Profile for BJR

berniesb!tch said: "I also really hope Jaja’s gets a play nom and some acting noms. I loved that show so much!"

It def gets a Play nod. It's remembered fondly by the community and is starting to hit regionals next season. Acting nods are harder since it was so long ago, but possible!

And Tom Kirdahy being there with Blottcher is interesting. If it's not one of his shows, then why would he be there?

Could it be SPIDER WOMAN? (Not that he doesn't have many shows in the works besides that.) Big house for that.

Uh the landscape this spring/summer has been famously crowded with new productions, and that was known when they announced.

In short, they didn't sell many tix.

Being in a hit goes a long way with the Tonys. And Comer was (also) in a hit. As was Hayes.

I think it's Strong's to lose for that reason. Far less likely it wins for Play revival (prob Appropriate), so they'll like giving that hit show an award for Strong.

Kad said: "Illinoise seems far closer to something like Movin' Out than anything else."

Oh 100%

I heard the Jones. But obviously they can't announce because the show in there only opened yesterday.

Sauja said: "It usually goes to a Broadway performance, so my money is on Best Performance going to Groff or Paulson, but if someone from off-Broadwaywere to sneak in, I wouldn’t be totally shocked if Cole Escola managed to nab it."

Completely agree. My money is on those 3.

sinister teashop said: "Owen22 said: "A London theatre website tries to make sense of it all:

https://www.whatsonstage.com/news/what-is-going-on-with-the-cabaret-reviews_1594068/"

I think the article is right about one point thathere in the US fascism is currently less "fascinating" because it's so close to home."

I think these points they make are stronger:

"But I think there’s something more artistically significant going on here. Frecknall’s vision, influenced more by continental theatrical trends, interprets the material quite clearly through a class lens – the rise of fascism is tied to the acquiescence of the middle classes (the company all don greige suits as the show comes to a close, desaturating the earlier extravagance).

Nazi Ernst Ludwig is only able to continue his hate-fuelled work because those like cash-strapped writer Cliff Bradshaw are willing to take on lucrative jobs without looking too closely at unpleasant realities. The interpretations of numbers like “I Don’t Care Much” and “Cabaret” act as central tenets to the overall vision. Class discourse, invariably, feels more pronounced in the UK than the US."

All very fair points.

It's interesting all the glowing things I heard personally about this production while running in London, and now the cool reception on these boards.

And while it was fair to question Patti's GYPSY revival 5 years after Bernadette's, this one feels a bit different. The last revival was a full 10 years ago. And although I thought it was still a fantastic production, it also had a slightly dated sensibility to it, since we were no longer in the heroin-chic hypersexual 90s.

After the reviews last night, I think Hell's Kitchen is once again the likely frontrunner.

Maybe since they're doing one song per performer, they're adding 87 songs in to give more star turn numbers. (e.g. "Lucy and Jessie" and "Ah But Underneath")

Jeff Tupolski said: "Book of a Musical

 

• Days of Wine and Roses — Craig Lucas
• Here Lies Love
• Illinoise — Justin Peck & Jackie Sibblies Drury
• The Outsiders — Justin Levine & Adam Rapp
• Suffs — Shaina Taub

Original Score

 

Huss417 said: "It was nice waking up to seeing these reviews. I loved the production and can't wait to go back again.

Earlier this season I thought Appropriate was the shoe in for Best Play but think it might go to Stereophonic. This is my version of Sophie's Choice this season."

Well, with Appropriate deemed a Revival, it looks like that locked up that, and Stereophonic will easily win Best Play.

JasonC3 said: "And for people complaining about people complaining about absence of a mansion, let's not forget all the posted laments of a Sweeney without the whistle. Some elements of staging become so indelibly associated with a show that it is natural a fair percentage of people will miss them. Arguing about that seems foolhardy."

Y'all, the mansion in the film is a metaphor. Doesn't mean it's the only metaphor one can employ.

 

OhHiii said: "Ok, perhaps not re: tech noms.

Also, MRJ has now responded to Sara and completely contradicted his very own argument. He himself is telling a critic how to approach her work that she should not be critiquing how an artist approaches their own. He's made this exchange a....loop.

https://x.com/TheLivingMJ/status/1779915256149450929"

But he's exactly right. If a critics wants a certain type of show, absolutely nothing is stopping them from making one themselves. Evaluating the effectiveness of what the creatives were trying to create is an entirely separate thing.