Profile for PipingHotPiccolo

BoringBoredBoard40 said: "PipingHotPiccolo said: "*hes* the main reason that Ticketmaster is a money grubbing monster? Him, Ari Emanuel, who--checks notes--left Ticketmaster in 2021? His dark powers are so vast that he not only turned a lovely, well-meaning ticket vendor into a monster (as a Board member not responsible for its actual operations), but he managed to keep it a monster years after hes gone?

boy you really can't read, I said venue gobbling no

Jordan Catalano said: "Saw this today and it’s just f*cking brilliant. It just succeeds on almost every level. It’s still being worked on apparently and there’s a few things that can be trimmed down and one or two parts maybe even cut but that’s justnitpicking with something this smart."

Reviews like this encourage me. My impression was that it was going to skewer the people who thought Anne Frank had too much "white privilege" as a

Why would they bring in a "name" to replace Megan Hilty, who isn't one, and whose absences did not hurt the show at all? This show is doing well with "broadway" names and Betsy Wolfe (tony nominated, right?) qualifies. 

Its an uninspiring choice for people like me, who would not see this show again without a real reason to, but it makes perfect sense. She seems young for the role, but is actually similar in age to Hilty, and she has the comedy chops/voice f

WiCkEDrOcKS said: "This was absolutely phenomenal. One of the best things I’ve seen this year. Stock and Metcalf are giving unforgettable,heartbreakingperformances. Don’t miss it.

Hot take, but if this play is any indication of the qualityof productionsRudin plans on mounting, I say bring it on."

Lewiston/Clarkston, and A Case for the Existence of God, are two of my favorite theatrical experiences ever. I am a HUGE fan of Hunter and will see an

this alternated between boring and awkward-- not the fault of the production or the actors but its a very French play and a very 90s play that translates rather strangely. given the references i guess the characters are meant to be French, but no English-speaking friends in their 40s/50s sit around talking like this, and none of the relationships are remotely believable. and since not much actually happens for much of the show... 

Cannavale is great at being hoarse and frustrated,

i dont think anyone here is fooling anyone else by suggesting i am opposed to people sharing their reviews, guesses, feelings, about anything, or any show. if i do see QOV, i will be as cutting and honest as necessary. (and i'd be one of the few people to actually have seen it, because most of you have not...)

but since you know i'm reacting to a thread--a new thread-about who will replace a show that had its first preview *four days ago* and is being directed by one of the

THDavis said: "
Ironically, I don’t recall anyone talking smack about Real Women Have Curves even when it was obvious it was going to have a short run… almost like more relatable and better constructed shows don’t receive the same animosity when the obvious is on the horizon. I wonder why this show hits different… (sarcasm)"

No idea what you mean by "ironically" here since youre highlighting the very point I am making. No one

thought this was a mess. some fine performances, some (but not consistently) well written dialogue, and certainly thought provoking ideas. but the structure is broken-- the actors talk directly to you about the play, then start the play, then stop the play to talk to you about the play or their personal traumas as an actor, then restart the play again. it doesnt work. or at least it didnt for me.

towards the end the play abandons the narrative completely to delve into (some touching an