Profile for Playbill_Trash

chrishuyen said: "Like others have said, intermission is the best time to move. Especially if you're somewhere like a box seat or side mezz, it can be easy to spot empty seats leading up to intermission and set a goal of moving there. If it's a seat in your row and you could just scoot down to it, I'd recommend waiting until AT LEAST after the opening number, if not after the second or third songs. (Sometimes shows will claim they have a no late seating policy and still s

Hello, I’m wondering if anyone here has experiences of moving to an empty/unsold seat once they’ve gotten in the theatre - before the show starts.

I’ve never tried this in NYC on broadway before but have had luck at broadway touring venues in other cities. House staff and ushers were paying less attention there and as long as the seat was not sold I’ve been able to move closer.

Has anyone seen this happen at a Broadway theatre or tried this themselve

Penna2 said: "RippedMan said: "Why is it her fault when the casting team brought her in, the director cast her, the producers all saw her and agreed she's right for the part...she's an actress taking a high profile, well paying gig."

Because she can read and, I would hope, had some awareness of who the person was she hoped to play. Apparently, neither was the case."

Everyone here is missing the point. Maybe she CAN’T read!

For John Chu to say there’s no way to continue the movie after something as epic as defying gravity, and that’s why it’s in 2 parts, he is proving he doesn’t know what he’s doing directing a musical. Movie musicals have successfully sustained momentum after epic Act 1 finales for literal decades, from Funny Girl to Dreamgirls. This show is not so special that it deserves anything different. This is subtraction by addition.

Hairspray movie comes out in 2007

Am I the only one thinking this is critical time the Tony Awards Management committee, broadway league, and ATW should be using to beef up the Tony Awards website/YouTube streaming channel? The second attempt to see if WGA will not picket the ceremony is a waste of time in the critical month between nominations and awards.

You got your answer Friday to no longer rely on a live network telecast this year. So change your plans to debut a pre-taped event on the Tony YouTube channel on Jun

HogansHero said: "I also believe Broadway would benefit from the announcement of the awards on June 11. It finally would force the movement of Broadway marketing forward into the 21st Century in a real way rather than as its 20th century managers have tiptoed in greater or lesser degrees of cluelessness (with the League leading the way in the former)."

Damn Hogan, when we agree I don’t know what to do. The stars must have aligned and mercury is in the microwave

The decision against a waiver is new information in the sea of speculation that is this thread.

So to be clear, regardless of options that have been tossed around in this thread that would have a telecast with no written portions, it is the act of producing any content for CBS/Paramount (part of AMPTP who the strike is against) during this strike that would be seen as crossing a picket line? That is the reason a waiver was requested, and the reason WGA denied it?

These questions

I know this is not easy and does not happen with the wave of a magic wand, but a good contingency plan would be each show filming a quality performance in their respective theatre now to have in the bank to use as a “Tony performance” just in case.

I understand this costs a lot of money and time and they would need to gather another audience for it, but maybe these are calls each show should make now?

Cue everyone on these boards lecturing about how difficult that wo

To everyone saying “unions stick together” as a reason why a deal wouldn’t be made to make an exception for the tony awards telecast, it should be noted that “sticking together” goes both ways if it is genuine. Wouldn’t the members of the WGA be able to see how this cancellation would impact the broadway union members who are at a much higher risk of losing their current jobs if their shows and industry aren’t advertised as always? Why wouldn’t

I’m curious to see how or if the writer’s strike will affect this year’s Tony Award telecast, simply because it is a televised event that usually has hired writers - and is about a month away. It was brought up in the nominees thread but I started a new one hear to avoid losing focus.

The precedent that comes to mind is during the 2008 strike I remember both the golden globes and the people’s choice awards being televised with simply a host reading off the nomin

I expected Will Swenson to get the “Night with Janis Joplin”, Rob McClure in Chaplin and Doubtfire, Carolee Carmelo in scandalous nomination - the “carrying the show” slot. But it looks like the competition was to stiff this year.

I wonder if he and his wife were both expecting to be nominated, but surprisingly only she did. Maybe he can borrow one of Audra’s 6 trophies for the night.

Also, I wonder how Sara Porkalob is feeling this morning since sh

Can anyone explain why on the telecharge seating chart, if you look further than a week out, the availability for any date looks the exact same?

I’ve been looking at getting tickets for this June and every date I look at in multiple weekends, the available seats are identical for each show time. I find it hard to believe that the exact same seats for all of those dates are already sold.

Is this a normal thing to see? I am looking for front row A center mezzanine and the ex