Profile for PipingHotPiccolo

Three of the shows listed above came out in the last ten years, so yes, quite a few in the last decade, but regardless, please elaborate on the idea that there is modern business trend that suggests shows struggle with winter openings as a rule?

I dont know the technicalities of how/why casting notices are crafted, but i find it hard to believe that theyd wanna recast a whole ensemble? Why would they? 

I know this is getting way inside baseball, but it looks like Aiyana Smash will be Parr but also still understudying her two other tracks for however long shes in that role. I think thats a SIX first but makes sense since they now have 3 Parrs in the company but only one cover for her other roles. 

It does feel desperate to have another "name" Boleyn--in the right hands its a great role, and it doesnt look like any of these "celebrity" ladies are bumping the nu

Aiyana Smash has a killer voice, so congrats to her, but this still seems messy...without her as an alternate, they brought in Taylor Pearlstein from the tour, but she and Aiyana only cover one role together (Parr, actually) so unless I am missing something, they now have just one understudy for Aragon and Seymour?

With Khaila Wilcoxon and Kristen Maldonado leaving within the month, I wonder if they have a whole new cast coming in? If they were actually closing, theyd announce and milk

For a show that was always so crisp with casting---whole new casts, set contracts that didnt renew-- it really feels like the shows now running on casting fumes.... someone surely will be listed in the playbill tomorrow as Catherine Parr, right?

if there was any casualty of this season--a show that just somehow got lost in the mix-- this revival must be it. I dont love all of August Wilson's work as much as I am supposed to--Fences and Jitney are masterpieces, Piano Lesson left me colder-- but this is an impressive and at times devastating work. it was my first viewing, and i think Debbie Allen did an OK job, but it seems like I missed out on the 2009 version that really made it fly. the stage here feels distant and enormous, and

there was alot to like in this production but there was always a messy chaos to it, and the rather sudden departures of two of its featured cast members (one without an immediate replacement, one without ANY replacement, and in general without enough coverage at all) is a bad look.

its selling really well so i look fwd to someone getting this stuff together and returning at some point.

Agree with alot of what Quizking has to say here-- there were way too many Cagelles, the production has no idea what time/space its occupying...

just surprised at the reaction to Porter. To each their own, and maybe I am just coming in with no understanding of how Albin should be portrayed otherwise, but i thought his character made sense--even his raspy inconsistent voice makes sense with the desperate and aging character he plays.

also surprised at the praise for Diadhou- hes

man you all are tough on billy porter. he was phenomenal tonight, giving it 1000% (for better and sometimes worse), and bringing down the house to close Act 1. 

i agree the production is pretty basic- this is my first time seeing this show, and im sure when you compare it to the better full productions, it feels wanting. but its a handsome, well paced evening, and they do ok with creaky book/story that doesnt feel all that vital in 2026. 

porters voice is shot, we

but she sings so well, find a show where she can show off her pipes! In Rocky Horror she.....did not.

The departures makes sense, but the manner in which theyre coming--piecemeal, without the buzz of a big announcement by the production team, feels off. This is a hit show, they don't seem to be milking the replacement buzz--which would be considerable here, I definitely plan on going back once a new crop is in place.

i both appreciated and was v disappointed by this.

this thing flies by for the most part, which is saying alot since its 3.5 hours. the third act in particular grabs you. and the premise is fantastic as is the now trademark use of phone imagery to move things along. i thought wed be bombared with The Right Wing Nut and the Lefty Conscience but only two characters ever actually espouse political positions at all, and both are rational, understandable, sympathetic people. There is no che

id check this out but cant find a decent weekend ticket under $175---which tells me its selling pretty well, since I usually have no problem finding deals for these Encores productions. is there a code i missed?

and if its on TDF, ill never know, given the site renovation that makes it unusable.

quizking101 said: "Personal Note: Them grabbing the Revival trophy and running off into the sunset really sticks in my craw."

This makes no sense. I think you're saying that CATS could have used the Tony win more to propel a longer run, and that RAGTIME didnt "need" this in the same way. But wouldnt that be exactly the sort of politicking we would complain about?

Many people prefer Ragtime to CATS (myself included), and rewarded it accordingly--w

barcelona20 said: "They must have some very big names lined up for this, that's the only reason a revival would make any sense."

There seems to be a lane for off bway, small but well-made revivals-- Little Shop, Heathers, Spelling Bee. Spring Awakening could make for a fine addition to that slot even without big names. 

She was noticeably absent at the Tonys--if she was sick, I'd imagine theyd have someone else on in her track? Reminds me of the last revival which had all sorts of Columbia issues...

 

shes SO talented (her Suddenly Seymour is one of the best, hands down) but was so miscast and misdirected in this production, a travesty. Id love to see her as Magenta (or at least sing the opener), or even as Janet. 

I enjoyed Schmigadoon though I have no idea who this woman speaking after Lorne Michaels is and it feels like a pretty weak finish to a weak season, though I'm not sure what other show really deserved it more aside from Two Strangers (which goes home emptyhanded? That seems wrong).

Only six minutes over. Bring back PINK next year. 

to be clear, i welcome ALL the criticism of Ragtime, and very much understand the argument for CATS in terms of the act of reviving. im responding only to those complaining about Ragtime like it is some major mistake by the Tony folks or referencing the whiny white people involved (as characters, even worse).

meanwhile, a beautiful speech by the ever worthy Caissie Levy.

Chicago and BOM were there to sell tickets, but its 1050pm why am I listening to Rachel Zegler scream through A Chorus Line? To what end? (they didnt even mention that she will be back on that stage next year thanks to Evita...)

 

oh you thought that the Mother who embraces feminism and the poor immigrants arriving thru Ellis Island were all whiny white people? Sure, thats what you meant.

Princeton78 said: "PipingHotPiccolo said: "blaxx said: "Princeton78 said: "Mediocrity rewarded. Let’s give it to whiny white people


It was a perfect representation of how Broadway doesn't know what it needs most nowadays. This is why most new musicals will be closing within months, the edge is gone."

I understand all the reasons why CATS is more deserving in terms of REVIVING a show given the creativity,