A Chorus Line, Sweeney Todd, Next to Normal, The Mystery of Edwin Drood, Grand Hotel, Kiss of the Spider Woman, Cabaret, West Side Story, Movin' Out. (This last one surprises me. But I saw it MANY times, and every time I saw something new in the dancing.)
That's a pretty decent sized list, but after 300+ different shows, I guess maybe not. Generally, I agree with the people above. There's a threshold for most shows, and distance does lend enchantment.
Another factor that may be affecting The Inheritance (I know it has impacted my buying a ticket) is that while you have 5 chances a week to see Part 1, there are only 3 chances a week to see Part 2. Carving out two 3.5 hour slots is challenging enough.
I know this will be an unpopular opinion, but I felt Ben Platt overacted to the point that it took away from the experience. There wasn't a genuine moment in his entire performance. His mannerisms were so affected, and you could see him working himself up to cry. At one point he was straining so hard to shed a tear that the veins in his face and neck were bulging and he was so red I actually felt concerned that he would collapse. It really made me dislike the show, and while everyone
Aside from a brief moment of panic when it took what felt like an eternity for the payment confirmed page to appear, this process was super smooth. Like just about everyone else, I hated only getting to choose from what they showed me, but I get it - 300 people clicking on the same seat at the same time would break the thing. After a few "show more seats for this date," I grabbed the exact 2 I had hoped for!
I get a small amount of pleasure in knowing that the people directly
Interesting that Playbill does not show the new cover on their site, a Google search of the new marquee shows nothing new, and, the Harry Potter Cursed Child website is all still the original logo.
Valentina3 said: "Everyone was getting mad about how attractive Groff is, but Gideon is honestly on my top 3 Broadway hotties list (after BrycePinkham, and John Riddle)."
I am right there with you on all three!!!
Glick will be awesome. I'm excited for the whole thing.
The last time a thread like this started, I said I thought Chocolat would make a great musical. I stand by that. Call Me By Your Name could work, too. I'm serious about these two, but...
How about a Steel Magnolias musical? If they base it on the film instead of the play, there'll be more characters. I picture a production number called "The Hairdo Hall of Fame" and, later, a killer aria for M'Lynn at the funeral. If Sara Bareilles does the score, she could e
Last week (ending 7/21/19), Tootsie played to 75% capacity. The Marquis has 1602 seats. That translates to an average of 400.5 seats PER performance empty. Chances are pretty good that most of those seats are early in the week performances, which means a Saturday - matinee or evening - could be even sold out, and not look empty. But that also means that half or more of the seats might be empty on a Tuesday night.
So it is possible to see Tootsie and accurately descri
Disappointed, definitely. But devastated? If missing a Broadway show (even including any and all transportation, meals and lodging costs) is "devastating" how would you possibly cope with a real crisis? You know, losing your home, losing a family member to a cruel disease, or maybe a crime...
Honestly, the level of hyperbole here is ridiculous. There is no show EVER that is worth that level of anguish.
devonian.t said: "Oh lord when will someone tell this emperor he has no clothes? If this ill-conceived, mis-cast production becomes a trendy hit I will be very disappointed.
"
Outside of a controversial casting choice and a few people who are known only to people really into Broadway, a cast of mostly newcomers makes calling this "mis-cast" is a tad premature, don't you think? And since no one - not even the cast that hasn't started rehe
I’m in seat G1, same one I had for Kinky Boots, and it’ll be on the Windmill side. Hopefully this won’t have obstructions like you’ve mentioned - it’s the first row just after the cross-aisle in the lower mezzanine, house left...
