Profile for LarryD2

I hope Glynn Turman is remembered in the supporting category.

Has anyone listened to this yet? The reviews I've seen have been mostly mixed-to-negative.

I knew Peg somewhat and this obituary/remembrance really captures her specialness. I believe the writer used the word "unpretentious," and that's exactly right. She was the kind of person who never met a stranger. What a great life she had.

The Distinctive Baritone said: "I've seen the play only once (with Boggess and Tyne Daley), but from what I remember, Sharon is the third student to perform in the master class. She is really talented, and is singing an aria fromone of Callas' former roles (I think Lady M in the opera of Macbeth?), and Callas is abusive towards her, causing Sharon to stand up to her and call her out on her sh*t. It's a big confrontation scene that leaves Callas rattled as the play ends.

Alexia Khadime is the only Black woman to be the principal Elphaba in any WICKED company.

bk said: "I wasn't aware that Our Town was written in a foreign language, so I'm not understanding "translation.""

Perhaps it will also surprise you to learn that not everyone speaks English.

^ In fact, I'd say that Carrie is the kind of gift of a supporting role that's almost impossible to botch. 

Ashley Lee, the entertainment reporter of the LA Times, recently tweeted that she was working on picking up the #MeToo Broadway story as well. Personally, I would be more willing to trust something coming from an established reporter and a reputable news outlet. OnStage Blog has published some wildly speculative and incorrect information as fact in the past, often just whatever confirms their pre-existing biases, and I guarantee it has no real system of verification and fact-checking in place

I think the "stage mother" archetype is less important than the uniquely mother-daughter dynamic at the heart of the show. It wouldn't be the same with an opposite-sex parent.

quizking101 said: "AC126748 said: "I saw Goodman in the role. He was good. He probably would have gotten even better if he'd been given time to grow into the role. As others have already said, Goodman wasn't going to give anyone a carbon copy of Nathan Lane's performance -- and that is what the production wanted. If Goodman had been a replacement several years into the show, it might not have been a big deal. But the people coming to see THE PRODUCERS wanted a Na

Dear god, I forgot how boring this play can be. And a play like this, which requires crackerjack timing, really highlights the flaws in the Zoom format. The entire endeavor was shaky and there was no real chemistry among the cast.

Malkovich, unsurprisingly, gives an impossibly weird performance; he's miscast. Freeman is shaky in his lines but gets by on presence. Quinto is better than I expected. Rashad is oddly muted. The best performances, IMO, were Finneran, Williams and Broderi

Brantley is as anodyne as a critic can be -- always has been -- but because he writes for the Times, he's engendered his fair share of animosity from the theater community. (Of course, said community has never adequately considered its own stake in elevating the supremacy of the Times.) If his replacement is indeed a woman of color, I think it will be harder for the theater community to get away with the unfounded attacks that have often been lobbed at Brantley, lest they be pegged as sex

I first saw her on stage in Center Theater Group's "all-star" production of PICNIC in the mid-80s. She and the late Dana Hill walked away with the production and far outshone their co-stars (Jennifer Jason Leigh, Rue McClanahan, Michael Learned, Gregory Harrison, Dick Van Patten). Showtime recorded that production and it's findable on YouTube -- worth watching for Ferrell and Hill alone.

On the Right Track - Pippin

What You Own - Rent

When I First Saw You - Dreamgirls

A Waltz for Eva and Che - Evita

You're Nothing Without Me - City of Angels

She Who Has All - The Pirate Queen

Just Go - A New Brain

My Rules - The Goodbye Girl

Just Another Love Story - Passion

Types Like You - Queen of the Mist

You Are My Bitch - See Rock City and Other Destinations

You May Call Me Phocion - The Triumph of Love

I just watched the matinee as well. Thrilling, edge-of-your-seat "theater," even though the two-and-a-half hour, no intermission presentation tested my bladder. (TMI, sorry). Sheen, Varma and Threlfall were magnificent. I was hanging on every word. I've seen Faith Healer twice -- the Broadway production with Fiennes and a West End revival with Stephen Dillane -- and while I think the play is beautiful, it can be a little static in the theater. Matthew Warchus found a way to make

The best Amanda I've ever seen on stage is Judith Ivey, in the production that began at Long Wharf Theatre and moved to Roundabout's Off-Broadway space. She was absolutely perfect, and the production was creative in concept without overpowering the play (as Sam Gold's did).

Runners up would be Julie Harris in the '94 Broadway revival and Shirley Knight in a superb production from McCarter Theatre in Princeton, from the early '90s. That production also had Dylan McDe

Wick3 said: "Even though he doesn’t work for NYT anymore, do you think he has enough of a following or influence where if he continues to review shows on his own and post them on his own website or blog or something, people would read it?"

His retirement announcement stated that he would still occasionally contribute to the Times, though I imagine it likely won't be as a regular reviewer. I would guess he'll write essays or profiles from time to time. T

My guess is the next critic will be a woman of color, like Soraya McDonald, who was a finalist for this year's Pulitzer in criticism, or Maya Phillips, the current critical fellow at the times. The Times got a fair amount of criticism for hiring Green and given the current climate I don't foresee them hiring someone who is essentially the same demographic. Whomever is hired, I hope it is a fresh choice. The Times' theater coverage needs a new perspective.