BWAY Baby2 said: "I see both parts Noveber 10- a Sunday. I do not like dramas without irony, wit, intelligent dialogue and complex characterizations.
Don't worry, it has all of these. While I think some of the naysayers in this thread offer fair insights, I believe they overmagnify the issues they raise. On the whole, it is a very fine piece of theatre.
trpguyy said: "zachvandyke said: "This will not be transferring to Broadway. No way. "
We get it, you didn’t like the show. But unless you were being courted as a big producer,dislike ofthe production has no bearing over whether or not it will transfer."
That's not entirely true. If it's panned by the critics, that is likely to have a bearing on whether it transfers. And zachvandyke's comment may just b
I'm curious to know what people thought of Lacamoire's orchestrations and what the instrumentation is for the show. I'm not impressed with many of the tunes, and that is deterring me at the moment from seeing the show (despite wanting to see Josh Henry); so, I'm wondering how much the music benefits from Lacamoire's contribution.
What I consciously hate is this kind of facile and fatuous analysis, regardless of what side of the issue one is on (and I did not take a strong position one way or the other on the issue). It doesn't engage any of the reasonable arguments people have adduced, and really just amounts to an ad hominem.
JBroadway said: "Let me start by saying that I find phone use in theatre really distracting, and it makes me angry when I see it happening.
But that's because I've been conditioned to see that assomeonebreaking the societal standard we have set in place: to sit quietly and still in a dark theatre and watch the stage attentively.And that standard was set by a more elitist - traditionally white - culture in the arts . . .
I was going to try and see Caesar and Cleopatra but Claybourne Elder is inexplicably no longer attached as far as I can tell. If anyone sees it, please report back. I find Theatre Row shows very hit or miss.
Elder's departure was reported a couple of weeks ago as being due to a "scheduling conflict": Betrayal Seating Discussion Aug 24
2019, 11:51:32 PM
I sat in D8 at today's matinee. I usually splurge for good center orchestra seats, but I took a chance on this one at $25 with the thought that I would get a better seat for another performance if I found D8 to be unsatisfactory. In the end, I was happy enough with the seat. I concur with most of what angoradebs wrote. I really didn't feel like I missed much, and it's great to have that proximity to the actors. As angoradebs stated, the
Doyle's minimalism can be hit or miss, but I found it worked particularly well with Pacific Overtures (I was also a fan of his direction of Carmen Jones and The Color Purple). For those seeking what is likely to be a much more traditional production of Assassins, I saw that Signature in Arlington, VA is doing it in late summer/early fall 2019. I attended their last two Sondheim productions (A Little Night Music and Passion) and have been very impressed.
But, more seriously, you should check out a site that shows percussion set ups for numerous musicals, including Andy Blanco's setup for Hello Dolly at the Shubert (scroll down the page or use find on page function). Hope you find it helpful: https:
ScottyDoesn'tKnow2 said: "vampire musical said: "I (shamefully) have never seen this show on stage. For some reason or another I've missed various opportunities to see productions both professional and amatuer over the years.
All I want to know is: If you've never seen the show and aren't that familiar with the music but want to see a production, is this a "good enough" production to see? Or should I hold out? I hate seeing terrible produ
I can't make the show tomorrow night (8pm). It's at the Manhattan Theatre Club at NY City Center on 55th. The seats are row C, left orchestra. Face value for the pair is $179. Just asking $50 for both. Selling them together, as they are in the same pdf.
If interested, please e-mail me at awsphil@aol.com I am at shows this afternoon and evening, so, depending on when you write,I may be slow to respond.
I saw this on Saturday. I thought it was a nice piece of writing, though there are some shortcomings in the portrayal of the ambiguity concerning the relationship between the Falco and McKean characters. The acting was excellent, especially Falco and Scolari. Not a riveting show, but I found it satisfying and sometimes poignant.
(As far as seating, I was third row orchestra, and I've never sat in the balcony in that theatre, so I can'
I was at the show Friday night. I found Ramasar's presence objectionable and somewhat distracting given what has been reported about his actions. I think if there were broader public/audience awareness of the situation, the producers would pull him. I'd be curious to hear how well his understudy performed. Ramasar is -- apart from his dancing -- the one weak link in the cast. But I suspect it's not easy to find someone who can danc
I watched the Spike Lee film of the Chicago production (through Amazon Prime) and thought it was strong, but not to a degree that I feel a need to also see it live at LCT.
adamgreer said: "It’s amazing how disrespectful some people are towards Pal Joey on here, but it’s unsurprising given the shift to a younger, less informed demographic here."
I'm all for being respectful and for having a sense of humor, but this seems pretty clearly to be disdainful humor that an "informed demographic" would recognize misses its mark.
