Profile for WiCkEDrOcKS

quizking101 said: "That is very weird to hear because the night I went in previews, the ushers and their flashlights were stationed like snipers in the boxes ready to pounce. (I was in a box next to one)"

Oh, they were there - just not doing much.  I saw one of them finally get up after the woman next to me messed with her phone and watch (both on full brightness) for at least two minutes, but by time they got to my area, she had put the phone away.

I

If I had been playing Bad Audience Bingo at tonight’s THE FEAR OF 13, I would’ve struck gold. 
 
Cell phones ringing. Cell phones vibrating. Alarms going off. Hearing aid feedback. People talking to each other. People talking to the stage. People on their Apple Watches. People checking their phones. Someone front row center getting up mid show. Late arrivals. Drinks spilling. Candy wrappers. People fanning themselves with their Playbills. Bags unzipping. C

I won’t belabor it: DAMN, what a performance. It’s also a pretty thrilling technical marvel, especially in the intimate Lortel. The sound and lighting designs are as good as it gets. The play, as it stands, tends to lean a bit "surface," but when Holden is bringing so many characters to vivid, tangible life, it feels anything but.

The term gets thrown around so often it’s nearly lost its meaning, but Jack Holden is delivering a&n

I have to admit, I enjoyed this more than I expected. That said, there are plenty of issues - pacing is uneven, many of the songs blur together, the sound mix is off, and those giant holes in the stage had me on edge all night. There’s also clearly material that could be trimmed.

Still, it’s genuinely thrilling to see a production take such big swings, especially for a new musical. The mounting really showcases both the best and worst of Michael Arden’s direc

I was in the second-to-last row of the mezzanine last night, which I was actually happy about. I’d seen the show in both of its Off-Broadway spaces and was curious (and a little anxious) to see how it would translate to the absolute barn that is the St. James. The answer? Better than expected, but it still feels somewhat out of place at the end of the day.

I’ve been really fascinated by the venue selections this theater season. Some have worked fabulously (CATS), others hav

I was definitely cooler on this than most people here. It’s stylishly directed and designed, and the ensemble is largely fine, but the play itself still feels very much of its time. I realize 2008 isn’t that long ago, but so much has shifted since then - especially in how we think about gender roles and dating, which are really the show’s bread and butter thematically.

It’s not quite aged enough to read as nostalgic, so instead it just feels dated. I la

I was knocked out by this production. After the Winter Garden practically swallowed GOOD NIGHT AND GOOD LUCK whole, I was convinced a straight play with one set could never work in the massive space, but this mounting is perfectly suited to the venue. 

Breathtaking performances, especially from the four leads. I thought the last thing Broadway needed was another SALESMAN, but I should’ve known better than to underestimate Lane, Metcalf, and Mantello. There were mome

I was there last night as well. I was fully convinced this wouldn’t work on Broadway. The piecemeal press rollout didn’t inspire much confidence either.

I’m more than happy to eat crow this morning, because it’s somehow better on Broadway. It fits in the Broadhurst perfectly, and everything has been dialed up to 11 for the transfer, in all the right ways. From a technical standpoint, the sound design, costumes, and choreography are real standou

Saw this last night and yeesh. 

I won't beat a dead horse, but everything from the "set design" (which consists of a few screens that fly in and out) to the material is ROUGH.  Nearly everything about the show is dull and lifeless. 

The leads are trying their damndest, but they are stuck up a creek without a paddle. The cast of 12 is working their asses off doing major overtime playing 60 characters each, switching wigs every fiftee

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