PLAZA SUITE revival coming Spring 2020 Sep 10
2019, 09:03:47 PM
Neil Simon - and really most pieces of “dated” material - really doesn’t feel so stale when it’s done well. I don’t know Plaza Suite myself, but I’ve seen good Simon and I’ve seen bad Simon over the course of my two+ decades of theatregoing and rarely has the problem been Simon’s play itself.
I was personally a huge fan of David Cromer’s Brighton Beach Memoirs and was really bummed out when they cancelled Broadway Bound. It was Serious Simon, a take on the material I never knew I needed
West Side Story Revival Marquee-What are they thinking? Aug 23
2019, 08:30:31 AM
I’ve been loving their marketing. Like it or not, it’s putting us in the perfect headspace for the kind of production we can expect. Reflective of the diversity of what it means to actually be one vs. “other” in 2019, sparse visuals, the body in motion, stripped back instrumentals that blend with the sounds of the city, and an emphasis on what makes this story so specifically New York. It’s brilliant marketing that makes explicit that we will not be seeing West Side Story as we’re familiar with
rg7759 said: "Now that I'm thinking about it I'm curious if comparisons will be made with Norma Jean Baker, at least format wise"
Doubtful. Adam Rapp is a pretty straightforward playwright. NJB was by a poet and directed to be an experimental mood piece.
Coriolanus at the Public Jul 30
2019, 02:27:12 PM
A good thing to keep in mind is that, unless there’s a celebrity in the cast or particularly stellar reviews, it’s actually pretty easy to score a ticket if you line up later in the distribution line.
Excerpts Moby Dick, In Concert Under the Whale Jul 27
2019, 04:52:34 PM
A.R.T. and NYTW have a great relationship, so maybe this could be on their slate for the 20/21 season? It certainly seems like the kind of project that would thrive under their guidance.
victoriafr said: "Sorry, I'm not really sure if this is a stupid question, but is there any chance of this coming to New York for a full-fledged run after Boston?"
Unless it’s a total bomb, there’s no way this doesn’t come to New York after the run at A.R.T. I’m all for shows having a life independent of NYC, but given that Malloy and Chavkin are both based in the city, it seems more likely than not that it will come here.
I really wasn’t a huge fan of this at NYTW, but it’s always heartening to see people with a lot of money (Jake Gyllenhaal and Abigail Disney, whose respective production companies are producers on this transfer) putting it toward genuinely forward-thinking, challenging work that wouldn’t get produced commercially otherwise.
Ali Stroker Attendance? Jul 4
2019, 11:41:19 AM
She’s 100% worth going back to see if you enjoyed the production. She’s probably sick. It happens.
Oklahoma! Broadway Revival Recording Jun 28
2019, 03:54:30 PM
What a gorgeous recording of these stunning orchestrations and performances. Damon Daunno’s voice is almost offensively sexy.
Dragon Spring Phoenix Rising at The Shed Jun 28
2019, 03:48:30 PM
Thank you, perfectlymarvelous. Exactly my thoughts. So many smaller institutions with less space and funding manage to make seasons out of fostering new works by underrepresented artists, why can’t The Shed? Especially when that’s how it was initially conceived. (Granted, that was long before the current Hudson Yards was a thing, but still.)
Dragon Spring Phoenix Rising at The Shed Jun 27
2019, 10:51:49 AM
Then perhaps the problem is OVERprogramming. Reduce the amount of shows and devote the time and energy to a select few projects worthy of the public’s time.
I understand what you’re saying: that if we just gave everything a chance on its own terms, we could appreciate everything a little more. But I don’t have an endless amount of time of finances to devote to seeing everything, so I cherry pick based on what appeals to me. I picked The Shed and a few of its offerings because they seeme
Dragon Spring Phoenix Rising at The Shed Jun 27
2019, 02:18:35 AM
Listen, I’m down with the kind of work The Shed has presented as a part of their main lineup. I just think they were executed badly and placed in a strange space that looks like it’s part museum, part shopping mall. I have not seen any Open Calls yet; I have a couple coming up that look interesting, but they feel buried underneath all of the promotion for the main works.
It’s hard for me to watch the fancy folks get all the money and promotion while the community The Shed should be fost
The only tickets this season that were pricey or hard to get were for Björk. Everything else was very easy to get and had more affordable pricing options than literally any other theater offers besides Signature’s fixed pricing model.
The problem is not the ticket prices. The problem is that The Shed was pitched as an arts institution that would foster emerging talent and instead we got a bunch of crap from established artists, most of whom aren’t even based in New
Dragon Spring Phoenix Rising at The Shed Jun 25
2019, 01:57:13 PM
I seriously regret becoming a Shed member. I paid for a membership based on the promise of a new cultural institution led by the former artistic director of one of my favorite arts spaces in the city and some of the programming descriptions. Everything I’ve seen here has been godawful. Reich Richter Part and Sounds of America felt like they were quickly thrown together in a day, Norma Jeane Baker of Troy was one of the most miserable things I’ve ever seen, and the general customer service experi
haterobics said: "ColorTheHours048 said: "The OP may not have seen the show and may just be throwing around the “shut it down” refrain blindly, but it’s also clear some of you failed the read the petition writer’s reasons for objecting to the play."
I started reading it, but then it seemed to get a bit spoilery about a show I didn't see, so I didn't want to know too much before I see it (if I see it). But if a show has con
The OP may not have seen the show and may just be throwing around the “shut it down” refrain blindly, but it’s also clear some of you failed the read the petition writer’s reasons for objecting to the play. Namely, they were objecting to Harris’s treatment of African-American women, which I think is a valid critique given that Harris wrote a queer, Black man into the piece but chose to make the straight, Black woman the main character (if there even is a main cha
LITTLE SHOP OF HORRORS returning Off-Broadway this Fall? Jun 16
2019, 06:02:26 AM
Interesting the director and choreographer credits are withheld. Jim Carnahan casting lends it a bit more heft, and the music director Will Van Dyke has quite a few Broadway and Off-Broadway credits as well as collaborations to his name. Could be a very exciting production if it turns out to be a specially tailored venue, a la Barrow Street’s Sweeney - which I thought was exceptional.
I was there with Kad last night and his thoughts mirror mine. Just a lot of wasted opportunity here. A pleasant but weightless score (though I’d gladly listen to Sheik’s music before Birkenhead’s lyrics any day) and a book that should be a lot more significant than it is. Excellent talent, but I wish the material they were working with were as worthy of watching.
