Profile for chrishuyen

Surprised no one's posted about this but I thought this was an utter delight yesterday.  Emmett O'Hanlon has a gorgeous voice and I hope to see him on stage more in the future, and Micaela Diamond can basically do anything at this point.  Andrew Durand and Jasmine Amy Rogers were both delightful as expected, and so was Ana Gasteyer who really excelled at the dry but knowing delivery.  I thought the chemistry between just about all the actors worked really well, and from

I agree with Kad that I think physical programs should still be provided as an option even if a theater pivots to primarily digital.  But we already have a case study in QR code programs in many theaters off Broadway (CSC, Signature, MCC, just to name a few).  They usually hand out a little cardstock page with the QR code, but it also has information like basic cast list/song list etc, which I think is a decent balance so you can still look up who the performers are during the show

Wasn't the QR code slip a compromise for NOT getting rid of physical Playbills?  I personally don't mind it as much, but I do wish it would be easier to get information at a glance once you're already in the theater.  The cast board is usually in the lobby and sometimes tucked away in a corner so you might not notice it unless you're specifically looking for it.  The process of scanning a QR code and letting a website load is certainly a bit more friction than j

gibsons2 said: "chrishuyen said: "With the Booth opening up, I think that would be the perfect stage for Mexodus IF it did decide to transfer, but it would be a super tight turnaround and a super limited run (given Proof coming in). I have no clue if they're even interested in the transfer at all (I heard hearsay that part of the reason Dead Outlaw took so long was because of red tape with Audible), but I just thought it was a coincidence that someone started talking abo

With the Booth opening up, I think that would be the perfect stage for Mexodus IF it did decide to transfer, but it would be a super tight turnaround and a super limited run (given Proof coming in).  I have no clue if they're even interested in the transfer at all (I heard hearsay that part of the reason Dead Outlaw took so long was because of red tape with Audible), but I just thought it was a coincidence that someone started talking about the idea of a transfer right before an appr

I saw this last Saturday in NYC and immediately wanted to see it again.  At the time the latest showing was for this past Thursday (Dec 11) but by Tuesday I noticed they added more showings up to Dec 18.  Fwiw while not completely sold out, the Dec 11 evening showing was probably about 80% full and ambient chatter afterwards seemed to indicate that most people enjoyed it.  Both people I went with the first time and another friend who saw it separately all indicated they'd w

• the average annual household income is down 3% from the prior season, which theoretically means that less affluent people are attending, which also aligns with the fact that the average ticket price is also lower (generally a good thing imo)
  • I also wonder how much of the people with higher incomes are people who are coming from out of state/internationally since that implies they have the means to travel and get a hotel in NYC

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I'll be the kind of dissenter in this to say that I sorta enjoyed it.  I had no knowledge of the play beforehand and Michelle Williams's age didn't really bother me (though I'm sure it would hit differently with an actual 20 year old).  And while I found the first two acts to drag a bit (I'll admit I also had some trouble with the accents), I thought the third and fourth acts brought out some really interesting moments (minus the moving of platforms that others h

ACL2006 said: "Has anyone tried their online lottery? I find it odd you can't enter until 11am the day of a show, even when they have a matinee. When do they do their drawings? I want to enter for tomorrow's matinee, but I'm curious how quickly they do the drawing for the matinees."

Are you thinking of the digital rush? It opens 11am on the day of the show and it'll tell you right away if you get tickets.  I had friends that did it this past week

I know Buena Vista has a built in fan base and it's a beloved album but it's funny because at least in my circles I almost never hear people talking about it.  The people I know who've seen it (including myself) really enjoyed it but it's not one that comes up often for recommendations or raves.  It's great that they're still doing so well though!

I wonder if Two Strangers is having a hard time marketing.  They seemed to reach an audience on TikTo

To be fair, from the past awards I've looked at, it doesn't seem that multiple acting nominations for a show have actually prevented someone from winning if there's a clear frontrunner for one of them.  So while it's possible that vote splitting happens, usually it seems that one role is more generally lauded than the other and it still ends up winning.  So if in the case Laurie Metcalf gets nominated in the same category for both Little Bear and Salesman, I would wa

Theatrefan2 said: "chrishuyen said: "I wonder how many of the people who bought tickets to see him know how small of a part he's in, because by my memory he's on stage for maybe 10 minutes? But they've certainly been doing promo as if he's the star of the show."

But, loads of shows do that? Casting names in small roles and then doing big promotion around them is a tale as old as time.

Seems odd to call out HP for this"