Profile for jayinchelsea

This musical play, done first off-Broadway and then too briefly on Broadway in 2000, seems to have disappeared. Saw it again at Kennedy Center during is brief national tour later. Was there ever a recording of the beautiful score? 

I know the Mart Crowley play will be done tonight at 7PM EST, but does that mean I have to watch it at 4PM here in LA? Or will it be available later, on the Playbill channel or elsewhere? Help!

I know the Mart Crowley play will be done tonight at 7PM EST, but does that mean I have to watch it at 4PM here in LA? Or will it be available later, on the Playbill channel or elsewhere? Help!

I actually thought this was a joke, especially after sitting through a painful two hours last night (in truth, at the one-hour mark I started skimming through, just to see the performers do their thing; most impressed by Donna McKechnie, who brought her nearly 60 years of stage experience to a quietly heartfelt song). How in the world could this be a successful Broadway show? Spielberg may have the "musical bug" after working on   the film of WEST SIDE STORY, but SMASH or

I saw it many years ago in somewhat staged performance in Philadelphia, with Debbie Gravitte and Richard Muenz. It was scheduled to be recorded with that cast but never came about. And as I understand it, the original production wasn't recorded because of a musicians' strike at the time, which also stopped a recording being made of WHERE'S CHARLEY?, the Frank Loesser show with Ray Bolger.

Praying that Danny, Rebecca, their family and all the MR people are okay and out of danger.

Have never seen a Vampire Cowboys production, and now living in LA. Has anyone seen their REVENGE SONG at the Geffen here?

Still not convinced that this WSS production is worth my time on my next visit to NYC. Have seen the show and the movie countless times, and although the recent NYT magazine article was intriguing, hard to imagine WSS without the Robbins choreography (and no "Somewhere" ballet, really?) And I am not a fan of van Hove (NETWORK was a mess, save Cranston's performance, and his "stamp" on classics is all about him, and not the material, imo).

The last few months of

An evening of Lloyd Webber? I'd rather chew glass.

I was still living in NYC when the show ran there, and since the reviews were meh, I decided to skip it. But a good friend was going with a group of friends, and invited me to join them. At that point Sting had joined the cast, and I was quite surprised at how much I enjoyed it. Not a classic perhaps, but a well-constructed musical with a good score. Now looking forward to seeing Sting again in LA, where I now live (and am often starved for great theatre; the LA Phil has become my go-to, and

Frankly, I was surprised when they announced SF to play Marian in the upcoming THE MUSIC MAN. I never think of her as a Barbara Cook/Rebecca Luker soprano, but she has constantly surprised me, and I can't wait. SF as Rose? She will tear up the stage!

 

Hard to understand why this has transferred to Broadway. Saw it in Williamstown and was really disappointed. Acting was all over the place, and Tomei was not able to transcend the comic moments and the melodramatic ones successfully. Probably not one of Willams' best plays, but I was lucky enough to see this many years ago at City Center with Maureen Stapleton (the original Serafina) and Harry Guardino, and they were amazing. 

 

One of my first Broadway shows was DO RE MI, where Walker supported Phil Silvers, along with Nancy Dussault, David Burns and the dreamy John Reardon. Walker only had a few big numbers, the best of which was the Comden/Green/Styne "Adventure," where she literally stopped the show as she recounted her bumpy marriage to Silvers. And if you haven't, listen to Walker on the studio recording, made 15 years later with much of the original cast (Comden, Green, Cris Alexander), of ON THE

Excuse me, but that wasn't Carolee Carmello in CALL ME MADAM, but Carmen Cusack. Get your facts straight before you besmirch the great Carolee!

I've been watching Hugh do his live shows for years now (I was a BOY FROM OZ groupie, and always loved the fact that the late great Barbara Cook cut her London engagement short so she could be back in New York to see Hugh's last performance) and this show was amazing (made truly special when my husband, a member of the GMCLA, was one of the guys chosen to sing backup for Hugh at the Hollywood Bowl).

I've been watching COMPANY since its opening night in 1970, and if Jonathan Bailey as Jamie isn't part of the package, then cancel it. He won the Olivier Award (as did Patti), and brought the show to a riotous, screaming halt with his "Getting Married Today". If he's not in it, don't bother.

Although I too have been to many closing performances during my 50+ years of theatregoing, nothing has ever compared to the experience of July 1, 1972 at the Winter Garden at the final Broadway performance of FOLLIES. I had already seen the show a dozen times, both in its Boston tryout, one of its opening nights (producer Hal Prince generally had several, to take the pressure off having only one night) and almost once every month of its run.

I had no money as a struggling young man, an

As he did elsewhere on his US tour, Hugh's people chose 30-50 Gay Men's Chorus singers as backup in LA, and my husband was one of the chosen. The guys were treated beautifully, and Hugh posed for a great photo with them all. What a thrill it was to see my husband on the Hollywood Bowl stage...oh, and Hugh too, who put on a magnificent show both nights. 

Damn shame. Audra and Shannon are terrific, and the play is one of Terrence's best. Hopefully the last few weeks will bring in bigger crowds.

 

Although I initially disliked the film (loved Ewan and Nicole, but found the style and its speed-craziness off-putting), I went back to it and grew to admire and even love it. Seeing the show last year in Boston was a thrill. I'm not a production freak, and don't need helicopters landing to make a show special. But the sheer entertainment value of the show is very strong, and it sounds as though the Broadway production has retained that, and perhaps improved on it as well. Loved Burst