This is credited to BrodyFosse123 and is from CoC's run in LA. I actually had in mind a different artwork by the same artist of the OBC recording, but I think this photo captures the producers' change in marketing strategy. I'm not sure I saw Tonya Pinkins smile like that when I went to see it :)
It's fascinating that the board's detractors of 2019 mirror those of 2004. The tuneless criticism always shocked me. "I Hate the Bus" was on repeat on my giant iPod for many months! Even Mr Stopnick and Rose's songs are somewhat catchy, but I suppose it's all a matter of taste.
People also complained that the songs were too short, but this seemed consistent with the theme that things keep changing. The big numbers 1943, Roosevelt Petrucius, I Go
For those of you who saw this in the UK, is the score completely intact? I assume Clarke's performance was abridged for Olivier awards. Those lyrics that were cut ("murder my dreams so I stop wantin " ) are pretty important to understanding Caroline's arc.... They're also gorgeous/haunting against the piano playing "I Hate the Bus".
Yes, everybody gets chili and cornbread, not just floor seats. The benefit of the floor is that you can get in the chili line fast and go to the bathroom! They cut off the chili a few minutes before intermission ends, so some folks who chose bathroom first couldn't get chili.
That is a tough choice! Personally If I were offered the option to revisit one of these shows, I'd choose Oklahoma. Loved Ferryman (though I saw original cast), but this is a pretty thrilling revival of Oklahoma.
200s sections are the best. I don't think odds or even are better than another. I'm bringing family back next month. We're sitting FL217-221, but they are premium priced seats.
I sat in D122 on my first visit, which was perfect for the video elements, but the 100 section misses Curly's face for "People Will Say We're in Love", and I felt that the little podium was used a few times (so whoever is standing on it has his/her back to the audience seated i
There was a merchandise kiosk/stand when I went a few weeks ago. I can't remember specifically, but there were magnets, posters, mugs, and apparel with and without quotations from the show/book. I remember being struck by not seeing the actual Harper Lee novel (or maybe I just missed it). They were selling a biography called "Atticus Finch".
qolbinau said: "The show is closing early now, I thought I'd revisit and it was AMAZING, even more so than I remember it being at the Hampstead. Is this the most complex musical ever written? Of course I never saw Tonya, but I really think Sharon is giving one of those rare iconic performances like Alice Ripley in N2N, Ebersole in Grey Gardensetc.
I almost broke down when she sung these lyrics (copied/pasted from online so can't vouch for accuracy):
Wick3 said: "If time is no issue, then I'd see it with the current cast. I think part of what makes the play works is the chemistry amongthe cast members and I understand at times it just clicks but for the most part it's something that develops over time. My 2 cents."
Agree with this sentiment. One of the striking things is how how the actors feel like a family, an overall comfort level with each other that is portrayed on stage. Laura Donnelly/Rob
Everything happens so fast in that last scene, but I wanted to clarify: Muldoon kills Shane? Or is that more in the sense that Muldoon murders Shane's innocence? I honestly just don't remember.
LarryD2 said: "I am not one for essentialism, but it does seem odd and wrong that the critical record for this play, which is so grounded in Black experience, has been written by almost exclusively white critics."
Not to open a can of worms, but this sentiment sadly mirrors the struggle of non-white America/USA.
I'd be interested to see whether Hilton Als reviews CB in an upcoming issue. It doesn't seem like he liked the previ
Finally had the opportunity to see this last evening. I've been reflecting, and my lingering impression is positive. It overall has an Iceman Cometh-with-music feel. The performances are the selling point, as many have mentioned. Mare Winningham is a treasure. I'm embarrassed to admit this, but I thought, "Who is this Mare Winningham and why does she look so familiar??" Not surprisingly, her list of accolades is not small. I loved Todd Almond's big sc
FYI, saw that several tickets went on sale for this weekend and December 7th via Public's website. Looks like 12/1 evening show still has some tickets. I snagged one for next Friday!
Caroline, or Change. A show too early for its time perhaps. Soaring melodies/lyrics with a tragic yet hopeful book. Revived in the today's political environment, perhaps it would resonate with theatregoers.
