Profile for Charley Kringas Inc

I mean, at least it was better than Boop.

...why?

Chess is fun to listen to, but difficult to give your full attention to. The score is full of darlings nobody wants to kill, the lyrics are clogged with awkward, constipated phrases, and the central love triangle just sits there like a piece of hardtack. It's like if half the songs in Evita were replaced with ten more Another Suitcases.

binau said: "I did wince at the idea of a 14 piece orchestra being marketed as a positive thing...."

it feels like advertising a hamburger as having both a top and a bottom bun

(sorry i just wanted to be a Maximum Hater for a moment)

trying to think of a cheaper, shoddier example of a blatant licencing grab. someone with deep pockets put this rickety, ramshackle piece of dinner theatre on Broadway for the sole purpose of making money on tours and regionals. i'm sure the geriatrics in Topeka will love what of it they can stay awake for.

Excited for this, if there's anything Malloy excels at it's creepy-ass music. 

went to the majestic wiki to see what had been there before phantom and i didn't realize Midler herself had had a residency there. seeing this poster again unlocked an ancient video store memory:



Almost fifty years later and she's back at the Majestic, kind of!

"Thankfully, we had a fallback option ready, and we can't wait to see you at The Color Purple!"

Given that the worst parts of the original are the treacliest, bringing on someone warped like Minchin is a great idea.

gee i wonder why her queer fans would get upset over the fact that she said a nazi went to heaven

I’ve listened to the cast album many times, with some regular skips (“Happy in the Morning” is one of the worst songs K&E ever penned imo) but as much as I like a lot of the melodies, the whole thing feels so sweaty and constipated. Rewrites could help, but they’d have to be pretty drastic. It’s always annoyed me that the awards ceremony happens at the end of act one, and then in act two she’s just farting around.

Had to sit on this for a bit, and even checked out the script from the library afterwards to give it a re-read, but I actually liked this quite a lot.

Probably the biggest surprise is that it seems to posit that Dahl wasn't so much a pure-blooded antisemite as he was an insecure, paranoid bully desperate to use any tools he could get his hands on to force the people around him to prove their devotion to him. The ending, in particular, grabbed me, not because of the nasty and appare

I genuinely do not understand how or why they're still running. What's the thinking here? The seatmaps for the upcoming performances are devastating.

Really, really not great, occasionally bordering on embarassing. The broadest strokes are there in terms of plotting, and some of the melodies are charming, but the libretto is astonishingly witless and bland, burping up vague, halfhearted approximations of 18th-century dramatic text with absolutely no insight or surprise. Now and then my ears perked up at the music, but a lot of it comes across as stale leftovers from the megamusical era, and often the lyrics aren't much better than

DiscoCrows said: "Charlie and The Chocolate factory, with a snappy new score by Tim Minchin. Set by Derek McLane who can do some DBH/Moulin Rogue type of crazy set work to help remedy what we got in 2017.

Maybe Alex Timbers or Christopher Gatelli direct? Someone who knows all sorts of theatrical lushness and visual indulgence.

And a new book by, I don’t know, someone. Anyone.

Please."

It was weaker than Matilda, but I h