BrodyFosse123 said: "Oh, boy. Let’s correct some things here: Tony meets Maria AT the dance, so “Tonight” happens afterwards, not before the dance. The transition you meant to say is when Maria is inside the bridal shop (with Anita, Bernardo and Chino) and mentions her excitement for the dance and begins to twirl as the stage goes dark and as other girls twirl on stage alongside her, in a loud pop colored streamers drop from the flies and in a blink the entire stage
missthemountains said: "Hey maybe I'm wrong but wasn't there a recording of Follies in black and white (presumably from the 70s) with little to no sound? If I'm right, where could I find that?"
On the YouTube page of 1971FolliesFan. Check it out--he's put an enormous amount of work into compiling and editing it.
I post this template for a letter to the Board at NYCB. It's not perfect but it saves you from having to compose one of your own. If you like, alter it to suit your view. Either print and mail it or email it. I sent mine to Kbrown@nycballet.com, a guess at the company's Executive Director's email. Alternatively, you could bombard info@nycballet.com.
I have loved her since I first saw in a little-known show by Barbara Schottenfeld called Hello I'm Not in Right Now. I think it was Marin's first appearance in the New York area. With those huge expressive eyes and that glorious soprano/belt, she seemed to slide off the stage and into your heart.
I then marveled as she went from Passion to Ragtime to Kiss Me Kate to Next to Normal and then--all too soon!--to Zorba at Encores, during which she received her diagnosis of ovarian c
Since there is no spokesperson for the committee of theater owners, it is entirely appropriate that messages to them as an entity be sent to Charlotte at:
Charlotte St. Martin President, The Broadway League 729 Seventh Avenue, 5th Floor New York, NY 10019 Main Telephone: (212) 764-1122 cstmartin@broadway.org
The fascinating thing about the conversation is that "challenging an audience's racist assumptions" is EXACTLY what Oscar Hammerstein was doing in King and I, South Pacific, and even Flower Drum Song. Oscar was more progressive and further to the left of center than his audiences, and he challenged them to open their minds by looking at the humanity of the Thai, Pacific Islander, and Chinese-American characters. Then he made them question their assumptions with songs like &
...Gypsy...Rose stabs Louise and Tulsa when she finds out they're running away and makes Louise and the girls chop up their bodies and make food for Chowsie.
...My Fair Lady...everyone doing the Ascot Gavotte is shot.
It's a serious reach to say that choreography is the same thing as the ACTUAL WRITING OF THE PIECE.
In this case, I beg to differ.
The choreography is an equal component of the writing of the piece.
I would even go so far as to say that the music and the choreography are the GREATEST of the four components, each far greater than the book or even (Sondheim forgive me!) the lyrics.
GeorgeandDot said: "The Robbin's choreography is great, but the image of a bunch of rough, urban gangs prancing around on point makes me chuckle. It's always been a little jarring to me."
Okay, GeorgeandDot--tell me who's on pointe here. No one?
