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
Apparently Sarah has been out again, since July 18.
On Sunday, Sylvie posted (after-the-fact) "A full week on for the incredible role of Norma Desmond" on her Instagram story, which the official Sunset Boulevard Australia account shared to its own Instagram story.
Lot666 said: "I'm very sad for all involved. Had it not been for the extremely long-haul flights required, this is something I would've seen, regardless of the reviews."
Same here. I priced it out and it was just a bit too much. If it had been anywhere in the continental USA I would have gone! I was really hoping it would be a success.
As I've said before in posts, I'm a die-hard Sarah fan, but I can constructively criticize with some additional perspective.
The last time she was in a run of traditional show was when she did a few straight plays in the UK, from 1992-1995.
From that point on, she's had absolute, meticulous creative control over her albums, photo sessions and concert tours. She's at a point where her tours are almost robotic. Any time she talks to the audience, she's re
SweetLips22 said: "I am sure that I remember reading many moons ago that Ms Brightman went to an Italian? vocal coach who completely transformed that way that she produced each note.
You could see that she changed the shape of her mouth, making it more rounder as she sang, and actually produced a different sound because of how she breathed and placed each note. This affected her diction.
I would line up in a heart beat to see this train wreck because there is no
I saw the Cleveland regional premiere of "American Psycho" in October, 2022. It was staged in a very small studio theater, inside a large industrial building, which had been converted into a bunch of art galleries and studios. It worked really well in an intimate environment and felt immersive.
