Profile for SonofRobbieJ

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

Matt Rogers said: "Also saw the original production, but didn’t remember much about it except that I liked it, and I think (but am not certain) that Little Sally was on roller skates through the production, which is not the case here. Also surprised to see her played by a little kid here."

Spencer Kayden as Little Sally did the entire role on roller skates when it played the Present Company Theatorium during the Fringe Festival in 1999. Off-Broadway, she wa

ljay889 said: "rosscoe(au) said: "The thing that at this stage disappoints me the most is losing “ I’d Do Anything for Him” that onstage in the Hal Prince production was beyond thrilling, that staging was spectacular and the song soared. Everything in the show came to that climax."

Yep. I’m actually ok with most of the cuts, but losing “Anything For Him” is devastating."

I've never liked "Anyt

BrodyFosse123 said: "Same with TV work. You only get paid for the episodes you appear in. Even if you’re the lead of a series but have to miss a few episodes to film another committed project, you aren’t going to be paid for the episodes you weren’t on. Most who are in this dilema, try to schedule their other committed projects for their off days and weekends. No one wants to see their pay get cut regardless how big it is to the average person.

That's not

Auggie27 said: "i.e,, when Rose self-presents in the chest voice, she's less in control."

Auggie - I would say it's the opposite of what you've posted (and noting that what I'm really talking about are the three big numbers - Some People, Everything's Coming Up Roses and Rose's Turn). For those three numbers, when she is using the full resonance of her chest, she is most in control. It's when she leaps to the head/mix that her emotions ove

I'm not 100% sure why you are so invested in convincing us that the 'reservations' you're going on about alter the actual tone of what the critics are saying. You have serious misgivings about the production. Cool...stand with that. Hell...I even understand why this doesn't work for some people. But why do you need to turn the reviews into something that backs up your opinion when they clearly don't? Sometimes you just have to be ok with being the cheese that

Finally saw this last night. As I was walking into the theater, I overheard someone say to their date, 'The energy in this theater is palpable.' And it was.

As noted, the lights dimmed to half, the conductor was hit with a spot as he greeted the audience with open arms and launched into the overture which sounded fantastic. 

I'm a little flummoxed by some of the critiques, although perhaps the things noted earlier in the thread have been adjusted/ironed

Sure...all of that is true. And I get that tickets are more expensive now (I mean...i haven't hit my head). But there are a bunch of people paying the $447 to see this production which just surprises me. Perhaps Audra in a musical is more of a draw than a lot of folks were suspecting. I'm excited to see this tonight after hearing a few audio snippets. Every time I read someone talk about the fact that she's not singing the score 'as intended,' I keep thinking 'Well...n