Profile for binau

I fully get and understand exactly what you are talking about RE: the final lines leading up to "Still". The piano underscoring, Idina an emotional wreck talking to someone that isn't real. You just know that it was tearing her apart not knowing whether it was an accident or something and the relief when the son says "It was an accident". Idk, I have been through a lot of **** myself, I don't really think anyone that is obsessed with musical theatre are the kind of

In defence of Redwood, I actually think much of the score is excellent and Idina did the right thing going for a fresh new writer. "Drive" could be a club banger if re-arranged, "The Stars" has a beautiful melody, "In the Leaves" is incredibly joyous and high energy, "No Repair" gives Idina a next to normal-like moment and the show stopping "Still" with that gorgeous high note. 

I don't like much I've 'heard' fr

Some of the other choices to me scream &qu

How this conversation usually plays out as it has time and time again for the last 15 years

* Someone, somewhere has a 'bright idea' noticing that a common way people produce musicals is to adapt existing material

* Most Broadway shows flop, so most of these shows flop. Someone, somewhere then has a 'bright idea' that either they keep flopping because we need new original work, or contradictory they are succeeding and taking up valuable theatre/'rotting the b

I have a feeling there is going to be one of those historic 'you had to be there' moments. This venue, this score and with Kelli and Steven P back? 

The material also lends itself well to having it performed with two leads that are older now. I remember one of the minor 'complaints' people wondered about the OBC was whether the two leads were too young because it made the stakes less important. 

They did try the material with an older cast 

I am curious how much of the reception is due to the performances and how much of it is due to the perfect political/societal moment to mount it. From what I can observe and hear, this production is succeeding in both ways. People did love the 2010 revival of Ragtime here but I don't think the performances (especially Coalhouse) were as acclaimed, and it certainly was a much more politically peaceful moment back then that the material didn't seem as urgent or necessary. Maybe more a c

An obvious answer but I think the reason it took 40 years is for one reason and ONLY one reason, which is the cast.

I already saw the 'film version' of this very production over 10 years ago, with Jenna Russel et al. and it didn't work the same way this production did.

It worked first and foremost because Jonathan Groff is a charismatic leading man who manages to make Franklin Shepard a little likeable and understandable. For this reason, and others, it's