Profile for dan94

Musigamist said: "Call_me_jorge said: "Why does Cleveland Playhouse have so many ~active~ subscribers? Do they just have no other competition in the area?"

Having been based in Cleveland for a couple of years now, I can say that the support for the arts and other cultural activities are quite strong here and is seen not just at Playhouse Square, but in many other ways as well. For example, the Cleveland Orchestra is considered topsin the country and rout

I saw this!

The production is extremely visually inventive. It felt fresh. There are a lot of eye popping choices. The costumes are to die for.

The company is a lot of fun. Nathan Lee Graham is a highlight. Mac is, of course, spellbinding and transcendent.

Don't love the play. It's good but don't love it. It feels like a book on stage, which - understandable. But it definitely feels "this is not the medium this story was meant for".

I saw the tour twice about a month ago. Caught Katerina and the understudy who does Thursdays.

I saw all three Fannys on Broadway, and I thought Katerina bested them all. Lea played the arc of the evening and framing device the best of all three (now five), but Katerina landed each moment so well. She has a voice to die for. She's funny. Found she handled the tonal change into melodrama decently in Act Two. Really couldn't have been happier with her.

The production is on

blasvader said: "If it ''scares you off'', I'd say Cabaret wasn't the show for you in the first place. Do people even know that kind of art that was being created and performed at that time? Only to be later branded degenerate by the Nazis? And people complaining about it, for this particular version, when it has some very beautifully presented club numbers, truly bizarre."

It didn't scare me off. I meant the people who would have been in

BrodyFosse123 said: "The Kit Kat girls are not sexy and not seductive. The entire premise of the first act rests on the girls and MC seducing the audience into complacency- as a metaphor for Nazi Germany.

Its apparent stuff is lost on you. The Kit Kat Klub is a third-rate bottom of the barrel club as is the Emcee, Sally Bowles, the orchestra AND the girls. Every production of CABARET has emphasized this including Bob Fosse’s 1972 film adaptation. The cabare

The orchestra problem I find to be as much a Lacamoire problem as a sound design problem. I was at one of the final previews and found his work shockingly shoddy. There were multiple missed entrances/wrong notes/phasing issues both in the pit and on stage.

Went back 5 or so weeks later to see Nicholas Christopher and many, but not all, of those issues had been resolved in the meantime. I don't think Lacamoire was doing anything special at that point, but at least things were mostly

ErmengardeStopSniveling said: "TotallyEffed said: "I love The Visit soooo much."

I adored The Visit at Williamstown and found Roger Rees & Chita to be electrifying (and Jason Danieley, the big standout of the show). Moody & dark & impeccably staged & designed.

When I saw it again on Broadway, something was clearly wrong with Roger Rees (though we didn't know what that was yet) and I felt his performance resembled nothing of

People will put forward a million reasons as to why they think they don't like musicals, but at the end of the day I truly believe people don't like musicals because they cannot mentally keep up.

A typical musical uses at minimum 5 methods of communication, or, if you will, 5 "languages". Dialogue, lyrics and sung vocal lines, music (deciphering lyrics and understanding character/plot development that happens through music theory and compositional structures are diffe

g.d.e.l.g.i. said: "We also can't forget that the legacy of the great director-choreographers comes from the pre-AIDS era.

That dynasty was interrupted in no small part by the AIDS crisis. Heirs to the throne were cut down before they could flourish or, in some cases, even bloom, and I think we missed out on decades of innovation as a result.

A Jerry Mitchell or a Susan Stroman are brilliant in their own way at what they do, but they're not leg

The Queen of Versailles number was short and gave little to no info about the show or score. Jackie/Cheno sings "I imagine what Marie Antoinette must have sounded like" and then ARC as Antoinette does some coloratura that Cheno joins. It seems random to put literal Marie Antoinette in the show, and I hope it turns out to be a more an overarching comparison that weaves through the show than a one off gag.

But there was really no info in the number to say anything or draw any k

DramaTeach said: "Complain all you want, but this was a beautiful night with a mix of pop, Broadway, and opera stars honoring a prolific songwriter. The talent on the stage was fantastic, but Miss Cynthia Erivo’s effortless Meadowlark was the night’s best performance. Literally pitch perfect and done with such ease. It was stunning."

Erivo sounded stunning but I would have to lightly push back on having such ease. I was in a side box very close to the sta

I saw this in previews this week. Paulson is terrific. It also mostly did not feel like an early preview.

I thought the text and pacing are fine. The problem is it's a 3 act play and they removed one of the intermissions. It's (as of now) only a few mins short of 3 hours long and yet the only intermission is after a 55min Act One. They need to put the second intermission back in the show. It is too much information at once and Act Two is not able to fully make an impact because

I actually was also there tonight. A delightful bizarre borderline dadaist show.

I also got many similarities to You Will Be Sick, but I feel the opposite as you do. For me You Will Be Sick had such a wide scope that it started to lose the thread by the end. The scope was too wide and the conventions tired quickly. For a piece about a progressive illness I didn't totally get the sense of progression or completion (emotionally) by the end.

This had a more limited scop

Dylan Smith4 said: "EDSOSLO858 said: "Old Friends?"

Too big for that show. I can see Old Friends going to a smaller house. It would be great if that went to the Sondheim, but it doesn't look like & Juliet is going anywhere. Maybe the Golden?"

The Old Friends Sondheim concert is not coming to Broadway. Some people got confused a while back because the current Merrily revival is financially filed as "Old Friends Broad

Robbie2 said: "I'm hearing it's been done very cheaply and tacky looking (costumes sets) and very sloppy and that's not just the choreography."

It's true it's not just the choreography. But the choreo is what is stopping the show from being an unadulterated talent showcase where you can overlook some of the visual elements.

Visually the show is better than I expected (I didn't expect a lot). It does look cheap at times. But there are so

"We're Gonna Make It" is a reworking of Born. 

Was also there for the first Cleveland performance and echo the above thoughts. I would add:

It does not look expensive but I do not think that is the biggest problem here. The choreographer either massively ran out of time or needs to be replaced. There is an exciting Emerald City Ballet and a fun (although long) dance break in Y'all Got It. That is about it. The rest of the choreography seems to be lacking i

binau said: "MezzA101 said: "I heard lots of "Passion" as well. Didn't see any celebrities or members of the creative team.

Did anyone?

Thanks.
"

I think I saw Jonathan Tunick in the audience."

Jonathan Tunick was there about 4 or 5 rows back in the center orchestra on the aisle. 

I had seen both films a couple times. They are adaptations but not faithful adaptations, which is for the