Profile for Someone in a Tree2

"The mansion was stored upstage on stage level between performances. During performances it was housed up in the flies."

Thanks for that, Brody! It seems astonishing that all the flying in the show could still work, never mind the lighting banks, with that monstrosity sharing the flyspace. Wow. (Now I remember-- I'd heard that the floor of the mansion contained banks of lighting units for use while in its out position.)

I actually worked for J

Thanks, Morosco, for posting that footage. I saw the original set in '93 at the Shubert in LA with Glen Close pre-Broadway.  I'm certain Norma's touring car was added to the production I remember.

Also, until watching this video, I had no idea the mansion set piece tracked downstage and upstage as well as flying up and down. Does anyone know where it stored when out of sight? Was it all the way upstage in its raised position behind the last drop? Or did it fly all

It was obvious to me from the first frame that HAMILTON would best all comers and come out on top. Seeing the vote tallies for the final four, it's playing out just as predicted.

Next time: allow non-Tony winners like WEST SIDE STORY and FOLLIES. Allow shows dating back to at least OKLAHOMA. (Apologies to SHOWBOAT, ANYTHING GOES and PORGY & BESS.) And somehow the matchups need to mix decades more liberally. And you know what? I bet HAMILTON will still come out on top. Sigh

Two complaints-- why cut off the Tony winners at the year 1960? Are the shows that premiered from 1948 to 1959 not among the greatest ever written?

Second, I know it would be unwieldy, but I really wish they wouldn't restrict the choices to each year's Best Musical winners alone. Just to look at Sondheim's output as an example, that eliminated WEST SIDE STORY, GYPSY, FOLLIES, SUNDAY... and INTO THE WOODS from consideration.

Honestly, what will it matter anyhow w

I saw the play on Bway as well as the Taper production, and I agree with the poster about 10 comments back-- I was really fascinated by the stories of the actual couples, and really, really hated the therapists' sessions from start to finish. Can't tell if it was the performances (insanely broad) or the writing, but the satire of psychotherapy was utterly beside the point for me. Looking deeply into the ways interracial couples make it work or don't-- that was a rich vein that I t

There hasn't been a decade since I've been seeing Bway shows that I didn't catch Chita is something fabulous: Chicago in '75, Merlin in '80, The Rink (FOUR times!!) in '84, Spiderwoman in '93, Nine in '03, an Atlantis Baltic cruise as headliner in '08, Drood in '13, The Visit in '15, and her cabaret show in Pittsburgh in &#

Pretty sure the producers placed an embargo on publishing reviews until the official opening, so not the fault of reviewers.  I saw a screener and am in the camp of those deeply disappointed that they threw out so much of the Bway score, and replaced most of these numbers with new and distinctly inferior songs (some written by the director himself). It's one thing to discard part of a score because there's not enough space in a feature film's running time; it's quite anot

I agree with everything Dan6 says above. We saw MAESTRO at the Egyptian in LA this past week, a thrilling 2 hours that made me feel I was watching one of the few really great films of 2023. Carey Mulligan's performance is lovely, but Bradley Cooper's Bernstein is absolutely in a class of its own. The passion, the affectation, the sexual magnetism, the handsy-ness, the SWEAT-- all embodied the real Bernstein to an astonishing degree. The FANCY FREE sequence alone made me fall in love w