Profile for hushpuppy

If Ms. LuPone's Covid symptoms are as mild as mine were last month, she should be fine. I wish her the best.

Thanks for all the positive comments re; Jennifer Simard. I have tickets for Wednesday and was thinking of looking into an exchange (do they even allow exchanges on TDF tickets?) but now I'm looking forward to it.

BTW: Jennifer Simard was born the same year as COMPANY premiered. Boy, do I feel old.

Dragging this thread out of mothballs to post a link to THE MOST HAPPY FELLA cast performing 'Happy to Make Your Acquaintance' and 'Big D' from the Ed Sullivan Show, 1956

The Most Happy Fella

I'm thrilled for him. I've thought he was adorable ever since I saw him dancing with a pair of giant chopsticks in FLOWER DRUM SONG. And quite talented too.

He's certainly paid his dues in flop after flop after flop. Nice that he'll be making big bucks in a hit show. 

My first PACIFIC OVERTURES was the 1984 production, which I loved, and I agree with newintown that Thomas Ikeda was excellent as the madam. There are snippets of the him, and the 1984 production, in this clip from the MacNeil / Lehrer Newshour

 

PBS Sondheim

Okay, I'm officially an old coot. Couldn't understand 90% of the lyrics in the HAMILTON number.

Barack and Michelle Obama notwithstanding, if you gave me a free ticket to that show, I'd hand it right back and tell you to give someone who would appreciate it.

Then I'd go home and listen to the OCR recording of SOUTH PACIFIC

Terry Teachout's review in The Wall Street Journal is scathing (although he praises the cast): 

"It’s a tourist-trap rom-com that has little to offer but Ms. Mueller and her fine supporting cast." 

"Closely based on Adrienne Shelly’s 2007 film and uninterestingly directed by Diane Paulus..." 

"The score is by Sara Bareilles, a not-quite-famous singer-songwriter. Like most such folk, Ms. Bareilles has no notion of how to write for the stage. Her tunes are flat and unmemorably unhummable, and she shoves so many words into each stanza that none of them stand out" 

"It simply isn’t good enough, and though the show will doubtless have a profitable life in regional theater, it’ll take a star as bright as Ms. Mueller to make it worth watching."

http://www.wsj.com/articles/waitress-review-skimpy-on-the-filling-1461619765

I enjoyed it, but in no way would I describe it as a 'perfect musical'. To me it was like cotton candy, fun while it lasted, but when it was gone, there was no lingering effect. Walking to dinner afterward I couldn't recall one tune. I did get the feeling that I was being beaten over the head for 2 1/2 hours, and the number I liked the best, 'I'm Not My Father's Son', actually occurred when the show slowed down and caught its breath for a minute. 

The 2002 'revisal' of FLOWER DRUM SONG was a hit at the Mark Taper in Los Angeles in the fall of 2001, extending its run an additional five weeks from the original December 2, 2001 closing date until January 13, 2002. The critical response was very favorable. It came to NY in October, 2002, received mostly negative reviews, and closed after 169 performances in March, 2003. 

I've always liked the bouncy syncopation of 'Sweet Thursday' from PIPE DREAM, but I am not fond of the OCR recording with Helen Traubel. I much prefer Susan Johnson's version (but then I love just about anything sung by Susan Johnson)

My partner and I went last fall. I can honestly say that, in the 45 years I've been attending live theater, I have never hated anything as much in my life. I was unable to follow the 'story' at all. Every time a group of actors ran past me and I tried to follow, a stampede of people ran after them. Most of the time, my view was completely blocked. I was pushed, shoved, and elbowed out of the way. It was like being on the A train at rush hour.

Speaking of the overture, does anyone know why the orchestra was not seated on risers for AGYG? I could've sworn that at all previous Encores! shows I've been to, the orchestra has been elevated. 

Is it MOOSE MURDERS bad?

I just finished Arthur Bicknell's book Moose Murdered: How I Learned to Stop Worrying and Love My Broadway Bomb'  and it kind of made me wish I'd seen that legendary flop.

Is CHINA DOLL one of those shows that people are going to be talking about for years because it was so awful, or is it just a boring evening at the theater?

Sally Durant Plummer said:  The book, creaky as ever, was made to look almost pristine on first glance due to the very talented cast, but the cracks are there - and as clear as ever. The book is full of obvious song lead ins, which was a little annoying, but the score is so good you can forgive that.

Scarywarhol said: "Fascinating story about the Iroquois. How terrifying. 

It is a fascinating, yet tragic story.

Scarywarhol said: "They do it during every "interval" in London. It's very strange.

Actually, I think it's rather interesting, but that's just me. I was a little freaked out the first time I saw it happen (1985), but since nobody else in the audience was paying any mind, I figured there was no emergency. 

Thanks for your reply WhizzerMarvin. It's been so long since I became so wrapped up in a new show, I'd forgotten how fun it is to discuss back and forth the elements of a production.

Are they still doing talkbacks after the Saturday matinees?

For something a little different, try Andanada on 69th, just off Columbus. It's Spanish. Excellent paella. One Michelin star. Good bar. 

They also serve brunch on Saturday and Sunday, and are open until midnight on Friday and Saturday, if you prefer to eat after the show.

http://www.andanada141.com/

We live in the neighborhood and go often.

Another couple of options are across the street from each other on West 71st off Columbus: Pasha (Turkish) and Santa Fe (Southwestern)

I wonder which version they'll do.

1946 with "Who Do You Love, I Hope', 'Col Buffalo Bill, 'I'm A Bad Bad Man', and 'I'm An Indian Too'

1966 with 'Old Fashioned Wedding', 'I'm An Indian Too', 'Col Buffalo Bill, 'I'm A Bad Bad Man', but not 'Who Do You Love I Hope'