ren598 said: "standingovation79, what gives? Why are you going out of your way on two separate Moulin Rouge threads to bash the show? I tend to agree with all the glowing reviews that have come in so far. Just because you don’t agree with Brantley doesn’t mean he has any ulterior motive. Maybe he really likes the show like many of us do. You going on endlessly about how much you dislike the show makes me think there’s something else going on here."
I am delighted that he loved it...even more than I did, because I had reservations that he did not. Amazed that he felt that Aaron Tveit is great in the role he was 'born to play'. Makes me think that I must have a little prejudice towards him, since I tend to think he is a little wooden on stage, although I did think he was great in Grease, which was semi-live.
I missed her twice in WSS and once in In The Heights (I wasn't looking for her, just remember that she was out). I have to admit that I am surprised that they would give her the lead in a huge musical when she has such a rotten track record, in supporting roles. Seems to me that there are more reliable people they could get. She does not do much dancing in this show, certainly compared to Anita...maybe dancing injuries assent for her many absences.
I saw the show for the second time last night and loved it a second time. This is not to say that it des not need some work. Some Random thoughts.
-- The Diamonds number just isn't good enough. It is good, but it needs to be great. I also thing the Diamonds set is the only one that is not spectacularly good...every other set is brilliant, including throwaways.
I just didn't like the Roxanne number very much. Did not think it was
I agree with Mame and would add the original curtain call for Hello Dolly to that. They are admittedly essentially the same curtain call, but they are delightful in the extreme.
If one included 'One' from A Chorus Line, that would certainly be a candidate...the way the sole bows are worked into the number is brilliant.
Then there is 'Over Here' from 1974; after the traditional curtain call, the Andrews Sisters proceeded to perform a mini-greatest hits
Talking about theatre for it to go into in NY..what about the Belasco? The beautifully redone Colonial reminds me of that theatre (cause I just miserably sat through Gettin' The Band Back Together, and was counting the tiles in the ceiling I was so bored). They seem to have the same amount of seating and beauty. Just a suggestion. Also was thinking the Imperial, since Carousel may be leaving soon. The imperial backstage needs a total renovation. I was used to work back there and it wa
DramaTeach said: "It’s about ratings, and their ratings haven’t been good. But it’s too late to honor Hamilton. It’s still popular, but not nearly like it was. Fatigue has set in. I’m happy for it, and the rest of the honorees (Cher!!!), but we’ll see if America tunes in."
I beg to disagree. I saw Hamilton three times in the first two years for regular box office prices...was able to get tickets, thought admittedly not easily
It was an atrociously bad movie. If I was not with other people, I would have left. There was only one good thing about it: Lily James. Half the songs were in the first movie, with Dancing Queen far superior the first time (NOTE: bigger does not automatically mean better).
I love Meryl Streep, but I hated her I'm this...not that she was bad, more that her presence was squirmy. After this embarrassing role in the chapel, she is so prominent in the clos
I saw this this afternoon, in a last minute purchase. I managed to get 10th row center, which was an incredible seat for this particular production.
I am a fan of the movie, but do not recall every single moment the way some posters here do, so my enjoyment wasn't impacted by fonder memories of the movie.
It is probably not good that the first thing I am going to praise is the sets, costumes, and lighting. Visually, however, it is one of the most incredible shows
With Hove directing, who knows how far he will go in reimagining the show? Re the choreography, it may be mind-boggling different. But, when we look at some other successful revivals that had a different choreographer, at least one of whom won a Tony, I suspect most audience members would not be able to recall any differences between the original production and the revival dance wise. There are people on this board who will be able to list 19 things different between th
n2nbaby said: "Uhh, the mid mezz is absolutely discounted. I spent $169 for my row G mezz seat and they are $129 on Today Tix (row G is one of the last sold seats it appears).
I’m so confused why this six weeks isn’t selling better."
First of all, the show will sell out for the duration of her limited engagement. That said, I think there are two reasons for the lack of mass hysteria associated with this engagement: (1) short no
This is the first time I have been excited about a production for WSS in many, many years. I personally am sick of the same old production; who says that a show needs to calcify because the original creatives were geniuses?
I have to admit that I have always felt that the show does not hold up as well as the score. Since this will be a new director vision with the classic score, I am excited. Purists, shoot me!
The Belasco is too small for what I imagine is an expensive show to run. I would eliminate it completely.
I agree with everyone who said that it needs to be in a theatre that is ornate to begin with, so it fits in.
My first two choices are never going to happen: the New Amsterdam or the Majestic (could Phantom move to a smaller theatre or does it need a huge theatre to still have good grosses with a lot of discounting?).
EdEval said: "Thank you all who responded with your witty and thoughtful comments to my posting. Apology to Patti, I corrected your misspelled name, sorry. Yes, let's sit Patti and Bernadette on stools have them go through Sondheim, Herman, and Weber like Merman and Martin did with Berlin, Kern and Porter."
Great idea...but probably do it on HBO or Netflix / Amazon or PBS...I doubt the major networks would have any interest in it; but it'd be great.
SomethingPeculiar said: "At this point, there are three women: McDonald, Peters, and LuPone. On a level slightly below, there are lots of others (Chenoweth, Foster, Benanti, O'Hara, Ebersole, Mazzie)"
I have to say that I agree with you re the three leads. Sort of.
Of course, when that show was performed, Mary Martin and Ethel Merman were much more famous than any of the ladies listed is today. IMO Peters and Lupone are well-known beyond Broadw
I saw it at the Asolo theater in Sarasota last May...starred Deborah Cox.
It was atrociously bad! You knew from the very first number that you were in trouble. The first number was supposed to be a typical 60's musical opening number, except that neither my wife nor I ever discerned any melody. There was not a single decent song in the first 3/4 of the show. I say 3/4 because, by that time, we concluded that we just couldn't take any more, and left. &nbs
Is this the first season in years and years in which the 'summer bonanza for all' is not working? If you leave out the monster hits (and there are probably more shows doing incredible week-after-week sellout business than any period in the last 50 years) and the hot family shows, are the others not benefiting from summer this year?
If true, this could be an anomaly or a further step in tourists narrowing the focus of their purchases in such a way that shows that ha
This is one of the stupidest ides I have ever heard of. Follies is not about race and it is not like the David Merrick Hello, Dolly. A total gimmick that is totally stupid. Cast whoever makes sense for the role, black, white, yellow, orange, etc.
