Profile for trentsketch

JoeW4 said: "trentsketch said: "There are some productions where it works, and some where it doesn't, just like any other theatrical conceit.

The most effective use I've seen wasn't intermission, but it was preshow. This was Hedda Gabler at the Public with Elizabeth Marvel....

^That production was at NYTW, I believe - and for those wondering, it was an Ivo Van Hove joint. He did it again with Ruth Wilson in London, which I saw. I believ

There are some productions where it works, and some where it doesn't, just like any other theatrical conceit.

The most effective use I've seen wasn't intermission, but it was preshow. This was Hedda Gabler at the Public with Elizabeth Marvel. If you didn't see this production, it was done with a stage up front and a walkway surrounding the audience. Cast members could enter and exit from the back of the house. The audience was basically trapped inside with Hedda. Marvel

The worst change in the licensed Grease School Version is cutting "There Are Worse Things I Could Do." So to get the clean lyrics (regardless of quality), you have to ditch Rizzo's song. If you want your production to have Rizzo's song, then you need to keep the dirty lyrics.

I worked in children's theatres for years. There is an epidemic of just rewriting these scripts every which way to meet the demands of parents and schools. Meanwhile, there is no shortage of

There was so much off about this show that no amount of changes in previews could've saved it. Let's say they overhauled the book: the music wasn't great. Let's say they rewrote all the songs: the story was still awful. Rewrite both and you have a completely different show. The cast was fine, but it's hard to judge what they were doing with something so poorly conceived from the ground up.

A couple lines were changed here and there, but it didn't really cha

The Tarazuka Revue in Japan have done 3 licensed Phoenix Wright musicals. The first two have DVDs available and all three have cast recordings. 

There's a whole genre of anime/manga/video game musical adaptations in Japan referred to as 2.5D that really gained a lot of traction in the past decade. They're musicals adapted from 2D mediums in Japanese pop culture. Most are anime or manga, but a few are more influenced by video games. It's pretty fascinating to dig into.<

The recording is very good. The bits of scenes and Karnak narration provide a pretty clear context for the songs. The cast sounds great. This was my first time getting to hear the changes to the score since the off-Broadway run and I really liked them. It is very produced, so it feels more like a pop album than a cast recording, but that's not the worst direction to take this show.

They're also making a push for traction on TikTok, too. I had to laugh that the algorithm knew to

Safely doing a musical at a high school right now is incredibly difficult. There are companies licensing shows with digital streaming rights, but what it really means for a good product is committing to filming a feature length film over Zoom, with songs recorded individually by actor and mixed together afterwards.

Plays are easier to pull off since the lag isn't as big a factor and the show could potentially be performed live for the stream. I've noticed the straight plays ten