Profile for joevitus

I'm slightly nervous for Audra because she'll be the only the second Rose not to get coaching from Laurents (assuming Peters didn't--and are we sure?). I wish she had the benefit of that guiding hand. And if she doesn't quite pull it off, I'll always wonder if it was about her or if, despite the rich character provided for Rose, the lack of the author's input is crucial to whether or not the role still works. 

On another topic: it's irrel

ErmengardeStopSniveling said: "BETTY22 said: "I think if a big star wanted to do it, it would get produced.

Would there be an audience for it today.....I'm not so sure."

Surely no audience for it without a star, as with a lot of other titles.

It's one of those situations where I doubt there are many (if any) boffo box office ladies nowadays who are like "I want to do ANNIE GET YOUR GUN above any othermusical.&q

Broadway61004 said: "joevitus said: "You really think one revival will have that much impact on future productions? I guess I hadn't thought that it would become a regular choice among productions (let alone a movie adaptation)."

There will definitely still be future productions with "Bobby", but if Marianne Elliott is making a film version of it, that will almost certainly be "Bobbi". She's the one who brainstormed this whole

Matt Rogers said: "inception said: "Yesterday a mentally unstableguy chopped off someone's hand with a butcher knife a block from the building I work at, and then killed an old man on the next block.

Should Sweeney Todd no longer be performed?

I don't believe in handgun ownership. But I think the bigger issue is lack of support for people with mental health issues."

I can pretty much guarantee that the little tale you just t

MrsSallyAdams said: "Joevitus, we're as likely to get a Bobby as a Bobbi if a film is made. But I'd prefer a Bobbi as I think Marrianne Elliot's revision plays better in 2024. A piece with Bobby would need to be firmly set in the 70's to make sense and it's a story I don't find as interesting."

You really think one revival will have that much impact on future productions? I guess I hadn't thought that it would become a regular choice among

TheatreFan4 said: "jpbran said: "TheatreFan4 said: "I mean when it came to awards, they only ever went to Joaquin and the music and virtually nothing else won so it's not like they rewarding the writing or directing that the Incels were obsessed with."

In addttion to its nearly $1.1 BILLION gross, it got 11 Oscar noms and 11 BAFTA noms; both absolutely bonkers for a "comic book movie" -- especially DC -- andbeyond the far more well

EricMontreal22 said: "joevitus said: "Do producersreally fear critics anymore? That seems like an outmoded form of communication. Pull quotes for ads are great, and of course any positive word helps generate buzz. Tony awards are something to brag about. But the days when critics made or broke a show seem to me long gone."

I think it completely depends on the type of show it is. But certainly for the kinds of musicals Disney does, I don't think criti

Phantom4ever said: "I ignored all of the obnoxious posts where people were getting into nonsense fights with each other over a dang theater message board for goodness's sake. Some of you really need to get some perspective in your life...
I shudder to think that there are theater fans who can't see the satire in songs like "Everyone's a Little Bit Racist". I thank goodness you all weren't around during the original runs of some of our classic musicals b

SeanD2 said: "joevitus said: "Sondheim and Prince never had a falling out, Rice and Lloyd Webber never worked together again after Evita, and Lawrence alienated everyone.

I really should just block you..."

You're right about Sondheim & Prince, but Rice & Lloyd Webber did work together at least twice since Evita. On the original song for the Evita film and more substantially on the new songs for The Wizard of Oz. Additionally there