I was there tonight as well. I'd consider it a train wreck of a piece of writing givn a first rate production. A real exercise in sh*t polishing. The design is spectacular, the staging is top notch, performances good (particularly the main girl and the guy who played the Worhol character), the score is interesting (maybe not top shelf Trask, but worth a second listen), but man what a disaster of a book and story. The characters never get past bland cliches, the moments carry little t
NYT Profile of Joe Mantello May 31
2018, 08:28:21 AM
From what I've heard the other musical fighting for a spot at the Public right now is "Girl From North Country"
Heathers to the West End Apr 13
2018, 04:40:10 PM
When I checked this morning they were cheaper tickets available, they're just selling really fast I know the website crashed a couple of times due to traffic.
Billie Piper to reprise her Olivier Winning performance in Apr 11
2018, 01:59:56 AM
I googled it. Not only that. But there are 2 indentical sets. One moving up and down and one sliding in and out. Though the kitchen change they said is done with crew in night vision goggles grinding actors and furniture because it's in pitch black.
Ok, how do they do the set changes? I've been trying to figure it out for a week since I saw it and I'm stuck. This is honestly the first time I've ever seen a show and not been able to figure the technical side out at all. Especially with the floor. Someone else has to have figured it out. Please anyone! I'm dying here.
With it being such a light year for new musicals and no clear front runner in the choreography category, could this be the year we finally see Steven Hoggett take home a tony for Cursed Child which would be long overdue? Just the sheer volume of choreography that's in that piece over five and a half hours I think puts it on par with some of his best work.
Thats funny. I found the telephone booth to be the most obvious. That, the dementors and the fight with Malfoy were the few moments where I found fault in the otherwise brilliant production.
The Low Road at The Public Feb 26
2018, 04:17:13 PM
I recognized him from his RSC work, but this is the first time I've seen him live in New York. So I guess I thought this was his first major New York role.
Completely Agree! I found act 1 more engaging than Act 2 (it's just more tightly structured), but Act 2 had me by the end. Michael Grief's work on this and the production design is somewhat mind blowing especially when you consider what they're up against in that space. And the actor that plays John Blanke (not sure how it's spelled) is giving a breakout performance.
I was already excited as a big Bruce Norris fan but this blew my expectations. The scene that invol
Queens at LCT3 Feb 22
2018, 11:11:06 PM
I saw it last week. It was fine but didn't earn the 3.5 hour runtime
re: Disney is developing Pinocchio for Broadway Oct 30
2017, 02:32:51 AM
It's premiering at the national this December from John Tiffany and steven Hoggett. Very excited to see what those two come up with.
Lane may do what David Hyde Pierce did last year and ask to be considered leading as it's such a stiff leading category but not as much in featured and the actor playing Belize may have a good shot at winning.
Or they may do what the film did and put Garfield into featured to give him a good shot at it.
Saw it over the weekend. Very much enjoyed it. The play reads as kind of a Westworld meets any pet movie ever. The basic (non-spoilery plot) is this: In a post nuclear apocalypse world, humans live in an underground world while waiting for the ground level to become decontaminated. A man gets an assistance robot (the future version of a service dog) for his wife to train for a future disabled or elderly person in hopes that it will help her with her depression from living in a world with
GavestonPS, It's not the testimony Song gives in the court that's we'll stage (the staging of that looks rather high schoolish actually), its the one that he gives to the chineese government before being sent to the labor camp.
So I should preface this with: I am a massive Julie Taymor supporter and could not have been more excited to see this going into the evening. However, I agree with a lot of what the previous post said. Somehow Taymor has created a chaotic, sloppy production with 2 fairly good central performances.
The biggest issue right now is the set. It's made up of 20 something sets of panels that slide back and forth across the stage on tracks by actors and crew to make different location
While I was in London recently, I had no urge to see "The Ferryman" as every element about it just screamed New York transfer, so I knew I'd be seeing it here before too long. I'd be shocked if it didn't come in either to broadway or somewhere like BAM or the Atlantic (I know its probably too big a play for the Atlantic's space judging by the cast size)
