haterobics said: "The Distinctive Baritone said: "Can we just call “trigger warnings” something else? Like “content advisory?” I get that people have triggers but the term “trigger” or “triggering” has gotten overused so much I roll my eyes now whenever I see or hear it."
I neverunderstood how trigger warnings are not also triggers. If you say this work contains scenes including a rape, isn't that alrea
Lempicka at WTF Jul 31
2018, 08:09:20 PM
To anyone who’s seen the show recently, what is the current running time? Thinking of trying to catch one of the final performances tomorrow.
NYT Offensive reviews Jul 27
2018, 03:06:07 PM
I’m somewhat wary of the extreme identity politics that occasionally crop up when discussing how to approach criticism (“this show is by a trans author, therefore we should only send trans writers to cover it,” etc). But the critical landscape is overwhelmingly homogeneous and would benefit from some new, diverse blood. The majority of critics are white. The majority of the majority are male. Some are gay, some are straight. There are still very few prominent critics who are women or POC, and am
I have no inside information on the LCH/NYT situation. But as someone who works in the industry, I would stake a bet that her editor contacted her and consulted on how she wanted to handle the situation. Issue an apology, amend the review, let it stand, etc. If the NYT felt strongly that her comments were beyond the pale, they would be gone by now. If she's not saying anything and the review isn't being rephrased, then she's made that decision and her newspaper is standing behind
“Lempicka” might be called a woke throwback. It’s an old-fashioned musical, at least if you think of “Evita” and “Les Miserables,” the blockbusters that ruled Broadway three decades ago, as old-fashioned. These were period shows of epic sweep, with propulsive electronic scores that force-marched you across decades of political struggle a
newintown said: "I think thereare twomajor problems in this thread:
1) The misconception that Hughes' comment was about Umphress' size (rather than the perception that the costumer dressed her unflatteringly), and
2) that "large" is,de facto, an insult. "Large" is an innocuous adjective; if oneassume that it is by nature a pejorative term, one merely perpetuates the unexaminedmainstream belief that "lar
NY Times Journalist's Jul 23
2018, 05:16:43 PM
There’s nothing comical about sizism. It exists. People are constantly discriminated against based on how their bodies are perceived.
NY Times Journalist's Jul 23
2018, 05:06:17 PM
Laura Collins-Hughes’s criticism rests entirely on the idea that larger bodies should only be dressed in a certain way. Whether she realizes it or not, that IS sizest.
Yes, they have a 7pm curtain on Tuesdays and Thursdays. The evening curtain is at 8pm on Wednesdays to allow for extra time between the matinee and evening performances. Earlier in the run, they had all evening performances beginning at 8pm, but they've been on their current schedule since the show opened.
Either way, though, it's up to the ticket-buyer to decide what is acceptable for themselves. If they buy tickets to an 8pm performance on a weeknight, that's th
Other than that, his reporting seems like what I would have expected from this situation. Skerritt is hardly the first older actor who's gone into rehearsals and realized they're not up for an 8-show-a-week commitment (remember Diahann Carroll in A RAISIN IN THE SUN a few years ago?). It sounds like they just wanted Arndt to come in and do as he was told and he wasn't having that.
HELLO DOLLY just added for tomorrow night at 8pm. Might be the last chance for Peters/Garber if anyone is interested in seeing them.
Riedel on Diana Rigg being annoyed Ambrose misses Sundays Jul 6
2018, 12:57:24 PM
It’s Dame Diana, not Dame Rigg. If people are going to use her courtesy title to add weight to what she’s saying, they should at least get it right.
I'm so tired of this fetishization of how things were done "in the good old days" -- mostly because it's largely mythologizing.
Actors missed performances. Alternates were far more common then than now. Artists who felt pressured to go on when ill gave substandard performances. There just wasn't social media and a callout culture documenting every move.
LightsOut90 said: "the artwork is awful but if i remember the play correctly don't they play a boardgame called privilege (which is really just a modified monopoly set)"
This is correct -- the art is an allusion to that (although it looks cheaply photoshopped, and did even before Skerritt abruptly left).
Eliza isn't a terribly hard role to sing, but as others point out, she's on stage for virtually the entire show. Given that Ambrose has never sustained such a long run in a musical I'd say her overall attendance is pretty stellar. And if having an alternate one show a week allows her to continue for the remainder of the run missing little-to-no other performances, it's probably a good decision in the long run.
For those saying they don't understand the purpose of the Persons in Charge, this author's note from the published script might help elucidate their presence. Potential spoilers for those who haven't seen the show:
"The pre-show music, curtain speech, and transitions are an important part of this play. They should create a sense that this show is under the control of people who are not straight white men. Despite this framing, the play should be performed sincerely and
