I was sitting near JDT at an early preview of The Low Road at The Public. An elderly couple behind us was bitching about the play at intermission. JDT turned around and warmly and graciously engaged them through the whole intermission, offering an alternative perspective on the play but mostly chatting with them about their theatre interests more generally. Yes, really lovely man.
In my view, the exclusion of David Greenspan from a group of 50 nominees for Distinguished Performance Award is a monumental oversight (or failure of judgment). Greenspan brilliantly performed all eight characters in Strange Interlude over the course of a 6 hour evening. Certainly among the most remarkable performances I saw this season -- easily in the top 10. I would also put Lars Eidinger up there for his performance of Richard III at BAM (assumin
kevinr said: "I won't be in New York until July and this show will have closed. I am curious though about the stage door for this one.....I am a huge fan of Ed Harris and Amy Madigan......just wondered have they been signing/taking photos with fans at the Stage Door?"
The stage doors lead into the upstairs lobby/cafe area. It's easy to catch the actors as they come out, and when I hung out in the cafe after a matinee performance I observed Ed Harris gra
Easier said than done, since the show is sold out and tickets on the secondary market are very expensive. But I share your sentiment. I saw the show this week. No question in my mind that it is the best thing happening in NY theatre right now.
After Eight said: ""You don't see a contradiction in your outrages, no doubt,"
It's both presumptuous and highly unseemly to tell others what they "nodoubt" think. Arrogant as well, I'm afraid.
henrikegerman's comment is, in context, neither unseemly nor arrogant. Rather, it was quite charitable. For if you did make your assertions with the belief that you were contradicting yourself, it would
Hilton Als, unlike the other reviewers, is quite critical of this production. While I'm still on the side of the raves, I do think Als offers an intelligent and interesting perspective.
A few points. First, it's neither here nor there but I have a paid subscription. Second, in the 21st Century, companies make money by providing tools, not content. Third, if you understand the Times model, you are not "stealing." They want their content monetized so they will let you access that content for free via links, although they count the first 10 towards your "free" clicks on their site (which, note, is many more if you have multiple devices.)
@hateroblics, so that this thread is not a complete waste, let me teach you how to avoid using a precious click [and as a result, make them far less precious]: instead of clicking on the link, right click on it and then click on "open link in incognito window" or similar language [and procedure] in the browser of your choice. And voilathe link opens with the idiotic paywall none the wiser."
And I would encourage people to not follow the method Hogan out
BJR said: "Sally Durant Plummer said: "Frankly, I don't think anyone needs to see this and am getting tired of Brantley's efusive praise to white men writing (mediocre) plays about race and power when dozens, if not hundreds, of better playwrights can't even get a workshop of a production. But that's just my two cents.
Kad said: "Really? The mods deleted my post pointing out that theatreguy11 is a troll? Way to go, guys!"
Yeah, especially because you were arguably charitable in referring to him as a troll, since being a troll implies an intentionally deceptive act, which requires a level of intelligence that thetreguy11's post lacks on its face.
This is an outstanding production. It has something of a riotous character, but with a purpose. The writing is generally very sharp, the acting uniformly excellent, and the staging well executed for that space. It has its flaws - in particular, for me, the overly simplistic dialogue about free markets and globalization. But it is, I think, one of the better shows happening in NY right now. (I guess I should note that I saw some people leave at intermissi
jpbran said: "Ok, I'll be that guy... why buy tix for one of the most expensive theatrical outings ever -- and a sequel at that --with zero familiarity of the source material?
Since I'm in the same boat (having bought premium tickets and knowing little about HP), I'll offer an answer: (1) I have the disposable income; (2) my 11 yr. old son is a big HP fan and has read all the books; (3) sometimes I'm prone to following the herd i
Caye2 said: "I believe TodayTix changed The Parisian Woman lottery recently. I won the lottery in December when the lottery tickets were $35 not $29 as they are priced currently. I looked back at my confirmation email and winner notification email and both specifically said that the lottery was for front row seats, which is what I got at the show. I entered again today and there is no longer any verbiage about the winning tickets being in the first row."
Wow, the queue has moved 20,000 spots in 30 minutes. I'm not sure why I'm in it, since I don't really care that much about this play. Yet, I'll probably end up buying premium tickets. Abhorred at how readily I succumb to the herd instinct.
There were similar issues with his rendition of Finishing the Hat: https://www.youtube.com/watch?v=q-S5IbVFVck (discussed in a thread here a while back). I think there are serious questions about the range of his artistry. He may well turn out to be a one hit wonder. But, if so, at least he was indeed wondrous.
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