Profile for QueenAlice

One has to assume there is a compelling opportunity prompting Hell’s Kitchen to close, especially considering what many view as a surprisingly short advance notice for a long-running show. While the timing may not entirely align from a practical standpoint, Paddington is the only show mentioned in this thread that feels to me like the kind of juggernaut that would sway the Shuberts to make the theatre available. Would the theatre require any alterations or renovations for Padd

SonofRobbieJ said: "The transformation of the Witch in Act One and the staging of the end of Last Midnight were the two moments that let me down in an otherwise stunning, deeply moving production of Into the Woods. It's a shame, too, because Kate Fleetwood's Witch is perhaps the most effective I've seen. She doesn't have the stellar vocals of some of our more resplendent Witches, but she is the perfect combination of funny and actually scary. She never asks for a mome

Kad said: "It is weird that they fictionalized the completed mansion, when in fact the mansion remains unfinished. The truth seems like a much more potent metaphor for the show's purported themes than the fiction."

I don't think the final reveal is supposed to suggest the mansion is finished. Dialogue in the final scene suggests only the ballroom has been 'completed' but not the bedrooms etc. Indeed, the lyrics of Jackie's final song are abou

Perhaps it’s worth noting that most Tony-nominated Broadway performers don’t make a living by repeatedly returning to Broadway — they earn their income through concerts, like other major artists. Laura may have distanced herself from Broadway, but let’s not fool ourselves into thinking there isn’t a market in red states for Broadway-caliber talent who don’t align with the “liberal left” (in their words). By stepping away from Broadway, she may w

Ermengarde - I think mentioning ANYTHING GOES as the gateway for GUYS AND DOLLS is a good observation. I think the only caveat is that ANYTHING GOES is a show that is usually a 'revisal' every time it is produced. The LCT production didn't exactly revive what was done in the original production or earlier revivals. But yes, that ANYTHING GOES had replacements on Broadway, toured and had a west end run. It certainly could have sparked interest in reviving GUYS AND DOLLS, a more 

HAIR was revived in 1977, though that production lasted only about a month. Its 2009 revival, by contrast, ran for more than a year.

The Wiz was revived in 1983 and closed after just 13 performances. The revival last year—though a limited engagement—was well attended and financially successful.

Looking back at revivals prior to the late 1980s, most were essentially replicas of their original Broadway productions, and many had short runs th

SPOILERS I SUPPOSE...

I think the point of the piece is that people are flawed. It’s not a musical that asks us to judge which betrayals are greater, but rather one that explores how we all live within the consequences of others’ choices — and our own responses to them. If I’m remembering correctly from the London production, we actually learn very little about the specifics of the affair. Instead, we’re shown a woman forever in the shadow of her older sis

I suppose there is a small niche audience who still sees ROCKY HORROR as cutting edge and / or embraces the show as a symbol for weirdo pride that lives in us all - but - to get real - the show is 50 years old and as much a popular staple at regional and community theatres as Rodgers and Hammerstein is.

The show, like Grease was written in the 70s as a nostalgic parody of the 1950s -in the case of The Rocky Horror Show, the popular "B" horror movies that played the drive