Profile for Owen22

We were all so thrilled when Shaw became the New York Times critic, as we had enjoyed her so much at New York Magazine. But something has changed. Her writing style even has changed! She isn't that much different from Jesse now in her taste level. The other New York Times critics have always been sus.

It is such a lovely play! I saw the London National Theatre's production a couple years ago and it was exquisite. Hammed Animashaun, of the new Saturday Night Live UK, played the more angrier of Harold's "boys" (after being such a delight as Bottom in the Bridge Theatre's Midsummer's).

malcs98 said: "But the question even though Titaníque is at the top of the leaderboard, does that mean it will win Best Musical come TONY night?"

Yes but do we really care that much this year about the Best Musical Tony race? Even on this thread, the enthusiasm of those that are happy The Lost Boys got better reviews than expected seem somewhat muted. It feels, with most of the season's new shows, we're enthused out of habit, not excitement.

Oddly enough this is not from the BWW interview, it's from a separate Paul W broadway.com interview.

Did we know that Hannah Cruz is playing Gussie in the Richard Linklatter movie version of Merrily We Roll Along? And if I did miss this --who's in the rest of the cast?

SteveSanders said: "It does seem Shaw and some of the other newer critics either have a different standard for awarding the pick or are just enthused about almost everything."

And Jesse was fired from the job for presumably giving out too many Critic's Picks.

EDSOSLO858 said: "It's pretty much the equivalent of a jukebox musical, with all but a few pre-existing songs.

Best musical is most likely going to TWO STRANGERS, and there's a lot of industry love behind it."

Oh, darling. No. ... No.

Yay! No Oedipus!

MemorableUserName said: "NY Daily News

BROADWAY REVIEW: ‘Becky Shaw’ eviscerates needy people and the people who need them

https://www.nydailynews.com/2026/04/06/becky-shaw-broadway-review/

"It’s a measure of the quality of Ehrenreich’s superb performance in what is generally an admirably straightforward production that he never tries to make his character more likable than Gionfriddo writes him, yet he lays all these bon mots with a palpable vulnerability. He understands that Max is operating on two tracks at once, spitting out the tough lessons partly as his philosophy of life but also as a way of avoiding the intensity of his own feelings. Gionfriddo intends him to grow on the audience as the play progresses, and so he does.""

I'm afaid people are centering in on the "meanness" of this play. But Becky Shaw has so much heart without ever being "warm" or "sentimental" The above critic so gets Max's character!

https://www.huntingtontheatre.org/season-tickets/

Well...that's an interesting cast ...

The theatre kids all seem to love her. You know, the same ones in the Hadestown cult...

https://www.whatsonstage.com/news/cabaret-announces-new-west-end-stars-for-summer-2026_1717455/

I don't know about you, but the one pop writer besides Billy Joel that I've always wanted to create a Broadway musical is Pink. I hope this means she's somewhat interested in doing that.

I'm the gayest gay whoever gayed. I adore great camp, especially something produced in all seriousness without the creators realizing the camp potential.  And as hysterical as parts of MD are.. I always feel weird about laughing at extreme child abuse...

Paddington is fine. Some fun songs. And adorable bear. But a terribly overstuffed second act which just made me want the evening to end.  And the fully superior Matilda did not last long on Broadway. 

I think something has to be said about the silly and fun, but almost psychological things happening during the scene changes! You have to pay attention, but it proves what a wonderful director Trip is.