It's been a minute since I've read Proof (reminding myself to read it again), but doesn't the father only appear in one scene in Act One then a little bit in Act Two?
I've wanted to get into her work for a while, but every play of hers that I've skimmed looks really dense. What would be her most accessible play to read first?
Just got an email from the mailing list (which I'm still on, thank you very much). They're having a reading of the show a week from today, at the *Davenport Theatre Loft* (because where else). Also, Smash Mouth's account tweeted an endorsement of the show.
According to Wikipedia, Paula Vogel (of How I Learned to Drive and Indecent fame) was originally attached to write the book for the musical Waitress, but withdrew from the project in 2014. What do you think a Paula Vogel-written Waitress would be like?
I was in an opera directed by Joe McDonnell, the director of the original workshop of Urinetown. He had a career in New York for years, was in two OBCs and a National Tour. The work dried up, and he moved back to his native Illinois, and now works as the curator of a museum. I'll never forget one day at rehearsal, he told us "Never be ashamed by the way you make a dollar. I cleaned people's houses in between Broadway shows, and I never was ashamed, and I never
Leslie Bricusse is usually pretty good, I like his songs from Willy Wonka, and some of the songs in Jekyll and Hyde, but the obvious answer to this question is "Murder, Murder"
"To Kill Outside St. Pauls/Requires a Lot of Balls"
Stephen Schwartz is a genius, and I might be in the minority here, but I hate Godspell. I mean I can't find one thing to like about it. I know the lyrics are taken from Bible
