I'm sure that TV ratings are motivating this. Also, keep in mind that Hamilton is selling out in DC at the Opera House where the awards are being televised. It will be inexpensive to get the cast onstage to pull this off.
Sidebar here: I often hear that older people get upset that Doris Day who is now 96 has never received this honor. The truth is that she has been asked countless times over the past 25 years but she refuses to show up for the telecast. The sam
I found BS's (no editorial meant:) letter to be rather meaningful. I am a Stage Director who spent 20 years in the business with 60 Equity contracts to my credit who left to get his MSW and has since had a meaningful 20 year career as a Psychotherapist here in New York. I believe that second acts can be restorative and worth the work if we no longer find the joy in our current profession. I remember getting some guidance from AEA Actor's Work Program. The big gift I received from
Yes, like everyone else on this thread I extoll the praises of this production. After first seeing it I had a bit of trouble adapting the themes from depression era rural Spain to contemporary urban London, but with time I left realism behind and just appreciated the journey through obsession, compulsion and the ultimate collision of these two Id driven urges. (Yes, I am a Psychoshrinkacologist and former Stage Director) I really want to give a shout out to TDF. Everyone on this boa
I saw this show last evening and on the whole had a good time. I'm a Baby Boomer with only a distant memory of this film but a diehard millennial who loved the film accompanied me. It obviously played to its base audience and they went ballistic. The theatre was filled with adorable young women and gay boys all on a high. The production moved like clockwork and was well acted and written. Yes, the score feels a bit generic and repetitive but all production elements are firing on all cylin
The Loge is further away from the stage than the standard Mezzanine. I got tickets in the 100 section of the orchestra row G. I would prefer side orchestra first 10 rows to anywhere in the Loge. Decide if the full on perfect stage view is more important than being closer on a side angle. That should be your determining factor to consider.
The Lyric is now owned by the Ambassador group from London. Sonia Freidman has had a long relationship with them. Major concessions were made between them so this was a better arrangement for all parties. They are settling in for a looooooong run.
GeorgeandDot said: "Angels in America would suck if it were cut down to three hours."
It would suck if the playwright found a way to cut 30 minutes from part one and 45 minutes from part two? I have more confidence in Mr. Kushner's talents than to dismiss the task of careful pruning his opus. I'm just wondering what it would look like if he undertook that task.
I saw this production on the previous two Sundays via TDF. I found the cast to be extraordinary and the direction helped elevate the evening. I did find the physical production to be rather dark and unappealing but the quality of the work got me passed it. I always describe this play as a big, sprawling, fabulous mess. Seeing this reminds me of George S. Kaufman's famous adage that "nothing in life should be greater than two hours!" The writing is so good but I often wonder what
My Sunday at 6 seats are row K mezzanine. The house looked pretty full so I suspect that these performances offered less desirable seats than did the first and second preview tix.
considering Ms. Metcalf's Awards season buzz I'm not sure why they wouldn't wait till the following week to begin previews. What was the rush? Seems strange.
At Sunday's performance the ending was quite thrilling. There were sound effects during the blackout and the reveal of the Angel was quite striking. I think one needs to have a little patience during early previews. I'm sure the denouement of the first play will tighten with time.
I'm more concerned about the repetition of the three turntables of unattractive rooms during the first two acts, but I suspect that the staging of the second part will justifying the transition fr
theaterguy11 said: "I actually know quite a bit about the real Roy Cohn. I first saw Angels in America during the 03 HBO miniseries. The portrayal and the writing was so mean spirited and over the top that I looked into him to try and get a realistic view of him. I was left thinking that he was one of the greatest Americans of all time. A true believer that a small federal government was the best way for all Americans to prosper.I hope someday the Kushner estate is forced to pay dama
theaterguy11 said: "I cannot believe people like this play so much. I have always found it vapid, overly long, occasionally slanderous and downright mean spirited. It's shameful the way Kushner wrote the Roy Cohn character.
Cohn passionately believed in his politics as passionately as Kushner believes in his. Kushner makes no attempt to write Roy as anything other than a cartoon villain who's actively trying to ruin the world.
I just saw it on Amazon digital downloads for $8.99. I usually get my music on there cause its always cheaper than iTunes and they have many cast recordings to listen to for free with Amazon Prime. Check it out.
Actually I directed the original production the year before at a club called 88's in the village. I left the show when the producer/lyricist wanted many questionable changes that I thought were a mistake. Apparently I was right :) even though she put together a lovely cast.
I think the goal of eliminating 400 seats is part of the Ambassador Group's goal to make the Lyric a more valuable and desirable property. Sometime in a far distant galaxy of time when HP closes they hope to have their equivalent of the Majestic Theatre to rent out. 30 years out it's hard to remember that the Majestic used to be a desirable theatre that produces tried to book:)
I have G 27-29 for the week after the opening. It's clear that all seating is way on the sides for all of us who didn't spring for more than $199 per ticket.. No doubt that any decent seat will be held at a steep premium. Supply and demand and all that. Considering that this should become a hit of Hamiltonion proportions perhaps we should be happy to actually get in to see it before the real craziness ensues. I bought tix for Hamilton in late previews and got a 2nd row Orchestra
actually using the code MGMAIL I got side orchestra 10th row for $129. Considering the current pricing on Broadway (I paid $800 for a pair of tix for Harry Potter for chrissakes!) that seems okay. Without unlimited funds One just has to pick and chose the ways to feed our Broadway addiction :)
