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

Timon3 said: "Oh wow, if true.

This theatre must’ve made a fortune from A Chorus Line and now Hamilton."

It's been a while since I looked into this so my memory not 100% but if I recall all their financial statements are public. Hamilton does appear to provide a regular revenue stream but clearly not enough to sustain the entire operations - if I recall from scanning their financial statements it LOOKED like someone had the 'bright' strat

I really can't get over this and I don't want to die without this happening. If nostalgia casting is in vogue right now (think Tom Felton in Harry Potter or Lesie in Hamilton) the one viable shot left now I think would be a concert in New York with Mandy Patinkin as Sweeney and Bernadette as Mrs Lovett. I think they could easily sell out Carnage Hall for one night or two. 

Bernadette's voice might be troubled but there can be so much speak singing that I think she

Wow, an excellent trio of lead performances all worthy of awards. Incredible writing and depth in the material. Rather simplistic (in a good way) staging from ivo van hove so the focus is really just on the performances - though he tries to enhance the mood (mostly successfully) with musical underscoring. Walking out of the show is like having your heart wrenched and torn to pieces. 

Sales seem strong.

I would expect this to be another New York Transfer. <

ggersten said: "binau said: "With over 2,200 seats every night of course not everyone is likely to love Evita."

At the performance we attended (Sat evening 28 June) six seats in front of us that had been full were empty for Act II. When I mentioned this to the person seated to my left, she explained that she had seen the original with Page and was not enjoying this version stating (slightly paraphrasing now) "This is not in my top 10. Not even top 5