Profile for SonofRobbieJ

Kad said: "iluvtheatertrash said: "Kad said: "Sutton Ross said: "So it's non union and immersive? So, basically a nightmare for everyone in the building. Yikes."

I feel like the "immersion" will be... sitting in a rehearsal studio."

For a show that doesn’t take place in a rehearsal studio."

Directed by an exceptionally early career director with no notable credits wh

MemorableUserName said: "In the 1950 Oscar race when Gloria Swanson and Bette Davis were the supposed frontrunners, Judy Holliday won it for a primarily comedic role. And Scherzinger and McDonald have a lot more in common with Swanson (the same part, natch) and Davis (acid-tongued woman finding herself eclipsed in show business?) than folks here seem to want to admit."

But you are leaving out a massive factor in that scenario. An actual vote-splitter - Anne Baxter as

At 18 years old, I saw Jonathan Kaplan sing 'My father's a homo...' on the Tony Awards and I thought, 'I have to see that before I leave for college.' My best gal pal and I went to see it a month later and, a month after that, I was finally out of the closet. 

Two years after A New Brain debuted, I found myself in a serious health crisis. When I recovered, I turned to the cast recording...specifically the section at the end with Gordo singing 'Everything&#3

Suggesting that a Union takes the money of its members to make high risk investments is so fiscally irresponsible that there's no need to continue discussing it.

And your wins are not yours. Your 'win' is on the backs of creatives. The labor of the director, writer(s), designers, and, most importantly because without them there is no theater, the actors is what gives you a 'win.' You invest your money and that's great. You deserve a nice return on your investmen

You're suggesting that Unions become Management?? That level of conflict of interest is bat-sh*t bonkers!

Most shows won't make a killing. Hence why Union minimums are in place. But for the rare shows do make a killing, performance incentives for the actors (and hell...other folks as well) would be completely appropriate. 

Actors are the ones who have a face an audience every night. When they're in a flop, they at least get to console themselves with their Equit

See, Kad! Just another demonstration of my belief that the organizing principle of the American theater is to make the most important people in the room (the actors) feel like the lowest on the rung. Keep them insecure and on edge, and you control them perfectly. But no actors...no theater. That's just a fact. 

Also...it's reeeeeeeally weird that people here are acting agog at the suggestion that actors in successful productions get access to bonuses. Because I'm prett

Kad said: "Bwaygurl2 said: "The reality is some of y'all are mad because people are paying $$$ to see a BLACK MAN on that stage, but y'all aren't ready for that conversation I fear.

White Supremacy cannot and will not accept that affluent white folk are putting down big bucks to see Denzel in a play by one of the Great White men of all time, Mister Shakespeare. (To be clear, this comment is not aimed at totally effed in particular, but rather at the ou

Ah...BroadwayWorld. Never change. It always amuses me the number of 'theatre lovers' who will dig deep to hold up the one, true organizing principle of the American Theater - the most important people in the room must always be made to feel the most expendable. There are is only one group of people without which there would be no theater - the actors. You got a great set, but no actors? You have lovely art installation,. You have an amazing script, but no actors? You have some lovingl