Profile for PipingHotPiccolo

in addition to all the myriad reasons outlined here why Cabaret will not be the next Chicago (two less lavish Cabarets, one with major Hollywood celebs leading them, have run/closed since this first production first opened...) theres also this:

subject matter. Cabaret is alot to take in-- both from the overtly sexual decadence to the Holocaust of it all. Its not a fun distraction for hoards of tourists from Denver and Manchester etc. without that tourist trade of people who are not nec

as others have said, this is a very adequate and certainly engaging piece, but it never really takes off. it actually reminded me of The Crown--compelling retelling of historical facts, but nothing all that earthshaking in terms of writing or ultimate message/thesis.

and thats ok, i guess. Stuhlbarg is magnificent from start to finish. He is always playing such unseemly characters on TV that he could get lazy with his "greedy bad guy" take but he doesnt, he finds a way to be

sorry, a mess. i had hoped that it would be silly but at least funny, engaging. nope. whats so surprising is that this is an original story, yes? meaning, its not a retelling of a cheesy old movie plot that doesnt make a ton of sense, its a new original story that doesnt make a ton of sense. god the story/writing here makes Hells Kitchen seem like Shakespeare.

what hells kitchen has going for it are those banger songs that glide us along- even the lesser known numbers just pop. huey le

i agree that the backlash and derision here were way overstated- its score is very solid and is performed wondrously. it deserved a tony nomination as much as the book did not. 

but the historical inaccuracies are frustrating--- Evita took lots of creative license and whitewashed the Perons' fascism (and flirtations with nazis) but the core story was solid: power hungry woman rises up out of nowhere with military husband, country falls in love with her. 

here the c

posted some of this in the other thread but:

Musical: its a shame Here Lies Love, flawed as it was, didnt make the cut. Days of Wine Roses not making the cut surprised me based on the intense love for this show, but I thought it was dull as hell so no love lost here. 

Play:  Based on what I've heard, it feels somewhat political that Paula Vogel's pedestrian play beat out the toast of London (Patriots)

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thoughts:

Musical: No real surprises here, though its a shame Here Lies Love, flawed as it was, didnt make the cut. Days of Wine Roses not making the cut surprised me based on the intense love for this show, but I thought it was dull as hell so no love lost here. All the love for Hells Kitchen is understandable, its a fun night with insane performances, but the notion that this book was nominated for anything is just... hard to stomach. Similarly, the idea that W4

My guesses (without benefit of Gatsby, Mother Play reviews)

Play: Stereophonics, French Republic, JaJa, Patriots

Musical: Suffs, Hells Kitchen, Outsiders, Illinoise, Wine/Roses

Play Revival: Appropriate, Enemy of the People, Purlie, Mary Jane, Doubt

Musical Revival: Merrily, Cabaret, Tommy, Spamalot, Gutenberg

Actor Play: Leslie Odom, Jeremy Strong,

i know im in the minority, but i thought this was a solid season. Even ignoring some incredible stuff Off Bway (Dead Outlaw, JOB, Connector, all thrilled me), Hells Kitchen, Suffs, Outsiders were all solid in very different ways despite their obvious flaws. I enjoyed Lempicka and Here Lies Love, too (and I havent seen Illinoise yet, which people have gone nuts over).  

And Stereophonics, French Republic, Jaja, were all fantastic new works, I enjoyed even the more pedestr

BdwayLife said: "
I not confused PipingHot. I understand the difference between being yelled at personally and a screaming staff member directing foot traffic. But, this difference doesn't matter, and wasn't the point to begin with. Neither are pleasant. I rarely post on here (visit daily, and read though!) and it's responses like yours which reiterate my hesitancy to spark conversation."

I dont think my response was all that harsh, which confirms a

BdwayLife said: "
I never mentioned this in my original post, but, I find intermission quite bad.At Tommy, one staff member was literally screaming as loud as she could, “GENTLEMEN LINE UP HERE, LADIES GO TO THE LEFT, LADIESGO TO THE LEFT, GENTLEMEN LINE UP HERE, LADIES GO TO THE LEFT, LADIES GO TO THE LEFT…” over and over and over and over. I saw many in the line having a visceral reaction to her, like, WTF? Again, I don’t envy their jobs—getting

i went in with sky high expectations based on word of mouth and reviews, so i was *slightly* let down---Act II dragged a bunch in particular-- but overall this is a ridiculously well-crafted play. just absolutely masterful character/plot development. 

i presume for awards purpose they are keeping her in supporting category, but i thought Sarah Pidgeon carries the play, and could easily be considered its central character. she is doing outstanding work--they all are, but it fel

Jay Lerner-Z said: "P.S. Sad, and surprising, o read that Christopher Isherwood was anti Semitic."

I studied him a bit in college, and he certainly was, uh, flawed. What stuck out to me was that he wasnt shy about publicizing how Sally Bowles was based on Jean Ross, a real person, but he nonetheless wrote her (and never apologized for writing her) as being thoughtless, apolitical, and in some instances, anti Semitic. She always felt smeared and maligned by him, and h