I'd say that the comments about Dixon stealing the show are more in reference to the fact that he was just blatantly obviously the best thing about the entire enterprise, not so much about name-recognition. Legend was painfully, amateurishly bad, grammar-school level bad.
Not for the first time in depictions of this story did I sit there wondering why anybody would go to the trouble of arresting, prosecuting, putting on trial and eventually crucifying this little Jesus twit.&
I sat through this the other night and found it certainly very well performed, and very nicely produced, and just not at all interesting. With its self-pitying simp of a main character and its, shall we say, very familar storyline, it's like some combination of Dear Evan Hansen and The Talented Mr. Ripley. But it has more to do with the schlocky snivelling of DEH than the tasty sharpness of TMR.
I guess there weren't any little known (qualified, capable, talented) American actors who could have played Higgins. Sad that they just had to go with yet another Brit.
Oh, wait. He was on DOWNTON ABBEY. That explains everything -- that vile program's infection continues to spread...
Age is relative, and they never specify Pierre's age, and there's the Old Man stuff, but I don't think it can be denied that the character of Pierre Bezukhov is closer to 30 than 70.
It was bad enough that the snivelling afterschool special called DEAR EVAN HANSEN won all those incredibly undeserved awards -- we had to suffer through Kevin Spacey's attempts at humor, with his Johnny Carson and Bill Clinton impressions (ever cutting edge, that Spacey). And his teasing "coming out/closet" jokes seemed really grossly inappropriate in a show where more than one same-sex spouse was acknowledged and thanked by people with the guts to live out and proud, guts
"Directed by Rob Marshall" tells you everything you need to know about why NINE is an unspeakable disaster. The name "Anthony Minghella" appearing among the screenwriters tells you even more -- guaranteeing a bogus solemnity that is completely out of place in an adaptation of Fellini's 8 1/2.
Valentina3 said: "see I don't agree with that. His change of heart did not come too late. He was constantly protesting Gaston's stupid things (like leaving Maurice out to die, and then lying for him later). Those things did not happen near the end of Le Fou's character. He became slowly disillusioned. Changing your heart is not an easy "I just saw the real him" moment kind of thing, and I'm glad they didn't treat it like that. Yes, the innuendos were grossly
"Unrequited love is an offensive stereotype? I haven't seen the movie, but from all reports the gay subtext is barely even noticeable. What made it offensive or stereotypical?"
It's not about "unrequited love." In the movie, LeFou is presented as a slimy little sidekick to Gaston, with actual smirking sexual designs on him, and he's a vile little collaborator in Gaston's schemes -- it's a tasteless throwback to 1970s Gay Vill
Believe it or not, I want to love every movie I see. Really, truly. I don't ask for much, I don't think -- I'll forgive a whole lot as long as I don't feel that my intelligence is being insulted 24 frames a second for two hours. Bill Condon's CGI with humans version of Disney's BEAUTY AND THE BEAST can't manage that basic requirement. I'm in something of a state of shock here -- how could they have ****ed this up thi
Front row seats will miss some business involving the window because it is blocked by the sofa -- you'll know what I mean. Otherwise it's fine. Overall it's an amusing time-killer, some good laughs. As noted, profound it ain't.
I can't imagine that at any time in the play's 70 plus year history, that Amanda Wingfield has been called an "ugly babbling old witch" with less conviction than Joe Mantello's Tom was barely able to summon at last night's performance.
Thank God. Sher and Lincoln Center and a full proper pit ensemble. I was afraid it was going to be Trevor Nunn, the National Theater, and a string quartet and another mortuary set.
We'll see who they cast. I hope they resist the stereotype of having Higgins be so much older than Eliza.
I saw this last night. It's a very very bad play -- warmed over Beckett/Albee/Ionesco, dumbed down and cuted up. You'll see where it is going soon enough. The actors do their best, but it is a losing battle against a silly sophomoric text. The most interesting thing about the show was that it got me wondering if Signature ever returns a play to one of their Resident Playwrights because it simply isn't good enough, or is there some kind of contractual loopho
