Profile for HeyMrMusic

I didn’t vote on the contract because I didn’t work under any of the tour contracts (the eligibility requirement), but I have many friends who were very unsatisfied with the proposed contract. Some voted against it while others begrudgingly voted for it because they were afraid what a strike and the sudden lack of work would look like, even though they signed off on the strike prior. This was right before the WGA and SAG strikes, so while I do believe the entertainment industry wo

To answer plainly: no, not if the same pool of people are getting paid triple the amount on Broadway.

This lowest tier/former SETA contract is truly terrible. It allows shows like Les Misérables, which sells out in every venue and charges more than Broadway prices, to operate under such low costs to the detriment of the entire company: cast, orchestra, crew, traveling management. These people don’t get any of the benefits of the higher tiered tours, including

I saw this the other night. I went in expecting an experimental, pointed commentary on Show Boat based on the show blurb, the title change, and the NYT article. Instead, this was just a poorly executed, badly conceived, confusingly directed, ultimately straightforward production of Show Boat.

Now before anyone cries anti-racism (too late, eye roll), the “white” sashes/buttons are mainly used for the audience to keep track which characte

This speculation is silly. It could have been that the wrong combination of actors and understudies/swings called out (and possibly called out after the put-in), and they simply could not do the show tonight. They obviously were planning to do the show tonight if they could or else they would have canceled the evening show when they canceled the matinee.

I see that there’s only a standby for the strippers and there are no other credited understudies for the three roles. Ther

It was glorious. They used the sliding walls from McNeal to do the orchestra reveal in the overture, akin to the receding stage in the 2008 production. Ted Sperling and the 30-piece orchestra (almost all of the original musicians!) sounded incredible. Kelli and Paulo were brilliant as ever and their performances still felt so lived-in. I’d love to see Loretta back on Broadway; seeing her perform again was thrilling. It was such an enjoyable evening from start to finis

I wouldn’t consider this a straight-up jukebox musical. It’s based on a concept album that is inspired by the Mignonette shipwreck. It’s not like someone thought, you know whose catalogue we should turn into a musical: the Avett Brothers. I mean, sure, I’d still see that, but the story was baked into their original album.

I saw this tonight and liked it more than a lot of people on this board, I’m gathering. I wish it were given more of a chance.