CJ14- is that for real? Why wouldn't Harmon want his work preserved on film, especially when the play is apparently so suited to the medium?
If what you're saying is true for many writers, it doesn't make much sense to me. I know that (if I were in his shoes) I would love to have one of my plays explored in a cinematic form. As long as my work isn't bastardized in the adaptation, I'd be honored and even willing to revise or collaborate...
The phrase I use is a "Semi-Hit" when referring to productions that were critical/artistic successes but failed to recoup. It hasn't really caught on yet...Lol
Honey, you are preaching to the CHOIR of one's mom (ironically) being a lifelong New Yorker who is positive that her daughter will get mugged on the train or hopelessly lost in Harlem. I just turned 25 but am not yet able to live independently...I so feel your pain...
I'd be all in, but somebody's +1 would have to back out so I could take their spare ticket!
In that vein, we really should try to do these Meetups more often. Networking is important, and even if you're not building a career in the industry, you can never have too many thespian friends...
Chernjam's reference to the songs being an "audition" for the Heaviside Layer just gave me a wild idea. Go meta. Go camp to the max.
A slew of A-list actors (padded out with a handful of Broadway dancers) line up in a rehearsal studio, A Chorus Line-style. Andrew Lloyd Webber, as himself, sits at a table and explains that he is trying them all out for the lead role in a film adaptation of one of his musicals. Important: He doesn't disclose any details. (The equiv
When I see writers in high-profile editorial jobs, who pen problematic articles and are frequently bashed by readers, it just makes me angry. I'm having trouble getting hired for any writing position- let alone THEATRE CRITIC AT THE NEW YORK TIMES- and God forbid that kind of company takes a chance on a greenhorn who might actually be wiser when it comes writing for the contemporary audience.
I don't even watch the show, but now I'm thinking they need to have a musical episode (ala Buffy, Once Upon a Time, or Scrubs) just so Ultimate and Yellow can sing "Face to Face" with appropriately rewritten lyrics.
Well...I didn't have to be the one to have to tell ya...but after the 2007 Tony Awards ceremony, he hopped on the wrong bus and has been stuck in Bet Hatikvah ever since.
I'll never pay money to see this show, but I do love listening to the B-roll montage online. The girls all sound terrific...and I really want that fringed blue dress that DeBose wears...
I will say this much: I like learning about music and find its evolution over the years especially interesting. That said, I had NO CLUE that Donna Summer was as "groundbreaking" or her music as "special" as I've since realized. As I was growing up in the 1990s, disco just s
Good for Samantha Barks. I've always liked her, and folks (in general and on these forums) had been saying harsh things like that her career was over, etc....
Whizzer, have I ever asked how you manage to see so many shows? And are always at 1st previews? I could go for your life...lol
Thanks for bumping my thread, BWWers. I was beginning to wonder why reports on here had been quiet. Everyone I've heard from echoes that this production is magnificent. Now that I'm thinking about it, I think Skybell was my Dr. Dillamond when I saw Wicked in 2007.
I'm also Facebook friends with Bruce Sabath (Lazar Wolf). He's posted pictures from opening night of Topol, Katrina Lenk, Sheldon Harnick, and many others. Something very special is at the MJH!
