I think a strong piece of theater should be able to withstand new productions, new ideas, new dance steps, new dresses.
I'd love to see the original production of Follies, Sweeney Todd, My Fair Lady, etc, but I'm also glad I get to see a Sweeney done by John Doyle, a big version in an opera house, one done in an actual pie shop in London. The piece still works.
I've seen really great productions of A Chorus Line, the UK revival recently was miles better than
You seem to be hung up on Cassie's costume, so forgive me, Im not an award-winning designer. Surely one of many brilliant costumers working today could do something great, something new.
Any reason that's so special about Mike wearing a light blue polo and not, say green? Would the world crumble if Connie was in pants and a tshirt?
The point is MANY original productions had iconic costumes and revivals have changed them and also been successful. Should every pr
Oh, I know about the original costumes and why they're important and why they work. I just used a generic example and basically mean OTHER/new costumes can work too.
raddersons said: "How in the world could you re-imagineA Chorus Line? It's as stripped down as it could get. Not trying to be a hater here, because I love a re-imagined work... but unless they completely change the context, I'm not sure what you can do."
I don't think people want a version set in a spaceship in the future. People just want to see new staging, new choreography, new costumes. It's literally always done with Cassie in a red leotard and b
I know she's not a name, but Scarlet Strallen was a terrific Cassie on the West End. I know she did The New Yorkers at City Center and just did Travesties on Broadway so I'm hoping I get to see her in the role again.
I thought I was purchasing a ticket for American Son next week but it confirmed as tonight. I know I clicked the purple arrow and then purchase, but the confirmation email said tonight.
I've sent two emails and three phone calls and haven't heard back.
I refreshed two browsers (chrome and explorer because roundabout tends to go back and forth on which actually works) from 9:58 to 10:05
The explorer never let me even choose a time when I selected a date and chrome wasn't showing dates at all. Finally Chrome did, a date had 1 ticket left and when I selected it I got a user error and the ticket disappeared. I've never had this happen for an access10 ticket.
Yes, the baby gets paid the same as a baby in a commercial gets paid.
I saw it in London and spent most of my time talking about the play discussing about how the baby was so cute and the little scene where he is the focus was amazing because that baby was so well-behaved and didn't look around at the lights and audience.
I was also there last night and was frankly bored to tears.
For starters, it's SO dimly lit it was hard to track anything or see anyone's faces at any time. I don't need flat sit com bright lights, but seeing actors faces should be important for a majority of the play.
The songs served no purpose and do nothing to move the plot along or show or develop character. They seem to happen at random and are mostly all staged the same-- lead vocal stand up front on an "
I don't think their goal is to be a $100m opening weekend blockbuster. They're likely hoping for a respectable opening and be a long-runner and awards-bait. This isn't exactly a Harry Potter/Avengers opening against Star Wars on the competition level.
I believe Benanti will get less flack for only doing seven because it was initially announced along side her casting. It was just announced after weeks of constant absenteeism.
I think Ambrose left a bad taste in "our" mouths because (not her fault) it seemed like Bart was poised to make her happen one way or another (first Funny Girl, then this) so we were already "meh" about her before she even stepped on stage, then her performance wasn't that accla
You've mentioned a very thorough security process, just how thorough? I always carry a stainless steel water bottle with me and no theatre has ever even questioned it or stopped me for it, even the Rudin shows that say no outside food or drink.
I've seen the inside of the theatre already and have no plans to buy overpriced snacks and tshirts. I'll pick them up early then walk over to 8th/9th Ave and have a bite to eat and drink.
I was lucky enough to win tickets via TodayTix for both parts this Saturday. The email says to arrive no later than an hour before curtain to pick up the tickets.
To me, this seems a bit excessive (even though I obviously can pick them up and kill an hour elsewhere, I'd rather not). Has anyone had experience picking them up later? I don't want to assume it'll be ok and have them have resold the seats to the cancellation line or whatever.
When I sold merch at West Side Story people would often come up to our stand and ask if we sold those cups and I'd tell people the bar did. Sometimes people would really want one during walk out when the bar was closed and get really angry we wouldn't sell them one even after we explained we couldnt, they're locked up, we are separate companies, etc. I'd usually suggest they hang out for a few minutes because people leave them on the bar or ask an usher to help them find one i
When I sold merch at West Side Story people would often come up to our stand and ask if we sold those cups and I'd tell people the bar did. Sometimes people would really want one during walk out when the bar was closed and get really angry we wouldn't sell them one even after we explained we couldnt, they're locked up, we are separate companies, etc. I'd usually suggest they hang out for a few minutes because people leave them on the bar or ask an usher to help them find one i
