jacobsnchz14 said: "If not, there is not justice. And I haven’t even seen the show. In the past few years, voters have been good at recognizing the well-crafted and boundary-pushing shows over the more commercial shows or ones with more touring potential."
Yet Great Comet walked away with nearly no awards last year, and instead the award went to the most cookie cutter musical of the year?
Miles2Go2, I totally understand and hear your dilemma. As someone who didn't care for this production but lives here and doesn't have to stress about things like this, I wanted to chime in. If you want to see some gorgeous dancing and (mostly) decent performances - go! But do know that if you choose not to, your life will in NO WAY be affected by missing this production. The same can be said if you choose to see it.
When was the last time a show got as negative reviews as Mean Girls but the most (tied) nominations?m Truly don't understand how this happened.
And all of you surprised about the OOTI shut out are quickly forgetting how much the Awards gifted DEH over Comet, which was by far the more creative and original of the two.
^ As always BroadwayConcierge, I couldn't agree more with you. I only felt compelled to post it to call out the Designer who would be so unprofessional to ask such a thing at a press performance they were probably attending for free.
I really want to know who the dumbass "Top Broadway Designer" is who asked "Can somebody tell me what the hell is going on?" at the performance Robert Holfer of The Wrap attended. More below:
I've done a handful of the in person lottos on Saturdays in April. Every time there's easily about 100 people, though never as many as in person lotteries used to be. That's good though, because this show raffles off so few seats. I want to say it's 19 - it's always an odd number, and I feel like only 8 or 9 names get called each time. I've never won, though I did see it in previews.
They also have a cancellation line barricaded directly next to the lottery entr
People aren't talking about it because I haven't met a single person that's more than remotely enjoyed it, and in a season of duds in NYC, this blends in perfectly.
It's definitely a play that probably reads better than it plays. The actors, while talented, are matched with some pretty laughable dialogue, and a clunky set that feels half finished.
Don’t want to say too much since it’s so early in the run, but let’s just say I’ve never seen so many people not return for a second act in a very long time.
What I think is most fascinating about all this, is it's going into the Olivier Theater, which is a much larger version of the Vivian Beaumont. Looks like they'll have to be restoring some of the circular staging, since this isn't a typical proscenium space at all. The Olivier is gigantic - could they actually be considering the Beaumont?
Since it's Chavkin, I'm certain it'll be incredible and magical no matter what, but their staging track record is fasci
Why do partial view when you can get tickets nearly anywhere in the theater for >$50 on StubHub the day before/of a show? Got front row balcony last week! (Would recommend the view, not the show)
greenifyme2 said: "Curtis Holbrook? My coworker went last weekend and Ethan was also out then. He must be on a long vacation?"
Ethan is not on vacation. He’s just been missing some shows recently. The role is very demanding and I’m surprised it took him this long to miss some. I’m hoping they don’t begin an alternate schedule, and if they do, I think they should cast an official alternate other than Curtis (just my personal opini
FutureDirector said: "Any chance this transfers? It's selling out the armory and that's close to a midsize Broadway Theater (around 800 seats)"
I think a transfer would normally be a no-brainer, but the way this production is designed, there truly isn't a space this could work in on Broadway. Even if they kept the design as-is and did on stage seating, I think sightlines from a Broadway house's mezzanine would be too partial for this to work (since th
