Profile for CatastrophicDay

I didn't see the first preview, I'm going in a month. However, I can echo the reports of hesitation in Katrina Lenk's singing for this show. I noticed it first when I watched the NYE Philharmonic Concert where she was the guest singer. She sang two Sondheim numbers (Could I Leave You and Losing My Mind) and she sounded fine, but uncertain in a way. I was also at the Guggenheim preview where there were some context clues that she was not feeling fully confident - originally th

I won the lottery for yesterday's matinee on a whim. I thought the show was excellent. The ending was a bit muddled to me, but it connects more strongly with the prior material the more I think on it. I wonder if they'll do anything to clear that up during the previews period. The performances are uniformly good, and I'm also on team 'give Austin Pendleton a nod' (and the detail someone mentioned above about him being the original Motel in Fiddler gave me so much joy). I w

ljay889 said: "TotallyEffed said: "It has the same elements as the London artwork, but it’s much more successful.

I can’t wait to how this production differs from London."

I didn’t see it in London, but I’m excited to hear what the differences are. As of now we know, “Another Hundred People” has been updated to reflect the experience of finding love ondating apps, and Chris Harper said there is a new and raw

VotePeron said: "Saw the show yesterday and thought it was fine, but the biggest standout was Abby Mueller who has lost her voice and still performed. By the end of the show she was whispering her dialogue and speak-singing her lyrics. Really wish an understudy had gone on, which I expect will happen this upcoming week. Two of the other queens were also noticeably vocally tired and holding back.

They seem exhausted - 5 show weekends seem like the wrong move. Really disappo

YvanEhtNioj said: "I think he only stepped in because some of the queens/alternates were sick.

All the Broadway alternates are female. If they were male, I wouldn't be v happy considering the show is all about feminism.

I really hope we can record the megasix, tho!!"

 

I want to add to this for anyone who doesn't know because I think this story is just great.

The London West End cast went through a period where so

Updating from the last time I posted this! Thanks again to everyone who reports, it's such a relief to not sit in fear for an entire show. Case in point, last night at Fefu, sitting in the front row -_- I'll give the details on that one below.

Shows I've seen recently without gunfire:
What the Constitution Means to Me (lol)
Hadestown
Tootsie (obvious)
The Sound Inside
The Height of the Storm
The Great Society

Shows with (I give a

I caught this while it was in NYC and adored it.

I went in on a whim, I was a fan of the book series when I was young. If I'm honest, when I was waiting to head into the theater and saw the sheer hordes of children, as a single 27 year old, I wondered if I had made a grievous error.

I didn't - I was so overjoyed to be in that theater throughout the whole show. Granted, I was a sympathetic audience, but I was charmed by the score and the actors, and being in such an enthu

I had a great experience with this play. I had no idea what to expect going in, and came out thoroughly satisfied and devastated by the small portrait of a woman that I felt like I knew. 

I don't think this play is very funny at all (I was somewhat disturbed when a subset of audience members laughed loudly at a line about suicide) but that's par for the course for me lately, because I felt the same way about Burn This.

The best thing I can say about Hamish Linklater

I wouldn't say it is loud, no.

I sat last row orchestra, dead center. I'm also sensitive to loud noises (I'm sooooo tired of gun fire in shows) and nothing was jarring in the show. Of course the singers are mic'd and such, but at no point did I note that it was at all uncomfortable, and I'm the first one to complain. (The Ferryman's music that transitions from the prologue blared right in my ear and apparently I was the first person to ever mention it to th

So many thoughts.

How is Gary doing so poorly? I haven't seen it yet and know it was getting a mixed review on here (I stop reading a thread if I'm planning to see a show, which I will April 30) but I would expect Nathan Lane to draw at least a small crowd regardless.

I also expected Burn This (despite not liking it myself) to be selling out the theater, considering the cast. And Ink, given it had a lot of positive press before the transfer, has such a low % of gros

So interesting to hear the opinions about Bubba Weiler as Scorpious. I saw CC for the first time last Thursday and Friday and I found his performance to be really heartfelt and involving, but I also have nothing to compare to. I can only imagine how good Anthony Boyle was.

Totally agree that James Snyder was a stand-out, and the cast as a whole felt very strong. I also saw The Ferryman shortly after the cast transitioned, and it's so clear when they've had time to rehearse toge

How do you all determine what tickets to buy via Audience Rewards?

I'm new to AR and trying to figure out how to best leverage the system. A lot of the Earn offers I see require buying tickets valued at a minimum of $135, and that's higher than I usually try to spend. However, if the end result is getting free (or free-ish) tickets to a well-selling show, I can see the value in spending a little more on tickets for shows I want to see anyway when the Earn is significant. S