Profile for QueenAlice

The last scene is extreme house right so I’d go for even numbered seats.

Who?

Binau — I say this with love, but posts like this make me think it might be worth reflecting on what personal fears or concerns about mortality they’re tapping into for you.

To answer your question, though: great artists come and go, and new artists always emerge behind them. Those newer artists may never replace the older ones for you—but that’s often because the artists you grew up with become intertwined with the memories, moments, and experiences of particul

Whether it will ever convert back to a conventional live theatre, of course it's 'possible' for the space to physically be converted back. The structure is all still there

I think the blaring music is more about standing out in a sea of pedicabs than anything else, and yes, this is a big win for the West End, and hopefully NYC follows suit soon.

The only autograph I have ever found meaningful is one that I get from someone in person as a result of some kind of dialogue that includes me sharing personally my admiration for their work.

Pasadena Playhouse has never sent anything to Broadway so it seems unlikely. Unless a non profit like Roundabout or MTC picked it up (and even then), AMADEUS is a very big show with a big cast and expensive running costs. I'm not sure a production starring Jefferson Mayes would be viable for a commercial production with current production costs in New York.

I'm so pleased to hear these great reports for the production. Pasadena Playhouse productions really can be hit or miss -

The difference is, unlike Stereophonic the show will likely still be running in NYC at the time the tour goes out. It's often harder to find strong understudies who can cover multiple roles than just finding a new cast for the road.

They would be smart on tour to not link the show expressly with drag performers. I like the idea of different names going out for different legs. 

It would certainly be a good role for an A list actress who can sing - Kate Hudson? Anne Hathaway? Amanda Seyfried? Cynthia?

Ever since Joe Papp didn't have the forethought to make sure the Public got a piece of the future life of HAIR (the first show the Public ever produced) the theatre has been relatively obsessed with the idea of funding projects that could potentially fund their coffers through commercial production. Obviously, WARRIORS is going to be the latest iteration of that.

The problem has been that in more recent years the Public has balanced that quest with programming that prioritizes dive

I understand the instinct to rank performers in a role, but truly everyone who has played the title role in this show has brought something totally unique to not only the part, but to the sensibility of the show itself.  So how do we quantify?  Obviously, by now the real winner is Cole Escola- not the performer, but the playwright who has written something that is so enduring and elastic you could put Melania Trump in the role and the show would probably still ultimately work.