Profile for WiCkEDrOcKS

Kad said: "quizking101 said: "TennisFan said: "I saw Cats: The Jellicle Ball at the Broadhurst yesterday (I didn’t see it downtown). “Memory” was clearly transposed, and I wasn’t a fan of the key choice. It ended up feeling like one of the weaker moments in the score when it’s usually the emotional peak. Curious how others felt."

It’s important to know that “Tempress” Chasity Moore is a trans woman

MasterThespian 2 said: "99pandas said: "Saw this at the matinee yesterday, 3rd row orchestra. I enjoyed it, though I admit I have never seen the film and I am a JonBernthal fan. I was trying to overhear and eavesdrop on the row behind me, but I think they may be planting or recruiting audience members to get the Attica chant going ---can anyone confirm??"

What’s the scoop on this? Is this a cringy moment because so few audience members join in? Wha

Is anyone else experiencing something really bizarre with account logins?  This has happened to me twice in the past few days.

I’ve gone to BWW, where I was already signed in from a previous session, only to realize I’m suddenly logged into someone else’s account - someone I don’t know and definitely don’t have login credentials for.

Has anyone else run into this? Is there some kind of security issue going on?

FWIW, I saw the show earlier this week and found it a bit of a slog overall. The set is undeniably impressive, as is the sound design, and Jessica Hecht is doing terrific work, as always. Jon Bernthal shoulders a lot of the evening’s heavy lifting and gives it his all, though he inevitably invites comparisons he can’t quite escape. Ebon Moss-Bachrach is fine, if too understated. On the whole, though, I felt a lack of chemistry among the cast that might have elevated the proceeding

I liked elements of this production well enough, but I am less enthusiastic on the overall result than most of you seemed to be. Frankly, neither version of THE WILD PARTY has ever really been my jam - though this one has a leg up on the Lippa score simply in terms of sheer audacity. While still unwieldy, the music in this WP feels much more accomplished.

I found the direction somewhat aimless. I understand how tricky it can be for a director to do anything beyond a straig

This is just as thrilling in its new home as it was at the Minetta Lane.

Innovative, original, and the last 20 minutes still pack an unexpected emotional punch.  It's certainly the best new musical I saw last year (and so far in 2026).  Don't miss it. 

Two notes: my GOD, those seats are TIGHT. I literally have a crick in my neck this morning from sitting so uncomfortably - and I'm not particularly tall or heavyset.  Second, it did see

Even though this interview is from 2/24, strangely this clip hadn’t really gained traction until very recently. Oscar voting closed on 3/5. I’m not entirely sure if THIS cost him the Oscar, but I do think his general “attitude” / persona is off-putting to a lot of people (ie: that weird interview about being “one of the greats,” etc). Talented as he is, he just tends to come off as…kinda douchey. Not a good look. I also think Marty Supr

I have to be honest - this did not do it for me.

The audience interaction is a clever conceit, to a point - I thought it got old very quickly. I also felt like some of the audience members were milking their “moments,” which made me cringe. It’s hard for me to even “review” the play, because this isn’t necessarily a play in the classical sense. In that vein, to be charging Broadway prices here feels criminal, but this is the norm a