Profile for Auggie27

Did the technical designer take conceptual drawings and accurately build the period drag from them?

The costuming is in no way memorable feature, and the look given the Chenoweth Jackie so one-note, she has no where to go for her big reveal by the end. The period stuff is certainly attractive and lavish enough, but like the show itself, has no particular wit. Nothing is heightened for parodistic (or other) purpose, and in failing to seek some unspoken correlation bet

MILD SPOILERS, PLAYWRITING CRAFT NOT PLOT:

The critics got this very right. Everything can feel oversold, but Bess Wohl's play is that rarity: a script and production that somehow still offer more than what's anticipated. In outline, the play sounds schematic, a 70s consciousness raising group's evolution seems a predictable construct, with erupting internecine warfare and dollops of revelation and heartbreak. Yet from the outset, the piece refuses to fit squarely in an

"You would never know this was a musical, I don’t think I’ve read a thing about the score." 

I posed this question and someone snapped at me "there are clips available from Boston." Whatever, right? I saw it Wednesday and this is my response to the score: it's as tonally confusing as the book and direction. Of course Schwartz can find melody in any circumstance. But here, he's hovering between the attempted verisimilitude of Carol H

I found the audience reaction eerily unlike anything I've experienced in recent years. The obligatory group rise - albeit in clumps - was punctuated by people stepping over one another to exit. Not a joke, literally trying to flee up the aisles. Someone upstairs shouted "Brava!" at Chenoweth, but you could feel the cast suspended in place by a lukewarm reception that everyone pretended was a genuine standing O. We all felt uncomfortable. I have no idea what critics will make of

The Wednesday matinee started almost 20 minutes late, after Chenoweth herself made an announcement that a delay was necessary. Could it be related to the humn? I heard noise in two scenes and thought it was ambient sound to suggest ... something offstage? 

By the way, the show has been built around the 11 o'clock spot reveal (already spoiled in footage all over the internet), but the downside is a pretty unattractive set for the two hours before. Everything must be played

I so appreciate this post. The specificity and analysis are terrific. As an old-timer here - 22 years on this board - I miss these kinds of span-of-previews posts, in which changes are charted, their success and failure scrutinized. I also know that Broadway is far more expensive than it was in 2003, and multiple visits by the same person in early days of a production are rarer. But Scarlet Leigh's report is stellar example of why these boards are instructive about the craft of theat

I found myself ruminating on it last night, unable to shake how wrong almost every decision is. The real Versailles conceit, given an arch, heavy-handed (and actually heavy) production frame, is so tonally off yet baked into the concept for the show, you feel that no one knew how to abandon it, i.e., no one would say out loud the truth: "that stuff has to go, immediately." If you just scrapped all of that, including the ludicrous pre-show cleaning of chandeliers - seriously, don'

I was there this afternoon, in a packed TDF house, no empty seats downstairs (and I snared row L center orchestra). Whatever the preview period changes to the end, and the consequences of the diary, the show is startlingly unfocused, as if the creatives have no real idea what the piece is about. Yes, we get an 11th hour wink-wink that compares the revealed trappings to a certain bougie Florida resort (and makes a fall 2025 cheap joke about recent events that is utterly shameless in reminding

Trensch is giving a multidimensional performance and I have zero quibbles. But I do agree with the post that cited the original take’s feral ferocity. Devin May found a creeping erotic edge that made Edgar’s developing libido more dangerous and mysteriously sexy. Listen to him in “Mine, All Mine” on the London recording. His thirst for blood is so blended with his evolving sexuality the song is scary-thrilling. The show’s entire conceit - carnality can be toxic -

I'm glad I got my TDF tickets for Liberation. How long can it last? It's disturbing that a play with those reviews cannot launch. But the show hasn't been creatively marketed, something of a well-kept secret out of the gate, whereas Little Bear, the other major new play, has been brilliantly marketed and is struggling somewhat. I still wish John Proctor hadn't closed, and now feel it might've had a successful run thru the first of the year (I kno

You might delve more deeply into the reams allegorical readings of Frankenstein - Shelley  through Whale through Del Toro - before holding it up as model of pure fantasy. Few tales have had as much inferred from their storylines. 

But my post isn’t solely about application to societal woe; Bat Boy has a hard to ascertain audience investment because Edgar is trapped in a no exit plot, leaving us confused about what we’re rooting for. Its reso