Sorry to disagree but this is still a beautiful show with a great score. A bit of rewriting might help, but not sure that it needs much but to do it well. I saw the original with Alberghetti and Orbach, who were wonderful, and I continue to believe that the show could work. The Encores production was okay, but fell underrehearsed, and Anne Hathaway was just okay. Years ago they tried workshopping the show, and Sarah Uriarte Berry was playing Lili.
Considering that it's not a great show, I've seen APPLAUSE in just about every conceivable production (well, maybe because I've always been a musical theatre queen). Bacall several times on Broadway (she was amazing), Anne Baxter (very good), even Arlene Dahl (who got mediocre press, but had real star poise and glamour and sang beautifully). Also Stefanie Powers at Paper Mill (dull), and Christine Ebersole (ill at both times I attended, so unfair to judge). The biggest
Was glad that Gaga got snubbed; this was not Streisand making her film debut in FUNNY GIRL 50 years ago, and burning up the screen. Gaga of course sang well, but her performance was nothing special, and she all but disappeared in the second half of the movie, as the Cooper character crashes and burns. And if Glenn finally wins an Oscar this year for a fairly pedestrian film, so be it; she is long overdue, and Meryl didn't have a great film last year to knock her out of the running (and if
At the time I was a high school student in a dramatics class in Brooklyn, and we were often invited to be the studio audience for a NYC Sunday daytime show called American Musical Theatre, which was hosted by Earl Wrightson (a sort of junior-grade Alfred Drake). One Sunday afternoon in 1964 we attended a program devoted to RUGANTINO, the Italian musical comedy that had just opened on Broadway in February. It was the first (and only?) Italian-language musical to come to Broadway, complete with
I love Steve and would have been pretty upset to attend any time during the past few weeks and find an understudy. He continues to post several times a day on Twitter, so is probably not ill, but is perhaps working on a film or some other project...still, it seems very odd. When a star is out "on leave," Telecharge always announces it on their site. Not a word.
As performances begin in about a month, how can it be that no casting has been announced for this? I am an Encores subscriber now living in CA, and would fly back IF the casting was interesting. Saw Tyne Daly when the show was done many years ago, and enjoyed it tremendously.
Since I'm so damned old, and have been going to theatre since the late 1950s (got to see Merman in HAPPY HUNTING, GYPSY, ANNIE GET YOUR GUN and DOLLY), my picks are a bit different (although I love reading the lists):
1. ANYONE CAN WHISTLE with Lee Remick and Angela Lansbury (I had tickets, could only go to Saturday matinees, and the show closed before my May matinee came up, never got over it, and convinced Steve and Arthur to let us do an off-Broadway revival in 1992 as a three-w
Really torn about this. I LOVE Hugh, have seen every show he's done in NYC, and now that I live in LA could easily go to the HB (which I finally got to this year, an amazing venue). But my husband is not happy with the crazy ticket prices, and I don't want to sit in the last row of this massive place.
Perhaps I should just buy myself a very expensive holiday gift...
As a former lifelong New Yorker and constant theatergoer, I find their lists mostly meaningless. It would be far more helpful to have two lists, one for commercial on and off-Broadway shows, another for smaller or out-of-town venues.
Esoterica is certainly valid, but most of us are interested in the commercial theatre that we could normally see. And I am tired of hearing about OKLAHOMA!, which imo, was a self-conscious mess that screamed DIRECTOR'S PRODUCTION, having li
The many good reviews for THE PROM were a surprise, and the advance sale was very slim, so it would normally take a while for an unheralded show, with no big stars, to build. And the pre-Xmas slump doesn't help, nor will the early winter months. What's really sad is that TORCH SONG hasn't caught on, and it probably won't be a big holiday seller. The next few months will tell the tale...
Never understood the casting of Buckley, who is best known for her dramatic singing abilities, but certainly not for her warmth or comic chops. Is she that well known that she can sell out a house on a national tour? It's been a very long time since CATS or, for that matter, "Eight is Enough."
Saw Midler, whom I loved, and Murphy, who was a disappointment, in New York. Have been watching the show since early 1964, with Channing, Grable, Bailey and Merman, each of wh
Glynis Johns' rendition remains the gold standard (she is still alive, now in her mid 90s), and Jean Simmons nearly matched her in the London and national tour productions. But Judi Dench brought a whole new set of emotions in the last London revival, and blew me away: