I've spoken with several writers who don't even try to get productions done by major regionals or in NYC. They specifically write formulaic plays with large/adaptable casts to be done by high schools, especially for one-act competitions.
Logistically, though, is Belinda that big a draw? Keep in mind they'd need to pay her a "star" salary AND Rachel York hers (Jackie Hoffman was paid for every week of Whoopi's run in Xanadu). I can't imagine they'd make $2m a week based on people wanting to hear her sing a line of a song here and there.
I can 100% see how the "them" joke, referring to Peppermint's character in Head Over Heels (who is nonbianary plural) can be taken as offensive, but, forgive me if I'm wrong, but doesn't the show make a joke about someone saying it too at the end? I remember a few jokes/reactions when the Oracle says this of a "huh? them? she?" nature.
I called their help line and the gentleman helping me seemed shocked they weren't on sale. He asked his manager and he said he has no idea if/when they'll be on sale.
Honestly what does it take to get lights dimmed now if actual career long Broadway actors and multiple Tony nominees and winners (Gary and Jan Maxwell) don't get the honor??
"Van Hove is known for tinkering with the text of his revivals (and sometimes his directorial choices just flat-out ignore the text)."
This! I don't see how anyone can defend the choice in "The Crucible," a play specifically about accusing innocent people and creating false hysteria, to have the witches be literal and real by having them fly and perform "magic." It destroys the tragedy of it all when the accusers are actually right.
I agree with BrodyFosse about these open call auditions, but I also think that, for stage productions at least, they can help creatives find understudies, replacements, tour casts, etc. Their Gloria was already cast, but I bet her understudy or potential replacements weren't and this probably gave them a few names to call back for those spots eventually.
Judy, back in my youth and student rush days (back when you had to get there at 6am and wait physically in line) I would HATE to be around those kids (even though I was a theatre student). The worst were these (pre-Glee) show choir kids who literally tried to remember arrangements and they sang for 3 straight hours. I was in hell, but I saw Sweeney Todd again, dangit.
Once later in the run of Next to Normal there was this (apparently infamous) girl who was in line behind me making
veronicamae said: "My favorite moments are when, at a show such as Wicked, you overhear someone saying they saw Idina or Kristin in it in Houston or some other city last year and how great they were in comparison to whoever is in the roles at that performance.
Like...ma'am...I assure you, you did not..."
True story-- I was working front-of-house at the Helen Hayes and someone said they'd been to this theatre last year and saw Nicole Kidman IN Wicke
I've had the experience of basically being this person. Not the extreme of the Lin situation, but I've overheard people talking and saying something factually incorrect or complain about a detail in the show and I'll say "Oh, well, in the original it was that way too so it's not this director" and say things like that in a nice way. Sometimes the people say "Oooh, thanks! That makes me appreciate it more/better!" and sometimes they'll look at me like I
IdinaBellFoster said: "Benanti being out due to injury is very different, not sure why that’s being brought up.."
Benanti is a such a different case because she has had a "reputation" for missing a lot in every major musical role (expect Women on the Verge, I believe) and each time she's had actual medical reasons-- throat infections, injured spinal column (forgive me for not knowing the actual issue), pneumonia, and lastly, pregnancy/morning sick
I worked front of house when this was at the Helen Hayes. The Slave cast were all very nice (if smelly and we think they slept in the theatre sometimes) and they threw great parties (as well as producer Joseph Gorden Levitt). BUT the show was so...odd. Very few people came out loving it or understanding it.
My main memory is the Hayes cleaning crew and ushers basically killing themselves to keep the confetti inside the theatre. When a single piece would blow outside the NYPD woul
