Profile for kdogg36

Not knowing what the tone of the show would be like, I thought Xanadu sounded like the stupidest idea I’d ever heard for a musical. I had a blast and ended up seeing it three times on Broadway and a couple of times locally. 

Incidentally, I preferred Curtis Holbrook to Cheyenne Jackson, though it’s a close call.

Sutton Ross said: "It's *whomever* and the artist's name isKathryn Trotter, who is my very favorite artist. She does very well, feel free to buy her art.

http://www.kathryntrotterart.com/"

The first point is incorrect in terms of the rules of Standard English. “Whoever” is the subject of the free relative clause “whoever is responsible,” so the nominative form is feli

I estimate that I’m probably only familiar with about half of the winners over the past 70-some years, but from among those, Sweeney Todd is the most deserving and Memphis the least. There’s plenty of competition for both!!

DiscoCrows said: "Saywhat you want about the GOP (personally I swing far-left/liberal anyways so for me this is a huge nono) but I think respecting people's rights to support, financially or otherwise,the political party of their choice is a fraction of what makes our democracy work."

I fully support her right to donate to any party she chooses, but I also have the right to conclude that she is human scum for doing so. 

“Our Time” does it for me. 

HogansHero said: "Does the original question really expect an answer? Now if one asked "where is the set that was in x venue, there could be an answer. But to the question posed, no answer."

With all due respect for the knowledge and perspective you bring to this board, the original question seems perfectly well-formed and fairly interesting to me. The responses on this thread constitute the answer. The fact that it’s a somewhat complex

ST:TNG: “The Inner Light”

Bones: “The Doctor in the Photo”

Futurama: “The Sting”

King of the Hill: “The Substitute Spanish Prisoner”

I don’t see any reason why the major works of Rodgers and Hammerstein or Sondheim won’t be remembered as well as those of Mozart or Verdi are remembered today. 

blaxx said: "Isn't Corden straight? Having a straight man in 2020 play an overly flamboyant gay man is past cringe.”

I understand your concern here, but I think it’s worth positing that the root of the problem lies with writers who create gay characters based on tired stereotypes. I realize such a suggestion implicates some deservedly distinguished creators (e.g. Kushner). 

devonian.t said: "The most deserving musical winner of the Pulitzer!"

From the standpoint of the quality of the work, absolutely! I would say, though, that it has a rather weak connection to “American life” - a stated preference for the award - compared to  How To Succeed, Rent, Hamilton, and most of the others. But that is indeed a preference, not a requirement.

A Doll’s House ends with an echo question. 

This is also true of Tim Rice and his non-rhotic British accent (for example, he rhymes “floor” and “law” in “Blood Money” from Jesus Christ Superstar). I find it a little jarring in this case because, unlike the Australian lyricists you mention, Tim Rice usually does use perfect rhymes, so this apparent anomaly really sticks out. (Of course, it’s only an anomaly for me; for him those are indeed perfect rhymes.)

It’s only vaguely related to the details of this discussion, but this thread brought back memories of a series of articles in the Baltimore Sun about a high school production of West Side Story. I have re-read and savored these articles several times over the years - such a vivid picture of youthful angst, friendship, and triumph. ​​​​​(I admit that, looking back, there’s a notable lack of diversity in the cast of characters.) The article

nealb1 said: "I always wondered what became of the show after DC, and when it didn't come to NYC. Was it ever done regionally anywhere in the US?"

There was a small-scale tour, which I saw in Philadelphia in February of 2008. I think it closed early right after that. 

itsjustmejonhotmailcom said: “Temperature checks will do little to prevent the spread of Covid, but just like a cursory check of a bag doesn't do much to prevent someone bringing a weaponin a theater, it will make people feel safer."

If the false positive rate is not essentially zero, and if the penalty for a high reading is refusal to have my ticket honored, then temperature checks would effectively preclude me from spending many hundreds of doll

Phantom4ever said: "Could you imagine if they reopened Broadway and somebody behind you coughed? You'd probably race out of there and hook yourself up to one of Trump's bleach IVs."

People are going to have to get over this, because humans often have to cough for various reasons that present no threat to others. Yesterday I was standing in line to get into a grocery store, and the man behind me coughed a number of times, and I was entirely unbothered.

This might be hopelessly naive of me, but I suspect that established producers and investors looking at the long game might be willing to finance some loss leaders as a way to build Broadway back to where it was before. 

Not quite on the mark I realize, but I’ll mention the wonderful contemporary opera Florencia en el Amazonas. 

Call_me_jorge said: "I don’t understand this. A show can run 20 years and never earn a penny and I’d consider it a flop. Not making money = flop. Running a long time while not making money, just means it was hemorrhaging money probably."

I always assumed it usually implied that the show made slightly above its weekly nut for a long while, but not enough to add up to the capitalization amount. For instance, if a hypothetical musical cost $10 million to mou