Brody Grant was on tonight. I am very happy I saw him. He was excellent. As good as all the elements of this production were I can’t imagine it being as successful without performers like Grant and Sky Lakota-Lynch and others to make it soar. Grant is young and even though it’s a business and it’s a business that many of our dreams are made of it is still a lot of pressure to deal with. But as far as I’m concerned Brody Grant is the reason to see this.
ErmengardeStopSniveling said: "Nepotism" (an overused phrase) might get you in the door but IT. DOES. NOT. SUSTAIN. A. CAREER.
Nepotism and entrenched networks of money and privilege do sustain careers. It does in every facet of US life. It is true if one is in the entertainment industry one does have to have talent, enough talent to continue.
Well all I can say is thank goodness nepotism and inherited wealth and privilege are solely isolated to the entertainment industry. It would be a real problem with Democracy if it was endemic to everything in America.
Streaming has not been able to replace "Linear TV" as a revenue source. TV went from an old format to a new one but never figured out how to continue making money.
CBS seems to be incompatible with the too many streaming services I use so I wasn't able to view. I did see the opening number on YouTube and it reminded me of a more diverse "Milford Plaza" advertisement from the 1980s.
For plays, quite a few of them were directed by Gerald Guitierez. I remember his high style with a razor's edge to it and his work with some remarkable actors. He seemed to thrive on those big Broadway and LIncoln Center stages. He tended towards grand theatrical visions of the plays but he also had the directorial precision both in the design and his direction of actors to pull it all off.
The “overlapping” managing directors have their work cut out for them. Harris’ appointment, like Gersten’s before, does not feel like a serious long term solution to an ailing festival with an aging audience which needs a fully focused year round artistic and managerial commitment at very little pay. There are probably plenty of great candidates out there but they’re not Jenny Gersten or Jeremy O. Harris.
The interior of the auditorium looks fine but, at least from the images of the tiny common spaces they've released so far, it doesn't look like the renovation will make any kind of gala events possible. Forget about the Tonys ever being hosted at the new Palace. It was never a really good candidate for special events before its renovation but these images make it feel vault-like. The original foyer, as I remember it, was quite open to the auditorium and let in some natural light.
And yes it does matter what Green likes since he's the only critic with some actual sense in his brain. His enjoyment of Strong and Chastain, especially over Comer is sadly a unique opinion when it shows how little people know about good acting. "Most acting", aka, hammy acting w/ yelling/crying, has garnered undue lovewhile subtler performances tend to get forgotten by the general public and dismissed as "bland".
It might have been from where I was sitting or that I saw it early in the run but I was not impressed with Jeremy Strong’s performance. I did not see a convincing through line in it to dramatize why he was doing what he was doing. Aside from stripping to his waist near the end (which was quite nice) I also did not feel he had a compelling stage presence. He was fine in my opinion but nothing beyond that. I did see Strong in "New Jerusalem" where I thought he wa
I’d say Green’s review had a lot of positive things to say about the production including that it’s an enjoyable evening in the theater. The reviews are all over the place in my opinion.
BdwayLife said: "First, we are lined up. At the 30 minute mark, we are yelled at from a megaphone at a foot distance from our ears,as the staff member walks by, telling us to proceed. Another staff member shouts to open your bags while they inspect them, and then you pass through a metal detector—in some cases, they have to pass a hand held detector up your legs, torso, and across your arms. You are then shouted at,to show your tickets, soon followed by someone demanding to see
Ensemble1696584123 said: "Someday I'll dig up that wonderfully researched paper that had made the point that the kind of depictions that Fosse's film and Mendes leaned into for the club, emphasising degradation, completely lacking in vigor and vitality, were actually barely above the Nazi propaganda about them. Though Fosse's film at least framed the customers of the establishment being fairly well-to-do."
Add me to the list of fans of the Conor McPherson "Vanya"... maybe not my favorite of the many versions I've seen but I liked it quite a bit. As for the British making class an issue in Chekhov, they don't have to look that hard to find it. Chekhov saw it and wrote about it in his plays but they are about many other things as well... so was Ian Rickson's excellent production of the McPherson adaptation.
Yes, most of them before 2002. I remember noticing that the standing ovation started to get built into the curtain call post 2002 with lighting shifts, orchestrations, etc. I agree that it was influenced by American Idol, etc. But it was also part of the destination tourism shift of the newly renovated Times Square district and its attendant "luxury event" ticket pricing. It spilled into everything including concerts, dance, etc. The absence of a standing ovation now signals ei
