Profile for QueenAlice

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

Kad said: "I really hope ALW has loosened up and is allowing new orchestrations for the transfer."

Completely reorchestrating a show can add a couple of hundred thousand dollars to your production budget. I think everyone involved with this production was wise to use the PAC run to determine if the concept worked first before doing that. It also generally doesn’t work to just add a few beats to existing orchestrations and have them read as concept

BJR said: "CoffeeBreak said: "Interested in the Steppenwolf production. Any Arden production is on ice. Producer/investors talk of no financial success on his shows. They have all paid for their Tonys on the previous outings and now seek real financial success from his products, which have yet to be made. His first true new musical ( never produced ) from scratch is Versailles and people are not hopeful"

Jury is still out on its recouping yet but MHE is

I also want to push back on what I think is an exaggerated idea—that the show's success is somehow due to its alignment with support from the Asian community and thereby the production and casting should prioritize that. Yes, the Asian community should absolutely feel proud that this hit production features Asian actors and tells a story rooted in Asian culture.  But the show didn’t succeed because Asian audiences rallied behind it, or because Darr

I completely understand and respect the concerns raised by Asian performers and professionals in this thread—representation matters, and their voices are important.

That said, I don’t think comparing this situation to Jonathan Pryce’s casting in Miss Saigon is fair or relevant. That was a case of yellowface and erasure; this is a very different context involving a non human role written to be open to actors of any race. It also sets a concerning pre

As always, some of the responses in this thread are wild.

I think the author’s response is eloquent and far more thoughtful than it even needed to be. Authors shouldn’t have to go online to defend the casting choices for their own work, or publicly clarify that a specific role can—and should—be played by an actor of any race.

I do appreciate that they acknowledged the kind of reverse bias that can occur when a role originally meant to be open becomes asso

binau said: "QueenAlice said: "Some of you have never spent time around horses. Injuries related to being kicked by a horse can absolutely result in major brain injuries. I think what some of you are interpreting as camp is an eggageration of Clara's "sweet, childlike docility" in the story as a result of the accident. But as someone who grew up around horses, the injuries a horse can cause are pretty far from camp."

I think you’re ri

quizking101 said: "Ke3 said:

“What doesn't make sense to me is Wonderful Town with a new director. I obviously want to see Black directors working but wouldn't it have made more sense to restage Kathleen Marshall's take given the limited time?"

So…restage an ENTIRE fully-realized Broadway production from 20 years ago in a matter of 2-3 weeks at best? Notwithstanding the fact that the elements of that produc