Lot666 said: "At about 7:50am, I received an email regarding tickets going on sale at 10:00am. I navigated to the page at around 9:40am. At 10:00am, the page refreshed and indicated that there were already more than 5,000 people ahead of me and the wait would be about 55 minutes."
It said the same thing to me, but that rapidly decreased, and at 10:15 it just let me in.
Entry times every 15 minutes from 7PM to 8:15PM on days with evening-only performanc
I absolutely love the original cast recording of "Nightingale" with Sarah Brightman. He wrote such a clever, catchy score with great wit in the lyrics. It's one of those recordings you listen to and really feel you get a complete sense of the show and story... no visuals required.
WiCkEDrOcKS said: "Kad said: "What's the point of even having onsite security at theaters if they can't handle something like this?"
Honestly? Optics.
I’ve walked through the metal detectors with my phone in my pocket (mistakenly)more than once in the past, and I’ve never had the metal detector go off.
I worry that half of these security implementations at theaters are just to make people “feel” safe
Apologies in advance if this has been mentioned earlier in the thread.
I saw Andrew Lloyd Webber last Wednesday as part of the Speaker Series in Pittsburgh. He talked about Jamie Lloyd's production of "Sunset Boulevard" and briefly touched on him directing "Evita" in London. He said Lloyd's vision of "Don't Cry For Me Argentina" is to have Eva perform it from the Palladium's front facade balcony, addressing any passersby o
binau said: "If this was the Sam Mendes production it would be poweful in the finale if he removed the mask, all exposed in the uniform etc."
I'm guessing he'll remain in his smaller mask throughout the performance. Would be cool if during the drumroll at the end, he moves to take off the mask just as the blackout occurs. Maybe you get a very brief blink-and-you-miss-it glimpse.
Since the mask is such an important part of his stage persona, would
They'd certainly have to re-work the beginning of Act 2.
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Trying to choreograph an outdoor walk in each city would be a logistical and security nightmare. A more feasible strategy would be to have him walk indoors from backstage to the lobby area, or just through the auditorium. But again, this would have to be
Cleveland is not doing a traditional "reveal" this year, but instead has been releasing its season bit by bit, without specific dates.
So far:
The Notebook - September 2025 Hell's Kitchen - October 2025 Stereophonic - January 2026 Suffs - February 2026 Water For Elephants - March 2026 The Great Gatsby - June 9 - 28, 2026
Can anyone who went last night (or who goes in the near future) elaborate on the mezz sightlines? I'm trying to figure out if row E center mezz will be too obstructed as far as anything happening on the passarelle.
At the first preview of "Dear Evan Hansen," they gave out baby blue rubber bracelets with "#YOUWILLBEFOUND" and "DEAREVANHANSEN.COM" on them in white text.
Wonderful! I attended a concert of Gavin's in May and he spoke about this project with a lot of affection. How lucky for all of us that it was professionally preserved and we can now see it.
bwayphreak234 said: "The Laurence Connor helmed tour was an abomination of epic proportions. It was ghastly - tacky, ugly, and just really, really bad."
Add to that a few directorial choices which simply made no sense to the story.
While we know better that it's not our beloved original staging, I agree with the comments that it's better to tour this than the Laurence Connor version. The average subscription theatergoers in the U
ACL2006 said: "Why not just do two week runs of each show instead?"
Their productions used to run for two weeks. They were then cut down to two weekends (plus the Tuesday, Wednesday and Thursday between), and then eventually down to just 8-performance runs. (Prior to this year's venue changes).
I'm honestly surprised this didn't happen years ago. Depending on the casts, I've attended one or two of their shows each season for the past 15 years. These productions have been undersold in the Benedum Center for a long time, even during weekend performances. The creative venue shifting this year was a good attempt, but obviously didn't prove to be sustainable.
"Back To The Future" and "Frozen" will be very safe sells next ye
I hadn't been aware of her brother being so involved and controlling until this year. She's had complete creative control over her career since 1993. The German producer she almost exclusively works with (and dated for a long time) has enabled her as well, and she's been stuck in the same loop with him since the late 90s when they had their big classical crossover successes together. (Very telling when her "Dreamchaser" album from 2013 was an interesting direction creatively, and that was with a different team of producers).
She seems nice enough, but apparently is one tough cookie behind the scenes when it comes to every detail of her song selections, orchestrations, recording sessions, costumes, concert tours, CD/DVD artwork, etc.
Her Bravo Profiles special (narrated by Tony Roberts!) reveals some of this if you view it through that lens. Choreographer Arlene Phillips (who gave Sarah her start in Hot Gossip) discusses that it's difficult to direct her, because she thinks her way is the best way. There's also a scene where she gets frustrated with the people helping her rehearse a technical effect for one of her concert tours.
Being thrust back into an ensemble piece, where she doesn't necessarily have the creative control she's used to, must have been a very jarring thing for her to come to terms with after being in such control for so long. I have no doubt she was anxious about performing in a rehearsal room with 30+ people. I suspect insecurity and anxiety might have a had a lot to do with her absences.
She's never been personally active on social media, and the process of rehearsing a show and being a "Leading Lady" again, in the traditional theatrical sense, is most likely different than she's used to at this point in her career. Probably why there's a noticeable absence of her in any behind-the-scenes posts or "Instagram Takeovers" on the cast members' personal accounts. Nothing we can fault her for, since that's her own decision.
Regardless, I hope she's found her footing and has a successful run in Sydney!
I agree that it's not awful, even if it's a disconnect from what we're used to hearing in the role.
I still don't understand the choice to sing this so high and breathy. Sarah has such a natural lower chest-register. She used to sing with it a lot during the 80s and 90s, especially on the Music of Andrew Lloyd Webber tours. It would be much easier (for her and the audience) if this was sung in a key similar to what Glenn Close used in the 2017 revival. It wo
