Profile for quizking101

I didn’t see this revival (I was 2 years old), but I did recently see a much more queered-up revival at Signature Theatre in DC last year with Kuhoo Verma and Cameron Loyal and I remember having an absolute blast. 

I’m just wondering who would be the best option for a director and cast that could nail down classic musical comedy. I would think Nicholaw or Timbers for direction, and (maybe as a dream) Alex Brightman or  as Pseudolus, Michael Urie as Hysterium, Rich

TotallyEffed said: "Ensemble1711444445 said: "So if you had to guess...if you put 100k in each Seaview Broadway show would you be rich, broke or break even?"


You’d be rich but have 100K missing from your bank account."

This was an A+ joke. 

But do you think Seaview is doing the Rudin model of getting high profile guaranteed moneymakers on board, then using gains from those to finance new works - but just abso

Auggie27 said: "More than a little shocked and dismayed by this. But January looms large as a black hole for Broadway this year. Little Bear and Liberation have both struggled, Liberation even more, making it harder than ever for new plays to find audiences. And both of these had stunning receptions. Are starry revivals of the canon warhorses the only successes? It's frightening."

I honestly am pissed that this is closing. I found this

abcd12 said: "And as for OH, MARY, Emmy nominee &Tony winner Jane Krakowski, Emmy nominee Titus Burgess, two-time RDPR winner Jinkx Monsoon, and Emmy & Golden Globe nominee Betty Gilplin aren’t considered “stars”…?



Ok."

Not to mention Oscar and Emmy  nominee Kumail Nanjiani, Emmy nominee Michael Urie, Tony nominee Conrad Ricamora, and Tony nominee John-Andrew Morrison, with Tony Award Winner John Cameron Mi

GirlFromOz68 said: "quizking101 said:
The marketing quandary the show will have going forth is that “One Night In Bangkok” is the most overtly sexual, yet most well-known song from the show. I wouldn’t even call this performance censored so much as absolutely castrated. The choreography was toned down and far less suggestive, and Aaron barely moved since he was singing into a microphone. I’m thinking they need to save this song for any late night perf

kdogg36 said: "My friend and I also had a shady experience at theChessbox office. We wanted to purchase two separate single orchestra seats at a lower price point, and checked to make sure they were still available rightbefore we went to the box office. When we got there, the agent told us those had just been sold, and offered us two more expensive seats together, which we bought. Of course, when we checked Telecharge after the purchase, those same singles were still availab

While an unconventional choice, I think doing “Mountain Duet” in the flagship program was the smartest idea because it gives the audience Lea Michele and also shows off a hint of Nicholas Christopher’s powerhouse vocals. “Heaven…” was also beautifully done.

The marketing quandary the show will have going forth is that “One Night In Bangkok” is the most overtly sexual, yet most well-known song from the show. I wouldn’t even cal

n2nbaby said: "JSquared2 said: "Oh, MARY!! The sense of entitlement astonishes.

Also, your post just criesout for a Jesse Tyler Ferguson dramatic reading."

The theatre was literally trying to charge them MORE for a ticket for no reason. Where is the entitlement there? lol"

Thank you! And the only reason I brought this up is because people often ask about rush situations and whatnot and I think it was important to share that so

Jordan Catalano said: "Praying Mason Alexander Park gets to bring their Mary to New York at some point because (and it shocked the hell out of me), they were the best Mary I’ve seen after Cole. I didn’t think anyone could knock Jinkx out of that second place spot but daaaaamn, Mason is good."

I am seeeeeeeeeething with jealousy. I was planning to take a quick jaunt to London this month to see them, but it got put on hold since I have to get surgery end of

I’m kind of over the idea of two tiers of rush - a regular and a “premium” rush, the latter usually being $20-30 more. It seems like it defeats the entire purpose of rush to begin with. When you’re offering a “premium rush” for $99, but not actually getting one of the premium seats (happened to me an others before), it just seems silly. (And yes, I’m aware that shows are under no obligation to offer rush/lotto/comps etc).

I say this because I a

BrodyFosse123 said: "I seriously read “Orville Redenbacher” 🤣"

Featured the Act I burlesque number “Hot & Buttered”!

Seriously though, I thought the dance show Karr did was rather moving and it got me starting to listen to his music…which helped me become a fan of his in time for his run in CABARET.

As much as I loathe the idea of another jukebox musical, one that is unabashedly queer and also full country (which is a

Catfish row said: "quizking101 said: "Reading the rambling new defenses of yet another shilling avatar is both highly amusing and deeply grating.”

Says the one who thinks Prince Faggot is not a political play. I think you need to take theater 101, perhaps more Shakespeare and less Death Becomes Her for you? You have no right to criticize what others enjoy

"

Oh good grief. You aren’t worth the keystrokes. Go s#!+ in your

I don’t think it’s an intentional lie. Given showtimes are hardly pinpoint accurate since shows never begin on time, but also show pacing and length of intermission may vary. I know Practice has a very involved intermission sequence (that I won’t spoil) and that may take longer some days more than others in order to ensure it is safe to be used. My performance ran around 2:55 a few weeks ago.

I do understand the frustration though since people hinge plans on the start