Profile for TimeToDither

This score is one of my absolute favorites so of course I was very excited to see this. It didn't disappoint but I do question many of the choices.

The book of the musical - ROUGH. This was the first time I saw a production of it and I'm shocked how dull the dialogues are in comparison to the songs. That's just some plain bad writing, no excuse.

The design ... I get the choice but if you're not going to build a cave, give us something else. Make the

Not going to lie, recently I've been incredibly bored by many of the new musicals coming to Broadway so I did some digging (on YouTube and such) to find a few really exciting musicals that are being developed (commercially and independently) around the world.

But how do y'all find out about all these projects long before they reach Broadway/regional theatres? It seems to me that many of you know about everything years before it gets anywhere.

Bonus points for those who s

ErmengardeStopSniveling said: "If you don't have an agent, that's your first step. Nobody will give you the time of day without an agent. If you're a relatively new or unproduced playwright, ignore the top agencies (WME, CAA, UTA, ICM, etc) and focus on scrappier agencies.

...

Once signing with an agent, the agent will help you develop a plan. Maybe they'll want to package it with a director first, maybe not. They'llpitch it around to relevan

I went to see R+J again and even though I'm not exactly in love with every choice the production team has made, I am SO impressed by both Kit Connor and Rachel Zegler. I wonder what's next up for these young and incredibly talented kids beside the already publicised stuff?

I'd love to see them both in a musical. Zegler is perhaps an obvious choice for that and I think she could play a lot of different roles (Carnival, anyone?!) but a quick YouTube search shows that

You're all insane. I was there thanks to a very last minute ticket I was able to get my hands on and Audra was stunning. I didn't love the look of the production and the orchestra was barely holding together. I imagine that's something Audra might've been confused by as they did f up several musically important bits. But she's not going to magically "find" another way of singing this. This is how sopranos sing and it was appropriate for what's written in

I simply loved the Shed production. The writing is extraordinary, of course, but the production itself was very much unlike anything else I've ever seen. I hope that no matter if they go with the same design or something new (and I'm always up for changing things up), the set & tech lives up to the expectations set by the original production.

I agree that I'd see this coming back to Broadway for a limited run only if they book a major star; on the occasion ... how about

The current production of MERRILY is probably the best thing I've ever seen on Broadway - it's just such a lucky combination of the creatives & cast and the moment in general.

Another best would go to HERE WE ARE as I simply loved its bizarre aspects and both the work and the cast were amazing.

The best performance I've ever seen was Lea Michele in FUNNY GIRL. It was so convincing it almost seemed like she made up the lines on the spot. Not a single wrong not - a

Hey, Zelda! said: "To think that in seventy years (or whenever depending on what becomes of copyright law), Here We Are could very well become Sondheim's Turandot."

I do wonder what discussions happened about the unusual form of it before the production started taking any shape and if anyone on the producing team ever suggested the second act should be finished/rewritten by someone else. Probably not but I find that idea quite entertaining.