The fact that you haven’t seen the production yet is probably contributing to your confusion."
Right, but I know the show. I'm just trying to figure out what the old european white guy needs to tell me about racism that I don't already know. But sure, be rude.
I know revivals are all about reimagining things and I get that but if the shows you're trying to create has nothing to do with the show you want to revive then why not just make a new show? There's a post-racial context I'm feeling here which confuses me. As a Hispanic person, this show has always been about race. It was always been about tensions between the Latin and white communities in new york. I can see if this is being ignored why you'd need to gut the book. So what is
I remember going to college at a pretty good BFA program with an entirely white faculty. For a lot of us students of color it was sometimes very difficult to do any show without the proper faculty support on some issues. I was told at a callback for Big River that I just didn't fit the look of the King or the Duke, the white teacher insinuating it was because I'm a light-skinned Latino. This was the same teacher who thought I should change my name to something less ethnic because I &q
I think we're a petty community and that's why we're not ignored. I think this place being older than dirt, meaning any tech-illiterate actor can find a way to respond, is why we're not ignored.
We're not an important community asset. If this place closed down shows wouldn't make less money. I've seen twitter threads bear more weight than the entirety of this place.
New costume are always made for new casts, most replacements don't always have their costumes right away, especially in shows like Wicked where every costume requires intricate and couture construction. Even remountings of certain shows like the Les Mis revival that was last here was costumed with most of the stuff already being in storage.
You should take your "fairly certain" and try learning new things when people have facts to tell you.
There is also the worry that most of these schools have literally no budget from the school to put on these shows. My high school years in the early mid 2000's we lost lots of money doing Cabaret even though it was the best show I feel like we put together. We HAD to go Oliver next year because we could use costume the school already owned and the large cast plus casting kids from the middle school brought in more families to see the show.
I totally agree when it comes to parts in new productions the world could do more for body inclusivity. You see all the time that those shows who start off with any track of the show given to a certain body size that replacements will tend to follow that pattern. However, as someone who only got a role in an off-broadway show because I fit the costumes already existing from a previous production (after an audition, this was the last thing I had to do before being cast) I know that once a show
When I was in college I found an original Company libretto from the original printing and found that Joanne has a lot more lines in the beginning scene where she is much meaner than she is now. I'm not sure if anyone knows if those made it into the '95 revision but I know they're all gone as of the Doyle revival.
I also remember sondheim.com years ago having an editorial about the changes they made for the '95 version: Phone rings, door chimes, in comes COMPANY! Oct 21
2019, 11:15:32 AM
I feel like between his voice and his body, Kyle Dean Massey might also be in there as sort of a PJ and Andy understudy within the main company.
I never found them all that uninteresting. I do think with the role switching in two of the couples you get a better spread of modern gender roles but I found lots interesting about Harry and David and Paul. Larry's the one I always feel like is less involved but a lot of that has to do with Joanne commanding so much of their time together.
Tick Tock on the West End was in the show as a nightmare sequence of sorts with many people involved. I don't think we've professionally seen it as a solo danced by anyone since the 95 Revival. I know the concert version did something with their Kathy and the ensemble women as well.
I'm not sure about Betsy with Carousel, but I know once Frozen changed directors she saw the writing on the wall as far as sticking with the project. It makes sense for the new director coming in to want to place some sort of stamp of his own on the casting.
I took the advice of the poster above and saw the production being done in the Lower East Side right now at the Connelly Theater and had a blast! Those performers were incredibly talented and the show feels incredibly resonant today. You wouldn't believe some of these lines were written decades ago and not last week. If you are curious in seeing little slice of theater history in a way that we might not ever fully see again in NYC get yourselves to the Connelly Theater on E. 4th bet
As someone who went to a conservatory at a private university out of state, my school did offer a scholarship based on my audition, but to take that meant I couldn't accept any scholarship money given to me from the school academically. So I had to pick the amount to was more instead of being allowed to have both. Just another perspective.
I will agree that it's totally fair game to pit schools against each other for scholarship raises if he's got a lot of schools int
With Easter being this weekend, the majority of shows did a 9-show week instead of 8. That probably left a few more people winded by the end of the week than normal.
A lot of times it's as simple as asking the rights holder, usually it's fine if the changes are changes that have been done in the past. I know sometimes when we did School Editions of shows we would ask if it was fine to perform in show keys instead of their "kid-friendly" keys for some songs since we just felt they fit the actors we cast better and they generally were fine with that.
