Profile for The Other One

Auggie27 said: "A movable set piece crashed moving downstage before Yeltsin’s appearance. Stuhlbarg handled it masterfully before the PSM called a halt. The resumed act one rewound to the very top of the scene before. The furniture was struck. My third recent experience with automation failure stopping a show. A Strange Loop stalled for over 20 minutes early on; Girl From the North Country in the final 15 minutes, necessitating a longer reprise. Today, it some

I saw this two nights before its official opening.  We were told in advance that Jenkins was still in the process of writing it and that we should expect scripts to be held and lines to be called for. Naz called for a line in his opening monologue, but never again.  The actors all sat down and held scripts for one long scene in Act Two, though no one was glued to their pages.  Harry Lennix was not involved in this scene. 

I felt that Act Two was a peeling away t

Congestion pricing is a terrible idea -- the subways can barely accommodate all of the people who are riding them now -- but I don't think it will have much of an impact on Broadway, at least not single-handedly (there are already fewer people attending theatre now than before Covid).  I do, however, know a few musicians and techies who drive in from Westchester and don't want to worry about catching late night trains back home.  If you miss the one you want, you've got

Something to consider when comparing the film version of Doubt to the play is that Shanley himself directed it, so the shift to a more obviously guilty Flynn is almost assuredly deliberate. 

That said, it worked far better on stage when Hughes, Jones and O'Byrne kept us on our toes.  The film simply did not have the charge of the original production.

The striking element in the current production's casting, which I have not yet seen, is the more imposi

bwayphreak234 said: "The more I think on this, the more I realize that 99.99% of my problems with this revival stem from the direction. The material is never allowed to shine - the stake are not high enough, there is not enough tension, and everything from the performances to the design just feels a little restrained and watered down. There's just no bite or spark here. I have had this same problem with several of Scott Ellis's productions - a lot of them jut feel so stagnant

Laura's musical theatre no-how, how to act a song, go from speaking to singing, land a laugh without playing for it, were all impeccable, but her accents, both Cockney and proper, were not good at all.  

That doesn't answer your question, but I wonder if this would have been different had she had a full rehearsal process.  I give Lauren the edge here because of this.  I never saw their understudies.  (I did see Higgins', and Michael Halling was