Profile for HugoP

thanks for addressing one of the major problems with the show (it was in your spoiler).  This whole subplot was not in the show back in Atlanta, in a production that was much more streamlined and much more powerful.  The Older Rabbi character was not in it at all, so it was not a memory play in any real sense.  You were immersed in the story as it was happening, and there was no artificial raising the stakes (the stakes were high enough!).   

Anyway, I do like

Yes, at least some of the most vehement posters were in final contention for the role.  
 

Fanny Brice was shaped by a lot more than her Jewish heritage.  Her childhood on Henry Street (a melting pot immigrant neighborhood) was key.  Her drive and ambition were fed by many factors.  To reduce this to someone’s genetic background is ridiculous.   I want to see an extremely talented young rising star play the role.  I’ll absolutely be s

"The actors are hired to perform the role, and yes, even be a team player is some regards. But not to sell tickets. That’s what the marketing team is for."

Maybe the cast and company are not hired "to sell tickets"...but they aren't supposed to undermine the marketing team (and the production) with interviews like this. This whole controversy is going to hurt the show (and its Tony chances).

I didn't like the production, and for some of

SPOILERS, sort of.

Loved it, too. I've seen earlier productions and have always thought the score was outstanding but the book needed work.  Here, they've added a central role that really changes the perspective of the show—it's now more of a memory play, centering a lot of heavy themes (survivor's guilt, for example) that give the show more weight.  Honestly, I think these changes make the show more ponderous, and they add some needless narrative comple

there were a few mid-performance standing ovations last night (the 18th).    A number of people stood for LADIES WHO LUNCH and some stood for BEING ALIVE (which I didn't understand).    

the show has some wonderful things and a lot of head-scratchers, not the least of which is its refusal to commit to time and place in any meaningful way.   And we're supposed to believe that Bobbie's drink of choice is bourbon and brand of choice is....Makers Mark (

Just got back from the Tuesday night preview.    I've seen about 10 productions of COMPANY over the years, including the Doyle version, the concert version that was shown in theaters, and numerous regional theatre productions.    I love that score, appreciate the time and place of that book and setting, and look forward to seeing new interpretations of it.   

The gender/switch works fine....didn't bother me at all.   What DID bother me in

Went back tonight-- the show closes tomorrow.   Audience response was tumultuous, and I understand why:   even with the weaknesses (heavy-handedness, implausibility, similarity to other shows) this is a very very successful production, with great performances, inventive staging and a score that has a lot of wonderful moments.     I had seen one of the early previews and loved it, but committed to going back before it closed...Jerry Mitchell seemed to have ti

Saw it last Saturday night and loved it.    Yes, it has some of the same themes as THE PROM, and it echoes BILLY ELLIOTT a lot, but it has a fantastic energy all its own.   I really liked the score a lot (the songs called out by the other folks on this thread are all indeed strong--  lovely and funny), and the show is staged beautifully.  The lead performers are wonderful (The young lead is particularly fantastic).     I will go back before the end of t

I just re-read some of the main LA reviews (LA Times and Variety) and, while they weren't raves, they were the kind of out-of-town reviews that would still encourage you to work on a show.    Far from "so bad it's good".   Reviewers liked the score a lot and felt there were lots of good things in the production.   The book, though, really needed work (I agree-- and as much as I loved the version I saw in Atlanta, I admit the book needed much att

I saw the Atlanta production 5 or 6 years ago-- at the Alliance-- and loved it.   The score was beautiful, the story was quite interesting (and true) and I would have sworn it was going to Broadway.   I actually went back to see it several times during its run...I thought it was quite powerful.      

You can, indeed, hear several of the songs on Manilow's Scores album, and I'd recommend them, though they are immensely more meaningful

I really enjoyed the show, and thought the Broadway leads were hilarious.   Laughed throughout and went back to see it again.

That said:    the choreography felt overdone and the dancing was....strenuous.   It's a talented group up there, but the relentless dance moves only seemed to point out that this 'backwards' Indiana high school evidently was very, very multicultural....and was seemingly populated with people in their mid-to-late 20s

will echo the sentiment that David Garrison's JOE was something special.   I didn't love the production but I did find things inside it that i DID love:   Garrison's JOE, Andrea Burn's brilliant IT'S AN ART, and the Burns/Munoz duet on the Miranda song A VERY GOOD DAY.     The show is problematic for me-- too disjointed and lacking power except on a few of the choral numbers (and above-mentioned ones), and this staging didn't address

I try to see every Alliance musical production and have been everything from thrilled (HARMONY) to deeply underwhelmed (BULL DURHAM, GHOST BROTHERS OF DARKLAND COUNTY and AIDA).  There have been a bunch of crowdpleasers that I've just enjoyed (THE PROM, SISTER ACT) and a few that I was convinced could eventually become good -- but didn't (BRING IT ON).     I'll be in the audience in a few weeks for EVER AFTER.

But I saw RIDE THE CYCLONE Off-Broadway

IN THE HEIGHTS was indeed underrated during its Broadway run, including by ME.    During its Broadway run, I saw it, was underwhelmed and thought it was too crowded, too episodic and way too schematic.   In this case, though, I think the production itself was responsible for under-delivering on what is really a brilliant show.

I have subsequently seen several high school, college and regional productions of the show and realize it's a big, beautiful, he

I've been going to shows for 40+ years so I've had a lot of great experiences.     This year I had three of particular note:

-- ENCORES presentation of GRAND HOTEL, which was transporting

-- Serenbe Playhouse (outside of Atlanta) production this summer of TITANIC (when the enormous cast assembled at the end of the show to deliver that final number-- as the ghosts of the passengers who lived and died-- I thought it might be favorite moment during a performa

Just saw it tonight and have to agree with all the enthusiasm.  It's wonderful.    Great performances, great staging, great band.... and makes you appreciate this fantastic show in a whole new way.   Whole cast delivers, especially Skybell, who re-defines Tevya for me.     It's a brilliant, grounded, real portrayal I won't ever forget.    Loved this production beyond words.   Joel Grey deserves kudos for brilliant directi