Profile for Auggie27

I would argue that Morrison isn't too old for "this" theatrical Darin. The show's conceit - an actor self-identifying at the start, framing his performance as a performance - makes the performer's age less critical. None of these 3 actors look like Darin whatsoever. It's not quite like Beautiful when the approximation of King's self-presentation - the wig, etc. - was part of aiding the suspension of disbelief. Darin's reputation and biograph

Chess plummeting $800k without Michele seems one of the biggest stories here. I had no idea she'd be the pull that she is, and I realize it may be a generational thing. Clearly, unless they have a comparable star lined up, this show's longevity isn't a sure thing.  Because I saw it last week without her, I'm doubly surprised. I'm a longtime Chess-o-phile yet to me the character remains the least interesting, the one that doesn't change sufficien

As a longtime fan - dating to the concept album, I feel that the biggest as yet unfixable flaw is in the Rice created DNA. Florence remains a woman devoid of agency independent of relationship with these two men. Every song she sings is a codependency anthem, up through the repurposed Judy Kuhn era I Want, “Someone Else’s Story,” yet another meditation on choosing a high maintenance man. Why can’t the second act position her in the chess universe? Let her acumen be cel

Yesterday the second cover for Florence was on for her (I believe) second performance: Samantha Pollino. Stellar, in every way. Menzel-like pipes, and a Laura Osnes quality (at her best, i.e. Bandstand) in her presentation and her beautifully modulated upper register. I thought she worked especially well with Tveit. But then, I find Tviet to be doing some of the best work of his B'way career. IHere, in the most defined role in the show - original and even the unsuccessful Strong

Evans, whose admired pulchritude suggests that he could've been a Rocky earlier in his career, is moving the show in a different direction. I, too, question his suitability. His comedy chops are mostly untested, and without a whiff of self-awareness, the show can be plodding. (If you've ever seen a lesser staging, you'll know what I mean.). The plot is so flatly ludicrous, that without genre send-up in the staging - baked into the production style - it can feel like a bad dri

I agree with Sutton. In hindsight, I'd add: the decision to turn Wicked into two films was a sound - even brilliant - commercial decision yet a questionable one artistically. The second film is harder to even remember, 6 weeks after a viewing. It doesn't have the event status, and only one standalone signature numbers; and even its high points are buried in a lot of expository sequences to move the story's wrap-up forward. I now see how one brilliant 3 hour movie mig

"Floyd Collins was a very strange choice for Lincoln Center..."

With all due respect, I don't think Floyd Collins was a strange choice for Lincoln Center at all. It was probably an unpopular choice for Jordan fans, and the word of mouth among 'em was: you can skip this one. (I heard some at intermission express disappointment that "this was the show he chose to do." A man next to me, a fan dating to Newsies, left ) An

Prada and Beaches in the same season feels like too much of the same general sub-genre (understanding that one is edgy-ish comedy, one a tearjerker-ish; both have chick-lit-like origin stories) for the same target audience. I'm reminded of Smash on the boards with Death Becomes Her.  Yes, I know these show can be pulled apart and viewed differently from one another. Yet they seek the same general audience. By Tony time, cli

Thanks once again to TDF, I was there this afternoon in a packed house, an audience that leaned forward almost en masse in rapt attention. The unhurried, low key naturalism that slyly  launches the action as the characters gather to celebrate of happiest night of their lives feels like an especially brilliant directorial choice in hindsight. The play's journey toward revelation upon revelation via 2500 year-old plot machinery makes the suspension of disbelief a de

Jordan isn't an obvious choice, but does tour with his own rock band and thus this sort of presentational turf isn't alien to him. Yet I agree: will he sell tickets? The show is a unique synergy of specific performer, who nursed the project, and song catalog. It needs a winning personality who can morph before an audience's eyes, with a pop singer's voice and a hipster sophistication. (Morrison seems closer to me than Jordan on this point).

Listen to the (brilliant

It's been interesting to note now often Redwood is cited as context. Yet other than the obvious connection to Chenoweth, its a show with almost zero parallels to Queen. In content, style, and comparatively modest presentation, not similar at all. It offered a relatable tale of a grieving woman's journey to self-forgiveness if not closure. We can mock its wide-eyed belief in Thoreau's Walden for spiritual and corporeal reinvention, its New Age twee-ness (nami

"Don't blame Arden. No one could make this work."

Arden was involved almost from the outset, one of the first tier creatives. The show had a high profile out of town engagement with mainstream reviews that proved prescient in their diagnostics. Arden shepherded the piece through every step, the artistic team leader tasked with finding solutions to problems identified by consensus. We can lose the word "blame," but to pretend his hands-on input was

The post-closing deconstruction of Arden and company's justification in this thread is so persuasively argued, the last thoughtful word on this show; and as someone who's been here two decades - and saw Queen, for the record - the kind of discourse this board is known for. Thank you, smart folks.

I'll just add: Blaming this debacle on misogyny is rich indeed. The show is a celebration of a navel-gazing woman who has no skill, no discern