Saw this tonight. Did not see at PH, have not seen the movie, went in totally blind and ADORED it. One of my favorite new musicals of the past ten years. God bless Michael R. Jackson for continuing to bring to the table fresh, exciting work. Alyse Alan Louis is giving a star-making performance. Andy Karl is delightful. Jared Loftin, Jason Gotay, and Will Connolly are uniformly excellent and hilarious. And ALL of the PKGs are SERVING us a meal of comedy, vocals
Mr. Wormwood said: "I think it sort of depends on the type of theater group and the community. I don't think it's necessarily irresponsible to perform it. But I do think, for many of the reasons you mentioned, that it will fade more and more into obscurity as the years go on. There are former staples of HS & community theater like Lil' Abner, The Pajama Game, Barnum, No No Nanette, etc that have dropped off big time in terms of numbers of productions mounted. I think
Alex Kulak2 said: "inception said: "Last Spring I saw a production of the modern adaptation by Aaron Posnertitled Stupid F-ing Bird and it was good. But mostly don't findconstant revivals of Chekov to have the same appeal as other classics such asShakespeare which have so much more action & excitement..... yikes, sounds like I'm describing a Marvel movie."
I love Stupid F-ing Bird, but when it comes to the rest of Chekhov, I just can
I was also there! I really felt for Michael Olaribigbe, who was VERY brave to go out there and do what he knew to the best of his ability. That said, I did feel really bad for Brooks Ashmankas and David Patrick Kelly, whose scenes and bits were often deflated due to the fact they didn't have a fully present scene partner. NOT SAYING it's Olaribigbe's fault - the whole situation was very unfortunate.
That said, I had a great time. Sutton was great; perfectly cast...though I
I saw the final preview on Thursday night. My experience is in line with all the raves on this board and across these reviews. One of the best theatrical experiences ive ever had in my life. I can count on less than two hands evenings in the theatre that will stay with me for forever and this is unquestionably one of them.
Falsettolands said: "There's a lot of problems but I have the guts to say that the general problem can't really be fixed: Taub's writing style trades nuance for simplicity, and at times it's really, reallyeffective (Lucy's Song- totally understand what you all mean about Ally Bonino's performance. She's the real beating heart of Suffs and has a moment that lives up to how much love, humor, and humanity that she brings to the piece) But most of the time it
Thelong posters here are going to feel as old as I feel typing this comment...
....I think we all can agree it's time for a Broadway revival of:
RENT, HAIRSPRAY, MAMMA MIA! (let's hope the tour transfers!), BEAUTY AND THE BEAST (same!), THE PRODUCERS (revised for today!), 42ND STREET (there was an incredibly exciting production floating around the midwest that started at Drury Lane and moved to the Ordway that I thought was *SO* exciting)
I *despised* this at the Public; found it to be self-important, bloated, boring...and occasionally confusing. Phillipa Soo was the sole bright spot. The material was extremely didactic in its approach, and riveting drama that does not make. My expectations going in were sky-high given the pedigree of the team and performers involved, and it was so, so, so disappointing. While I'm sure this Broadway production will offer improvements, I can't imagine it changing my
PipingHotPiccolo said: "I was surprised how much I liked the Notebook because i expected it to be just plain sappy nonsense, and i was surprised how much i liked W4E bec everyone here told me it was horrible and comically amateur. But the Notebook was certainly more polished and had better performances, score etc. And part of our experience at the theater is who we see it with, so in that regard dramamama and i had opposite experiences, because the sheer joy/weeping/enthusiasm that s
