Profile for Kad

Jackie is a fame-hungry opportunist who tried to capitalize on the documentary immediately. She even parleyed it into a sequel reality series a few years ago (that nobody cared about). 

I'm not convinced she couldn't make a good topic for a piece of theatre, but that seems like an impossible prospect while she is still alive. 

MadsonMelo said: "Is she the first female chief theater critic at the NYT?"

For my money, the best 2 theatre critics in the US are both women- Shaw and Sara Holdren. Even when I don't agree, I find their writing to be extremely worthwhile. 

Green was good at NYMag but there were certainly indicators of what he would become (I will never get over his bizarre offense over Great Comet in his review there). 

Shaw is excellent. It's the Times itself I have qualms about. I hope they give her the space to excel. 

Would it be acceptable to have a speculative piece about a future King George, who is not gay but an incompetent monarch? 

Ginger Twinsies was generally well-received, managed to build some buzz, and did have a respectable limited run- it certainly fared much better than its immediate predecessors at the Orpheum. Hardly a real failure to launch for Zak. In fact, it seemed to launch him pretty well. 

 

Since people here apparently can use a refresher on why , exactly, Rudin got put in time out, here's a nice overview,  And this is only some of it. 

Georgeanddot2 said: "It sounds like Rudin's biggest crime was being a jerk. Unfortunately, I have yet to meet a single person in the entertainment industry who isn't a massive jerk, so I'm not sure why Rudin is such a remarkable case."

His crime was not "being a jerk." It was physical and emotional abuse of his assistants. 

Was the glass bottle thing resolved?

Frankly, it's kind of astonishing that such a choice would have made it to any public performance without having been totally secured and made safe. It's hard to believe anyone signing off on something so obviously risky. 

pablitonizer said: "So it seems ST season 5 premiere had some effect on First Shadow and it got it's highest grossing week since opening in April. Now is this enough to sustain it after the holidays?I still see this show closing in 2026"

IMHO, it's hard to tell if the new season actually had any effect on it considering this was a major tourist week that would have seen its numbers increase regardless. 

witchoftheeast2 said: "Should Two Strangers be worried? That's a low number"

It’s a low number but it’s such a small show with no demanding star salaries that it’s likely still hitting its weekly expenses. 

I wasn't using it under the assumption it would be automatically censored. 

quizking101 said: "Question, and I ask this with the notion it may get messy:

Does anyone care about Scott Rudin being a producer?The Reddit/TikTok theatre influencers are up in arms again about his past behaviors and are on their crusade to boycott the production because of his involvement.

At this point, I feel like we can acknowledge That he still sucks as a person, though likely less now, but he also holds the money that gets shows produced. For example, any other producer probably would’ve long pulled the plug on Little Bear Ridge Road, but his and Diller’s money help it stay open (although the running cost is likely low).

I also think that this DEATH revival might end up making profits that Rudin would use to fund the next small play or playwright looking for its Broadway break."

That was pretty much his producing model - big tentpole productions (like Hello Dolly) that allowed him to produce smaller, more prestige plays (like A Doll's House Pt 2). 

Greg Nobile / Seaview have more or less copied or built on that model, though have yet to demonstrate aptitude at developing new pieces and they seem out of their depth entirely when it comes to musicals. 

Belief in Rudin's producing acumen and indispensability to Broadway seem deeply held among many, but I think that's overblown nostalgia. That NYTimes profile of him from earlier this year just suggested to me his own ego is as large as ever, but he's not actually offering anything new to Broadway- he throws some thinly-veiled shade at folks like Nobile for relying on star casting, but in reality they're just continuing down the path Rudin forged and is continuing down himself. 

And of course, he has billionaire Barry Diller at his side. I suspect many in the industry will swallow any reservations they have about Rudin if the money rolls in. 

Again: literally nobody here, nor in the article, is advocating for censorship. People have as much right to voice their personal distaste for a choice of words as others have the right to use those words. It is a two-way street. 

Idiot said: "Telling a playwright what words they can use is not OK."

Good thing nobody here is doing that, nor is the article. 

In my very queer social circle, the word has been pretty much reclaimed and used, if not casually then at least with some regularity. 

But I also know of folks who bristle at the use of "queer," which has had a much longer history of reclaimed use, dating at least back to 70s. Everyone's comfort levels are different. 

melfi39 said: "This is I’m sure a stupid question but I’m coming to New York June 19th, does anyone know if 14 weeks start when previews start or 14 weeks from opening night. I don’t want to miss this!"

It would start from the first performance.