MarkBearSF said: "Just to be clear - learning the "background story" of Hades and Persephone would be helpful, but the myth of the show's story itself, that of Orpheus and Eurydice is less necessary. Correct?
Correct. Knowing Hades and Persephone beforehand will make that plotline more rich and detailed - it is explained, but pretty fast, helps to know it going in
Hadestown IS the story of orpheus and eurydice. Knowing
And further changes to his character/arc. I've basically kissed nytw orpheus goodbye, charming as he was. That was what was pulling the london production down, they changed orpheus so much, the rest of the show needed to change around him and it hadn't fully done so. You could see how it was designed around a different character.
Evan Hansen IS a sociopath Mar 14
2019, 09:32:41 AM
Who is saying he's not mentally ill? I'm saying one cannot toss around a diagnosis without taking a moment to actually read what it is. For what it's worth, I am literally a social worker with a specialization in youth, and do a lot of mental health work. I can't think of any way Evan would be diagnosed 'sociopathic' (which is not a real diagnosis) or a pathological liar.
The main labels I would consider relevant are, as noted, anxiety and potential autism spectrum. One could make an ar
I don't even think he can be called a pathological liar. Nothing about his lies in the show were really pathological, and he doesn't lie for no reason.
Evan Hansen IS a sociopath Mar 13
2019, 09:59:06 AM
Evan is a sociopath in the same sense that 99% of ALL teenagers are sociopaths:
Short term thinking, lack of perspective, difficulty seeing how his actions effect others, self-centeredness, etc
He causes real harm, but he doesn't intend to cause harm and in a lot of cases is completely unaware he's causing harm. I am frustrated that the musical basically says nothing's his fault because he means well, but he's not sociopathic.
Rogerdellibovi said: "Anyone else just happy that there probably don’t be a sweep this year?Like I think hadestown will win best musical but not lead actor or actress, or best book."
Depends what you'd call a sweep, I think they'll take the lion's share of the awards and the momentum of that may get them awards someone else deserved more.
So...is Harry Potter better in part 2? Feb 22
2019, 01:23:20 PM
I could not agree more with Ravenclaw as to criticisms about the script. I am deep enough in the fandom to have been a guest lecturer at harry potter conventions and honestly I couldn't do CC. At some point you say "this frustrates me I'm not dealing with it."
"This is not where I wanted the story to go and I'm grumpy because I like my version better" is a good reason not to see it but not a particularly valid criticism.
"Based on previous books the choices in this story are no
2019, 01:06:34 PM
There's a lot of bad musicals out there, period.
I think it IS possible to have a jukebox musical that is a work of art and elevates the form. Just that most of them don't reach for something transformative.
It's all politics really. Politics that says a show will sell better if we already know the tunes, so someone gets commissioned to write X The Musical instead of it growing organically put of an artist's creativity. And it's politics that make them toothless. Gotta get perm
BwayinVan said: "I'm not sure if this is going to be my cup of tea. I didn't see great comet but I had no interest in it. I keep going back and forth on whether to add this to my trip or not. To those who did not enjoy comet, did you enjoy this and vice versa?"
I enjoyed both, but I do not think they are comparable.
If you found Comet loud, garish, or incomprehensible, I would say you might like this show. It's a lot more 'mainstream' in th
Honestly playbill value is super subjective. How much will it hurt the value? No idea until you actually post it. A few people won't care, some will care a lot. Depends on how rare the playbill is. I wouldn't buy an In The Heights playbill with writing on it, because they crop up regularly, but if it was an Ars Nova Comet? That's a different story.
Demand for most older playbills is middling at best anyways. Mostly ticket stubs do not have value, but again it depends on the
It's cute and notable regardless of gender. Idina and Taye were cute and notable when they sang opposite each other in Wicked too. Any time it's a real couple, that gives it a little something extra I think.
But it's also got a deeper resonance to those of us who usually do not see ourselves in these stories. For all the stereotypes of queer people on broadway, the representation IN musicals is still... not great outside a couple of heavily touted examples. Th
All depends on the competition. There are many shows I can think of that were very high quality shows but lost to other high quality shows, and many where I go "Wow what happened that year" because the competition was so thin.
The general consensus was that the book needed work, some of the songs did not work (but that's unlikely to change) but the overall effect was pretty fantastic, particularly sets/costumes. Lots of spectacle. Some years that's enough, other years
Sincerely Werk! said: "Laurens/Phillip is one of those roles that really depends on personal taste to determine if you enjoyed the performance. Ruben's Laurens is a lot less comedic than Fisher's or Medina's, but he is more ambitious and determined, which makes his death more heartbreaking.
Chapelle, while tall, can play the little kid of the show really well, it especially works when he's 19. He still gives off an immature vibe, but his height settles in w
I think the only way to make it work would be to cut out a lot of the gods' stuff. The show would look great in realism/semi realism, but the gods sitting around and chatting I think would not translate well to the screen. But I could see a real lush set, a bunch of the music and accompaniment rather than a proper song (Think Spirit, which does that so well, or We Know The Way from Moana) and the gods as more forces of nature than people.
I always figured it was pretty much between the actor, their doctor, and those running the show. A director can say "Go on vocal rest" but they don't control an actor outside of the show. Likewise, an actor can say "I need vocal rest" but a producer can still send them on the talkshow circuit.
I have a demanding job, and people go on 'stress leave' often. It's basically the emotional version of vocal rest, and it's determined in conversations wit