THEATRE GOSSIP #521: CAMELOT is a Camel-NOT

Previous thread

I'm glomming onto this thread because it's got a better title than the other one.

Which one will survive?

Thanks, OP.

Camelot at LCT is a pretty ugly production (sets and costumes). Phillipa Soo looks pretty in a few genuinely lovely dresses, but that's about it.

But it seems silly to me to focus on design aspects when so much else (book, casting, vocal and acting performance) is so wildly wrong.

I love this, Julie is so buoyant...

One of the pretty dresses.

The press photos make the stage lighting and sets look better than they do in person.

Soo Me, Soo Me, what can you do me?

What's closing at the Rialto?

Remember the OKLAHOMA revival (WOKELAHOMA as it was often called here)?

Worth a read.

What did they expect? What did they reasonably expect?

DL’s beloved C-List Actor, Eric Milligan, tore this jerk a new asshole for saying the opinions of the many, many who hate this Oklahoma don’t matter.

Uh, both #521 thread titles are shite.

R10 is a verbose essay which doesn't say what the paying audiences didn't like.

Was it just the wheelchair?

Anyone who's actually interested in seeing a 75 year old musical probably doesn't want to see a production that shits all over it and turns it into a feel-bad experience. Surprise, surprise.

Not to mention that taking a character that was originally portrayed as a murderous creep and playing him as a poor misunderstood loner understandably doesn't play well these days. Nobody wants to see Sympathy For the Incel.

R13, agreed, but so be it. The other title was first, and remembered to include the "Edition". This one would have been better if it had just been The Camel-Not Edition and not spelled out the joke (not good, but better). If 594 and 595 had chimed in sooner the It's a Fucking War Crime Edition or It's a Shanda Edition would have amused me (and possibly only me).

And the beat goes on.

I didn't enjoy Shucked, but I have to give their marketing team credit for going all out and getting a bunch of coverage it doesn't deserve. Yesterday Variety posted a rave review, a full behind-the-scenes article on how "a Riotous Production That Could Be the Musical-Comedy Sleeper of the Season," and...this. A story on how an actor got his suit for opening night. (Exclusive!) How could this possibly interest anyone?

Then there's this mess.

Coolest behind the scenes vid of a show I ever saw and the theater is beautiful too.

[quote]Yanigahara takes 720 pages to tell the story of four college friends

Yanigahara takes 720 pages to tell the story of absolutely nothing of interest

I did do a search for 521 before creating this one and didn't find anything. Sorry.

Has “Brideshead Revisited” ever been staged or musicalized?

[quote][R10] is a verbose essay which doesn't say what the paying audiences didn't like.

Yeah, I'd really like to know what exactly prompted "vomiting in the balcony."

[quote]Yeah, I'd really like to know what exactly prompted "vomiting in the balcony."

On Broadway they served chili during intermission, maybe they on tour too....

[quote]Yeah, I'd really like to know what exactly prompted "vomiting in the balcony."

One assumes the dream "ballet".

I saw the Oklahoma tour in Chicago. I mostly liked it. I loved some of it. Some of the more indulgent ideas (the dream ballet) went over the top. I’d say the audience as a whole was about 30% on their side. It was pretty rough

The ending of Camelot should be a sobfest for the audience. This production failed in part because the Tom of Warwick is maybe the worst child actor I've ever seen.

Curious that the NY Times review of A Little Life paraphrases the title for Helen Shaw's review of the Dutch version that ran at BAM last year. Her review, incidentally, was easily the best piece of theatre criticism I read last year.

A sprawling novel everyone hated becomes a prolonged crapfest on stage. Who woulda thunk?

Before we get to arguing about who has the best Madame Broadway doll or why Daniel Radcliffe can’t buy a Tony, let’s pause and enjoy the delicious vocals of Kay Mcclelland.

[quote]The ending of Camelot should be a sobfest for the audience. This production failed in part because the Tom of Warwick is maybe the worst child actor I've ever seen.

My Mom told the story of us all going to see "Camelot" at the movies. She thought we'd all fall asleep but at the end, my six year old brother stood up in tears and blurted out "Why does he have to go!". The audience burst out in laughter and applause and my Mom was shocked he was so involved in it.

So I guess we can now add Camelot’s book it the “cannot fix” category

I like this thread quite a bit and see it lasting longer than the other one. I'm onboard!

Seeing Franco Nero in "Camelot" made me cum-a-lot.

[quote]DL’s beloved C-List Actor, Eric Milligan

His name is MillEgan.

[quote]This production failed in part because the Tom of Warwick is maybe the worst child actor I've ever seen.

Agreed. But then he's a good match for the rest of the cast (mostly) in this steaming dumpster fire of a CAMELOT revival.

[quote]So I guess we can now add Camelot’s book it the “cannot fix” category

I hope that critics will call out how truly terrible Aaron Sorkin's "fix" is, but I suspect they won't. He's earned a lot of good will (undeserved) by even taking on this project. As noted in the previous thread, he's turned CAMELOT into a very long, boring episode of THE WEST WING.

Someone posted this in the dueling thread, and I thought it was worth a look/listen.

(Can we settle on one TG thread, please? How I hate it when we fight....)

Is NPH taking the role in PPGW only because his hubby is doing a play a few blocks away and he wants to keep an eye on him? Much like Melanie Griffith doing Chicago while her then-hubby was in Nine?

R38. Melanie had good reason to feel insecure.

Zach, I can’t act!

I heard that, you bitch.

Shit, Ritchie, shit.

I've never seen a stage production of Camelot and only dimly recall the bloated movie. But I can safely say that Sorkin's rewrite is NOT an improvement. Spoilers galore:

Arthur is nervous about getting wed, Guinevere is annoyed about her forced wedding. So far, I think that matches the original. Then Sorkin adds a long female empowerment scene between the two of them. Arthur sings the title song, and for some unknown reason Jenny agrees to wed him. But it turns out that Arthur feels guilty and (I guess) they have a sex-free marriage that they both agree is more like a business partnership. Jenny bumps and grinds her way through Lusty Month of May like a burlesque dancer and meets Lance. She takes an instant dislike to him and sings Then You May Take Me to the Fair to three decidedly un-hunky knights. Lance defeats the knights in a tournament and accidentally kills (maybe?) Arthur in the same tournament. He then magically (maybe?) brings Arthur back to life and suddenly Jenny and Lance fall in love, although Sorkin can't be bothered to explain it and Sher only shows a deep look between the two characters. Arthur apologetically sings How to Handle A Woman, because you know, it's now SO un-PC. Arthur's son Mordred pops up to stir trouble in act two, turning the knights against Arthur. Jenny and Arthur sing What Do the Simple Folks Do, because, well, even with a boring scene before the song it is never explained why they are singing this song. Then Arthur goes off to meet Mordred's mom and they have a long scene that for some unknown reason goes to great pains to present Morgan Le Fey as a scientist. No magic here, folks! Several minutes are devoted to Arthur writing a series of numbers that Morgan can recite without looking at them. The significance? Who knows? Who cares? Lance and Jenny are caught in bed after he steals her song (I Loved You Once in Silence). Jenny's unseen trial and escape are told in a choral song that is still such a cop-out from Lerner (he even admitted as much that they couldn't figure out how to stage it). And the show ends as it originally did with Lerner's original lines. Surprisingly, the ending still is moving, but lord it was a slog to get there after 3 hours.

On Tuesday, April 11, Wicked will become the 4th longest running production in Broadway history, surpassing Cats.

Pretty accurate, R41.

At least you paid more attention than I did.

I really hated this production.

How do they get Jenny out of Guinever?

[quote]How do they get Jenny out of Guinever?

With a crowbar.

Those 3 knights in CAMELOT - do they really have to do much besides look hunky and desirable? Why would Sher cast 3 schlubs??

Jenny is a name for a donkey. Is the queen stubborn?

Perhaps the oafish knights are there as a contrast to Lancelot. If this is what Guenevere is used to, no wonder she gets all hot for for this hunk from France.

Excellent critique, r41. Let's add that the score is deeply, warmly romantic and totally out of synch with this chilly "thinking man's" rewrite.

[quote] I did do a search for 521 before creating this one and didn't find anything. Sorry.

You didn't need to do a search for it since it was already posted in the prior thread where you saw it.

Is Lancelot a homosexual?

He's French.

Are any of the knights female born? I know the Mordred understudy was assigned female at birth which should be interesting when they go on. Honestly, the casting here just tries too hard to be diverse. It's as if they had a checklist in the casting sessions. And reading that the Lancelot u/s who stepped in the other night can't handle the score is just sad.

I liked the story of the brother of R31 at the movie!

R12-Did Eric's husband, Charles Michel, write it for him?

Camelot has never worked, and never gotten good reviews. Not the original, not the movie, not the revival, nothing. Julie Andrews herself said the audience enjoyed the show for awhile, but left unsatisfied and angry. It's got some lovely music, but very old-fashioned, even for 1960.

This new production doesn't solve anything, and it doesn't star Richard Burton, Julie Andrews, and Robert Goulet. It is doomed.

Ooookinawa, where the wind comes sweeping down the plain

And the waving rice

Sure smells nice

And the....I don't remember the rest

Just cancelled my 2 CAMELOT comps for Friday night, reading so much bad chatter about the show which, apparently, is even worse with Jordan Donica's current absence. I have a feeling I'll be able to get cheap seats after this one opens.

Michael R Jackson remade the American musical? Puhleeze. He & Hilton Als are just pushing the lard-ass-shvartze agenda.

Sail on...

Has anyone explained why Lance and Jenny are French, but speak with British accents, but Arthur is British but speaks standard American?

I think they are all trying to do mid-Atlantic accents.

Jason Donnica sings well but looks ridiculous in this.

Who knew 6th Century AD Britain was so racially and ethnically diverse, with people from all over the world? Broadway can teach us so much!

^ Damn...you made me LOL.

Always thought Camelot was a bore seemingly only elevated by the Kennedy mystique. Apparently, it is a bore--LCT was due a revival flop after a string of successes.

They could approve the play with some nudity. Perhaps a shower scene. Hee hee.

is it all that shocking that across "Merica", they didnt get why Ado Annie was a 300 pound black trans-woman>? and why scenes we're played totally in the dark--I mean, it was divisive in Manhattan

Naked James Norton is the only attraction of the stage version of A LITTLE LIFE.

Id settle for a naked James Naughton

[quote] LCT was due a revival flop after a string of successes.

Hey! Don’t forget about me! I flopped big time!

What average percentage of any house at the Beaumont is made up of subscribers?

R71. I meant musical revivals (King and I, South Pacific, My Fair lady)

Don't look at me!

R74 I really would have preferred to forget about you

R58 - cheaper than COMPS?

I’m not going until Billy Porter takes over the roll of Lancilot

^he would only agree to play Guinevere.

I have always loved the entire Camelot show, including the book. It has one of the best first act endings of any show from the resurrection of the dead knight through the scene where Arthur figures out what is going on between the two people he loves, ending up with the knighting scene and the closing soliloquy. The last scene of the show is heartbreaking.

Sue me.

[quote] Jason Donnica

Two words, and you got them both wrong. Brava!

I loved the music for Camelot growing up so was excited to see a touring version.

When I finally did, I was so disappointed that such amazing music could come out of such a boring show

Since someone mentioned WICKED upthread.....has there been some recent backstage drama there? Was there some issue when Alexandra Billings played Morrible (which was like a year or so ago)?

I got the impression she left earlier than she was supposed to - just wondered what happened there. She was very visible thanking the understudies when so many were out with COVID and I wondered if somehow she stepped on some toes.....

[quote] I got the impression she left earlier than she was supposed to

Sometimes your co-stars are fuckups and you’re forced to leave early.

She left early because she couldn't handle the role. She wasn't prepared, she couldn't sing the part, and it as too much of a grind for her. She started missing a bunch of shows and it was always some bullshit excuse. I think the producers also realized they made a mistake and were happy to be rid of her.

[quote]Those 3 knights in CAMELOT - do they really have to do much besides look hunky and desirable? Why would Sher cast 3 schlubs??

Maybe so that they would provide no competition in the looks department for Jordan Donica, who seems to be Bart's new crush? From Matthew Morrison to Jordan Donica -- interesting trajectory.

[quote]I have always loved the entire Camelot show, including the book. It has one of the best first act endings of any show from the resurrection of the dead knight through the scene where Arthur figures out what is going on between the two people he loves, ending up with the knighting scene and the closing soliloquy. The last scene of the show is heartbreaking.

I agree with you about all of that, BUT then there is the rest of the book, most of which is a complete mess.

I like this line from the piece about touring the country in Wokelahoma...

The writer asks why exactly viewers rejected the show: "Was it our set being static and largely made of plywood?"

Ugh!!! Undoubtedly that was PART of the picture, hun.

"Jenny" has NEVER been a nickname for Guinevere...it makes no sense.

"Gwennie/Gwenny"....sure. Perhaps.

Her name isn't "Jennevere".

Yes, R88 -- just as "Peggy" has never been a nickname for "Margaret."

R89 what does that have to do with idiots using Jenny for Guinevere?

Peggy for Margaret is well known and comes from rhyming slang.

Using Juh-Jenny as a nick name for Gwuh-Guinevere is almost as stupid as the title to this thread.

About 10 years ago I saw that mini-CAMELOT that was devised and directed by Frasier's David Lee and absolutely loved it.

Though I was very familiar with the score I'd never seen a production before. The only characters were Arthur, Guinevere, Lancelot, Mordred and the 3 knights, who played a small variety of characters, everyone with with minimal costume changes. The sets were also minimal and the show began by having the actors come trouping out with bins of props, costume pieces and scenic bits, a la The Fantasticks (that probably sounds awful but it really worked well).

Orchestra was tiny but melodic and the charm was all there. The gorgeous score soared, yet lighter than air. And handsome Nicholas Rodriguez had a brief rear nude scene as Lancelot that was quite unforgettable!

Alan Jay Lerner did not invent the nickname Jenny for Guinevere.

R91 That sounds like a terrific way to stage Camelot.

Sometimes, going smaller and more intimate is the way to go.

I think Ragtime was another show that profits by doing the same thing.

Not every big classic old musical needs a huge cast.

R90, “Jennifer”is a Cornish or Celtic variant of “Guinevere.”

r91, looks very interesting. Sorry I missed it.

Have no intention of seeing Bad Cinderella, but the people who said it's really gay really weren't exaggerating, huh?

Bad Cinderella was worse than Monkey Pox…

Oh, look who's on Kojak tonight...

A Long Way From Times Square

Kojak travels to Nevada to extradite a man wanted as a witness. Lily Weed: Judith Lowry. Penny: Judy Kaye. Saxler: Vincent Baggetta. Quinlan: Max Showalter. Hawker: Tom McFadden.

R84 That doesn't sound like Alex at all. She's been working in Chicago theatre for years and is very professional and very well trained. She's also been trans for decades, not that THAT should matter, but to DL it does.

R95 Queen Guinevere is a cross-dressing Jamaican.

I really wish that had been the pull quote from the New York Times.

“Bad Cinderella-Worse than Monkeypox!”

[quote] That doesn't sound like Alex at all. She's been working in Chicago theatre for years and is very professional and very well trained. She's also been trans for decades, not that THAT should matter, but to DL it does.

I said nothing about her being trans, and none of my comments even hinted at that being an issue. It wasn't.

Not gay enough, I’d say, R96.

Thanks r10 for the article on Oklahoma. I saw the production in NY with my very left wing friend. She wanted to leave at intermission because she hated the “corny” music and love story. I hated the woke interpretation. So who exactly was the audience for this show?

Neither you nor your friend r104.

Those with a curious open mind, r104.

No, R106 -- those with a taste for rampant directorial ego and pretentious bullshit of the highest degree. Rejecting idiocy does not make one closed-minded.

[quote]Rejecting idiocy does not make one closed-minded.

It most certainly does. Having a critical opinion about an artistic effort and articulating that opinion is the sign of an open mind.

Declaring it "idiocy" is just about as close-minded as one could possibly be.

My problem with this Oklahoma is that the choices were so random as to become meaningless.

And therefore pretentious.

I'm disappointed to hear such bad things about Camelot. I found the movie and score really boring but would have checked this production out had it been a good one.

Anyone win the Phantom lottery?

I wonder if anyone will show up for the final curtain - Michael Crawford, Judy, Sarah, Hugh P, Howard, etc - or if this will be a quick goodbye speech from Andrew and out the door...

There will be a post-show extravaganza on stage at Phantom.

R96, wow that looks awful

R99 agree. I like her & even if I didn't, she's a professional.

Somewhere on social media she referred to an experience that "was a fantasy and perfect dream....until it wasn't"

I think she was being harassed by someone, not sure. She's done so much theater (including The Nap) and Morrible is, quite frankly, a glorified walk on so it's not like she was carrying the show.....something went down there.

DL fave Patti LuPone should present Andrew with a single rose on stage to say goodbye to Phantom at the curtain call.

It most certainly does. Having a critical opinion about an artistic effort and articulating that opinion is the sign of an open mind. Declaring it "idiocy" is just about as close-minded as one could possibly be.

So then, in your mind, there is NO example of radical reinterpretation (or misinterpretation) of a play or musical that can be rated as idiocy? Not even a production of THE GLASS MENAGERIE where Laura is severely disabled and requires a wheelchair, despite the dialogue in the play that tells us all she has is a slight limp? Not even a production of OKLAHOMA! in which Laurey and Jud have sex in the dark, even though she's terrified of him, and Jud offers Curly a gun to kill him (Jud), which Curley does, rather than Jud accidentally killing himself by falling on his knife during a fight he instigated?

Sorry, that was supposed to be a comment on a previous post:

[quote]It most certainly does. Having a critical opinion about an artistic effort and articulating that opinion is the sign of an open mind. Declaring it "idiocy" is just about as close-minded as one could possibly be.

So then, in your mind, there is NO example of radical reinterpretation (or misinterpretation) of a play or musical that can be rated as idiocy? Not even a production of THE GLASS MENAGERIE where Laura is severely disabled and requires a wheelchair, despite the dialogue in the play that tells us all she has is a slight limp? Not even a production of OKLAHOMA! in which Laurey and Jud have sex in the dark, even though she's terrified of him, and Jud offers Curly a gun to kill him (Jud), which Curley does, rather than Jud accidentally killing himself by falling on his knife during a fight he instigated?

Laurey and Jud do not have sex in the dark in this production. Curly and Jud? That's open to interpretation. Not sure why the Fish production bedevils so many here. The original. Oklahoma doesn't disappear; it will return to pleasure you some day. And anyone who walked into this one without knowing that this would be a radical take just wasn't paying attention.

Dismissing an interpretation as "idiocy" is antithetical to the creative process.

I wanted to love the “radical” Oklahoma, but it was just so stupid. None of the choices made any sense.

I had no problem with the casting, or the single set. But the blackouts, the bizarre use of video, the blood spattering, and especially the dream ballet were all just out of nowhere, and didn’t comment on the work. It managed to make the show more shallow than it was before.

I admired much of Wokelahoma! but detested (with a passion) the ugly and pointless dream ballet that closed the first act. Large, tattooed lesbian doing a modern dance with boots falling from the rafters. WTF? I'm sure that was a huge reason why people fled at intermission.

Having Curly shoot Jud in cold blood, with blood splattering Laurie's wedding gown also was a perplexingly stupid idea.

Variety interviews Bartlett Sher:

[quote]Dismissing an interpretation as "idiocy" is antithetical to the creative process.

Not if it's truly idiotic in that it makes no sense and it runs counter to the play or musical as written. If you claim that you NEVER saw an interpretation of a show that you would rate as senseless, you are probably lying.

Also, there's a big difference between the "creative process" and radical interpretation of an existing work. People can write or direct a NEW show any way they want, if they have the talent to do so. But they should NOT destroy a show like OKLAHOMA! while keeping Rodgers & Hammerstein's names on it and actually adding those names to the title.

[quote] I admired much of Wokelahoma! but detested (with a passion) the ugly and pointless dream ballet that closed the first act. Large, tattooed lesbian doing a modern dance with boots falling from the rafters. WTF? I'm sure that was a huge reason why people fled at intermission.

On tour, the boots were cut (as was the chili), but for yet another bizarrely inexplicable reason, the dream ballet was moved AFTER the intermission.

So much for no changes to the text.

[quote]Having Curly shoot Jud in cold blood, with blood splattering Laurie's wedding gown also was a perplexingly stupid idea.

Especially since Jud just calmly lay down on the floor to “die”.

[quote] for yet another bizarrely inexplicable reason, the dream ballet was moved AFTER the intermission.

Whatever for?

Sweeney is a pretty mixed bag but overall enjoyable. Josh Gorban cannot act (or at least not very well) and misses almost the menace that Len Cariou brought to the role. I listed to Cariou's "Epiphany" recording this morning, and it has all the passion that Groban lacks. Groban's voice is better than Cariou's but I'd rather have a singing actor. There are also a few warm moments for Groban's Sweeney, which seemed oddly out of character. Annaleigh chews up every piece of scenery, and yes, she does indeed do Curly's famous Three Stooges move where she gets down on the ground and scoots around in circles. It happens during "A Little Priest," and while she doesn't go "Whooop whooop whooop!" that's pretty much the only way she restrains herself all evening. I thought her mugging went too far, but the audience sure seemed to love everything she did. Jordan Fisher is fine as Anthony, not the disaster many reported. I really liked the actress playing Johanna, and I was so happy to see Ruthie Ann Miles moving so confidently on stage, almost dancing at one point. I guess she has recovered from that awful accident. The sound at the Lunt (as we in the know call it) remains problematic. Ashford was sometimes impossible to understand in her dialogue. I thought the choreography was interesting, and the freewheeling patio number is fine, not as overdone as some have reported. Sadly, tall and hunky Timothy Hughes does not remove his shirt or any other pieces of clothing. I did miss the whistle, but I was glad to see that there was plenty of blood. And the disposal of the dead clients from the barber shop to a chute was handled very nicely. If you decide to go, definitely choose front mezzanine over orchestra. A lot of the action takes place on an upper ramp.

The dream ballet was after the intermission on Broadway. I have no idea why, but there was a lot about that production that seemed ad hoc edgy rather than well conceived.

R129, I’ve heard that orchestra seats aren’t great for Sweeney - which is crazy considering how much they cost. But, for me,the mezzanine always seems distance from the show even if you can see more. That said, there is no way I will sit in Orchestra for Parade after seeing that set.

[quote]The dream ballet was after the intermission on Broadway. I have no idea why, but there was a lot about that production that seemed ad hoc edgy rather than well conceived.

I'm assuming the "ballet" was moved to the top of Act II simply because Act I is so freaking long, and since the ballet was rendered pointless and meaningless, it didn't matter at all in terms of the storytelling.

Nothing can beat raw talent and inspired casting.

Horrors R128! That lacks Aaron Sorkin’s apologetic scene where she berates Arthur for using the word “simple folk.” I am triggered. Triggered, I tell you!

Annaleigh needed a director to rein her in. Sweeney Todd is not supposed to play like an episode of “Laugh-In”

But then again, she got rave reviews and will probably win the Tony, so in the words of Ethel Merman…”What the fuck do I know?”

A lot of people have criticized Ashford’s over the top comedy. After listening to the 1979 opening night performance, I was surprised by how Angela Lansbury made very zany choices that were unlike her recordings. I wonder if the CD and video have desensitized us to the sharpness and extremity of Lansbury’s performance. For my taste, the worst Lovetts are those whose restraint upsets the balance with Sweeney.

I read one of the penny dreadfuls introducing the characters, and while Mrs Lovett was buxom and bawdy and a bit of a slattern she wasn’t what you’d call zany.

r104 -

[quote]I saw the production in NY with my very left wing friend. She wanted to leave at intermission because she hated the “corny” music and love story.

We on the very left wing HATE Rodgers & Hammerstein, why yes we do!

Why did audiences on the tour hate OKLAHOMA!?

What a disingenuous parade of possible reasons, including the tried-and-true "everyone's racist" chestnut:

[quote]Was it our cast, featuring a diverse group of individuals whose bodies would not normally be allowed to inhabit these classic characters because of race and gender identity?

[quote]Or because the band was a seven-piece bluegrass getup, replacing orchestral strings with banjo twangs? Was it our set being static and largely made of plywood, or the costumes being modern? The live video feeds that gave the audience a close-up, cinematic encounter with certain characters? Or the expressionistic lighting, with the stage giving way to large swaths of bold colors to underline characters’ green lust or red rage?

The real reason is not mentioned: This was a bait-and-switch, advertised as "Rodgers and Hammerstein's OKLAHOMA!," when it was not.

It was Daniel Fish's Rodgers and Hammerstein's OKLAHOMA!.

People came to see a beloved musical and got treated to a "conversation" about immigration, or Trumpism, or something, complete with Curly suddenly being revealed as a psychopathic murderer and a bloodbath on stage that would've done Sweeney Todd proud. Not to mention the nightmare ballet (fka the dream ballet), and (when I saw it at St Ann's) a real deadbeat of a Laurey sucking the life out of her songs and the proceedings in general.

For many of the audience, this was the first time, and probably the last time, they'll ever see this show live. Which means they'll never see the actual show. But at least they were forced into a "conversation."

Excuse me, r125, freewheeling patio numbers can *never* be overdone.

I saw the Arena Stage (Washington, D.C.) production of “Angels in America: Millennium Approaches” last night and it was absolutely stunning. The best production of the show I’ve ever seen and so much better than the Broadway revival from a couple years back. All the performers shined, especially Nick Westrate’s Prior, Edward Hero’s Roy Cohn, and Deborah Ann Woll’s Harper. But, really, the whole cast was just superb. And the fresh take highlighting physicality of the actors worked very well. It was performed in the round and the entire set was covered in fine white sand.

If you have the chance to see it, I highly recommend.

The Washington Post review nails it.

The WOKELAHOMA! story perplexes. The production was a critic's darling, but the show never grossed much and didn't even make a year's run, even after winning the blasted Tony for Best Revival. Pretty clear people weren't interested -- just theater people, many of whom (like me) thought it was ridiculous and an ego dive for the director. So if it didn't work in NYC, why did they possibly think it would work across America? How could they be surprised by the reaction -- I saw people walking out when I saw it in NYC. What kind of idiots were involved in this decision making?

[quote]What kind of idiots were involved in this decision making?

The same kind of idiots who chose to build a Funny Girl revival around Beanie.

r98 here...

I've now read two or three reviews of "Sweeney Todd" and "A Doll's House" that mention them ending with surprising "coup de théâtre" scenes.

I'll probably not see either one, so can anyone sate my curiosity and tell me what happens? I'm familiar with both shows, so spoil away, please.

Thanks, r136. I’m seeing this in a few weeks and could not convince my partner to go, even though he saw the original on Broadway. A lot of people have seen the show many times.

There is a free reading of Perestroika on 4/17 with this cast. Arena didn’t seem to commit to doing the second part, but I bet they will figure it out.

[quote] The same kind of idiots who chose to build a Funny Girl revival around Beanie.

Don't forget us!

Thank goodness Daniel Fish's abortion of a non-gender binary cis-adjacent Most Happy Fella got such horrible reviews and apparently died once and for all.

R140, here's the Sweeney surprise ending....although I don't really think it's a "coup de théâtre." But it was a cute touch. Those who hate spoilers should not continue to read...

In the final moments of the show, as Sweeney and Mrs. Lovett walk upstage (away from the audience) a hole opens up in the stage and they both hop into it...I guess perhaps signifying that they are both going to hell. It got a nice audience reaction.

From what you all have told us about the show, I would have preferred an ending where Sweeney pokes Mrs. Lovett in the eyes and goes, "Nyuck, Nyuck, Nyuck."

Or pokes out her eyes.

[quote] Creatives behind the new 1776

We've already forgotten you. Well, 75 percent of you.

[QUOTE] There is a free reading of Perestroika on 4/17 with this cast. Arena didn’t seem to commit to doing the second part, but I bet they will figure it out.

Thanks for this tidbit which I did not know. I can’t imagine there aren’t already serious discussions at Arena right now about mounting Part Two next season, especially considering the excellent reviews they are getting.

Why was the entire cast of six kicked out couple of months ago? In the past When something like that happened, there was some chatter. This was quick and silent.

R111

What do you know? What can you say?

Nothing nefarious. Their contracts ended, and they all wanted to move on...

^^ about the Phantom post-show extravaganza?

Wish I could see the ANGELS in D.C. Nick W is an insufferable person but a fine actor. How was his dick?

Is Nick Westrate gay? He looks so hot in some photos and so not hot in others.

Weirdly, the Wokelahoma tour didn't come to Seattle where local lefties might have ate it up.

Oklahoma is a weird show anyway....great music but the story is weird and unpleasant. All the characters are ghastly. Curly is a dope, Laurie is a bitch and Jud is an incel being played by Laurie.

[quote]There is a free reading of Perestroika on 4/17 with this cast. Arena didn’t seem to commit to doing the second part, but I bet they will figure it out.

They didn't commit because Part 2 is a B*O*R*E.

Hop hop hop hop hippity hop, on a golden day.

R156 if you're bored by Perestroika, then you're an idiot with bad taste.

The scenes with Roy Cohn and Ethel Rosenberg alone are worth going to see it.

[quote]The scenes with Roy Cohn and Ethel Rosenberg alone are worth going to see it.

To see those you have to sit through the dreadful Mormon Welcome Center crap, which is so boring.

Tony Kushner overwrote Angels in America. It could be pared down and still be very effective.

Isn't most of the nudity in "Angels" in the second play? That's at least when Lee Pace got naked in the last NY production.

Perestroika is fine except the ending seems to go on for another half hour after it feels it's over.

Westrate is definitely gay. SO gay.

Only 3 shows above $2 million this week--Phantom, Wicked and The Lion King. Phantom only there because of the closing hype. Hamilton has been below $2 million for awhile now. Broadway needs some new shows that can bring in $2 million a week. I thought MJ could do it, but it hasn't been able to.

What's it to you, dramedy?

"Was it our cast, featuring a diverse group of individuals whose bodies would not normally be allowed to inhabit these classic characters because of race and gender identity?"

When race and gender identity are very specific and important facets of these characters in this place and this time? Yes

[quote]"Was it our cast, featuring a diverse group of individuals whose bodies would not normally be allowed to inhabit these classic characters because of race and gender identity?"

All the tourists are not going for Broadway. They are lining up at Ellen's Stardust Diner. Seriously, the city should do something because it's impossible to walk on the sidewalk with that crowd every night.

The white stairs...

I can’t stand all the ancestors in Perestroika

London is loving Fish-lahoma because it’s critical of America.

London also loved We Will Rock You, the Queen Musical.

R169, the ancestors appear in Millennium Approaches, not Perestroika.

R167

I work at 1633 Broadway…if I’m in a foul mood at lunchtime, I walk past Ellen’s and tell people on line that the food sucks and there’s much better in the neighborhood.

r173...

Do you mention the rats, r173?

So does it look like Ben Platt is a lock for his second Tony?

It depends on how much money Marc Platt spends on them.

Ben Platt could win 6 Tonys, he's still not going to sell out concert venues or get cast in quality films.

I think the leading actor in a musical race will come down between Ben and Josh with the latter emerging victorious, chiefly because the former already has one.

The ancestors in the Arena Stage production are handled very well. Fabulous costumes too.

[quote] the ancestors appear in Millennium Approaches, not Perestroika.

No, there’s a long boring bit about Prior’s ancestors in Part 2.

[quote]I work at 1633 Broadway…if I’m in a foul mood at lunchtime, I walk past Ellen’s and tell people on line that the food sucks and there’s much better in the neighborhood.

I've walked by the line and told the sheep on line that they should not patronize that awful place because it has such a terrible reputation in terms of how they treat their employees.

[quote] where local lefties might have ate it up.

Oh, dear.

Aww, Maryann...

Ben is only meh in Parade. Maybe J Harrison?

Saw FAT HAM. Liked the first half but boy does it go downhill in the last half hour. The author had no idea how to end it. Some of the acting is so broad I felt like I was watching a Black version of MAMA'S FAMILY.

The audience, of course, ate it up.

Josh Groban is not winning a Tony. It's either Platt or Harrison.

R186 - has it changed much since it was at The Public? I loved it there. I knew zero about it going in. Was a last minute ticket when I was visiting NY and a concert I was going to got cancelled. This is all subjective, but I didn't find any of the performances overly broad at The Public. Some of them were certainly quite... heightened, but I thought the actors backed up those heightened emotions or comedy with some genuine gravitas that it all worked for me.

Yes, the ending kind of springs out of nowhere, but I found it so funny and joyful and unexpected that I didn't mind it at all.

Remind us, what is the gay content in Fat Ham?

Just saw “Good Night, Oscar” first preview: Sean deserves Tony

Those with a curious open mind have experienced this ancient musical on stage and on screen for almost 80 years.

Aww, good.

Camelot is a Camel Toe!

R181 Well, you're the long boring part of Thread #521 Part B so I guess we'll all just have to endure how awful and boring both Perestroika and you are.

What are you talking about, R194? He's posted there once.

Yay! I sold my ticket to Camelot. I’m so glad I’m missing good show, as I know it will piss me off.

Also, the tour of Into the Woods is the best production of the show I’ve ever seen. Didn’t see the Broadway revival. Loved Milky White and the whole cast.

[Quote] Ben Platt could win 6 Tonys, he's still not going to sell out concert venues or get cast in quality films.

How many tiles are there for a sniveling boy – child with a good voice who can snot on command?

I’ve never seen a production of Oklahoma where Jud is played by Laurie. How do they handel costume changes. Is it a male actor or a female actor playing the role? Interesting concept.

The only thing I care about is the fact that the actor in Opie’s photo is very good looking. Does this good looking after ever get naked during the play?

I used Siri to dictate my sentences that’s why they’re all fucked up.

Shallow Siri then?

R181, that’s just factually untrue. Prior Walter’s ancestors appear in Act 3 of Part 1. If you are going to hate on a play, at least don’t blame it for a scene from another play.

Really curious if we'll get performances from vets after the last Phantom show...

We finally solved a decades-long mystery, R173 is this woman’s husband.

[quote]Sean deserves Tony

Tony Goldwyn?

Interesting contrast this year - the play acting awards seem very set while the musical acting awards are as hotly contested as the Wicked year

[quote]I used Siri to dictate my sentences that’s why they’re all fucked up.

Well, please STOP doing that IMMEDIATELY, for Christ's sake.

Siri gives less percent effort than Sara Porkalob.

I kind of love someone decrying the idiocy of a production where he describes scenes out of his own fantasy and cannot remember how the second act began.

The revival of Into the Woods is my absolute favorite production of a show I saw in its original incarnation. I saw the original Sweeney Todd too, perhaps the greatest show I ever experienced, but this revival is only just soso. I also saw Parade, but since I disliked it, I haven't seen the revival. I'd give the Tony to Into the Woods, but I doubt it will get it. I think it will go to Sweeney.

I've seen this new Camelot, and it deserves nothing.

R210, did you think the revival of Into the Woods surpassed the original? I thought it was the closest to matching the original cast, but I couldn’t say any individual was better than the original. Compared to the impeccable physical production in the original, the revival just seemed adequate. I wonder if the revival benefited because the audience welcomed familiar script and score. 1987 was a tough crowd for this show.

Thanks, r184. Plunkett was excellent. For some reason, I thought that Peters and Patinkin left the show at. the sane time. Or was this a clip of Plunkett as understudy?

[Quote] Just saw “Good Night, Oscar” first preview: Sean deserves Tony

Glad to hear. Whenever I’ve seen Sean Hayes on stage, he’s fantastic

R211, I do think the revival of Into the Woods (which I initially saw at City Center Encores!) did match the original, and in many ways surpassed it. But one way it did not match the original was the physical production. And yet, the much simpler set of the revival relied solely on the actors to "tell" the story, and they did not disappoint. Hard to imagine anyone could match Joanna Gleason, but I thought Sara Bareilles was just great! So surprising, funny, and she sang it very well.

I really loved Neil Patrick Harris as the Baker, so much better than Chip Zien.

In fact, I'd say this revival made me love the show, as one of Sondheim's best. Originally, I thought it was a medium effort of Sondheim.

Laura Benanti has miscarriage while performing in front of 2,000 people.

Top that, bitches!

Mandy returned to Sunday for two months after Harry Groener's departure. This was the period when they filmed the show..

I really love Laura Benanti--and sympathize deeply with her about this and her past health issues.

But this really may be oversharing. I wish she'd filter more, for her own sake.

Agreed. There was no reason for her to tell that story other than a little publicity. She claims it was for people who are going through the same thing. Ummm, miscarriages have been happening since the beginning of mankind and they are very common, and not derided or misunderstood. Nothing about you telling this story sheds any light on the experience.

Thanks, r216. I. thought I saw Peters' and Patinkins' "last performance." Guess it was their last together. He was sobbing at the end, which at the time was quite affecting.

R190 Orlando or Danza?

Sean deserves Tony Randall.

I saw Into the Woods at Encores and then again on Broadway with the last cast. I actually was really impressed with Stephanie J Block, but I missed Heather Headley. I think the Encores experience was the better of the two…but I think the revival in any incarnation deserves the Tony.

After seeing the video clips of Stephanie Block, where she acted up a storm, I was surprised to see her performance in person. It was clever, inventive, and relatable. In theater especially, a video does not always capture convey what happens in front of an audience.

Patinkin left before Peters. I was in the audience for her last performance and by that time, Westenberg was playing George. And he played it beautifully.

How was his barking?

Will Lear be winning the Tony for Best Director of a Musical? Who will be her toughest competition?

Laura Benanti craves attention now that her ex Stephen Pasquale's beautiful young wife is having the Broadway career she craved.

I think Michael Arden will take it for Parade if they decide not to go with Maria Friedman after she declared she finally fixed Merrily.

Isn’t Merrily opening too late for the Tony awards this season?

Oh, you're right. Sorry.

R2227, Philippa Soo is one of my favorite performers, but she has not eclipsed Benanti. She hasn’t show Benanti’s comic inventiveness or fearlessness, her voice is not as strong, and she only has Tony nominations so far. And she doesn’t have anything near an equivalent resume. That said, her singing is SO much less affected. It’s strange that Benanti insists on singing in a way that undercuts her intelligent acting choices.

^ Must agree with all of the above.

And it sounds like R227 hasn't seen CAMELOT at LCT yet. Ouch.

(To be fair, Phillipa is the best thing in it, IMHO.)

Benanti should do more comedy, especially funny musical roles. She was a hoot in "Women on the Verge of a Nervous Breakdown" and as Melania on Stephen Colbert's show. Her Amalia in "She Loves Me" and Eliza in "My Fair Lady" were very good, though something was lacking from them in terms of her acting choices. But over the top comedy suits her, the zanier the better.

I find Phillipa Soo unbelievably bland. Not quite Kellie O'Hara bland (Is anyone, though?) but she really makes no impression whatsoever. Amelie was a horrible show on its own, but she sure did it no favors by playing the lead.

Benanti is 100x more talented and watchable.

Why do you think Pasquale and Benanti divorced?

Benanti will always be my favorite Cinderella in Into the Woods and Louise in Gypsy. Those performances took me by surprise as I've usually found those roles rather thankless, but she brought lots of nuance and humor to them. My favorite was how you could see the moment her Louise clicked with an audience when she gets her first unintentional laugh during her first strip and you see it register in her eyes that her sense of humor is her gimmick and she starts to relax a bit. It was a beautiful moment.

She's excellent at comedy, but everyone's right when they say her voice is a little too polished and classical. She has the comedy chops of a traditional "broad", but then she starts to sing and it's like a prim church lady or one of those overdone theatre students.

Is Benanti talented enough to be a Mame?

[quote] Not quite Kelli O'Hara bland (Is anyone, though?)

Ahem!

Laura B played poor lovelorn Amalia like she was an efficient private secretary at an insurance company in the Seagram's Building, c. 1960.

Individual viewers respond to very different channels when watching a performer. I used to think O’Hara and Rebecca Luker were bland until I saw them live. In person, I couldn’t take my eyes off of them because of their warmth and intelligence.

Some want distinctive vocal stylings and, when they don’t hear that, they judge the performer harshly. Kelli O’Hara is never going to please these people. Others want authenticity and connection or distinctive characterizations or emotional fireworks. Before you dismiss performers who are respected, it’s good to consider what others are seeing that you may be missing.

I loved Laura as Amalia Balshat in She Loves Me. BTW, I have miscarried many times while on stage. The most memorable was when I was playing “Sue” in Nanette at the Oakridge Dinner theatre in the ‘90’s. Right as the “Happy” tap dance started, there it went.

Sounds slippery r241.

Was some doctor there on stage? I've been watching too many calves and other being delivered in graphic detail by "The Incredible Dr. Pol" as part of my pandemic tv watching, so my imagination took off when I heard Ms. Benanti's news.

Don't get Soo, either. Especially in CAMELOT. Although the script and director don't give her much help.

I preferred Judy Kuhn as Amalia (and that production in general).

Benanti's performance in the Ascot scene in MY FAIR LADY was one of the funniest and most charming I have ever scene in more than 50 years of theatergoing. She absolutely had the audience in the palm of her hand. That scene is pretty much surefire anyway, but she brought it to a whole different level.

Benanti also had a fantastic moment in the opening scene. While Higgins blathered on about dialects, she spotted an opportunity and got very interested. Eliza’s agency is written in the script, and Lauren Ambrose probably did the same thing, but it really worked with Laura.

Benanti completely ruined She Loves Me by not understanding what the character is. She's more interested in getting laughs than investing in a character. (Other casting helped to ruin the show, but she was the worst.)

I hope you're not besmirching the beautiful Boyd Gaines.

[quote] Kelli O’Hara is never going to please these people. Others want authenticity and connection or distinctive characterizations or emotional fireworks. Before you dismiss performers who are respected, it’s good to consider what others are seeing that you may be missing.

I've never understood the Kelli-bashing, r240. I am a kind of an accidental fan of hers, having seen her hundreds of times in almost everything she has done on Broadway. When others say that she's bland, unfunny, and has no sense of timing, I always think of this clip I've included. I believe that she often deliberately underplays - sometimes to a fault - so I suppose I can understand why others don't "get" her.

[quote]I really love Laura Benanti--and sympathize deeply with her about this and her past health issues. But this really may be oversharing. I wish she'd filter more, for her own sake.

My thoughts exactly, r217. The NY Times headline "Laura Benanti Describes Performing Concert Through a Miscarriage" did her no favors, leading to the kinds of unfortunate visuals that r243 went through.

What were they thinking?

Miscarriage?

I've had more babies yanked outta me than a burning orphanage!

R218, thank you for letting us know you don't have the slightest awareness of the world around you.

At a time when pregnancies are being criminalized in many states and women are being forced to carry nonviable pregnancies that risk women's lives and health, it's pretty clear a lot of people don't understand what miscarriages are. So yeah, they very much are derided and misunderstood.

And presuming you're a gay man since you're on this site, it seems likely that a woman who's had multiple miscarriages might have a better idea of why women who've had the same experience would be comforted hearing others share their experience than you do.

I'd say the Tony for best director of A musical is a toss-up between Jessica Stone and Michael Arden.

So I guess it's a pissing contest.

[quote]Benanti completely ruined She Loves Me by not understanding what the character is. She's more interested in getting laughs than investing in a character. (Other casting helped to ruin the show, but she was the worst.)

I think there's a lot of truth to that, but I mostly blame the director of SHE LOVES ME, who is not known as one of our better directors. In MY FAIR LADY, Benanti was very much playing the character even as she brilliantly managed to nail all of the laughs in the show.

We all have such different expectations. I was thrilled for Benanti when she landed her dream role in My Fair Lady, but was surprised at how cool I was to her performance. Perhaps the dreadful attempt at Eliza's accent(s) took me out of everything, but I recall her performance feeling far too contemporary (and I'm not referring to any of the director's choices, like her through-the-audience exit), I just mean the look/feel of Laura's performance -- her carriage, her intonation etc. When I saw the show, the understudy for Higgins was on and he was WONDERFUL. It was his show that night.

Whereas, perhaps because I'd never seen a production and didn't have expectations for it, I was utterly charmed by her (and the whole cast) in She Loves Me.

Extremely well put, r252.

[Quote] She claims it was for people who are going through the same thing.

Everything that every actor ever does is for attention.

After Running Longer Than Any Broadway Show, Starlite Deli Faces Final Curtain in Times Square:

SHUCKED! -- now at $10 higher per ticket!

How many miscarriages have you had, r258?

Poor Boyd and Malcolm.

Even Benanti can’t bring a boring Gueneviere to life

Boring (which Guinevere is not...capricious, impulsive and strong-willed, yes, but never boring) would be preferable to the cold and unsympathetic "progressive" scold of the current production.

Laura Benanti is really good in that Amy Schumer show where she plays the mother.

I think she is shocked she never crossed over into television/film stardom. I think she sees herself in the same league as Idina and Audra, but unfortunately she’s in the same world as Kelli O’Hara.

But isn't it strange that Laura is actually the most photogenic of all those Broadway gals? Certainly more than pretty enough for TV.

I had the same issue with her Amalia, though, she just seemed to contemporary and rather invulnerable. She might have been a great Lili/Kate in Kiss Me Kate and Kelli would have been a better Amalia. But then that's typical Roundabout fuckery for you.

[quote] Laura Benanti is really good in that Amy Schumer show where she plays the mother.

I think you’re referring to Life With Beth, the same show where Jonathan Groff plays a personal trainer who demands Amy take her Plan B pill in front of him so he can make sure she’s not trying to get pregnant.

R259 this prompted me to think of Hello Deli, and turns out was an article today (sorry, it's the NYP) on Rupert Jee announcing he's selling it.

I thought she was pretty good in Supergirl

Rupert! I've missed him so. Thanks, R268.

[quote] At a time when pregnancies are being criminalized in many states and women are being forced to carry nonviable pregnancies that risk women's lives and health, it's pretty clear a lot of people don't understand what miscarriages are. So yeah, they very much are derided and misunderstood.

Do us a favor, frau. Don't try to score points by bringing in abortion, which has fuck all to do with the topic.

I think Laura is (or can be) a fantastic comedic actress. She's had two really wonderful roles on shortlived sitcoms which should have run longer, Starved and Go On. I thought Go On would have brought her a lot more work, even though it only lasted a season. She really held her own with Matthew Perry and showed she had the chops to be a major tv player, but it just didn't happen.

The recent production of She Loves Me was a disaster from the ground up. Other than Zachary Levi, it was completely miscast, and it was totally mis-directed. Like Eric Schaeffer mis-directed. Gavin Creel was especially horrible and totally out of his element (if he even has an element). So don't blame Laura for that one.

What's the best thing on Broadway right now? Thinking of visiting NY this month and can't get a sense of what I'd enjoy best....

Sweeney Todd has Groban and AA (who I both enjoy) but it sounds like the acting sucks and the set is nothing special.

I like Little Shop of Horrors but the current Audrey seems to be no big shakes, so I'm feeling like I could skip it and miss nothing (does she have a good alternate who isn't an Apatow but can really belt it out?)

Parade is rarely revived and a classic (right?) so I feel like I should check that out but the sets are apparently bad...?

Camelot had all the interesting stuff sucked out of it, apparently, and is just boring so...pass.

Funny Girl has a lousy set and I don't care about the show really so...pass.

Bad Cinderella....is a no.

Phantom's closing....seen it, and Wicked, and Lion King, and Aladdin...

What does that leave?

Is there anything opening or off-Broadway that maybe I haven't heard of that's good in all departments: score, sets, costumes, cast and direction?

Thanks!

^ It also seems like New York, New York is completely skippable and so is Some Like It Hot...so I completely forget to even list them.

I think you answered your own question.

Why, Shucked, of course!

I was puzzled by She Loves Me, because it had such a reputation as a crowd-pleaser and yet....watching the proshot, I cared more about that beautiful set than I did the characters. Shazam was alright, I guess, but Benanti did nothing for me, especially her big "ice cream!" number, which left me scratching my head over how it could have been billed as such a wow moment.

I love Jane Krakowski a ton, but she too felt...out of place? I don't care about ages (it's theatre, ages can be faked) but she still seemed too...old to be playing the dumb shopmaid (sorry Jane!) Am I alone there? And Gavid is great too, but he was just sort of...trying to do something and off to the side with it.

What made the original show work? What were the elements between the actors/characters that made it click?

And why is it these days so few *good* productions get filmed and broadcast? Anything Goes in the UK? Great, good choice. But She Loves Me? Why? And no Hello Dolly? Seriously?!

r275 Oh gosh, I hope not! I'd like to see something still. Is there anything anyone could recommend? Off-Broadway is fine, I just want a good score/sets/story/cast. Maybe I'm forgetting something.

Shucked sounds...hokey as hell. The trans gal from Glee sounded okay in the video of their number I watched online, but...I don't go to Broadway for cornfield type shows. I probably wouldn't even go see a popular production of Oklahoma because cowboys and haybales do not make me want to spend $$$ on tickets.

"In the same league as Idina and Audra"...and Sutton: seven time Tony nominee and two time winner, lead in two series (and one ran for four seasons)

R273: out of those options, personally I'd choose Parade. Or perhaps Goodnight, Oscar.

Your mileage may vary.

Not going to see Parade because of the set is missing the point.

Didn't Scott Ellis direct both the earlier great revival and the later completely awful revival of She Loves Me? So how does blaming the director work?

I I bet your mother wishes she had one, r261.

I would also recommend seeing PARADE out of all those options. And, personally, I thought the set worked perfectly for the production (just don't sit too close as most of the action is on a raised platform - front mezzanine is really best). It's not a perfect show but almost more interesting for its flaws than some better written newer shows.

[quote]Not going to see Parade because of the set is missing the point.

Yes, and anyway, I think the physical production of PARADE is excellent, The use of many projections of the actual historical figures, places, etc. adds a lot, and all of that is woven into the story very well. As for SWEENEY TODD, the set it simple but it does the job perfectly, and of course it includes the pieces that everyone wants to see -- the catwalk, the trick chair, the body disposal unit. Also the grave, and I won't say any more about that.

[quote]Didn't Scott Ellis direct both the earlier great revival and the later completely awful revival of She Loves Me? So how does blaming the director work?

Because some of us didn't love the earlier production either, even though I think most everyone would agree it was certainly much better than the recent one. Also, news flash: Scott Ellis can be VERY inconsistent in terms of the quality of his direction. For example, many people felt his TAKE ME OUT was by far the best work he's ever done.

R277, It was missing me.

Looks-wise, in my opinion, Laure Benanti and Kelli O'Hara are pretty much on par. Both beautiful women.

I was not very interested in PARADE, to be honest. But, now that I have seen everything new, I can say that PARADE is the best musical out there. An incredible cast, a great score and a perfect production.

no one has mention Kim Akim. Has it fallen that fast?

I saw Laura Shoop sub for Benanti in She Loves Me and she was lovely and sang beautifully.

R273 Kimberly Akimbo is the best new musical on Broadway now. Bad Cinderella is the worst. Diana-level worst.

[QUOTE] What's the best thing on Broadway right now? Thinking of visiting NY this month and can't get a sense of what I'd enjoy best....

LEOPOLDSTADT. It’s phenomenal. I saw it back around Halloween and was bowled over by it.

Actually, r273, many of the shows you mention are worthy, despite their flaws. Considering what a nitpicker you are, I hear that Boca Raton is lovely this time of year.

Even without an intermission, Leopoldstadt doesn't drag, either. And I thought Brandon U. gave some amazing performances.

Brandon Uranowitz, David Krumholtz, and Faye Castelow seem like sure-fire nominees for LEOPOLDSTADT come Tony nomination time. However, I would love for them to find room for Arty Froushan as well who I thought really nailed his dual roles in the play.

R282 I wish you well.

Will Brandon Uranowitz finally win the Tony that has long eluded him, or will he be like DL fave Estelle Parsons?

Brandon is so good in the play, especially his final scene which is an unforgettably haunting moment in the theater. His would be a well-deserved win.

[quote]no one has mention Kim Akim. Has it fallen that fast?

Is that the play at the Boo, r288?

[quote]LEOPOLDSTADT. It’s phenomenal.

Agree. If you haven't seen it, don't miss it.

But don't drink a lot of water before you go.

Do we shock you?

Apple is really working hard to get anyone to watch Schmigadoon.

Schmigaddoon, not funny-not a tenth as clever as any dinner party Ive been to in the past 10 years

The only good thing about Schmigadoon is the orchestrations

Where is James Snyder? I still want him to fuck me.

What kind of cruel parent would name their child Aynrand Ferrer?

r 292 - Ha! Guilty as charged. I am very picky, mostly because I don't like to spend a fortune in NY on shows that I'll forget about easily.

I completely forgot about Hadestown, which I was curious about, and Kimberly Akimbo too, thanks for the reminders.

I recently saw Hadestown, because I had never seen it before and figured why not. I was surprised as how few audience members knew the source material. When Orpheus turned around too soon, there were GASPS!, followed by audible sobbing. It was a total MARY! moment and actually rather endearing. Now, if they had sung along, that would be a different story.

Jennifer Garner could NOT stop smiling when working with Victor Garber!

What’s Victor’s secret?

Garber and Garner were wonderful as father and daughter on “Alias” with Lena Olin playing Garner’s mother. Lena made a GREAT villain on the show. Isabella Rossellini and Sonia Braga played Lena’s sisters at one point!

Totally don't get the Schmigadoon love that it gets from so many, including some of my show queen friends. I thought the new song lyrics would bring some of the sting from Forbidden Broadway, but the parodies are feeble.

R309, Victor officiated at Jennifer’s wedding to Ben Affleck.

Lena Olin did a modified version of her Irina Derevko character from “Alias” playing 1970s-era Eva Braun in “Hunters.”

[quote]Totally don't get the Schmigadoon love that it gets from so many, including some of my show queen friends. I thought the new song lyrics would bring some of the sting from Forbidden Broadway, but the parodies are feeble.

They need to land with a wider audience than show queens, r310, so they aren't going to be Sondheim level.

[Quote] Jennifer Garner could NOT stop smiling when working with Victor Garber!

She kept looking at his giant, ears

What's with the comma?

Is there a poster named ears?

Daddy makes me smile every time I see him, too!

Tony nominations are in 3 weeks. What Do we think girls??

Will Into the Woods be remembered as the triumph it was….or will it be overshadowed by the Sweeney Todd?

Will Kimberly get Shucked?

Some like it Hot? New York, New York

Some Like It Tepid

Bad Cinderella will surely win for Best Manscaping.

[quote]Victor officiated at Jennifer’s wedding to Ben Affleck.

And how'd that work out for her? Still smiling?

I am an only child - girl - and in 1979 the summer I turned 14 my dad changed jobs and we moved from Los Angeles to a suburb of Boston. It was July and school didn’t start until September - I didn’t know anyone - it was like being on a desert island - so lonely and isolated. A bunch of our stuff was delayed in a 2nd moving van so my mom took me out to get a record player. Since I had a million Broadway and movie albums on the way - I picked one I didn’t have and wasn’t familiar with. Camelot….. Turning 14 - being alone all summer I played it over and over and over - to my child/ woman self it was SO romantic - I could picture all of it - and Robert Goulet! And I LOVED the song Guenevere “Even the King himself is hoping that he’ll return!” more than - yikes - 40 years later if you stopped me at the super market I could flawlessly sing all 4 parts of Take Me To The Fair….. I have a feeling that I would not like this production.

[quote]I have a feeling that I would not like this production.

But you certainly do enjoy your hyphens.

R305, I did a double-take when skimming the thread and seeing your comment. I had to click through to confirm you meant what I thought you meant, and... wow

It's shorter than Jacquelinesusann, r324.

Robert Goulet! Robert Goulet! My God, Robert Goulet!

Original Camelot was written for Julie Andrews and even after 60 years I cannot see anyone else performing her role.

Isn't the correct DL spelling now "Jennyvere"?

Saw Shucked last night. I didn't get it. There were a few solid laughs, but it was mostly relentless and eventually tedious. Music instantly forgettable --nashville soundbits. While Alex Newell was wailing a very average song, I kept thinking of Martin Short's "the big fat black woman comes out to save your show." It's certainly not terrible like "Almost Famous" but I don't know who they think the audience is for this. The tourists want to see a hit Broadway show, not a Branson wannabe.

Ugh, r329. Every time I think of going to this show, I remember the hours I have spent at terrible musicals with similar buzz from fans. I keep hoping for Urinetown or Book of Mormon or Dirty Rotten Scoundrels. But then I remember Some Like It Hot, Honeymoon in Vegas, Something Rotten, and Tootsie. Painful.

R330, I'm not r329, and didn't dislike it as much as they did, but unless you get a comp or rush ticket, it's not worth the money. It's a passable way to spend the time, but there are certainly better.

R330 just forget about the boy....I mean, musical.

R331 "a passable way to spend the time, but there are certainly better."

That will be my epitaph.

My epitaph will be:

Doris LaChat will have to do as Stella

Every time one of the Millie clips shows up on these threads I have a look and I always think wtf is that?

WTF is that? The work of the the still-great Michael Mayer, of course!

with no magic, how does camelot now explain the whole Sword In The Stone as the way arthur becomes king?

Supreme executive power now descends from a mandate from the masses, not some farcical aquatic ceremony.

Thoroughly Modern Millie was one of the last “Golden Age” musicals on Broadway, complete with traditional score, belting leading lady, tap dance, and racist, Asian stereotypes.

R339, And my first Tony.

r337, the new version has Guenevere casting doubt that the feat was magical. Arthur says something like, "I was the 10,000th man to try to pull out the stone," to which she says (again paraphrasing), "That just mean that 9,999 men loosened it for you." Lame.

I prefer Dennis's explanation r341.

I'm bored with Bart Scher's floors

R341 The new Camelot sounds woke.

Someone also said that Guinevere now scolds Arthur for using the phrase 'simple folk.'

🙄

[quote]Thoroughly Modern Millie was one of the last “Golden Age” musicals on Broadway, complete with traditional score, belting leading lady, tap dance, and racist, Asian stereotypes.

Until "The Drowsy Chaperone." But of course that was an homage to those musicals, I guess.

Those big dance numbers always bring Mama the gold!

Cindy Adams says “Cabaret is returning” ??

Cabaret says "Cindy is still living" ??

[quote] Cindy Adams says “Cabaret is returning” ??

Is it that new British version with Eddie Redmayne and Jessie Buckley?

[quote]Cindy Adams says “Cabaret is returning” ??

Each production tries to outdo the previous ones in hip, edgy Weimar sleaziness. Terrified to think about how they "push boundaries" with this one. Slings? Fist fucking? Nazis in MAGA hats?

[quote]Each production tries to outdo the previous ones in hip, edgy Weimar sleaziness. Terrified to think about how they "push boundaries" with this one. Slings? Fist fucking?

Fist fucking was already done in the Mendes production, r390.

^oops! Sorry, future r 390!

[quote]Each production tries to outdo the previous ones in hip, edgy Weimar sleaziness. Terrified to think about how they "push boundaries" with this one. Slings? Fist fucking?

Fist fucking was already done in the Mendes production, [R350].

This new version of 'Cabaret' will be presented as if it were being staged by actual Nazis.

Or as if it were being staged FOR actual Nazis in a concentration camp.

Cindy Adams is full of shit. She hasn't the connections anymore to report anything groundbreaking. She's half-embalmed already.

Incidentally, when I was a teenager in '90s, I spent 9 months in a children's unit of a psychiatric hospital after a suicide attempt.

That summer we put on a makeshift production of MAME in the rec room for our parents/families. 😅

We actually lip-synched to the cast recording whenever it was time to burst into song. 😂

I was cast in three roles (Babcock, Bouregard, Adult Patrick) and kept messing up my lines 'cause I got confused which lines were whose. 🤣

They actually recorded it, for some reason, so it must exist somewhere. I kind of want to watch it again, but at the same time, I cringe at the thought. 😆

Oh, BROTHER!

[quote] Incidentally, when I was a teenager in '90s, I spent 9 months in a children's unit of a psychiatric hospital after a suicide attempt.

Wow, that's a super long time to keep someone locked up after a suicide attempt. Why so long?

R357 is that what is called campaigning for a Tony?

Watch U.K.'s Complete Big Night of Musicals, Featuring Casts of Hamilton, Six, Newsies, Wicked, More

Yeah, he wants that second Tony.

R356. Sounds more entertaining than Shucked and SLIH combined.

I still think J. Harrison Ghee is going to steal the Tony from Platt and Groban.

"Next I read The Diary of Ann Frank for the first time. Wow! A total revelation, and it made me even more aware of my Jewish heritage than ever before."

R365 It's spelled 'Anne Frank.'

No, it's spelled AnnE Frank!

If only Otto hadn't gotten that drum set for Anne.

Unwisely cut from Act 2

[quote]Josh Gorban cannot act (or at least not very well) and misses almost the menace that Len Cariou brought to the role. I listed to Cariou's "Epiphany" recording this morning, and it has all the passion that Groban lacks. Groban's voice is better than Cariou's but I'd rather have a singing actor. There are also a few warm moments for Groban's Sweeney, which seemed oddly out of character.

Maybe he can act but he's not acting like Len Cariou. He's bringing a different interpretation to it but that is a sin in the Sondheimite world. Only the original is acceptable! NO ONE can sing "Losing My Mind" better than Dorothy Collins!

[quote]NO ONE can sing "Losing My Mind" better than Dorothy Collins!

Well, they can't, r370.

[quote]I still think J. Harrison Ghee is going to steal the Tony from Platt and Groban.

If that happens, it will be undeserved and he will have won for woke/political reasons.

Not necessarily, r372. It could be a Bette/Gloria/Judy situation.

Yes, I was thinking more of a split vote kind of thing.

Is it possible to have cameltoe of the mouth because Ben Platt has that!

I also love the OBC of Camelot.

But My Fair Lady is still my favorite Leopold & Loeb musical.

[quote]Yes, I was thinking more of a split vote kind of thing.

Sure, that's possible. But if the award winds up going to Ghee for whatever reason, it will be undeserved in my opinion. With the possible exception of Kevin Del Aguila's performance, I don't think any aspect of SLIH deserves a Tony nomination, let alone an award.

R335 oh come on, Millie was a fun show. What's your beef?

For the record, I adored Bernadette's Losing My Mind. She was devastating up there. I felt it. Great interpretation.

Hey, I both Lillias White and Jennifer Holiday gave great performances as Effie. Sometimes we can accept a variety of interpretations. It's not always "first is best".

The real question is: does Groban's interpretation work in the context of this new version of the show? No one of you have answered that yet....

[quote] Sure, that's possible. But if the award winds up going to Ghee for whatever reason, it will be undeserved in my opinion. With the possible exception of Kevin Del Aguila's performance, I don't think any aspect of SLIH deserves a Tony nomination, let alone an award.

I can't say, not having seen it, but honestly, how many Tonys have been given out the past couple decades that were not deserving? More than were.

....

Well, I wouldn't say that, R379. Examples?

Are you looking at me R379?

I was surprised to learn that Aaron Tveit is back at Moulin Rouge right now.

I can't think of a single Tony Winner who won, and then returned to the role after a not-that-long absence. Was there any fanfare for this return? Is his presence boosting much-needed sales, or is the show doing just fine?

...I'm more used to people using a Tony win to transition to "bigger and better" things. Doesn't this give the impression (in the political land of showbiz) that he's "crawled back" because he can't find anything better?

Why DID he win in the first place, anyway? Is there anything special about the character in the stage show (haven't seen it) compared to the movie?

Ewan was great in the film, but he just had to be woobie and carry a tune and that's about it.

Oh for god's sakes, R381, really? Fine, here are but a handful.

Aaron Tveit for Moulin Rouge

Santino Fontana for Tootsie

Ali Stroker for Oklahoma

Robert Horn for Tootsie

Tony Shalhoub for The Band's Visit

Ariel Sta'chel for The Band's Visit

Gavin Creel for Hello Dolly

The Humans for Best Play

Audra McDonald in Lady Day (and about 4 others)

Lena Hall for Hedwig

Patina Miller for Pippin

Gabriel Ebert for Matilda

Newsies for Best Score

Sutton Foster for Anything Goes

Nikki James for Mormon

Scarlet Johanssen for View from the Bridge

Karen Olivo for WSS (she still can't dance, peoples)

Marissa Jaret Winokur for Hairspray

Christine Ebersole for 42nd Street

Cady Huffman for The Producers

MEMPHIS for ANYTHING

There are several others (such as David Hyde Pierce for Curtains. etc.) that I'm not going to list as there are so many people who will dispute it because the actor is beloved and it will be called a career award. If you go back even further you'll find more examples (and dozens more if you just go by nominations alone), but you can't say that the Tonys are given out primarily on merit.

The only thing you have managed to demonstrate r385, is that the Tony Awards (like all other entertainment awards) are meaningless and irrelevant.

Well, sure. I didn't say they weren't. But the question put before me was to show examples of undeserved Tony Awards.

I think your examples prove your point, r387.

[quote]Unwisely cut from Act 2

That was my favorite part in the real story. 😂

I just got an email from Theatre Row touting an "All Star Cast" in their revival of God of Carnage. Those stars...

David Burtka

Carey Cox

Gabe Fazio

Christianne Noll

R385, Phyllis Newman for Subways are for Sleeping.

All stars in their own minds, perhaps?

I think if J. Harrison Ghee is nominated, he'll win. He was by far the best performance in SLIH -- if only because he underplayed while everyone else was PLAYING!!!!

Listening to Groban on Fresh Air. The recorded pre-show speech voice is Judith Light

[quote]Cabaret says "Cindy is still living" ??

Cindy was probably watching "Schmigadoon/Schmicago" and got confused.

[quote]But My Fair Lady is still my favorite Leopold & Loeb musical.

Do you have a favorite Sacco & Vanzetti musical?

r385, did you happen to see Phyllis Newman in Subways? I did, and her "I Was a Shoo-in" totally stopped the show. 60 years ago, and I've never forgotten it. That Tony award was well deserved.

Phyllis Newman will have to do...

[quote] [R385], did you happen to see Phyllis Newman in Subways? I did, and her "I Was a Shoo-in" totally stopped the show. 60 years ago, and I've never forgotten it. That Tony award was well deserved.

No, I wasn't alive at the time. But I also didn't list it.

I think you're confusing me with R391 who was making a joke.

There is no bigger Sondheimite than me, and I thought Groban was more than fine in ST. I've never held Cariou as the only perfect Todd.

Can someone tell me why the Shucked producers keep trying to sell this idea of an "unusual route" to Broadway? My understanding is they had some readings, went out of town (Dallas), re-wrote, went out of town again (Utah) and then came in. Why is this unusual?

Perhaps they consider casting Alex Moowel as Lulu the unusual part.

uufda

How does Alice Newton do in Shucked? Over the top like they were in OOTI?

Elaine Paige was a very fine and loud Mrs. Lovett over at the late NY City Opera some years ago, but she was playing opposite an opera singer who couldn't really act.

[quote]I was surprised to learn that Aaron Tveit is back at Moulin Rouge right now.

Actually, he was back, but I believe the last performance of his return engagement was this past weekend, I'm not sure which day.

Thanks for the list, R385, but no need to be so exasperated. I do disagree with some of the Tony Awards you consider to have been "undeserved," though FWIW, I would agree with maybe as much as half of the list :-)

Tveit desperately needs the paycheck.

Having now seen every contender, Kimberly Akimbo is still the clear frontrunner for Best Musical. It will easily beat Almost Famous, & Juliet, KPOP, A Beautiful Noise, Shucked, and Bad Cinderella. Some Like It Hot and New York, New York have similar strengths and will probably end up splitting the vote for anyone who wants an "old-fashioned" musical instead of Kimberly Akimbo, but neither is as good of a show or without its own obvious flaws.

Kimberly Akimbo might slip on nominations for design, but I have a feeling there will be multiple performers nominated for the excellent work they're doing at the Booth. If there is an upset and another show takes home the prize, it would be another casualty in the committee's seeming vendetta against David Stone, who lost the Best Musical award for Next to Normal, Spelling Bee, and Wicked.

Agree R410. And Leopoldstadt for Best Play, not sure what else will get nominated but at this point what else might win?

Best Revival in both the Play and Musical categories are where surprises are more likely.

[quote] I was surprised to learn that Aaron Tveit is back at Moulin Rouge right now.I can't think of a single Tony Winner who won, and then returned to the role after a not-that-long absence. Was there any fanfare for this return? Is his presence boosting much-needed sales, or is the show doing just fine?

Bebe Neuwirth? She came back a couple of times and even came back Velma but also returned as Roxie and Mama Morton

There are rabid (and deluded) fans of FAT HAM who insist it will steal the Best Play Tony from LEOPOLDSTADT. Singapore/Fling, for example.

R412, Both Nathan and Matthew returned to The Producers.

R402, Dallas and Utah are not exactly Boston and Philadelphia…

I didn’t know Lens Dunham was ever in Little Shop of Horrors. Nobody told me!

FAT HAM can't hold a candle to Leopoldstadt. The play is a mess. I wouldn't rule out competition from Prima Facie or Dear Oscar, though.

[quote][R402], Dallas and Utah are not exactly Boston and Philadelphia…

This made me think of Do Black Patent Shoes Really Reflect Up? Success in Chicago and Philadelphia, closed the week it opened on Broadway.

R396 probably KELLY.

I thought Matthew Lombardo wrote Dear Oscar.

Celeste Holm returned to close Oklahoma.

Donna McKechnie went back into A Chorus Line, 10 years after she had opened it.

"Do Black Patent Leather..." ran for years in Chicago.

[quote] "Do Black Patent Leather..." ran for years in Chicago.

Yes, r423. That's why I said "Success in Chicago"

[quote] I wouldn't rule out competition from Prima Facie or Dear Oscar, though.

[quote] I thought Matthew Lombardo wrote Dear Oscar.

I want whatever r417 and r420 are smoking. Dear Oscar was about Oscar Wilde. Good Night, Oscar is about Oscar Levant, and Matthew Lombardo mostly writes for/about ancient actresses, then sues the actresses that portray them when they contract cancer.

HIGH ran only a few days longer that Black Patent Shoes...

Oh, it was Doug Wright, my mistake. I remembered there being a lawsuit being threatened over it a while back, so naturally when I think of playwrights and lawsuits, my mind first goes to Matthew Lombardo!

Thanks, and fair enough, r425! I have never understood where/how Lombardo gets his backing. He is a dreadful writer and an awful person. He lucked out with Tea at Five, about Katherine Hepburn, portrayed by Kate Mulgrew.

HIGH was hideous, a true embarrassment for Kathleen Turner...but yes, Lombardo's nadir was suing Valerie Harper, who was quite remarkable as Tallulah Bankhead in Lombardo's Looped.

There's so few new scores this year. I'm assuming that Almost Famous and KPOP have been forgotten. That just leaves Kimberly Akimbo, Some Like It Hot, Bad Cinderella and Shucked.

Bad Cinderella won't necessarily get nominated over a closed show. They may nominate Almost Famous just to round out the category.

Would New York New York be eligible even with a partially new score? And are there any scores for plays?

Ellen Greene returned to Little Shop of Horrors

Yeah, for next 30 years.

Remember several years ago, there was an Australian tv show called The Slap? And then American tv remade it?

It should be a Broadway musical. The Slap: A New Broadway Musical

Maybe it could be like Drood and the audience could vote whether the kid deserved the slap or not.

[quote]Oh, it was Doug Wright, my mistake. I remembered there being a lawsuit being threatened over it a while back, so naturally when I think of playwrights and lawsuits, my mind first goes to Matthew Lombardo!

Only natural, as that's all the POS is famous for.

[quote]I have never understood where/how Lombardo gets his backing. He is a dreadful writer and an awful person.

I don't think anyone understands that, but Lombardo used to be and maybe still is heavily into drugs in addition to being kind of a whore and also something of a grifter. So maybe some of the money somehow came from those activities.

I think we're not discussing Jeff Whitty's magnum opus (at link) nearly enough.

It's a lot to get through, and only occasionally juicy. But still juicy. No one comes off especially well (not even the Go-Gos).

Jeff sounds like a LOT. But I don't doubt him one bit when he's dragging someone like director Michael Mayer. Or his lawyers.

Sutton Foster for Anything Goes was deserved, I'm sorry. I mean, I don't remember who else was nominated in her category that year, so if you're sore someone "more deserving" lost out, okay, fine, maybe.

But Sutton transformed and was terrific as Reno. Sure they built the show around her strengths as a dancer, but she transformed with that part. I was really impressed. Didn't think she could pull off that swagger.

Not the most astonishing transformation, mind you, but still great and in a great production.

Why did Gavin Creel (who is very good generally) and Aaron Tveit (who is overrated) win though?? And in those shows?? I'm a little confused there. I guess there was no competition those years, was that it?

Well, if you're asking about Aaron Tveit, then there literally WAS no competition. He was the only nominee.

Sutton!

Thanks, R435. Amazing how many people forget that, as it was less than two years ago.

R361, I watched that on YouTube and it was dreadful. I wouldn't want to see a single one of those shows. The English performers are not up to Broadway standards. The people singing the solos were universally not very good singers. The host was abominable in his number.

R434, I think that Aaron benefited from being the only nominee in his category that year (a first I believe). It had been widely reported that it was possible for him to lose the award if he didn't get 60% of the vote. My assumption is that no one in the industry wanted to see him be humiliated in that way (the late-night comedians would have had a field day), so the voters came through for him. I think if there had been at least one other actor in the category (particularly Isaac Powell in "West Side Story," who was the only good thing about that production in my opinion), it might have been a different outcome.

[quote] I'm more used to people using a Tony win to transition to "bigger and better" things. Doesn't this give the impression (in the political land of showbiz) that he's "crawled back" because he can't find anything better?

It doesn’t give an impression, it’s the actual truth. With the exception of Schmigadoon, which NO ONE watches, he doesn’t really get any non-musical related film or TV work. And yes, as has been said, his Tony was undeserved and was only given to him because the Broadway community is so small they didn’t want to humiliate him on camera.

R426 - Looped doesn't look like much of a play, but the clips I've seen of Valerie Harper as Tallulah are a total hoot. She seemed to be having a marvelous time playing Tallulah.

Looped is not a very good play. Valerie Harper was the only reason to see it (and a very good reason).

I totally forgot!

To be honest, there haven't been any MUST-SEE productions these last few years. Music Man could have been, but Hugh isn't much of a singer and Sutton wasn't quite right for her role either.

Wish I'd seen Hello Dolly. Honestly thought it would tour more than it did.

Anyone else miss the Megamusicals? At least with Evita/Phantom/Cats/Les Mis, you knew you were getting a big score, big visuals, big performances, something memorable, love it or hate it.

Another Carrie or Spider-Man TOTD would even be appreciated these days, if only to spice things up.

White Girl in Danger panned by the NYT. It needs to be repeated.... Who approved that mess?

R444 All seemed to think it was far too long. But damned with faint praise.

White Girl, you in danger. Not a single good review.

Julie Andrews wouldn't get cast in this today because she's white.

Can we please drop the racist crap, seriously though?

Yeah, we know - there are a lot more people of color on Broadway now, and sometimes in roles that don't seem like a logical fit for a person of color. It is what it is. For generations, they weren't given access to many (any?) leading roles, and now efforts are being made to change that. You find it awkward.

Okay. Got it.

Can we talk about other things now please?

R448 The black shows are also, mostly shit.

[Quote] Well, if you're asking about Aaron Tveit, then there literally WAS no competition. He was the only nominee.

And I found some loophole to leave out the lightning thief boy. Totally corrupt. If it’s a lame year, the eligible perfotmer gets nominated. Isn’t that how it’s supposed to work? It’s not for objectively good — it’s for the best of the year.

[quote]Wow, that's a super long time to keep someone locked up after a suicide attempt. Why so long?

R359 Not to derail the thread, so I'll keep it concise.

To answer your question, I'm not entirely sure.. Granted, I was medicated most of the time, but I think I was deliberately kept in the dark, too. My adoptive parents were going through a bitter divorce at the time. And I've been estranged from them both for years, so I can't ask them now.

What I remember is that I was hospitalized the weekend just before Christmas 1995 and spent six weeks in some youth ward. In February 1996, I was sent to the children's unit of a state hospital, where we put on MAME and where I remained until September. After that, I lived in two separate residential homes for the next three years, until I aged out. Also, I attended an alternative school in that time.

That's pretty much what I recall. This was in Massachusetts, btw.

Shit. ^ Sounds White Oleander-ish.

Very sorry for what you've gone through.

Big hugs for R451

Is "White Girl" a new, new work. Or just something pulled out of the old Reject File and re-worked?

In any case, white Bridge and Tunnel theatergoers and flyover tourists are not going to pony up three-figure prices to be told, at strident and hectoring volume, they are bad people.

A musical version of “The Slap” doesn’t sound anymore preposterous than most of the Branson level garbage that Broadway “creatives” foist on audiences.

[quote] If it’s a lame year, the eligible perfotmer gets nominated. Isn’t that how it’s supposed to work?

No, that's not how it's supposed to work. The Tony committee has the authority to do away with a category completely in a season if they feel that there aren't enough viable nominees. In the case of Tveit, the argument was made that because it was an abbreviated season, and also because (according to them) his work in the show was so deserving of a nomination, they couldn't ignore it.

My question is- why make him go through the 60% rigamarole? Back in 1995, the same thing happened with score and book of a musical (Sunset Boulevard) and the then Tony nominating committee decided to just award those categories to SB because they felt the work was so good, it merited the award even though there were no other viable nominees.

Thank you for your answer R451. My reason for asking was personal, and I appreciate you sharing that.

SHUCKED!

Watch Sutton Foster as the Baker's Wife in Into the Woods, at the Hollywood Bowl in 2019 (clips on YouTube). She's fantastic, at least the 2nd best at that role after Joanna Gleason. And Sutton really made something out of Marian Paroo, despite not having the right singing voice.

Will Beanie get nominated for Fat Ham?

Camelittle.

[quote]Sutton really made something out of Marian Paroo, despite not having the right singing voice.

Yes, she made her angrier and more bitter than usual, with an inappropriately modern sensibility that recalled, of all people, Mary Tyler Moore in her sitcom. ON TOP of the little matter that her singing voice is all wrong for those songs as written.

This has been a pretty good season but yes the sets are so sparse overall or kind of forgettable. I was amazed at the huge, unique sets of some old flops I browsed on YouTube.

Even Dance of the Vampires looks incredible in some ways!

New York New York is a big disappointment in almost every way. Severe sound problems didn't help. Multiple people near me were leaning forward in confusion as mikes cut out or malfunctioned at critical moments.

The reliance on trunk songs didn't work: not bad, but not great. I'm glad I found a big discount for this.

Interesting

[quote] No, that's not how it's supposed to work. The Tony committee has the authority to do away with a category completely in a season if they feel that there aren't enough viable nominees. In the case of Tveit, the argument was made that because it was an abbreviated season, and also because (according to them) his work in the show was so deserving of a nomination, they couldn't ignore it.

But how did they explain leaving out the Lightning Thief guy?

So are Finch and Rosemary lesbians now?

[quote] By the time you get to the dildo slapping and the “Hairspray” parody, followed by the anguished yet hopeful finale, you no longer know what hilarious, despairing, muddle of a planet you’re on.

Oh Michael R Jackson you're so bold

[quote] But how did they explain leaving out the Lightning Thief guy?

I assume they didn't deem his work worthy of a nomination, but because they felt Tveit's was, they went ahead and did what they did. The only difference from the Sunset Boulevard year was that instead of just awarding him the trophy from the get-go, they had this silly 60% thing. However, this may have been a rule that was put into place after the Sunset Boulevard awards, but I don't know that for sure.

might anyone have the non paywall version of the nyt review?

More Tony campaigning?

Most like it cut.

Marry me r471

DL fave Patti LuPone is getting Oscar buzz for Beau is Afraid with Joaquin Pheonix.

Is there a world where she wins an Academy Award before Glenn Close?

Where is said Oscar buzz?

Beau is Afraid ain't winning any Oscars. People are going to finally realize there's no there there with Ari Aster.

In her head. She also gets news from Uranus there.

Good grief?!!!

I can see theatergoers pissing from the mezzanine onto the 1% down below during Sweeney Todd. Perfect metaphor.

I'd love to see James Norton's willy.

Patti’s review in the Hollywood reporter. The reviewer calls her the highlight

Given how middling the score is for Some Like It Hot, I can't even imagine having to sit through the cut material.

Not to mention that I'm willing to be a lot of the cut material was previously written by Shaiman and Wittman for other projects.

Sorry, that was supposed to be "willing to bet" above.

If its a classic musical we need to rough it up and suck out all the charm, grace, warmth and magic to make sure its ready for the 21st century stage.

This thread needs some chorus girls...

"King Arthur came a lot, didn't he?"

-- Philomena Cunk

When I saw A Strange Loop, I thought Jackson really needs an editor. White Girl sounds like it needs a half dozen editors. Where was the director in all this? Was she too enamored of the "genius" playwright or is she just not competent?

Jesse Green twisted himself in so many directions trying to be as positive as possible that he should just join Cirque de Soleil and stop writing. I wouldn't call his review a true pan.

R464 That is interesting about Death Becomes Her. Kristi Dawn was originally named as being a part of the project when it was first announced several years ago but she’s now busy with her Queen if Versailles project.

[quote]Was she too enamored of the "genius" playwright or is she just not competent?

Yes.

Kristi Dawn seems to have been part of, or up for, a lot of workshops and productions that either never came to fruition or did with someone else.

Like Millie, speaking of Sutton.....

Well, Kristi's a go-to girl, r490. Outside Millie, what other project came to fruition? And she and Sutton are different types so they obviously wanted to go a different direction with the character. Didn't they at casting time they weren't looking for a Julie but a Judy (voice-wise)? I seem to remember that.

^

Didn't they at casting time SAY they weren't looking for

I know she's been attached to a number of projects. The Death Becomes Her is I guess the latest one.

She was forever rumored to be doing the Dusty Springfield film.

Don't forget Kristi Dawn's Dolly Parton musical. Or her revival of "Best Little Whorehouse...."

Phillipa Soo has no sex appeal.

Julie just OOZED it, r495.

[quote]Looped doesn't look like much of a play, but the clips I've seen of Valerie Harper as Tallulah are a total hoot. She seemed to be having a marvelous time playing Tallulah.

I actually got to talk to Valerie about this. She should have won the Tony but she lost to Viola Davis in "Fences". The rub is, in the original production of "Fences" Mary Alice as the wife won the Tony for Best Featured Actress In A Play. For the revival since Viola is a movie star, they nominated her in the Best Actress category and won. The kicker is when the movie can out Viola was back in the supporting category for The Oscar, Golden Globes, Bafta and SAG. Valerie was very gracious and praised Viola.

Looped was a terrible play. It's little more than a shaggy dog story. Tallulah has to loop a single line from her last film Die! Die! My Darling!: Here's the line:

"And so, Patricia, as I was telling you, that deluded rector has in literal effect closed the church to me".

She blows take after take, alternatively regaling her hapless sound editor with tales and interrogating him about his private life. It took hours to record that one line.

Harper had one really lovely moment. She recreates a scene for the editor from Streetcar = as Tallulah, camping it up for the boys. Tennessee said of that performance: 'It's the only time Blanche has been played by a drag queen.". In Looped, as the scene progresses, the lighting began to change, transforming the studio into a sultry New Orleans street as she starts playing Blanche for real. It was heavy-handed, but Harper elevated the material.

Here's another brief clip.

I wonder how Stefanie was...

So, r498, it sounds like the best scene in LOOPED was written by Tennessee Williams.

[quote]So, [R498], it sounds like the best scene in LOOPED was written by Tennessee Williams.

Ha! Yes, r500, plus a huge amount of the play consists of Tallulah stories and quotes. He even uses a true story. All Lombardo seems to have written was the side story, which I think involved the editor possibly being gay. Michael Mulharen, my favorite working man's actor, played an engineer. I can't recall if he was ever even seen.

This looks to be a decent capture of Looped - part one, anyway. I'll watching it later to see if the Streetcar scene holds up to my memory of it.

[quote] I'll [be] watching it later to see if the Streetcar scene holds up to my memory of it.

Oh, dearing myself.

I watched the entire thing again. The play is even worse than I remembered. If you are inclined to watch, part 2 is entirely skippable - it's all Lombardo's invention about the closeted editor. Pure crap. I was reminded anew what a hack Lombardo is, and how dryly hilarious Mulharen can be. Brian Hutchinson ...does the best he can with what he was given.

The 3rd part, linked to here, has the Streetcar moment I spoke of. It starts around 15 minutes in. The scenery change from studio to New Orleans is lost because the bootlegger went for a close up, but Harper really is quite amazing.

The last half of this link is clips of interviews with the actors, director, and writer, plus a few reviews.

Did Valerie ever appear in FOLLIES?

Why does this sound more like a threat than fun news?

[quote] "What's really sad about it is that it's not necessary. It could easily, easily run on now but again, it's not my decision. But I would also be very conscious if I do go and that chandelier falls for the last time at the end of the first act, that it will rise again, somewhere in New York, [bold] much sooner than some people might think [/bold] ," Lloyd Webber revealed.

ALW and Mackintosh -- what a loathsome pair. That Hal Prince ever dealt with them so successfully is nothing short of miraculous, and they should both thank their lucky stars every day that he came into their lives. Instead, they are closing Hal's production of PHANTOM and will soon replace it with one that will, without question, be vastly inferior.

[quote]For generations, they weren't given access to many (any?) leading roles

This is a myth. Mamba's Daughters, Cabin In The Sky, St. Louis Woman, Timbuktu, The Great White Hope, Anna Lucasta, Golden Boy (musical version), Jamaica, A Raisin In The Sun, Porgy, Porgy And Bess, Carmen Jones, Othello with Paul Robeson, The Emperor Jones, The Wiz, Ma Rainey's Black Bottom, etc.

*Lost In The Stars, 'Ain't Supposed to Die a Natural Death, Ain't Misbehavin', Fences, The Piano Lesson...

Ariana returns to host Tonys:

Translation: No one else wanted the gig.

I hope she raps!!!!!!! 🤞🤞🤞

Lea Michelle did the thing!

You mean I'll soon be kicked off the gravy train?

To Become Oscar Levant, Sean Hayes Revisited His First Role:

Daisy, you've been eating Gravy Train since you were born.

I thought that was Oscar Winner Jamie Lee Curtis.

Actually, r515, I can see it.

Hayes wears a rug, yes?

I'm glad the Times reporter addressed the Adjmi scandal with Hayes (who really was more at fault than Doug Wright), even if Hayes refused to answer his questions. I don't get a very nice vibe from Hayes. Never have. He seems nasty and prickly.

Camelot is dreadful. Songs cut, characters have disappeaed, Lyrics have been changed. intentions of the three major characters have been thrown into disarray. Sorkin has taken out all the magic, and by doing so, removes everything in the show that made sense. Arthur and Guenevere don't admit to loving each other until the last 10 minutes, and then Steve Urkel shows up. The jousting scene has been replaced with a sword fight in which Lancelot doesn't actually kill another knight, he wounds Arthur, who then awakens and declares, "I was unconscious". LCT has hit bottom.

Are Camelot and Pictures From Home the beginning of the end of Bart Sher?

[quote]Are Camelot and Pictures From Home the beginning of the end of Bart Sher?

One can only hope. With Sher, we quite some time ago reached the point of diminishing returns, and it has only been further and more swiftly downhill since then.

It might be the beginning of the end for Aaron Sorkin on Broadway, too.

[quote] Steve Urkel shows up

That made me laugh. That child actor was pretty bad. Was that the best one Sher could find?

I thought those kids' roles were usually cast with two or three alternates. I thought I was seeing the most inept one. Turns out he's the ONLY one, which drains the ending of any sentiment or warmth.

He can't be worse than Gaetan Matarazzo was in the last Les Mis revival. It was all I could do not to stand up and yell, "Shoot him, already!!"

I respect Sher for doing big, grand productions of classic musicals with full orchestras, but some of this choices confuse me. I'm still not sure what he was trying to say with his ending of My Fair Lady. Was Eliza really there in the final scene? Was she a figment of Henry's imagination? Why was she leaving through the audience?

Deadline reviews "Fat Ham":

NYT:

[quote]Was Eliza really there in the final scene? Was she a figment of Henry's imagination? Why was she leaving through the audience?

Why did she do a freewheeling patio number?

I wish I could like FAT HAM but found it (at least at The Public) just a raunchy sitcom.

R526, it made a lot of sense to me. Higgins has her cast as his creation, whether wretched or elegant or brilliant. He will never see her as someone he didn’t have a hand in creating, but he doesn’t see that because he is too self absorbed. Her “return” presumably happens in his mind, which is the only place she exists, and her exit into the audience shows that he realizes all of this.

That said, Sher’s wife played Ariel in a production of The Tempest and had an identical, though angrier, exit through the audience in a similar theater and (I think) to the same side of the house. It was Ariel rebelling against Prospero, much like Eliza to Higgins, and exiting his story.

Didn't see Gaetan in Les Miz, but he more than holds his own in Sweeney.

Didn't mean to prematurely start the new thread, just wanted to make sure it went to Phantom. Only fitting.

But we can close this one out still.

CAMELOT opens tomorrow night.

Looking forward to the reviews, but I will put money on them being moderate-to-middling, because the mainstream presss still want to kiss Aaron Sorkin's and Bart Sher's asses, even though they are most responsible for the tedious mediocrity now onstage. More so than the performers, who are merely miscast.

It is, as R519 said, dreadful.

What new thread, where?

Eliza walked through the audience at the end? How silly.

R535

WHAT MIRROR

WHO?

The aforementioned new thread seems to be Phantom themed.

A Transparent Musical!

For the seven people still watching Transparent until the musical finale, who simply demanded a stage show.

I'll also endorse Gaten in Sweeney Todd. I think Annaleigh has better chemistry with him than Groban.

There are now 3 active TG threads, and 60 posts left in this one.

Just saying.

r538 Yeah, that was me. This is Phantom's last dance :( So why not. But obviously, it's a catch-all for theatre gossip too.

r534, I hope the reviewers rip it apart if it sucks as hard as you all say it does. There's nothing worse than reviewers who are afraid of speaking the truth and only hint at something being bad, which leaves us with having to parse out threads full of sometimes extreme opinions.

Just because someone was successful in the past doesn't mean they're incapable of being bad. It's baffling how "safe" reviews are these days, compared to the days of people crapping on Carrie on the 11 oclock news, or ripping Sondheim's work to shreds in print.

Jesse Green (NYT) in particular seems especially "safe" in that regard lately. R452. Notably more over the past year.

I can't help but think the blowback on social media to his pan of KPOP (and a few other negative reviews from his past) really has muzzled him a bit. (For those who didn't follow, his review of KPOP last fall was pretty vitriolic, I think excessively so--and he was called out as a racist online. That show was doomed to fail, regardless.) He may fear going the way of Ben Brantley (who seemed to think that job was his for life).

I don't care if theatre critics (a pretty loathsome breed to start with) are universally loved. I care that they're accurate and truthful in their assessments (and that they write well. Looking at you, Maya Philips.)

A friend dragged me to see "Peter Pan Goes Wrong." Christ what a shitshow that is.

All it takes is one starved for attention audience member to yell out something and the whole audience starts acting like a pack of wild hyenas, yelling whatever comes into their infantile brains, extending what should be a 90 minute show into two hours. Are British pantos this bad? And four cocktails after the show still doesn't stop the shakes.

The show has some truly funny bits, but they roll out every comedy trope ever invented and beat it to death. And not satisfied that it's dead, pick it up and beat it again. It gets tiring very quickly. This show would be fine at a zippy 90 minutes. At two hours, it's deadly.

The audience went nuts for Neil Patrick Harris. He hits his marks and is serviceable, but nothing special. He runs a fine line between loving the audience adoration and watching the clock to make sure he's out in time to get the leash back on the husband.

It makes me nostalgic for the plays of Charles Ludlam and Howard Crabtree, who knew how to put on a funny show but keep it moving. And I miss the gay men in the audience who had a good time but didn't act like it was feeding time at the zoo.

I was bored by The Play That Goes Wrong, so the Peter Pan edition is not for the likes of me.

[quote]It makes me nostalgic for the plays of Charles Ludlam and Howard Crabtree, who knew how to put on a funny show but keep it moving.

ITA with this. Really inspired, really original camp humor (and I don't mean RuPaul's disciples) is a lost art. particularly in NY theatre. It's all our loss.

If this hasn't been posted, and to wind up the thread faster, here's the big Doll's House coup de theatre...from outside the theatre.

Tammy Grimes

[quote]here's the big Doll's House

R546 I can't see!

When art imitates life....

I'm in NY with a colleague for a work trip. She's dying to see Funny Girl. She's leaving my team in a few months, so I'm going to surprise her with tickets to the show, but any tips on how dynamic pricing tends to change throughout the week? Obviously, if most seats get gobbled up, dynamic prices are likely to rise. I understand that, but if a large number of tickets remain unsold up to the day of the show, are you likely to see those prices starting to decline? I want to treat my colleague, but if I can spend a little less, that would be nice. But, not living in NY, I don't have experience watching how pricing shifts over the course of a week.

[quote]four cocktails after the show still doesn't stop the shakes.

Your alcoholism CAN be treated.

I think it's really fucking sad that whatever fun there might have been in seeing a revival of Funny Girl has been undercut by mega-jerk Lea Michelle occupying the starring role, with smuggy Ramin as her leading man, in an ineptly designed production.

...shouldn't it be more fun?

I hope the next time it gets revived (if that day ever comes) it's a much better production overall. But with the material being outdated as hell...I guess this is it?

At least Benko got something out of it.

[quote] a sign of how capacious and original the writing is, growing the skin of its own necessity instead of merely burrowing into Shakespeare’s.

Jesse shut the FUCK up

oh r546 how much to see a truck race by and pancake her?

Is there usually a claque of fans waiting to see Chastain walk out of the theater? Can they be heard by the audience?

what a stupid coop duh theater.

R544, I’m fairly certain the audience shouts outs at PPGW are prerecorded. They are planned cues made to sound like an unruly audience.

Shall we refer to the new thread as "The Phantom Thread?"

I don't get the big deal about the end of MFL. Maybe earlier audiences were just more sophisticated? Earlier, she threw his slippers at him. Now all he does is ASK her where the devil his slippers are. Big deal. No husband or future husband ever did that, right? It's not like he said, "PUT my slippers ON MY FEET and kiss mny ASS, you servile, inferior BITCH!"

[quote]PUT my slippers ON MY FEET and kiss mny ASS, you servile, inferior BITCH!

Oooh r560. You make me go all soft and gooey inside.

Jane is such a chorine...

God, I can't wait til the shills stop pushing this show.

Which show?

The first season of Schmigadoon was such an awful bore, who's going back for more torture?

Who decided Jordan Danica would wear such heavy eyeliner? He resembles a raccoon.

[quote] Which show?

Schmigadoon.

What's the word on GRAY HOUSE? A new play with Laurie Metcalf, directed by Joe Mantello, it starts previews in days, and I was surprised to just be hearing of it now.

[quote]Who decided Jordan Danica would wear such heavy eyeliner? He resembles a raccoon.

I don't know, but it's really ridiculous. Some incredibly strange decisions made in regard to this production.

The ending of the Trevor Nunn MFL was perfect. Higgins asked for his slippers, Eliza folded her arms as if to say 'get them yourself,' then Higgins folded his arms and they both laughed at the absurdity. Curtain.

[quote]Eliza folded her arms as if to say 'get them yourself,' then Higgins folded his arms and they both laughed at the absurdity.

Hopefully Eliza didn't have a *Janice* laugh.

[quote]The ending of the Trevor Nunn MFL was perfect. Higgins asked for his slippers, Eliza folded her arms as if to say 'get them yourself,' then Higgins folded his arms and they both laughed at the absurdity. Curtain.

Agreed. There were other aspects of the production that I didn't love, but that staging was the perfect, simple solution to the notorious "problem" ending.

Wicked officially became the 4th longest running show in Broadway history this week.

No wonder ALW is such a grumpy cat.

I'd like to see Eliza come in with Pickering in the last scene and start French kissing him when HIggins asks "Where the devil are my slippers"!

Bring a new sense of meaning to "I washed my face and 'ands before I cum, I did".

Every time you kissed me I wiped my mouth...

If they really wanted to mess with the audience, have the actress playing Eliza lip sync to Eddie Murphy's laugh.

I always thought the perfect solution was to have Eliza enter while Higgins is singing. Then , she knows she won.

FIRST MIDNIGHT!

(I thought this freakin' thread would never end...)

look again, dear. It's 579, not 599.

Love, love, love Ellen

am I alone in not having drunk the Sher KoolAid on South Pacific or My Fair Lady either?

I like to imagine what the gentleman who refer to others as "dear" look like. I imagine portly with ironed denims and sweaters.

I'm thinking pleated Dockers. And tasseled loafers.

But portly in a sweater, definitely.

[shudder]

Some older lady once started an argument with me about me getting first on some line for tickets. I told her "you weren't here first, dear", to which she said "don't call me dear"; I said "that word was just a placeholder for what I really wanted to call you!"

His South Pacific was terrific.

R585, yes, exactly. I want the people I call "dear" to read every other word they possibly can into it.

But not here, dear/Is that clear, dear?

Oh, what I’d give for a hundred years, but the physical interferes, every day more

Deadline reviews "Camelot":

NYT:

Times pans CAMELOT.

In a tasteful, respectful way that doesn't really rip Sorkin or Sher a new one. Bingo.

Still a pan.

Best revival noms: SWEENEY and PARADE. What else?

Best new musical: KIMBERLY AKIMBO and.... SLIH? and....? NEW YORK NEW YORK?

So odd. Several of the reviews, good and bad, cite the show as being lavish and sparing no expense. Then Jessie criticizes it for being so spare and lacking scenery.

Oh yes, INTO THE WOODS for Best Revival.

And adding SHUCKED to Best New Musical.

Critics are so weird and increasingly unreliable about stage and production design.

There's nothing "lavish" about this CAMELOT revival. Guinevere has a couple of pretty dresses, and that's about it.

I thought the producton design overall was cheap and unimaginative. (And NO ONE likes the logo design.)

R596 I like the logo design.

[quote]In its way, Camelot, at least as we’ve come to know it until now, is, in its stodgy and fitful way, a musical as emblematic of the 1960s as the more obvious generation-defining theatrical statements of the era.

Holy fuck, don't these reviews go through ANY sort of editing or proofreading process? Clearly not..

Please make your way to the not-so-Phantom thread.

Bajour!

Best revival nominees will be: Into the Woods, Sweeney Todd, Parade, Dancin' and Camelot. 1776 is long forgotten. Best new musical nominees will be: Some Like it Hot, Kimberly Akimbo, Me & Juliet, New York, New York and either 1) K Pop or 2) Shucked

What is that weird thing she does with her mouth on the word "girl" in the video at R581?