I did see them bringing drinks at a few different points in the show, didn't seem essential to me and not that many people seemed to be doing it, but wasn't really distracting.
Scent-wise, there was pine in the SUMMER IN OHIO number, what smelled like a fireplace during SCHMUEL, and some sort of incense around NOBODY NEEDS TO KNOW. There may have been more, but those I recall. Not really necessary IMHO, but a cute idea.
Oh he can certainly sing - his voice is fantastic. "Nobody Needs to Know" was very well done, moving and powerful. As I've found most productions of L5Y, this one also felt much more on Jamie's side - part of that definitely had to do with Scott Porter's casting - it's really hard to not just root for him.
Caught the After Hours Theatre Company's production of THE LAST FIVE YEARS in Los Angeles last night and thoroughly enjoyed it.
Scott Porter and Janel Parrish delivered terrific performances and I finally saw a rendition of "The Schmuel Song" that I loved.
The interesting conceit with this company is that they do "multisensory" productions, so before the show began they had "exhibits" about relationships and the characters in the show
Thinking about sneaking this into a jam-packed theater week - is it safe for me to see a 6PM performance if I have another show to see at 7:30 down the road (2 minutes away)? Do they always begin performances on time?
Agreed - I've been a subscriber for the last few years, but as soon as I saw this season I knew that would not be continuing this year. Already switched my subscription money over to the Geffen who actually has a pretty exciting season this year.
Caught the terrific revival of RAGTIME this afternoon at the Pasadena Playhouse. It's always been a favorite score of mine and this felt like a first-rate production for a regional house.
The cast was pretty uniformly excellent, but special shout-outs go to Marc Ginsburg as Tateh, Clifton Duncan as Coalhouse and Shannon Warne as Mother.
I know there was a Broadway Revival in 2009 (and not a commercially successful one at that), but after revisiting the show today
I saw it in LA a few years ago. It's actually pretty fun - tonally I'd say it's a bit like SCREAM QUEENS as a musical. Not a memorable score or a show that will change your life, but an enjoyable evening out.
Having seen all of the nominees for this category, as much as I love Kristin generally she was at best giving the 4th most deserving performance that year.
I would have voted for Tonya Pinkins (whose indelible performance in COC I still think about every year) but Donna Murphy was also giving a universally acclaimed performance in WONDERFUL TOWN (which was probably better than the two she had actually already won the Tony for) and Idina had the character with a bigger arc and
Had the chance to see it in London and highly recommend it! Denise Gough is mind-bogglingly brilliant. It is a very intriguing play with a unique tone and it feels like a perfect fit for St. Ann's in the US.
Wick3 said: "Dusoleilcanwhistle said: "Took me about 15 minutes of hunting, but was able to snag $40 seats (Row X, Orchestra) for one of the last dates in November. Not an easy process, but exponentially better than Hamilton at the Pantages was."
Wait row X in orchestra is $40!?!? Wow what a great deal! That's only 7 rows behind premium (row Q is considered premium)."
Yes, Row X - albeit, it's all the way to the side, but still a
Took me about 15 minutes of hunting, but was able to snag $40 seats (Row X, Orchestra) for one of the last dates in November. Not an easy process, but exponentially better than Hamilton at the Pantages was.
Question for those who saw the show tonight. Based on this production, are seats in the front of the orchestra good or will we miss things and shoot for something a bit further back? Appreciate the advice!
I just got back from seeing today's sold-out matinee of UP HERE at the La Jolla Playhouse. I will say that I'm 27 years old and was one of five people under 50 at this performance and I seemed to enjoy it much more than a lot of the older folks (shocker - I know). There are spoilers below so read on at your own peril.
It's definitely an entertaining show with a solid score, but there is a lot of eccentricity and some things that I'm sure will be changing as the work is further deve
Can Bountiful Pull Off A Porgy and Bess? Jun 6
2013, 05:33:18 PM
I sincerely doubt it. For the most part Bountiful's reviews weren't nearly as good as Porgy's. And the Bountiful's lead producer going after Jeff Richards for sending out a flier and then getting zero support from the Tony's shows the real sense of the theater world about this award.
FLASHDANCE Reviews From Houston Jun 5
2013, 12:02:56 PM
I saw "Flashdance" a few weeks ago in Costa Mesa and agree with most of what you've said. By far the book is the biggest issue with the production - the "jokes" (and I use that term loosely) don't land and the characters aren't really developed at all. The other thing you hit on that was a problem was the tone. This is not a serious musical, but there were many moments where they tried to make things much more dramatic than they were and in turn just created awkward moments.
A few othe
Tony Awards Party Food Ideas Jun 3
2013, 03:00:26 PM
A friend and I are throwing a Tony Awards party on Sunday night and are trying to brainstorm food ideas that relate to the nominees/shows from this season. Last year we had Pirates Booty for Peter and the Starcatcher, Chinese Food for The Lyons, Pickles for Newsies, etc so ideas can be literal words or lyrics or more in the spirit of the show.
