Profile for MsEmilia

The most uncomfortable case of this I ever witnessed was when I saw Cabaret and a lotttt of people laughed at the end of If You Could See Her. It felt...wrong.

Same with the most recent production of Les Liaisons Dangereuses, there was a lot of laughter during the scene where Valmont assaults Cecille. Perhaps it was the result of how awkwardly the scene was staged (I liked the production overall but this scene was done horribly), but people laughed several times and it made me feel jus

This is the most moronic thing I've read in a long time.
Julius Caesar ends with most of the people involved in the assasination dying, miserable or killing themselves. The whole moral of the play seems to be that despite Caesar was a dangerous political figure, assassination was ultimately the wrong way to fix that.
It's pretty obvious Delta has never read the play. 
Also in what way is the production inspired by the current president? I mean how do you work his u

1. The Great Comet of 1812 - Most entertaining, most involving and definitely the most actively intruiging  of the night, in terms of making somone want to see the show.

2. War Paint - Easily the best vocals on the broadcast, so thrilling.

3. Dear Evan Hansen - Ben wasn't in top form but it's still an excellent song.

4. Bandstand - I have to admit I've found the music i've heard from Bandstand dull, but this actually interested me; not the best but pr

This is all just seems like a desperate attempt by the producers of the Tonys and Hello, Dolly to give themselves more attention and try to "create suspense." Let's face it, if Bette doesn't perform, the Tonys will be a lot less exciting - not to disparage any of the other shows that will be performing, it's just Bette seems like the real "event" performance. This is all just PR horse****, and after the Tonys, we'll all probably feel foolish for being

(So this is going to be unnecessarily long, but)
Come From Away - I can understand why it’s resonating with people, especially considering the political lunacy of the last few months that has left many uncertain and desiring something to make them feel good, I get that, but that doesn’t mean CFA is a a good show with a memorable score - it isn’t.  I just did not get the appeal of this show at all. 

Hamilton - I’m not saying it’s not

I know that the junior version of Into The Woods is basically just the first act of the show, with pretty no real major changes - when i saw it done by some friends a while back, the word "raping" in the Beans rap was changed to "harassing" and there's not to be continued at the end of Ever After, but other than that it's pretty much the complete first act of the show with noting else.
I don't personally agree, but I have quite a few theatre friends who re

- I really liked Daphne Rubin-Vega as Fantne in Les Mis, it's the only time she's ever been good 
- Bernadette Peters was a way better Sally than Victoria Clark - Victoria Clark's voice does absolutely nothing for me.
- The new revival of The Glass Menagerie was excellent, and only got bad reviews because of the unimaginative broadway purists (i know someone already posted this but I agree)
- Sunset Boulevard should have been nominated for Best Revival, no

A mixture of bad word of mouth and poor critical reception (that was undeserved in my opinion, i thought it was quite good) and just a general lack of interest, I think. They need to stop reviving shows so close together, there needs to be a reasonable amount of time to allow the most recent production to be less present in people's minds, which is what I think was the kiss of death for this revival - the 2013 revival was barely 4 years before this one and it was pretty much universa