Profile for SonofRobbieJ

I've had similar experiences as the OP at specific theaters. I absolutely dread going to Studio 54. It's like going through TSA every time and it is the absolute worst. Similar experience at Cursed Child. 

Other theaters have similar security set-ups but are much more pleasant to negotiate. It was smooth sailing at The Notebook for me and Carnegie Hall is an utter delight every single time. But if I can help going to Studio 54, I will avoid it like the plague. 

lopside said: "He talks about boys 'calling you' when persuading him to go to the club. Later, he gets right in Cliff's face and suggestively talks about 'making a large whoopie, perhaps you and I only'."

I remember thinking of that moment 'He's just kidding. This isn't a serious come on.' But...again...the puke. It was really quite distracting. 

Owen22 said: "It is also weird that Adam Feldman does not seem to understand the concept of color blindcasting..."

But is it colorblind? I think every actor who has played Cliff in Frecknall's production has been an actor of color. It feels like color-intentional casting. 

lopside said: "Audiences in London loved (love) Cabaret too, so not sure how same reception in London for both is supposed to indicate that Sunset will do better?"

I saw both in London and can only give my personal takes on both. I've spent quite a bit of time thinking about my reaction to both productions.

I think Cabaret is one of the greatest musicals ever written. The Mendes/Marshall production in 1998 was formative for me. But, even at the time, I thought they pushed the boundaries of what the show could withstand in terms of interpretation to the limit. Frecknall pushes even further and I think, at some point, this ends up not being Cabaret. Like...I hear the spoken words and the dirge-like music and I vaguely recognize it as the material that makes up the musical Cabaret, but the point of the show ends up being rather incomprehensible. 

On the other hand, I think Sunset Boulevard is a crap musical. I am a huge fan of the film (my Roman Empire is the 1951 Oscars and the battle between SB and All About Eve). I thought the stage show lost all of the wry, meta-commentary of the film and missed the here-and-now feeling it contained. The deconstruction by Jamie Lloyd and the insistence that Norma is Nicole and Nicole is Norma (down to Pussycat Doll choreo) demands that we experience SB as an in-the-moment experience. Some of it could get a little silly, but it was never less than enthralling. And, unlike this Cabaret, this musicality and vocal performances are out of this world. 

Basically what I'm saying is 'I'm the barometer of NY theater and you should all listen to me.' 

Happy 50th to ME! See ya'll there.

The idea (hope?) of Harolyn Blackwell singing One More Kiss is just too too. And can I also hope that Mikaela Bennett be young Heidi for that? I just saw her as Rose of Sharon in the Grapes of Wrath concert this week and she was utterly magnificent. 

Oh...and Alexandra Billings. Jesus. This is just so marvelous. 

Levy sang this score so brilliantly. It's the first time I was able to not worry about the vocal health of the actor and focus on the mental health of the character. The realism of the performances was deeply affecting. I liked this much more than the original Broadway production. 

I do wonder if going so directly after Watson and Radcliffe will be the thing that truly damages her brand. It's like a narcissistic mom turning on her kids. It shouldn't have taken her attacking two cisgender millionaires to put the nail in, but something feels very different about this attack and the response to it. 

hearthemsing22 said: "And so they won't replace, and their July closing is final. Why so desperate for an extension?"

I very much do not care if they extend or not. I've seen it. I enjoyed it. But if there's money to be made, what reasonable producer wouldn't consider it? 

Feel free to block me. Unlike Broadway Flash you are not even a tiny bit entertaining. 

I do Wordle, Keyword and the WP crossword daily to keep the Alzheimer's at bay. This was a delight. Please create one every day to aid me in my wellness journey. 

When reading Broadway Flash's posts, does anyone else have the thought 'God, I hope they're wearing their helmet today to prevent further damage'? 

Just me? 

I wonder if it's going to be the same setlist and 'character breakdowns.' And if so, I hope we get an actual gay/queer man doing that one track rather than a straight man mincing about. Lordy what was that (and that's an actor I like). 

And, of course, Jean Ross led a far more fascinating and productive life than we are led to believe the character of Sally Bowles would have. But I'm not saying I disagree with you about a younger Sally being a perfectly valid interpretation. But, whatever the age of the actress, Sally is representative of reckless nihilism and I think she wouldn't use a diaphragm at any age. 

 

inception said: "Jordan Catalano said: "Whereas to me, she’s more tragic when played older. Again, this is why I just love the character so much. She can be almost anything and it works in completely different ways."

But SPOILERS

she gets pregnant, so she can't be too old. Makes more sense when she is under 30."

When exactly do you think menopause hits? 30 and a day??