THEATRE GOSSIP #500: The "We're Halfway Through 1,000 and We're HERE! We're Still HERE!" Edition

This was the title that had the most votes in thread 499. Previous thread.

(Also, I have the OP of that terrible #500 blocked, obviously for good reason.)

Has anyone seen or heard anything about Good Enemy, the play currently at the Minetta Lane?

Meanwhile, when I was looking for it, I came across this article Ryan Spahn wrote about his relationship with Michael Urie. It's very sweet and well-written, though all the name-dropping is a bit weird (and unnecessary).

r491 in the previous thread said the only review of the Tammy Faye musical they could find from an American critic was from Oleksinski in the Post. The NYT actually reviewed it too, though Playbill omitted it from their list of reviews for some reason. It's very positive, especially for the actress playing Tammy Faye (Rannells is simply described as "firm-voiced" and never mentioned again):

"LONDON — Praise the lord for “Tammy Faye,” the new musical that opened Wednesday at London’s Almeida Theater. Telling the unlikely story — for the English stage at least — of the American televangelist Tammy Faye Bakker, the show has a heart as big as the title character’s bouffant hairdo, and runs through Dec. 3.

Rupert Goold’s vigorous production is also an increasing London rarity: a musical with an original score at a time when most repackage existing hits. That the composer is Elton John has only intensified interest in a project that also includes the Scissor Sisters frontman Jake Shears as lyricist and the prolific playwright James Graham as book writer. John’s most recent musical, “The Devil Wears Prada,” ran aground in Chicago over the summer, so it’s a relief to report that “Tammy Faye” is, for the most part, spectacularly entertaining, even if it could do with some trims and the toning down of a few tasteless sections.

And when the astonishing Katie Brayben in the title role seizes center stage to rock out at the close of both acts, you can feel the intimate Almeida transformed into the sort of pulsating arena that Tammy Faye would surely love. “Show me mercy, open your hand,” she sings, letting rip in one of several impassioned numbers, “Empty Hands,” that comes from the gut. I was right there with her, as I was in the comparable “If You Came to See Me Cry” near the end, in which Tammy Faye reflects on her legacy from heaven. (Where else?)"

Variety also reviewed it (and Playbill also doesn't have it on their list. Weird). They were less impressed:

"Despite notably sharp lyrics from Jake Shears that have a welcome precision growing naturally from the book (another rarity), the music itself, though effective, is generic.

Elton John has had a matchless career writing highly individual songs for himself. Here, he shows that he can write everything from jaunty honky-tonk to Christian pop pastiche and give everything roof-raising rhythmic gusto. And with arranger Tom Deering and a crack seven-piece band he rocks the house, especially with Brayben (the West End’s Carole King in “Beautiful”) letting rip in audience-seizing fashion.

But as in “Billy Elliot” and most of “The Lion King,” John’s theater writing is worryingly generic, despite the wide variety of forms it mimics. It lacks anchoring, memorable individuality. He supplies what’s needed, but without distinctive qualities the songs only really work because the performances transcend the material.

That becomes ever clearer in the less successful second act charting Tammy Faye’s downfall. Her growing self-realization gives Brayben ample and welcome opportunity to amp everything up with self-lacerating power ballads. But the more you admire her, the more you realize her vocals are masking thinner and thinner material. Even the perky, ridiculously enjoyable finale “See You In Heaven” is indistinguishable from the nun’s joyous finale of “Sister Act.”

Also r501 asked about the off-Broadway Cat on a Hot Tin Roof. The few comments I've gotten from people who've seen it is that the lead actress (making her NY stage debut) can't act. This review comes the closest to saying that.

"it's about an hour and 15 minutes before he appears onstage, which means audiences have had to endure Mizuno's astonishingly lifeless characterization of Maggie, the self-described "cat on a hot tin roof," up until that point. It's a role that, as Elizabeth Taylor and Jessica Lange have previously shown on film and television, demands voracious personality and imagination to find emotional variety in her endless monologuing.

But Mizuno, saddling herself with a wretched Southern accent, never once conveys any sense of the kind of loneliness, desperation, and sexual desire that would suggest why Maggie would stay with a man who doesn't really love her."

And for r595, you can probably imagine the Shawshank nudity to be this:

And to combine that site with Rannells, evidently there was a (very) brief flash of his dick in The Boys in the Band movie. If anyone's actually interested.

To continue the Lips Together, Teeth Apart discussion from the last thread, there are some stories about Mullally in the W&G thread that are interesting.

A comment in the sex thread reminded me I asked about Justin Huff in thread 498. Evidently this is what he's up to:

Hmmm...

“The movie”—with its gangsters, its moonshine makers, its down-and-out jazz musicians, its struggling girl band, its lonesome heroine, its accidental cross-dressers, its unconventional millionaire—“seemed to me about people who are nonconformist in their nature,” says López. It was this realization that led him from the instinct that an adaptation would be a fool’s errand to an inclination that it could be something quite special and exciting. “I thought, Let’s take something that always had the patina of being vaguely queer and let’s queer it up and make it a celebration. Let’s make it about people who don’t fit into society and what they do in order to survive. It’s about rule breakers.”

Honestly, I thought this was the most interesting part of the article, which had nothing to do with the musical:

[quote]Although Hicks has tried not to compare herself to Monroe, certain distinctions were necessary to articulate. Monroe’s Sugar is a woman who has suffered—a woman who, as a famous line from the script has it, always got the fuzzy end of the lollipop. Pregnant with a child she would ultimately miscarry and struggling with drugs and alcohol, Monroe evinced an air of unhappiness that gave her Sugar a note of quiet desperation. (Monroe’s then husband, Arthur Miller, would later blame Wilder for overworking Monroe on set and causing her miscarriage, to which Wilder responded: “Had you, dear Arthur, been not her husband but her writer and director and been subjected to all the indignities I was, you would have thrown her out on her can, thermos bottle and all, to avoid a nervous breakdown. I did the braver thing. I had a nervous breakdown.”)

Amazingly, none of the trouble surrounding the shoot shows up on screen. Monroe's performance is amazing - sexy, funny, vulnerable. Of course, they had to shoot around her when they could. But what ended up on celluloid is classic.

Any ideas on who the “last” cast will be to finish the Into the Woods run?

We know SJB is the wife until the bitter end, but who else?

It’s Jordan Roth…so I’m not holding on breath on anything good or exciting.

I wonder if there's a chance Soo will come back for the last two weeks? Benton's only there until 12/24, and Rodriguez will be in The Collaboration then.

I think I saw a vague rumor on another board that there's a surprise casting in store for one of the roles...and it's not a good one (according to the poster).

Meanwhile, they performed on The View this morning, though I assume it was pretaped since Arcelus was still in it, while D'Arcy James already returned on 10/25. "Last Midnight" strikes me as a weird song to perform like this and out of context, but maybe those in charge know better. (Having seen the original Broadway cast, this one really can't compare at all.)

Speaking of recastings, the cast for the Paper Mill production of Hercules seems a lot blander than the Shakespeare in the Park version? Inglehart's back, but Alladin and Rodriguez are out. I'm not familiar with Gibson, but he doesn't look nearly muscular enough based on the photos on his Instagram. And Hensley as Hades is...fine, I guess?

From Platt's NYT interview today:

[quote]NYT: You’ve been working on a film version of “Merrily We Roll Along,” to be shot over 20 years. What’s that like?

[quote]BP: There are so many variables. The only way I’ve found to approach it is that you have to treat [each shoot] like short films, let it go, and move on and live your life, and as the next one rolls around, find your way back into it. If I constantly have it in the back of my head, it just feels so unimaginable to get to the end, that I get scared about it in a way that’s not productive. So I’m just taking each of the little gifts along the way and hoping we make it to the end of the road.

I wonder if one of those variables is the Blake Jenner situation. Has it ever come out if he's continuing or has been replaced?

[quote]NYT: One of your closest friends, Beanie Feldstein, who is also starring with you in “Merrily,” had a bumpy ride with “Funny Girl” on Broadway. I wonder what you make of how her experience went.

[quote]BP: I know more than anything, she just wants everybody to move on. So I’ll just say that I love her and I admire her strength.

[quote]NYT: You had your own rough ride with the film version of “Dear Evan Hansen.”

[quote]BP: It was definitely a disappointing experience, and difficult, and it definitely opened my eyes to the internet and how horrific it can be. You’d think, after doing “Dear Evan Hansen” onstage for four years, I would have already known that. I try my best to focus on people who tell me it was moving to them and they really felt seen by it. It is very easy for the good to get drowned out by the bad.

[quote]I know more than anything, she just wants everybody to move on.

Oh, we've moved on...

Awww, this thread is a lot more interesting than the other one.

We even rearranged the furniture just for you, r19.

Looking at the Man of No Importance opening night and production pics...AJ Shively is aging really well, isn't he? I remember him from La Cage over a decade ago, where he didn't really make much of an impression (but Jean-Michel is a pretty boring character), so I knew he had to be in his mid-30s, but if I hadn't known I don't think I would have immediately guessed it. He looks as good as Parsons looks weird. What do we know about him?

An old photo, but cute.

I'm surprised that so many people are going on about how "weird" they think Jim Parsons looks. I've seen the show live, and he looked fine to me, maybe like he had had just a little bit of work done but nothing at all drastic. On the list of plastic surgery or Botox or filler disasters, he's nowhere near the top.

R23 His head looks strange, and loopy.

R22 He is dreamy.

It’s interesting that Beanie wants everyone to move on…and no mention of Lea Michele selling out every night, getting dream reviews and recording the cast album that was denied to Beanie.

I’m pretty sure they’ve moved on toots!

Wow, Justin Huff's graphic design site is amateur hour at best. I've seen middle schoolers with better skills.

[quote]His head looks strange, and loopy.

So are you suggesting that Jim Parsons has had his head re-shaped? Maybe his head looks "strange" to you just because his hair style (or wig style) is quite different and longer than in his past roles?

Soo and Donica had been mentioned, but I don't remember anyone suggesting Burnap? Interesting that they went so young with Arthur, but I kind of like it?

Platt & Feldstein Movers - on......

That'll be the day.

I believe someone other than Burnap played Arthur in the very recent "workshop" of this production. FWIW, although everyone who has previously played Arthur in CAMELOT was much older, the character is supposed to be quite young at the start of the story. But of course, if you cast someone like Burnap, who looks to be in his late teens or early 20s, he may not be fully credible for the later scenes, even though not that much time is supposed to have passed.

I know he won the Tony, but does the general public know who he is? "Camelot" was promoted over the years as a star vehicle -- first with Richard Burton, then Richard Harris, then Robert Goulet switched over to King Arthur.

I think maybe Lincoln Center Theater is less concerned about stars because they are a subscription house. That said, I wonder if Mr. Philippa Soo was considered for Lancelot, or perhaps even for Arthur? He at least has a lot of TV-Q from all those years on that show.

The only example I could find of Burnap singing. Certainly not conclusive, but interesting.

I believe it was Matthew Rhys who did the workshop. I like him a lot and would have loved to see him (though I don't know if he can sing either).

Arthur's not a very hard sing, but Gabriel Byrne sure made a muck of it in that Lincoln Center concert. Guinevere was written for Julie Andrews, who made Lerner & Loewe write a particularly easy sing without much in the way of high notes, since "My Fair Lady" was a really difficult sing (along with screaming and yelling and doing the whole of "Pygmalion" dialogue scenes). The only real vocal showcase in Lancelot's "If I Would Ever Leave You" which doesn't go very high either, but Goulet's impressive looks and baritone middle voice registered very strongly in the original cast. Isn't the newly cast Lancelot a tenor, in a role that doesn't go higher than like a D? That doesn't usually come across that well vocally if the tessitura is too low.

Here's Donica in the last Sher/LCT show he did:

Is Platt really such a big star to be worthy of all this coverage he's getting for a short City Center run for Parade? I mean...maybe he is and I'm even more out of the loop than I realized. Or is it that CC is pushing this so hard because it's their gala event?

Another one.

And another one. Exclusive first look! Exclusive photos!

I have a crush on Jordan Donica. Is he gay, straight or “pan” as the kids say today?

Will City Center let Platt show his moneymakers? (By that, I mean his hairy shoulders, of course.)

[quote]We even rearranged the furniture just for you, R19. —r20

Not r19, but I liked the sofa better over there.

The only reason Arthur is cast as an older man is because Richard Burton, Richard Harris et al kept playing the role for years and years and years. Everybody now thinks that Arthur has to be an older man. This makes the story about an old guy who gets cuckholded when the sexy French guy comes to town. That’s what everyone is used to now but not what the play is about.

Burton was 35 when he first played it, and looked younger from the stage.

I doubt that Andrew Burnap is much younger than 35. He's the one thing that's got me excited about Camelot.

I'm not the OP, but I'm the one who posted this title in the previous thread. What do I win?

Of course, the question is not so much how old an actor actually is but how old they seem to be on stage. To me, Andrew Burnap looks and acts like he's in his very early 20s.

r45, our gratitude for coming up with something--anything--better than "The Untitled Edition."

r46, have you seen Burnap in other shows besides The Inheritance? Of course, he was so supposed to look like he was in his early 20s in that.

But anyway....I think if all 3 Camelot leads look to be of roughly the same age, youth was the right way to go this time. The characters actually only age a few years in the story, after all.

The comments are very positive, but I don't know. This doesn't seem that great to me...

(Sorry to keep talking about Platt, but is there much else going on this week?)

More.

[quote]Have you seen Burnap in other shows besides The Inheritance? Of course, he was so supposed to look like he was in his early 20s in that.

Yes, the first time I saw him was in TROILUS AND CRESSIDA at the Delacorte, and he looked even younger in that -- because he was, it was seven years ago :-)

Casting Arthur is tricky. He has to be a believable 20 at the top of the show and a believable over 40 at the end.

All the Frankie Vallis did it

Am I the only person who reads “Andrew Burnap” as “ Andrew Burlap?”

So if you were guenevere which would you pick

Both handsome...both a bit to skinny for me.

Elaine Stritch was 45 when she played Joanne in Company. Since then, they keep casting the role older and older. Patti LuPone was 73.

The next Joanne will be...dead.

Still shocked Burnap was the one who won the Tony and was the only lead nominated. Of the three, he had the least impressive role (though I thought all of the actors were terrific).

Interesting seeing the different reviews to Some Like It Hot. The BWW folks are raving. On Reddit we get this:

"this is going to be a tough one for me to review. Because here's the thing. For me, everything about this show was brilliant (the set - gorgeous, the choreography - sublime, the costumes - incredible, the talent - holy cow (more on that in a bit), the book - hilarious and fantastic) ... except for the music itself. For me, the music felt very generic and honestly kind of boring with a couple notable exceptions. So how do you review a musical that would have been a brilliant comedy stage play that happened to have amazing choreography with music that is lacking?

I guess I give it an 8/10 because I really did enjoy everything else so much. I laughed hard, I choked up just a bit at a couple heartwarming moments, the dancing was incredible (I'm a broken record on that one, I know), and I just really enjoyed the whole story for what it was - which was good old-fashioned Broadway."

And this:

"1. Christian Borle was downright offensively bad. As a “man”/Joe, he was serviceable. As Josephine, he was offensively bad. Made no effort to alter his voice at all (spoke in a deep male voice with a slight southern twinge), made no effort to alter his appearance to appear slightly feminine at all. He looked rather ghastly on stage and his failure to approximate anything feminine was rather jarring and odd.

2. J. Harrison Ghee was by far the standout. He was immersed in the role, great voice, stood out from the rest.

3. music is just okay. There are a few bops, but it really gets a bit generic and starts to blend. A lot of songs seem like for the sake of having songs, and not because they added much. Also show was nearly 3 hours.

4. Natasha Yvette was another standout, incredibly great actress and voice. Adrianna Hicks was serviceable. Nice voice, nice belt, but I don’t think she captured the character. There was a disconnect with how they all describe her versus how she acts. Didn’t quite blend."

Smart of Almost Famous to present "Tiny Dancer" instead of one of the new numbers, but this just seems to indicate the movie did it so much better.

But if anyone wants to see Jimmy Fallon on Broadway... (DOES anyone want to see Jimmy Fallon on Broadway?)

[quote]R17 BEN PLATT: “I know more than anything, [Beanie] just wants everybody to move on.”

Oh, I’m sure she does!

Ben’s singing voice is so associated with Evan Hanson that I don’t buy it for Leo Frank. It’s like if Carol Channing did The Sound of Music. He can decide whether or not that’s a compliment.

It's really way past time time to stop the Beanie bashing. She was completely miscast in a wrongheaded attempt to turn a thin star vehicle into a character study. 'Funny Girl' was always a lacklustre show that only became iconic because of Streisand's performance and the great songs that were written for her.

As a drama, the show simply doesn't work. It's facile and unsatisfying. The only thing that makes the show work is a bravura singing performance and most people are not capable of that. The creatives that tried to reinvent the show are the ones who should be blamed not Ms. Feldstein. The continual lambasting of her reeks of sexism (and a few other -isms as well).

Get over yourselves.

I'm glad there are multiple #500 thread. It just points out the ridiculousness of posters scrambling to post the title that posters like better. What does it matter, NYC theater queens?

Oh, it matters. IT MATTERS!

For me it only matters because people spent almost a day pitching titles for #500 in the previous thread--some of them good, some of them dreadful--which largely took over the thread and got pretty boring. Only to have some snide clown rush to post ThE uNtItLeD tHrEaD!!! , not even bothering to follow the format of past threads in their haste. I don't care what the actual title is. I do care if we went through all that for nothing.

So many guys trying for the title of Muriel’s Best Boy

(This thread's also been a lot more pleasant than the THEATRE GOSSIP threads have been lately, and how I suspect the other one is. Maybe #500 is an auspicious enough occasion to have a cunty thread and a nicer one.)

[quote]So many guys trying for the title of Muriel’s Best Boy

Please keep in mind that winning this coveted title requires a serious fucking cash contribution.

A Beautiful Noise starts previews tonight. I've wondered if there could possibly be enough of an audience for this, and listening to the cast recording hasn't changed that. "Sweet Caroline" still works, but most of the songs just sound old and irrelevant, like nothing that would interest anyone under the age of 50.

[quote] most of the songs just sound old and irrelevant, like nothing that would interest anyone under the age of 50.

And that's [italic] way [/italic] off base for the core Broadway audience.

That’s our demographic!

Because catering to that demographic and that demographic alone worked out so well for Mr. Saturday Night?

[quote] It's really way past time time to stop the Beanie bashing.

Don’t hold your breath. She’s earned her place as a Broadway punchline.

People haven’t forgotten “Carrie”, and that was 30 years ago. Beanie’s here to stay.

Mr. M, please write a book about unforgettably bad stage performances.

"we went through all that for nothing," r71? this is your idea of an ordeal?

r81=Darfur Orphan

[quote]She’s earned her place as a Broadway punchline.

Sadly for Beanie, I agree. That whole situation with her and FUNNY GIRL was so unusual, so acutely embarrassing, and such a tremendous train-wreck that it will not be soon forgotten. Certainly not while she continues to attempt to have any kind of a career in show business.

r81, considering I never used the word "ordeal"...no?

[quote]For me it only matters because people spent almost a day pitching titles for #500 in the previous thread--some of them good, some of them dreadful--which largely took over the thread and got pretty boring. Only to have some snide clown rush to post ThE uNtItLeD tHrEaD!!! , not even bothering to follow the format of past threads in their haste. I don't care what the actual title is. I do care if we went through all that for nothing.

I agree. Life is so very tough for the theater queen. We should probably start a GoFundMe for all those so adversely affected.

First class of Juilliard’s drama division. Short but interesting clip.

Who knew people were shooting in portrait mode on iphones all the way back then.

AARP is presenting "Bandstand" this Saturday. Free, streaming. Membership not required. Looks like it's the original Broadway cast, so I assume it was a version that was recorded for some purpose back then.

I saw it on Broadway and quite enjoyed it. But my opinion might have been affected by my seating in the first row, where I could almost touch Corey Cott's chest hair.

Oh dear. If only I was old enough for an AARP membership. I’ll ask the hubby if we can use his account.

^^Douglas…sigh

[QUOTE] Still shocked Burnap was the one who won the Tony and was the only lead nominated. Of the three, he had the least impressive role (though I thought all of the actors were terrific).

Lois Smith won Beat Featured Actress in a Play for THE INHERITANCE. Maybe you meant that Burnap was the only male performer who won out of those nominated?

I’m still surprised that Kyle Soller was not nominated.

Did Soller get a big head?

Burnap's role was far showier than Soller's. I really don't understand the surprise.

This thread is worse than Hitler.

Hardly, r94.

[quote]Oh dear. If only I was old enough for an AARP membership. I’ll ask the hubby if we can use his account.

[quote]Membership not required.

Looks like you're good to go, Cath.

There's always this one, R93

oops, that was meant in response to R94 !

Or the Original #500 thread. 220 posts and counting.

[quote]I’m still surprised that Kyle Soller was not nominated.

Kyle Soller is doing STAR WARS these days. He’s doing fine.

r99 see r97

That's the second #500 thread at r97.

[quote] Still shocked Burnap was the one who won the Tony and was the only lead nominated. Of the three, he had the least impressive role (though I thought all of the actors were terrific).

[quote] Lois Smith won Beat Featured Actress in a Play for THE INHERITANCE. Maybe you meant that Burnap was the only male performer who won out of those nominated?

No, I said that I was shocked that Burnap was the one who won the Tony (meaning of the five men who were nominated) and that he was the only *lead* nominated (meaning out of Samuel Levine, Kyle Soller and himself, all three of whom I considered to be lead actors). Levine had the showiest role, Soller had the largest and most "necessary" role. If anyone was to be forgotten, I would have assumed it would have been Burnap. Again, I'm not saying Burnap was undeserving, I'm thrilled he won, but if I was a betting man, he would have been the last one I chose to have been nominated of the three.

[quote]Or the Original #500 thread. 220 posts and counting.

We're going for quality here-- not quantity.

Copy, R103. Sorry, I totally misread your post.

There were actually six nominees in Best Actor in a Play the year that Burnap won.

It's an honor just to be nominated, r106.

[quote] We're going for quality here-- not quantity.

When's that planned for?

[quote]We're going for quality here-- not quantity.

The irony of posting that statement to Theatre bitchfest thread #500 is not lost on some of us.

r108, this thread has significantly less cuntery than the other (despite attempts to get it caught up), so it's already happened.

Seriously, if this thread is so terrible, everyone is welcome to use the other. I just did a quick skim of the lowercase thread and mostly found people being shitty to each other (blah blah, reading comprehension) in ways that had nothing to do with theatre, and those were just the ones I didn't already have blocked. It sounds like some over there are perfectly happy to be rid of me, and I would be glad to say the same.

Thread #50 that was posted in the previous thread really showed how far this site has fallen (or maybe it's the world?). People used to have interesting things to say and fun conversations, instead of just being rabidly shitty. Yawn.

On a similar note, here's THEATRE GOSSIP #24. Some bitching about the OP (it is, after all, DL), but still much more fun than anything we get these days.

"Theater Gossip #21." Uncapitalized and Americanized (when did DL start using "THEATRE"?)

Well, that really perked things right up, r110.

THE RITZ last night was awful. Can't believe it's gotten even the faint praise it did. And Rosie Perez was, as others have said, 95% unintelligible. But I'd mostly blame the script which is relentlessly tepid.

With the debut of SOME LIKE IT HOT, I saw some posts on Reddit where people were trying to bring up the past controversy of Adrianna Hicks liking posts promoting conversion therapy on Instagram. She apologized for it in 2019 and seems to have weathered the storm. I have to imagine, or hope, the folks behind the show wouldn't be working with her if they believed she was really anti-gay. But it's interesting to see what's forgiven and what isn't (after seeing yet another post about NPH and the Amy Winehouse Halloween decorations this year, and the predictable calls for him to be canceled).

Raul Esparza looked awful on Pushing Daisies. Bisexual cock or not, I don't get the love for this dirty looking man.

[quote] Copy, [R103]. Sorry, I totally misread your post.

Not a problem. : )

Yikes. At the very least the new show has to be better than this.

Couldn't they have given Ghee a more flattering dress?

Huh.

[Quote]“There are questions about how you translate it as a musical,” Russo says. “Audiences today have been trained by TikTok, right? What is their expectation of what that musical looks like and feels like? That can be a lot of fun and help us push the boundaries a little bit on how you execute a modern musical.”

This is a few weeks old, but Instagram just presented it to me. Very enjoyable viewing for an early morning (and Henry is for any time).

R120, that's Disney's rationalization for having a black Hercules.

Say what you will about A BEAUTIFUL NOISE, it is doing huge business while the other new musicals are floundering badly. I am as surprised as the next person that this turned out to be such an early big hit, but I also didn't imagine MJ would be as successful.

That SLIH cast looks so small. And Christian B. looks so old.

r112 - from reply r 29...

*

You know, like the losers at ATC who know how to do everything in theater better than any professional working now, yet are talent free, so they bitch

we resent that!

signed, Mike R

Alan Scott

dramedy

jdm

Ann Miner (webMISTRESS)

Bruce Memblatt (Sondheim Papers webmaster)

scottsimms (and his three breasts)

clothedboysinging

NYDiva

nynancy

RonniK

chekky

buzzie with a dream

do re milla, cabaret recording star

Awww, poor Buzzy. He died, I think.

Yes, r126, he did.

Nobody cares about ATC except you. Go away.

That post from 15 years ago proves otherwise, r128.

r123, I'm just curious. What makes you think A Beautiful Noise is doing huge business? I have no way of knowing either way, but the first preview was just last night, so no grosses have been released. It was also on TKTS today and it looks like there are plenty of seats available.

Something else I'm curious about, and not trying to be mean...but what's going on with Audra's lip in these press photos for her new play? Is that some kind of decoration I'm not familiar with (and I apologize for any cultural insensitivity)? Or...something else?

Closeup

Fever blister. It comes from sucking uncut dicks.

I did want to guess cold sore, but again, trying not to be mean...

Oh big deal, people get cold sores.

Hi Ken r123

Someone rimmed the wrong ass it seems!

Has anyone seen the Ben Platt show yet?

A total pan of ALMOST FAMOUS by Jessie Green in the NY Times.

Hey, Kids! How about a revival of Bullets Over Broadway?

r139, to be fair he says nice things about exactly three songs...and nothing else. I know Green gets a lot of heat, but that was a good read.

This is one he called excellent. It's not bad, and the guy is cute at least.

Ouch.

I'm glad it's getting bad reviews. It's one of the most soulless, theme park-esque musical adaptations I've seen in a while. It ranks up there with 9 to 5 and Tootsie.

That being said, I would love to see Casey Likes nominated for a Tony. He was wonderful and ought to have a big career ahead of him. I was reminded of the first time I saw Jessie Mueller (in On a Clear Day) and knew she was going to be a star.

Oh, Laura.

a) A five-track album?

b) It evidently came out October 3, but this article is from today. It's both amusing it took Playbill a month to notice, and baffling that they're covering it all at this point.

I just finished reading David Gordon's review of PARADE for Theatermania, and once again, that cringe-inducing phrase "beating heart" pops up. I can't remember the first time I saw that phrase in a review, but to say that it doesn't wear well with constant repetition is to put it very mildly. PLEASE STOP!!!!!

[Quote] Embattled Broadway Alum Laura Osnes Releases Solo Album Inspired by 'Tabloid Culture'

Kind of makes you desperate not to buy it

[Quote] I just finished reading David Gordon's review of PARADE for Theatermania

Said, I thought, no one ever

r112 -

Let me add my two cents on Young Frankenstein, which I went to see yesterday: good show but definitely NOT GREAT by any stretch of the imagination. La Brooks and La Stroman can forget about collecting a wall full of love notices from critics over this one. Tony Awards are not going to be very plentiful either, though I will go out on a limb and say that Mary Testa and Jackie Hoffman can forget about the Featured Actress in a Musical award because Andrea Martin has that mofo on lockdown already. Sorry, ladies.

Quick side note: this bitch and her crew directly beside me tried to goad me into giving up my orchestra seventh row center seat so that one of their friends, whose seat was way at the other end of the row, could have it. I nicely said no thanks and can you believe Miss Thing got an Attitude (yes, with a capital "A")? But sadly for her I didn't give a shit and kept my seat anyway. Score one for decent folks.

R147, I'm not sure what you mean. Playbill had a roundup of reviews for PARADE, and that one was on the list. I don't normally seek out reviews by that critic.

r133, is Swenson uncut? Surely some who saw him in HAIR (or otherwise) would know...

"This is one he called excellent"

Excellent? Oh, my sides! It's a monotonous dirge.

Then you'll surely love this one, which he called "the show's best tune." (Maybe they just seemed good compared to the other 30 songs?)

Morocco is a horrible song. No Friends is decent, but mostly because Casey Likes sells it. There is one song early-ish in the 2nd act that I really liked and stood out among all the other dreck, but since the full cast album isn't out yet, I can't name it, if it's even still in the show. (I saw it in San Diego in 2019, so I don't know what, if anything, has been changed.)

I hate to say it, because he hasn't really done any great work since Spring Awakening, but I have a feeling Duncan Sheik would have been the better composer for Almost Famous (not that it would have helped the shitty book). His score for Bob & Carol... had some interesting and catchy songs that definitely reflected the time period.

But really, why hasn't Duncan Sheik written another great score?

I liked his score for Secret Life of Bees very much. The Almeida is doing it next year - with Sam Gold no longer attached.

So remind us what Tom Kitt is good at?

To mention a legitimately good song (others may disagree but I love it), I was glad to hear they're using "Let's Be Bad" from Smash in SOME LIKE IT HOT. One of the other songs they released sounded too much like a lesser "They Just Keep Moving the Line," so better that they used the real thing for LBB instead of a pale imitation. Makes me a little more interested to see it, if only to see this live in a big production number (though I know they revised the lyrics and the context is different).

I’m glad it’s getting shiteous reviews as well.

Who asked for this?

Who thought this was a good idea?

Where are the original stories waiting to be told?

Oh, calm down, r158.

My question regarding Almost Famous is: how did it get to Broadway? The reviews were shitty out of town. Is it that the money is raised, why not just bring it to NY?

I'm sure ego has something to do with it. This is Crowe's story and the show is his baby, so he's invested in seeing it through. Unlike something like The Devil Wears Prada, where the bad Chicago reviews might be enough to stop it since there's no one simultaneously personally invested enough and with enough clout to push it to New York (Elton sounds like he checked out long ago).

And perhaps the sunk cost fallacy. They've invested this much. Might as well see if they can make some money off of it on name recognition and nostalgia.

Maybe they're hoping Baby Boomers will fondly remember the era it depicts, and that Gen X and Millennials will fondly remember the film it's based on, and pay thru the nose to see a shitty musical.

Is this just another “the title is pre-sold, so we don’t have to really try” musical?

[quote]Is this just another “the title is pre-sold, so we don’t have to really try” musical?

Aren't they all?

[quote] Aren't they all?

Nowadays, it seems so.

I’d much rather watch the straight queers mess with shows like 1776 than sit through another half-assed musical with a pre-sold title.

At least the straight queers are doing something different.

Wait....is this the *real* 500th Theatre Thread now? Confused...

Anyway...is this closing production of Kinky Boots much different from the Broadway one, in terms of sets? I didn't care much for the original physical production.

Was Betty Lynn kept off of the Broadway stage for 8 years following Carrie because of her involvement in Carrie? She has stated she taught during that time and did concerts, and then finally Sunset Boulevard came through for her....but I don't understand if the stench of the show damaged her reputation or something....or if there were just no roles suited to her in during that period. She was the best thing in Carrie and did wonders with her material. I don't understand what the lengthy career setback was about...maybe it had nothing to do with that show?

How long are Lillias, Reeve and Patrick Page in Hadestown? Are any of their contracts wrapping up?

501

What the fuck are you doing, R167? We currently have three 500 threads going, none of which are even close to ending. Why would you start yet another thread??

[quote]How long are Lillias, Reeve and Patrick Page in Hadestown? Are any of their contracts wrapping up?

Patrick Page is leaving at the end of the year. Tom Hewitt is coming in.

R168 streamlining things. You’re going to fill up 3 before the next one?

Tom took over for Page during his vacation last year. Glad to hear he's going back in. He's wonderful.

The official 500

There's this 500, the Untitled 500...what's the third 500?

R173 they’re all linked in 501, see above

[quote]Wait....is this the *real* 500th Theatre Thread now?

If by "real" you mean "better,"--then, yes.

Such hubris, r167.

We’ll fill up all three 500 threads just arguing about which one to post in

I can see R168 freaking out now… in her 5th floor walk-up in an outer borough, trying to dye her hair with blue raspberry KoolAid mix, Playbills framed all over the walls as if they were Diplomas, checking Datalounge to see that she didn’t get to create 501.

r178, you decided to start a new thread over 200 posts before any of the others ends, and posted about it multiple times, but you think r168 is the one who was freaking out? Interesting.

But at least the Come Back, Little Reba poster will finally have their day. If anyone remembers that thread when it comes time for it. (Yes, I'm sure we'll be reminded. Multiple times.)

Wow. So sad. (Someone in an earlier thread asked if he was gay. Evidently the answer is no.)

I'm glad Joni enjoyed it (though what else was she going to say?), but it's too bad her first Broadway show wasn't a better one.

She's never even seen Follies, even once!? She doesn't know anything.

R130 - My neighbor is a Broadway investor and involved in A BEAUTIFUL NOISE, along with another show, and says ABN is selling like hotcakes. He doesn't usually exaggerate so I believe him. He said his other show, which I can't remember, can't give the tickets away.

r183, thanks for the info. That's interesting to hear. If it's true, then good for them.

r182, I hope you mean "She doesn't know life at all."

[Quote] And perhaps the sunk cost fallacy. They've invested this much. Might as well see if they can make some money off of it on name recognition and nostalgia.

See also Leap of faith

Great review of Parade.

It's good to see Joni is able to get out and about. She was so close to death's door a few years back, I am surprised (and pleased) to see she's still among us. Good for her!

Wow, I wonder what happened to Doug McGrath. How awful.

About Doug McGrath....I wonder if he knew he only had a year or so to live and that's what prompted his one man show? Very sad.

Years ago I interviewed with him for a job on a film he was directing (and I think wrote and produced, too) called (I think) Company Man. He was pleasant and polite. But I didn't get the job.

I wonder if ALMOST FAMOUS is almost finished?

ALMOST FAMOUS will close in January.

Critics love Ben Platt.

Audiences hate Ben Platt

Who buys tickets?

It ain’t critics!

There must be some audiences who love Platt, right? Maybe not enough for him to fill Madison Square Garden or the Hollywood Bowl (if I'm remembering the reports of his half-empty concerts there right) but some have mentioned screaming fangirls at Parade.

Did Joni have any idea of where she was?

R194, he has fans. Just not on DL.

I think he's vile. And frankly, screaming fangirls at Parade isn't cool.

In any case, it sold out.

Dear Evan Hansen sold out for the two years Ben Platt played Evan.

Well, r199, teen idol standards *aren't* what they were in *my* day...

Some people are saying? That's definitely proof.

Ben lives rent free in the heads of every theater queen who was a star in their high school performance.

Is ALMOST FAMOUS really that beloved a film to cause a rush at the BO? I scarcely remember it.

Don't rain on Ben's "Parade."

I'm waiting for the stage musical version of Attack of the 50 Foot Woman.....if they can do King Kong.....well......

Hadn't heard this one before. She sounds better than she does in the other recordings, though unsurprisingly he totally blows her off the stage at the end.

Ramin's chiropractor is the only one who misses Beanie in the role of of Fanny Brice.

I always thought the film Almost Famous was twee to the point of being unwatchable. Not surprised the musical version is a shitshow.

If you grew up in the '70s, you have your own memories of the era and don't need Cameron Crowe's wish fulfillment.

Is Cameron Crowe deliberately trying to resemble Oscar Wilde?

From r112:

Karen Mason Christmas Show!!!!

Posted by: mlop 01:08 pm EDT 10/30/07

Karen Mason is going to be doing her annual Christmas Show at Symphony Space this year. It is so exciting as it is going to be done on December 22nd, my birthday. The shows are going to be at 5pm and 8pm.

Karen has been doing a Christmas show for over 20 years now and are really special. It is not the typical Christmas Carol show, She recorded one of the shows live when she did it at the Laurie Beechman Room.

This show is going to be extra special as she is gong to have two guest stars, Liz Callaway and Gregg Edelman.

Here is information on getting tickets,

Call Symphony Space at (212) 864-5400 or by visiting www.symphony space.org.

[quote]—mlop

I’d rather see a Karen Finley Christmas show.

Millicent X2

Does anyone else fondly remember Nancy Ames who sang the theme song in the American version of That Was the Week That Was? Did she ever trod the boards of Broadway?

Nope, r214.

I’d rather see a Karen Ziemba Christmas show.

Nobody does a Holiday Special like Dusty Towne...

I like this kinder gentler Broadway thread, here's hoping we keep two threads going.

Fuck you in the eye r218

I do NOT want to see a Karen Mason Christmas Show.

Why I think this thread could use some Olga San Juan...

Wasn't Olga San Juan before Rita Moreno, who is always talking (and still is) like she was the first Latin in cinema? Plus, she starred on Broadway in "Paint Your Wagon". She was really good! Plus I love Donald O'Connor!

Saw the matinee of & JULIET today. I wasn't expecting much and mostly went because there was nothing else I was interested in seeing. I enjoyed it. Definitely one of the better jukebox musicals I've ever seen. As someone who found MOULIN ROUGE (exclamation point?) to be fairly excruciating, this felt like what that should have been. It was silly and slight and not certainly not deep or art. But it was fun, had some really big laughs, and the way they used the songs was really clever, so they made complete sense and were seamless. "I Want it That Way" is a song most people, even the Backstreet Boys, agree makes no sense, but here...it actually did. They did hit the empowerment theme so hard I rolled my eyes a few times in the end, and most of the more emotional beats didn't have as much impact as they should, or would in a deeper show, but for what it was, I had a good time. Obviously you have to enjoy Max Martin's catalog, but if do, you may like this.

Stark Sands is still adorable and a good enough actor to give his big emotional moment much more weight and feeling than this show really deserved. Paulo Szot wearing skin-tight jeans clinging to his big ass while he bellowed the most ridiculous songs in that massive voice--fun. I've always found Betsy Wolfe kind of smug and off-putting, her character here was right in type. But she got some good laughs (the tossed-off line about French food...) and also had a big moment belting "That's the Way It Is," and I have to give her credit; she sold it. Was interesting hearing that song sung with some emotion instead of Celine Dion's soulless braying.

For the "Go Woke Go Broke" troll(s), this show seemed pretty woke to me, in the real sense of the word, not the RWNJ pejorative sense. In addition to the empowerment theme, there's a nonbinary (or trans?) character; they sing Britney's "Not A Girl, Not Yet a Woman," so I wasn't sure if they were supposed to actually be trans, though the point may have been that it didn't matter and they were just them. They get a secondary romance. And yet, judging by the packed house, the show's in no danger of going broke anytime soon. Sorry (but not sorry).

The Wolfe number

That sounds fucking excruciating.

I love Chita NOT Rita!

Rita Moreno the first Latina in cinema? Bitch, please!

Don't you bitch me, Carmen!!

I see Rick Miramontez has sent some interns to Datalounge.

R212, doubt she’d show us her tampon string anymore and that was half the show.

I know it's not a breaking news topic, but I just watched "Diana: The Musical" on Netflix. It was even worse and more laughable than I imagined.

How? Just how?

DL fave Linda Lavin's new play opens tonight. The early reviews are all over the place (for the play, not for her). Anyone going or seen it?

r232 Is there nudity?

saw it, play is odd, she's amazing

Why has no one recognized Patti at the end of the Chuck Schumer tv spot, sitting in the audience, wearing a big stupid hat, shushing him from the seat in front of him?

So what is going on with DL face Robbie Fairchild?

He has been posting cryptic posts on instgram about almost dying and being sick/mentally unwell?

Now he just posted he’s leaving internet to “work on things”

So what happened/going on?

Thread Closed.

Yeah r237, that always works.

Without fail.

Thread Closed.

Robbie Fairchild had a very serious fall, I believe in rehearsal at the Met, where he was going to appear as a lead dancer in their La Traviata. He hit his head, the kind of injury that killed Natasha Richardson, so this is no matter for joking. Fortunately, he has survived but what the long range prognosis is, is something I don't know.

Thank you [r240] for giving some info. None of this was public except for some cryptic messages he posted. Hope he recovers.

Anyone else know anything?

Yes, r238, they're both "Reba".

Makarova recovered.

Yes, thank you for the information, r240. That's terrible and I hope he can recover.

R236's signature made me wonder--the Day/Fairchild relationship ended badly, right? So he probably wouldn't care. That was the word around here if I remember right. I see they don't follow each other, and Day has been posting his engagement photos with Adam Kaplan.

On a similar note, Instagram recommended a post by Constantine Rousouli to me yesterday, which featured Kensworthy, which reminded me that in the wake.of the Wilkas/Kenworthy relationship ending, they still seem to be friends and are hanging out in the same group. Always nice to see it doesn't always have to be gay drama (even if it makes for less interesting gossip).

Is there a new theatre gossip thread?

Don't be coy, r246.

I don't understand the comment and I won't respond to it. (But is there a new thread?)

It’s here

The Theatre Gossips threads had a good run, doesn’t look like they’ll make 1000 much less 502

No one seems to be posting in that one. (And I believe it was creaed along with the alternate "500" threads.)

*created

R251 we should end the TG threads forever then

You're the OP of the Untitled thread, r246/r248 - don't be coy.

R254 Untitled OP is pissed at the CBLR OP for dissing her thread

Considering there are ten new replies I can't see, I'm guessing the other thread closed and the people from it found their way here. If so, please feel free to use the new thread 501 someone was desperately trying to make happen. This thread has been refreshingly peaceful and nontoxic.

[Quote] don't be coy.

Where is the coy?

R256 is a sneering passive aggressive Yasss Kween you can just tell

[Quote] Untitled OP is pissed at the CBLR OP for dissing her thread

If that were the case, I'd have started a thread #501, but I haven't... The "competing" threads thing is beyond childish.

R259 but ya did, Blanche!

500.2

[quote][R256] is a sneering passive aggressive Yasss Kween you can just tell

There is NO passive aggressive like Datalounge Theatre Gossip passive aggressive.

[Quote] but ya did, Blanche! 500.2

Nope. #500, that's all. Anyway, let's stop this back and forward. It seems that Thread #500 is the sequel to Thread #500.

R235, because that is not Patti LuPone.

[quote][R235], because that is not Patti LuPone.

Ask yourself this, r263, who really *is* Patti LuPone? Isn't she really *all* of us?

From r112:

Broadway's favorite red headed rinsed cuckoo fondly remembers Robert Goulet.

re: Touching tribute to Robert Goulet in Playbill's November Leading Men column

Posted by: mlop 11:24 am EDT 11/03/07 In reply to: Touching tribute to Robert Goulet in Playbill's November Leading Men column - BklynBoy 10:49 am EDT 11/03/07

It was a loving tribute to Goulet. I am so happy of all the respect and wonderful things being said.

Having grown up knowing him, he respected his fans though the years. Never once have I seen him push someone aside because he was in a hurry. He generously posed for photos. He was one of a kind. Ladies both young and old were waiting them for him at the stage door. Whether he was leaving the theatre or between shows, he would oblige everyone. The stage door to the Majestic was in the alley, and at that time open, there was no security problems, so he would come out, stand at the door, and in his bathroom spend his precious resting time, connecting with the audience. This never stopped. He did this constantly. Even last year during his turn in LA CAGE, there he was giving 200% to his fans.

During my visits backstage with him, he would always introduce me to whomever was in his dressing room. I can say we grew up together. At Westbury Music Fair many years ago, he made sure I could get back to his dressing room, they were pretty strict there telling everyone to wait by the back door, but I was on that list. He regularly appeared at Westbury, both in concert and doing shows. I saw him do CAMELOT, and long ago, when he was still married to Carol Lawrence do I DO I DO.

I am still having a hard time accepting the fact that he is no longer with us.

He was one of a kind. I will miss him and am grateful that I knew him, RIP you will live in my heart, always.

again my condolences to Vera, his loving wife.

Maryann

That's actually pretty coherent for mlop.

GO WOKE, GO BROKE.

This thread is still alive

r268 Don't you mean BUT alive?

Jazz up the joint with some Lypsinka...

I think I meant, I’m still here, as performed by Shirley MacLaine in Postcards from the Edge

CLOSE

You asked for it, r272.

Dusty Alive.

YOU PUTZ, YOU’RE NUTS

No need to bring the Three Stooges in on this.

r273 That song is so appropriate for G. It's like a four-word review of all of her acting performances.

[quote]This thread is still alive

Define "alive".

Rave reviews for Lavin in YOU WILL GET SICK:

[Quote]Lavin’s wit is in full bloom playing a woman who, unlike herself, is a terrible actor and a worse singer. (When prompted to walk like a lion, she’s suddenly Gwen Verdon doing Fosse.) Callan is as rich as any role she’s had in years — and even richer in some ways, because it doesn’t trade, as her characters in “Our Mother’s Brief Affair” and “The Lyons” did, on her innate glamour. Far from it: Her Callan is that woman you see on the subway, pawing through a dirty tote bag, her auburn perm three inches grown out.

[Quote]And yet, as a foul-mouthed, don’t-mess-with-me urban lady with sincere if hopeless dreams in her head, Lavin has never seemed more vital, sly and fearless. When she admits that she wants to play Dorothy in “The Wizard of Oz” — to which #1 incredulously responds, “Did this Dorothy see the trials of war and age 60 years?” — you somehow feel the deep sense of the ludicrous self-casting.

Wouldn't ming hearing more about Daniel K Isaac, who is really cute.

**mind

Sigh

THE MUSIC MAN seems to have extended two weeks; tickets are in sale through January 15. Front orchestra for that last performance is $799 ($818 with Telecharge's fees). Almost surprised they didn't go for an even $1000 at that rate. Sheesh.

I wonder how the reviews for Kimberly Akimbo will go.

What's up with the upcoming mass cast exodus at SIX? Trying to avoid having to give them raises?

DL replacement SIX cast: Beanie Feldstein, Sarah Porkalob, Neely O'Hara, Dorothy Collins, and Jan Maxwell. and Millie Cavendish.

Everyone shitting on the 501 OP, who was nice enough to link this halfass thread in the new one and keep it alive.

R285, What am I, chopped liver?

The KA reviews will be raves, just like they were downtown. Saw it over the weekend, and they've done some smart work in the transfer. Revised opening, a new song to end the act (I think) and lots of trims and re-focusing. Hand Vicki Clark the Tony right now.

R288, that's good to hear about the work that has been done.

Parade was stunning but it will never play on Bway unless Plattypuss agrees to a limited 16 week run. Or waits until the summer and announces a 16 week run. Isn't he still in the middle of a crappy concert tour? He can't sell out arenas, but 4 months on Broadway? That could happen. Put it in the Music Box and watch the money roll in.

r286 - Reba, you need to learn to play well with others.

Daniel K. Issac is a pretty lousy actor from the one thing I've seen him in, which admittedly was the execrable The Gentleman Caller, in which he played William Inge. But he was really terrible. A friend of mine saw YWGS last week and said the ONLY reason to go is Lavin. The play is bad and everyone else in the cast is bad.

R292, Isaac is very good and charming in YWGS, but although I didn't see THE GENTLEMAN CALLER, I can certainly understand why he would not have given a good performance in the role of William Inge. It's not remotely true that everyone other than Lavin is "bad" in YWGS. Quite the opposite. Although the play is extremely weird and also seems not quite finished.

Someone has been able to film the entire show. Not me. Found it yesterday and watched it.

I'm hearing 1776 is papering heavily. Is there any chance they won't make it to January?

[quote]Everyone shitting on the 501 OP, who was nice enough to link this halfass thread in the new one and keep it alive.

[quote][R286] - Reba, you need to learn to play well with others.

Exactly, r291. 286 aka Reba IS the OP of the theater 501 thread and spammed and repeatedly "Thread Closed" and "Bajour!'"-ed all rivals, including this one.

Rude and petty.

I don't know what papering means, so I just imagine ushers filling the empty seats with cardboard cutouts of thrilled theatergoers so the cast doesn't get upset.

Animatronic cardboard cutouts, r296.

Thank you for sharing, r294. I know it wasn't a perfect production, but still one that deserved to be captured for posterity. Especially Elder in his blue briefs. (Yes, I know, people who saw it in London, Fleeshman was more ripped. I still enjoyed this view.)

I'm curious...what makes this thread half-assed and the other...fully-assed?

We're not half-assed, r299. It's small but shapely.

r296, I loved your image...and the real thing isn't that far off? It's where the production gives away tickets to various services that offer them to members at a nominal price. So yeah, a way of filling seats by giving away tickets.

More details here:

So what is Ken Davenports story ? Is he reputable ? An asshole ? Good to work with ? Clueless ?

[Quote] 286 aka Reba IS the OP of the theater 501 thread and spammed and repeatedly "Thread Closed" and "Bajour!'"-ed all rivals, including this one. Rude and petty.

Is that the same poster who rushes to close every thread ("Bajour!") etc.?

Again R295, 1776 will not close early. It’s a pre-sold subscription run, and will continue circling the drain in terms of grosses and attendance and probably paper to the gills, but it’ll limp it’s way through it’s scheduled run.

Now, whether or not it will actually go out on its planned tour is another story altogether.

I wonder if the Six exodus has anything to do with that fucking lunatic of a producer? His behavior was particularly egregious during his last flop, so I’m sure he’s been spectacularly unhinged since Prada was declared DOA.

My apologies for the typos above.

I asked about GOOD ENEMY at the start of this thread. So far Playbill's reviews page only has a single review (from The Wrap, which is fairly negative), so it doesn't seem to be getting much attention. According to one of the reviews on Show Score, it's apparently a stealth gay play: "Also inexplicable is why Liu's actual protagonist and title character "Hao" (TimLiu) is only given a minor role when YilongLiu's actual topic is the suppression of homosexuality in China." Still curious, so might have to go.

This comment from the Wrap review amused me, because you know some are going to be offended (like the reviewer was?):

[quote]Here, Howard’s talk with his daughter’s boyfriend, Jeff (the very self-deprecating Ryan Spahn), emerges as the play’s bright comic highlight. Curiously, Jeff is the only character not listed by his first name in the Playbill credits. Rather, he is called the White Boyfriend. It could be worse. Pre-pandemic, there was a play presented Off Broadway that identified the sole Caucasian character as the White Bitch.

I know the thread isn’t over yet but this seemed appropriate.

Bajour!

Forgot I saved this when I couldn't post. Obviously ONLY GOLD opened last night, and Charlie W posted this in honor of it. He and Ryan really are the cutest, aren't they? And not just in the undressed sense like the Bianchi pics that were posted. It's just nice to see. The cuteness, not the undressed-ness. Though that's nice to see too.

Why are there no reviews of ONLY GOLD today if it opened last night?

r309/Reba, you just don't get it, do you?

See the guy in that Bajour pic at 308, the one whose head is popping up above Chita's head? Is that Paul Sorvino? I know he was in the chorus.

Mini!

From that Lavin post a few dozen posts back:

[quote] because it doesn’t trade, as her characters in “Our Mother’s Brief Affair” and “The Lyons” did, on her innate glamour

Lavin? Innate glamour?

Yeah, r315...the woman who America knows as...a waitress.

........ hour radio 1946 telecast // Three Men On A Horse, John Cecil Holm, George Abbott, Stuart Erwin, Sam Levene, Shirley Booth

Bajour!

DO NOT POST IN THE COME BACK LITTLE REBA!!! THIS IS THE OFFICIAL THREAD NOW!!!! WHATEVER YOU DO… DO NOT POST THERE!!!! THE OP IS INSANE THERE!!!!!!!! DONT FUCKING POST THERE!!!!!!!! PLEASE!!!!!!!!!!!!

r319/r320 - Reba, you might want to tread lightly.

R321 fuck off, cunt.

Bajour!

ONLY GOLD officially opened tonight, Monday, November 7.

r311, you're right. Steel and Williams (and others) posted that it opened last night, and photos were posted of their Opening Night last night...but apparently its real opening night was tonight, November 7? Reviews just started coming out.

The NYT review is pretty hilarious.

The cutesy Frenchness of “Only Gold,” a dance-musical hybrid directed and choreographed by Andy Blankenbuehler, begins even before the lights go up. (The preshow announcement is winkingly bilingual.) But it really moves into overdrive when Kate Nash, the English singer-songwriter who provided the music and lyrics, arrives onstage and says: “Paris. 1928. A time when rules were ready to be broken.” A show that starts that way should come with a content warning: These clichés may hurt your teeth.

The upside of “Only Gold,” which opened on Monday at MCC Theater, is that it is so pretty to look at, and so musically dreamy, you can mostly tune out the words. Nash’s are hard to decipher anyway; because rhyme and scansion aren’t her thing, the ear gets no help. In the song “Misery,” for instance, the line “I will never leave you behind” is repeatedly misaccented to make the last word sound like a synonym for “derrière.” It’s an odd sentiment that way.

As for the spoken words — the book is by Blankenbuehler and Ted Malawer — they have the skeletal feebleness of a fable, except when occasionally larded with triple-crème tropes like “listening to your heart,” Paris “working her charm” and “magic in the cobblestones.”

Because “Only Gold” is in fact a fable — its title apparently drawn from the Tennyson line “love is the only gold” — you may not mind that. What sort of language would you suggest for a story about the arrival in Paris of the royal family of Cosimo? To that inevitable city King Belenus (Terrence Mann) drags Queen Roksana (Karine Plantadit) to prepare for the wedding of their daughter, Tooba, pronounced like the brass instrument and portrayed by Gaby Diaz. I believe the characters’ names were generated by a malfunctioning anagram app.

In any case, the parents’ marriage has turned cold over the years, and Tooba’s incipient one to a douchey count (Tyler Hanes) might as well come with a sign saying “Not Gonna Happen.” Within minutes of Tooba’s arrival, she’s out on the town in her underwear, buying out Cartier and Chanel and locating a bellhop (Ryan Steele) who will make a suitably inappropriate substitute fiancé.

Tiresomely, each of these characters has a lesson to learn. (Well, not the douche; he’s the disposable kind.) Belenus’s is to stop being such a royal pain, especially to Roksana, whom he has hurt in some way we are not privileged to learn. To rekindle their love, he commissions a humble watchmaker (Ryan VanDenBoom) to create a bejeweled peace necklace; Roksana’s lesson is to accept it. And when the watchmaker’s fame as a royal provisioner drives a wedge between him and his frustrated wife (Hannah Cruz), even they must learn something — I’m not sure what, but it involves a piano.

At least Tooba’s assignment is clear: to stand up for herself as a woman wearing dainties in public. No man will tell her what to do! — except Blankenbuehler, who has given her some terrific dances. In one of them, to the song “Mouthwash” from Nash’s 2007 debut album, she stomps out her feelings of thwarted privilege better than anything the book itself can muster, while the bellhop alternately supports her ferocity and waits out her tantrum. Diaz and Steele are thrilling.

But then all the dancing is thrilling; perhaps it’s the magic in the cobblestones. And if it comes as no surprise that Blankenbuehler, the choreographer of “Hamilton,” can assemble eye-catching sequences into long narrative arcs, it’s nice to see him working with a full cast of dancers, not just an ensemble. Well, maybe not a full cast. Nash mostly just walks around or sits at the piano, singing tartly while others push it around like a tea cart; Mann doesn’t dance much, either, but his posture tells his story. Editors’ Picks Why Fly or Swim When You Can Jump? Ask the Springtail. A Low Point for the Monarchy, in a New Season of ‘The Crown’ Love Comes and Goes, but a Screenshot Is Forever Continue reading the main story

The sensational Plantadit more than compensates. Showing off her line and power with every move she makes, she reminds you of the shows she did with Twyla Tharp: “Movin’ Out,” in 2002, and “Come Fly Away,” in 2010. “Only Gold” sometimes achieves their kind of thrust and physical splendor.

It’s also splendid to look at, with the Art Nouveau swirls of David Korins’s set lit in rich purples and pinks by Jeff Croiter. Anita Yavich’s costumes, nodding to the period but also shredding it, are spectacular. The cast sings prettily, too.

Whether the prettiness outweighs the silliness will involve a personal calculus. For me, the hybridization of dance and musical theater is problematic, as it all but dares you to find one or the other set of genes defective in the resultant offspring. Had “Only Gold” been merely an evening of choreography set to songs, I would have gotten no less from it, even if Nash’s lyrics kept drawing my attention in the wrong direction. Some of the numbers, especially those from her back catalog, have an entirely mystifying relationship to the story, or to any story.

But her music, with its funky accents and faux baroque curlicues on a girl-pop foundation, was evidently inspirational for Blankenbuehler. As he recently told Elisabeth Vincentelli in The Times, he thrives on syncopation and (in both senses of the word, I think) the offbeat.

It’s a devil’s bargain: If you want the music, you’re pretty much forced to take the words. In “Movin’ Out” (with the words of Billy Joel) and “Come Fly Away” (with the words of Sinatra hits) that isn’t fatally awkward; the shows, essentially dance revues, use the lyrics for mood and just a suggestion of plot. Crucially, neither has much, if any, dialogue, because once you have dialogue you have a fight on your hands, or rather your feet. The two means of delivering information can’t help but squabble for primacy.

When it’s a fair fight, so much the better — see “West Side Story,” or “Hamilton” for that matter. But in “Only Gold” the simplistic story and trite dialogue drag the dancing down. Perhaps the authors spent too much time listening to their hearts and not enough to organs higher and lower.

Where's the freewheeling patio number?

So...Bill Heck's looking pretty good in TAKE ME OUT, huh?

How's the dick?!

Haven't seen TMO since he joined, but from what I remember when he did Angels in America at the Signature...modest.

Since when does the times use douchey and douche as a commentary?

Modest, or...Modess?

The chatter at Broadwayworld.com on Some Like It Hot has really turned nasty since the initial raves from the first preview. The show sounds utterly mediocre to me, more on the lines of Bullets Over Broadway than Broadway's Next Big Thing.

Wow, Bway has one boring opening after another

That's too bad, r334. It didn't have to be the next big thing, but it needed to be good enough.

[Quote] Parade was stunning but it will never play on Bway unless Plattypuss agrees to a limited 16 week run. Or waits until the summer and announces a 16 week run. Isn't he still in the middle of a crappy concert tour? He can't sell out arenas, but 4 months on Broadway? That could happen. Put it in the Music Box and watch the money roll in.

I actually wanted to see this because I really enjoyed the original production years ago. Unfortunately my schedule couldn’t make it work (and I didn’t want to pay an arm and a leg) so I hope this shows up for a short Bway run

I have a house cam of the original Parade, and it looked fascinating. The parade of the title was niftily staged. And Carver seemed thrilling, even on a third generation shit copy.

[Quote] I actually wanted to see this because I really enjoyed the original production years ago. Unfortunately my schedule couldn’t make it work

Who cares

Having seen Only Gold, I'd say that NY Times review upthread is pretty apt. Except I think Jesse Green was too kind to the choreography, which becomes mind-numbingly repetitive very quickly. It also suffers from being contained on that small stage at MCC. And it's really lacking for hot guys. Even Ryan Steele looks rather drab and ordinary here. Clearly, Andy Blankenbeuler is straight and has no eye for male pulchritude.

I do, r339.

I know several people have made positive comments about KIMBERLY AKIMBO around here, so I hope the show is better than the new promo makes it look. It really doesn't communicate what the show is about or make it look at all appealing, especially to adults. The video quality makes it look like something that was shot cheap. It feels like a missed opportunity for something that's opening in three days. (Maybe it won't matter if they're expecting the same types of reviews they got off-Broadway.)

r334, that seems to be happening a lot at BWW lately, possibly an effect of overly effusive first impressions resulting in a backlash. The initial preview reports of Beanie in FG were also positive over there as I recall. So were the first preview reports of Almost Famous, and the first one for The Devil Wears Prada in Chicago.

R334, I went to broadwayworld.com looking for a some like it hot thread but didn’t locate one, can you post a link

So, does the black character come out as trans, or gay in SLIH?

r344, the thread was started years ago, so the reports about previews really start on page 10.

Unfortunately, yes as trans

R347 Well, nobodies perfect....

Almost Famous lays an egg. Nearly a complete misfire.

The lead actor will probably be happy. He appears to have a screen career going pretty well.

When I saw KIMBERLY AKIMBO last year I thought it was a great off-Broadway musical. I don't think it's the type to transfer well to Bway. I think a lot of the charm will be lost in transit.

you are very right r542. I was honestly really interested to see this show and now I'm really really not. Completely turned off by how cutesy, teensy, and unmusical it comes across. Is there a song in there anywhere? [italic] THAT [/italic] is the performance-to-beat work of Victoria Clark? Doing video that way was a bad choice for them.

Oh shit r342 above

Well, if you know the plot of Kimberly Akimbo and exactly what the title character is all about, you can see how it's tricky how much of it you reveal to prospective audiences. I mean, how much would you tell a friend who you were encouraging to see it? I saw the show off-Broadway, liked it but didn't love it, and I'm curious if it can really make it on Broadway.

Count me among the dissidents. I saw Kimberly Akimbo last year, and didn’t hate it, but wouldn’t mind having the evening back to do something else. The cartoonish parents and aunt didn’t help.

God you all are worse cunts than my arch-nemesis Nathan Lane!

[quote]Well, if you know the plot of Kimberly Akimbo and exactly what the title character is all about, you can see how it's tricky how much of it you reveal to prospective audiences. I mean, how much would you tell a friend who you were encouraging to see it? I

I don't think it's so much a problem of how much of the plot to reveal in a promo video, but rather, how to capture the tone of the show in such a brief amount of time. The show is a wonderful but odd mixture of very funny comedy, sentimental drama, and absurd occurrences, and what makes it so special is exactly what's difficult to capture in a commercial.

r356, Vicky, I'd say whoever is in charge of marketing at your show is a worse cunt, and even more your nemesis.

As good as Clark is in the musical, she doesn't come close to capturing the pathos of the character that Mary Louis Burke brought in the original play. Part of it is Clark doesn't look as absurd in her teen clothes as Burke did.

R359, and another big part of it is that Marylouise Burke is REALLY tiny, which helped her be 100 percent credible as a young girl with progeria (or whatever the character's aging disease is supposed to be).

DON’T BE A BIMBO, SEE AKIMBO!

is their new campaign.

I cannot understand why the idiot producers of KA didn't fire the creators of their ad campaign the minute the complaints started over how cheap and cheese it looked. I saw the damned thing at Atlantic, loved it, yet the Broadway ads make me want to vomit. Just based on those, I wouldn't want to see it again.

Are producers really that stupid?

I've stopped referring to Broadway houses by their new corporate names. Bring back the Plymouth! The Royale!

[quote] Who cares

Apparently you do.

[quote]Since when does the times use douchey and douche as a commentary?

Jesse Green's efforts to appear young(er) and hip are particularly painful, calling to mind Sondheim's description of the aging Leonard Bernstein as "Rip Van With-It." And tasteless, frankly.

The perception that NYT critics are out-of-touch with popular audiences (or just not "with it") may have been a contributing factor to Ben Brantley leaving, after he repeatedly infuriated younger, female, more "SJW"-type readers (eg, dismissing "Head Over Heels" and misgendering one of the performers).

So perhaps Green and his clown car of inept stringers are changing course. They're doomed, regardless.

Marylouise Burke was perfection in the original Off-Broadway Kimberly Akimbo. Which was no surprise, because it was written for her. I saw the new musical off Broadway and loved it, and I just saw the Broadway production. Victoria Clark’s performance is even better and the show is just as wonderful at the Booth. They have made some smart improvements. Bonnie Milligan and the kid playing Kimberly‘s boyfriend both deserve Tony awards.

So R295 are you saying the 1776 audience is only giving about 75%?

Is Bonnie Milligan still giving that self-conscious performance where she seems to be saying to the audience: "Can you believe I'm up here saying these shitty lines?"

As least she says the lines.

In my day I didn’t memorize lines…I memorized intentions!

Someone posted clips from Only Gold on IG today and I can't decide what's worse, the choreography or the songs. That broad should never be allowed to write so much as a commercial jingle.

[quote] I don't think it's so much a problem of how much of the plot to reveal in a promo video, but rather, how to capture the tone of the show in such a brief amount of time.

yes exactly r357, it doesn't have to be plot but is there a song to hear?Also what are they doing at the beginning with that spelling shit. Oh. Oh. Is that a song? Is that the story? What the hell is going on that they think would make any sense to someone

[quote] It didn't have to be the next big thing, but it needed to be good enough.

Is this about Jesse Williams' replacement in Take Me Out? LOL

Jesse Williams should star in Swing Time

-I almost wanted to start a thread for ideas of shows he should head-line

-In fact I did maybe it'll be fun , maybe not

OK, so I just watched that promo "First Look" for KA at r342, that you all think is so awful, and, like it or not, that's the show. It represents what's onstage perfectly. And btw, I'm r354 and r359, no particular fan of the show.

What else you could put on a promo clip tp sell the show?

a song?

That KA video reminded me of this show commercial from the ‘70s for some odd reason.

So little shop released this today We all know the song is better but everything about this makes me want to see this cast in this production. I had no real interest before having such good memories of the original and such bad memories of the oat revival and most of Mayer’s work.

These two stars seem original and authentic

Rob McClure is pushing Mushnik's age. He's far too old for Seymour. And Lena Hall is an understudy level talent who got lucky. Pass.

PS Mcclure isn't a pretty boy pretending to be a nerd. he's just...being. And his age (sorry, Rob) also helps a lot to seem like a longtime loser-loner not just a geek. Sorry to see he's gone in a week with Matt Doyle coming in.

Were they afraid that if they made her look trashy, the wokesters would come after them?

I like Lena Hall's take on Audrey - she plays her with a much harder edge which suits her voice. She makes no attempt to copy the great Ellen Greene.

SUDDENLY SEMEN!

I wasn't sure, but was Lena doing a bit of flannel mouthing?

[quote] Rob McClure is pushing Mushnik's age. He's far too old for Seymour.

He is more in line with a Lee Wilkof type than any of the other Seymours they've had in this production. Everyone else has been a cute guy in nerd glasses.

It could be that she could only play one role well…but…Ellen Greene was born for that role and no one can touch her.

Only certain performers can do that

I still think Cyndi Lauper would have been great in her prime.

I'm not sure if it's true, but supposedly Cyndi turned down the Little Shop of Horrors movie.

Ellen's done other good work, r385.

How has Ellen Greene made a living all these years? Did she marry a millionaire?

*

Are we supposed to call the Lena Horne theater the Ho?

Yes, and the Jacobs, the BJ.

I gave a BJ in the Cort.

Looking at last week's grosses, I have to admit I was wrong about A BEAUTIFUL NOISE. Not quite selling out but doing very well.

Also TAKE ME OUT is doing similar attendance numbers to what it had when it ended in June, but they look much less impressive in the significantly larger theater. Only at 57% capacity. They're also making less money since ticket prices are less insane. Guess there's an upper limit to how many people JW's dick will bring in. (Or they need to let the photos spread again for marketing purposes.)

A Beautiful Noise is no A Joyful Noise...

KPOP grossed $139,387 for 7 performances, average ticket $35.08

Ellen Greene was perfect for Pushing Daisies and I still cry every time I see that clip.

Ellen Green was a casting mistake for the movie. Like Gwen Verson in Damn Yankees. Great for fans to have the performance preserved, of course.

Looking at those grosses I'm just flabbergasted at how well Wicked, Book of Mormon, Aladdin and The Lion King are still doing. Are there really that many idiot tourists in NY this month?

R399 go to Times Square. It might be the construction, but it almost feels like there are more of them than there used to be at this time of year. I think the holidays are going to be be huge.

Of course when I say go to Times Square, don’t use the 40th and Broadway exit if you take the train. The walls and stairs are smeared with shit and there are junkies passed out and shooting up all over the place. It’s really depressing.

So how long can HADESTOWN hold on? That's a big surprise. And shouldn't the Gabriel Byrne show, Almost Famous, KPOP and 1776 just be put out of their miseries?

R401, I’ve been recommending Hadestown to all my friends visiting. It’s a great show and they all loved it

[Quote] Ellen Green was a casting mistake for the movie. Like Gwen Verson in Damn Yankees. Great for fans to have the performance preserved, of course.

Green was great in the movie

[quote]Ellen Green was a casting mistake for the movie.

Just out of curiosity, how do you mean that? You certainly can't say she was too old or performing in a different style from the rest of the actors.

And you spelled her name wrong. But for that matter, you misspelled Gwen Verdon as Gwen Verson.

Man, that clip of McClure and Hall really sold me in ways I never expected it to. He really does have that Wilkof sincerity and sweetness that seems all the more pathetic given his age.

And Hall belts those notes so effortlessly. It's a totally different reading than Greene or anyone before her, and wisely avoids the kewpie doll angle that so many steer into.

I'd happily buy tickets to see this duo!

How much can the Gabriel Byrne show really cost to run? A one-man show, presumably with a minimal crew. Nobody's going to get rich off it at this point, but if they're not losing their shirts, I hope they can keep running to keep the crew and theater staff employed through the holidays. (Yeah, I'm a softie. So be it.)

r374, I think it would help if the KA promo gave some idea what the story is about at the very least, which it doesn't.

Also, it looks like something that was shot for a public television children's show in the 80s/90s. That may be accurate for the piece, I don't know, but it rather limits its appeal to a wide adult audience.

I'm going back to Phantom of the Opera tomorrow night, before it closes.

I last saw it 15 years ago. I figured I should pay homage one more time.

KA takes place in working class suburbia in the 1990s and the main characters are teenagers so how would a promo NOT look like "a public television children's show in the 80s/90s"?

Yeah, they could bring in a chorus line of prancing spangled showgirls to bring in the tired businessmen and the ladies who lunch but that wouldn't exactly represent the show. I'm not a fan of KA but it is what it is....

Oh Charles Busch what is with your face and hair?

SO this is how Ain't No Mo' describes itself. We in trouble, girls. This, apparently, is one sentence. I hope the playwright didn't write this.

[quote] Join Lee Daniels the visionary behind Empire and The Butler as he makes history once again as he presents Ain’t No Mo the high-octane new comedy that dares to ask the question, “What if the U.S. government attempted to solve racism … by offering Black Americans one-way plane tickets to Africa?”

r409, I'm talking about the video quality, not the content. The video looks cheaply shot like something for public television decades ago. If that's the vibe they're going for because it's accurate, then good for them. But they shouldn't be surprised at all when people's response is, "I have no idea what this show is about, and it looks like cheap shit. Pass."

R411, whoever wrote that apparently has a very bad case of commaphobia.

[quote]Looking at those grosses I'm just flabbergasted at how well Wicked, Book of Mormon, Aladdin and The Lion King are still doing. Are there really that many idiot tourists in NY this month?

I always amazes me how New Yorkers heap disdain on tourists, yet, when Broadway grosses are down, they say they need more. Height of arrogance. Typical.

[quote]Yeah, I'm a softie.

Viagra can help with that.

I asked this in a prior thread still wondering if anyone here knows how musiclas used to be able to switch theaters in a day or two. I know they were simpler re sets and lights but this still seems hard to imagine. This was the original 1776’s run:

46th Street Theatre (Mar 16, 1969 - Dec 27, 1970). St. James Theatre (Dec 28, 1970 - Apr 24, 1971). Majestic Theatre (Apr 27, 1971 - Feb 73, 1972).

Well, R416, they probably only needed half the stagehands without all of Porkalob's bullshit to carry.

Excuse me R417! "Bullshit" is a misogynistic term that does not recognize a multitude of genders!

They only need 75% of the stagehands.

Betty Lynn can take care of the resting 25%.

I know I'm beating a dead horse but, r412, the world of KA is tacky and humdrum and juvenile, there's no way to make that look more enticing and visually engaging, no matter how slick the promo is done. Don't know if you've seen the show but the promo is very honestly representative of what you'll get onstage, for better or worse.

r421, just for comparison's sake, here are clips from Topdog/Underdog, which takes place in a squalid apartment, so also not an enticing or visually engaging setting. But it is well shot, and doesn't look like something filmed for 80s public television. It's well-lit and looks like high-quality video. Similarly, Leopoldstadt takes place decades before Kimberly Akimbo (though admittedly has a more glamorous setting). Its trailer is beautifully shot and looks like something that was filmed today.

I can accept that film style of the KA promo was a stylistic choice to match its time period. But just because something accurately portrays the show doesn't mean it's the best way to sell it to an audience. That's all.

Anyone else have something, anything else, to talk about? (Sorry I ever posted that terrible trailer at this rate...)

I loved KIMBERLY AKIMBO (and am rooting for the cast to take home TONYs). But the overall production design is really ugly, sets in particular (but also costumes).

I understand wanting to capture working class, suburban NJ squalor. But why couldn't they have pulled out more stops at the end, when Kimberly and her friend get their wish (no spoilers)? That finale made me long for the directors and designers of old Bway, who might have really turned it into something sweet and memorable.

And here's another KIMBERLY video to critique!

Sorry, R423.

Vicky Clark's been busy lately.

Those aren't trailers.

[quote]The short films came to be known as trailers because the projectionists originally tended to add them to the end of the reels of the B-movie in a show. Thus they trailed after the supporting movie but came before the main feature.

I probably jinxed Gabriel Byrne's show by suggesting they keep it running through the holidays because it had to be cheap to run. I know the grosses were dismal. Still sad for those who'll be out of work.

Who the hell would pay Broadway prices to see desiccated old Gabriel Byrne in a one man show? Sad for those working on it, but I can't say I'm surprised it isn't successful.

Every time I see KA I think of the Cirque Du Soleil show, and have to remind myself it's Kimberly Akimbo. Then I think of KO and my day is ruined.

[quote]Who the hell would pay Broadway prices to see desiccated old Gabriel Byrne in a one man show?

Clearly no one.

One-person shows can be a tough sell, and Byrne has/had a lot of competition recently: Jill Sobule, Melissa Etheridge, (deceased) Douglas McGrath, and Mike Birbiglia, just off the top of my head. Jefferson Mays is doing a one-man Christmas Carol.

I rarely seek out solo shows unless it's someone I really find fascinating.

Speaking of one-man shows, has anyone seen this show, SOLO? I've been curious about it for a while (and, yeah, he's cute).

McClure is giving my favorite musical performance in New York right now. He's always been very talented in terrible shows — now that he has great material, it's magic.

R434, he was also great when he had excellent material in WHERE'S CHARLEY? but I realize that comparatively very few people saw that, because it was only a brief Encores! run.

Did anyone get to see Ellen Greene in The Threepenny Opera at Shakespeare in the Park?

I didn't think he was particularly more than competent in "Honeymoon in Vegas" though.

Ellen Greene did "Threepenny Opera" at the Vivian Beaumont with Raul Julia. They were both very good.

Greene was screwed by signing to the same label as Bette Midler back in the day, right? Was there an album recorded that went unreleased?

If Bette turns you down, r440, you get Ellen...

Poor Ellen...

The Byrne show is really bad.

If you're bored with KA

Then it's time for more KZ!

I saw Ellen Greene and Raul Julia in Threepenny at the Delacorte quite a few times. I was an usher there that summer. After the first week or so sometimes I’d stay and watch the show (which was fantastic, if grim) and sometimes I’d leave after the latecomers were seated. (I still have a NY Shakespeare Festival frisbee from the merch table.)

[quote] Then it's time for more KZ!

DataLounge don’t go for dames who flaunt their dirty pillows in titty magazines.

But if they do it in Spike Lee movies...

Miss Nichols deserves a post in one of the #500 threads. There's...

Lonny price strikes again

Who did Barbara Nichols bang to get into a Broadway musical?

I'm guessing it was old Pops at the stage door, R450. And even then it was because he felt sorry for her.

Was Ellen Greene a Harlette?

I really didn’t like Lena Hall’s take on Suddenly Seymour. Totally lacking in charm for me. She did look great though.

Hall doesn't seem like someone who would follow men blindly. It's refreshing to get a take without the baby voice, however.

Lonny Price is in Germany directing some world tour of West Side Story now. Am I missing something else he's ruining....I mean ....doing?

Ellen Greene was the Streisand of off-Broadway. She created a role that was entirely hers and nobody since has been able to match it.

And it was genius. She talked in that lispy, whispery voice and then we get to Suddenly Seymour and she blows the roof off the place.

The original was perfect. You had Ellen Greene playing Audrey like she was a poor girl trying to copy Marilyn Monroe. And Lee Wilkof was playing Seymour like a guy who had a lot of heart and just couldn’t get out of his own way. Wilkof didn’t need to do a bad Jerry Lewis imitation, he just was Seymour.

Little Shop of Horrors needs to be done in a small theater. Part of the experience is being caught in a claustrophobic flower shop with a man eating plant. You don’t get the same effect in a large theater. At the beginning, when the girls sing “tell your Mama something’s gonna get her” it’s part of the nervous tension that the show runs on. It’s a brilliant show when performed correctly. A nice blend between musical comedy and old horror movies.

Agree R456. That production will never be matched by any of the revivals, especially Ellen Greene's performance. What a memory.

Even so, I love Marsha Skaags in the original Off-Broadway Little Shop bootleg that is on YouTube. She’s doing a bit of the Ellen Greene breathiness, but it’s not an imitation.

[quote] Lonny Price is in Germany directing some world tour of West Side Story now. Am I missing something else he's ruining....I mean ....doing?

Gabriel Byrne solo flop

After finally seeing Take Me Out last night, I nominate Jesse Williams’ thick pendulous dong for a one man show.

[quote] Even so, I love Marsha Skaags in the original Off-Broadway Little Shop bootleg that is on YouTube. She’s doing a bit of the Ellen Greene breathiness, but it’s not an imitation.

When is saw the original production, Faith Prince had taken over. Would love to hear a bootleg of her doing it.

r461...

I'm really captivated by McClure and Hall. I buy it. Sure, McClure is a bit older, but I can see him in a long-term comfortable rut working there (although Brad Oscar is probably one of the youngest Mushniks, so that may read weirdly with McClure).

[quote] Hall doesn't seem like someone who would follow men blindly. It's refreshing to get a take without the baby voice, however.

Sure, but we all know men and women who have a tough shell but then act like enabling doormats in relationships.

Does anyone else think Doyle will be as wrong as McClure is right?

I find Doyle really middling in everything - Company included. The staging won him that award. He’s nice looking and sings well, but is just a blank somehow.

I find Doyle really middling in everything - Company included. The staging won him that award. He’s nice looking and sings well, but is just a blank somehow.

R464, you're entitled to your opinion, even if many people would disagree. Sure, the staging of "Getting Married Today" helped a lot, but of course, the number would not have been brilliantly funny if Doyle's comedic skills weren't up to snuff. Not to mention his talent for being able to sings all those words so fast.

Also, the quality of his singing voice is a lot better than he has been called on to demonstrate in most of his shows, including COMPANY. Here's a clip of a press event for WEST SIDE STORY at Paper Mill as evidence.

Whatever one thinks of his talent, Matt Doyle is well liked and works hard. That matters in the business.

His ex boyfriend Wesley Taylor must be upset because when they were together, Wesley was the one everyone thought would win a Tony first.

He’s yet to even be nominated

Not a Seymour. He'll do that I'm-handsome-but-acting-nerdy thing and call it a performance. That seems to have been this productions stock in trade. Lots of pretty boys. Seems like marketing win but an artistic loss - although will admit I haven't seen it.

If he wasn't so ancient, Platt could play Seymour...

Totally willing r469, but wouldn't that just add to the whole "handsome-but-acting-nerdy thing"?

[quote]He'll do that I'm-handsome-but-acting-nerdy thing and call it a performance

Funny thing is that Doyle actually is a massive nerd. As in spending thousands of dollars (that he got people to donate to him) on a gaming rig built into a desk type nerd.

No one EVER thought Wes Tay Tay would win a Tony, hon.

Yeah, Matt Doyle is rather nerdy cute. That was the biggest difference between his performance and Jonathan Bailey's in Company. Jonny was hot and very alpha.

It seems as though there is a remake in the works for Little Shop of Horrors? Any casting done? Director?

Parade

I didn’t like Carolee Carmelo’s performance in Parade. She seemed like a Southern version of Miss Jane Hathaway. I was ready for her to turn to Brent Carver and say, “Right Chief!”

I didn't see the 1998 PARADE, but Lucille Frank's character is a little proper and uptight, after all (but less so than Leo Frank). I love Carolee's voice on the OCR.

Michaela Diamond was really terrific as Lucille at City Center. A beautifully acted and sung performance.

[quote] Michaela Diamond

Cunt!

Little Shop really is a terrific show. It's one of those shows that can be ADEQUATELY done by just about any kind of theater company...pro, scholastic, community and still be very entertaining. It has great songs and a strong book with a lot of heart and just enough menace to make it exciting.

But, if you make the effort to cast it and direct it correctly, it's just perfect.

r479 How about if you change the ending?

I'm still way ahead in the DL Thread Record Sweepstakes, OP.

Sorry r481, but I much prefer what Harry is dangling.

Parade is a pontificating, finger-wagging slog.

I was worried about that r483. seems like it could be a good play though.

Is Ben Platt doing any other theater anytime soon?

Found this.

Why is little shop release all of these beautifully filmed segments with McClure right before he leaves? They look expensive to have created. Proshot as you gals like to say

Does McClure have another job?

[quote] Why is little shop release all of these beautifully filmed segments with McClure right before he leaves?

Trying to build up business. The new guy coming in has the attendance record of Beanie. In his first week, he is scheduled to play two performances and then take the rest of the week off.

Matt Doyle epitomizes the perfectly proficient, middle of the road performer that top conservatories like CCM, Carnegie Mellon and NYU churn out now. Aaron Tveit falls into this camp as well. Pretty, proficient at hitting all those high notes but ultimately safe and lacking star wattage. McClure has far more star power by comparison, even though he's ultimately from a similar training program (albeit a generation removed) .

Sadly, these training programs are sucking the individuality, edge and any X-factor out of these talented performers. A few sneak thru without being totally homogenized...but a lot of them wind up heading to LA for lucrative careers in TV/Film where big personas are embraced.

Lena Hall is to be commended for decidedly pushing back against all of this. She's really found her own, authentic persona that still manages to give us some star wattage and some bold acting choices.

[quote]Does McClure have another job?

He does Mary Kay on the side, r487.

Has he been awarded a pink Buick yet, R490?

It's a Cadillac, r491...

I was once in a hotel parking lot and happened to see several pink Buicks there, R492. Someone told me they were there because of a Mary Kay convention at the hotel. "Shouldn't they be pink Cadillacs?" I asked. Only for the very top performers, I was told. Those in the next tier down get pink Buicks.

I managed to get a pink Pinto.

r488, that's so weird.

[quote]*Matt Doyle will not perform the role of "Seymour" November 18–20, December 2–3, & January 29.

McClure must have something else going if he couldn't stick around one more week, though I don't know why they couldn't have the understudy do a week instead of having Doyle do three weekdays before taking the weekend off. Is Doyle that big of a name? I wouldn't have thought so. Bizarre.

Geez, the Take Me Out dick reports in this thread are, well, as bitchy as you'd expect from DL, I guess.

(But the Heck description does match what I remember from Angels...)

I was actually just thinking that 20 or so years ago, Rob McClure would have landed a gig as the wacky supporting guy on some sitcom.

Rob McClure is 40 years old.

Matt Doyle is 35 years old.

I realize that McClure is probably no one's idea of "pretty," but he's not an old man, either. And certainly not a generation removed from Doyle. He was excellent as Seymour and felt and looked age-appropriate.

Across the board raves for Kimberly Akimbo. Finally, a real goddamn Broadway musical, not made of synthetic.

[quote]He does Mary Kay on the side, [R487].

Mary Kay Place? And does his wife know?

I think those Kimberly reviews are the strongest set of raves since HAMILTON.

Who's going?

Jeremy Pope is a beautiful man.

I know that's not gossip. Just an obvious statement of fact, said in admiration.

Have we discussed?

DANCIN' revival is HAPPENIN'!

RIP Kevin Conroy, gone way too soon.

r505, the word around here was that it was terrible in San Diego, right?

On DL, every show is terrible except "Follies."

If you can't get a good review in Southern California, you must really be unfixable.

The SEC is investigating the Broadway Strategic Return Fund which may become a huge headache for embattled Broadway producers trying to raise money.

Another article about the SEC investigation into he Broadway Strategic Return Fund, this time from a law firm sniffing around for nervous or aggrieved investors.

Who's...?

Any guesses on what's going to be in this book that Chita has coming out? Will she finally go on public record about names like Meredith Willson and George Abbott and the racism she faced? Dirt on Liza? Might Rita rate a mention? Secret romances? She's been so committed to not spill any dirt throughout her career so it's seems odd that she would set it all down in print at this point.

"Liza touched my Lisa?" - Chita

What did Chita ever do (or not do) with Meredith Willson?

It involved a piccolo... and band camp...

1491, r515.

I never miss a Jean Fenn musical.

The lovely Miss Fenn...

Available on Amazon...

true story: During pre-production there was a battle about casting Cheets, because Meredith Willson had concerns she wouldn't be able to drop her accent.

I hope Chita spills the dirt on Fosse. It’s well known that Nowadays in Chicago was supposed to be Gwen’s solo and Fosse pushed Chita in there. Chicago was entirely Gwen’s project and I hope Chita has the ability to communicate about the show and the Fosse Verdon relationship.

Since Dick van Dyke is still alive, she probably won’t give any dirt on him, but he was an alcoholic and I hope Chita comments on whether he was a loveable drunk or a nasty drunk.

Noël Coward said of her during rehearsals for one of his productions, "She is cursed with refinement and does everything ‘beautifully.’ Oh dear, I long for her to pick her nose or fart... and before I’m through with her, she’ll do both."

Even Shirley Booth knew it.

[quote]cursed with refinement and does everything ‘beautifully.’

Something never said about anyone on DL

[quote]During pre-production there was a battle about casting Cheets, because Meredith Willson had concerns she wouldn't be able to drop her accent.

If that's true, his concerns were unfounded (and really nasty). Although Chita had previously done a Puerto Rican accent in WEST SIDE STORY and for one of her numbers in BYE BYE BIRDIE, her normal speech and singing are completely unaccented, as Willson could have found out by listening to the other four or five songs she sings on the original cast recording of BBB.

I know it was posted in its own thread, but still nice to see. Have any recognizable theater names done the same?

***individuals, not companies. Obviously Playbill is a very recognizable theater name.

Karen Ziemba and her uneven rack both turn 65 today!

Lots of folks are saying bye bye to Twatter.......good news!

Who's been/going to the Museum of Broadway?

This needs a DL stamp of approval before I visit.

That place looks cheap and tacky as fuck with no real sense of history. Pass.

They're' charging like $53 to enter the museum. Pass.

And it's all about musicals. Plays get short shrift.

Is the Broadway Museum a not for profit enterprise? I can't see this succeeding at a $50 ticket. Might as well spend that money on a Broadway show. Or, better yet, dinner at Joe Allen's (love their pot roast!).

Fosse during Chicago was a real pill...not just regarding Gwen, he was *incredibly* vicious to Fred Ebb, David Rounds, and one of the ensemble dancers (maybe Gene Foote? Michael Vita?). Someone should do a book about it.

Chita's always been fiercely loyal to her friends, and she was extremely close to Gwen and Fosse. I'd be shocked if she had anything critical to say about them.....she didn't even watch the Fosse/Verdon series because she didn't want to see her friends portrayed poorly.

Another legend she could dish is George Abbott. Nixed her when she under consideration to understudy Gwen in Damn Yankees and is rumoured to be the one who told her to her face that she "wasn't latin enough" for Gladys in Pajama Game.

Gladys in THE PAJAMA GAME was Latina? Carol Haney? Shirley MacLaine?

[quote]she didn't even watch the Fosse/Verdon series because she didn't want to see her friends portrayed poorly.

Chita, lord love her, dodged a bullet. What a shitshow that project turned out to be, despite all the hype.

Gwen came off looking quite well in the series as a person, especially as Michelle Williams portrayed her. Fosse, not so well, even though Sam Rockwell's acting was good. Plus too much time given to daughter Nicole.

Maybe Abbott thought Chita was too plausible to be Miss Senorita Lolita Henando for the joke to go over, as she is introduced to Joe Hardy before going into "Whatever Lola Wants"?

Get Gretch!

[quote]Maybe Abbott thought Chita was too plausible to be Miss Senorita Lolita Henando for the joke to go over, as she is introduced to Joe Hardy before going into "Whatever Lola Wants"?

Ummm, but that's another role in another show, not Gladys in THE PAJAMA GAME.

Uh yeah, but they mentioned understudying Gwen in DAMN YANKEESS in that sentence, too.

.....

I hope the Broadway Museum fucking fails at $52/ ticket with fees.

Complete money grab. Another tourist trap

Chita's gotta have at least one good Arthur Laurents story, of that I'm certain.

[quote]Get Gretch!

Stop trying to make Gretch happen!

That's what they called her, know-nothing @ r549.

Get this issue of After Dark magazine, r549. The title of her article/interview is "Get Gretch!".

r549 is either humor-impaired or has never seen "Mean Girls."

I meant r550.

I actually haven't seen Mean Girls, r552...

Me either but there are plenty of mean girls here!

Hairy mean girls.

Thank you, r557, *now* I get it!

Speaking of...has Mean Girls had a life after its closing?

Mean Girls is still touring. Not sure the quality of the tour/cast.

For years Theatre Queens here and on the theatre boards would bitch that a shows closing performance would end with just a normal curtain call disappointing all. Holy shit. I know "Tan der Vapire' ( Dance of the Vampire") was huge in Germany but the closing moments was almost 15 minutes long with a double curtain call, flowers for everyone. That audience must have been exhausted when the curtain fell.

Tonya Pinkins went off on Jesse Green for his RAISIN IN THE SUN review. The opening passages about Brantley were interesting, but she rambled on so much it quickly got boring.

[quote]In your review of the production at THE PUBLIC THEATER you state is that the show is “not as good as Williamstown.” Did you see it a at Williamstown? You didn’t write the review.

This is where she lost me. Like...yeah, even theatre critics see shows they don't review, so the fact that didn't review it doesn't mean he didn't see it. Get it grip, Pinkins.

It went on too long but

DAMN.

I applaud her.

(Even though she has a long standing reputation for having a case of the crazybitches.)

What do you applaud?

We applaud....Miss Bonnie Franklin!

So Pinkins thought the production would move? Reading between the lines, that seems to have been on her mind.

Was there a contract insuring the actors would continue if it went to Broadway? Is that what she means when she speaks of an early closing (even though the show was extended)?

Is Pinkins mad at a basically positive-to-mixed review because it criticises her performance and says her character is less central than usual?

Tonya Pinkins is awful in this. She plays it like Medea (Tyler Perry, not Euripides) it borders on camp.

The irony is I thought Jesse Green was being kind to her in his review!

Wow! I’m usually on Tonya’s side when she has disputes…but good grief that was a hard open letter to read.

Maybe Chita will discuss that GYPSY revival she said she was going to do in London on that early 60's screen test she did. I'm guessing it might have had to do with her either being too young for the role or not a big enough name.

If Twitter goes under, I hope the Broadway Covers account finds a new home, because it's such a good resource. And damn, there are a lot of people out today.

Jesse Williams was out for both shows today. I think that's his first for either run of the show? Curious for (ahem) reports of his understudy, Blake Russell.

That is crazy to read r570. First it lists understudy after understudy at K-pop then it says the performance is canceled.

It’s kind of remarkable. Both lead witches out at , wicked, Rafiki out of the lion king, Orpheus, out of Hadestown, usher out at strange Loop after a canceled matinee. Company manager, and stage managers must all be losing their minds and applying for jobs at chipotle instead.

Ziegler out , satine out, Rutledge out,

Is KPOP in English or Korean, and if it is in Korean, are there subtitles (or sur-titles) like at the opera?

According to the website, "The show is performed primarily in English with some Korean lyrics and dialogue. You do not need to understand Korean to enjoy KPOP."

KPOP!

[quote] "You do not need to understand Korean to enjoy KPOP."

But it couldn't hurt.

R575 Thank you!

New York City has definitely been seeing an upsurge in Covid cases these past few weeks. I managed to avoid it until last week but finally succumbed, and that's with vax + 2 boosters. I think it's also been aided by the schizophrenic weather that's seen wild changes almost every other day.

[quote]So Pinkins thought the production would move? Reading between the lines, that seems to have been on her mind. Was there a contract insuring the actors would continue if it went to Broadway? Is that what she means when she speaks of an early closing (even though the show was extended)?

An Off-Broadway show not moving to Broadway isn't remotely the same thing as the show "closing early." As you and I and others have noted, the Off-Broadway run was actually extended by a week or two, depending on how you count it. Is Pinkins so incredibly stupid that she doesn't know the difference?

[quote]Tonya Pinkins is awful in this. She plays it like Medea (Tyler Perry, not Euripides) it borders on camp.

Tyler Perry's character is MADEA, not Medea.

It's been constant chaos backstage at Strange Loop. Every sane person working on it can't wait for it to close.

Will Strange Loop close at a total loss?

R580, can you figure out any other way to make sense of it. She complains that Green killed any chance of transfer. She says he is responsible for a shorter than expected run, even though its off-Broadway run is longer than expected.

After reading what she wrote about the Mother Courage affair, I would say Pinkins either is really stupid or completely unethical in how she distorts facts.

Tonya has written a Coup de Letter.

R585 OMG..."Coup de Letter" is brilliant.

Nicely done!

I think Tonya's letter is tremendous1

[quote]Tyler Perry's character is MADEA, not Medea.

I would seriously buy a ticket to see Tyler Perry as Madea playing Medea.

An open letter to Tonya – if an audience member, especially a frequent theater goer like, say, a critic - misses all the important points of your production and in particular of your performance, it’s [italic] your [/italic] fault and/or your director’s, not theirs.

I'm sorry r589, but TLDR.

Yes, R583.

GO WOKE, GO BROKE!

Should this Coup De Letter thing be the next thread title? One of you come up with a new thread, stat!

R584, I'm sure that's what Pinkins meant, because there can be no other conceivable meaning to what she wrote. But what she meant is NOT what she wrote.

[quote]After reading what she wrote about the Mother Courage affair, I would say Pinkins either is really stupid or completely unethical in how she distorts facts.

No argument here.

As this thread draws to a close, thank you to everyone who kept it chugging along the past two weeks. It may not have been the most exciting, but it was a lot more pleasant than a lot of them have been. (Or maybe I have the right people blocked.)

Please feel free to join the existing #501, already in progress. Or if anyone wants to start a new "Coup de Letter" themed thread...well, it might make some heads explode, but maybe they need to.

Get R595, thinking she owns the joint.

let's

close

this

thread

BAJOUR!