Did someone say nontraditional casting? Several years ago, at the BC/EFA Broadway Backwards, Tony Yazbeck did "Music and the Mirror" and it was the most exciting version I'd seen since Donna in the original. Now THAT would make the production way more exciting!
Rob Ashford choreography subtle? Every time I go on Youtube to watch one of the old KCH programs, I am stunned by what a bad and obvious choreographer he is. And how he mostly ruined HOW TO SUCCEED and PROMISES with his inept staging. How could the choreo in KK be any worse?
Back to an earlier thread, what's the word on an extension or transfer in London next spring? Going to be in London in late March (seeing the final NT performance of FOLLIES) and still hoping that COMPANY is on...
If junk (and badly reviewed) shows like PRETTY WOMAN can run, mostly thanks to tourists and the bridge-and-tunnel crowd who still think that women being portrayed as prostitutes with a wannabe Julia Roberts are entertaining, then KK should run forever. Thanks, Whizzer, for your always insightful comments.
I admit to curiosity, but not enough to buy tickets. Buckley can certainly sing this role, and I've always admired her as a dramatic actress. But a comedienne? A Channing or a Bailey or a Merman or a Midler or a Peters? Really? Will wait to see...
I love Angela as much as anyone, but why substitute her for the amazing Chita Rivera, who was so remarkable in the stage version? That's a performance I would like to see captured on film.
I realize that there was scant competition this past season, but in a good season Yazbeck's score for TBV would never have won the Tony (nor, in my opinion, would the show have racked up the awards it did). So my expectations for TOOTSIE, despite my love for Santino's talent, are very low. And after the response to PRETTY WOMAN, producers should be thinking twice about more popular movie adaptations on the musical stage. Yes, I know, PW is doing good business, but the word of mou
Planning my next quarterly trip back to New York for friends and theatre, and I was going to include this on my list of must-sees, but not now. I love McTeer, but this sounds like a bore and a chore to sit through.
Thanks to all the posters for helping me make up my mind.
As a lifetime Sondheim fan, from the early days of WSS, GYPSY, FORUM and ANYONE CAN WHISTLE, I admit that PASSION took some work on my part. I attended the final Broadway performance and us rabid Sondheim fans, who were screaming and cheering, had to deal with a Saturday night audience looking for a good time, and staring us down as crazy people.
What finally won me over was was the televised production, with a dream cast of Patti Lupone, Raul Esparza and Audra McDonald. Try to ge
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.
