Profile for HeyMrMusic

There’s only a 3:00 matinee on Sunday 4/20.

Incredible news! Loved this production and I’m so glad the performances will be preserved. This certainly will keep the show in the Tony conversation, where it should be.

I seem to chat every day with a different friend/acquaintance who say they loved the show and are telling everyone they know or already plan to see it again. I don’t remember the last time a response to an original musical has been so enthusiastic… and then not translating into sales. It’s so bizarre. 

I have tickets to see it again next month. Hoping to take my family to see it sometime in December; I know they will love it.

That is odd too. (Aronson also wrote the orchestrations.)

802 doesn’t make the credits in the program, but it isn’t false that the people listed in the orchestra personnel are the conductor and associate conductor, it just doesn’t list them doubling on keyboard.

ErmengardeStopSniveling said: "Another weird Playbill thing: Nobody is credited as keyboardist/pianist, despite there being a credit for Keyboard Programming and a very audible part. (We canassume it's the conductor or associate conductor, if not both, but it's standard practice to list that.)"

That is odd indeed. The conductor plays keyboard in the show, and I believe there’s only one keyboard in the orchestration. Weird that it’s not credited.

broadwaybabywannabe2 said: "If i may ask how was the view from the Mezz?...i have 2nd row center Mezz. on the right isle...and i cannot wait to see this musical after reading all the reviews"

I was row G center mezz and the view was perfect. And yes, the mezzanine was full! So glad to see any section in any theatre that full.

I saw this tonight and absolutely loved it. It’s so rare to see something on Broadway that is so earnest and heart-on-its-sleeve. The score is lovely and has a nostalgic, Broadway of yesteryear feel. Direction by Michael Arden is top-notch with every element being a knockout. How wonderful, too, to have a wholly original musical on Broadway.

I hope these reviews turn the show’s box office around. It deserves to be seen.

Thanks for the reminder, MemorableUserName. Hoping the performers get the opportunity to share in their albums’ successes.

I was going to come on here to say that a microaggression can be unintentionally said and/or said by someone who’s not inherently racist (many of us encounter microaggressions to varying degrees in everyday life), but chrishuyen wrote an entire essay far more eloquently than I could have put it.

Not saying this hasn’t blown out of proportion, but flippantly saying or implying that Black people are too loud in the way Patti did to that fan IS a microaggression. We also don’t know how the change in sound design affected or compromised the performances of Hell’s Kitchen and how those changes had to be implemented by cast, crew, and band.

Benanti could have been a three-time winner in the featured actress category. She was the standout and revelation in that production of Into the Woods. Millie performed better than people predicted, and we all get why.

I assume she’s out because of Gypsy rehearsal. That would make Joy and Jordan being out Wednesday afternoon make sense.

“Waiting for you” and “until tomorrow” are references to The Last Five Years, I imagine.

Lest we forget, A Chorus Line clocks in at two hours without an intermission.

Looking forward to seeing Yellow Face. Hope the early buzz is good for this.

I know 2021 was a weird year, but Myra Lucretia Taylor as Gran Georgeanna in Tina is probably the fourth largest role of the featured women in that show yet she was the one nominated.

“This Is the Moment”