Profile for Auggie27

Isn't the Queen nut close to a million?  The show seems safe enough through the holidays, though mid-December is an infamous dip. So hard to gauge advance sales these days, with buyers purchasing seats closer to chosen performances. I was looking at the Chess matinees and January, and the Wednesdays are wide open, mostly unsold (I note that Chess is not  necessarily a midweek matinee show). This could be a rough winter - January - March - on

Can't believe we're debating COVID protocols with an anti-science anti-vax hardliner at this site at this time. The issues with Osnes focus exclusively on the theater community in crisis after 18 months of shutdown, and the courageous rallying of artists to serve the artform, audiences, industry.  They saved it; she was not a participant, and rather than apologize and seek new access and resume her Broadway career, she became litigious, dug in her heels, packed up, moved to a red

There's no such "science" that determined that a younger demographic is invulnerable, sans vaccine. The vaccine saved lives. We all have anecdotal evidence in our own lives of the vaccine's success. And the tragic loss of life when it was avoided. People begged for the shots in ERs across the nation when it was too late. Let us not now rewrite history and pretend that COVID was a cold and that younger, "stronger" people who took vitamins or worm medicatio

And just this morning, I wrote something comparable on a friend's FB page:
 

 "As a four-decade rabid fan of the score - I'd argue that the second act is unfixable, if the song stack is rigidly preserved. The only genuinely post-millennial correction to the character of Florence would be to give her comparable agency in the chess world, let her finally achieve on her own, not in the shadow of either of these two self-absorbed men. Were she to ascend, co

In praise of the BWW posters, whose comments during this long-ish preview period track perfectly with this consensus. As a 22-year veteran of this board, this morning I'll toast the savvy discussions that ensued.in an always engaging thread. The flaws noted from the first performance are all amplified in the media critiques, to a point, and for daily visitors to this site, these reviews validate the head scratching, the sighs, the one thumb way up/one down reporting. Those scolded for nay

“What I hope to do as a theater maker is to give people a really unforgettable, exciting time while they're in the space. Then, and more importantly is the moment they walk out of the theater, I've sort of given them a mental STD... It is very easy for theater goers and theater producers, I think to say, "OK, we want to make something simple. We want people to leave saying, I feel happy, Oh, I feel sad. I feel like I laughed a lot." But I think you know what we str

RFKII and Biden jokes sprinkled into this show at this moment speaks to a tone deafness in the minds of the creatives eleven months into the political hellscape that is 2025. Maybe with the narratively pointless and utterly audience indifferent Queen of Versailles playing a block away we're witnessing Broadway power brokers' middle finger to earnest resistance. It's hard to fathom why anyone would capture this moment with cynicism. Whatever their motiv

Does Arden understand that a cautionary tale demands an audience that requires cautioning? Does he honestly believe people spending $600 for a pair of seats will gasp with knowing recognition and intone “but for the grace of God go I” witnessing this navel-gazing cipher sing incessantly about “American royal-tee” ?  The specious reasoning - that Jackie’s narrative has an every woman universality - defies logic. Simply being able to mus

I've seen it, I've read most reviews, and I honestly cannot imagine what would've fixed any show about this woman and her quest. A 90 minute black comedy, might work. Maybe a writer like Diablo Cody could've excavated a wicked portrait of vaulting ambition. But a big, bloated extravaganza with an earnest I Want, a historical conceit that drives home a parallel that only makes the subject less appealing, and a pile-on of digressive material - we're left with what conse

In a production this strong — one of the best I’ve seen in 30+ years of theatergoing — these topical jokes feel like unnecessary speed bumps. Cutting them would keep the audience fully immersed in the extraordinary world you’ve created onstage."

But isn't the goal to give some members of the audience an exit ramp if they're not engaged? I cannot fathom any other reason to interpolate current socioeconomic politics into this tal

Subjective take: it's impossible to fathom That Song functioning in a linear narrative now, as excised and repurposed as it is, a standalone paean to {Singer's Choice}, a showcase for 80s overwrought show-tune-ness. With its galloping rhythm, its incessant plea to be recognized as the stirrings of a singer's - not character's - heart, how can it be folded into a slight fable with the gravitas of, say, The Fantasticks? Or maybe Amelee? Asked to serve

"Not worth Broadway prices, but worth a rush ticket."

More or less the consensus on these boards since the first preview. Get a discounted ticket and you won't have missed it when the show eventually closes. I'm trying to imagine folks coming to town for the holidays - or more telling, the dead of winter, January - March - and finding this must-see. Maybe I'm wrong; it pulled a million last week (though apparently still below the nut?)  It's hard

"Well, the book being a bit misogynist matches the score also being so. Not a single female song passes the Bechdel test."

I raised this very issue at the start of previews and was shouted down that the show doesn't need a "woke" fix. As if giving a female character any agency beyond romantic entanglements is "woke."

Strong had an opportunity to remint Florence, to give her a new impetus in the second act, one driven by he

I saw Liberation this weekend, and was mesmerized, entertained, moved to tears multiple times. I haven't seen a play with its cumulative power in many seasons. But the show is closer to, say, The Heidi Chronicles than Suffs, - epic but personal and fictional, intricately woven storytelling, not a polemic - and I wish they'd market it to highlight how theatrical the staging is. It's not a handful of characters perched on the edges of folding cha