GeorgeandDot said: "What you wrote that was inside the playbill isn't a "trigger warning." A trigger warning is something we should start doing on Broadway. It will just say that the production contains something like suicide, or self harm, or rape or something like that in order to let people who have experienced such things know and prepare themselves ahead of time. What they seem to have done is just included a director's note that describes what they've expl
gypsy101 said: "no offense to Denis whom i love but this is ridiculous
the black son of a famous actor being shot by police is about 0.01% likely to happen"
And how will police know, when they stop Declan for Driving While Black, that he is the son of a famous actor (I love Mr. O'Hare's work, but he is "famous" only to theater fans) and not just another black kid they can shoot with official impunity?
Ruby, I'm bumping your thread because I think yours is a fair and interesting question. Like most posters here, however, I don't have the knowledge to advise you.
I do, however, agree that in musical theater I prefer to hear clear tones that resolve into vibrato on long notes. Liza Minnelli used to be the master of this, so you might try checking out her early recordings (certainly pre-1985).
On the other hand, listen to Betty Buckley for a singer whose vibrato is a
Let us not forget playwright James Kirkwood's delicious non-fiction account of the original production: Diary of a Mad Playwright: Perilous Adventures on the Road with Mary Martin and Carol Channing.
The play has always sounded to my ear like dinner theater, but I love Jimmy's account of the disaster that ensued. Kirkwood (also co-librettist of A Chorus Line) was a lovely man; his play may not have deserved better, but he certainly did.
Is the ending of KATE really much worse than, "Eliza, where are my slippers?" Seems to me they both end in a similar fashion and MY FAIR LADY is not the broad comedy that is KISS ME, KATE. (I'm not saying humor excuses everything, but the broader the comedy the less we are asked to take the proceedings seriously.)
Thank you for so clearly gauging my intent, Scotty. Maybe there's something to this "kinder, gentler BWW" after all. (That's not a reference to anything YOU have posted in the past.)
BTW, I had my mountains and molehills confused. I corrected my earlier post and deeply regret the error.
As others have pointed out, BH's entire career is based on quips rather than thoughtful analysis. And I have to confess that the four or five hours I spent at a taping of hi
Good questions, darquegk! Myself, i found the actual article a let down after the attention-getting language of the link. BH actually says very little and, as you point out, it's nearly impossible in print to tell when he's speaking tongue-in-cheek. Nobody is seriously proposing we have a different bathroom for every possible sexuality, so that sounds like one of his one-liners.
BH is not the first to question whether encouraging pre-teens to choose their sex in middle scho
I have never understood the hostility here toward Miss Michele. I didn't even think her Tony performance of "Don't Rain on My Parade" was so bad, accounting for nerves, minimal rehearsal, etc.
If she's difficult to work with (and I mean "if" since I have no idea), what's that to me?
Since every song ever written (almost) is available on iTunes, you can do some research by sampling (without having to buy every song).
Check out any cut by Linda Lavin, Cleo Lane or Megan Mullally (I'm talking about their solo albums, not OBC recordings.) I'm not always sure how "jazz" is being defined, but I'd look for something where you sing off the beat (hopefully in syncopation) and include at least a bit of vocal improvisation. (Believe it or not,
BrodyFosse123 said: "Unlikely. If that were the case, every Broadway adaptation of a film would be confused as a revival: HAIRSPRAY, LEGALLY BLONDE, SCHOOL OF ROCK, PRETTY WOMAN, THE WEDDING SINGER, etc.
No one ever called/confused those as revivals yet THOROUGHLY MODERN MILLIE was and still is confused as such."
True, but the film MILLIE opened during the era when most film musicals were adaptations of stage shows, it starred actual Broadways stars (J
If you can explain why anyone sits through POTO more than 100 times, I think you should give up the library circuit and publish in the NEW ENGLAND JOURNAL OF MEDICINE.
When was the last time any movie lead looked so effortlessly gorgeous as Armie Hammer in CALL ME BY YOUR NAME? We're so used to actors who spend hours per day with their personal trainers! Hammer may do so as well, but in that movie he managed to look li
bk said: "Yes, a matter of taste, with taste being the operative word. Taste has gone the way of the dodo bird. If people want to wear shorts to the theater no one is going to stop them. Nor is it going to stop me from thinking they have no taste. They don't care and I don't care and the world goes round. Some people think the theater is a very special place. Some think it's all about them and don't give damn about special places. I don't necessarily dress up to t
^^^ Oh, I don't know. She apparently can't sing a Sondheim song without asking him to rewrite the lyrics.
Why wouldn't she f**k around with a mediocrity like YENTL? It's called "pissing randomly to mark your territory."
***
As for her Oscar, damn right she deserved it! And how did it hurt either winner to have a tie? It's not like somebody needed a win to get to the playoffs.
David10086 said: "I must add - sometimes these shows in the Broadway subscriber package are not from Broadway at all....
An interesting - if unethical - practice to lure innocent people to the box office."
And not the only one. At the subscription houses where I've worked, it was common practice to announce stars for particular shows during the period when subscription packages were on sale. Then those same stars developed "conflicts&qu
In the interest of clarity, I think we should save the term "One Act" for a short play (certainly less than an hour) with no intermission.
A 90-minute play or musical is still "full length", and may have multiple acts whether intermissions are taken or not. (Precedent: Shakespeare's plays have 5 acts, but nobody presents them nowadays with four intermissions. Yet they still have 5 acts.)
The British solve the problem by speaking in terms of ovations: a &q
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