Profile for dan94

ErmengardeStopSniveling said: "The people who signed off on that house are Seaview, Sonia Friedman, and Bill Damaschke. No slouches, but nobody's immune to a flop.  ... I agree that the St. James feels way too big for this thing, and its budget & running costs are also higher than REDWOOD."

Certainly not slouches, but people who all should know better. On a purely common sense level, they couldn't put together that she's 4ft11 and they need a hou

binau said: " HOWEVER, when Audra sings "WELLLLL SOMEONE TELL ME WHEN IS IT MY TURN" it doesn't really have the same effect as Patti's. In a strange way, if would take losing the Tony for Audra's Rose to have this kind of subtext."

Absolutely shameless. After screeching every other day about how someone is trying to steal Nicole's Tony away from her, you add this bilge into what was otherwise an informative, interesting post, the kind o

People are only looking at capacity and drawing the wrong conclusions. Gypsy made money this week. In a bad week when everyone saw a downturn, it still made money. Audra also missed a performance. Had she not missed, it would likely be sitting at 1.2M. 

What we are seeing with Gypsy is a show that does not have a large widespread appeal, but a performer who has appeal to high end ticket buyers. If you look at advance sales, Audra is moving premium tickets.

Yes, it will

She absolutely chose this for herself, but you noted in an earlier post she had some vocal problems in earlier runs of the show. It makes sense to me that if you know you've had some problems pop up, or have been made to feel insecure by the creative team over the course of development, you'd take the exact approach she did. Get the show opened and then broach the alt. Don't give them the easy out of discovering they like the alt more than you, and then get fired by open

binau said: "I don't think anyone has or will ever come close to Nicole in Sunset. It's a true reinvention like Alan Cumming in Cabaret, and what is seen can never be unseen.

I'm also starting to think the Tony race is back on again. Nicole is proving her vocal can hold out, she has never missed a performance. She doesn't have the polarising reaction to her vocals like Audra does (although for what it's worth I think Audra's vocals are also highly i

I think the reviews bore out exactly what we saw in the previews thread here, about 1 out of 5 people commented they were disappointed by it or didn't like it. And while there is a lot of focus on Green, he's not alone. The Feldman piece is very well written and in much the same spot as Green.

The vast majority of reviews are positive, and give them a lot to work with. It's also true the majority of reviews intimate the show is too long. Theatremania, which outright sa

I love Liza. While it's definitely worth seeing, I had some reservations with this doc. 

I didn't really feel one way or another about Michael Feinstein before the doc. But I feel he came off poorly here. It spends a lot of screen time with him as a narrator saying "Liza felt this way", "Liza feels this", "Liza wants people to know", etc. If there were places she wouldn't go in contemporary interviews for the doc, I feel like there are his

Beyond the actor's pay part of this discussion, for better or worse these Othello prices have moved the goalposts. Someone mentioned it upthread, but these prices are getting press pieces and headlines. It will change the overall view of what a Broadway ticket costs.

The goalposts have moved. They will not move back. And we have a clear indication that producers want "star in play" to mean a minimum spend of roughly $200 a ticket. Dorien Gray is a perfect example. Entered

On the whole "key" drama: she took the Glenn Close modulation down for the end of With One Look back in November. It's stuck since. It's only a half step down. 

She's also become, shall we say, approximate of pitch at moments, most significantly during the Salome section.

I did not love nor hate her performance. I raised some concerns about longevity back about 20 or so pages ago. Those concerns turned out to be somewhat founded. That being s

HogansHero said: "Someone needs to throw some data at us to replace a ton of supposition. Maybe these tours are not making as much as some here think. Maybe actors are actually making good money on these contracts when they beat the contracted expectation."

You do realize you admonish everyone for a ton of supposition, and then immediately proceed to add supposition to the thread? You are also more than welcome to offer hard data. It's also not my place

I'd caution against the "young actor start of career" mindset. Whether or not they have experience, they are working on a level comparable to the Broadway company or the producer is knowingly flooding the road with an inferior product. If the latter, that becomes a completely different worthy conversation worth having at some point, but not now. Emotions for some are a little high and objectivity starts going out the window.

And while "start of career" does

The fact that there won't be a single show out on a Tier 2, 3, or 4 contract this year shows the SETA system was a costly mistake. Nevertheless, touring contracts were recently renegotiated. We are out of the Production Contract/SETA system and into a new Unified Touring Agreement with similar failed tier levels.

Any way you slice it, Hell's Kitchen will clean up on the road. There is no reason in the world for them to not be Tier 1. Tier 5 is an insult. The Outsiders is e