Stub hub does indeed have lots of tix available at pretty reasonable prices - way down from what they were 2 weeks ago...I'm very, very tempted to see her again..... :)
Stub hub does indeed have lots of tix available at pretty reasonable prices - way down from what they were 2 weeks ago...I'm very, very tempted to see her again..... :)
Hot Pants said: "I love Jonathon Groff, and he’s likely going to do a great job. However, I think he’s way too handsome to play Seymour. No matter how homely they dress him, he’s still going to look too good. I personally would’ve preferred Brandon Uranowitz. I also would’ve liked Ethan Slater as Seymour if they wanted to go for a younger actor. I think Blanchard will likely be a very good Audrey, and Borle is perfect for Orin."
I'm going Friday July 19 - can't wait! Saw him at 54Below in the past, but not this show...he's an awesome singer/performer, and the friendship and combined artistry he shares with Sherie should make this a very special night.... :)
Agree with all posts above - get in line quick for the chili if you want some! Yes, it's vegan. Yes, it is really, truly delicious! I'm a bit of a chili connoisseur, and this stuff has bang and zing! Great chunk of cornbread, too!
The bite of chili and cornbread really fits the country dance hall vibe of the production, and adds to the unique occasion.
I woke up this morning missing listening to the OBC recording of THE ACT. So I found it on Amazon Music, and have really enjoyed remembering how dazzling and glamorous Liza seemed to me as a 16 year old gay kid in West Virginia in 1977! And then a couple of years later I saw her in concert (two years in a row!) in Pittsburgh and she did "Arthur in the Afternoon" with Roger Minami both times - it was a a delightful number!
I saw Beetlejuice last night, and I was surprised at how much I loved it! I had seen Tootsie the night before, and was deeply disappointed in that one, particularly Yazbek's score. Hard to believe it was the same guy who wrote The Band's Visit! Anyway, IMHO, Beetlejuice is the most cohesive, well-made musical comedy this year!
The songs are tuneful with a nice pop/rock edge, the lyrics are often insanely clever, and the characters are fully developed - t
And I guarantee only HIS name will be above the title, for sure. Just as only Robert Preston's name was above the title in the original production, with Barbara Cook one of the featured players listed below title.
Same as Bette above the title for the recent Dolly. David Hyde Pierce listed below. Regardless, the pairing of Jackman with Foster has great promised, to my mind.... :)
My first reaction upon hearing this news was, "I'm thrilled! But can she sing this?" I was greatly encouraged by what producer Scott Rudin says in the Hollywood Reporter article today:
"I've been a giant, besotted fan since Millie," Rudin told The Hollywood Reporter, speaking about Foster. "I think she's brilliant and I've wanted to work with her for years. In terms of what we're going for in this
BritCrit said: "I think this could be an interesting choice for Jackman’s next musical. There are plenty of similarities between Professor Hill and Jackman’s own P.T. Barnum. But whilst playing a charismatic huckster with a softer side will be incredibly easy for Jackman, songs like “Trouble” are some of the hardest in the musical genre. I will be interested to see if Jackman can pull them off...
Hugh Jackman (with Laura Osnes as his Marian) in THE MUSIC MAN. This will be a monster hit just like Rudin's HELLO, DOLLY! with Bette! I, for one, can't wait! Hugh is electrifying on stage!
I love thinking about this, and like many here, it seems impossible to name one of the hundreds (or thousands?!) of performances I've seen in my life as the "best", but I like the challenge! Let's go with 5, and see if I can decide on one of those as the BEST...
Brian Dennehy - Death of a Salesman (and interwoven so carefully - Elizabeth Franz!)
I loved GREY GARDENS, especially the Frankel/Korie score, so I was disappointed when I saw WAR PAINT that nothing seemed distinctive about the music and lyrics, and ultimately the show just felt like vignettes for each legendary woman through the decades (origins, competitive attack, war years, age of television, old age, dying lonely)...
Yet as I've listened to the recording, it's really grown on me - and to my ear works very well as a narrative of the two women's liv
The strange thing is, her diction is usually glorious. I think she was so committed to the Eastern European accent of Rubinstein that she stuck to it, but I have listened to Back on Top over and over and over and finally think I've got most of what she was saying! Still, the belting is fabulous, as always.....
OlBlueEyes said: "Was I wrong to assume that all here would know the context?"
Perhaps, as there are many young theater lovers frequenting these posts, and without some background information, I was concerned for Hammerstein's reputation! Out of context, it could just sound like a very dark ages kind of view of the races...but I love learning more about the history of these great shows, like Show Boat.
I appreciate your additional historical background notes
How anyone could create such a dreadful caricature based on these two is really, truly, beyond me....
Sigh! It certainly makes it clear how much special talent it takes to actually create a good caricature...the moment you see a Hirschfeld of any Broadway luminary, you KNOW immediately who it is, and at the same time there is a sense of the performance from which the image is conjured, and a touch of magic! None of that in any of Ken Fallin's work, that I've eve
