I'm not one for exhibitions (The HP one was lame) so I was planning to skip this despite being a fan. Then I saw the pictures and am seriously reconsidering it. It looks cool.
As for egos... $$ will tell. Either there is a market for this, people will come to see it, and it will be successful. Or their egos are bigger than their fandoms, not enough people will come, and it will fail and close. No harm in trying.
I do hope you're right. Moulin Rouge is a favourite of mine and despite a few reservations I am really hoping to love this. As long as they don't wreck it, I'll round up. The heart of Moulin Rouge can survive a few flaws
Like there are no big things I would point to and say "This makes it awful" (Of course I could nitpick). It's serviceable.
It also lacks anything that makes moving, either through connection, emotion, or soaring vocals.
Like he sang the music. That is the music. It is an uninspiring arrangement that lacks any moments of "YES" and heart swelling, but I can't say there's anything incorrect ab
I mean, sometimes someone IS awful/unreliable/etc and that is good information to know. However, I think it pays to be generous, and be specific. What's a dealbreaker for you may not be for someone else.
"So and so showed up late to multiple rehearsals" is something I can live with if I'm keen on an actor, I can work around that. "So and so made fun of another actor when she was affected by an intense scene" would be more of a dealbreaker for me (bu
It sucks because it's very much not the fault of the person beside you that they're large - as everyone's noted, they have to be feeling much worse. But it's also not fair to you. I don't know what to do. Perhaps speak to a house manager in a non blaming way? Like, "It's not their fault but this is the situation and I am unable to enjoy the play, what can be done?" Perhaps they could give you another seat or a ticket to a later show.
Basically traditional staging, with raised turntables. 90% sure the turntables are going to be scrapped apparently they were a huge bother and were causing injuries.
I think the point is not that musicals should not be adaptions, or should not have mass appeal, or should not be about things middle america is interested in.
I think what people are really tying to rally against is pandering. The subject matter isn't important, as long as it's good. Everyone wants to see good musicals. Everyone wants to see musicals that have had thought put into them, that have good lyrics and clever stagings and an interesting book.
I can't believe there's not a production of In The Heights already in the works, with how popular LMM is
I'd also love to see a really interesting, edgy production of Next To Normal. Basically every version of it regionally is the same aesthetic, give me something new.
In terms of older, great, lush and ambitious revivals, Funny Girl, Into the Woods (God I would love to see Chavkin do it) EVITA.
it was several months ago so may no longer be true, but I was told from a reliable source that Chavkin was expressively NOT looking at Circle in the Square and was keen on a more traditional staging. Which I think is a bit of a pity, but I have faith in her vision
And I mean, having a token POC is better than entirely white (Looking at you, N2N)
But I think the point people are trying to make is, we should be expecting better from shows. All shows should be asking, can this role be played by a POC? Why is the entire main cast white? Should it be?
And sometimes, the answer will be yes. Doubt springs to mind, as race and racism is an explicit part of the plot but part of that is the fact that the three leads are all white and do not ful
It definitely sounds like a dig at multiple shows, of which DEH is one. When a show is 90% white, and they make a small supporting character black (it really is the smallest role in the show) can you really call that diversity? Especially compared to some shows that have really embraced race-neutral casting, like Les Mis or Great Comet*
*I'm not talking about shows where the character's race is important to the plot, like Hairspray or Doubt or Hamilton, where it's essen
It is the most peculiar thing to me. That there should be so many queer folks making shows, being in shows, seeing shows... but rarely reflected in the characters. Especially when musical theatre has such a reputation for being a queer space.
(The stats are even worse if you take out "Shows specifically about the aids crisis" of which there are quite a few)
Ever since hearing about Romani people's experiences with the g-slur and the continuing racism they face, I've been uncomfortable with how it is used in american theatre.
It's difficult, because to my knowledge there are very few Romani people in North America, and the word has grown into its own meaning, and a meaning that isn't really negative at all. To most people in North America, the word has connotations of travelling, of wonder, of loving life. I can understand
bk said: "Is there anyone making allegations who is actually under the age of seventeen? Last time I looked, seventeen is of age and legal in NY, IF these people were all in NY. Also, while his texts are clearly off-putting, unless he acted on the texts, other than make this public, I don't think he's broken any actual laws?"
Unless I'm mistaken, I don't think anyone is accusing him of breaking any laws? There is a difference between legal and mo
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