "
My problem wasn't with things being memorable in a "humming them aft
I saw the invited dress last night. With a half hour intermission, it was a 3 hour run time and I felt every second.
I'm honestly just baffled that something this bland and unfocused can come out of the same minds that gave us Grey Gardens. I couldn't tell you the melody of a single song, though there were a few I did enjoy (Act I finale, Face to Face, wasn't bad, nor was Ebersole's 11 o'clock number, Pink). I was thoroughly unimpressed and very rarely amused.
Caught last evening's performance. I was in the rear mezzanine and had no issue with my seat. Blanchett is an incredibly physical actress, so I didn't feel like much was lost from the stage to where I was seated.
The production feels long, but I've never seen a Chekhov piece move at a good clip. It's funny and well adapted in a way that honors the original text but breathes a lot of contemporary life into the piece (unlike Stephen Karam's horrendously botched
I've heard, especially after Isherwood's review, that Cyclone is eyeing a transfer. From my perspective, having seen it twice already, it's in solid shape, but the beginning, as well as some aspects of the ending need work. The book could use some trimming throughout, and I think it could only benefit from taking some much needed time for revisions before transferring. Maybe the involvement of commercial producers and bigger money could help override the director's decisi
Seems to me like MCC and Telsey brought in NY talent that would appeal to a local or a younger audience (Taylor and Alex Wyse, both of whom have exposure and a devoted following) while the creatives favored the Chicago cast.
The decision was by no means a mutual decision. The director and creative team never got along with her and wanted the Chicago actress from the get go. (Also heard tell that she wasn't the easiest to work with behind the scenes but whether that's true or simply used by the creative team to justify their firing, we shall never know)
10086sunset said: "slow_the_rain said: "The alternate is a well known Broadway actress. I'm torn between who I want to see, truthfully. Cannot reveal who it is, even in PMs, as a friend's job could be put at risk. I've known about Creel since late January, and Baldwin as soon as she was cast, but the alternate's identity has somehow been kept an incredibly well guarded secret. Sorry to disappoint! "
The alternate is a well known Broadway actress. I'm torn between who I want to see, truthfully. Cannot reveal who it is, even in PMs, as a friend's job could be put at risk. I've known about Creel since late January, and Baldwin as soon as she was cast, but the alternate's identity has somehow been kept an incredibly well guarded secret. Sorry to disappoint!
I mostly lurk and pop up with occasional information, so I'm sure you all think I'm oh so reliable...lol
Can confirm from people close to the production: The alternate/standby is cast. It's not Carol Channing. And Bette will be doing 7 a week, the standby gets one matinee and will obviously cover in the event of Midler's absence.
Honestly, last time I heard anything about her career, her latest album was being sold for $4 on Grindr, so I wouldn't exactly say she has any relevance in the US as of late, either.
I remember liking her when she was on X Factor, but was never a big fan of her live performances of her songs. Scherzinger also had a background in theatre. I worry about Ms. Lewis getting lost behind the makeup.
I'm sure it's my naivety speaking, but if they weren't going to c
I had heard only two songs from the score prior to seeing this, and found the evening absolutely thrilling. Hearing any Rodgers score for the first time is always a memorable experience, even if it was later in his career, and not at the peak of his writing.
The show as a whole doesn't feel like a cohesive body of work. The cynicism of Sondheim's lyrics, the lush sweep of Rodgers' score, and Arthur Laurents' distinctly La
I went back to the Beaumont tonight for my third visit to Siam (having seen Ken's original run, and then Jose in the summer), and I must say the show is in wonderful shape. Ruthie Ann Miles somehow continues to get better and better, and I am always consistently impressed with Ashley Park.
I went back, of course, for Ms. Mazzie. I am not a huge Kelli O'Hara fan, but I adored her in this role. Marin is doing something incredibly different, and the show is benefitting hugel
