Profile for SisterGeorge

So relieved and happy that finally we don't have to be pissed off by a Daniel Radcliffe snub.

With all the women directors nominated, perhaps we will be spared the misogyny and sexism accusations over the Frecknall snub.

I think I remember a Gatsby review mentioning major tech snafus during a press preview. I wonder if it might have landed one or two more tech noms that not been the case?

I so wanted a few more for Illinoise (and I'm not even seeing

After about the third mention of Ricky Ubeda in this thread it finally hit me that he was the understudy I saw give an absolutely knock-out performance as Bernardo in Ivo's West Side Story.  I felt at the time that the shutdown totally robbed him of potentially becoming a major player. Subsequently, the youtube videos of him dancing in his Miami backyard during lockdown were just so sweet and  dazzling but also heartbreaking as I kept

In spite of the surprisingly not-bad reviews, for me to buy a pair of tickets this show still has to overcome (in order of importance):
*the skepticism I have for juke box musicals
*the fear I have for audiences at juke box musicals
*the nearly $500 I would have to spend for a pair of good orch seats for what sounds like popcorn entertainment, when I I've already spent a wad on  heavyweights like TOMMY, STEREOPHONIC, TITANIC, and ILLINOISE (not to mention Ben

chrishuyen said: "Based on other Transport Group concerts, they do the show as a concert and they have different people singing on each song, rather than singing the same character each time (though some characters do carry through). It sounds like there will be some sort of choreo/staging though, so not sure how that would work out."

Also based on other Transport Group concerts, it might be wise to curb our enthusiasm a bit or at the very least manage expectatio

CJRochester said: "I saw the show last night (Thursday). The largelyyoung student-aged audience was very well behaved. I satin front mezzanine, house left (A-7), which I thought was an ideal seat.

The song list is printed in the Playbill. That's not alwaysthe case with shows in previews, so I gather at least the that aspect is frozen.

As others have said, this felt a bit likea cross between West Side Story and Newsies, a heavy and intense story filled with c

Not only have SOs become ubiquitous in the US after every type performance (musicals, dramas, concerts, ballet, magicians, comedians), but increasingly there are a few audience members who inevitably stand up any time a singer in a musical holds a high note for more than tree seconds. At Tommy recently, not only did a woman in front-center Orchestra jump up mid-show for an SO, but also turned around to manically encourage the rest of the audience to join her. And like witless lemmings, m

inception said: "Wick3 said: "The album is out May 31. There is a single called "Andrew" out now. It sounds very folky, almost like Simon & Garfunkel maybe? But it sounds like they double tracked Platt's vocals on the recording. Your mileage may vary.

It is indeed very Simon & Garfunkel and I like it a lot. Certainly a lot more than any of the snoozy numbers I've sampled from Elephants, Notebook, Outsiders, and Lempicka. I'

East Village said: "I saw Friday’s preview and visually the show is in great shape. The music & sound is perfect. If anything I thought it should be louder but it buildsthroughout the first act as it should.

Every scene with Ali Louis Bourguizis a revelation however narratively the show is all over the place and incomprehensible at times. If you don’t know the material then Tommy’s transformation into an adult and the entire Sally Simpson story could

rachelfran said: "Kad said: "rachelfran said: "this show is doing the talking for any of these types of organizations in a much smarter way than they are.."

By charging an average ticket price of $164 and doing it in a palatable, comfortable way with TV stars, and only accessible to people with the means to get to NYC?"

huh? I'm talking about this specific play and it's subject matter. Not tv stars and people with th

pair-o-dice said: "...The story also gets a little crazy absurd and bizarre, and most of act two has always left me wondering what, exactly, was I supposed to take from any of that....."

Wait, I thought this thread was about THE WHO'S TOMMY, not HERE WE ARE. 

Seriously, though, I'm coming up from DC next week and seeing it (Tommy, that is) Friday night and can't wait. This and TEETH are the only musical productions opening this sprin

Owen22 said: "Wow. That was terrific! Wonderful, unique storytelling, but exactly what you expect from Yazbek and Cromer. You don't realize until show after show of our newest batches of supposed musical theatre writing, how you long for actual songs! Great, funny book that creeps up and eventually, surprisingly moves you. And A+ performances all around. Bravo, Dead Outlaw. Bravo!"

Glad to hear that! The proliferation of introspective folk-rock-emo score

MezzA101 said: "SisterGeorge said: "Jordan Catalano said: "....And while the acrobatics were great there was nothing "elevated" about them that made you OOH or AAH (well, besides some of the people who were literally SCREAMING throughout the entire show, something that Broadway needs to find a way to address because it's ridiculous).

It's pathetic that I nowtry to gauge what the audience behavior is going to be like at a given show

Jordan Catalano said: "....And while the acrobatics were great there was nothing "elevated" about them that made you OOH or AAH (well, besides some of the people who were literally SCREAMING throughout the entire show, something that Broadway needs to find a way to address because it's ridiculous).

It's pathetic that I now try to gauge what the audience behavior is going to be like at a given show when deciding whether to buy a ticket or not. It ha