Profile for ryankon

I was there last night as well and had a similar response to romain2.  By the end of the evening I didn't want to say goodbye to these two characters.  The cumulative power of the play is quite overwhelming.  I was crying and didn't quite know why--but I believe it's because I was filled with a sense of hope for these two people but also overwhelmed by the beauty of what I'd just seen.   Two extraordinary actors playing off each other in a gorgeou

There is a serious problem with Tootsie that people are glossing over: it's distressingly retro in that this supposedly feminist tale is told thru a man's eyes.  Why are we so dependent on men to give us our feminist awakening?  At the time the film was made this was a more forgivable sin--but in 2018 it's bothersome.  Very.  All the good intentions in the world don't erase the fact that Tootsie relies on a man to give us our feminist awakening.  That&

She is by far the best critic working today.  Thoughtful, witty, culturally sensitive, probing and still in love with the form.  I look forward to her reviews, even when I disagree with them.  Brantley's review of HOH was deeply offensive and frankly I think his apology was limp. It did not meaningfully reflect soul searching or someone who had been educated by an incident of deep insensitivity.  There was an article in (I believe) American Theatre

I agree with everyone who has said that comparisons of Midler and Murphy are unnecessary as it's apples and oranges.  I worship at the alter of Midler so feel privileged to have seen her as Dolly.  But in truth, Murphy rocked my world.  She was heartbreaking, hilarious, passionate, sexy and vocally in top form.  I can't wait to see her again.  I've always been a fan.  This cements her place as one of our greats.  It's an absolute tr

Count me in as one of those who loved Anastasia.  I truly love the show.  The score is gorgeous and melodic--the book is economical and brilliantly constructed.  Gleb's arc gives necessary voice to both history and an alternative voice to the story of the Romanovs--more specifically he puts forth revolutionary ideals that might have been dumbed down in another writing team's hands.  The sense of adventure, the search for identity, the deep love of musical

Queen Alice, I agree with you.  I'm a feminist.  Haven't we seen enough stories of bad behaving men seeing the light at the 11th hour?  I think we've moved beyond that place.  He's a boor.  He (sort of) changes his behavior.  And we need this story for what reason?  The whole experience made me uncomfortable.   There is certainly a great deal of talent on that stage...but my days of accepting scraps from men behaving badly 

I've seen both Anastasia and Groundhog Day.  Anastasia was very good but needs some work.  Groundhog Day?  Annoying and--with the exception of some genuine laughs--seriously derivative.  Pay attention to the score and tell me it didn't rip off Mary Poppins(i'm serious--listen closely).  

I've thought a lot about why I didn't like Groundhog Day and I think the primary reason is it's yet another story about a bad behaving guy turned good.

Agree, if not for Lane and Morse I'd call this production close to disastrous.  My performance had numerous walkouts.  The woman next to me at the end of the second act turned to me and said "please tell me it's over."  When I said no, she and her bf had a fight and reluctantly stayed.  He slept through the third (and best) act.  A parade of misogyny, a group of wonderful actors all seeming to be in a different play, a high energy play that has no pr

Curious to see how this show is received.  I saw it the night prior to opening at the Old Vic and was seriously underwhelmed.  Charming performance by Karl, some clever illusions but the first 45 minutes or so felt completely static, the opening of the second act comes out of nowhere and the experience felt somewhat hollow.  Some laughs and certainly craft on stage but nothing as good as Matlida and I don't think it will survive deeper scrutiny.  This assessment s

Very pleased to have seen this show tonight at Paper Mill Playhouse.  Yes, it needs work.  But more importantly the seeds of a completely original musical are being planted at the Paper Mill and something special appears to be flowering.  The score is terrific--a big band sound with lilting melodies.  The cast is strong, with a sensational performance by Laura Osnes.  Blankenbuehler's work is excellent--the piece moves beautifully.  There are of course issues