Profile for DiscoCrows

I think it’s unlikely but they definitely got a lot of butts in seats during the Spring Road Conference and the show does have a booking office attached. I am sure the idea is being floated internally, but those conversations still happen for most Broadway plays already and it’s no secret very few actually make it out of NYC.

Adored every second of this. It is just peer joy from top to bottom (ha ha). In terms of audience draw, it felt like a soft PG13 but so much of the heart of the show is about celebrating the intersection of growing up a queer theatre kid in a supportive family.

Loving Cynthia hosting. She presents as very level-headed and "cool". I had honestly been afraid she would come off a bit too self-important (akin to her disconnected demeanor in some of Wicked's less-than-good interviews). She knows what's funny and appropriate and is delivering it straight down the barrel of the camera (lol). Prefer it to some of the more recent years where Ariana, at times, felt like she was overperforming.

The orchestral depth and tap is clear as day. Incredible recording, will be on repeat with Death Becomes Her all summer. Woohoo!

Worth noting Hunter Arnold is following this account

“I washed my hands of a couple of people in the business.” One of them, I found out later, was a press agent who, after an offstage blowup, grabbed a bottle of champagne from his office and gave it to LuPone to make amends; he did not realize that the label read “Happy Opening, Sunset Boulevard.”

I mean this can’t possibly be ANYONE other than Rick Miramontez, right?

Kerry!!! This may be short lived or horrible or whatever other choice words people want to throw in the orbit of this project but what fantastic casting. Excited to turn off my brain and let this show wash over me.

This feels like the type of show that will follow the same touring trajectory of W4E. I think the show is spectacle-enough that a decent chunk cities can feel confident in adding it to their subscriptions, especially in cities that can't get the more in-demand first-year shows ala DBH.

I think this goes out as a lower-budget Networks tour or something like that. The physical production looks like it was almost designed for the road already.

Shocked to see Hills of California snubbed entirely, both between the play itself and its acclaimed performances.

In spite of some of the other attention-seeking Boop bombardment that has plagued these boards, I encourage you all to take a peek at a particularly interesting “theatre influencer” review (if you can call it that) I got a big laugh out of today.

https://www.tiktok.com/@dorothylovesnewyork/video/7489551206478548255

Does anyone know who the lead producers attached to Bull Durham are? I feel that is usually included in press releases for these types of regional tryouts ala “presented in association with [name]” but not seeing anything pop up online.

Looks like this will be getting a work session in June. And at least internally, still rocking the "Gun & Powder" title.

https://playbill.com/job/gun-powder-nyc-ecc-dancers-morning-afternoon-all-genders-03-31-25/1619cb5f-534d-45ce-999d-da4d3f5fe672

I wouldn't be surprised if a name change isn't made public until it either gets another OOT or transfers. I think the name Gun & Powder is so layered with meaning and deliberateness. It's gritty and distinct in a way the other titles workshopped have not been. I hope they find a way to keep it.

Agreed it is likely. I think “Limited run without deep pocket producers” is a bit of an unfair generalization to make about arguably the most powerful non-profit institution on Broadway, one who engages in commercial enhancements and partnerships behind closed doors on a very regular basis. If leadership wants it to happen they will absolutely find a way to swing it.

BorisTomashevsky said: "So what’s next for the Imperial?"

A good-faith preview period.