Profile for binau

Wow, what a post Scarywohal. These are the moments where I wonder whether people or the very person ‘in the business’ in question are reading because the criticism is so deep, so thought through that they would be shaking like their biggest insecurities are exposed for everyone to see. A lingering haunting memory of it following them with all future decision making and projects. 

I kind of agree with you about the ethical issues. To steal someone’s likeness and try and replicate that especially without consent is ethically dubious territory.

But if we are talking about the art, hypothetically if it could produce the likeness in a way that is indistinguishable from the real thing would you still reject it? Ie is it just the principle rather than the outcome?

Wow feels very unexpected and just a little too young!! 

I believe if they were to restage the material with a different director and with a lead actress who can sing the score properly live (no offence to Eden but even she acknowledged after closing she was struggling) I think it could work. Will the Korean production be translated or English? 

….

Anyone know if Marin had buzz for the Tony to compete with Natasha Richardson or was the award always Natasha’s?

 

 

I only saw spider man 2.0 not 1.0 but I can absolutely believe Julie T’s might have been more interesting. 2.0 was surprisingly sanitised and boring. 

Is she retired? I assume she is set for life on Lion King royalties so doesn't need to work. I didn't realise she was already in her 70s, time is flying by. 

Jay Lerner-Z said: "binau said: "I genuinely can't wait until the technology reaches a stage that we will be a able to hear Judy Garland perform every Broadway musical (think Rose, many of the ladies in Follies, even weird things like Sunday I'd be interested to hear her sing both leads). We will also have Bernadette singing Sweeney etc.

It's a scary future but there will be some good things to come from AI, at least for me."

Lovely!! 

kdogg36 said: "binau said: "At this point I’m turning into a cranky old grandpa but I don’t care. The show is Gypsy and called Gypsy for a reason, if they don’t want to do Gypsy they should not do it. What are they goingto do with the dialogue?"

It sounds like you do care, but you care in the opposite directionof the director (or whoever made this decision). Me, I really don't care."

I mean I don’t care if I’m perceived as a cranky old grandpa, I do care about this exactly. I’m tired with people messing with things that aren’t broken. I’m tired of people trying to do things that they think are good or make them look good but don’t have any impact or create more problems than they are worth. 

Didn’t someone trying to censor ‘Assassins?’ If I recall Sondheim pulled the rights and the whole thing was shut down. 

If you want the privilege of doing a Sondheim show or Sondheim-adjacent show then you should accept the writing as is. 

Ok but all those examples I believe are likely for translation purposes. How often have foreign titles been changed to meet the political sensitivities of not even the host country where the production is mounted but the culture of origin of the material? I don’t believe for one second that Japanese people know or care about these issues. It’s a British director.

Have the estates of the authors agreed to this? 

Is there a reason they’d film in NYC as opposed to London where it’s much cheaper? That would make me dubious to believe. 

At this point I’m turning into a cranky old grandpa but I don’t care. The show is Gypsy and called Gypsy for a reason, if they don’t want to do Gypsy they should not do it. What are they going to do with the dialogue?

They have done it in London for years, saying it’s their 500th extension (or however many :p). Now suggesting they’ve extended on Broadway 7 times. 

Is this just a shameless marketing ploy? In reality they appear to both be open ended runs.