Profile for James885

I actually saw a production of Carrie a few years ago in Los Angeles that was very effective in terms of dialing up the horror elements of the story. That production was staged basically in-the-round, with the audience virtually in the middle to the action.

I haven't seen that many 'horror' shows but it seems like ideally you would want to do something like that in as intimate an environment as possible. Staging a horror piece in a traditional Broadway or

Re: the Oscars, they were actually up in viewership this year and have grown considerably over the past three years from their all-time low in 2021.

Regarding this years Tonys, I didn't watch, as we had evening family plans for Father's Day - I suspect  a fair amount of people had similar circumstances. Being up against the highly anticipated House Of The Dragon premiere probably didn't help either.

I know for some people I know there's just no int

ErmengardeStopSniveling said: " But I have friends in DC and Boston (theatre workers and audience members) who complain about seeing the same people again and again, or people who are being hired for projects that they're not quite right for (either because they're a company favorite/friend, or because they're the best-but-still-not-great option)."

I have definitely heard similar thoughts from folks around the local theater scene more than once.

I live in the LA region, so fortunately have a lot of theatre options.  I think I prefer regional productions vs touring, but I appreciate both. I only get to NYC usually once a year on average so it's nice to be able to see productions of shows that people are buzzing about. I recently saw Fat Ham at the Geffen Playhouse with the original Broadway cast, and am looking forward to seeing A Strange Loop later this week at the Ahmanson - both are shows that I likely would not

His score to Bonnie & Clyde is very underrated, as is the whole show. I also second the love for the Death Note concept album - I wish it could be produced somewhere stateside.

It's true, his shows haven't had a lot of success on Broadway, although I believe Jekyll & Hyde eventually recouped on tour. Several of his musicals are less than stellar (lookin' at you Wonderland and Dracula) but he's very well produced in Europe a

Love Barry Jenkins, but personally could not be less interested in this prequel that it seems nobody was asking for.

Honestly, if a prequel has to happen I would rather see a story from Scar's POV, maybe similar to Cruella. 

The shot-for-shot and lifeless 'live action' Lion King remake made bank at the box office in 2019 so odds are high this one will probably make a fortune no matter what - although considering&n

ErmengardeStopSniveling said:

A year is not a long time between film sequels, especially when there's been 12 years between Avatars, 2.5 years between Dunes, 3.5 years between SpiderVerses...etc. The year between also allows for WOM to build on streaming after it's in theaters. Don't want to oversaturate the market with Wickeds. It also sets up something of a tradition - "we saw Wicked with the family last Thanksgiving, let's do the same again this year.&qu

GilmoreGirlO2 said: "Interesting article - I would also add that so many shows opening at once do make audiences have to pick and choose more, depending on the amount of spending money they have. With a whole bunch of shows opening at one time, even if I'd like to go and see the majority of them, with ticket prices as they are, it's impossible for me to financially attend all that I wish to in such a close time frame to each other."
 

This is sp

ErmengardeStopSniveling said: These one-size-fits-all contracts are killing Broadway. Even if it takes a couple months of strikes to achieve those things, that might be a net positive in the longterm. At the current pace, Broadway will eat itself alive.
 

Although I think the challenges Broadway faces are multi-faceted, this is a big one. It seems like at some point in the near-ish future sh*t is going to hit the fan and Broadway is going to have to reckon with t

My parents are huge Prince fans and so this movie was on a lot in our house growing up.

The movie's main draw is Prince and his music, the story and everything else isn't really that good.  The relationship with Prince and Appollonia is kinda problematic when viewed through the lens of today, so I assume that'll get updated to give her more agency. 

Like Ermengarde said, this feels like an excuse to do a Prince show on Broadway - and considering the

Like others, I think cost is a bigger factor for a lot of people right now, rather than perceived lack of safety. This is anecdotal, but a family member who makes an annual trip to NYC - and used to always see at least one show on her visit - passed up seeing a show this summer (Cursed Child) because the tickets prices were so high. When even rear mezzanine prices are nearly $200, it becomes untenable, especially for families. By contrast, touring productions are usually at least a bit cheape

Yeah, I think he could've phrased it better but I agree with what he means. The current economics of Broadway have probably never been more challenging. It's tough for shows without star power or big IP to turn a profit. Like Emergarde said, convincing people to spend several hundred dollars on a show they've never heard of without big names is a very tall order. 

To that end, it's not surprising that a show like Back To The Future is playing so well; similar t

Yes, Crawford (coming off of PHANTOM) was pretty much singlehandedly responsible for destroying the Broadway production, since the producers and creatives gave him free rein to make changes, add "laughs" for himself, and otherwise "beef up" his role -- which wound up eliciting the exact opposite response from critics and theatregoers."

Yup. Crawford was the biggest creative force behind so many of the changes that resulted in a Broadway version tha

AEA AGMA SM said: "Assuming the current ruling from the courts that AI generated work can't be granted copyrighted, then it would be extremely foolish of any producer to use it to generate designs. Imagine someone doing it and then every podunk community theatre downloading and using the designs (yes, probably badly because they wouldn't necessarily have the budget to reproduce them to a faithful degree)."

I think where it gets murky - and where there will pr

The recent federal ruling regarding generative AI as well as the current feud playing out in Hollywood makes me wonder: could we eventually see producers seeking to deploy generative AI in the theatre?

Obviously it'll never replace live performers, but could producers seek to use a future version of the technology in the development of new plays and musicals? Specifically I'm recalling the experiment BWW undertook in back in January where they asked ChatGPT to come up with an o

Valentina3 said: "jpbran said: "I think it was just 10 shooting days."

I wonder what happens to the sets etc if those scenes had to be shot in specific settings. Would they have to strike the set, assuming they don't have permissions or money to keep them up for a long period of time?"

It's going to cost them (a ton of) money to hold those soundstages for the indefinite duration of the actor's strike. Every studio is currentl