Profile for bk

Auggie27 said: "Broadway Flash: we agree. I'm not seeing the show until Wednesday, but I can't shake its power, revisiting the numbers in performance sequence on Spotify. By the third full listen, I was completely sold on the score as an exquisite piece of world building. It has that unique quality of nailing both time and place and tone of the prism on the familiar (to Boomers perhaps) story. No, this is not sentiment-driven (like Mancini, whose iconic theme some people seem

Sondheim's contribution was solely Goodbye For Now. Dave Grusin wrote the score and occasionally interpolated the Sondheim tune. This wasn't his first time at the movies. He composed an entire score for Alain Resnais' Stavisky and it's great. It reuses some of the cut stuff from Follies. And as someone has already pointed out, he was back with Beatty with songs for Dick Tracy. He also had a song in The Seven-Percent Solution. And songs for the never filmed Singing Out Loud, as

pagereynolds said: "R. GreenFinch said: ""Is this now a thing, opening the house at 7:45? They do that regularly in community theater and now regional houses and I find it completely obnoxious."

Yes, because they usually have things to run or fix before then. These are real people working to keep things safe.

I'm surprised you're dragging community and regional theaters in particular, who are usually underfunded and dealing wi

R. GreenFinch said: ""Is this now a thing, opening the house at 7:45? They do that regularly in community theater and now regional houses and I find it completely obnoxious."

Yes, because they usually have things to run or fix before then. These are real people working to keep things safe.

I'm surprised you're dragging community and regional theaters in particular, who are usually underfunded and dealing with the resources they have. E

jkcohen626 said: "bk said: "Is this now a thing, opening the house at 7:45? They do that regularly in community theater and now regional houses and I find it completely obnoxious."

This was afirst preview.This is what happens atfirst previews.If you don't like it, see the show after it opens."

Hey, snark person, I asked a simple question - do they open the house for ANY B'way show at 7:45 now. I

KJisgroovy said: "Lookingglass is a wonderful institution and I hope it weathers the storm. It gives a lot of itself back to the city.

But. They pay no rent. They occupy arguably the most central location out of all our major theaters. For several years they didn't do enough shows people wanted to see. They produced unfinished, under developed plays written by members of their ensemble as vanity projects. Nobody came. When they did a good show (often from their archive

RWPrincess said: "I was also at the first preview on Friday and really enjoyed it. I saw both Bob Gale and Alan Silvestri seated in the audience. There were definite logistical issues. The house opened at 7:45 so the show started at 8:19. And intermission ran close to 30 min. I somehow still managed to catch my 11:17 train out of Penn though but doors were closing as I got there.

Anyway, I thought the show itself was in great shape for a first run through with an audience.

Somehow, theaters got along just fine without allowing food and drink into the theater - when did that begin - in the 90s or late 80s? It's like people cannot sit without their little sippy cups of whatever or stuffing food into their gaping maws for a couple of hours - you know, like audiences did for decades. But how many people here who are complaining about this disruptive behavior (along with cell phones, texting, and that stupidity) whoop and holler every time some singer hit a high

binau said: "I found the male dancing a LITTLE unexpected and forced but overall I'd say it works. A guy just asks Sky if he wants to dance and in a kind of hypermasculine "I'm comfortable with my sexuality so why not" pause and look he starts dancing with the guy in a kind of playful way (gay but not romantic, if that makes sense).

I caught the show from the 'immersive' section. I'd say the tone of the revival to me is "transfer immediat

RippedMan said: "This is probably one of my least favorite shows ever - having only seen the Platt revival - but I love the director/designer of this, so very interested. If you take away the immersive experience, is there anything new? Or is the sho the immersive experience? If that makes sense. Also, where would this end up here? Likely the Circle?"

Least favorite show ever based on one dreadful revival??? It's one of the most perfect musicals ever written - al

DCS said: "Being an LA native, I have always loved seeing shows at the Taper (I tell my NYC based friends that the Taper is like a mini version of the Vivian Beaumont). Coming out of the pandemic, CTG really should have programmed some well known works starring some Theatre/TV/Movie veterans (of which there a LOTS living in LA) to get audiences back in to the theatre and boost tickets sales (as we all know, a star name in a familiar property can do boffo box office), but instead they

bear88 said: "According to the Hollywood Reporter, Sara Bareilles is a WGA member. It just raises awkward questions. If Bareilles, nominated as an actor, shouldn’t attend, what about other nominated actors (even if they’re not WGA members)?

As it happens, Bareilles is in a revival that closed months ago, so she won’t be performing and is unlikely to win.

This all may be part of the agreement, just a provision we didn’t hear about until no

pethian said: "TotallyEffed said: "I’d like to see a list of movie-to-Broadway adaptations that didn’t flop."

Not including movie musicals that were adapted for stage (.i.e. 42nd St, Aladdin, etc), these are the few I can think of:



A Little Night Music

Applause

Hairspray

The Producers

Grand Hotel

Billy Elliot

On The 20th Century

La Cage Aux Fol