Profile for A Theatre Fan 2023

I agree that a lot of the results in 2004 were baffling. I understand that Avenue Q winning the big prizes came down to its strong marketing strategy (positioning it as 'the little show that could' taking on the 'big, bad blockbuster' musical), and people voting for it to give it a chance of doing well on tour (the writers even spoke about this in the commentary for 'Show Business: The Road to Broadway' DVD).

Fortunately, Wicked didn't need the award win

I really enjoyed the show (it is definitely one of the stronger jukebox musicals out there), and I'm looking forward to seeing this film, as I think it has strong potential. 

I am concerned about the casting, though. Is this girl's voice really up to it? I hope so, as I'm sick and tired of seeing musical films ruined by bad casting - Emma Watson's dreadful Belle (where every note sounds as though it's had to be autotuned) was particularly poor, while Russel

People are absolutely entitled to comment on his ability to handle an eight-show week. 

I think the question needs to be asked why he keeps getting these plum roles, when there's definitely a question as to whether he has Broadway stamina. 

Evan Hansen is a tough role. I was fortunate to see him play it and thought he was well cast, and I could understand how it would be challenging for a lot of performers to do that role even six times a week, so I cut him

Wow, the anti-Australian theatre/performers sentiment here is something else. 

The Australian production of LND featured a cast who, despite not having the global fan-girl army of the London leads, are world-class performers. Both the so-called "bug-eyed Ben" and Anna O'Byrne are highly trained actors who have chalked up impressive credits on Australian stages and in London's West End. How insulting for someone here to suggest that they're not "top-t