JVJ93 said: "Am I the only one who thinks Frances McDormand would be the definitive Violet?"
Wow. She would be even less nonsense, twice as mean, but still land every single joke but two seconds after you laugh you'd feel awful because you've laughed at something so horribly cruel. Honestly she's perfect.
Not that we couldn't get both, but I really don't want another production to get in the way of Kelli O'Hara playing Margaret in New York in 10-15 years.
I'm on perfectlymarvelous' side. Her voice is always so flat and grating and she seems to never have any variation in emotion or tone. Just flat with a strange modern upward inflection.
I thought she was the exact same character in all the shows mentioned so far.
Stephen75 said: "That Arianda idea is so inspired. WHERE is she? Why is every Broadway producer not clammering to get her into their shows? She is one of the finest actresses of her time, and she hasn't been on stage in close to 5 years.
Metcalf is the most obvious Violet, and she would kill it. Carrie Coon would be a wonderful Barbara. Someone on here once mentioned Keri Russell as Barbara opposite Metcalf's Violet. I know Russell's performance in Burn This go
Went by today around 10:40am and was told they didn't have any. I didn't ask if that meant they sold out or didn't have any period. He seemed surprised I asked but looked anyway. Considering people here have said they've gotten them later in the day it seemed odd.
I saw the recent revival around 10 times and got to see EVERY possible murderer (including the only time in the show's two broadway productions Durdles won the vote) except Jasper who I'm told even if he ever won the vote it's the one time they'd rig it because it's not a satisfying ending. Rosa won the most in the recent revival because not only was Betsy Wolf so funny and likable audiences just think it's funny to make the "ditzy" girly character be a vicio
Without having seen it, Anita usually steals the show because she's the only character with jokes. I'm not saying no other character gets laughs, but she has the written sassy/sarcastic parts. The Peter Gennero "America" choreography also is designed to showcase her and be a show-stopper. They build her up to the audience to like her and then when she's raped/attacked you really feel for her. I imagine some of the jokes are cut (because jokes aren't "gritty/real
I'm frankly tired of these "records" being used as cheap press releases. Adjust prices for inflation and you'll see most of those records aren't really records. I'm not saying Beetlejuice isn't selling much better than say Rocky or Wolf Hall, but there is no way it's selling more actual tickets than Cats in its early prime.
I didn't particularly understand what was so amazing about this play at all. The subject matter was old hat even in the 1990s. I didn't connect with any of the characters and found most of the performances to be one note. I walked out of the theatre last week thinking "how did this win a Pulitzer?" I don't need a play to have twists and turns or be plot heavy, but I'd like something to root for or think about.
SouthernCakes said: "Russell seems old for that part no?"
In many ways no. I almost makes more sense for a woman her age to be tired of being a widow running a hat shop, tired of being called a wicked woman, and longing to "rejoin the human race."
However it's in the script Cornelius is in his 20s (I forget the age the line says) so it's certainly making a statement about the age gap.
Once again I had major difficulty getting the access10 tickets. It seems every time they do something to make it different.
This time I started refreshing my browser at 9:58 and did it every ten seconds or so. Finally around 10:04am I tweeted Roundabout asking when they went on sale. They replied (quickly, I'll give them) and told me noon. Around ten minutes later I refreshed the browser again and they were on sale. I was able to grab seats so no harm there, but they gave me false
Really? I know Busch in the past said he didn't play the part because it wanted it to be his "legit" play and not be considered a camp piece. I basically worship him (only missed this to see Angela in Earnest last night) but would think the drag aspect would create a distance from the audience that might hurt the piece. Glad you enjoyed!
I saw it last night as well and agree Gideon is near perfect. He was able to be so sincere yet so funny while still playing a completely broken person. For the first time in my long life in listening to and seeing this show (and movie) I understood what the song "Skid Row" is about. I've always seen it as a mood song, funnily setting the scene of the show, but Gideon's singing it (and I think it's at a slower tempo than usual) really dug into me how badly he wants out. H
I would love to see Toni Collette as Sally, but energy-wise she's close to Pfieffer and that could either be electric or make the characters too similar.
Truly. She has everything a tremendous Phyllis needs. She has a cold/icy demeanor but also vulnerability and she knows how to turn on the warmth when it counts. She knows how to land a zinger. She has the look of a former showgirl who married a powerful wealthy man but won't look out of place at State dinners.
You do you think her ideal Sally would be? I can think of a dozen great film Sallys but I'm curious which do you think would work best with Michelle's Phyllis?
The major reason censoring started happening is people saw the out of town production of a new musical and didn't really like it, posting negative reviews. That show was in rehearsals for a broadway opening and the producers had to shut down due to lack of funding. Somehow that was blamed on the opinions on this board and an actor from that show used his/her influence to get these forums more closely monitored. The same person had another incident here a couple of years later, but that
