Profile for PipingHotPiccolo

a worthy story, and a fine central performance, but a truly mystifyingly horrible play.

brody was better than I thought he'd be, and this is an engrossing story, and indictment of our "justice system" that more americans needs to hear. i wasn't particularly bored and even found myself tearing up on cue.

but the play itself makes no sense. theres an implication that the main character might be spinning tales, but that not only disappears without being addressed,

If I was picking amongst these nominees, I would give the Tony to Shoshana Bean, who nails her cheesy poorly written role and sings her face off (again). With such a crowded season its an odd category, because while Schmigadoon has the very funny Gasteyer and Kurtz, there werent a whole lot of outstanding female supporting performances now that we are all thinking about it. I agree Nischelle Lewis and Temptress were sub par, though Lewis at least sings beautifully.  And for what its wort

this feels about the time that this thread goes off the rails so i look fwd to the predictions game in other threads (before they too go off the rails).

ill say that my predictions are different than my preferences... i was shocked Temptress didnt get nominated but I would not have included her at all (and if picking anyone from CATS, it would been Nora Schell). Betsy Aidem is another good example-- i saw Liberation off broadway a year ago now, but I remember her speech like it was yes

Best Musical looks like a 3 way race, while Revival looks like a 2 way race. (I do not think they will want Titanique, as fun as it is, to be representative of the Best of Broadway). 

Play looks like a race between the British import, GIANT, the Pulitzer winning and v American Liberation, or the slighter but funniest option, Balusters. Revival will almost surely go to DOAS.

I think its Josh Henry's year, and Caissie Levy's, but Im not sure whether its Lane's or

Kad said: "I don't know that Jellicle underperformed, per se. It hit the minimum of its expected nomination range- it got in absolutely everywhere it was expected to. It didn't rack up performing nominations, but that was always going to be harder with it and it's worth noting that the only performer to be nominated for this production in any major award, off or on Broadway, has been de Shields."

I definitely agree that CATS is 100% still in the

NOW things got interesting.

Chess was snubbed out of a 4th slot there. Based on the overall noms, this is clearly a race between CATS and Ragtime.

Surprised that BUG didnt make it, and I guess thats due to Every Brilliant Thing sneaking in? I thought Marjorie Prime had a shot along with BUG for that 5th slot, and would have pegged Proof or Joe Turner over Every Brilliant Thing there.

Supporting Actor in a Play: no Elliot Levey for GIANT, and i did NOT see Brandon J Dirden

so far VERY few surprises...

Musical and Play are exactly what we thought they would be (I thought Punch had a small shot of sneaking in as a 5th).

For Play Acting, I guess its notable that Laurie Metcalf didn't get nominated for Bear Ridge--i thought she might have bumped one of the Fallen Angels. And I'm thrilled Will Harrison snuck in--I could have seen that slot going to either Micah Stock or Adrien Brody. 

As for Musical Acting, no surprises with the men

Yeah, I think I made it pretty clear how impressed I am with the production DESPITE the inherent flaws of the material, so we are left with someone rattled by the notion that CATS is trash, which I genuinely thought was an accepted fact many decades ago. To each their own, I'm not mad at anyone for liking it, and wish the best to those upset with those of us who don't. 

(and i checked- my point about there being zero story and not much else to back it up music wise is exac

im sorry I hurt blaxx's feelings with my wildly "insane/ignorant" take that.....CATS is pretty horrible, but yes, guilty as charged. If youve got no story to propel something fwd AND the songs/artistry is lacking, you've got nothing to write home about. i am pretty sure this is almost exactly what the critical reaction to CATS has been for roughly 40 yrs, but, again, not liking CATS is now unacceptable (even as I praise this production's ingenuity), so I truly do apologi

i was there today.

ive never been so Of Two Minds re a show. this isnt for me. it felt very long. they make an announcement about traditional broadway folks who dont like people screaming and talking throughout the show--thats me. im just not the audience for this, and i knew it going in, and thats how it played out. I have never seen any iteration of CATS because it always struck me as so incredibly stupid, and i was right. the content here is just....bad (memory is a nice song, i gue

i guess i understand the tepid response to this, because its nothing groundbreaking, but i thought it was a fine production of an excellent play. i saw this when i was in high school (with anne heche) and it felt new to me. 

yes, cheadle feels very slight, in a way that matches his onstage daughter (edibiri). they both choose (or were directed) to never turn the flame up- its frustrating on one level, but it works? meaning i wasnt bored, and the play felt creaky but compelling. a

This was fine- it certainly isnt a disaster by any means, but it seems stuck between outright parody and schmaltz. I have never seen the TV show, and I am guessing the creators were trapped trying to hew to those plotlines a bit, when more cutting was necessary for the stage. The four elder states-ppl of the town could easily be two; SO MANY ensemble big dance numbers, which get repetitive after a short while.

Because both shows contain ignorant townspeople, I found myself wishing that

lots to appreciate here but not as much to actively enjoy.

kudos to michael arden because the book here is truly meh, the jokes so klunky, the characters so dull. the songs blend into one (well sung, and certainly pleasant) tune, so the fact that without anyone all that interesting or any dialogue worth listening to, there is still a somewhat watchable show here---again, kudos to Arden.

this is a production with so many moving pieces, and so many flying actors, and so many well

this flew by, because the script is full of great one-liners and the supporting cast is top notch. Lindsay-Abaire is so talented, so I had a good time, but this really could use a few more turns. the ending is particularly ridiculous and unnecessary. i liked the tirade against the bigots and the overly woke silliness, but ultimately this boils down to a bunch of hypocrites calling each other out on their grating hypocrisy, and all turning on the biggest jerk of the bunch.

richard t

i wasnt as enamored with this as the critics and many of you were, but it sure lands alot of laughs and serves up some truly impeccable performances.

if the play has a point/message, I missed it. I get, sorta, why its called Becky Shaw but her character (and the doting husband's) sorta fades into the background. primarily, those two wilt alongside the grating Susannah and cruel Max. Patten and Ehrenreich are the leads of this play, and it really is about their strange codependent r

DramaTeach said: "Should’ve said this yesterday when I posted about attending, but it was also Sarah Hyland’s final performance and was so just so absolutely adequate. No real depth or emotion to her voice and minimally to her performance. So very eh. I know she sells tickets because of Modern Family, but I’d pass on seeing her again."

I was pleasantly surprised by how strong she was vocally when I saw the show a few months ago, and she was a fine A