QueenAlice said: "Auggie27 said: "Toni Collette is the best idea I've read in this thread. She's got the vocal and acting chops, and the grittiness to nail the period details, poverty, desperation."
But she can’t sell tickets. I don’t think she is even a name enough to raise the funds to play the role in a commercial Broadway production. No question she could be great in the part, but I can’t imagine this happening for film.
I remember when Forbidden Broadway joked about Sutton Foster playing Mama Rose on their Patti Lupone in Gypsy track. ASP really does love Sutton Foster, so maybe this will happen unless the studio steps in and is like "who?" and vetoes that casting.
Niles Silvers said: "It's interesting that the first thing people come up with in relation to female leads is age."
I think for many of us in this thread, we try to be cognizant of the ageism and sexism regarding actresses and age, but this thread is also dealing with a incredibly beloved character of musical theatre so they'll have strong opinions about whoever is cast. If not age, it'd be something else. But with Streisand, age was a factor. Rose needs
I'm way more excited about this than I was when way too old Barbra Streisand was attached. I think Amy Sherman-Palladino will do this material justice. I do hope her husband is involved as well because I think his directorial work for Mrs. Maisel has been absolutely wonderful.
I think Hailee Steinfeld would actually be a great choice for Louise. We know she can "dress down" and look like someone who would be passed over as evidence in a few of her f
OlBlueEyes said: "Would you think that this was a little harsh from Jesse Green regarding Lauren Ambrose, or is this fair play?
I mean no disrespect to Lauren Ambrose, who originated the role in this revival, to say that Ms. Benanti is a more effortless vocalist; she dispatches her very difficult and wide-ranging songs with glee, whereas in Ms. Ambrose’s performance, getting through them sometimes seemed like a metaphor for the character’s struggle.
I've read some really good critiques of Miss Saigon and other shows, but the OP's post here and the original post he linked to with all of his "issues" with the show don't seem well-reasoned to me. They seem like joke criticisms.
I don't think that it's hard to imagine a man sleeping with a woman in a foreign country and having one or a few extremely romantic nights with her in an extreme situation like a war, and then going home and moving on...well trying to move on anyway.
One of the recent episodes of Crazy Ex-Girlfriend just dedicated a whole episode to Cats, a musical the lead character hates. She starts imagining cats who sing songs that describe who they are and their affect on her. She even gets a few digs like how the show has a song describing what a Jellicle cat is but it sounds like any other cat.
Two of the songs (subject matter may not be safe for work)
Another rave review is what Benanti deserves. I'm glad to see this production is not static and allows itself to adapt to the talent. I know that should be a given but I read about productions where that's not the case.
What the heck is with all this wishful thinking regarding Mary Poppins or promoting anything Mary Poppins-related? First there's this incredibly implausible rumor spread by a poster that Mary Poppins is taking over the VB when there's no indication of when MFL will be closing. Then when people explain why the non-profit Lincoln Center will NOT be producing Disney's Mary Poppins, that same poster is trying to promote that there's a rumor out there that Ashley Brown will be taki
But why should LMM be safe from good faith criticism? I like reading the posts here that take Reed and Gordon to task for they actually wrote. I also like reading the dissecting of their allegations against Hamilton and turning it on its head by providing the context of the period in which Hamilton lived (something some POC argue is something only those privileged enough to be a founding father and live a free life during that time could enjoy so they the people who did not enjoy such freedom
ccbway said: "I finally saw this last night with Laura and while her singing and acting were excellent, her accents were pretty dodgy. Anyone have an opinion on Kerstin or Lauren's?"
I thought Lauren Ambrose's accent was pretty great. It wasn't a strong or over-the-top accent, but it was more grounded and I found it very consistent. I can imagine a real person speaking the way she did.
He's not just picking at it to pick it at it. If you're familiar with Reed's work then you'll see a consistency of social critiques about this country in general for decades. Of course he'll pick on the musical because it's successful. That success garners it attention and accolades. With that success you'll have people observing the phenomena and scrutinizing it in a critical way regarding its politics and dynamics portrayed since it's a show that was praised
I agree that the most problematic part of his critique is that he didn't see the musical but based his critiques on the Chernow biography. However, I will say that a lot of what he said has been said by others who have seen the musical and came to similar conclusions, so I give him a bit of a pass on that.
I found an interesting article I think it worthy of discussion regarding the musicalÂ Hamilton. Ishmael Reed is presenting a play now that pretty much embodies many of the critiques of the musical that have been going around for years from some academic; progressive; and other circles.
"Critics and academics claim the show erases critical facts about the founding fathers from its narrative, chief among them that Hamilton himself, supposedly an abolitionist, par