Profile for jv92

PipingHotPiccolo said

I dont think my response was all that harsh, which confirms a hyper sensitivity here that isnt my problem, but I wish you all the best with. I am pointedly disagreeing with you: we NEED ushers to firmly move the lines along, and warn ppl about intermission times, and do it all quite loudly for all patrons to hear. That disagreement is the very conversation you claim to want to spark, so I dont really know what to tell you."

I like smart fr

Totally agree that whichever firm Roundabout uses for their venues are the WORST. Nasty, surly, overly aggressive (to the point of being "felt up" by their pat downs). They must be moonlighting after their dayshift at Rikers."

If that's the case (the "felt up" part), you should have stopped them immediately and demanded to speak to management. That's not okay. 

The airport-esque bag scanning machines at Roundabout-owned

The security and house staff at Nederlander and Jujamcyn houses have been obnoxious and overbearing for years. This is nothing terribly new. Surly, ill-tempered and ill-prepared. I can't say the same thing about the same people that work at Shubert houses. 

At this point, I avoid those line situations like the plague if I can (easier to do now without the Covid checks-- which were, of course, necessary at the time), and if I'm treated poorly, I give it right back to t

Ahrens and Flaherty have occasionally mentioned writing a dual memoir about their collaboration, which I'd imagine would be something like Kander and Ebb's COLORED LIGHTS. Like that book, I don't think it'd be dishy and bitchy (which DON'T rhyme), but informative, fun and a little inspiring. So I hope that happens. Those are the kinds of memoirs I like. If LuPone writes another, I'd wait for it to joins the remainder bin (cyber or physical) before purchasing. Meantime,

Schoenfeld and Jacobs also had Michael Bennett, and while I'm not sure his two big blockbusters post-SEESAW hold up as well as pieces of writing, the man knew how to put on a damn good show.  And in terms of plays, they had Peter Shaffer, Tom Stoppard, Mike Nichols, and so on and so on. I do think talent has something to do with it, and it's not that people are less talented now, but they seem to, especially in the past five or seven years, be rather... fettered rather than un.&n

Jay Lerner-Z said: "My proposed solution is to give all theatre equal respect. Forget how big a house is, how much a production costs, where the location is... who cares? Let the capitalist producers worry about those things. We as audiences have no need to. Why should we care even a little if Here We Are OR a play makes it to Broadway? Audiences can see it where it is now. If there is further demand, let it run where it is. Change cast if necessary. Is it really so hard for people t

It should be noted, too, that Riggs was gay. There’s an anthology of some of his collected plays recently published (including Green Grow) and they’re really interesting, with more gay subtext to be found. 

I doubt it, but I wonder if SS ever discussed homosexuality with Oscar— not necessarily his, of course. I can’t imagine Oscar being as homophobic as some of his contemporaries, or his collaborator and his hateful wife, although Yip Harburg made some mean

Robbie2 said: "chrishuyen said: "by the way, does anyone know what Sorry I Asked is from? It seems to be a Liza standard now, but I can't find what show it was originally written for"

K&E wrote this song but don't believe it's from any show"

They wrote A LOT of special material for Liza (and others-- Chita, of course, too) over the years. They're all sort of self-contained little plays in themselves-- "Ring Them

In the Dramatists Guild's magazine tribute issues to Sondheim, in a convo between Lapine, Weidman and Ives (lead by Lin-Manuel Miranda), Ives finishes things off by saying that they were looking for a home for the show, and that it's basically finished. He and Mantello had a lot to do with shaping it for the reading that happened in the weeks before Sondheim died. And that conversation probably took place late last summer? And all of those collabs. say how damned hard Steve was on him

“Bottom of the Glass” was the VERY original opening that was cut early in Boston. Herman often referred to it as “static”, but maybe it was just too arty for what was expected from “a Jerry Herman musical.” “A Sensible Women” was written as a replacement. It’s a good song, and much more of a straightforward “I am the Madwoman” establishing number. Then IT got cut for whatever reason. 
 

I think by the

Same argument for most of them. As much as I love Julie Andrews, a Lifetime Achiwvemwnt award for 4 shows?

One was a cultural phenomenon— one of the most artistically and commercially successful musicals of all time. Another is an acknowledged classic, however flawed some find it. Her screen performances also introduced many to the magic of telling stories through songs. So, yes. She has never won. Mea culpa Judy Holliday and Elizabeth Seal, but she shoul