Profile for Listener

James885 said: "I actually saw a production of Carrie a few years ago in Los Angeles that was very effective in terms of dialing up the horror elements of the story. That production was staged basicallyin-the-round, with the audience virtually in the middleto the action.

That was the production where Carrie mentally threw Chris over the audience up into the air to her death, right? I saw a clip of that and had chills! What was it like to witness in person? 

TheatreMonkey said: "carolinaguy said: "There was Frank Wildhorn’s musical version ofDraculaabout 20 years ago. That was a horror on Broadway, but not in the way this thread intended.


Carrie was the same."

While I totally get (and largely agree with) your assessment, I think that the "Eve Was Weak" sequence to be a truly wonderful, horrifying, and expertly done, scene in musical theatre. Betty Buckley le

A Justified Bean said: "Kad said: "Listener said: "Very excited for this. Seems like a perfect role for Sutton.

Any chance Beth L joins the cast now that Lempicka is over?"

Although she’d be great as the Queen, I would have to imagine that Harriet Harris would continue with that if she’s able to and if not they’d try to get a similar name in the role."

I agree shewould be fun for this role, but I

Jarethan said: "Malinda5000 said: "It’s too bad that no one is excited about this BroadwayIcon returning to the stage …it’s Audra Audra Audra."

IMO the words Icon and Legend should be stricken from the English language. Stephanie Mills was in two Broadway shows (one ran 80 performances) in her teens, and has not been on Broadway since. How does that make her a Broadway icon? I have nothing against Mills...Isaw her in The Wiz in 1975 an

I finally got around to watching this show (iykwim), but had to stop three times during act one.

Man, disjointed is really the word. The music is not easy or catchy or consistent, the costumes are....weird, the set is ok but a bit random, you never even see her real work.....and it all feels like an uninteresting coming out story.

....if you can't make this fascinating woman's life dynamic on the stage, stop and let someone else do it. Or rethink your approach.

Si

JBradshaw said: "? Why is there so much Brightman dislike?"

I don't think there's anyone personally gunning for her ... it's just that there were obvious issues with casting her from the start and this outcome was avoidable if she and her people had figured out how to handle it before moving ahead.

Its a shame, honestly. I for one hoped she'd tear into it as an acting challenge.

How was she during the begging/screaming scenes?<

I feel like Sarah will return for the final performance just for the whooping and hollering. She's too proud to hide away, defeated, and let that be the story. She'll want to control the narrative for the sake of legacy.

I highly doubt there is any injury, except to her pride.

It's honestly a shame they didn't just stick to local talent for this and find a new belting Norma because the sets, score and costumes are all good.

I also hope Jor

chernjam said: "Listener said: "

Why did someone say Andrew had nothing to do with this version? I assumed he set it all up for Sarah at great expense."

Sarah had said in interviews that Opera Australia had approached her to do Sunset Blvd - after that she had asked ALW his opinion and he had encouraged her to do it, but it seems that this production is being solely produced and conceived by OperaAustralia.

ALW seems finally to be t

Ensemble1716440075 said: "They are already transferring the minimalistic one, why do people keep saying they want to see this transfer to Broadway?"

It obviously won't go to NY with the other version already happening. But Toronto would be a smart place to take this physical production and start fresh with a new leading lady. It'd be close enough for the NYers to reach.

Why did someone say Andrew had nothing to do with this version? I assumed he set it