I'm a 24-year-old financial journalist in New York City.
Shows I've seen: American Idiot American Psycho Anastasia An American in Paris Beautiful: The Carole King Musical Billy Elliot x2 (Bway & West End) Book of Mormon x3 (Bway x2 & West End) Bright Star x2 Cats x2 The Crucible x2 The Color Purple x4 Dear Evan Hansen x2 The Effect (National Theatre, London) Feast (Young Vic, London) Fiddler on the Roof Fully Committed Fun Home x4 Godspell Grace Great Comet of 1812 Groundhog Day Hair Hairspray Hamilton Heisenberg Holiday Inn The Humans The King & I The Lion King Les Mis x2 (both West End, '10, '12) The Magistrate (National Theatre, London) Mamma Mia Matilda x4 (2x on West End, '12, 2x Bway) Mary Poppins Merry Wives of Windsor (RSC) On Your Feet! People (National Theatre, London) Phantom of the Opera x2 (West End & Bway) Pippin Privates on Parade (West End) Richard III (West End) School of Rock She Loves Me x5 Shuffle Along Sweet Charity Waitress x2 War Horse (West End) Wicked x3 (Bway x2 & West End)
Edit: Also, I hate to say it, but I did not buy the father/daughter age relationship between Butz and Benanti. I know Benanti's age has always been a question for this role, but I never really thought about it during the performance except during the short Eliza/Alfred scenes."
Isn't Ambrose older than Benanti? Not that it really matters, but to your point. I didn't really feel any issue with it while watching. Actually, I was wondering how Butz got so old...<
Jordan Catalano said: "Saw Laura last night. She was so stunning. However, I would suggest for people to maybe wait a couple weeks before going and let her warm up to the role a bit. In Act One, her accent was all over the map. It switched from cockney to Irish to (mostly) Scottish and even a bit of Spanish during one song. She just needs a little time. But other than that it was glorious. And when she comes out at the end of Act One in that dress...not even kidding - one of the most
I was at last night's show and it was AMAZING. Benanti truly captured the role, and as stated above, her chemistry with Harry Hadden-Paton is great. I can't believe they only really met the first time the other day; felt like they've been on stage together for ages. However, I'm convinced HHP could have chemistry with a brick wall.
I've done standing room for Dear Evan Hansen and Book of Mormon (twice) - definitely not a bad experience. You also get quickest access to the bathrooms at intermission. My feet do start hurting towards the end though. For DEH, there were girls next to me that ended up getting seats in the orchestra after intermission, so that's always a possibility.
Olivia11 said: "I know there are union rules to consider (length of show, etc) but they either need to find a way to add more bathroom stalls, particularly on the ladies room (which I know is extremely difficult) or lengthen intermission to allow enough time to use the facilities. Period. It is a ridiculous race.every.damn.show.
I locate the bathroom on the way in so I know where I'm going, basically jump out of my seat as soon as the lights come up at inter
My question would be - were the cast members the ones that actually complained? Because if so, that means the kid was a legitimate disruption (or enough of a distraction for cast to complain), and whether he had autism or not wouldn't actually matter. Needs more context.
RIP
