Profile for WiCkEDrOcKS

This production is indeed such a balm and a welcome shot of joy in today’s day and age. I loved it, from beginning to end. Hilarious, moving, and so damn entertaining. Jasmine Amy Rogers is an absolute treasure. 

Highly, highly recommend nabbing a ticket. Rush is very easy and the seat locations are fantastic, if you’re on a budget. 

I would love a Nick Kroll & John Mulaney-led production, honestly. 

Mess. 

rg7759 said: "I will defend kecia. this is 2 problems, not just stealing someone's thunder, but we can assume a wealthier more powerful hk voice choosing to use her superiority to belittle someone in any slight unnoticeable way she thought she could"

It’s time for a New York revival of THE PILLOWMAN!!

Selling tickets to the sold out 12/21 performance at 3:00 (two tickets) at face value ($75 each - general admission).

If anyone’s interested, my PMs are open! 

Well, THIS f*cking sucks.

If you have opportunity to catch this before it shutters next week (??!!), I can’t recommend it enough. 

If anyone’s interested in seeing this tonight at 7:00 (Orch Row P Seat 9) for face value ($59), DM me! 

I am under the weather and would love for someone else to go in my stead. 

Brody Grant’s legacy carries on.

Forgive me if there’s already a thread, but I can’t seem to find one. 

Any reports on this yet?

I still keep getting logged out, mere minutes after logging in and selecting the “stay logged in” feature. 
 

Any ideas…?

MemorableUserName said: "4 stars out of 4 from NYP

‘Marjorie Prime’ review: June Squibb is a marvel in an early highlight of the Broadway season

https://nypost.com/2025/12/08/entertainment/marjorie-prime-review-96-year-old-june-squibb-is-a-marvel-in-an-early-highlight-of-the-broadway-season/
 

“And then there’s Squibb. She and Marjorie are a salt-and-margarita pairing. The actress has a dough-eyed Midwestern neighborliness to her that contrasts the dark and painful secrets Marjorie is hiding.”

The fact that Oleskinski thinks the phrase “doe-eyed” is “dough-eyed”…..

Lord. 

quizking101 said: "If this was Mindelle and Sharp writing it as well as starring in it, I would be so sat. Unfortunately, Kevin J. Zak has had a failure to launch as a writer between Ginger Twinsies and the Rob Lake/Muppet show, and so I’m foreseeing that it’s going to be Marla and Josh elevating pedestrian material, hopefully with far less shouting than GT."

This. 🎯 

This thread is ridiculous. 

Keep it going. 🍿 

Full disclosure: I am a WICKED stan—my (now-so-cringe-I-just-embrace-it) username and account creation date are proof enough. I’ve always loved the musical; it was essentially my gateway drug into musical theater. For that, I’ll always be grateful, and it will always hold a very special place in my heart. That said, 25 years later, I can freely admit it’s far from perfect. It’s always been lopsided and uneven, but it has stood the test of time for a reason.

Now that we’ve gotten that out of the way—on to the films.

Part One: I thought it was very, very good. Sometimes even great. Two sensational performances at the center, beautiful production design, smart direction, solid sound and visual effects. But the new characters and added scenes only create bloat (why introduce characters who barely even appear in Part Two?), the lighting is often flat, and the runtime is simply too long. Still, a very solid adaptation overall.

For Good: Unfortunately, it fell victim to most of the missteps I feared. Much of Chu’s directorial spark and innovation from Part One is gone.

All that does is add bloat to an already bloated film. It seems minor, but in Part One Chu managed to mesh the musical’s most beloved beats into something cinematic and new while still feeling inherently theatrical. That instinct is mostly absent in For Good. And “As Long As You’re Mine” is so sanitized and PG-ified you feel zero romantic tension between Elphaba and Fiyero.

The two new songs do nothing to advance the plot. Act Two needs two more ballads like a hole in the head. (If Schwartz was set on adding new music, he should have crafted one or two production numbers to help the pace of an already sagging second half—though admittedly I’m not sure where they would’ve fit.)

Even with all of that, I still found quite a lot to enjoy. The two leading ladies remain wonderful—Ariana, in particular, has a path to the Oscar if she plays her cards right. “For Good” is shot with simplicity and sincerity, and I found it genuinely moving. I loved the final shot, too—a beautiful way to close out this whole venture. And I appreciated how boldly (for a family film) For Good leaned into the themes of anti-totalitarianism and pro-diversity. Serious kudos on that front.

But here’s the larger issue: It should have NEVER been two films. This should have been released as one movie with a built-in intermission. It would’ve been tighter, more powerful, more of a cultural touchstone—and honestly, more competitive in above-the-line awards races. The second Chu announced the split, I knew we were in trouble. It's a cash grab, plain and simple.

The flip side of that however, is that even with the flaws, it’s thrilling that a big-screen, big-budget, two-part movie musical has found this level of success and audience love. Manohla Dargis said it best in her NY Times review of For Good: "from its director to its cast, the movie is a testament to diversity (species included) as a common good, as well as to love, friendship, and solidarity. It’s on the side of kindness—which is, in its own way, a balm."