Profile for seaweedjstubbs

^And that “vision” just isn’t enough for a lot of people. And that’s ok. I know it must suck reading other people’s negative opinions about your favorite show, but as long as the show makes you happy, why should you care what anyone else thinks? Maybe you could start a BACK TO THE FUTURE Appreciation Thread specifically for you and fans of the show to talk about how much they like it? I think that would be a better use of your time and make you happier than respo

blaxx said: "EDSOSLO858 said: "One of Broadway’s curses has just been broken."

It's never the theater, it's the show that people want to see or not."

Exactly. And let’s not ignore the fact that the current tenant at the Marquis has done exceptionally well since opening, even if the production itself is subpar. I do wonder how long THE WIZ could’ve maintained the numbers it’s been pulling if it weren’

I mean, it’s still the anniversary of the show’s opening regardless of COVID. That’s how anniversaries work. Pretty much every Broadway show that has had a milestone anniversary since COVID has just ignored the shutdown in its accounting. Wicked, The Lion King, Chicago, Hadestown, Aladdin, and now Moulin Rouge. It just gets messy and complicated when factoring in the shutdown. Maybe it’s a bit of false advertising to say “Celebrating [insert number] Years on Broa

Some sort of respiratory virus has been making the rounds at different shows recently, so that could be part of it. Before COVID, there was the whole “show must go on” mentality, and actors would just power through whatever sickness they had. We’ve heard stories about actors performing with the flu running offstage in between scenes to throw up in a bucket. After COVID, those stories stopped sounding “heroic” and just started sounding stupid. Why put your he

CATSNYrevival said: "Why is nearly every cast recording of The Wiz unwilling to record all three versions of Ease On Down the Road as they are performed in the show? Too repetitive?

But then there's a reprise of Ease On Down the Roadin act two? I don't remember that in the tour. How does that fit in?"

They sing a slowed down “emotional” reprise when Dorothy is saying goodbye to the three friends. It’s…..a choice.

Loo

In case you couldn’t tell from my username, Hairspray is my favorite musical and has been ever since I first listened to the cast recording. I’m also a Black male. Maybe my love for the show blinded me to some of its issues, but I never really thought of Tracy as a “white savior.” Tracy’s initial plan to get the show integrated fails and gets everyone thrown in jail. After that, she’s ready to give up, until Motormouth convinces her and everyone else t

From the casting breakdown released today:

 

BREAKDOWN

GYPSY (Broadway)

SYNOPSIS: Rose, an ambitious “backstage” mother, treks across the country with her daughters searching for both survival and success with their homespun vaudeville act. Along the way, they encounter others in the shabby theaters they perform in who are similarly burdened by finding their own ways of surviving in show business. As times change, Rose is forced to adapt as vaudevi

This show made me sad. Mostly sad for the performers who are so talented, yet are stuck in a production that looks SO cheap, even some community theatres would be embarrassed by it. I was hoping folks on this board were exaggerating but wow, every time a new scene began I was taken aback by just how terrible everything looked. I truly wonder how much work Hannah Beachler (Scenic Design) and Sharen Davis (Costume Design) actually did on this show. If I were them, I’d be too embarras

nativenewyorker2 said: "All I’ll say is the audience here is having 1000% more fun and has 1000% more energy than the audience I saw the immersive Cabaret with…and 1000% cheaper.


could be a case study in theater snobbery"

……or maybe they are two extremely different shows that invoke different responses in audiences? CABARET is a very dark musical, and from what I understand, this production amps that darkness up. I&rsq

These reports make me wish we’d gotten the 2006 La Jolla production that was supposed to come to Broadway or the Encores production from 2009. From the clips I’ve seen of them, they both seemed to have possessed much more imagination and creativity, especially when it comes to the costumes. I can’t get over how cheap and just……bland these costumes look. To those harping on the original production also looking cheap, at least it had a distinct look and visi

^ Except jukebox musicals and musicals based on movies aren’t selling out theaters either. At least, not when they’re mediocre, which they increasingly seem to be. Have we already forgotten about ESCAPE TO MARGARITAVILLE, KING KONG, SUMMER, THE CHER SHOW, ALMOST FAMOUS, ONCE UPON A ONE MORE TIME, MRS. DOUBTFIRE, TOOTSIE, CHARLIE AND THE CHOCOLATE FACTORY, and NEW YORK NEW YORK? Nearly all of them were rejected by audiences and closed within a few months. Audiences a