Profile for WiCkEDrOcKS

Kad said: "Obviously, even the worst show will have its supporters, and sometimes those supporters just happen to be NYTimes critics, but it is strange it’s happened multiple times in a year. FWIW, I do think it’s generally a good thing for a critic to go out on a limb and defend a piece they like even if nobody else does.

But the word of mouth on this show is incredibly poor and I don’t think it’s once broken even at the box office. An outlying rav

What is there to say that hasn’t already been said? This is an embarrassment for all involved. 

The fact that this is the first tenant at the St. James after SUNSET feels beyond sacrilegious. A damn mess, with Chenoweth sleepwalking through the whole thing. This makes Idina’s REDWOOD look like a star vehicle for the ages. It’s really confounding how or why this made it to Broadway in this condition. 

Word of mouth / buzz during intermission wa

I found this production charming, though admittedly a bit slight. It was my first time seeing the show, and I was only familiar with "Meadowlark" beforehand. The rest of the score is pleasant, though not especially memorable, and the book is uneven but serviceable.  The sets and costumes are beautiful, and while the orchestrations are lovely, they did sound a bit thin.

Ariana sounded good for the most part, though she seemed to struggle a bit with some of t

I didn’t feel like anything was “lost in the transfer.” Frankly, felt the complete opposite. I liked this more on Broadway than I did at the Pels. The ensemble is somehow stronger, the direction is tighter, and I was really touched and moved in a way I wasn’t Off Broadway. It’s imperfect, to be clear, but absolutely worth seeing. This cast is reason enough to go - and to petition the Tony committee to consider a “Best Ensemble” cate

I liked this quite a bit, as well. 

It was a little too abstract for me at times (when is this taking place? What led to these circumstances?), but those unanswered questions did admittedly add to the mystery and intrigue of the piece. Also could’ve done without the intermission altogether, frankly. 

Regardless of those qualms, Elizabeth Marvel, and the whole cast honestly, absolutely knocked me out. It deals with some pretty heavy stuff, to be sure, bu

Anyone else a Laufey fan? Her music (especially her most recent album) seems so well-suited to musical theater composing. Sweeping strings, jazzy orchestrations, emotional storytelling, etc.

Her music has that lush, melodic storytelling quality that reminds me of golden-age musical theater, but with a modern, moody twist. And with a possible crossover being telegraphed (among other things, Lin Manuel Miranda appeared onstage at her MSG show last night), I w

Very much concurring with quizking here. 

Jane was, unsurprisingly, great and will only improve with time. Same can be said for Cheyenne Jackson and John Andrew Morrison. I'd imagine once they all get more comfortable with the play, the laughs, and each other, it'll be perfection.

Pacing in staged comedies can (and generally does) only get tighter with time, but for now a strong start by this mostly new ensemble.

ETA: Jane really ate that final medley