Today's photo spread by Matthew Murphy certainly doesn't look appealing. And he's a darn good photographer. That, coupled with so many posts here that just comment on the "sponsor," sure ain't selling me on this. What's up with that ensemble? Looks the dancers from LEMPICKA weren't out of work for too long. I'm surprised more people on here haven't seen this given it opens on Thursday. Where's WhizzerMarvin when you need him? I guess I'll just
ColorTheHours048 said: "I had a really fun time seeing this the other night.
The good: Megan Hilty is absolutely hysterical and a joy to see back on Broadway. She gets the best material, by far, and seems to be having a blast. Jennifer Simard is reliably funny and at her deadpan best. Act one, in particular, works like gangbusters: the score is better and the laughs come fast and furious. Seriously,I was laughing nearly the entire time; to the point I miss
Looks like lots of the "kids" decided to go begging for candy tonight instead of showing up. Included in the no shows were Brody Grant, Joshua Boone, Emma Pittman and Daryl Tofa. What a disappointment.
Thrilled with the love for THE OUTSIDERS--my fave of a middling season. ILLINOISE may have a struggle at the Box office even with the Best Musical and Choreography noms. An ambitious dansical for sure-- the nominating committee couldn't get past anointing it as a fully-fledged Broadway musical.
"The dancers give Knight’s repetitive choreography their all but are clearly bored or tired — I’ve never seen so many ensemble members going through the motions all at once, especially on a critics’ night in the run-up to Tony nominations. Williams’s direction is similar: bare minimum, dead behind the eyes. You don’t realize how tricky scene transitions are until you watch the Cowardly Lion, Tin Man, and Scarecrow just slowly back off stage like they’re in aFamily Guycutaway. There’s no connection, no chemistry, no soul. This is as lifeless a production as I’ve ever seen on Broadway, and, quite frankly, it’s shocking."
Well, That GMA performance was underwhelming. I was on the fence on this one, and the praise here almost got me to TDF or TKTS. Certainly looks like the music is the "star" as I guess it would be. While I always admire the talented singers, and especially the dancers, getting up at the crack of dawn to dance their hearts out --this just looks so sophomoric to me. Tired, pedestrian-like choreography with kicks, splits, and a mishmash of movement that goes nowhere. I imagine the TV audience wondered why the handsome and buff man centerstage wasn't singing? I realize it's one of Lewis' biggest hits, but what a missed opportunity to showcase something better, if indeed they have that. At least the underutilized and charming Cott got his push-ups in this morning.
After just seeing the show yesterday, I'd expect mixed to positive (leaning positive) notices. It's one of the freshest shows in a middling season, and there's plenty of opportunities for Tony nominations. While the sum of its parts are greater than it's whole, it's still an engaging and entertaining show with some breakout performances. And the hunk factor doesn't hurt either.
Surprisingly good. A true ensemble piece with a fresh-faced, appealing, and talented cast. The trio of brothers (aside from their glorious voices) are engaging and have great chemistry, and others in the cast also shine. While the book is at times meandering, it's effective enough to frame the music, choreography, and design elements, which are often thrilling. I especially admired the "cinematic" touches of stop-motion used throughout t
"It’s hard to pin down what “Illinoise” wants to be, though it clearly has Broadway ambitions. Is it the musical theater version of a story ballet? A concert with dancing? Does it even care about dancing, really? The show, referred to as “A New Kind of Musical,” has little that seems new; it’s drowning in sentimentality, which is about as old school as it gets. And it doesn’t have much of a story, but what is there — by Peck and the playwright Jackie Sibblies Drury — is opaque. There’s no dialogue. It’s the music that is the undisputed star here."
Wow! The prices for the extension range from $150 (front row) to mainly $175 and $200 seats! At those prices I'll wait for a possible Broadway transfer!
Does anyone here have experience with winning an online lottery --and then exchanging it (and paying more) at the box office for a better seat if available? Is that even possible? I won the lottery for NEW YORK, NEW YORK for tonight, and recall seeing that info somewhere on their confirmation pages--but can no longer find it. I don't have my ticket yet, but wanted to be prepared to exchange if possible. Thank you.
MemorableUserName said: "I won the lottery for this too. The confirmation said the tickets would be emailed one hour before, and if not, to pickup at will call. No email, so had to go to the box office. Ticket was center mezz row D. The confirmation also said to show up 40 minutes before, which I did not, but they weren't kidding. The line to get in stretched all the way to Eighth Avenue. If this was any indication, definitely show up early. I can't remember the last time I&#
I'm sure Travis Wall meant well, and his stock just sky-rocketed in response. In addition, I'm sure Nigel Lythgoe will be ALL over it tonight on SYTYCD.
Robert Fairchild (CATS promo) didn't do too bad either. It had social media exploitation all over it. To quote Faye Dunaway as Joan Crawford in MOMMIE DEAREST, "you wreak of it!"
And considering this whole thing started regarding a six-year old child, why
Miles2Go2 said: "I haven’t seen Tommy’s behavior on the live feeds but I wonder if any of this could affect his future employability as a performer on Broadway. On the other hand, the housewives from Bravo seem to have no problem getting cast in Chicago. Of course, they are significantly more famous I suppose which may cancel out some of their misdeeds on television."
Calling all producers looking for a child who can cry on cue.
