Profile for temms

One article said that they released it when they did despite knowing all the reasons why it wouldn't do so well because they were able to get it into IMAX theatres, which as of today are all filled with Spider-Man. There's a deal in place to keep the movie in theatres longer than usual, knowing that it would be a slow burn and probably do better after the holidays.

I really wanted it to do well and intended it to be my first theatre film since shutdown but I haven't even se

The Quintet is actually a quartet because Tony and Maria are singing the same part. 5 people/units, 4 lines of music. 
 

One of the handful of times I got to be in the room with Sondheim he talked about it since he was working on the Laurents revival at the time, and he referred to it as “the quintet, that’s actually really a quartet” which was the first time I’d ever heard that. He also talked about how he hated the I Feel Pretty lyrics and was t

Going back a couple pages, but I absolutely love the idea of "Company" set in India! You're totally right that the pressure to couple up would be a lot more intense and I could see a Bobby/Bobbi from an Indian family feeling pressure in a way that a single 30-something in NYC in 2021 wouldn't. 

I'm already 1000% more interested in that concept than I am the modern gender-swapped version. I'm someone who prefers my "Company" set in 1970 with

Personally I find 2-show days more than twice as hard as a one-show day. I know some shows do it but 3 matinee days a week feels way more exhausting over time than a 6-day week with most days free.

It would be great if it could be mandated that a day off must be preceded by a matinee and followed by an evening, guaranteeing 48 hours. I've done awful schedules like a Tuesday day off meaning the last show was a Monday night and the first was a Wednesday matinee. It was miserable afte

I think that kind of proves my point - when a single word in a lyric requires an essay to explain why it's actually not offensive it's a problematic line. I'm also going by what my artist colleagues of color are saying, which is that it's a term of hate speech and even knowing the context doesn't make it any better. I hate that the black members of the company have to hear it, I hate that the non-black members have to say it. If it were making a larger point that would be

Agreed pretty much 100% with John Adams. Great post, and echoes a lot of my thoughts. I would argue that HAIR is less sacrosanct text than most – there is no definitive version and I've never seen two productions that are identical in terms of the material. That said, cutting Black Boys/White Boys is criminal on a purely musical level. You lose that stratospheric burst of adrenaline in early Act 2 and I think really badly harms the musical fabric. I see productions with songs cut al

If you don't already know the show then the OBC is great - once you know what's missing it's a frustrating experience but if you don't know what's not there you can appreciate the performances which are definitive. I'd say start with that one. There are big chunks missing and virtually every song has a trim somewhere but as far as I'm concerned the power of the performances come through. Take advantage of this moment in your life and enjoy the OBC without any

That "hideous scrum of investors" are the whole reason the show is on Broadway in the first place. I cannot tell you how many shows I've worked on that were DEFINITELY "going to Broadway" and not a single damn one of them has ever come anywhere close. And why? They all, every single one of them, could not raise the money.

The one thing that separates a Broadway show from any other is that somebody paid for it to open. That "hideous scrum" capitalized t

The 10 minute break every 90 minutes rule doesn't apply to runtimes. If in rehearsal you're doing a runthrough of an act that lasts longer than 1:20, you don't have to stop for the break. If, however, you stop the run at any point prior for any reason, you do have to stop and take a break after 1:20 regardless of whether the act is finished.

A CHORUS LINE is interesting because it does in fact have built-in breaks for the actors and musicians - everyone but Cassie

I played Young Patrick when I was 11 in 1986, and for the rest of her life nothing I ever did impressed my Grandmother more than that. She came to a number of my shows in college and early in my career and inevitably she'd say "You know, I still remember when you were in 'Mame""...

She hung around for 96 years, ultimately, and 95 of them were amazingly robust but the last year was pretty rough and by the end she was barely hearing and mostly confined to a chair/b

In some shots you can see they have mics on but I agree that the non-fogginess seems odd. I suspect they maybe rerecorded the vocals after the fact because there's a suspicious lack of out-of-breathness. Which is fine, it's not a live show so use the tools available. 

Nevertheless I always love seeing groups do the Montage 4 choreography ("Gimme The Ball" and the stuff around it). It's almost like the choreography itself is one of my favorite musical the

Tessie's example is the one that gets through to Louise. She's "classy", unlike the trumpet and the blinking lights. And you get the right actress who can convincingly do both the fluttering and the bumping and it's hysterical. And for me, the funniest moment is when they're all three doing it together and you have trumpets, flashing lights, and bumping butterflies simultaneously. Easily tops any one of the three.

And dramatically it needs to plant the seed th