Interesting that the DanceNetwork article says they had planned to switch "Cool" and "Gee, Officer Krupke" but apparently they changed their minds (the songs are in their proper place here).
Beauty and the Beast ran for 13 years (including the 6-week close so that they could legally (union-wise) downsize the company to fit into a smaller theater).
I saw it tonight, and several hours later I'm still devastated. I went in expecting a disaster (tried my best to avoid any spoilers, but knew about the major cuts) and it took me a short while to understand what this production was trying to say.
SEE THIS SHOW. You might love or hate it, but you sure as hell won't be bored. I'd go on with a detailed review, but... I'll just say that Isaac Powell should get every award.
Tom Kitt's orchestrations for AMERICAN IDIOT. I'd add Michael Mayer's direction (HOW were they not even nominated?!), as their work was what made that show unforgettable (and what made me buy full-price tickets to see it 5 times).
Benjamin Walker for AMERICAN PSYCHO. One of the most amazing performances I've ever seen. The specifics, the clear delineations between the 'real world'
I'm shocked that no one has mentioned CITY OF ANGELS, and the 'walk into the mansion.' I think that was the first time I'd seen such a blend of projections and physical set pieces that worked so seamlessly that it seemed like a film. It's still one of my favorite theatrical memories.
I saw it in previews in NY, and there were many things cut/changed. Yes, the Narrator was revealed to be the Baker's Son, which was a stunning twist that I'm sorry was cut. Also, the Baker's Wife was not killed immediately after her tryst with the Prince- instead, she made it back to the group where the Witch reveals that she saw them together (the Baker protested that she wouldn't possibly have done that, and Joanna Gleason deadpanned, "Well..." whic
You do not have to be a full-fledged union member to work on a Broadway wardrobe crew- BUT you must be registered with the union (Theatrical Wardrobe Union Local #764). To register, you must have several years of experience working wardrobe, letters of recommendation from supervisors/co-workers, and of course pay a fee. I'm not sure of the exact requirements as of now, but if you check with #764 they could tell you. I don't know how many applicants are accepted, but th
If you want to give an actor your drawing of them, go ahead (by leaving it at the stage door or mailing it to the theater), but don't expect it to be cherished due to the volume of things many receive, and know it is very rare that any of these are actually flattering.
Do NOT have it framed, as you would be wasting your money.
I worked at the NYSF for much of the 90s, and my picks for the top/bottom 'high-concept' Shakespeares I did were:
1990 "The Taming of the Shrew" (Tracey Ullman/Morgan Freeman) set in the Wild West- the setting really worked for the plot, characters, and a western twang fit the verse very well.
1995 "Troilus And Cressida" which had such an excess of multi-era concepts that I made friends come see it because they would not believe it
Geez, sorry. Perhaps I should have said I USUALLY find his direction to strongly hit (American Idiot) or badly miss (You're A Good Man...) but this time it had some good moments and some bad. I hope that is acceptable for you.
I saw this last night. I find Michael Mayer's direction to be either hit or miss... and this seems somewhere in-between. This production is ALL about the men; Keri Russell seems to have been directed to be as bland and one-note as possible. Her performance held absolutely no surprises, and her hand gestures became amusing in their repetition (I do love her TV/film work, though). But the men! Adam Driver is giving a performance that constantly surprised m
