If you're going to bring up the ever-boring KINKY BOOTS as some brilliantly staged Jerry Mitchell opus, don't bother. How that show has survived all these years is a mystery.
So why expect PW to be any better? Mitchell was a brilliant dancer back in the day, and that's about that.
Stop trashing Aaron (and Karen)! They're both terrific in the show.
But when can we expect to see some media reviews for the show? It looked as though it opened on Sunday night, but perhaps that wasn't the "press night"? Actually, I have searched all over, and can't find an official opening night date for MR. What's that about?
I was at last Sunday's matinee, where we got two understudies (for Doolittle and Mrs. Pearce). I was not happy, but I had bought these tickets many months ago, was looking forward to see Mr. Butz do his best musical show thing, and there was no way I could exchange, as I live out of town. His understudy was passable, no more. In truth, I was disappointed in Ms. Ambrose' performance; it was surprisingly colorless and her singing was disappointing, after all the hoopla about her. Had sh
Okay, I'm one of those older white guys (not straight) who waited in the lobby during the ear-banging music before the play began. Yes, it pissed me off, and from what I read from the playwright, that was the point.
The mostly young audience seemed to get into it. Framing the play with non binary characters, who are not IN the play, was pretty much lost on me. The actual "drama" of the play was pretty ordinary, and without knowing much about it, made very few dramatic or
Back in 1993, under our Opening Doors Productions banner, we did a 3-week revival of ON A CLEAR DAY with the brilliant Jennifer Prescott as Daisy/Melinda and Jim Madden as Mark, at the Clurman on Theatre Row, as a benefit for BroadwayCares/EquityFightsAIDS. After I received the material, it became clear to me that there were more than one version of the show floating around. Composer Burton Lane reached out to me, knowing we were producing the show, invited the creative team to his
Heartbreaking to read this. I knew a number of the original actors were gay, and had died of AIDS, but had never heard Robert's story. Having just watched the Berkeley Rep production of ANGELS IN AMERICA this weekend, it is impossible not to weep over the devastating loss our community had experienced. May all their memories be for a blessing.
I know Andy Karl just did Ozzie in the semi-staged ON THE TOWN with the Boston Symphony this past weekend, and is scheduled to repeat this when they do the show at Tanglewood on July 7. Can't imagine that, with PRETTY WOMAN starting performances a few days later, he will be there. Anyone know?
Hopefully only for the moment. There is lots of musical talent out there, and these lousy jukebox musicals (you can add A BRONX TALE to the list) have got to come to an end some time soon...
And regardless of all the trash talk about this production, it is still pulling in over $1 million every week. Only a full roster of negative reviews, and not just the Times, is going to change that. The title, and the whole R&H popular canon, pretty much guarantees success.
A sweet show, probably too gentle for Broadway, with two disarming leads (Tom Bosley and Barbara Minkus) and still-rising Hal Linden, who brought the show to life with his big second act number (as he would do several years later, when his Act 2 "In My Own Lifetime" helped save THE ROTHSCHILDS from second-act book-and-song trouble). And of course, further plagued because of what had happened to MLK.
They often say that THE GIRL WHO CAME TO SUPPER, the last real Noel Cow
I've never seen the film, so not really interested in how it compares. Trying to choose what shows to see when I visit later this spring, and the many negative comments about CAROUSEL have convinced me not to bother. Would appreciate hearing more about the merits of this show, rather than how it compares to the movie.
Would love to hear from more people who, like me, love theatre but have not read the HP books or seen any of the films. Not seeing the plays until early August, but is it really necessary to read and/or view the earlier works to enjoy this? I know that the assumption is that the majority of the world (and especially those who are plunking down large sums of money to see both plays) is extremely familiar with HP, but is it really not possible to enjoy these plays without previously studying th
Brown mediocre? A ridiculous statement. I admit that I didn't much love the last revival of THE LAST FIVE YEARS, but the film is surprisingly good, and perhaps that has something to do with the casting of Jeremy Jordan and Anna Kendrick. Hard to imagine a two-character musical film working so well, but it does. And while BRIDGES did not have the success it deserved on Broadway, the score was remarkable, and Brown won the Tony for it.
MichelleCraig said: "Just so glad that my first exposure to CAROUSEL live was at Lincoln Center in 1994.
As I’ve said in an old post, i flew to New York from Los Angeles to see this. I also flew my parents in from Boston to see this with me.
My parents were not really theatre goers, but they loved the production. Several months later, i was watching the Tony Awards back in Los Angeles. All of the sudden, my phone rang and it was my parents calling from Bos
Now that I live in LA, having left a lifetime of theatregoing in NYC, I am hard pressed to see another ICEMAN. The Spacey production years ago, was indeed a slog, but Lane and Dennehy at BAM were pretty amazing. Just not sure I need another ICEMAN when my trip to NYC in the late spring will be rushed enough with other shows (BOYS IN THE BAND, MY FAIR LADY) that I feel are must-sees.
But eager to hear what others think of this production.
Having seen and loved the 1994 LCT production several times, I am very disappointed to read what most posters have said. And just for the record, my favorite Julie was Audra McDonald in the Carnegie Hall concert years ago with Hugh Jackman as Billy. Julie is a relatively short role, but someone of Audra's talent can make every moment count. Honestly, I can't get excited about Jessie playing what I refer to as yet another "musical doormat," as she did in BEAUTIFUL and WAITRES
