Theatre Gossip #359: The" bland, desperately unoriginal thread title/tony year" Edition -

I am clinging to this new thread as if it were an ice floe....

hoping for the best.

Put in a link to the last one. I thought OKLAHOMA! was pretty great. What was with that star-baby dance, though?

No one knows, r2. No one knows.

With all the talk about how Rocketman should be adapted to be the next Broadway jukebox musical -- I just wish they would do something original with it. Like maybe let Sara Bareilles adapt the story and songs to be a vehicle for SJB and an assortment of younger underemployed ex-Elphabas.

Previous thread.

Oops.

I think someone should develop a Stevie Wonder jukebox musical. He has a bigger catalog of songs and a more interesting story than some of the artists who've already had one.

I think Connie Francis, who has a huge catalog of song hits, should get a show. SJB could probably star in that one too.

Is this what the current lackluster season has reduced the theater threads to? Suggesting ideas for more jukebox musicals?

If they are done well, why not? There's room for a new one when another one closes, though I think "Jersey Boys" and "Beautiful" have been among the best. I haven't seen the Temptations one yet.

Connie Francis has been trying to get her life story on stage for a decade-

I am sick of all these Juke Box musicals, give me something new

I remember back in the early 2000s, there was a Broadway-bound Selena jukebox musical in the works.

Jukebox musicals belong in Vegas or at Disney World, not on Broadway.

[quote] the dick has been tied down, but huge nevertheless.

Pics please.

This is shaping up to be Bway's biggest financial year.

That means lots more movie-to-stage musicals, jukebox musical, shit put directly onto the stage.

Tourists will pay for anything that is wrapped nicely in a bow.

r15, I couldn't agree more.

"If they are done well, why not?"

Poor man's theatre.

R19 Broadway these days is not for the poor or even working class!

And it’s funny that Broadway is so expensive considering the absolute crap they are serving up. Producers should be deeply ashamed. The prices one would pay to see the Golden Age masterpieces and we pay ludicrous ticket prices for Tootsie and Pretty Woman. Fuck off, Broadway. Put that on your marquees!

Read Andrew Rannels book. Enjoyed it, he's a good story teller if not a bit of a bitch. Early in his career he books "Pokemon Live" at Radio City Music Hall. Hates the wig, hates the costume, hates the cartoon character's voice. I watched a mini doc on it and c'mon, if you have to do a kid theater, and lots of starving actors do, no judgements, I haven't seen anything as good as this. Even the choreography was above the any kids show I've seen on commercials from tours. AND director choreographer Luis Perez is hot.

Spiritually poor, r20.

Jesse Tyler Fergusson is playing the Denis O'Hare role in Take Me Out

r24 that's awful. We can though be grateful he won't be naked. [and yes I remember most Fabulous Story Ever Told]

Andrew Rannalls IS a bitch. Such an insufferable twat. He’s a human cartoon so, realistically, Pokémon Live is the best kind of job for him. So is playing a character created by the South Park guys. I had hoped that once he aged out of those roles, we’d never have to hear from him again, but here we are.

Who was begging for a Take Me Out revival, anyway? People only went to see that show for the exploitative nudity. Why not just put up a show called “Actors: Live and Nude” and cut out the facade that anyone is there for the play? Nobody goes to see Take Me Out to see Take Me Out.

What a shitty cast so far for Take Me Out. When it first came to broadway Ben Affleck was in talks to film the adaptation. Now a big revival comes and the two stars are supporting characters on bad television shows.

Might as well bring in Sally Struthers at this point

[quote]Might as well bring in Sally Struthers at this point

I'm throwing up a lot in my mouth.

And to think, it was almost going to be Jussie Smollett.

The culture we get...

[quote] Who was begging for a Take Me Out revival, anyway?

Anybody else see Gbenga Akinnagbe in the Flea Theater's production of FULFILLMENT back in 2015? He's currently in TO KILL A MOCKINGBIRD, where unfortunately he does not take off his clothes.

At 40, he's probably too old for TAKE ME OUT, but his appearance alone would be a reason to buy a ticket

Was at the laundromat this morning (hush up, my dryer's broken) and was forced to watch/listen to a local cable-access sports talk show with two millennial sports nuts smack talking each other on who's better, LeBron James or KD (Kevin Durant; I had to look up at the screen to see who KD was). Why are there no arts talk shows? They can't cost more than a couple dollars to produce, and actors and producers would leap at the free publicity. I would happily watch two DL theatre mavens talking smack about this year's horrible, no, terrible season. Santino! Brooks! Gouge out Sam Gold's eyes for that Lear! Cranston! Daniels! Jukebox musicals are the demise of modern theater! SJB! O'Hara!

Not enough would listen to an arts show to make it profitable. Even in New York.

[quote] Why are there no arts talk shows? They can't cost more than a couple dollars to produce, and actors and producers would leap at the free publicity.

Excuse me?

There’s a reason the theatre never produced its own version of Siskel & Ebert.

R37 what's the reason?

He broke his leg is NINE PLACES!

[quote]The "Bajour!" thing is as dated as your clothes, and about as funny.

I will not hear a word against "Bajour"! It is sacred to DL, do you hear me? Sacred!

It isn't dated, it's tradition....

R9 There was a long line of stars waiting to play Connie: Beverly D'Angelo. Valerie Bertenelli, Michelle Pfeiffer, and then the most vocal, Gloria Estefan. The script was written but Connie and Gloria had too many disagreements and Connie dropped the e=project. Dolly Parton then stated that she would like to produce it. Dick Clark also wanted to make it a made for TV movie, but Connie disagreed.

Bajour! For revival next season with Chita and Nancy repeating their original roles!

Bajour was a really terrible show. Except for Chita, the cast was mostly dreary and the score was tuneless dribble. And whom were we supposed to root for, thieves and swindlers?

Why can't the DataLounge flop mascot be something with echt gay flamboyance? The Boy Friend? Ankles Aweigh?

Isn't the Denis O'Hare character in TMO supposed to be a sexless nerd?

Can Jesse TF do sexless?

Which reminds me of the insane pairing of Jesse TF and Lea Delaria in that earlier horrible revival of On the Town. What was it that Betty Comden said about Lea?

Jesse has sex?

You mean we won’t see Furgesons flaming red bush?

What’s next for Betty Buckley? Will BroadWAY accept her back ever again or is she banished to toil in the regions forevermore? Did Dolly! bring her some goodwill?

Denis O'Hare has a supporting role in the new Emma Thompson=Mindy Kaling film, and he really isn't aging particularly well, also considering that he isn't that old, probably somewhere in his 50s. He's too skinny or something as well.

Re: Bajour!, on the OCR it sounds like Nancy Dussault is absolutely stealing the show, especially with her "Where Is the Tribe for Me"?", though Chita does sound fun doing "Mean".

O’ Hare was looking decrepit as far back as CHARITY

[quote]r48 What’s next for Betty Buckley?

[italic]BAJOUR!

R49: I still hate Bajour, but actually Chita has a nice ballad in Love Line (or something like that). You don't normally think of her as a sound ballad singer, but she's quite musical in the piece.

Give her a role she's really right for, like Reno Sweeney (I saw her do it at Paper Mill, twice), and she brings back musical comedy singlehanded.

You are dismissing Bajour in favor of a REAL piece of shit like Ankles Aweigh, R44? Bajour at least has a couple of good numbers, and also Mort Lindsey's superb orchestrations. In addition to its many inanities, Ankles might have what I think may be the worst, most tuneless production number ever written, the execrable "Ready Cash."

"Ankles may have what I think is the worst, most tuneless production number ever written, the execrable "Ready Cash."

Have you heard (any number of current Broadway shows)? They make Ready Cash sound like a scintillating masterwork

[quote]You obviously didn’t see SJB in Meet Vera Stark, Shite sandwich.

I saw "Meet Vera Stark" and do not remember SJB being in it. I do remember, however, that the play was horrible and a complete waste of an evening.

Vera STARK?? Is it the long-awaited [italic]Game of Thrones[/italic] musical at last??

Vera Drake......the Musical!

Sing OUT,Imelda!

[quote]r61 Vera Drake......the Musical!

What are the songs?

I see the 11 o'clock number being the rousing [italic]"Twere Just a 'elpin 'and"

Vera Stark, has the long awaited gender swapped Iron Man musical finally been made?

wut?

[quote]What was it that Betty Comden said about Lea

That fabulous quote, which I only recently read for the first time, was something about how Betty was watching a rehearsal for ON THE TOWN with Lea and said to her assistant something along the lines of, "We have to give her a note not to play the role like a lesbian." To which the assistant replies, "But, Betty, she IS a lesbian." To which Betty replied, "I'm aware of that, but I thought she was also an actress."

You got it all wrong, r67. My friend was the assistant she gave the note to. Betty was appalled by Lea’s performance and said “she’s playing Hildy like a lesbian!” The rest, you got right. The assistant said “But Betty, she is a lesbian,” and Betty said “I know that, but I thought she was also an actress.”

[quote]I saw "Meet Vera Stark" and do not remember SJB being in it

“The play premiered Off-Broadway at Second Stage Theatre on May 9, 2011 and closed on June 12, 2011. Directed by Jo Bonney, the cast featured Sanaa Lathan as Vera Stark, Stephanie J. Block (Gloria Mitchell), Daniel Breaker (Leroy Barksdale/Herb Forrester), David Garrison (Fredrick Slasvick/Brad Donovan), Kimberly Hebert Gregory (Lottie/Carmen Levy-Green), Kevin Isola (Maximillian Von Oster/Brian Blaze), and Karen Olivo (Anne Mae/Afua Assata Ejob“

R68 what was your friend's response to that?

I wouldn't say I got it "all wrong," R68, but anyway, thanks for the correction.

Couple of interesting things were posted at the end of the last thread...

[quote]Is anyone else concerned that this may be the last national network broadcast of the Tonys since its presence lately has been due to the fact that sexual harasser Les Moonves loves Broadway and wanted to present "prestige shows"? The ratings lately have been borderline. Like :Louis B. Mayer would always produce at least one "prestige" picture a year that he knew might or night not would lose money? Like TWOZ in 1939, for example, or Pride and Prejudice in 1940 Whose feelings or rating considerations will be important at CBS now?

I have a friend who used to work in ad sales marketing at CBS. This may have changed since she left that role 4 or 5 years back, but I recall her telling me the Tonys broadcast was actually very profitable for CBS. No, it's not a ratings blockbuster, but it does have a fairly consistent audience profile -- an especially affluent audience. And so, they apparently had no trouble selling out the advertising every year to brands that wanted to reach a slightly older, more affluent audience. It's why you see spots for luxury car brands on the Tonys and not Starburst.

[quote]Fran and Barry showed up for Donna Marie Asbury’s final performance in Chicago after 20 years, and I must say, Fran looked good. She spoke at length and read a letter from Walter “Killer” Bobbie, and contrary to popular DL opinion, was totally together, even charming, and not at all ready for her fruit cup at the old folks’ home.

How on earth did she maintain her sanity doing that same show for TWENTY years? I don't care how great the book and score may be (and they are great), somewhere along the line your soul has to die. I guess it paid the mortgage. I will say, I saw Donna Marie Asbury and Charlotte D'Amboise in (the first?) national tour as Velma and Roxie, respectively, and they were a sensational duo. I know Charlotte's come back to the show many times, but I believe Donna's pretty much done nothing but Chicago for two decades. When is the dreadful Amra Faye Wright going to retire??

Were there any authentic Gypsies cast in Bajour? If it were done today, you know that there would be riots if none were In the chorus. And of course there could not be any use of the word gypsy.

Rolling Stone's Tony predictions:

I've spoken to a number of voters, and it seems to be evenly spread between all 4 for 'best musical'. The road (the largest block) is voting for Ain't Too Proud, the NY power set are voting for Hadestown, the creatives are voting for The Prom, and the investor block is voting for Tootsie...

i genuinely have no idea what is going to win

Branuran sure is working it ... I wonder if he may yet win

HADESTOWN is going to win. Stop being idiots.

Jesse Tyler Ferguson is Take Me Out is one of those castings that seems great on paper but wont work on stage. Denis O’Hare was fantastic in the part. I like Jesse, but he’s too queeney for the role and too sitcommy. I think Jesse will make the character into a caricature.

Branuran got several 'facts' completely wrong. Embarrassing.

Tootsie may have the most credited above-title producers ever seen. I heard they were desperate for money Doesn't that help get them a lot of votes

Jason Danieley accepting Marin Mazzie's special Tony Award.

Jesse is a mincing queen and that character in Take Me Out isn't.

I was hoping Uranowitz would get the O’Hare role.

R84 in Take Me Out?

This was on last night (PBS, L.A.) and was most entertaining.

R84-No, in Late Night, Rose.

God I hate when I do that r87.

[quote][R37] what's the reason?

Quite simple: No one asked for one. Whether their influence on movies is good or not is debatable, but a “thumbs up/thumbs down” system would likely kill Broadway. Whom would you pair together like that anyway, Rex Reed and Frank Rich?

Riedel always made the Theater Talk fun. Musto is getting fatter and Green is getting thinner. Feldman is so smart Vintecelli is still an idiot and Haskins is a trooper.

If La Musto thinks a few extra pounds will distract from the shape of that head, he’s got another thing coming.

I sure hope the Tonys pay proper tribute to Carol Channing.

[quote] I have a friend who used to work in ad sales marketing at CBS. This may have changed since she left that role 4 or 5 years back, but I recall her telling me the Tonys broadcast was actually very profitable for CBS. No, it's not a ratings blockbuster, but it does have a fairly consistent audience profile -- an especially affluent audience. And so, they apparently had no trouble selling out the advertising every year to brands that wanted to reach a slightly older, more affluent audience. It's why you see spots for luxury car brands on the Tonys and not Starburst.

I've heard similar, which is why it always irks me that they feel the need to shoehorn in non-Broadway people because "if the ratings go down, CBS will drop the broadcast."

The TONYS-"Carol Who"?

Carol Channing may be mentioned, but that is it.

I doubt many people are watching for another tribute.

She'll be prominently featured in the In Memoriam segment.

[quote] Jason Danieley accepting Marin Mazzie's special Tony Award.

Sad. He said on Facebook he left in the morning from the apartment they shared and went home after the Tony presentation to a brand new place. He couldn't stay in the old place, too painful.

[quote] The evening will feature performances by the casts of: Ain’t Too Proud – The Life and Times of the Temptations; Beetlejuice; The Cher Show; Choir Boy; Hadestown; Kiss Me, Kate; Oklahoma!; The Prom and Tootsie. The evening will also feature a special performance by Tony Award winning-actress Cynthia Erivo.

I wonder what Erivo is doing? The "Ballet" from Wokelahoma?

I'm 95 percent positive Erivo has the "honors" of singing "What I Did For Love" ("Seasons of Love" was last year with the Parkland kids) over the montage of the dead.

Talk about disrespecting the dearly departed!

Chenoweth is going to be a presenter.

I wonder how much room they will give her to ham things up -- or if she will be called on to hand an award to someone she has worked with.

Erivo will be presenting best director of a musical award to Chavkin who will then ko her for being responsible for closing Natasha

Erivo should inherit Frank Rich's old sobriquet of The Butcher Of Broadway.

Carolee Carmello is replacing Betty Buckley in Hello, Dolly tour!

Why isn't Jerry Herman dead yet?

I'm surprised Be More Chill didn't elbow it's way into the broadcast.

[quote]Chavkin who will then ko her

He wouldn't dare.

Is Matthew Lopez gay?

He's waiting for you to die first, r105.

Has BE MORE CHILL announced a closing date yet?

I kinda feel bad for BE MORE CHILL. Yes, they went in thinking they had the next big hit and acted like they were hot stuff, but I can't help but feel bad for their failure.

Will CHILL close right after the Tonys or can it hold on until Labor Day?

Is Be More Chill doing that poorly?

They'll probably do decent summer business with tweens.

If they're not appearing on the Tony Awards I don't think waiting for them to announce would make any sense.

Joe Iconis winning will do nothing for their box office and Joe Iconis won't win, so...

R108. Yes he is. And married.

[quote]I kinda feel bad for BE MORE CHILL. Yes, they went in thinking they had the next big hit and acted like they were hot stuff, but I can't help but feel bad for their failure.

It didn't help that a lot of supposed experts also told them the show was going to be a big hit.

[quote]Jesse is a mincing queen and that character in Take Me Out isn't.

Jesse's comic style is that he comes across as very quirky on stage but not necessarily as a "mincing queen," depending on the role. He has gotten very good reviews for playing non-gay characters in ON THE TOWN and a few Shakespeare in the Park productions. So shut up.

[quote]Denis O’Hare was fantastic in the part. I like Jesse, but he’s too queeney for the role and too sitcommy. I think Jesse will make the character into a caricature.

I loved Denis O'Hare in TAKE ME OUT but it was a VERY big, broad, quirky comic performance that could certainly be described as sitcommy and even a caricature. So you're another person who doesn't know what he's talking about.

Weren’t we talking about the Miss Saigon tour ? No one has mentioned the Chris is more femme than Kim?

Why is anyone sorry that a piece of shit that had no business being on Broadway is taking up space and failing? Perhaps if they had written a better show, people might have wanted to see it.

Casting calls for City Center's Evita are out. They're looking for a Young Eva and adult Eva.

I knew they'd find a way to destroy this show.

[quote]Casting calls for City Center's Evita are out. They're looking for a Young Eva and adult Eva. I knew they'd find a way to destroy this show.

Maybe this just means they're going to have a young girl play Eva in flashbacks scenes, like the ones they added at the beginning of the movie, and not actually sing anything? Eva Peron died at 33, and the story of the musical picks up when she's 15, so it really wouldn't make sense to have a "young Evita" for the early scenes and an "adult Eva" for the later ones. That would be a terrible idea, and if that is what they're planning, I wonder where in the story the switchover would happen? There doesn't seem to be a natural place for it.

[quote]She'll be prominently featured in the In Memoriam segment.

Read: She'll be given the final spot and an extra 3 seconds on a rear projection while Cynthia Erivo wails in the foreground.

How very Little Me, r118!

If I was designing the In Memoriam segment which I am not, a youngish playwright would talk about Neil Simon and introduce the segment and Carol would be the final slide OR someone would talk about Carol (though I can't imagine who, she outlasted all of her contemporaries) and Neil would be the final slide. I'm sure the dummies who are designing this are probably going to mess it up and give someone like Babs Bush a prominent spot.

And, of course, the In Memorium segment will be all about Erivo. She wouldn’t have it any other way!

Maybe it could be about Erivo's dead career.

Fabulous ass at 1:06!

[quote]And, of course, the In Memorium segment will be all about Erivo. She wouldn’t have it any other way!

Damn, I hate her for her contribution to the COMET fiasco. I can't think of anyone I'd less like to hear singing the song for the "in memoriam" segment.

I hope the big changeover from Little Evita to Big Eva is done just like in GYPSY with strobe lights and the two characters doing "chugs" around each other.

Maybe it's a Follies thing.....

[quote] In Memorium

Oh, dear.

[quote]I sure hope the Tonys pay proper tribute to Carol Channing.

One hit wonder.

Discount ticket services are basically giving away seats to Glenda's LEAR and GARY this week and last week.

Sad.

I don't think GARY works, but the 3 leads are terrific and it was entertaining.

I actually turned down a free ticket to LEAR.

[quote]One hit wonder.

Two hits. Gentlemen Prefer Blondes.

https://www.onstageblog.com/editorals/2019/6/3/actor-alleges-professional-bullying-amp-racial-discrimination-at-broadways-anastasia?fbclid=IwAR2GeVFWVRe-gsJzwET7NBpWTDfcTgibep1QE3nXjGVHIFCXoKSBNAgUEj0

r115 you're awful

Anyone know which play Scott Rudin is putting opera star Karita Mattila into in the spring- rumor has been floating around that he has been talking to her about a 'dramatic' role

R133 The link goes below.. Where it says “Web Site Link”

This made my head hurt.

Carolee Carmelo is a huge upgrade as far as performance goes for Hello Dolly. Not only is her voice in better shape than Betty’s, but she knows how to be funny.

Oh please, r136. It’s that toad, Chris Peterson. He thinks he’s Broadway’s own personal SJW. He always tries to stir up shit and nothing ever sticks.

[quote]It’s that toad, Chris Peterson.

I just want to pinch his cheeks so hard.

Just because the actor said it was "racism" does not mean it was. He may have perceived it that way. My partner joined a long running show several years in and the whole production staff had it in for him. It was horrible. He chalked it up to being new in a company of drones. I won't go into it because it's not my place, but he was absolutely harassed and management always told him to let it go. In the current climate he would have gone to equity but at the time he was very young and just accepted it and was miserable. He's white. I believe these things happened to the Anastasia actor. But he can't jump to racism.

"The Inheritance" will begin Broadway performances Sept. 27.

Vincentelli is a miserable, bitter, old lesbian who loves everything cynical and dark. If it's not, she hates it. Definitely an idiot. What is with the obsession of Erivo? Why do they like her so much?

Neil Eckersley has screwed up another concert tour by a Broadway diva in the UK. Bernadette has been canceled.

Who is this guy anyway? Does anyone on datalounge have stories?

The only Bernadette dates that Eckersley has on his website were for 2016. Was she going to do concerts there this summer?

What does SJW mean and who the hell are these people producing two part shows charging hundreds of dollars.

OK I looked beyond an immediate twitter search myself and found this on Eckersley.

It is stunning that he is still producing.

R145, SJW = “Social Justice Warrior.” Erivo is definitely one and what she did to Natasha, Pierre is the very definition of an SJW making things worse, which often happens.

[quote]Eva Peron died at 33, and the story of the musical picks up when she's 15, so it really wouldn't make sense to have a "young Evita" for the early scenes and an "adult Eva" for the later ones. That would be a terrible idea, and if that is what they're planning, I wonder where in the story the switchover would happen?

I'm guessing they're going to hire a teenage actress to portray Eva from "On This Night of a Thousand Stars" through "Goodnight and Thank You." Then the older Eva (an actress in her late twenties or thirties) does the rest of the show. Furthermore, I wouldn't be surprised if they decide to ape the movie and give Young Eva "Another Suitcase in Another Hall" and leave the Mistress with just the reprise.

Evita? Hello.

How does Evita fit into the Encores season? Will it be an event like Lady In the Dark, produced at City Center for just a weekend?

R150, it will have a two week run.

Finally saw Network. Cranston was stunning. The set and production design are fantastic. I thought Cranston actually elevated Beale beyond buffoon. Not that Finch's baffoon of a Howard Beale wasn't right for the film... it absolutely was. You all were right, Tatiana Maslana, a fine actress, was miscast (and, possibly, mis-directed). Not a patch on Dunaway. And WHAT THE FUCK were they thinking with her styling and that terrible, unflattering hairstyle they gave her? Didn't do her any favors.

But, most importantly, I'm jealous of Tatiana's right hand. Or was it her left hand? Whichever it was, it got a Chiquita banana's worth of Tony Goldwyn's crotch. Good God that man just gets better with age. That elderly wife of his is so flippin lucky.

Wait a minute - is that Tony Goldwyn’s nude big dick hanging down there? He’s nude in Network?

I’m booking my tickets as I type.

Still scratching my head over the Connie Francis musical. Lyrics for the Act 2 opener at Howard Johnson?

[quote]r152 Tatiana Maslana, a fine actress, was miscast (and, possibly, mis-directed). Not a patch on Dunaway.

Thank you for that.

City Center sent out letters to subscribers re next season’s Encores! The shows will be: MACK AND MABEL, LOVE LiFE and THOROUGHLY MODERN MILLIE, reinvented (or reinterpreted, whatever) by Jeanine Tesori and starring Ashley Park, so the whole white slavery angle will obviously get a PC going-over.

R150, Evita is not part of the Encores season.

[quote]I'm guessing they're going to hire a teenage actress to portray Eva from "On This Night of a Thousand Stars" through "Goodnight and Thank You." Then the older Eva (an actress in her late twenties or thirties) does the rest of the show.

That's what I mean, that would be silly, because there's not supposed to be much time elapsed between "Goodnight and Thank You" and Eva's next appearance, on the radio.

yes r134 I agree with you.

[quote]Wait a minute - is that Tony Goldwyn’s nude big dick hanging down there? He’s nude in Network? I’m booking my tickets as I type.

Unfortunately not. That's from a play Goldwyn did 10+ years ago. He doen't disrobe in Network, but if you're seated house left you might get a very nice view of his still magnificent ass in some especially tight pants.

[quote]That's what I mean, that would be silly, because there's not supposed to be much time elapsed between "Goodnight and Thank You" and Eva's next appearance, on the radio.

But "Goodnight and Thank You" starts out when she's still 15, shortly after her arrival in Buenos Aires. There's a passage of time as she climbs up the ladder and becomes a model and actress. So I suppose they could have Young Eva begin the number, as well as the second verse/chorus, but then they could have Older Eva come out at the end once she's reached the pinnacle of radio fame.

That would seem to be the most likely idea for that concept, R161.

I believe the actor from Anastasia about the targeted harassment. If some established crew on a show is told or decides someone new is unlikeable, they target and harass the person.

I'm excited about Carolee in Dolly. That's a much better choice and the one they should have made from the start. Betty was never right for the role at any point in her career.

Carolee will sell about three tickets total.

From the casting notice:

Young Eva: Latinx, female, mid-teens. A feisty, ferocious spitfire of a teen whose determination and power come from a place of deep pain. Her narrative role in this production will be about chronicling the hardships and harsh realities of Eva Duarte’s early life. The division of responsibilities is such that this actor will sing “On this Night of a Thousand Stars”/“Eva, Beware of the City” and the first 3⁄4 of “Buenos Aires,” but will appear silently later in the piece as well. Seeking strong dancers – training in tango a plus. Strong mixed belt.

They figured out they don't need to sell the show on a star because it's presold at subscription houses

Plenty of tickets available for Betty's run in DC, for that matter.

She did get a great review in the Washington Post, though. Peter Marks loved her!

The Inheritance has a few nude scenes that will take over these threads in September

OF COURSE it does! It’s a gay play and for reasons unknown, we need full frontal male nudity in order for gay plays to exist.

[quote]Why isn't Jerry Herman dead yet?

I know his health has been poor for awhile, but do you really want him to go so soon after Carol Channing?

[quote]Why isn't Jerry Herman dead yet?

And does he know it?

Were he and Carol ever photographed in the same room together?

[quote]Young Eva: Latinx, female, mid-teens. A feisty, ferocious spitfire of a teen whose determination and power come from a place of deep pain. Her narrative role in this production will be about chronicling the hardships and harsh realities of Eva Duarte’s early life. The division of responsibilities is such that this actor will sing “On this Night of a Thousand Stars”/“Eva, Beware of the City” and the first 3⁄4 of “Buenos Aires,” but will appear silently later in the piece as well. Seeking strong dancers – training in tango a plus. Strong mixed belt.

Thanks for the details. So, why did they decide to have two Evas? To make the role less strenuous? Isn't this show only scheduled for a two week run?

Maybe they have a non-Latina in the wings to be the "star" and need a cover for the outcry when it's announced.

Excuse me, Latinx (eyeroll).

[quote]OF COURSE it does! It’s a gay play and for reasons unknown, we need full frontal male nudity in order for gay plays to exist.

Even on DL, a gay movie is not good unless it features graphic sex/nudity.

Boyd Gaines is not well. Sad.

[quote]Maybe they have a non-Latina in the wings to be the "star" and need a cover for the outcry when it's announced. Excuse me, Latinx (eyeroll).

You may be joking, but I had that same thought.

Aside from everything else involved in the "inclusionary casting" discussion, a lot of people don't seem to understand that not all Spanish-people speaking are of the same culture or ethnicity. There's a big difference between Spanish-speaking people from Spain, from Colombia, from the Domenican Republic, from Puerto Rico, etc. So what they actually mean when they say they're seeking a "Latinx" performer for Young Eva is unclear to me.....

Was the idea that Patti was doing the City Center Evita just a joke? Could that be why they want/need a younger Eva?

[quote]Was the idea that Patti was doing the City Center Evita just a joke? Could that be why they want/need a younger Eva?

I had that idea, although maybe I wasn't the only one. And I guess that's as good an explanation for "Young Eva" as any. Although if it is Patti, I think they would have been better off just doing a literal concert version of the show, in which case her being believable as a teenager would be less of an issue, so she could have done the whole thing

The situation of the actor from Anastasia is a case for Erivo to solve.

I don’t like the idea of 2 Evas. Though it is hard to accept a 30 year old portraying a 15 year old, there is a consistency with 1 woman. I don’t think the audience cared that Patti didn’t look 15, why not hire a younger woman to Play Eva. Donna Marie Asbury at 19 did it and shined.

Was Patti ever comfortable/adept in the BA choreography?

It sounds like they were hazing the Anastasia guy.

I thought Herman was the obstacle to doing M&M at Encores, so what changed?

It's odd that they're turning Eva into this admirable feminist who overcame all odds! Yes, Eva's rags-to-riches story is impressive, but her success was the expense of others. I've studied the woman for over 20 years and it is safe to say that she was a 'narcissistic sociopath.' She was manipulative, shameless, power-/money-obsessed, had delusions of grandeur, a need for excessive admiration, exploitative of others for personal gain, considered herself invincible, and was very generous to those who worshiped her (e.g. poor, working class) but quite vindictive and vengeful toward opponents or perceived enemies, including dissenters who were harassed into exile and/or jailed. Shades of Trump! If they had balls, they would retell EVITA as a commentary about Trump, which is closer to the truth.

Who keeps posting about Boyd Gaines? The poster has posted like every year saying he was in poor health.

Apparently it's Boyd Gaines, R187.

Oh, and she was no feminist! Everything she did (e.g., Peronist Feminist Party, votes for women) was to secure her (and Peron's) power. Thus, to quote a biographer "everything she did was to take care of him, and by taking care of him, she was taking care of herself."

[quote] I thought Herman was the obstacle to doing M&M at Encores, so what changed?

I thought so too, but someone else said it was the Michael Stewart Estate which might be plausible. In any case, it's a poor business decision for Herman to hold out for a Broadway revival of a show that wasn't a success.

[quote]Yes, Eva's rags-to-riches story is impressive, but her success was the expense of others. I've studied the woman for over 20 years and it is safe to say that she was a 'narcissistic sociopath.' She was manipulative, shameless, power-/money-obsessed, had delusions of grandeur, a need for excessive admiration, exploitative of others for personal gain, considered herself invincible, and was very generous to those who worshiped her (e.g. poor, working class) but quite vindictive and vengeful toward opponents or perceived enemies, including dissenters who were harassed into exile and/or jailed.

So, a Datalounge regular.

Why do you think Hillary and Clinton is having trouble filling seats? Is it Clinton-fatigue?

Maybe it's Trump fatigue making the idea of sitting through a play about the Clintons unappealing.

It just seemed like it should have been a sure fire hit.

Laurie Metcalf

John Lithgow

Hillary Clinton

All things the NYC theatre crowd cums over, but together it just didn't happen.

I just can’t pay money for more political blather. Politics is exhausting these days.

SJWs think everyone wants to discuss leftist politics at all times and be lectured to, but people just want escapism.

Let us not forget, r186.........

Hillary and Clinton is barely about politics. It's an Albee-esque look into the lives of a powerful married couple.

Carol Channing and Jerry Herman appeared on stage together in a 1985 Mary Martin Tribute

[quote]Hillary and Clinton is barely about politics. It's an Albee-esque look into the lives of a powerful married couple.

Then maybe this should be on the marquee. Anyone seeing the title of this play is bound to think "politics."

It is still outselling Audra in Frankie and Johnny.

Evidently no one was interested in her or Michael Shannon this season.

None of the plays except Network and Mockingbird are selling particularly well.

Even usually reliable Nathan Lane can’t fill seats in Gary

[quote]R186 t's odd that they're turning Eva into this admirable feminist who overcame all odds!

Can you link to anyone who’s doing that?

It can be barely about politics and still be too much. People love to screech about politics all day, every day. I’m exhausted. I’m not going to a play about politicians for entertainment.

Are you talking about Eva allegedly being turned into “this admirable feminist,” r203? Who are you replying to?

r200, I assume, rr204.

r203 has stated her boundaries.

[quote] Carol Channing and Jerry Herman appeared on stage together in a 1985 Mary Martin Tribute

Carol Channing and Jerry Herman have appeared together about 40,000 times.

[quote]I assume r200

Shut it, Mary Warren! The Court is not addressing you.

Your time will come.

Without documentation, R186 has made the accusation Eva has been turned into ”this admirable feminist.” R203, under suspicion of agreement, has failed to disassociate himself from this reckless claim.

We will now hear all sides - -

I was talking about the Tedious Hillary/Clinton but I am always thrilled to be associated with The Crucible. I’m a sucker for a soap opera.

Thanks R208. Still one of the most thrilling productions I’ve seen. Gwen, Chita and Jerry were electrifying.

[quote]R203 I was talking about the Tedious Hillary/Clinton but I am always thrilled to be associated with The Crucible. I’m a sucker for a soap opera.

Well, that was anticlimactic.

CASE DISMISSED!!

R184 isn't "hazing" done with the person's knowledge that it's "hazing"?

I think there is more to this Anastasia story. I find it hard to believe that this actor was just minding his own business and for no real reason at all, everyone starts picking on him. He’s leaving something out.

R216 exactly

[quote]R216 I think there is more to this Anastasia story. I find it hard to believe that this actor was just minding his own business and for no real reason at all, everyone starts picking on him. He’s leaving something out.

The other side (stage managers, hair department, employer) is “leaving something out” by declining to comment. The actor himself has stated a lot, including how his repeated requests to file a complaint thru AEA were stalled until the show had closed, when the issue became invalid.

Is Boyd Gaines gay?

Well, he's married to a woman and has a child, but that isn't sufficient evidence on DL.

Love these old commercials — remember the old “I love NY” commercials al that had the casts singing the theme around nyc?

I l0ved that when I was a kid

Questions:

1. Someone made reference to this in an earlier post but has not followed through: Who's not making friends at Circle in the Square? Details!

2. That Anastasia story... Something does not smell right. And that's because we are only hearing the actor's perspective on this. I've not once been part of a show where the cast and crew just automatically started turning against someone for no reason at all. In fact, most folks in show biz have a fairly high tolerance for odd behavior, to a limit. Cause that's why we are in the arts. So that article does not feel like it's been researched fully enough in any way. Not buying it.

Nothing has ever been better than that Grand Hotel commercial with a personal testimonial from that VERY New York woman.

Here she is. “I LOVED her!”

I'm gonna see it twice more!

My husband works in the area.

After the tragic Tonys.

I hope Ruthie Ann Miles will be presenting at the Tonys.

There's a short thread at BWW about the Anastasia affair. Some one said the actor in question had similar problems when he was in The Lion King and Little Dancer in DC.

R208 That's great. Now if someone could find the original tv commercial for Gwen Verdon's "Children! Children!", one of the first ever for a non-musical play.

[quote]Well, he's married to a woman and has a child, but that isn't sufficient evidence on DL.

You could have lots of children and still be bisexual.

I believe the Anastasia actor. Theatre people can be big assholes. I did a play ten years ago where the whole cast (especially the girls) harassed me and made fun of me and all I did was stick to myself.

Leave him alone. He's not well.

I remember several months ago, Christy Altomare did a whole video where she went on and on about how the whole cast/crew is a big happy family. But that was only to squelch rumors that all was not well in paradise. Granted, the rumors were that she and Cody Simpsons did not get along, but she really overdid the video, IMO. Makes you think.

[quote]I hope Ruthie Ann Miles will be presenting at the Tonys.

Hole?

Ew, R236.

What changed with Mack & Mabel was the revue they did two years ago. The M&M songs were the hit of the evening. Herman dipped his toe in by letting them do those numbers, and the reception it got convinced him it was time.

Time for what?

To to let Encores do their thing with M&M, rather than holding out for Broadway.

I'd love for someone to reproduce the original *production* of Chicago -- sets, costumes, choreo, etc. It was fantastic and squirmingly sexy.

I've dreamed of that for years, too, r241.

They did something like that with Oklahoma! a few years back.

The Chicago commercial was amazing but "Dreamgirls" was actually thrilling and made for movie theaters. We used to play it before the trailers and the staff would go in to watch it show after show.

[quote]Leave him alone. He's not well.

Yes, R234, we keep hearing that, without any further details.

Why hasn't "Shenandoah" been revived? Oh wait, I remember. Because it stinks.

How lucky were we little queens growing up in the NY area and those were our daily commercials.

[quote]They did something like that with Oklahoma! a few years back. [recreated the original production]

That was The University of North Carolina School of the Arts production conducted by John Mauceri with de Mille's choreography recreated by Gemze de Lappe.

Here's Act One. It's bit of a mixed bag but much of it is wonderful. Act Two at the link.

I believe the Anastasia actor but nothing in his own testimony points to racism.

Generate your own Broadway musical! (Mine was a fully nude retelling of Bluebeard set in Amsterdam during tulip mania).

Don't forget the fabulous "Sarava!" commercial, which seemed to run constantly during the show's short life.

That Anastasia actor must be impossible to be around. He told the stage manager that she was responding to him in a certain way because of his race and he felt discriminated against. Then when she said he was saying she was racist, he is shocked and says he never said that.

No, he didn’t call her a racist, just said she discriminated against him because of his race. Why would she think that was the same thing as calling her racist? BECAUSE IT IS THE SAME THING! And then he’s all surprised that she would be upset by what he said. No wonder no one at work wants to be around him. He’s one of those people who will go to his grave never understanding why, everywhere he goes, everyone around him is so difficult.

If this guy caused trouble in not one, but three separate productions, it seems to me that he is the problem. Id love to know what he tried at The other two shows now that we know his Anastasia story.

R252, agreed. And I think that fool who gave the actor a forum on his blog is going to regret it big time.

R231, wasn’t the commercial for Gemini the first one for a non-musical play?

r250 "It's an all-singing, all-dancing dystopian retelling of 'Pride and Prejudice" that takes place in medieval Persia."

"It's an all-singing, all-dancing doo-wop retelling of the seven dancing princesses that takes place in Laurel Canyon in 1969."

R241, those original Chicago costumes were hideous. Also, made the dancers look very unsexy.

I always thought Gwen and Chita's costumes were most unfortunate.

Why? I don't think I've ever seen any photos of that production.

[quote]Was Patti ever comfortable/adept in the BA choreography?

In LA she was almost incompetent, in fact, she fell on her ass on opening night. It was galling to her that her alternate, Terri Klausner, was a dancer and sailed through the number, which made her feel insecure. Same thing when Loni Ackerman opened the LA sit-down company a few months later. Loni was a hardcore dancer, and had vocal and acting gifts to match Patti’s.

For R260.

R263, those costumes were for the original finale. They were cut on the road, and replaced with the Hot Honey Rag flapper dresses with the tassels.

Interesting, R263 -- and lots of great shots of the original production at your link, too.

[quote]Things reached their boiling on November 15, 2018. During a performance, Mr. Pierce had to change into another costume, and it required him to wear a t-shirt underneath. Finding t-shirts always seemed to be an issue which would usually result in apologies from his dresser, but the problems kept persisting. This led to Mr. Pierce having to purchase his own t-shirts and never being reimbursed for that.

Yes, that sounds unfortunate. But, one night in 2008, backstage at intermission at the the Pacific Conservatory Theatre in Santa Maria theatre's production of How To Succeed, MikeR ushered me into his dressing room and demanded to know where his dance belt was. When I finally found it, he made me hand wash it in the dressing room sink, while he lay splayed spread eagle, fully nude doing pre-show stretches while never breaking eye contact with me. As I squeezed the last bit of his sweat out of the dance belt, he laughed, winked and told me "you can keep it, kid... something to remember me by.."besides, dance belts, impede my hips," as he quickly zipped up his costume, sans dancebelt for the second act. I ended up spending the night at his apartment and discovered just how powerful his hip thrusters were.

I have a feeling that the ratings for the Tonys will go up this year. It will be ironic if it happens. The season broke records despite only 5 new shows being blockbusters. Will Charlotte St Martin wear the same wig? Will Leslie Moonves be invited? Will they feature any non Equity road productions? How many shows will post closing notices the next day?

Tony ratings will be down down downer.

Will the 50th anniversary of Judy's death on June 22nd be mentioned on the Tonys?

Why would it be, r268? She didn't really have anything to do with theatre, and they haven't mentioned 50th death anniversaries of any theatrical luminaries before.

But they nominated two actresses for playing her in a play and musical, respectively, the latter which starred Broadway fave and former Tony host Hugh Jackman.

So? You're being ridiculous. None of that means anything to anyone, and certainly not to Tony viewers.

The Palace Theater would respectfully beg to disagree with r269.

Yes, but that was the OLD Palace, before they hoisted it up on stilts and put a mega-Sephora below it.

Sadly I agree, r273. Some years ago they "renovated" Carnegie Hall and the changes they made outside the hall proper changed the previously pristine acoustics inside.

Actually, r274, the renovations at Carnegie Hall in 1995 discovered concrete under the stage and improved the acoustics dramatically

God, Grind is one of the very few Broadway shows on which I walked out. Is it ever produced nowadays?

Shenandoah was just done at serenbe in an outdoor production with taylor hicks

It was amazing the producers made three commercials for "Shenandoah" and they were all good..."Freedom...freedom....."

loved Rannells book, like the work he has done, witty and fun, keep up the good work u hot thang...

ugh, the tweeky Corden hosting the show. caint he simmer down

hoping the ratings good tho, guess that's why he there.

best awardd show of em all, usually

Judy Garland performed at the three times, the first run was extended several times. I agree that it was a long time ago, so no need for a mention.

[quote]Some years ago they "renovated" Carnegie Hall and the changes they made outside the hall proper changed the previously pristine acoustics inside.

That's not true, and it doesn't make any sense. Where the hell did you get that weird info?

I’m surprised there hasn’t been a production of Grind in the UK yet, at somewhere like the Southwark Playhouse or the Menier Chocolate Factory.

The Southwark Playhouse recently did a production of Gods and Monsters, based on the film and, of course, on Christopher Bram's great book Father of Frankenstein.

Sorry not to provide and link but please look online for photos and video clips. The guy playing the Brendan Fraser role must be seen to be believed.....what a bod!

Don't know what the reception was.....hopefully it will come to NY soon.

There are people who consider Rannalls to be hot? My stomach just turned. Must be wax enthusiasts.

I think Grind went wildly off the rails with all of its crazy subplots, and some unnecessary numbers. Act 2 was especially insane. There's a really interesting premise though: life at an integrated burlesque house in Chicago in 1933. It had a fantastic set, superb costumes and great orchestrations. But it really tried to do way too much - there was a love story, a comic going blind, a bum who turns out to have been an IRA bomber who accidentally killed his wife and child, the little brother of Leilani Jones' character getting his new bicycle smashed up by white racists. I think Frank Rich wrote something about it being the first musical he's ever seen having a nervous breakdown in front of you.

As a side note, the Act 2 strip number, "Timing," is still one of the funniest and most outrageous numbers I think I've seen on Broadway. Up there with "Call Me," from The Best Little Whorehouse Goes Public.

I've been managing shows my whole life and worked with Bonnie Panson and David Richards and my educated opinion is that the actor is a major pain in the ass and it has nothing to do with race.

[quote]It was amazing the producers made three commercials for "Shenandoah" and they were all good..."Freedom...freedom..... - "

I saw the original production of "Shenandoah" and despised the "Freedom's in the State of Mind" number, one of the most contrived songs I've ever seen in a book musical. It even had a built-on encore. My friend turned to me and said, "Did you ask for an encore? I didn't ask for an encore." The only worse song in the score was John Cullum's soliloquy when his daughter his giving birth. "It's a boy!" the lyrics repeat, until someone enters to inform him that, no, it's a girl. At which point the music slows, and Cullum reflected on having a granddaughter instead of a grandson. Shameless.

Speaking of "Grind," WHET "Minsky's?" I saw it in LA -- the very outdated Wikipedia page says that it will open in the West End in "late 2010 or early 2011."

[quote]The only worse song in the score was John Cullum's soliloquy when his daughter his giving birth. "It's a boy!" the lyrics repeat, until someone enters to inform him that, no, it's a girl. At which point the music slows, and Cullum reflected on having a granddaughter instead of a grandson. Shameless.

If you're implying that "It's a Boy" in SHENANDOAH is a rip-off of the "Soliloquy" from CAROUSEL, that's a huge stretch, because the tone of the two songs is completely different -- especially the endings. Also, "It's a Boy" is not a soliloquy, Cullumn's character is singing it to the other characters on stage. His character does have two soliloquys, called "Meditations," but "It's a Boy" is not one of them.

Just to set the record straight.

Why is there no musical version of [italic]Single White Female?[/italic]

I'ma pissed.

Yes, R290, I can see now how the concepts for the two numbers are entirely different.

Whatever. It's just one more mawkish song in a mawkish score filled with pastiche.

Shenandoah was horrible. I bet it's done all over the place as some sort of family musical.

"Shenandoah" should have a permanent production in Branson.

As if one could even get away with calling a musical Single White Female these days. It'd have to be called Single Trans Differently Abled Person Of Color to get on stage these days. Hedy wouldn't be crazy because she's just crazy, but because the cis white patriarchy has driven her crazy.

LOL R295 I'd probably go see that. Sure sounds more exciting than anything playing this year.

Chernobyl, a rock opera.

The miner's chorus would be a memorable 11 o'clock number.

I'll do the work of posting for r284

The show was in 2015

From Shenandoah.....

Donna....

Donna....

Donna....

[quote]Judy Garland performed at the three times,

So? Ethel Merman and Mary Martin were the queens of Broadway musical theatre, and no one commemorates their death anniversaries. Fuck Judy Garland. That old drunk is not deserving of a Tony tribute.

Wow. Donna Theodore singing Abbe Lane’s big number from “Oh, Captain”! Who’d a thunk it?

I like some of the Shenandoah score, especially “Violets and Silverbells” and “We Make a Beautiful Pair.” And Raise the Cross (which opens and closes the show) is stirring, or was, in the theatre.

The two murders (of Theodore’s character and her husband) were pretty shocking at the time.

Donna Theodore sang I think Can't Help Loving That Man of Mine on the Carson show. She was sensational but Johnny didn't invite her to sit down which surprised me. Anybody else remember this?

Still even with her in it Shenandoah was shit.

I saw Donna Theodore in the post-Broadway tour of “Zorba” with Anthony Quinn. She played the Leader, and she was amazing. “Life Is” was stunning.

Cast of "Rock of Ages" lip-synching at the Belmont and displaying zero synchronized dancing.

I saw Betsey Birmingham in the original "Don't Don't Dump That In The Sink" and her Act 4 rendition of "Oh Come On, Now" was one of the highlights of my youth.

Her performance of “Please Tell Me That’s Chocolate” was even better, r309, particularly the high obligatto at the end.

Not like that tricky obbligato in Pierrette, r310!

r310 how can I forget that?? It was like seeing a young Ethel Buttercream!

I feel like the last few posts are some big eldergay in-joke. Totally lost, but I'm glad you're all having a grand time.

I think it's a joke ABOUT eldergays and obscure, forgotten shows.

A most satisfying show.....

Join the circus!

Awwww, no Glenn!

Fifth of July....

Sugar Babies

Here's Glenn, R317.

[quote]R309 I saw Betsey Birmingham in the original "Don't Don't Dump That In The Sink" and her Act 4 rendition of "Oh Come On, Now" was one of the highlights of my youth.

It's especially impressive as Bets was a last minute replacement for Helen Lawson, who simply could not pull off the appearance of being mother to 3 young sons at that point in her career. (The gimmick of making one bi, one gay, and one straight was really toned down in the final version.)

There are still bootleg versions of her "Gather 'Round the Chuck Round" and "My Trusty Singer" out there, though, if you look.

It's got to be millennials pretending to be eldergays. Eldergays would be funny.

{quote]I saw the original production of "Shenandoah" and despised the "Freedom's in the State of Mind" number, one of the most contrived songs I've ever seen in a book musical. It even had a built-on encore. My friend turned to me and said, "Did you ask for an encore? I didn't ask for an encore." The only worse song in the score was John Cullum's soliloquy when his daughter his giving birth. "It's a boy!" the lyrics repeat, until someone enters to inform him that, no, it's a girl. At which point the music slows, and Cullum reflected on having a granddaughter instead of a grandson. Shameless.

You sound like a bore.

It was the introduction of Helen Lawson, a tired trope if there ever was one, that ruined it, r322.

“Freedom” also sets up the murder. By that point we were thoroughly in love with the character and Donna Theodore, so when she got murdered not long after singing the jubilant “Freedom,” it was a real shock.

You guys just want to rewrite history.

No one puts Helen in the corner!

SHENANDOAH was just fine for what it was -- a completely non-pretentious, old fashioned, sentimental, emotionally manipulative musical based on a movie with all of those same qualities. And yes, I guess you could describe the score as "pastiche,"but no more so than lots of other musicals.

Oh, Marin.....

[quote] So? Ethel Merman and Mary Martin were the queens of Broadway musical theatre, and no one commemorates their death anniversaries. Fuck Judy Garland. That old drunk is not deserving of a Tony tribute.

The thing about Judy's death is that her funeral and burial occurred on June 28, 1969. The Stonewall raid and the first riot (the riots went on for several nights) occurred that night For years and years people kept saying the rioting occurred because we were so upset about Judy's death. Seriously. Of course we were actually upset about years of police abuse and harassment.

Carson has a female singer spot on his shows and none of them were invited to sit down. Theodore, Jane olivor, Helen Schneider and his favorite kelly Garrett. I think he had most of them open for him in Vegas. It’s been suggested he had an affair with Donna and sure enough she got to sit in the chair on one of her last appearances.

Another Broadway commercial.....

[quote]r330 Theodore, Jane olivor, Helen Schneider and his favorite kelly Garrett.

Jane Olivor really is kind of amazing.

One of the few who walked away from it all.

Oh dear.....

"Camp Morning Wood" had a video in their naked audience offering this morning, very hot, but it has disappeared by this evening. The bald black guy with the beard is especially gorgeously hot. Shame the video has been pulled.

[quote]Awwww, no Glenn!

I definitely remember a TV commercial for "The Crucifer of Blood" (1978-79) in which Glenn Close appeared (with Paxton Whitehead as Sherlock Holmes), but I couldn't find it.

I couldn't find any Kelly on Carson. You just know her Mabel would have sported a wicked flip. I saw her in the Dallas Summer production of Cabaret as Sally with George Chakiris, Lilia Skalia, and I don't remember who the Emcee was.

Why exactly is Rock of Ages coming back? It was fun for what it was but I felt no need to see it again after I saw it once.

Miss Morris.....

r244

what commercial?

I didn't understand why the eldergays were always crowing about Anita Morris until one of them posted this wonderful performance several theatre threads back. Being sexy and funny (and singing that well) simultaneously is a gift. Not to mention how she dealt with the wardrobe malfunction. Did y'all see her in anything aside from Nine?

Micah Stock totally nude in TALESOF THE CITY.

It's sad she died at age 50.

^^ anita morris

I'm gay as the day is long, but Anita Morris had to be one of the most stunning, naturally sexy people I've ever seen in my life. Plus, to be so funny and have that voice! We lost a great one.

Anita Morris had one lovely pussy.

SHENANDOAH wanted to be a classic R&H show in the worst possible way, but was, alas, a pale imitation. But I gotta say: when the youngest son, presumably lost in the war, came through those church doors at curtain, hot DAMN if the show didn't work.

These Tonys are going to be boring as hell. Tootsie, Beetlejuice, etc — really???!

Total shit this season. The first time in forever I don’t care about the Tonys. I’m guess it will be the lowest rated in a long while

And what's wrong with pastiche? At least it was period-place-and-character appropriate for the story, unlike today's scores, which (questions of talent, taste and training aside) don't begin to capture or even suggest their historical milieu, but are put through the grinder of banal piano-pop styles (and worse) and all end up sounding the same.

Remembering Marin

R350, Exactly. I think Rocky had one number that had any period feel. The rest was musical comedy muzak. I can't think of any period musical in the last few years that had any sense of period when it comes to the score.

R269, Because her death 50 years ago this month played a part in the historic Stonewall riots, her sellout Palace engagements in 1952 and 1967, her portrayals in two fairly recent Broadway shows and because it's Pride Month.

Plus her 1956 engagement at the Palace. And her 1952 Special Tony Award.

Plus, her daughter Liza is a two-time Tony-winner.

R&H consistently ignored period and setting when writing their scores. R350.

R349, are you still going to watch it or will you skip it this year?

why they not give glenda Jackson a nom????? odd huh

Corden is the best they can do? shit we gotta watch him 5 nights a week and now this???? Corbet woullda been fab better

wut? ^^

[quote]Micah Stock totally nude in TALES OF THE CITY.

Well he's got to do something to keep his career going now that he's now longer the flavor of the month. Expect full nudity from Nicholas Barasch in five, four, three....

The Tonys are today, and it doesn’t seem like anyone cares. This year’s shows, particularly the musicals, don’t seem to inspire much passion. The only musical that people seem to feel strongly about is The Prom, and even its fans know it’s quite flawed.

I think the TV ratings will reach a new low.

Everyone who's actually involved in the business cares very much. We're all quite excited.

Ratings may be affected by the new season of Big Little Lies, which begins tonight in prime time.

Why does Stephanie J. Block need/use the middle initial J? Was there another Stephanie Block in Equity?

The addition of the J makes her sound like an exec at a pharma company.

Her name is actually Stephanie Jblock, but her astrologist told her she'd have more success as Stephanie J. Block.

[quote]r355 Plus, her daughter Liza is a two-time Tony-winner.

AND, she was brunette. Most Tony winners/attendees are, as well.

This cinches it.

Time to bring back City of Angels.

[quote]Her name is actually Stephanie Jblock, but her astrologist told her she'd have more success as Stephanie J. Block.

What a moron!

[quote]Time to bring back City of Angels.

I've been saying that for several years. Why hasn't it been done?

Because for all of its considerable virtues, that show just sits there, and it's not as much fun as it should be.

You've got me listening to Shenandoah - and say what you will about the show, the score is better than any new score we've heard in a several seasons.

The Tony ratings will suck this year

How many more posts are we going to have saying the Tony ratings will suck this year? The ratings are never great. Who the hell cares?

I agree with others that interest this year is low to non-existent; nevertheless, I went ahead and created an official thread that can be bumped later at showtime for whoever does decide to watch.

If CBS decides to stop showing the Tonys and they move to PBS, it would be the best thing that could happen for the Broadway community and caring viewers across the world.

[quote]But I gotta say: when the youngest son, presumably lost in the war, came through those church doors at curtain, hot DAMN if the show didn't work.

Yeah, no one saw that ending coming. The final manipulative touch in a very manipulative show.

The original Broadway production of SHENANDOAH looked extremely cheap and ineptly designed. I'd never seen a show on Broadway that looked so bad. But then I bought the album and came to love the music.

THE WIZ (the same season) also looked horrible, in spite of what you may have heard of the great Geoffrey Holder designs. Cheap, cheap, cheap!

I go to the theater to be manipulated. isn't that sort of the point?

Well, you also go to the baths, the supermarket, the carwash, EVERYWHERE to be manipulated, you whore!

People tend to forget that SHENANDOAH had a revival with John Cullum as well. I don't recall if Donna Theodore and some of the rest of the cast returned as well, but Mr. Cullum was marvy as expected.

Has anyone gone yet to "Camp Morning Wood"? There have been a few naked audience performances announced as well.

Idgi - is Jblock a joke or is it supposed to say Block

Maybe that idiot Viertel can bring "City Of Angels" for Encores the year after next and cast it with all women so they can explore an entirely new concept.

Are we starting a separate Tony thread to keeping Tony chatter in the theatre gossip threads?

You mean like the cowboy waltz, the hoe-down, the two-step, the hymns, the calliope effect, the hornpipe, the sea shanty, the work song, the gamelan effect, the pantoum, the Gregorian chant, the landler, to name a few, r356?

R285 I don't get it either.

R384 I'm guessing it's a joke. Her real name i Stephanie Janette Block.

R386, see R375.

R369 Dionne, dear, I believe your original surname was 'Warrick.'

As R287 notes, the use of time and place in the R & H scores is extensive.

It's often subtle, as in the rippling descending flute (?) line before each phrase of We Kiss in a Shadow. In fact, The King and I is replete with Asian atmosphere, and not only in the big ballet sequence.

Blow High, Blow Low, in Carousel, is overtly New England in sound, as is the little ditty Carrie sings in Act Two, recalling the show she saw. There are many other instances, but, again, a lot of it is suggesting rather than inhabiting pastiche. It's quite brilliant, really. The use of the pantoum in Flower Drum Song in I Am Going To Like It Here is utterly exotic, yet Rodgers does it without trying to sound Eastern in any way.

Mistake ! Mistake! I meant to say that Carrie's ditty suggests not New England but the Broadway sound of the time.

The examples given of R&H using place and era in their music tend to prove the point that they did not.

The examples are almost all diegetic--and pretty generic at that. There is little in the orchestration or the chord or melodic structure that suggests anything other than mid-century America. The use of a flute has nothing to do with actual southwest asian music. It is no more representative of asian music than someone hitting a gong would be. While he occasionally uses an exotic accent, those accents are always in the service of a prevailing mid-century Broadway style.

And there is nothing wrong with that. Richard Rogers wrote with his own voice rather than trying to imitate anyone else's. Composers have done this for centuries and there is no reason to ask a composer to be a ventriloquist. Just because Sondheim does it, does not mean everyone has to.

The ratings for tonight's broadcast will be painfully low, but they will rebound next year when Hugh Jackman hosts and wins for Best Actor in a Musical for The Music Man.

R394 is so stupid he must be Ryhog.

And yet, there is nothing R394 says that you can dispute.

R395, LOL who are you KIDDING? That Tony already has Aaron Tveit engraved on it. He has more charisma in his permanent glowering brow than Jackman has in his little finger. Of course I could be wrong.

Anita Morris was so talented. She stood out to me in the chorus as one of the hookers in Seesaw and was dynamite in the Magic Show. Her number Sweet Revenge where she danced with swords and the boys was electric. And needless to say she was sexy as hell.

[quote]r320 Here's Glenn

Gee ... why didn't she go on to bray COCO?

I sometimes mistake Josie de Guzman for Marin Mazzie when I read her name, just because it has a Z in it : (

Sorry.

PS: Anita Morris (upthread) died from ovarian cancer, just like Mazzie did.

Tveit is gorgeous, but isn’t that really as far as it goes. He’s good, but not great.

Anita Morris is hilarious in Ruthless People. The opening scene with Danny De Vito is brilliant

Isn't the featured actor in a play category kind of a race this year? I've heard different arguments saying that that's the one category that really go either way between those five guys.

Can whoever started a thread for tonight's show please post a link to it? Thanks.

Here you go, R406. My apologies as I should have done that earlier.

That Marin tribute was lovely. I think we need to fix Jere Shea's hair, though.

Mary!

Who knew, r389?

Anita

Jane Olivor is a gift. To this very minute.

Enjoyed the lengthy special section of the NYTimes today of photos of Broadway actors in their dressing rooms over the decades. Encore!

I say this about once a year, but how -- how?! -- has Moonstruck not been turned into a musical? (I know there was a reading of an attempt at it some years ago that went nowhere.) It's got name recognition, a terrific story and a funny/moving script with the musical cues practically written in. I don't know who should write the music -- Guettel? Yazbeck? -- but. c'mon, Laura Benanti for Loretta. (Of course, once the show is written and gone through numerous workshops, she'll have aged out of the role, alas.)

I always found the album cover of SHENANDOAH unappealing but once I got past that enjoyed most of the score. Donna Theodore was a favorite of Carson. Some point several years I ended up exchanging several emails with her husband. They seemed like very nice people.

I saw a production with Scott Bakula at Ford’s Theatre . I remember I liked it, didn’t love it. I think there were revisions (“Violets and Silverbells” went on too long). Bakula was good although Ihidden behind a beard.

r411 - do you hear a little of Betty Buckley's timbre in Morris' voice in the clips here, like I do?

It lacks the same belt, but there's something about the tone in her lower register (?)

-- I'm kind of misusing words ... not a voice person, exactly - -

I do love her visceral performance approach at the 8:00 mark:

[quote]"I thought, wait a MINUTE, here...the only thing I KNOW is to get my motor running. I've just got to just GET MY MOTOR RUNNING and GO for it!"

[quote]Bakula was good although hidden behind a beard.

What was her name?

^^ meant to attach this:

That song for the movie version of The Magic Show was a huge comedown from the brilliant “Charmin’s Lament” that Morris did in the stage version.

[quote]The examples given of R&H using place and era in their music tend to prove the point that they did not. The examples are almost all diegetic--and pretty generic at that. There is little in the orchestration or the chord or melodic structure that suggests anything other than mid-century America.

You're making a generalization and trying to turn this into a black and white question, you're largely wrong. There are several non-diegitic songs in OKLAHOMA! alone that are meant to evoke a specific place and era. For THE KING AND I and FLOWER DRUM SONG, it's true that Rodgers suggested rather than imitated the sounds of those worlds, but I do think several songs in CAROUSEL have a "New England" feel to them, and I'm not sure I would call "Blow High, Blow Low" a diegetic song.

How the trick in the Anita Morris MAGIC SHOW clip is done:

Abbie i Huh bhhuvvb hu

r419 I never understood why so many of the songs were changed, and none for the better

Seesaw is in need of a Broadway revival.

But did it match Miss Garrett's, r419?

Seesaw has a truly brilliant score, but I've never seen the show live or read the book. I assume that's why it's never been revived. Maybe they could update the book a bit and save it. I'm surprised it's never been done at Encores at least.

Seesaw has been among the most requested shows for Encores. I'm surprised they haven't done it.

I saw Seesaw on Broadway and numerous times on tour and the book of the show is perfectly fine, certainly no reason to keep Encores from doing it. And it would obviously fun to see it now as an early 1970s period piece.

[quote]r425 But did it match Miss Garrett's?

Watch it - there's only ONE Miss/Mrs. Garrett here.

But there’s room for more than one Edna!

I'll say!

Come live in me!

Anita Morris enchanting the Rolling Stones:

https://www.youtube.com/watch?v=VQh8oh0rj3s

Seesaw has too few characters in it for Encores.

It amazes me people are looking back on shows like Seesaw and Shenandoah with affection.

R436 that tells you how far Broadway has fallen.

[quote]I say this about once a year, but how -- how?! -- has Moonstruck not been turned into a musical? (I know there was a reading of an attempt at it some years ago that went nowhere.) It's got name recognition, a terrific story and a funny/moving script with the musical cues practically written in. I don't know who should write the music -- Guettel? Yazbeck? -- but. c'mon, Laura Benanti for Loretta. (Of course, once the show is written and gone through numerous workshops, she'll have aged out of the role, alas.)

There was one in development a few years ago. Henry Krieger wrote the music. I guess when it died, John Patrick Shanley kept the rights held back.

R325, it wasn’t really a shock to anyone who had seen the film.

What film?

Shenandoah, r440.

PLATOON, Rose.

I never saw Shenandoah, but I saw the original production of Seesaw a couple of times and remember it -- or parts of it anyway -- with great affection. I was, however, in my late teens when I saw it, so unvarnished youth may color the affection. It's Not Where You Start was a true showstopper (the above clip somehow doesn't do it justice), the other tap number was a delight and then there was Michele Lee belting out her numbers. What wasn't to love for someone in their gayteens? And while I'd like to see a full production of it just for nostalgia's sake, I can't imagine numbers like Spanglish have held up.

Much of the above could also be said for Over Here!, which I also saw as a teen. I bet both would do well in full revivals as strictly limited engagements.

Spanglish got the biggest ovation in the show when I saw it. Huge.

Supposedly the changes made for Lucie's Seesaw tour were improvements.

R443, “Spanglish” and “Ride Out the Storm” were both dropped in the post-Broadway your that started Lucie Arnaz and John Gavin with Tune. There was a new song, “The Party’s on Me,” which Gittel sang and that closed Act One.

Michele Lee sang it in a stock production later, and there used to be a recording of it on YouTube.

It's odd they would cut those two songs. Among the few I remember from the original production. I was an idiot not going back to see it with Gavin.

[quote]and then there was Michele Lee belting out her numbers.

You'll pardon me if I didn't enjoy that aspect quite as much as you did.

Lucie singing The Party’s On Me

[quote]It's odd they would cut those two songs

They cut the characters entirely. In the case of “Spanglish,” much easier to tour without a child performer.

What is the deal with ryhog? So obnoxious that he stands out from a grossly self-involved community and he seems to be on that site 24/7.

R420, what songs in Oklahoma are you talking about? And what do you mean by "New England feel"? Do you mean like Shaker hymns?

I think you have associations with these scores that make them evoke times and places for you--but that does not mean there is any actual musical feature that actually has a root in those times and places. If you heard the music for the first time today, you would not know what time or place they ostensibly come from.

Carousel is one of my absolute favorites, but other than Carrie's quote of a show song, there is little or nothing there that evokes the music current in the 1870s.

And Oklahoma...even if anything was evocative of cowboy songs and folk music of the time, the orchestrations pulled it out of any period feel.

One of the fun things about the revival of Oklahoma is that the arrangements sound "country." But even that is an illusion since the orchestrations draw bluegrass which originated in the 1940s and 50s.

BORRRRRRINGGGGGGG

Shaker hymns in New England?

There were definitely Shakers in Massachusetts though I don't know if they settled as far north as Maine.

Gian Carlo Esposito was the teenager who sang Spanglish and Ride Out the Storm.

I hope if Seesaw is ever revived those 2 songs would be restored.

I also loved the opening number with the 8th Ave, prostitutes My City. There's a lyric in it naming various highlights of Times Square that refers to Joe's Pier 52 because the owner of that establishment was one of the original lead producers.

Who would you cast in the Tommy Tune role today? Of course, he played an outrageously out gay homosexual, just a bit shocking on Broadway at the time.

What's with the DL hate for BAJOUR?? It's a fun show with a fun score. I saw a production of it and it's terrific.

There were several Shaker communities in New Hampshire.

There was a Shaker village in Canterbury, N.H., that's now a historic site and museum.

What are you talking about? Bajour is DL's favorite Broadway show.

Still, it's not Maine.

Well, it's Almost, Maine.

Google is your friend.

Sabbathday Lake Shaker Village is a Shaker village near New Gloucester and Poland, Maine, in the United States. It is the last active Shaker community, with two members as of 2017. The community was established in either 1782, 1783 or 1793, at the height of the Shaker movement in the United States.

[quote]Gian Carlo Esposito was the teenager who sang Spanglish and Ride Out the Storm.

Not quite. Esposito only sang “Spanglish.” LaMonté Peterson and Cecelia Norfleet and their backup sang “Ride Out the Storm.”

I told this before here but I was a kid and saw "The Magic Show". It was after the show and before stage dooring was a thing and I was standing there not knowing it was the stage door and out comes Anita and almost knocks me down. She was so sweet and she grabbed me and gave me big hug and said with that southern accent, "Are you alright Honey?I'm so sorry." A cool moment I will always remember.

Re Tonys: Why does everyone in the audience look orange?

Was the Boys in the Band revival a hit?

R446, I sat directly behind Lucille Ball, Gary Morton and Lucille's mother at a performance of Seesaw at Boston's Colonial Theatre. They had flown in to see Lucie Arnaz on the national tour's first stop.

Who's gonna go see Miranda Sings on Broadway?!?!?!?!?!?!?!?!?!?!?!?!?!?!

Lens Dunham to make her comeback in the UK premiere of Seesaw at the Menier Chocolate Factory with Julian Ovenden in the Ken Howard role and Jonathan Bailey in the Tommy Tune role.

Ryhog and genealley, while trying at times, still aren't as obnoxious as Mockingbirdgirl and SJW/twit Singapore/Fling nearly all the time.

Don't forget know-it-all Chromolume. Some of the replies on this thread have his stench on them, too.

WEHT BruceMemblatt?

Wasn't he very ill about ten years ago (maybe more)? I assumed he died.

Hmm, I don't know, but he was one of the more prolific posters who apparently used his own name on the site.

Was jdm the one who used to go on and on about Mother? People used to claimed Mother had been dead for years and he would snuggle up to an urine stained mattress he called Mother.

I miss Clementine. She was fucking hilarious.

There was a fire in the restaurant Esca below Manhattan Plaza tonight.

[quote]Lens Dunham to make her comeback in the UK premiere of Seesaw at the Menier Chocolate Factory with Julian Ovenden in the Ken Howard role and Jonathan Bailey in the Tommy Tune role.

Please tell me the Lens Dunham part of this is a sick joke.

God, James Corden was dreadful, per usual. A panting Labrador begging you to like him. Bring back NPH or Jackman... or even Colbert would be better.

Audra looked really lovely in that white dress.. has she lost some weight?

If Brooks Ashmanskas really did lose weight as rumored, it was clear from tonight’s Tonys that he’s gained it all back.

Outline of a Tony acceptance speech: Thank the voters. Thank the cast and director. Thank family. Thank agents. Denounce the fact that you won and lecture everyone on who SHOULD win in the future.

Angela hosted several times back in the 1980s and no one has ever been so good ever since.

Damn, Voldemort looked sexy accepted the award for Boys in the Band last night... I'm not being sarcastic. Money & winning awards has made him into a hot daddy.

Ali Stroker is such shit. Every community theater Oklahoma! I've ever seen had a better Ado Annie.

I enjoyed Ali at the Tonys, but she didn't thank the director did she? They kept cutting to him during her speech, but she never mentioned him.

Ali loves to screech. That doesn't make a decent performance.

R483, I adore Angela, but her style of hosting was so old-fashioned. I suppose it was appropriate for the 80s, but it feels so dated now. What was so good about NPH was that he felt contemporary and sharp witted while simultaneously paying loving tribute to the art form. That's a delicate balance that few hosts seem to get right. I'd say Jackman, to a lesser extent, got that tone right as well.

Yes class and style are old-fashioned.

"Re Tonys: Why does everyone in the audience look orange?"

An attempt by CBS to appeal to the deplorables by making everyone look like Trump.

Speaking of Anita Morris, I'm always intrigued by the ongoing relationship between Tony Perkins and Grover Dale. Both ended up married to sexy women and fathered children

I bet nph and h Jackman co host next year

tre fab !

(ewwwww lucie arnaz…...

Grover Dale was so hot. I bet he slept with everyone. Lucky dog. Anybody have a picture of his and Anita's son?

Apropos of nothing......WEHT Kathleen Marshall??

10 years ago she was a mainstay on Broadway, directing and/or choreographing a lively show every season. Maybe not the most talented lady but certainly better than Scott Ellis, Rob Ashford, Jason Moore, et. al. And when she won her Tonys she never lectured the audience with women empowerment speeches.

Ali’s problem is that she doesn’t bother to do any acting. She just closes her eyes and throws her head back, but she can’t be bothered to create a character. How funny now that she has an acting award. Must be fun for her!

Bajour can never get past the curse of the "gypsy" which is now un-PC. And the word is all over the script and lyrics.

My guess is that we'll see her in maybe one other show and then she'll be living at home with her parents. She doesn't have the talent needed to sustain a Broadway career.

Actor James Badge Dale, son of Grover Dale and Anita Morris. Google "James Badge Dale shirtless" for more eye candy.

I thought Josh Groban and Sarah Bareilles were the best hosts in a long time. They have great chemistry together, and Josh is incredibly charismatic. I would like to see them return.

James Badgett Dale (his birth name) is a little thing but he shure is purty.

Ali Stroker has a solid TV resume already and will probably continue to work as an actress/singer because she clearly has solid management and audition skills that kept her viable this long.

Ado Annie is at heart a cringeworthy character. So having pulled off the role updated and without rewrites deserves some respect. Not enough that I seriously want to go watch her in the show or anything - but I don't think anyone needs to be wringing their hands that an actress in a wheelchair got a job. She may never win another Tony but that isn't unusual for musical theater actresses. One is all you need.

One Tony may be all you need but it ought to be deserved, not a sympathy vote.

Hey, Jeff Richards. Yeah, you, you scumbag. Withholding all the good seats for your 90 minute play at Studio 54 and throwing Lincoln Center Theatre members crumbs. Fuck you, you prick.

im love benjaminn walker!!!!!

jeff groban was damn good host yes. mucho better than miss corden.

R432 I don't know where that is, but it definitely is NOT in California.

More shirtless James Badge(tt) Dale, please!

James Badge Dale in 13 Hours.

R452, I think songs like "Oh, What A Beautiful Mornin'", "The Surrey With the Fringe on Top," and "I Cain't Say No," "The Farmer and the Cowman" have a definite southwestern, folk-songish, "country" feel to them even in the original show with the original orchestrations, and yes, that feeling is brought out in the current production with the simpler, more country-music-type orchestrations and arrangements.

How many people watched the Tonys on TV? Is it 10 or 12?

I fell asleep watching the Tonys. I hate falling asleep that early because I woke up at 3:30 am, couldn't get back to sleep, and now I'm going to feel tired all day.

R509, as said above, if you cannot point to anything musically that connect the songs to southwestern folk songs, the "feel" may be just as much from their context in the show.

A European friend always said that Surrey with a Fringe always sounds very Wiemar cabaret to her because she grew up listening to Dietrich's performance.

And you could say that Farmer and the Cowman feels like a British musical hall song with its call and response and extremely four-square melody with nearly every line of equal length and repetitive lyrics. (Compare it to Daddy Wouldn't Buy Me a Bow-Wow for example)

R512, I simply don't agree with you. It's fine for you to have your own opinion, but please stop being so insistent that you are "right." You have become very tiresome.

Interesting that Rudin didn't go up on stage with Boys in the Band even though he is an above the title producer

I am sorry, R513. You were so specific that I thought you had some reason behind your opinions and was hoping to learn something.

One of the cool things about DL is that I often get insights and information that I would never get elsewhere.

[quote]You have become very tiresome.

Become?

Wasn't the original Theater Guild production of Green Grow the Lilacs performed with interpolated folk songs? I thought so but am open to correction.

The ability to write convincing period pastiche really seems to be a dying art. I’m honestly hard-pressed to name any shows after [italic]Annie[/italic] that even come close to getting it right.

Wikipedia says I am correct at r517. Green Grow the Lilacs, the original stage play on which Oklahoma! was based, included traditional folk songs.

[quote]You were so specific that I thought you had some reason behind your opinions and was hoping to learn something.

I don't have enough technical knowledge of music to fully explain why I think those songs from OKLAHOMA! have a rural, southwestern, cowboyish, folk-song-like, "country" feel. But there's something about the melody of "Oh, What a Beautiful' Morning" that definitely gives me that feeling, not to mention the simplicity and the repetition in the lyrics. "The Surrey With the Fringe On Top," as many others have noted, has that wonderful rhythm that seems to imitate the clip-clopping of horses's hooves. And, to my ears, "The Farmer and the Cowman" has a very obvious country-dance feel, rather than anything resembling a "British music hall" feel. P.S. That song does not have any "call and response" in it., so I don't know what you're referring to.

[quote]The ability to write convincing period pastiche really seems to be a dying art. I’m honestly hard-pressed to name any shows after Annie that even come close to getting it right.

Seriously? I think HAIRSPRAY is very convincing period pastiche. And, actually, lots of other shows since ANNIE have had scores that are entirely or partly pastiche, such as URINETOWN

R520, I remembered the song incorrectly. I thought there was a part where one half of the chorus sings and the other half responds.

And I agree. Hairspray and Urinetown are great pastiche. And it is not Broadway, but Little Shop is a popular show with good pastiche. And recently, The Bands Visit also has great pastiche.

But again, I do not think there is anything wrong with a songwriter writing in their own voice. (Which was where this started.) Matching period style is nice, but just because something takes place in period does not mean it has to sound like that period.

Urinetown and Hadestown are very irritating, cutesy titles.

[quote]Urinetown and Hadestown are very irritating, cutesy titles.

I don't agree about HADESTOWN. And as for URINETOWN, considering that the whole show is a spoof and a pastiche of a style of theater that was largely satirical to begin with, I think you're missing the point when you refer to the title can as cutesy and irritating.

Sorry, "... when you refer to the title as cutesy and irritating.""

RAGTIME has a lot of lovely pastiche music.

Is it wrong that I want Damon Daunno to fuck me? Anybody know if he’s gay? I’m a sucker for a tall, slightly goofy guy with his type of hair.

Damon Daunno is very hot.

I wish Damon was on Instagram... it’s hard to find any sexy pics of him. I’d be forever grateful if anybody knows of a shirtless pic and would post it here.

The acceptance speech for Oklahoma was absurd. Since when is this show about the tragedy of not welcoming an outsider? Jud stalks Laurie nightly and his purchasing the Little Wonder doesn’t suggest a good person, minimally. He’s the villain of the story because the book tells us. Lonely Room makes him more interesting, but he’s not simply misunderstood. I hate Wokelahoma.

The Tonys displayed that Bway has become a tub of shit for lots of money

R 529, they had to include that explanation for the SJWs who are pretty much the only ones who go to shit like that.

Tootsie is VIOLENCE AGAINST TRANS!!!

LITERALLY, R532! YOU FORGOT LITERALLY!

[quote]James Badgett Dale (his birth name) is a little thing but he shure is purty.

He’s not that small. His height is 5’10

[quote]Is it wrong that I want Damon Daunno to fuck me? Anybody know if he’s gay?

Ask his girlfriend who came to the Tonys with him.

^^^^ Oh no! Oh well, too bad he’s not gay. I think he’s so damn cute.

I don't think 5'10 is short. I would say it's an average good height. But with Dale as father I would have expected him to be taller. Anybody know how tall Morris was? She looks incredibly leggy but that can be deceiving with heels and costumes.

I saw 9 later in the run with Sergio Franchi and she was still absolute dynamite.

Nathan Lane jokes with mother who brought young son to show:

[quote]But with Dale as father I would have expected him to be taller

Why? His dad is 6’0. He’s two inches shorter. That’s not unusual.

R529 speaks truth. I saw Ted Chapin up there with the whole Wokelahoma gang when they won, and I just thought Rodgers and Hammerstein would be sick over what he allowed to be done to the show.

[quote]And, actually, lots of other shows since ANNIE have had scores that are entirely or partly pastiche

Steel Pier has a few period pastiche numbers in it. So does The Drowsy Chaperone.

[quote]r443 I never saw Shenandoah

To be expected. I think it's really only notable for being Katharine Ross' debut.

But no Pistache, r541!

I don't understand why every backer, producer, janitor is allowed on stage after a show wins. Only the actors and director should be .

[quote] Only the actors and director should be .

Just as with the Oscars, the award goes to the PRODUCER(S), not the actors or the director.

That song belongs to the incomparable goddess Darlene Edwards, R543 .

Patti needn't even bother.

So. Brooks Ashmanskas' boyfriend is cute. Discuss.

R547, photo please.

Here you go, R548.

If you rewatch Beetlejuice's performance he's the poor soul to whom Alex Brightman handed a bucket of popcorn.

Oops, HERE you go, R548.

Oklahoma's producer seems like a smug thing

Ummm... Has everyone seen the video Jordan Roth just put up on twitter about his Tony outfit? Ummmm.... ummmm.... ummm...

Oh, look! David Mamet wrote another "comic" play--this time about Harvey Weinstein!

[quote]Oklahoma's producer seems like a smug thing

Oh, I didn’t think she seemed smug. That would be Daniel Fish, the director. Although he looked like a real Debbie Downer last night, but it was probably his way of showing he was above a cheap awards show.

What shows will post closing notices now? PROM's grosses and average ticket price have actually been slowly climbing over the past month or so--but is it enough? Don't see how BE MORE CHILL can possibly stay open past this month. BEETLEJUICE and CHER SHOW will probably be okay through the summer with the tourist crowd.

[quote]think it's really only notable for being Katharine Ross' debut.

Well, that and the novelty of seeing super-hawk Jimmy Stewart play a pacifist.

Brooks looked fatter than ever last night.

He was at his fattest during Sunday in the Park with George. He's back to his Something Rotten weight now. Get it right, R557.

Timothy Hughes has a jack off video?

If so, R559, someone please post a link!

R491, Tony married Berry, not Marisa, Berenson.

If an actor claims 5ft10, he's really 5ft8.

Berry Berenson died on 9/11. One of the planes that hit the WTC.

[quote]r561 Tony married Berry, not Marisa, Berenson.

After living in her sister's shadow for decades, Berry was probably thrilled to marry a movie star ... even if he was a freak.

[quote]If an actor claims 5ft10, he's really 5ft8.

You’ve clearly never seen James Badge Dale in a film. He’s not 5’8. I’m surprised to learn he’s 5’10, because he looks taller.

R565 do you think James Badge Dale misses his mom?

The Lion King is LITERALLY KILLING LIONS!!

Who thought that video was a good idea???

James Badge Dale is stunning, Mom would be so proud. Surprised nobody has mentioned Anita in 'Hotel New Hampshire'.

Great character, great blowjobs.

You bitches are slipping.

Does Jordan have anyone advising him? Does Richie think this is a good idea?

I'm trying to imagine Jimmy Nederlander doing a video about his tuxedo

R550, cute? He looks like Slappy the ventriloquist dummy.

I don't think Jordan gives a shit what people think. He's rich.

My friend was James Badge Dale’s stand-in on The Departed and Rubicon. He’s 5’10”. But it is true that a lot of actors who are 5’9” lie and say they’re 5’10” or 5’11”.

I don't know if Jordan Roth is transitioning but I think it's safe to say that he is a full-blown transvestite, albeit one with a great deal of money and connections.

I know his mother Daryl Roth is very liberal-minded and yet I can't imagine she approves of his very public shenanigans. His father billionaire Steve (tRump friend) Roth must be furious.

Husband Richie Jackson must miss his ex BD Wong but, at least he has the Roth billions to console him.

And if you want Theatre Gossip #359, weren't Richie and Jordan involved in some sex scandal on the Nurse Jackie set when Richie was managing Edie Falco?

Isn't R mostly living out of a suitcase, though?

Poor John McMartin.....

Yes, R574, they were in a throuple with extra Anthony who blabbed about it all over the set until Edie caught wind of it and fired Jackson as both her manager and producer of her show. She couldn’t believe that this piece of shit was using his relationship with Jackson (and Roth) to lord it over the other stand-ins and extras, threatening to call Richie and get them replaced if they didn’t kowtow to him.

[quote]r577 She couldn’t believe that this piece of shit was using his relationship with Jackson (and Roth) to lord it over the other stand-ins and extras, threatening to call Richie and get them replaced if they didn’t kowtow to him.

I love the image of this.

r576, that is an insert that was in Playbills during the pre-production period of FOLLIES and before the role of Benjamin Stone was cast with John McMartin. I think I kept a copy of it....must look!

I believe the costume sketch of the Follies girl is signed by Costume Designer Florence Klotz but was actually a vintage rendering from an actual Ziegfeld Follies show and this costume does not appear in FOLLIES.

I always wonder which faded male stars they considered before they settled on John McMartin, who did not have the nostalgic pedigree of his co-stars. John Payne, perhaps?

Was this after Richie was fired from his agency for watching porn in the workplace? Of course, he must have been doing more than just "watching" porn to have been fired.

I think that both Sondheim and Prince were keen to get McMartin from the beginning.

I thought Jon Cypher was chosen originally.

He was, r582.

How lucky he was replaced.

Outrage!

BE MORE CHILL fans are swarming over social media: when James Corden did his satirical version of "Michael In The Bathroom" at the TONYs, he neglected to mention the actual song, the show, or Joe Iconis, the songwriter. Not at all helpful for a show already overlooked for nominations and struggling for exposure.

I'm not a BMC fan, but they're right. The oversight was stupid and rude.

James Corden has built a career on being stupid and rude.

....and fat.

....and fat.

[quote] I'm not a BMC fan, but they're right. The oversight was stupid and rude.

I agree. I can't imagine why they didn't credit it at all. I also don't understand how Joe Iconis had no idea about it. Wouldn't he or his people have had to clear the usage?

Do we have to keep pretending that Jordan Roth is anything more than a rich kid playing artist?

[quote]I don't think Jordan gives a shit what people think. He's rich.

If he didn't "give a shit" what people think of how he looks, he wouldn't call attention to himself with his ridiculous grooming and wardrobe. People who don't care what other people think of them don't dress and groom themselves so oddly. Although it may be true that he's fine with people hating and/or being shocked by how he looks, as long as they pay attention to him, as he's obviously a narcissist.

Jordan needs/wants to feel edgy. He eschewed becoming his father's heir to be a gay theater producer, but that is not as edgy anymore, so now he is a trans theater producer. Who knows what will be next.

Next thread

[quote]My friend was James Badge Dale’s stand-in on The Departed and Rubicon

What did he says about him? Did he like him? Did he blow him?

~Getting to blow you~

So no one's gonna step up and "Bajour!" this to the end?

R597’s lookin’ for the Big Bajour!

Buttrio Square!

Be More Chill!

Drat! The Cat!

Goodtime Charley!

The Lady Comes Across!

Oh! Oh! Nurse!

This was fun. And certainly more entertaining than anything Corden did on the broadcast.