Patti LuPone in HOH Jul 28
2018, 08:20:36 PM
Well, she could make it a (moderate) success for two months... but why would she do it? She’s about to play one of the great roles of musical theatre in a high-profile reimagining of a fantastic musical. By the time that revival closes in London, the mess that is HOH will be long dead.
NYT Offensive reviews Jul 27
2018, 02:31:28 PM
I agree that more news venues should start hiring or promoting non straight white male critics, especially in the theatre. When playwrights like Suzan Lori-Parks, Paula Vougel, and Lynn Notage’s new works receive middling reviews while works like “The Low Road” recieve the same mediocre reviews but somehow manage to get the “Critic’s pick” seal, it does make one wonder. However, if anyone thinks that the reason “Head Over Heels” got bad reviews because of the demographic, I question their d
Jesse Green wrote that this musical was probably only in existence to promote the Greatest Hits album that came out a few months ago. Now, I have that album, and, listening to this recording, it looks like they literally took all the songs from the Greatest Hits, truncated them, and then got amazing performers to belt them to the rafters.
The Times is not thrilled with it - but isn't that to be expected? They didn't like the first one, either (although in this review they conceed that the original was fun for the star power).
I'm very excited for this movie. The first one is a film I return to again and again - and I saw it three times in theatres! Honestly, it was the movie, along with Hairspray, that really got me into theatre. I had them on DVD and would watch them again and again.
Well, I'm certainly glad my LincTix is for the 4th. She's the cast member I'm most looking forward to. Nothing like seeing legends of the theatre do what they do best.
The pretension, vitriol, and lack of awareness and respect among the new posters has made this site a largely negative experience for the past year or so. This only nails that point home.
Pal Joey, I thought this thread was quite funny. Obviously, some can't take a joke.
"Entitlement and arrogance is a virus in musicals because.. the unity [between dancers, chorus, and principals] isn't created from the start. Plays are much different. Each actor learns his responsibility in the play through the table reads, the importance of which musicals seem to ignore. Unbelievable care must be demonstrated from the beginning of a rehearsal period and a director needs to help each member own his part and his responsibility to it. It's the only explanati
I'm not sure if I agreed with your speculation, but I do find it rather odd trying to understand the moderator's priorities. I would think moderating the board of racism, particularly when the thread revolves around a benchmark in Broadway history (first female Asian playwright to be produced) would be a more important issue. But I guess that's just me.
Perhaps I'll write a post detailing why it's unfair to compare the situation with LuPone and Evita with Ambrose and My Fair Lady, but I'll just say that Evita is so monstrously difficult that the actress playign Eva only ever goes on 6 times a week. And in the revivals, the score has been altered because it is just so difficult. Add the the fact that Eva is only offstage to change costumes and has to act the sh!t out of the role because the show doesn't work unless th
I don't blame anyone for wanting to go down to 7/6 performances a week in a challenging role. But said performers should know their limitations before contracts are signed and tickets released. It's only fair to the public who might want to see a Tony-nominated performance. Were emails sent to ticket buyers updating them that Ambrose will be out that performance?
Dickson, I never said it was an easy role. It's a challenging role, but not more so than Gypsy or Funny Girl or The King and I (that's an easy sing, but those book scenes as well as the costumes make it difficult!). Performing is hard. But My Fair Lady is perfectly manageable to regularly do 8 times a week. Gypsy has never had a production where an alternate regularly went on for Rose. And that's probably one of the most difficult
I get that performers need sick days - I am certainly not arguing that performers should go on if they've contracted some horrible disease. There's a difference between say, Patti LuPone being out for maybe 10 performances of War Paint because of hip problems, and a performer regularly being out one day of the week AFTER people have purchased tickets expecting to see said performer. Hello, Dolly! is great at making sure ticket buyers are aware when Bette or
