I was there a couple of years ago to see Jaime Camil as Billy Flynn and the theatre is legitimately falling apart. We were in the mezzanine and there were holes in the walls, the floors, the ceilings...it's a mess.
I saw all of the new musicals that opened that year except for Million Dollar Quartet, and Memphis was the one that pissed me off the most. It is startlingly lazy and mediocre and it takes zero risks; even the closing number being cited by many here as a highlight is a blatant rip-off of "You Can't Stop The Beat." Especially in hindsight, I think that both American Idiot and Fela! hold up significantly better. Both were interesting and experimental, and I'd rather a show be
2019, 08:38:13 PM
I saw Spider-Man 1.0 and it was indeed bananas. There are some quite lengthy threads on here from that time, including one documenting the night that Chris Tierney fell off a raised platform and down into the stage and was seriously injured (and miraculously returned to the show once he recovered).
Some of you have never heard of intentional musical motifs and themes and it really shows!
But seriously, there's a stark difference between the repetition of musical and lyrical phrases in Into the Woods (all intentional and done with the intent of furthering story and/or character) and ALW's inability to write more than 3-5 songs per show. You can dislike Sondheim, but dismissing his work as boring or painting him as not having any skill as a writer is absurd.
Was this really necessary? Someone asked where seat locations had been from people who'd won and a few of us responded to the question. It's your business if you don't like the show, but I don't understand why people seem to be getting off on its commercial failure/closing.
If you're interested in teaching, why not get a degree in music education or vocal pedagogy instead of performance? Westminster Choir College in New Jersey has an excellent reputation for both, and they also offer performance degrees.
OffOnBwayHi said: "lol I really think The Shed will never be your thing until you open up to what the programming is. Unlike other institutions, the artists are truly dictating the work, not the audience$. And that’s HUGE and unheard of.
i agree and think they are going to need a major hit sometime down the line to really become a respected institution and sustain, but it looks as if they are gonna do it on their own terms.
GeorgeandDot said: "I think straight people can play gay roles if they approach it with nuance and humanity. I thought that Timothee Chalamet and Cate Blanchett both played gay roles gorgeously with a ton of depth and nuance. However, straight actors can easily fall into the trap of playing stereotypes without humanity and nuance. They go for the camp, but none of the humanity. However, when gay actors play roles like that, it comes across as human and a form of self-expression. An e
I saw the show very early in previews and I know it went through vast changes, which indicates to me that they should have done an out of town tryout before the Broadway run. The main thing that sticks out as a problem to me a number of years on is the direction; it felt overwrought and was attempting to make a large-scale spectacle of a story that should have been small and focused on the relationships among the characters. The book definitely didn't help this as it wasn't particular
Be More Chill was not a Signature production, it was commercial and they were renting the space from Signature. I don't know if Octet can be extended any further because all of the spaces at Signature are being rented for the summer, so something else will be going in there.
There's been a best revival of a musical category with only two nominees before, most recently in 2011 (I think) with How to Succeed and Anything Goes. It also happened in 1995 with both the best musical (Sunset Boulevard and Smokey Joe's Cafe) and best revival of a musical (Show Boat and How to Succeed with Matthew Broderick) categories.
Have you considered that the purpose of this play is not to instruct anyone about race or racism? Black writers (or queer writers, or indigenous writers, or Latinx writers, or women, etc. etc.) are not honor-bound to write plays that educate people who aren't part of that marginalized group or groups. We don't need to make everything palatable to everyone. If it isn't your thing, that's fine; it doesn't make the work meaningless.
Broadway_Boy, if you go to a Suzan-Lori Parks play looking for realism, you are really barking up the wrong tree. That isn't what she traffics in as a writer, and the point of this play isn't to offer up a plausible scenario. It's deliberately just a few steps off from reality, but close enough to cause discomfort and introspection.
Anyway, I was at the invited dress for this and happened to think it was brilliant. I think there's some slightly extraneous material
I feel like the approach to some of these recent revivals of older musicals with problematic material has been really off base. I don't know that it "fixes" anything to make minor tweaks and changes to try and fool the audience and conceal the misogyny (or whatever it is) that's inherent in the material. It really doesn't help that nearly every major musical revival is directed by men (and often the same three or four men). I think there's much more to be learned fro