You can see in the replica Korean production how they work around not having an elevator. They have the same open space under the balcony for entrances and exits, just like the US tour set, and it seems to open and close like a garage door. As seen in this video:
Tag said: "Islander_fan said: "Another example, is that when Larson found out Idina was from Long Island, he than made her character from Long Island too. Hence the line, “you can take the girl out of Hicksville, but you can’t take the Hicksville out of the girl.” When they started to tour the show they changed Hicksville to Jersey."
Wow, after all these years...I always thought Hicksville was a reference to "hicks" (ie. count
TheatreFan4 said: "I think it's fine to go ahead with what you have in a professional productionwhere the the pool of people you have doesn't allow you to have full true to the piecediversity. Just don't do black face. Which in Japan at least has been an issue... in 2015 they did a production of Memphis with one black actor and all the other Black roles were done with black face.
Call_me_jorge said: "I understand the complaints about this post, but it is sincere and not meant to be offensive. If we are going to fight racism we shouldn’t focus on racism in one place at one time. We need to fight it everywhere. What’s the point of fighting it if it still finds its way somewhere else.
I also think many of you are missing a key point in my post. There have been numerous times where white actors from overseas were invited to perform in
You know, I don't comment much on here, but this thread is shortsighted, even for this board. To put it briefly, KJ has it right from a social perspective. But I should also add, from a practical perspective, it's not even a matter of there being almost no black people in Japan, it's a matter of there being almost no black people in Japan who 1.) can speak Japanese fluently enough to perform a translated musical, and 2.) have the skill set necessary to perform a Broadw
MrsSallyAdams said: "I'm told the relationship between Ishmael and Queequeg is explicitly, as opposed to sub-textually, romantic in this. Does this story make up a large part of the musical or is it only in part one?"
It's a thread that runs throughout the musical. To call it explicitly romantic would, perhaps, give too strong an impression? Depends on what you expect. It was emphasized, but I didn't find it too muc
A question of mine, regarding the Queequeg character, in his introductory song he tells us he will tell us about his place of origin in a later song. Did they cut that later song? We thought he was the best actor on the floor, but didn't feel like the cast had much passion. Could be the length of the show, with an early matinee after a long evening performance the night before.
If Moulin Rouge! is eligible this year, wouldn't that seem like catnip for Grammys voters? As much as I adore Hadestown and think it deserves to win every award this year, the Grammys have always proven that quality doesn't necessarily beat pop music connections...
Wasn't Shaina Taub one of the off-Bway Fates? There are only three, so...? Can someone clarify how many actresses played these roles during the NYTW production?
Yep, I'm with Rainah. I'd rather see "Way Down Hadestown" on the Tonys: a much better introduction to the show and characters than "Why We Build the Wall."
I'm generally okay with Stephen Schwartz (at the worst, I feel like he's got a case of the "a-bit-on-the-nose"-isms), but man oh man, some parts of Wicked. If I hadn't looked up the lyrics to "As Long As You're Mine," I still wouldn't know what they were singing. At first I was just like, Butz, enunciate, my man, but then when I finally looked up the lyrics, I realized that it's a losing battle to try to make any sense out
I can't answer the Telecharge/lotto question, but I did do this lotto last night (i.e., Tuesday, 8/14), and I think everyone there ended up getting lotto tickets. There were 50 available, still chosen lottery-style (calling out names), and yes, they were $59.50. We got row E in the 100s section. Merle was in, and she was amazing. Hope you get to see her!
"ps did anyone see Reeve in Canada ? has his acting improved? I heard it was caught in a web last time"
"I heard nothing but good things about the Edmonton run, Reeve included."
Yes, but can he sing the part as written? (A genuine question; I didn't see him perform it in Edmonton.) It's such a strange vocal part with so much controlled falsetto and other oddities, and while I'm not too familiar
I always think it's a little funny whenever I hear people complain about the characters in Rent being s***heads (which I completely agree that they are), because I mean, really, what could we honestly be expecting from anything that's an adaptation of La Boheme? They were a**holes in the original short stories, they were a**holes when they had the names Marcello and Rodolfo and were singing Puccini, and they're still a**holes in Rent. I can't really think of t
The Distinctive Baritone said: "Loved it, overall.
Agree about John Legend. He was fine overall but his “Gethsamene” was painful.
Norm couldn’t really hit all the low notes - he’s amazing but Caiaphas needs do be sung by a true bass. Was he wearing platform boots to appear taller? His physical presence was perfect.
As for Pilate, it is best played by an “actor who sings” like Ben Daniels, but he was off pitch severa
...This whole debate becomes very odd when you remember that in Victor Hugo's original novel, Esmeralda was ethnically 100% white French by birth, and had simply been kidnapped by gypsies as a baby and then raised among them..... :/
Does anybody else prefer the "studio" recording of "Make Them Hear You"...? I find the OBCR version hard to listen to, what with the shortening of the song, the sped-up tempo of that last note (boo!), and the dropping of lyrics that I thought gave some interesting depth to Coalhouse, i.e., "My path may lead to heaven or hell, and God will say what's best / But one thing He will never say is that I went quietly to my rest!" Also
