THEATRE GOSSIP #552- "Oh, What a Beautiful Morningstar" Edition

Cabaret is not moving many tickets at these prices. They’ve invested too much to lower prices. With the Broadway season so crowded, it’s going to be hard to have any one show break out.

My guess is that The Notebook and Tommy are going to succeed, but the rest will be a total crapshoot. Even Appropriate’s relocation looks like a gamble.

[quote]Cabaret is not moving many tickets at these prices. They’ve invested too much to lower prices.

And also, has any show ever lowered prices before opening?

Sure

Marjorie fan here - I just read the always controversial thread title - I just had my Sally Field moment - “You Like Me! You really Like Me!!”

I wouldn’t be so sure on Tommy….it did okay the first time around but wasn’t a super hit.

I approve this title.

From R594 in the previous thread -- "he adopted son does not hit on the boyfriend in any version of TORCH SONG TRILOGY (or TORCH SONG)."

David certainly says a provocative thing or two to Ed in the third play/act.

R2, but David is not "hitting on" Ed when he says those things, he just says them to shock him Anyway, that's my interpretation. If Fierstein meant us to think that David is actually hitting on Ed, I think that's pretty disgusting.

Cabaret will sell even fewer tickets once people see it. I saw it in London, and thought it was another Brit imposition of a concept that completely didn't work. The Roundabout production(s) was/were far better, and much more moving.

Slutty Little David

Cabaret has come back one too many times to be a hit so soon again, especially with no gimmick or big star to sell it. Eddie Redmayne is not a big star, and no one has ever heard of the chick playing Sally. Perhaps if we hadn't had the revival with Alan Cumming and Michelle Williams/Emma Stone, it would be a different story, but this is getting into The Glass Menagerie territory. How can we miss you if you never stop being produced?

I'm curious how long they'll actually keep the gimmick of pre-show entertainment.

[quote]R11 Cabaret has come back one too many times

I am agreed.

[quote]Cabaret has come back one too many times

It’s the Mama Rose of musicals!

Jason Robert Brown is furious that no big producers will pick up his new musical and bring it to Broadway.

Doesn't JRB know that his new musical didn't get good reviews?

Do the producers of Here Lies Love have to restore the Broadway Theater to it's previous composition or is that the financial responsibility of the theater's next producers? Has the theater been claimed for a new show yet?

I'm guessing that The Bridge's Guys & Dolls will not be coming to Broadway.

I've seen the new Cabaret twice in London (with different casts) and I quite liked it conceptually and think that it works well. But it's less than half what they're asking in New York over there. I would rather see the Bridge production of Guys and Dolls transfer. I liked it even better than Cabaret.

No one's going to want to be tearing apart a theatre to accommodate a production for a very long time.

I believe the Papermill production of The.Great Gatsby (Jeremy Jordan et al) is taking the Broadway. Don’t give that one much hope. That’s a huge house to fill every night.

Rhoda Morningstar?

Hey - It’s gotta “Ring” to it, Kid! ^^^

[quote]I'm curious how long they'll actually keep the gimmick of pre-show entertainment.

What makes you think they would ever eliminate it? Sounds like it's a major feature of this production.

I’m surprised there has been no talk of Operation Mincemeat transferring to Broadway anytime soon… certainly, one of the most original and unique musicals I’ve seen in decades, plus the reviews were all raves. While it is very British, there is the whole nudge-nudge/wink-wink USA plot/character(s), as well. It would be a veritable feast for any performers up to the job, as well.

Will Jeremy Jordan take home a Tony for The Great Gatsby?

I remember, someone once said to me that Eddie Redmayne's singing sounds like he swallowed an oboe.

What an egregious insult to the oboe.

Agree about Cabaret. I saw it so many times at Studio 54 over its run -- Roundabout heavily discounted tickets frequently -- $25 for good mezzanine seats! -- that my interest in this is tepid.

I will go to see Cabaret just to hear the greatest musical theater number of all time.

Vanessa Williams *IS* the devil wears Prada… excellent choice and hopefully Elton write her decent material.

Save the best for last…

So she's Wilhelmina from Ugly Betty with more singing. Got it.

R25. Jeremy may take home a Tony. Or a Bill. Or a George. Who knows?

Love Vanessa Williams. She'll bring the necessary glamour to the show (sorry, Beth).

Good for Vanessa; should make up for the abandoned UK city of Angels she was supposed to do when the pandemic started. Too bad she’s not more dynamic on stage

Very sad. What a voice. RIP

Beth Leavel was never a good choice. The role needs a star and Vanessa is a star.

Beth has a Tony, Vanessa does not.

Operation Mincemeat is a musical? Wow, I read that book (it's a great true tale from WWII) and "musical" and "it's a hit!" never crossed my mind.

I think I'd love to see that show. Is it tranferring to NYC?

No one is saying Beth isn't talented. Not every actor is suited for every role. Imagine casting Sutton Foster as Mrs Lovett. Oh. Wait.

Agree with Rs 9, 11 and 18 — the London CABARET is very glum and drab and you leave the theater feeling crummy and miserable.

Whereas GUYS AND DOLLS is terrific fun, reminding you of what a fantastic show with a brilliant score it is. And while the singing was all excellent (the acting is necessarily broad and variable but Daniel Mays was a great Nathan Detroit) in this production a cast of stars is not the point, the show is the star. I have London friends who have seen it multiple times, both in seats and on the floor. It’s a perfect show to see again with friends who are in from out of town. And it could be the same in NY, though probably not in a Times Square theater but some other space — the Shed? The Armory?

Don’t Kelli O’Hara and Brian d’Arcy James have the Tonys for leads in a musical locked up? They’re both fantastic.

Not if the Audra Gypsy revival is for real.

I loved Operation Mincemeat in London but I wonder if it isn't a dubious choice for a big Broadway hit.

Besides the very peculiar (but fascinating) English WWII episode of history it's about (you really need to do a bit of research on the subject matter to follow the complex plotting), the fun of the show is the tatty college design that would just look cheap in a Broadway theater. 6 actors playing dozens of roles with minor costume changes, intentionally bad wigs and not much set until *****SPOILER**** the Dames at Sea-like extravaganza at the end. And the West End theater is like a tacky old off-Broadway barn with a cheap bar and beer and that's part of the charm.

Before catching it in London, we watched the recent British film, also called Operation Mincemeat on the story with Colin Firth, Penelope Firth and Matthew McFadyen, which was wonderful and also prepared us for the show.

Timing will obviously affect who wins Tonys. Audra as Rose will not be until next season, at the earliest. O’Hara and D’Arcy James are great, but there will still be a lot of showy performances in shows that are opening in this season. Eddie Redmayne, Eden Espinosa, Jeremy Jordan, Shoshona Bean, and a lot of others will be competitive.

Might be a bit early to speculate on the Tony winners......but just in case....

I think Jeremy Jordan will very likely win a Tony someday, but I highly doubt it's going to be for THE GREAT GATSBY.

Hey, Sutton, the earliest you could win another Tony would be in the spring of 2025, as you are not eligible this season.

Why are the Datalounge gays so embarrassingly screwing up on the rules of Tony eligibility? Have we been taken over by a bachelorette party?

Speaking of Sutton...Wonderful article.

Didn't we know she could juggle when we saw The Drowsy Chaperone?

Lazy writing.

Everyone is forgetting Jonathan Groff. I think he is is a good position for the Lead Tony for carrying merrily while Lindsay is out every other day

Groff will absolutely win this year. I think he's a lock.

Interesting article about Max von Essen

I can save you all a read.

Money.

Absolutely agreed, R51.

I haven’t seen “Gatsby,” but the part of Jay Gatsby is largely reactive and rather passive in the book and the two movie versions I’ve seen. Doesn’t seem like a surefire Tony win.

R56, from what I hear, the Gatsby character in the musical is NOT reactive or passive, and in some people's opinions, that's one of the show's many huge flaws.

I saw Max yesterday at the Chicago matinee, and he seems to be having a fine time, relaxed and funny and not playing to the crowd or milking applause.

He likes to milk.

[quote]from what I hear, the Gatsby character in the musical is NOT reactive or passive, and in some people's opinions, that's one of the show's many huge flaws.

And I'm sure Jeremy will nail the freewheeling patio number.

They moved the patio number to the veranda.

Maybe they’ll give it a happy ending too

R61 Terrace!

And so we beat on,

boats against the current,

borne back ceaselessly into the past…

Boom-shaka-laka….and the best goes on!

Beat* goes on—stepped on my own joke …

I bet Hannah Waddingham turned down Prada-she probably wants to do it on Broadway.

Williams is an extremely lazy and woke piece of casting for Wilhel-excuse me, MIRANDA.

The Mirror Crack'd From Side to Side was on last night.

To #582 in the last thread - it was too late to reply on that thread. thank you for the dear message. it must be difficult to see your husband start to change - but I guess it is a lesson for us to embrace the “New Normal” …… I just didn’t want the day to go by and not thank you. … I hope that you both have a happy Day!

R66. Or Hannah turned it down because it already flopped in Chicago plus Meryl made the role iconic. Hannah's career is going great and I'm sure she's offered much more interesting projects.

If The Roundabout had any creativity, they would bring Hannah over and do a limited run of A Little Night Music. Throw money at it and make the scenery and costumes lavish. Elaine Paige as Madame Armfeldt.

Would anyone believe 4'10" Elaine Paige birthed 7'2" Hannah Waddingham?

[quote]Throw money at it and make the scenery and costumes lavish.

If they wouldn't do it for FOLLIES, r70, they ain't gonna for Night Music.

[quote]Would anyone believe 4'10" Elaine Paige birthed 7'2" Hannah Waddingham?

They believed it on Golden Girls with midget Estelle Getty and amazon Bea Arthur.

Besides Armfeldt sits in a wheelchair the entire show. They’ll obviously have to sit Paige on a stack of pillows so she can be seen, so they can create a pair of false legs, like in The Wizard of Oz when the house fell on the witch.

They would hire LuPone for the role, but she ripped up her Equity card and Broadway doesn’t go for quitters.

[quote]Besides Armfeldt sits in a wheelchair the entire show. They’ll obviously have to sit Paige on a stack of pillows so she can be seen, so they can create a pair of false legs, like in The Wizard of Oz when the house fell on the witch.

Well, they *did* lower the Sunset banister for her.

Hannah is massively talented and charismatic but she just doesn't have the vulnerability of Desiree. And that's something that can't be acted.

[quote] Hannah is massively talented and charismatic but she just doesn't have the vulnerability of Desiree.

She already did the role in the UK. And she was much better than miscast kewpie Bernadette Peters.

[quote]Well, they *did* lower the Sunset banister for her

And a stagehand had to lift her up for the Don’t Cry For Me Argentina scene in Evita because the dress was too heavy.

I don't care if Hannah played Desiree on Mars. I still don't think she's right for it. But I agree with you about Bernadette.

[quote] Besides Armfeldt sits in a wheelchair the entire show

Not quite. At the beginning of Act Two, she is caught squatting on the ground like a bohemian

I thought Desiree was one of Bernadette's best roles. She didn't come across in it as a "kewpie doll" at all, she looked beautiful, the role was an excellent fit for her vocally, and she even managed a very credible, light British accent so she would blend in well with the rest of the company.

[quote] At the beginning of Act Two, she is caught squatting on the ground like a bohemian

That was only in the Trevor Nunn production and Angela Lansbury demanded it because her corset bunched up in the back during Act 1.

[quote]and she even managed a very credible, light British accent so she would blend in well with the rest of the company.

She won a Tony using one.

Pray tell, r81, exactly how does a corset "bunch up"?

[quote]exactly how does a corset "bunch up"

When your muffin top pops out below and you take a deep breath to sing, your breasts lift the corset out of place.

Yeah, r84...no.

[quote] That was only in the Trevor Nunn production and Angela Lansbury demanded it because her corset bunched up in the back during Act 1.

I know you’re attempting to make a joke, but it’s in the original script.

R80 telling us that Bernie was hopeless in doing any sort of actual Swedish accent.

It looks like my post got scrubbed but the LA Times panned The Wiz. Then again, the original was panned as well and it was noted that the audiences loved it. This out of town tryout has also been hitting cities with large black populations.

ALNM should be at the Beaumont with Katrina Lenk as Desiree. And a full orchestra, beautiful sets and costumes, etc. Can we please have nice things?

And the story about a limited Broadway run before another National Tour

Leslie Uggams IS Mdme Armfeldt!

Liaisons...hucka da bawhat happened to them.

The review at r88 is a disaster. Was Charles McNulty always this bad a writer? I know he’s been around forever.

Bebe Neuwirth is the only reason I would see Cabaret.

So, who cares, r94...

[quote]Timing will obviously affect who wins Tonys. Audra as Rose will not be until next season, at the earliest. O’Hara and D’Arcy James are great, but there will still be a lot of showy performances in shows that are opening in this season. Eddie Redmayne, Eden Espinosa, Jeremy Jordan, Shoshona Bean, and a lot of others will be competitive.

I was actually wondering if Leading Actor in a Musical would be Jonathan Groff's to lose with Redmayne possibly his biggest competition if "Cabaret" gets decent reviews.

Is anyone readying another Broadway musical for Lea?

R89 - Lincoln Center is the only theater who can manage nice things - a full orchestra, proper costumes, etc. Everyone else has to cast the male roles with female-identifying actors and put the show on the ugliest, barest set they can muster. And with André leaving soon, those days may be over.

[quote]Besides Armfeldt sits in a wheelchair the entire show.

I'm available!

They need to bring in Lavarious Slaughter to punch up "The Wiz."

[quote]r36 Beth Leavel was never a good choice. The role needs a star and Vanessa is a star.

I saw Williams in INTO THE WOODS in L.A. and was rather unimpressed. I don’t remember her voice (a bad sign), but I do remember she doesn’t really “take the stage” in any way whatsoever.

R98. I thought LCT Camelot was rather sparse and drab.

[quote]r64 And so we beat on / boats against the current / borne back ceaselessly into the past…

[quote]Is anyone readying another Broadway musical for Lea?

I’m trying to get Marjorie Morningstar on its feet.

r44

Best Actor in a musical is going to Groff Best Actress in a musical my money is on Espinosa or O'Hara Best Featured Actress will be Kecia Lewis Best Featured Actor - not sure

But what about Huey Lewis?

R106, Best Hung

[quote]But what about Huey Lewis?

Old News.

People forget Eddie got very good reviews in London and won the Olivier. People seem ho-hum about this revival but when it premiered, it got great reviews and I don’t see why the transfer wouldn’t. I still think it’s Groff’s to lose, but I wouldn’t call Brian Darcy James a slam dunk by any means

[Quote] People seem ho-hum about this revival

Which people?

Camelot seems to have signaled the end of nice things at LCT, and that includes the mostly unattractive chorus.

But I'm sure you've all noticed how Broadway choruses are now filled with old and odd character types. The Tired Businessman's fantasy is long gone.

R111. Those knights were huffing and puffing just walking downstage for their curtain call. And, you're right, but Chicago still has an attractive ensemble.

What about the lead guy from the notebook? I hear he turns from white to black. That is surely worthy of a Tony.

Eden Espinosa can’t act. Surely this is a problem.

Yes, R111 -- let's all lament the death of things aimed at the tired businessman.

Only on the DL.

R8, why "pretty disgusting"? Because of the age difference? I'd say "highly inappropriate" or "boundary-pushing," but . . . "pretty disgusting?

A quick look at the original TORCH SONG TRILOGY script quickly yielded these 2 examples in short succession. Make of them what you will:

ED: Don't you think I could make a convincing homosexual? DAVID: You could certainly make this convincing homosexual.

ED: I could show you the scars. ARNOLD: I could show you the door. DAVID: I could show you a good time.

Ankles Aweigh would like to have a few words with you, r115.

[quote]Camelot seems to have signaled the end of nice things at LCT.

Sadly, I agree. I honestly don't know if LCT is ever going to be able to come back to doing great musical productions after that debacle.

Part of the problem is that it was...Camelot.

[quote]Why "pretty disgusting"? Because of the age difference? I'd say "highly inappropriate" or "boundary-pushing," but . . . "pretty disgusting?

Not just because of the age difference, but because I believe David is supposed to be underage, PLUS he's Arnold's adopted son. So for him to seriously come on to Arnold's on/off boyfriend is, in my opinion, disgusting. But I'll also accept "highly inappropriate."

[quote]But I'm sure you've all noticed how Broadway choruses are now filled with old and odd character types. The Tired Businessman's fantasy is long gone.

For now.

Until 'woke' runs its course, because 'woke' liberals who currently run Broadway are anti-beauty among other things (e.g. anti-white, anti-masculinity,, anti-meritocracy)

But 'woke' Broadway has been bleeding money because these 'woke' musicals/plays crash and burn, so this model obviously won't last long -- or Broadway won't last long.

The fact is, most people appreciate beauty and talent and won't pay the big bucks if they can't get either.

Also, Americans love big and lavish, so they'd better stop with these barebones productions, too.

It's like Broadway is doing everything purposely wrong.

But to what end?

R119, CAMELOT has always been a seriously flawed show, but the LCT production made the worst possible case for it due to horrendous miscasting and terrible misdirection.

We’re looking at you, How to Dance in Ohio. You were so busy trumpets the neuro-divergent cast that you forgot to make the show any good!

trumpeting!

R120, you sound like Mrs. Beckoff.

David is 2 months shy of 16. Plus, he's a street kid -- it's not exactly shocking for him either to be sexually precocious or at least to present himself as such.

Arnold and Ed both just wave his "overtures" off. It's not as if the boy is sticking his hand down Ed's pants or dropping his towel in front of him, for God's sake.

"Disgusting" to me would be Ed's hitting on David, even in jest.

R117, your post inspired to listen to Ankles Away for the first time in ages. The score is pretty dull, but the Don Walker orchestrations are great!

[quote]What about the lead guy from the notebook? I hear he turns from white to black. That is surely worthy of a Tony.

The guy who did that in "Finian's Rainbow" never got one.

[quote]Which people?

The ones who need people.

Another hundred people...

[quote]R121 ‘woke' liberals who currently run Broadway are anti-beauty among other things

Perhaps you might ponder if inclusivity could be seen as beautiful?

(It would appear you don’t find it so.)

I don't really care about Eddie Redmayne, but I saw Cabaret in London this past Christmas (during a cute little UK holiday) and I loved it. Did not expect to. Thought the production and performances looked overbearing and obnoxious on TV. But, cliche as it might be, this is a production that doesn't work well excerpted on TV. In the theatre I was utterly captivated. And there were no stars in it (including Jake Shears, who was not in the night of our performance.) Can't wait to see it again.

[quote]Besides Armfeldt sits in a wheelchair the entire show.

This does raise the question whether Madame Armfeldt (and maybe Marie in Sunday in the Park) will have to be played by differently abled types in the future.

Vanessa Williams to play Miranda Priestly in Devil Wears Prada, July, London.

[quote]'Woke' liberals who currently run Broadway are anti-beauty among other things (e.g. anti-white, anti-masculinity,, anti-meritocracy). But 'woke' Broadway has been bleeding money because these 'woke' musicals/plays crash and burn, so this model obviously won't last long -- or Broadway won't last long.

It may not continue to be done as aggressively as it's being done now, but the powers that be on Broadway are never going to stop casting black performers in roles that make no sense to be played by a black person -- whether because all of the character's siblings and parents are white, because the same character at another age is played by an actor of another race, or for whatever other reasons.

A friend of mine who doesn't go to the theater very often found the race-switching stuff in "The Notebook" nonsensical. I explained to him that the people responsible would say this is "color-blind casting," which means you're not supposed to see that one character is being played by actors of different races at different ages. Not surprisingly, he didn't understand or agree with the concept.

Next thing you’ll know, they’ll have 30ish actors playing older and younger in the same musical! And blondes playing brunettes, and vice-versa! Oh, the humanity….

Why don't the "colorblind " casting directors, producers, and directors cast non-black actors to play traditionally black parts? If not, then there is no credibility to the whole concept. Why not " Fences" with a Latin family?

R135, those examples are not the same thing as we're talking about here, and you know it. Also, it's not just a "race" thing. If there were a play about a family with six children and the parents and five of the children were played by actors of average height and weight with fair hair and light complexions, but the fifth child was played by a tall, obese actor of Italian-American descent with black hair and a much darker complexion, that would also look ridiculous. But it's not likely that specific kind of casting would happen, because there's no progressive movement for a quota system to cast tall, heavy-set Italian-American actors with olive skin.

[quote]Why don't the "colorblind " casting directors, producers, and directors cast non-black actors to play traditionally black parts? If not, then there is no credibility to the whole concept. Why not " Fences" with a Latin family?

There's NO credibility to the concept when and if people say they cast shows with black or Asian or disabled perforrmers in roles not traditionally played by members of those groups because "anyone should be able to play any part if they have the talent for it. But most directors and producers are not so foolish as to fall into that trap anymore, so they come right out and admit the main reason for this casting is to make amends to groups of people who have been underrepresented -- primarily black people, but also disabled actors and sometimes also Asians, Latinos, etc. That's why "color-blind" or "race blind" or "ability blind" casting is used only in one direction.

Sometimes it works, sometimes it doesn't. If Bridgerton weren't an idiot's fantasy in every way, it wouldn't work, but the whole thing is so out there the casting hardly registers. On the flip side there was a version of Anne Boleyn played by Jodie Turner Smith that her blackness got in the way of the performance for me. It was too jarring a contrast to the image of Anne Boleyn embedded in my mind's eye. I mean, good for them for trying, but I prefer to think of it as artistic experimentation... sometimes it works, sometimes it doesn't. Anyway, it's here to stay so debating it as a concept is pointless, the debate should shift again to the success of the performance.

You’ve got some real issues with skin pigmentation R137. You might seek some counseling to help you out.

[quote] A friend of mine who doesn't go to the theater very often found the race-switching stuff in "The Notebook" nonsensical

Because it is.

[quote]You’ve got some real issues with skin pigmentation [R137]. You might seek some counseling to help you out.

And you've got a huge issue with dishonesty, in not being able to admit that of course it would take you out of the play if you saw a revival of I REMEMBER MAMA and all of the actors cast as the family looked credibly Norwegian, with fair skin and blond hair, but one of them had black hair and a much darker complexion than any of the family members. Or if, in another play with a family of characters, everyone in the family was of average height and slightly built except for one member who was extremely tall and overweight. As I said above , it's not always about race or even "skin pigmentation."

I liked the horror version, I Dismember Mama. Catchy tunes, too.

On a related note to the above, I was planning to get tickets for the site-specific production of A VIEW FROM THE BRIDGE by the Long Wharf in New Haven, but then I read that the role of the lawyer Alfieri is being played by a woman, which makes no sense for a play set in Red Hook, Brooklyn in the 1950s. Because even if there were any female lawyers in that neighborhood at that time (which I highly doubt), the main character Eddie Carbone, an Italian-American longshoreman, would never in a million years have gone to see a woman for advice on his predicament.

Funny how people like r142 aren't "taken out" of the show by seeing the actor who was playing a farmer in the first scene now playing a different character in the fourth. Funny how so many of their limitations of suspension of disbelief centre around one particular aspect.

No, NOT one particular aspect, R145, as I've noted several times above. And yes, when one actor is obviously doubling or tripling in different roles, that can sometimes take me out of the play if it's not well done, as it wasn't in a recent Off-Broadway show I saw.

Theatre insiders are guessing that Lindsay Mendez's attendance record at "Merrily" will improve GREATLY if she receives a Tony nomination, but they're also wondering if awareness of how frequently she has been absent -- or, to put it another way, how infrequently she has been present -- over the past months will work against her being nominated or awarded anyway.

Fire the hog.

Don't really want to see Bebe in CABARET. But will go to see Steven Skybell, perhaps the first sexy Herr Schultz.

R142 and yet you keep bring up the same argument …what is about you and pigments?

Again, NOT just about "pigments," R150. Seems you have a problem with selective reading -- or, to be more precise, reading comprehension.

[quote]But most directors and producers are not so foolish as to fall into that trap anymore, so they come right out and admit the main reason for this casting is to make amends to groups of people who have been underrepresented -- primarily black people, but also disabled actors and sometimes also Asians, Latinos, etc. That's why "color-blind" or "race blind" or "ability blind" casting is used only in one direction.

Thank you for the explanation. If that is why they do what they do, then let them take responsibility for the consequences and not scream " Racism" or " Sexism" or any other " isms" if the show loses money.

R149, agreed on Skybell. Have you bought tickets? They make Merrily and Hamilton seem quaintly affordable.

I'm not sure this was the best choice of number if they want to sell tickets.

I guess part of the supposed justification for the exorbitant ticket prices for CABARET is that they feel they are giving you two shows, with the pre-show and the actual musical, and that's worth the extra money. But.....note that the size of the full cast INCLUDING the performers in the pre-show is about equivalent to or a little smaller than the average size of the cast of a Broadway production of CABARET.

R149. Fuck you

I saw Vanessa Williams in a semi-staged ANYONE CAN WHISTLE and she was totally adrift. Seems like a pleasant enough performer but I'm not interested in seeing her do some major role. That said, she's really right for PRADA.

Groff will win the Tony, I agree with those upthread. He deserves it. I saw Lindsay do it downtown and she was wonderful. That's a huge role, man oh man. She carried a lot of that score on her shoulders. Glad I saw her when I did, since it seems she's out a lot.

Max is back on Grindr, looking handsome as ever.

[quote] And you've got a huge issue with dishonesty, in not being able to admit that of course it would take you out of the play if you saw a revival of I REMEMBER MAMA and all of the actors cast as the family looked credibly Norwegian, with fair skin and blond hair, but one of them had black hair and a much darker complexion than any of the family members.

Like, I don't know - Marlon Brando in the original production?

R158, I knew as sure as I'm born that someone would bring up Brando in I REMEMBER MAMA, but I don't think anyone looking at that photo would say that he or anyone else looks out of place in that family. I just used I REMEMBER MAMA as an example, but I could have mentioned almost any other play with a family unit among its characters.

I saw Cabaret in London and I cannot wait to see it again. It is really good. And yes, I have seen many, many versions of Cabaret.

r159 is determined to keep digging that hole. "No, no, that specific example I gave doesn't count"

[quote]A friend of mine who doesn't go to the theater very often found the race-switching stuff in "The Notebook" nonsensical.

I'll alert the media. The fact that this friend doesn't go to the theater very often tends to undercut your argument.

I hope Kelly dishes.

Carole & boa

Kelly said that the only girl on Broadway who was as good a dancer as she was, was Pam Sousa. I guess Donna, Ann and Sandahl weren't as good.

R158 But, you very clearly told us Norwegians had blond hair and light pigment—you insisted so! Now you’re just making yourself sound like an idiot.

[quote]r147 Theatre insiders are guessing that Lindsay Mendez's attendance record at "Merrily" will improve GREATLY if she receives a Tony nomination

Why does she miss performances? Does her voice habitually give out? Is she uninvested in the production? Does she have low energy and just can’t hack showing up? Is it clinical depression that keeps her in bed?

I wonder why someone would choose to appear on Broadway, then not appear.

Sorry R158–I meant the other poster! R159

R154- I thought that number was great and it actually made me look up the lottery policy yesterday.

GOLDEN RAINBOW looks kind of horrible.

I loved the London Cabaret and I barely even remember the pre-show. It really hasn't much to do with what makes the revival so special. There are those fun corridors one walks through on the way to one's seats where there are performers doing all sorts of fun lewd things,. I guess if that's the pre-show, I do remember them.

Speaking of Pam Sousa, I saw her play Cassie a number of times (she was great) and I swore there was one performance where she wore a turtleneck (it was winter). All of the ACL fanatics I've shared this memory with told me I was nuts and Cassie would never wear a turtleneck. Then someone sent me this photo. I am vindicated.

People have been freaking out whenever a black person is cast in a role traditionally played by a white person but the fact is, it’s not prevalent overall. Most of the actors on Broadway are still white. The principals in THE MUSIC MAN revival were all white. All the Mormon boys in Mormon are white. The main leads in BTTF are white (yes Goldie is black but it’s a small if showy role). Wine & Roses? White. More white than black in Spamalot even if Arthur is black. Who’s playing Tommy? A white guy. Sweeney, Chicago, and Merrily leads all white.

It isn't the same without the freewheeling patio number, r170.

[quote]People have been freaking out whenever a black person is cast in a role traditionally played by a white person but the fact is, it’s not prevalent overall. Most of the actors on Broadway are still white. The principals in THE MUSIC MAN revival were all white. All the Mormon boys in Mormon are white. The main leads in BTTF are white (yes Goldie is black but it’s a small if showy role). Wine & Roses? White. More white than black in Spamalot even if Arthur is black. Who’s playing Tommy? A white guy. Sweeney, Chicago, and Merrily leads all white.

Hmmm, race conscious much?

[italic]I want answers ! !

[quote]Merrily leads all white.

Lindsay Mendez is white-adjacent.

But they also try to shoe-horn in minorities where it's not feasible. For example, and I know that it's London so they may not be as familiar with the person, a black man playing William F. Buckley Jr in Best of Enemies. This casting even goes against the point that Buckley was a *white* conservative. That's the point! If anything, the actor playing Gore Vidal should have been non-white.

Maybe try looking at them as just people instead of minorities

[quote]But, you very clearly told us Norwegians had blond hair and light pigment—you insisted so! Now you’re just making yourself sound like an idiot.

NO, I wrote that IF a production were cast with everyone in a large family having blond hair and fair skin, and only one member of the family had black hair and a much darker skin tone, THEN that one person would look like they didn't belong as part of the family. Again, reading comprehension.....

Could you two go bicker on some other thread?

r180 And then you immediately said it didn't apply to Brando, despite it matching exactly what you said. I guess he wasn't dark enough, eh? But it's totally not about race, nope, not at all.

R181, I think making the rest of us suffer is part of the massive dopamine hits theatre queens get from arguing online.

r180/OP - *Another* Theatre Gossip thread devolving into this crap? Really? Why don't you and r182 get a room and bitch slap it out?

worst thread ever?

That Wiz looks ugly compared to the original.

I believe the original No No Nanette in the mid 20s did its national tour first before opening on Broadway.

Didn't the Tyne Daly Gypsy tour first before coming to Broadway?

R187. Sure did. I saw it on opening night at the Dorothy Chandler. I sat behind Sharon Gless. She went wild when Tyne made her entrance and was literally the first one who jumped to her feet for a standing ovation for Tyne's curtain call.

Yes, r187, I saw it in Hartford pre-Broadway.

[quote]I saw it on opening night at the Dorothy Chandler. I sat behind Sharon Gless. She went wild when Tyne made her entrance and was literally the first one who jumped to her feet for a standing ovation for Tyne's curtain call.

It was Tyne who encouraged Sharon to do more stage work and Sharon made her professional stage debut in 1989 in "Watch on the Rhine" at StageWest in Springfield, MA.

[quote]R187 Didn't the Tyne Daly Gypsy tour first before coming to Broadway?

Yes. She says the producers chose that approach because they wanted to make their money back before it opened in NY, in case the show closed quickly.

Daly said the tour worked to the productions advantage, because they could get the kinks out of the staging etc., and she got to develop and nail down the characterization/songs.

She also developed some credibility from reviews pre Broadway. Had they just announced "Mary Beth Lacey in GYPSY" in NYC folks would have laughed them out of town

I also saw Angie in Denver pre-Broadway.

Days of Wine and Roses only at 54% capacity last week.

I saw “Days of Wine and Roses” at last Wednesday’s matinee. There were empty seats at the back of the mezzanine but it was a good size crowd. And they appreciated the show, as I did for the second time. It’s a fine theatrical experience, the score is good and they are both fantastic.

This was never gonna be a crowd pleaser, but it deserves to have its day on Broadway and it deserves to be seen by theater audiences willing to try ‘difficult’ material.

R190, I saw Sharon Gless in "Watch on the Rhine" at StageWest too! It was such a big deal back in the day that Ms. Gless was working in Springfield.

StageWest was a fine little theater for a number of years, but really poorly managed.

Worcester MA had a nice little theater too, Worcester Foothills - i saw a number of good productions there in the early 90s. It too closed.

* sigh *

[quote] [R190], I saw Sharon Gless in "Watch on the Rhine" at StageWest too! It was such a big deal back in the day that Ms. Gless was working in Springfield.

I was involved with that production and the theater. Yes, it was a nice little theater and unfortunately not well managed in its later years.

I used to hang out at the Pizzeria Uno next to the theater.

Wine n Roses should have stopped after the Atlantic.

Well, r198, it'll have more of a life with Broadway cred.

[quote]I believe the original No No Nanette in the mid 20s did its national tour first before opening on Broadway.

[quote]Didn't the Tyne Daly Gypsy tour first before coming to Broadway?

Yes, and the Pearl Bailey "Hello, Dolly!" revival I mentioned, and several other shows over the years. Proving my point that although a show touring before hitting Broadway is not the norm, it's nowhere near as rare as the publicity for this production of THE WIZ is making it out to be.

Louise Martin and her husband Ralph Martin star in the Sheboygan Community Players production of "Wine and Roses."

Interviewer: Louise, what was difficult about rehearsing Wine and Roses?

Louise: Trying to convince our children, Kaylee and Trevor, that we weren't really drunk. One time Trevor called the police thinking we were really drunk. Ha ha ha!

Pearl as Dolly?

[quote]I saw “Days of Wine and Roses” at last Wednesday’s matinee. There were empty seats at the back of the mezzanine but it was a good size crowd. And they appreciated the show, as I did for the second time. It’s a fine theatrical experience, the score is good and they are both fantastic. This was never gonna be a crowd pleaser, but it deserves to have its day on Broadway and it deserves to be seen by theater audiences willing to try ‘difficult’ material.

I think many people disagree with you that the score is "good." It may be technically brilliant, but the lack of conventional melody is a big problem for many. And I think that's the main reason for the very poor word of mouth that's keeping audiences away from the show, not the difficult, depressing subject matter. As you say, the performances are excellent.

R182, I said it didn't apply to Brando because, as per the photo above, he was not the only actor cast as a member of that family who had darker hair -- and I certainly wouldn't describe him as darker complected than the rest of them.

I'm not sure why some people think discussion of such questions "destroys" these theater threads, but anyway, I've made my point as clear as I can, so there will be no further posts on this subject by me in this thread.

AGGGGGHHHHHHHHHHHHHHH!!!!!

[quote]Proving my point that although a show touring before hitting Broadway is not the norm, it's nowhere near as rare as the publicity for this production of THE WIZ is making it out to be.

It was certainly the norm during the golden age. Almost all major shows had out-of-town tryouts before hitting Broadway, even in the early '70s. I saw "Follies" and "A Little Night Music" in Boston pre-Broadway.

The difference is those were new plays that were still being rewritten.

“I've made my point as clear as I can…”

Oh, my!! — Pearl Bailey

[quote] It was certainly the norm during the golden age. Almost all major shows had out-of-town tryouts before hitting Broadway, even in the early '70s. I saw "Follies" and "A Little Night Music" in Boston pre-Broadway.

We're not talking about 2-3 out of town tryouts before hitting Broadway. We're talking about full tours prior to Broadway.

R200, the point is that currently, putting a show on the road before Broadway is definitely rare.

R207, in a very real sense, The Wiz is being rewritten on the road as well.

The point is LET IT GO. the touring topic and the pigment topic.

Huh! I thought the point was "Shut the fuck up, Prissy, no one needs a thread schoolmarm," R212.

Saw THE WIZ in LA Sunday night. As usual, McNulty was way off. It's a lot of fun, and the singing is insanely good. Choreography exciting too. Audience loved it.

McNulty is arguably the worst of the major critics left. He gave both "Diana the musical" and "Almost Famous" rave reviews that propelled them to broadway disasters. He also tends to pan anything he thinks might be commercial. And don't get me started on his review of POTUS at The Geffen. He needs to be laid off with the rest of them. He's one of the reasons LA has died as a theater town.

[quote]He's one of the reasons LA has died as a theater town.

LA's never been a theater town, r215.

I disagree.

I'm surprised to hear that StageWest was still producing in the late 1980s. Never saw anything there but as a New Englander in the 60s/70s I was very aware of the theater. Didn't the great character actress Rae Allen run it for a number of years? I hope she wasn't part of the problems when it closed.

Hard to imagine it having much life in stock/amateur. Those roles are exceptionally difficult to sing!

I disagree also.

I'd like to make a Sylvia Fowler joke here, but I can't think of one

Hix crix in the stix don't want no Days of Wine and Roses.

[quote]McNulty is arguably the worst of the major critics left. He gave both "Diana the musical" and "Almost Famous" rave reviews that propelled them to broadway disasters. He also tends to pan anything he thinks might be commercial.

Does that mean you think McNulty didn't expect ALMOST FAMOUS to be commercial? FWIW, I largely enjoyed that show a lot despite what I thought were a few significant flaws.

[quote]I'm surprised to hear that StageWest was still producing in the late 1980s.

I think StageWest made it through the mid-90s. The last few years, the Artistic Director was Eric Hill who was a long time company member.

I think that Springfield just lost their audience due to people not wanting to come to the theater. Most of their audience was patrons from the suburbs around Springfield and they had enough money to head towards Boston or New York City.

Originally, StageWest had cast Elaine Stritch as the matriarch in Watch on the Rhine. She was the one who suggested Sharon Gless as the daughter. Rehearsals began and Stritch had a b*tch fit and quit. StageWest was very nervous that Sharon was going to quit (her management team was pushing her to quit). To her credit, she stayed and they brought in Kim Hunter to play the matriarch.

A funny story: after performances they had Sharon Gless meet audience members. One night, two nuns came up to talk to her. They said they had a wonderful idea for her next tv show. A nun who went around solving crimes. 😂. I think Sharon already had her series “The Trials of Rosie O’Neill” in the pipeline. She was gracious to them and thanked them for the suggestion.

"But sister, if I play a nun, then how can I eat clam onscreen?!"

*

r224, thanks for the info. As I've posted here before, regional theaters, including the best in New England Long Wharf and Hartford Stage, lost their audiences to old age and the younger crowd seems to think "local theater" can't possibly be worth their time. They'd rather spend their money on Broadway.

This was already on tv when those nuns made the crime solving nun suggestion.

Ogunquit Playhouse seems to be doing pretty well

R227, Trinity Rep in Providence also had a bumpy ride.

In the late 80s, their longtime Artistic Director, Adrian Hall left. They brought in Anne Bogart as AD who produced absolute shit and alienated their faithful subscribers. She lasted a year and then they brought in longtime company member Richard Jenkins to bring the faithful subscribers back. But it’s the same thing with them in that the faithful died off and they really didn’t build a new subscription base. Last I checked, they were more “woke” than the innovative Hall/Jenkins years.

Singersroom posted their list of top Broadway singers.

Lin Manuel-Miranda is the first male on the list. Jesus take the wheel!

While I didn’t come out humming the score, and it isn’t filled with lovely melodies a la “Light in the Piazza,” the music is appropriate to the subject. And “Home” could conceivably have a life beyond the show.

Ironically, The Light in the Piazza, with its preponderance of open and parallel 5ths, is actually far less tonal than Days of Wine and Roses (from a classical perspective anyway).

To me, most of the music sounded like recitative, and I'm a huge Adam Guettel fan.

A lot of it is, R 234. Is that bad? It takes the show closer to opera, and I can see that opera companies might be more willing to do it than regional theaters where “Jersey Boys” is the norm.

[quote]To me, most of the music sounded like recitative, and I'm a huge Adam Guettel fan.

Right, it's the lack of traditional song forms, with repetition of melodies, that's the problem in DAYS OF WINE AND ROSES. There are lots of melodic fragment, but almost all of them are heard once and then never again.

[quote]Is that bad? It takes the show closer to opera,

But most of the beloved classic operas have lots of song-like arias in addition to sung dialogue. The Richard Strauss operas are exceptions, but look at Puccini, Verdi, Rossini, Mozart, Bizet, Gounod, et al.

R197, R218, R224, R227, regarding StageWest... Eric Hill was not at the theatre in its final years... he and his partner Kate Maguire had moved on. She's been at the helm of Berkshire Theatre in Stockbridge/Pittsfield for years and years. I think he went on to teach at a college or two, then returned to wMA and continued directing.

Albert Ihde (sp?) was the final AD at StageWest and the board seemed out of their depth when dealing with financial troubles.

I'm already rehearsing for the Miami premiere of "Days of Wine & Roses."

At first I thought 66 year old Osmond was going to try and play Joseph again

I left days saying the same thing. The cast is talented but WHERE IS THE FUCKING TUNE????

R221 did you get her innuendo?

Thank you, Mrs. - Prowler...

R220, Ann Miller called her Sylvie Dreck after she panned Sugar Babies a second time. I think her point was well taken. She hated it the first time, so why return a second to tell everyone how much she hated it again.

[quote][R158], I knew as sure as I'm born that someone would bring up Brando in I REMEMBER MAMA, but I don't think anyone looking at that photo would say that he or anyone else looks out of place in that family. I just used I REMEMBER MAMA as an example, but I could have mentioned almost any other play with a family unit among its characters.

Did Brando inexplicably dye his hair for that role?

He was towheaded as a child...

And had light brown hair as an adult...

I do love Ann Miller.

[quote]I left days saying the same thing. The cast is talented but WHERE IS THE FUCKING TUNE????

Too bad they didn't get the rights to use Henry Mancini's song at the finale. It would have made for a boffo finish.

"Sweeney Todd" grossed $1.479 million last week, so THERE to the Foster/Tveit naysayers!

The naysayers towards Foster and Tveit were about the assumed quality of their performances, not about their box-office draw.

Checked APPROPRIATE to see if they might have a single seat for the Wed. matinee today. There was literally only ONE ticket available. Center orchestra for $481 plus handling charges! Needless to say, I passed.

But then I checked last week's grosses and they were only at about $550,000 - yet 95% capacity.

So how can the show, at those insane prices not be hitting at least a million a week? Is the Hayes really that small a theater?

And who is paying those prices, even at Wed. matinees??

R250, the Hayes has only 597 seats. But also, just because you saw a last-minute ticket for $481 doesn't mean that average ticket price isn't much lower.

Appropriate only played five shows last week. I think they had a COVID case. But the grosses for that theatre are incredible. and it had the second highest average ticket price last week, just behind Merrily. It's very good, but still I am not sure why it is doing the business it is doing.

R248 freak shows and train wrecks have always been very popular.

Ah. I see. I didn't notice that it just played 5 performances. Thanks.

Yeah, I can't imagine who's paying those prices.

It’s been extended and will move to the Belasco—those prices won’t hold.

Saw it last Saturday: $158 mezz seats

There might still be Second Stage subscribers seeing it at discounted prices as well.

Coincidentally, I just checked on Appropriate for Memorial Day weekend. It’s looking like a $250 to $300 ticket.

Dynamic. Pricing. In action.

R236 What about Di rigori armato? One of my favorite tenor arias.

By the way Paul Ford mentions in his auto bio that Kiri recorded South Pacific with Corelli. And that he was very good! I think Paul fell off the wagon again. At least he didn't think it was Schipa.

Time to repeat a classic DL post about Ann Miller:

I found this anecdote on Facebook. During "Sugar Babies", Ann would listen to the "buzz" of the audience through the monitor speakers before the show, and if she felt like it was lackluster, she'd have the stage manager announce on the house microphone - "Ladies and Gentlemen, may I please have your attention. I'm sorry to report that Miss Miller is suffering with a sore throat and won't be able to go on this afternoon" and the audience would groan and boo. Then on the microphone, you'd hear a rustle, Ann would grab the mic and say, "No! I'm going on!" and the audience would cheer and the show would be fabulous.

Kiri recorded South Pacific with Carreras, not Corelli.

A special Drama Book Shop latte will save [Italic] Wine & Roses [/italic] !

I think I paid $60 for a front row seat to see Appropriate 10 years ago when it was at Signature. And it was $59 too much. I cannot imagine paying $250-$300 for it, let alone $481. Who the fuck is paying these prices????

[quote]Who the fuck is paying these prices????

And WHY are they paying these prices? I guess some of us underestimated the star power of Sarah Paulson, Corey Stoll, Elle Fanning, et al.? The play itself is enjoyable on the level that it can be fun to watch members of a family behaving horribly towards each other in a very over-the-top way, as we saw in AUGUST: OSAGE COUNTY. But it's really not that good a play beyond that, and certainly not great.

I would never think anyone would clamor to see Sarah Paulson lisp across the stage when they can do it for free on FX.

But then what's the explanation for the demand for APPROPRIATE, R265? Elle Fanning?

R265–she has no lisp in this role…I sure couldn’t hear it during the show. She’s really quite good—better than the script, as noted above.

They could charge double that for Corey Stoll nude scene.

Elle Fanning couldn't draw a stick figure.

[quote] she has no lisp in this role…I sure couldn’t hear it during the show.

That might be a sign your hearing is going because the woman lisps through EVERYTHING.

Actually, R270, you should look up the meaning of "lisp," because I don't think you know it.

Yes, R271, no one has EVER mentioned Sarah Paulson's lisp on here or elsewhere.

R261 That was my point which why I said he must have fallen off the wagon again. An odd mistake for a musician who knows his show albums. Even if it is a crossover. Have not heard it and do not want to. The obc and soundtrack are more than fine. The Bernstein WSS must be the ultimate in miscast studio Broadway show albums.

Corey has a hunt right now—spread wide

gut

[quote]Yes, [R271], no one has EVER mentioned Sarah Paulson's lisp on here or elsewhere.

I don't care how many people have mentioned it. She does not have a "lisp," a speech impediment in which the "s" sound is pronounced as "th."

She has sibilant S's.

[quote] I don't care how many people have mentioned it. She does not have a "lisp," a speech impediment in which the "s" sound is pronounced as "th."

Are you her doctor? Then fuck off.

I love Corey Stoll, but ypu could even see on “Billions” despite the well-tailored suits that he’s a widette — big in the gut, hips and thighs.

He's still sexy as fuck.

I’m sorry, r273, I read your post too quickly. Yes, Kiri has no clue about singing Broadway (or pop) even while the ravishing sound she makes while doing it can sometimes be its own reward.

Holy shit, someone on DL actually admitted they were wrong. We need to call the Pope and declare a miracle.

[quite]She has sibilant S's.

Like Liza.

Quite!

If this was Meryl Streep, Chris Evans, Scarlett Johansson starring in a limited run the prices would be outrageous but given the talent and star-wattage it could be justified. This? No.

The prices are justified if the market will bear them. And it seemingly does: their average ticket price was almost $200 for last week - the highest of any production by a wide margin.

I’m a fan of Jacobs Jenkins - I think An Octoroon is one of the best plays of the last twenty years - and am glad he’s finally having a big Broadway success.

But for the life of me I can’t imagine why anybody would drop $400 and think it was money well-spent.

Second largest average ticket price, sorry - after Merrily.

Appropriate... sounds like a great cast (and seeing Corey Stoll on stage? yes plesae) but another family drama of unhappy people? No thanks... but that'a because I'm old and have already done my time in theatres with other family drama shows and have read the scripts for family dramas.

However, there's always a new generation of theatre goers who have not experienced, Who's Afraid of Virginia Woolf, or an O'Neill, or Osage: August County, Shakespeare...

R288, for the most part, the tremendous family dysfunction in APPROPRIATE is used for comic effect, not drama. There are actually relatively few serious dramatic moments in the play, even though the subject matter is very serious. I'm sure that largely accounts for the show's success at the box office.

I saw Sweeney Todd again this time with the new cast. Sutton Foster is doing a Carol Burnett impersonation and it’s too much. AA was much better. The kid from the Netflix show is okay. Not really right for the part because he doesn’t look special. There was zero connection between him and Sutton Foster. Because of her mugging 24/7. I thought Aaron Kvelt was very good as ST. Much more believable than Josh Groban. Lots of screaming young girls in the audience.

Kvelling for Aaron Kvelt.

R288 good point. I kept thinking this script is all over the place—weird emphasis on certain points while ignoring others. But I’ve decided the playwright was openly mocking these people, and your comments go right to that take. Thanks.

Correction ^ for R289

Appropriate is the only play in the past two years that I've told friends you must see it. I thought it was fantastic -- funny, dark, surprising. It was like a combination of "August Osage" and "All My Sons."

Man, standards sure have dropped.

R294 you forgot there was a bit of "My Three Sons" thrown in there, too.

Theater goers like BIG acting, and Appropriate has it.

Now the landscaper character in Gods and Monsters is Black too.

[quote] "Chicago's Gods and Monsters Stage Play Finds Full Cast, Creative Team" by Playbill's Logan Culwell-Block - "Norman Woodel will lead the company as James Whale, opposite Rashun Carter as Clayton Boone, newly reimagined in this adaptation as a Black man.

[quote] The shift for the fictional character of Boone was inspired by Mullen's research into Whale's Show Boat and its casting of Black activist Paul Robeson as Joe. Going back to Bram's novel after changes were made for the 1998 film version, Mullen's take will also depict Whale's housekeeper as a Mexican immigrant, part of a larger goal to bring race to the center of the story while exploring how Whale's homosexuality helped to unlock the then-uncommon empathy for outsiders and the oppressed that is present in his screen work. The changes have been approved by Bram, who says in a statement that "[m]y story is in excellent hands."

Amadeus as a Brit TV series

Any time you see " re-imagined" or " done for a contemporary audience," you can bet that a role formerly played by a white man will be black, trans, or female. You will never see a white male Hedda Gabler or Troy Maxson.

I used to love Theatre Gossip threads.

Aaron Tveit sounds ridiculous, wrong and completely underpowered for Sweeney on the clips I’ve heard. It sounds like someone doing a satire. Joe Locke screams though his music, poor thing. Sutton Foster has got to be one of the worst, if not THE worst to ever do the role. The less said about it, the better. She’s an absolute horror and should have one of her Tonys taken away as punishment.

"Aaron Kvelt" is the new Lens Dunham.

MARY!!! @ R302

[quote]She has sibilant S's.

She's no Cecilia Sisson

[quote]Appropriate is the only play in the past two years that I've told friends you must see it. I thought it was fantastic -- funny, dark, surprising. It was like a combination of "August Osage" and "All My Sons."

As I said, the play is very enjoyable to watch because of all the over-the-top family histrionics. But I find it odd that, when you think about it, the vast majority of the arguing, griping, and yelling has little or nothing to do with the family's racist past, which I believe is supposed to be the main point of the whole thing.

Their ignorance of the bigger picture…agreed.

Speaking of MARY!/R304, Steven Spielberg, Sally Field (who played Mary Lincoln in the Spielberg film) and Field’s gay son recently saw Oh, Mary! and there’s a photo online with them with the cast. Just washed my hair so too indisposed to post a link.

Oh, ALRIGHT…

Her son is a cutie.

Warren Beatty and Shirley MacLaine's niece will be replacing Elle when Appropriate moves.

You’re an idiot it is Warren’s daughter / Shirley’s niece

Melo kid—on steroids!

Nepo kid—on steroids!

How on earth did The Notebook gross $1M+ with an average ticket of $141? Yes, I know the movie is sort of popular but enough to have that many people paying that much its first full week? Is awareness of it even that high?

[quote]R312 You’re an idiot it is Warren’s daughter / Shirley’s niece

Most properly, it is MRS. WARREN’S PROFESSION!

^ oops. Sorry. Meant Warren and Annette's daughter and Shirley's niece.

Isn't that Tony Kushner in the r309 photo too? He wrote the LINCOLN screenplay.

Did Our Sally try to set her useless, mooching son up with Cole Escola?

R316 walked out of that ghastly Roundabout production ….worst thing I’ve ever seen with Cherry Jones. Such a disappointment.

R319 . . .

When Sally's son met Adam Rippon.

Two bottoms, Sally. Did Dom DeLuise teach you nothing?

[quote] Mullen's research into Whale's Show Boat and its casting of Black activist Paul Robeson as Joe

What a load of horseshit. Robeson was Kern and Hammerstein‘s first choice to play Joe on Broadway. Robeson wasn’t able to do that but he won acclaim for playing the part later in London. Hammerstein and Kern were very involved in the movie’s casting and pushed for Robeson to get the part. I’m sure Whale had to sign off on it, but it’s not like it was a brave, bold move on Whale’s part. What else was he going to do…cast Al Jolson in blackface?

Goldie Hawk at Appropriate. 😱😱😱😱😳😳😳🙀🙀🫣

HAWN not Hawk you fucker autocorrect. Stop helping.

why's the headline on this thread missing? I have to do a search every time I want to see updated posts.

R327: You've probably blocked this thread's OP. It happens to me occasionally, too, but once you post something in the thread it should show up in your Watched Threads list.

Gidget Goes To Broadway!

Just another coding defect here…there are many.

[quote] You've probably blocked this thread's OP.

Yes, I'm assuming you can't see this thread title because I started the thread and you previously blocked me, sweetheart. Have a lovely day.

R324, nowhere in the previous post is there a claim that it was Whale's idea to cast Robeson in the SHOW BOAT movie, or that it was a "brave, bold move" on his part. So calm the hell down, please.

[quote]You've probably blocked this thread's OP.

For reasons that are well-known to him.

Goldie Hawk, those bangs are no longer doing the trick!

[quote] The shift for the fictional character of Boone was inspired by Mullen's research into Whale's Show Boat and its casting of Black activist Paul Robeson as Joe

R332, if they decide to cast a black actor as the gardener in Gods and Monsters, fine. But why do that just because a black actor played a black character in the Show Boat movie. With that logic, they should make Whale’s housekeeper a trilly soprano like Irene Dunne.

Well, who knows what really went on between James Whale and Paul Robeson? Maybe Helen Morgan but she's dead.

Goldie Hawn looks like a candle that melted and of course Demi Moore brought a fucking dog to a play.

It’s a support animal!

[quote]Two bottoms, Sally

Ah, DL's good ol' reliable "two bottoms" joke! Always a laugh riot!

New hot couple: Goldie Hawk and Aaron Kvelt!

[quote]Goldie Hawk, those bangs are no longer doing the trick!

But she looks quite trim!

Jesse just spoojed all over Jelly's Last Jam, even though he acknowledges the second act sucks. Just like Frank Rich did all those years ago. Is there any original thinking at The Times?

McHenry wrote the same thing on Vulture. Maybe the second act really is weak and everyone notices it?

[quote]Norman Woodel will lead the company as James Whale, opposite Rashun Carter as Clayton Boone, newly reimagined in this adaptation as a Black man.

[quote]Mullen's take will also depict Whale's housekeeper as a Mexican immigrant, part of a larger goal to bring race to the center of the story

Isn't that all wokes do? Bring race into everything? They're obsessed with skin color! One would think they were racist.

R289, that wasn't my experience of APPROPRIATE -- while there are certainly some strong comic moments in the play, for me it gets more and more dramatic, and it certainly ends quite seriously.

Goldie looks like a burn victim. 😬

Aaron Kvelt in person sounded fine. I didn’t listen to any clips. But I agree about Sutton Foster and Joe Locke.

Keep an eye on Private Jones, a new musical premiering at Signature in Arlington, VA. It is about a deaf Welsh sniper in World War I. It’s not perfect, but is quite moving and unique.

Have you met Miss Jones?

I’ve heard good things about Private Jones as well. Friends are seeing it this weekend.

[quote]Keep an eye on Private Jones, a new musical premiering at Signature in Arlington, VA. It is about a deaf Welsh sniper in World War I. It’s not perfect, but is quite moving and unique.

Where's MY musical?

"Private Jones" eleven o'clock number.

R345, it's arguable, but my memory of the show is that the comic moments far outweighed the serious ones. I do agree with you about the ending, and maybe that's why the show left you with the impression that its serious overall, but I do think it was mostly comedy percentage wise.

Aaron Tveit on “Live with Kelly and Mark” this morning.

Ah," Jelly's Last Jam" brings back memories. I went to NY with a straight friend. He met a friend of his for drinks, while I told him I was going to see " Jelly's Last Jam," but, instead, went to the Gaiety to see the strippers. I came back a little later than expected and told him there had been some technical difficulties which delayed the start, so it lasted longer than usual.

The raves for Jelly convinced me to buy a ticket. Haven't been to Encores! for years.

“KY Jelly’s Last Jam” now on Pornhub.

[quote]Well, who knows what really went on between James Whale and Paul Robeson? Maybe Helen Morgan but she's dead.

I only went on between James and Paul when the script called for it.

[quote]I used to love Theatre Gossip threads.

I used to love theatre.

Take a letter, Miss Jones.

[quote]Aaron Kvelt in person sounded fine.

At those prices you'd expect more than "fine".

Will Jelly be moving to Broadway? Looks like it's ready already.

[R167]: I understand that if performers miss as many performances as Lindsay, they don’t get Tony nominations.

[quote]The kid from the Netflix show is okay. Not really right for the part because he doesn’t look special.

R290 How do you mean not special?

[quote]I thought Aaron Kvelt was very good as ST. Much more believable than Josh Groban.

"There was a barber and his wife... and he was BEAUTIFUL..."

R364. Really?

If Jelly were to transfer I think Billy Porter would be replaced. He has so many irons in the fire and is in such demand right now.

Still rewriting The Life and making it even worse than your last attempt, Billy?

What is this supposed to be?

Second Stage is giving up it's off-Broadway "second" stage on 43rd Street.

That's shocking about 2nd Stage! I can't believe they don't own that building or at least have some affordable 100 year rental lease on it.

If Second Stage owned the building would they have to Acknowledge The Land?

Does anyone know if the Promenade theater on the upper west side still exists? I thought it had been torn down for a Sephora years ago. But there’s a women’s theater group that is putting on plays in that building. Is it the old Promenade theater?

[quote]That's shocking about 2nd Stage! I can't believe they don't own that building or at least have some affordable 100 year rental lease on it.

That’s prime location. I’m surprised they lasted as long as they did.

I wonder if Covid messed up their original lease and they had to renegotiate?

[quote]Does anyone know if the Promenade theater on the upper west side still exists? I thought it had been torn down for a Sephora years ago. But there’s a women’s theater group that is putting on plays in that building. Is it the old Promenade theater?

The Promenade ceased production there around 2006. I think the theater is now called McGinn-Cazale Theatre. The WP (Women’s Project) does productions in that space.

So just how many performances has Lindsay Mendez missed? It didn’t seem like she was missing a lot last fall. Is it all in reaction to her ex-husband’s insanity?

I saw the original JELLY when I was in high school. Absolutely fabulous. The clip from Encores looks great, too--I saw Nicholas Christopher in SWEENEY and he was fantastic. A star is born. Who knew he could tap, too!?

Aaron Tveit promoting Sweeney Todd this morning on “Live with Kelly and Mark”.

Aaron Tveit needs a better hairdo.

[quote]Aaron Tveit promoting Sweeney Todd this morning on “Live with Kelly and Mark”.

White pants? In NYC? In February?

The rules have changed, R380.

What was the Promenade Theatre is now a Sephora. Above it, there is still a small 100-seat theatre, the McGinn Cazale, that is used by Second Stage and WP Theater.

R378 Aaron Tveit has such thick hair!

Must run in the family, because his dad has great hair, too.

R383, Aaron definitely resembles his mother.

What a lame era when people like Aaron & Sutton are considered “stars.”

Tell me about it, R385!

[quote][R121] ‘woke' liberals who currently run Broadway are anti-beauty among other things

Oh no! The hip Antifa wokesters running roughshod over Broadway have brought cheap, tacky ugliness to the New York stage!

However shall a white geriatric showtune queen find their staged entertainment?

Sutton Foster is and will always be a chorus girl who got lucky.

There's some confusion upthread about the Promenade Theater.

The now defunct Promenade is not and never was the same space as the McGinn-Cazale Theater, which is another theater in the same building that 2nd Stage built in the mid-1980s.

I believe 2nd Stage still owns the McGinn-Cazale (named after actors Walter McGinn, who was 2nd Stage founder Robyn Goodman's late husband - before she turned gay - and late actor John Cazale) but mostly rents it out. It's tiny, 2nd Stage quickly outgrew it, and that's why they built the space on 43rd St.

The Promenade was somewhat bigger and was always a for profit commercial off-Broadway space, like the original Three Tall Women, Tea at 5 and The Road to Mecca.

After reading that article/interview with the brilliant Oscar nominated (Anatomy of a Fall) actress Sandra Huller, who apparently is far more a stage than film actress in Germany, I'd bet that smart producers will be trying to find a play to lure her to Broadway.

Just please, not Hedda Gabler at The Roundabout. Will someone please warn Sandra?

In a theatre news item seemingly custom-written for DL:

The Playwright vs. the Theater

Victor I. Cazares has stopped taking their HIV meds — until the NY Theatre Workshop calls for a cease-fire in Gaza.

^ lolololol

R389 I am so confused.

What's confusing, r393? Two theaters, same building, one theater is now gone.

R390. How about The Lady from the Sea? (Or The Lady from Dubuque, for that matter.)

Or Lady in the Dark.

I have never been in the Kiser theater on West 43rd, is it well designed?

Is that the one over the pizza joint, r397?

It's the Second Stage theater discussed starting at r370

Speaking of Second Stage, I vividly remember being excited (and scared) for a new William Finn musical based on a semi-recent hit movie, Little Miss Sunshine, which seemed a good fit for Finn’s wheelhouse. I was well aware that Finn and James Lapine had tried it out in various versions with exceptional casting I was so optimistic going to see it previews… and, it was horrible. WTF? Clearly, the show never went beyond Second Stage… it was especially sad because when I saw it the audience was pretending (as I was) to want it to be so much more than it was. A shame it was such a bad show.

The Promenade was cut up like crazy when Sephora went into the space. They added a floor above the theatre itself and that's now a physical therapy space. I went there after my knee replacement. You can still tell there was Orchestra seating underneath.

This is pretty amazing. Audio of Fosse directing Liza in Chicago.

When the Promenade was still a working theater, wasn't there also a gym in the upper floors of that building?

I thought the gym came later and was on the lower floors, but I could be wrong.

I remember a NYSC that was underground.

Wasn't the gym a Pumping Iron?

It began as a NYSC.

*

Max von Essen *in* Prick Up Your Ears!

More like Prick Up Your Ass!

Do you supposed Max von Essen has ever bottomed?

Is there any other supposition?

FOLLIES casting

[quote]Antonio Fargas as various characters

Huggy Bears Blues

I could have sworn Huggy Bear died a couple of years ago., but he's live in Vegas!

There was a dance/yoga studio space on the second floor of the northeast corner of 76 and Broadway, adjacent to the Promenade.

R417 you’re in the wrong neighborhood, entirely.

I don't think being actually alive is a requirement for appearing live in Las Vegas.

It certainly isn't for the audience

[quote]I don't think being actually alive is a requirement for appearing live in Las Vegas

Your thinking is correct, sir.

Poor Andrea McArdle

In the Sammy Davis Jr. thread, I posted a link to this number from GOLDEN BOY. It's one of the best Strouse/Adams scores.

R421 Thus Spake Wayne. He’s dreamy..

Can someone please start a different thread where we discuss UWS real estate? I don’t like it here.

Is Lindsay Mendez still missing shows?

R402 Thank you for posting this! It's amazing to hear Liza's singing voice so clear and in tact!!!

She was such a tactful singer, r427.

[quote]Is Lindsay Mendez still missing shows?

Is it a day that ends in a Y?

Everyone I know who’s seen Merrily saw Lindsay

That doesn't surprise me, r430. That poster can be trollish.

That's funny, because I know four people who have seen it and none of them saw Lindsay.

No Gypsy for Audra

Maybe Sutton can take over.

Sutton, you are not Mary Tyler Moore. You are only loved by rejected theater kids. Stop taking these roles that are not right.

Sutton's TV series YOUNGER and THE MARY TYLER MOORE SHOW both ran for 7 seasons.

[quote]Everyone I know who’s seen Merrily saw Lindsay

[quote]That's funny, because I know four people who have seen it and none of them saw Lindsay.

The fact is that she has missed a very large percentage of performances, so many that some people are thinking this will definitely work against her getting a Tony nomination and/or a win.

Bunheads was better than both.

Bunheads was wonderful. I was so bummed it didn't get a 2nd season.

Bunheads was canceled because Grey's Anatomy creator Shonda Rhimes complained that there were no black characters for her daughter to relate to.

Seriously, she would not shut up about it and it created an online backlash against the show, with some people calling it racist and exclusive.

Guess what? The ballet world is famously exceptional and exclusive. That’s it. Lizzo or Da’vine Joy can celebrate their own world and the girls who kill themselves in ballet can have a showcase, too. Fuck Shonda.

The stupid name was what killed Bunheads

I’m so glad Audra isn’t doing Gypsy. She wouldn’t sell tickets but I would love to see Heather Headley in the role

Maybe now that Audra isn’t doing Gypsy, she and Oprah can team up for that reworking of Terms of Endearment where the husband is downlow and bisexual and has HIV.

[quote] “I’ve got to tell stories that are important to me, and so many African-American women died,” said Daniels. “I want to make Flap [played by Jeff Daniels in the 1983 film] gay and infect the Debra Winger character. And then we explore the ‘80s in a different way.”

Yeah...no.

Heather Headley made personal choices in her life, yet it is undeniable she is one of the greatest performers and it says a lot about Broadway that she is not there when maybe she’s available.

[quote]Poor Andrea McArdle.

From lovable moppet to the Ethel Shutta role in "Follies" in the blink of an eye!

R447, In just 47 years.

[quote]McDonald -- a 10-time Tony Award winner who made history by becoming the third person to receive the most-ever acting noms at the Tony Awards with her tenth win last year -- tells ET that despite not having any knowledge of how that rumor started, she is "hoping" to be back on Broadway soon.

Okay, I know that ET doesn't have actual editors, but, kind of hilarious that no one noticed their error.

[quote]R447, In just 47 years.

That's a blink of an eye to me!

It's not just an error, R449, that entire sentence is a word salad.

She has “no idea?” From December 2022:

[quote] At a recent Carnegie Hall concert, Broadway star Audra McDonald sang “Rose’s Turn” from the musical Gypsy, delighting the assembled and raising one of the most intriguing casting questions in musical theater: will—and if so, when will—this most lauded and awarded of actors take on the legendary role?

And:

[quote] “Well, it’s the King Lear of roles for women in musical theater,” McDonald, winner of a record-breaking six Tony Awards, told The Daily Beast in a recent Zoom call. “That’s the role isn’t it? I certainly wouldn’t say ‘No,’ let’s put it that way. Yes, I would love to play Rose someday. But when it came to singing that song it was me dealing with my emotions on the occasion of my oldest daughter Zoe going off to college, and realizing a lot of the anger, hurt, and abandonment I was feeling were similar to what Rose was going through in that moment. I’m not saying Rose is the world’s best mom, or that I am. But we both love our children fiercely and do what we can for them, and that connected me to that song.”

Whether or not it happens, this is all odd.

Maybe she started hearing the backlash against her playing Rose and got cold feet.

Audra has always struck me as intelligent and tasteful, she must be aware how utterly wrong her voice is for Rose. Maybe the Sutton Foster debacle at the Lunt gave her a reality check.

The Sutton Foster debacle at the Winter Garden only accelerated producers’ desire to miscast her. That was one of the worst performances I’ve ever seen on Broadway, on the level of casting Julia Roberts as Harriet Tubman.

It could also be that the plan was for her to do the role…but maybe they couldn’t find enough producers/investors.

The 1989 Gypsy had to tour first to make money before Broadway even with a TV star in the role.

The 2008 Gypsy was hell trying to raise money for even though LuPone blew the the roof off of Encores. It was still problematic to convince people to invest.

The London revival with Imelda didn’t transfer because they couldn’t raise the money.

In 1973, they first went with Elaine Stritch but they couldn’t raise the money on her name, so we’re lucky enough to have Angela do the role (even she had to tour with it like Tyne did)

The only Gypsy that was easy to produce was the 2003 one with Bernadette and then it lost everything and Bernadette had to give up her salary to keep it going.

I don’t blame producers for being reticent, even with Audra.

[quote]Despite rumors to the contrary, McDonald tells ET's Nischelle Turner that she will not be returning to Broadway to take on the iconic role of Mama Rose in a revival of Gypsy premiering during the 2024-2025 season.

Seems a bit coy. Perhaps the production is being considered for the 2025-2026 season?

r437 The tally on BWW at the start of February was 53 missed performances.

The fact this is barely being discussed really shows how absolutely no-one is going to Merrily to see her. Compare it to how Broadway social media was constantly bitching about Jordan Fisher missing shows, etc.

R458. Only 53?

R441, don't you have a KKK meeting to attend? "Exceptional and exclusive" = "no blacks allowed"? Nice.

[quote]Heather Headley made personal choices in her life, yet it is undeniable she is one of the greatest performers and it says a lot about Broadway that she is not there when maybe she’s available.

I don't understand what you mean by the first part of your sentence, and as for the second part, I think the main reason she never does Broadway anymore is that she is unwilling or unable to do eight performances a week in anything.

R460, I'm pretty sure you completely misread that quote. Writing that the ballet world is "exceptional and inclusive" certainly does not necessarily mean that poster thinks this is a good thing, it's just a comment on the reality of that world.

[Quote] The 2008 Gypsy was hell trying to raise money for even though LuPone blew the the roof off of Encores

LuPone got panned in the Times for Encores

The Gypsy lyric notwithstanding, who are “some people”?

[Quote] some people are thinking this will definitely work against her getting a Tony nomination

And some people eat pineapple on pizza. So what?

r410 that was always the joke. Good morning.

How are Geoff’s and Radcliffe’s attendance?

[Quote] The tally on BWW at the start of February was 53 missed performances.

Where is this count on BWW, r358?

Sorry r458

I think the person who posted about Heather meant she chose to make family her priority over her career and no longer lives in NYC and can only commit to short runs. Smart lady.

r466

R455

And yet for many, myself included, Sutton Foster was the highlight of that misbegotten Music Man. And by a mile. Hugh Jackman, who seems like perfect casting for Harold Hill, was middling at best.

[Quote] Hugh Jackman, who seems like perfect casting for Harold Hill

He’s earnest with zero edge, so no.

The Second Stage Theater scenario is so, so depressing. That OB house on 43rd and 8th is a gem: great sightlines for all audience members, solid acoustics, great location. The idea that it's going to be converted into condos or some commercial whatever boggles my mind. The city has already lost enough OB houses. And really, OB is where 90%+ of the interesting work is being generated for the entire industry. Most of the non-profits have reduced their OB offerings significantly this season; it's all rather dire.

Second Stage no longer has the much-smaller OB house (108 seats) on 76th St. That whole space is interesting. Yes, there was a NYSC gym below. I remember once running into a guy I was seeing who was working at the theatre at the time in the lobby right after I finished working out. The Promenade Theatre, which was a beautiful OB house, is long gone, and much missed. That upstairs theatre is still going. Mostly with shows by the WP.

R471,

And that's exactly what happened. But after seeing him in that Jez Butterworth play on Broadway, the one where he chopped up that fish (that's all I really remember, which says a lot), some edge seemed possible.

Perfect Crime better be on high alert. Next they’ll be coming for The Anne L. Bernstein Theater at THE THEATER CENTER.

R473 Cush Jumbo acted him right off the stage

I just happened tp be listening to the OBC of SEESAW this afternoon. What an incredibly fun recording! Michele Lee (never better!), Ken Howard and Tommy Tune are just fabulous and I even love the 2 numbers cut from the tour "Spanglish" and "Ride Out the Storm."

I saw the show and the subsequent tour each a few times when I was young. So delightful, the kind of 1970s musical, like OVER HERE, that's simply well-produced mindless entertainment of the sort that just isn't done any more. I wish Encores would do this show though I guess it's highly doubtful.

Apparently Ms. Uggams was so amazing in "Jelly's" that grown men leapt to their feet and wept.

Judging by the average age of an Encores! attendee, they jumped to their feet because their seats were wet.

Judging by the average age of an Encores! attendee, I doubt if they actually jumped.

R464, I don't understand what you don't understand about my post. I was merely pointing out that, because the Tony nominators are presumably aware of how frequently Lindsay Mendez is absent from MERRILY WE ROLL ALONG, some people feel the nominators might hold it against her and pass her over for a Tony nom. And if she DOES get a nom, some people feel that she may not get the award because presumably most or all of the voters are also aware of her very poor attendance record. Get it now?

[quote]For many, myself included, Sutton Foster was the highlight of that misbegotten Music Man.

In my opinion, anyone who feels that way has no comprehension of how the role of Marian is supposed to be properly sung and acted.

I've seen MERRILY three times but only seen Lindsay once. I might not hold that against her except the understudy was dreadful so if she's going to be out, at least have a decent cover for her. No one begrudges people taking time off that they need but if we are paying premium prices for the show, the cast should be good.

R480 can get a thrill, knitting sweaters and sitting still.

[quote]I think the person who posted about Heather meant she chose to make family her priority over her career and no longer lives in NYC and can only commit to short runs.

Yes, but she also didn't perform a full week's schedule when she did THE BODYGUARD in London. I guess she feels that doing one or two fewer performances a week greatly helped in "making family her priority."

I think we can all agree that "no one begrudges people taking time off that they need," but if an actor needs to continually miss performances of a Broadway show for whatever reason, then at least an alternate should be hired. And it should be well publicized that there is now an alternate for the role in question, so that audiences can have a more realistic expectations as to whom they're going to see in it.

R484. I don't think anyone who played that role in The Bodyguard did 8 shows per week due to the vocal demands. There was an alternate just like Christine in Phantom and Eva in Evita.

[quote]I've seen MERRILY three times but only seen Lindsay once. I might not hold that against her except the understudy was dreadful so if she's going to be out, at least have a decent cover for her. No one begrudges people taking time off that they need but if we are paying premium prices for the show, the cast should be good.

Well said, R482. I love Lindsey Mendez and paid big bucks to see Merrily. Her understudy tried but was no match for the part. What I don't understand is if you're having personal relationship problems, you'd think you'd WANT to do a performance where you could forget your real issues and lose yourself in the show story - and to great acclaim, I'm told.

I went through this many years ago with Jennifer Holiday. It took me five times to finally see her; yes, she was great. But the lengths management took to hide that she was not performing was unforgivable. Now, Jennifer will sing at a Bar Mitzvah or parking lot opening.

Whatever happened to "the show must go on?"

[quote]I went through this many years ago with Jennifer Holiday. It took me five times to finally see her; yes, she was great. But the lengths management took to hide that she was not performing was unforgivable.

Yes. And now, it seems the same thing is happening with Lindsay and MERRILY. Someone I know ran into Lindsay's brother not long ago and mentioned that she was out of MERRILY when he saw the show, and I'm told her brother replied along the lines of, "Yeah, she's not in it very often." Can you imagine, when so many people would give their eyeteeth to play that part on Broadway?

It's Lindsay Mendez, folks. You're not missing anything.

[quote]I went through this many years ago with Jennifer Holiday

But DLers insist this is a new phenomena and only happens with young people who aren't dedicated

R488, It took three attempts for friends of mine to see Elizabeth Taylor in The Little Foxes in 1981.

If Elizabeth so much as sneezed, she called in sick.

Elizabeth Taylor had no previous experience in the legitimate theater, R492, and never learned about the discipline it requires.

Elizabeth Taylor couldn't even remember her lines on General Hospital.

[quote]It's Lindsay Mendez, folks. You're not missing anything.

I disagree, R490. I've seen Lindsey give many good performances over the years. Three that come to mind are:

Carrie in CAROUSEL

Laura in SIGNIFICANT OTHER

Rose in DOGFIGHT

She's a first-rate performer IMHO.

[quote]Carrie in CAROUSEL

This isn’t a very high bar because everything the actress needs is written in the script. There are thousands of college and community actresses giving excellent performances of Carrie because it’s all there.

Example:

Enoch: You’d think a woman with nine children would have more sense.

Carrie: If I had more sense, I wouldn’t have nine children.

You’d have to be a really bad actress not to be successful in that role.

Lindsay was also wonderful in Encores' THE GOLDEN APPLE as Helen of Troy, the Kay(e) Ballard role.

I made r487's point a couple of threads ago about Lindsay's absences. You'd think there would be nothing healthier for a person going through personal issues to get out on a stage in a brilliant role and be cheered and applauded by hundreds of people every night and loved by a cast and crew that's there to support her.

She did All Rise with Ruthie Ann Mikes—they played the court clerk + staff.

*Miles

r480 I understood you just fine. You say “some people” when I guess you mean you. Or are they “some people” in your mah jong group? Who are these “some people” you keep referencing and why should we care? Get it now?

Just saw Jelly. Flawed musical, but great production. Nicholas Christopher is heaven, especially after his Perellli and Sweeney. Somebody find a role for this man! Billy Bigelow?

Water For Elephants is getting crucified over on the BWW chat boards. Even "Jordan Catalano" who attends every first preview and loves everything said it was meh.

Pirelli ^

Shrek tour

[Quote] Tony Award-winning duo Jeanine Tesori and David Lindsay-Abaire have re-visited their first collaboration to deliver a more intimate and engaging experience.

[Quote] this reimagined production of SHREK THE MUSICAL brings the show back to its roots - giving it a new kind of love emphasizing the importance of loving ourselves and one another.

Smaller cast. Black Fiona. Costumes from Old Navy. Another chance to make some cash

Little Me has such a great overture.

Oy, the notebook. You can cast cross culturally all you want to, but when the characters are this generically drawn, it doesn’t matter. Not one person on stage with a personality, save, perhaps Marianne Plunkett. No relationship has any reason for being or ending. They just sing Hallmark lyrics with some NPR orchestrations. And with the cross racial casting, and some awkward cast doubling, i defy anyone really to know who is who from one scene to the next. Pretty set. Hot young Noah understudy who takes off his shirt, but must’ve immediately stopped working out immediately on his way to becoming Middle Noah. But they’re both earnest. And yes, I’m pretty sure the bitch mom says a boy like that wants one thing only

I agree that Lindsay Mendez was terrific in DOGFIGHT and THE GOLDEN APPLE and MERRILY. CAROUSEL, however, was painful to my ears simply because of the vocal approach she took -- not remotely right for that music or character.

I prefer Kyle & Eric Menendez

oooops, LYLE

[quote]Whatever happened to "the show must go on?"

R488, Noel Coward wants a word...

[quote]“I’ve got to tell stories that are important to me, and so many African-American women died,” said Daniels. “I want to make Flap [played by Jeff Daniels in the 1983 film] gay and infect the Debra Winger character. And then we explore the ‘80s in a different way.”

R444 I'm confused.

He wants to tell stories that are important to him and many African-American women but is coopting a film/book about white characters written by a white man?

The new normal.

[quote]But DLers insist this is a new phenomena and only happens with young people who aren't dedicated

R491 it's true, though. Young theater people today, many who identify as 'woke,' don't value hard work.

They associate it with 'capitalism' and 'white supremacy' and the 'patriarchy,' because white men are generally punctual and industrious and profit-driven, whereas women and POC tend to be tardy and slackers and are not really money-minded beyond earning a (hefty) paycheck, even if it's not earned.

Thus, Liz Taylor and Jennifer Holliday missing shows way back when is par for the course for women and POC, but it wasn't tolerated by the white men who ran Broadway, unless you were a star.

Since going woke in the past decade, Broadway is now primarily run by ultra-liberal white women and POC, who historically have not valued hard work nor punctuality.

Hence many women and POC calling out lately... and not being penalized/reprimanded because that would be forcing 'white supremacy' and the 'patriarchy' onto them. 🙄

In short, liberals have gotten lazy and lack a strong work ethic.

??

That was an idiotic post!—even for the DL^^^

Credit the great Ralph Burns for the LITTLE ME overture.

This is seriously the first time I've heard about Elizabeth Taylor missing a lot of shows when she appeared in The Little Foxes. Surely, they would have had to cancel a performance if she wasn't on, with audiences demanding their money back, understudy or not.

Is that really true?

[quote]You say “some people” when I guess you mean you.

No, I meant that several friends and acquaintances of mine have expressed the opinion that Lindsay Mendez may be passed over for a Tony nom/award for MERRILY because of her frequent absences, PLUS I have read the same opinion expressed by others in various online forums, including the DL. I think that qualifies as "some people," and I find it bizarre that you can't seem to understand the meaning of that simple phrase.

[quote] I don't understand what you mean by the first part of your sentence, and as for the second part, I think the main reason she never does Broadway anymore is that she is unwilling or unable to do eight performances a week in anything.

You're wrong. She doesn't do Broadway because she believes in being with her Chicago-based family. She also finds enough concert and TV work to make that priority work out for her. She's done 8 a week in everything except Bodyguard which turned out to be too strenuous a sing and did harm to her reputation. Otherwise her work ethic is beyond reproach and everyone loves her when they work with her.

R517, Elizabeth and Maureen Stapleton shared the same standby.

Carol Teitel (Regina Giddens, Birdie Hubbard)

Performances were cancelled when Liz was out. The standby went on once as Regina in LA during the post Broadway tour.

. . .

. . .

is their any coverage or chatter about Ms Mendez except here (and Broadway World)?

I don’t understand how missing 53 performances in just a few months is considered anything but a serious dereliction of duty.

where is Michael Riedel when you need him

In a normal season, excessive absences would probably not disqualify. Not for Audra McDonald, Donna Murphy, Laura Benanti, Bernadette Peters. But there are so many other shows opening, and other potential nominees, it could hold her back with enough voters to make a difference. Maybe she doesn’t care because she already has a supporting Tony.

As long as nominators and voters aren't inconvenienced by having to reschedule their attendance, I don't think Mendez's absences would affect a vote.

According to chatter, the reason for Mendez so often being out of the show is that she's going through a horrible divorce from her second husband. But first of all, however upset she is about that, she was not SO upset that it caused her to hold off on announcing her engagement to be married yet again. Also, as someone pointed out above, wouldn't performing before wildly appreciative Broadway audiences in a role and show in which she has been acclaimed be good medicine for someone who has troubling things happening in her personal life? And ALSO, much has been made in the press about Lindsay's close friendship with Groff and Radcliffe, so wouldn't they be a great means of moral support?

Regardless, if she honestly feels she needs to miss so many performances for WHATEVER reason -- and whether or not any of us agree that her reasons are good enough -- she should now be or already should have been replaced, or at least an alternate should be or should have been hired.

R528, I'd like to think some nominators and voters are selfless enough that they would be reluctant to nominate or vote for someone who they know for a fact has had a very large number of absences from their show, even if the performer in question was in the show when they were scheduled to see it and therefore they were not personally inconvenienced.

It's obvious: The show is loved, it's Sondheim, and no one will say anything bad. As opposed to the Bernadette Gyspy which generally had to face guns-out its whole run so her absences were fodder. Original Color Purple was resented for its Oprahbility so Fantasia (ye gods, an American Idol performer on the [italic] Broadway [/italic] !!!) was subject to more guns blazing.

R529, thank you for the info. When I posed the initial question, I was labeled a troll.

I saw Liz in LITTLE FOXES, and it was memorable, mostly for the wrong reasons. But I enjoyed myself immensely.

r513's words are horrific and ugly and unwarranted. Nothing but hate. Can you please leave us all alone so we can gossip and take your ugliness over to a Fox News website?

Saw THE NOTEBOOK yesterday. Loved it. It's a musical that knows exactly what it is about, the story it wants to tell, and makes the most of it. Some of the songs are gorgeous. Solid performances with MaryAnn Plunkett being extraordinarily. Lovely set and good, clean direction and choreo. Reminded me of "come from away" in its intention and clarity. Audience went wild for it. It's very moving.

[quote]But DLers insist this is a new phenomena

Oh, dear.

Wow r535 good to hear you liked it. I really didn't but different opinions can be cool to read. Go figure.

[quote]Since going woke in the past decade, Broadway is now primarily run by ultra-liberal white women and POC, who historically have not valued hard work nor punctuality.

r513's favorite cartoon...

R513 is disgusting. Someone should run him out of town on a rail.

Is he the Loon? As I recall, the Loon was a conservative racist.

Oh for Christ's sakes, shut up about it, already.

[quote] Bernadette Gyspy which generally had to face guns-out its whole run so her absences were fodder.

She was only absent when she got sick in previews. That’s what Michael Riedel wrote about. She had a perfect record after it opened. Whereas with Lindsay Sanchez, opening night signals the start of her frequent absences.

r540 Well guess we just found out who gave that cunt a W&W. And what was it you said earlier in the thread about not needing schoolmarms?

[quote] Well guess we just found out who gave that cunt a W&W. And what was it you said earlier in the thread about not needing schoolmarms?

Are you always wrong about everything?

If you're upset about what he wrote, then FF him. Don't pile on with virtue signaling posts that do you no good on an anonymous board, anyway. No one's giving you any credit. The point was made five times already.

And clearly, you ARE a schoolmarm, since you've been nursing that wound for a couple threads.

[quote]Whereas with Lindsay Sanchez

Who?

r543 You said it in this thread, at r213. Though I take that as an admission you recycle material. Your use of "virtue signalling" just exposes you further.

Wow, you got me. I'll bet you're going to brag to your goldfish about it all day. What an achievement. You have a full life.

You don't even have a goldfish, r546.

[quote] I'll bet you're going to brag to your goldfish about it all day.

R546 is a sourpuss, but I laughed at that! Thanks for the laugh, sourpuss

Donna Murphy VPL

Don’t make me look, please 🫣

Thanks for the warning, R549.

She's a MAN, baby!

If ya got it, and boy's she's got it!

"the London CABARET is very glum and drab and you leave the theater feeling crummy and miserable."

I think that MIGHT be the point. If you walk out of a production of CABARET feeling "Fantastic and happy" you're a fucking sociopath. And maybe a Nazi.

That's a really dumb straw man argument, R554.

I certainly found the London revival of Cabaret quite powerful. But I didn't feel it was glum or drab. It had plenty of showmanship that thrilled and, yes, some very dark and dramatic moments. For example, the title song looks ridiculously strident when seen excerpted on an awards show or talk show, but in the theatre, in the full context of this production. When I saw it performed on the Olivier Awards, I rolled my eyes at its over the top forcefulness. But, you know what, in the theatre, in the full context of the production I found it absolutely startling. I also didn't leave the theatre feeling crummy. I was certainly affected by the show and its, of course, darker second act, but I left exhilarated having seen such a strong production. I hope it's as good in NY.

sorry, I had a little copy pasta error there, but I'm sure you got the gist of it.

That can't be a "straw man" argument, you moron. It's just pointing out that the emotions CABARET is intended to elicit are exactly the emotions the poster is criticizing it for eliciting. A "straw man" argument would be "Who says musicals have to leave you feeling happy?" which isn't the argument. I'm assuming you are the OP. And the same person pining for the days of the "tired businessman show', which wasn't EVER a compliment unless you were Mike Todd.

Couldn't agree with you more on all you say, r556.

Watching the title number on the Oliviers I thought WTF? And what is that oversized beige suit on Sally? But in context it's all quite shocking and brilliant.

I guess we'll see if the revival really takes off on Broadway but I have no doubt there'll be very strong word of mouth raves here, even before the reviews appear.

[quote]sorry, I had a little copy pasta error there

That's what you get for draining it.

R560, And not adding salt.

Beware of any audience member humming Tomorrow Belongs To Me as they exit the theatre.

I'm ready for a production of Cabaret told from the Nazi POV.

All these characters are awful backstabbing degenerates, and they all had to die to bring forth the bright shiny Nazi future.

Who's with me??

It's edgy, fascists are really hip right now.

Producers would make a fortune on the red state tour!

Lynda Gravátt, Esteemed New York Stage Actress, Dies at 76:

Lynda Gravatt was a lovely woman and super talented actress. I worked with her about 15 years ago. RIP

r563 I think we also need "The Sound of Music" told from the Nazi perspective.

There was that sitcom about Hitler.

Not to mention "Springtime for Hitler."

R563, are you R513?

j/k

[quote]"the London CABARET is very glum and drab and you leave the theater feeling crummy and miserable."

[quote]I think that MIGHT be the point. If you walk out of a production of CABARET feeling "Fantastic and happy"

I stand by my statement that the post immediately above is a stupid, annoying, straw man argument, because stating the opinion that the new CABARET is glum and drab and has one leaving the theater feeling crummy and miserable is NOT the same as saying that any production of this show should leave one feeling "fantastic and happy."

So, R558, I'll thank you not to call me a moron when it's clear that YOU are the one who has no idea what the phrase "straw man argument" means.

Even (or especially) in the dark context of the setting, the title song and "Maybe This Time," which ended the film, are feel good classics for me, up there with "Get Happy."

Eddie Redmayne *is* Marjorie Morningstar.

[quote] Even (or especially) in the dark context of the setting, the title song and "Maybe This Time," which ended the film, …

“Maybe This Time” doesn’t end the film

R570 well all thank you to shut up a bit.

Would a Nazi SOM include Rolf singing of being gang-banged by troopers as one of his favorite things?

Only if he wears incredibly tight lederhosen.

[quote]Would a Nazi SOM include Rolf singing of being gang-banged by troopers as one of his favorite things?

The Nazis were documented tweakers and pedos, so that tracks.

[quote]Only if he wears incredibly tight lederhosen.

Funny you mention that, because I have noticed that both of the costumes Daniel Truhitte wears as Rolf in the film version of THE SOUND OF MUSIC are very tight and perfectly tailored to show off his muscular dancer's body, especially his firm butt in "Sixteen Going on Seventeen" :-)

I always assumed that was the point of the character of Rolf.

Rolf's ass was the only good thing in that dreadful Carrie Underwood SOM.

Rolf is gay as a picnic basket; Liesl was cringe worthy. He should have spent his time trying to fuck Friedrich or spreading his cheeks for the baron.

[quote]Rolf's ass was the only good thing in that dreadful Carrie Underwood SOM.

Yes, that fellow was yet another cute Rolf with a firm butt. He wasn't particularly well cast in the role, but he sure was pretty to look at.

In the live version, Rolf should have just sung: " I am 27, going on 30......"

All together now!

"Big dicks and butt cheeks And tight lederhosen, Hot Nazi blow jobs, A hard cock that goes in, My legs in the air And a foreskin that clings! These are a few of my favorite things!

NEW THREAD

USE WHEN this one is done

Agreed, Michael Campayno was wrong for Rolf in the TV SOM partly because he looked too old but also, although he's one of the most beautiful guys to appear on Broadway recently, he had the wrong long for the part. Not Aryan enough.

I think Oscar Hammerstein II would be proud of you!

Michael Campayno . . .

Chita does NOT approve.

I'd almost forgotten the Carrie Underwears Sound of Music.

[quote]“Maybe This Time” doesn’t end the film

Thanks: I got that muddled.

R590 - god, yeah, that was dreadful. The only redeeming qualities were Laura Benanti and Audra.

I'm glad the live TV musical fad seems to have drawn to a close.

Get ready for Eldergays to cream their corn in 3, 2, 1....

[quote]From the audio collection of production stage manager Craig Jacobs is this complete recording of DOROTHY COLLINS SINGS SONDHEIM. Preserved at Michael's Pub, 211 East 55th Street in Manhattan, on Tuesday, October 16, 1979, at 11:30 p.m., the cabaret gave Collins a chance to perform songs from Sondheim's career leading up to 1979, including "Not While I'm Around" and "Wait" from SWEENEY TODD, which opened at New York City's Uris Theater six months prior.

(I mean, if it's well done and on PBS, then sure. If it's starring some melisma riddled belter who came in fifth on The Voice, then no thanks.)

Has PBS done any live TV musicals? I thought they only showed proshot stuff

PBS has not produced any live TV musicals, maybe in olden days. They have telecast pro-shot versions of stage productions of musicals, and the non-musical PURLIE VICTORIOUS is coming up.

[quote]PURLIE VICTORIOUS is coming up.

They ignore excellent and important productions for stinkbombs like this. Do you think the elderly donors of PBS are asking to see this?

[quote]They ignore excellent and important productions for stinkbombs like this. Do you think the elderly donors of PBS are asking to see this?

Actually, although the show did not do well at the box office, it got rave reviews, and anyone I know who saw it (myself included) really loved it.

Do they ignore or are they rejected by the producers?

BAJOUR!

Abie's Irish Rose