Profile for WiCkEDrOcKS

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

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