behindthescenes2 said: "What does need to be pointed out is that the costume designer is untalented and unskilled at adapting styles to fit every body type and adapt the look them to compliment the performer and keep the general look that has been agreed upon. For a performer, any criticism about or surrounding their performance or appearanceis taken immediately to heart whether it is a direct comment on their talent or not - that's the performer "Id". Meanwhile, what i
LightsOut90 said: "yes it ran as long as it did but in the inbetween weve had Motown, Beautiful, Baby Its You, Trip of Love and half a dozen other shows that mined these songs and similar ones from the era,this will be lucky to still be running by the end of the year let alone 1000 performances, it was 75% full on a saturday matinee, and thats with them HEAVILY papering"
Not sure Trip of Love was much competition I imagine the success of this revival will depend on w
ColorTheHours048 said: "How is it masturbatory? If you’ve ever seen a production by Amanda Dehnert, you know how thrilling it is. In particular, her Fantasticks and Edwin Drood (both at Trinity) are very, very strong highlights of my theatregoing. She loves a high concept, yes, but she deploys it expertly."
Peter Brook's Midsummer Night's Dream was high concept. Amanda Dehnert's Annie was just silly and insulting. Brook understood the skeleton of th
Yes, as I said, the musical has its own integrity, which is quite different than the comic strip that it was based on. But the musical is a new work, not a production of the comic strip itself. Dehnert's production was not a new work, it was the actual musical-- same words, same music. So no adaptation had been done, merely a tearing apart of the show while doing the show -- which was insulting to the show and its creators, and a nonsensical 2+ hours for the audience.
I don't think ANNIE is like McDonalds, which is an insulting thing to say about anything (other than maybe Burger King, which is rather like McDonalds), but I do believe that ANNIE is a work with its own integrity; trying to create a subversive production which undermines the work itself (which is what Amanda Dehnert did) is a dangerous thing to do -- you better be as good or better than the original work to pull it off. In the case of this particular ANNIE (which I saw) D
Trying to answer the OP's original post, rather than comment on the show's likelihood of success, this is really not a family show, although it depends on the age and sophistication of the kids you want to take. A lot of it is satirizing the egomania of Broadway stars, and the situation they're trying to help solve involves a high school lesbian who's being prevented from bringing her girlfriend to the prom, somewhere in the Midwest. I saw it in Atlanta and liked it a lot, but
oxnfree said: "yfs, can you explain how this new ending is so ridiculous, if it jibes with Shaw's original ending. Unless you can find evidence that Shakespeare originally wrote a happy ending to Hamlet or that he based his version on an earlier play in which Hamlet lived but Shakespeare felt thatending was a sop to popular, sentimental cliches then I don't see the analogy."
If Shaw had written "I've Grown Accustomed to Her Face" then I think yo
CATSNYrevival said: "Wonderful news! I wish The New Yorkers had received the same treatment. I don't think that score has ever even been recorded and I thought for sure one of the labels would take it on. It's Cole Porter!"
Here's to that!! I'm happy to have a new Brigadoon, but The New Yorkers was a great reconstruction of an unrecorded show. PLEASE!!!
broadwayboy223 said: "Translation: "I'm a horrible director and didnt know how to stage the last scene""
You can disagree with the choice, and you can even say he should not have ben allowed to make the choice. but declaring Jack O'Brien a "horrible director" seems patently silly and uncalled for. He's had a distinguished 40 year career directing everything from Stoppard to Shakespeare to Hairspray, and often (Inventi
The Beaumont could well be right. The August Wilson is very deep because it was originally built by The Theatre Guild to hang multiple plays in repertory.
Many years ago the house manager of the Shubert in Los Angeles told me that a couple had sought him out at intermission, and, after identifying him, fell to their knees and prayed for his soul that he would present anything as sinful and morally deficient as A LITTLE NIGHT MUSIC. Nice to know nothing's changed.
About 600 performances for Sarafina. I don't believe The Cort makes flops, though a lot of flops have played there. And I don't believe that The Prom would be playing there if they had better options. But in the end, if the show works, the audience will find it. No theater, including The Cort was any more snakebit than The Nederlander until the night Rent opened there. And in the '60s the Winter Garden had a string of flops I'll never forget -- All American, Sophie, Nowhere to
No mention at all of SMOKEY JOE'S CAFE which, in some ways, started the trend with old rock after AIN'T MISBEHAVIN' kind set the tone for high quality with early jazz. I'm a fan of both, and neither has a spoken word. Well, that's not strictly true, the latter has one short speech before the finale.
Not in the sense that something like The Lion King is. It's a very homemade (or seems very homemade) spectacle, but with set pieces that are truly amazing -- especially one involving sheets of newspapers. Nothing mechanical or Broadway-like, but unique and dazzling in a more European way.
It's a great big phantasmagoria of all the troubles in the world, not, in my opinion, one of Mnouchkine's greater works, and very long indeed, but with four or five amazing passages. If you've not seen her work, it's definitely worth becoming familiar with her, but you have to know what you're in for -- a long, crazy, discursive piece, with as much that is unique and amazing as there is that is didactic and disappointing. Still...it's Mnouchkine, and she's on
