They should call it: "Cheer Up, Dolly!" I like when Mickey J says that Americans know how to "do" joy in a musical better than anyone. This is SOOO serious!
DramaTeach said: "The winter garden is not just a proscenium house it is the type of proscenium house that can't be anything else. "
Tell that to Hal Prince, who produced PACIFIC OVERTURES there with a hanamachi (runway) extending out into the audience. And the producers of ROCKY who extended a boxing ring out into the orchestra.
TweetyPie2 said: "At the time, the D.C. downtown library had videotapes of the shows, and I went there and watched some of them. They are probably long gone now. I also saw four of the shows in person—Company, Passion, Night Music and Merrily. That was a great summer to live in D.C."
Don't know about possible transfers, but my favorites were MERRILY and PASSION. The whole MERRILY production was vastly superior to the recent Broadway revival (Michael Hayden! Raul Esparza! and the glorious Miriam Shor! not to mention Emily Skinner as Gussie!!!! and Christopher Ashley's excellent direction.) And Judy Kuhn's Fosca couldn't be beat! I also liked John Barrowman's decidedly Gay take on Bobby in COMPANY. No
”i thought by far the mvp of the night though was Daniel Breaker. He makes this guy totally his own, is quite funny from the jump, and then breaks your heart (with an out of left field number) in Act 2. Really hope hes remembered next spring, he was the highlight for me tonight.
Front balcony was fine for this. Audience absolutely ate this up."
Man…I’m turning in my gay card. I thought this was a big bore. Through the whole thing I kept thinking : God what Michael Bennett could’ve done with this
Saw "Your Lie In April" last week. If you liked "The Notebook", you'll love this one. Rom-com heaven. Reminded me of Gatsby. Every song is belted to the nth degree. But unfortunately, there's no Linda Eder in the cast. Trite and sappy. Ugh.
Yes. It felt like Hello, Willy. Death Of A Salesman visits Harmonia Garden.
Very dramatic and pointed. WIth pulled back energy. Dolly is a conniver and always working. Staunton is non-confrontational. And almost matter-of-fact. Maybe she'll loosen up as the run goes on. Not terrible, just smaller.
But, despite it's faults and flaws, the ending got to me. But that is the story. N
HIGH POINTS: - Alexander Gemignani's "The Road You Didn't Take" - Hearing those orchestrations again. - The original choreography for "Who's That Woman"! Bennett was perfection. Took non-Dancers and made it look like a real Follies number. - Michael Berresse's "The Right Girl". He made that difficult song work. - Santino Fontana's "Buddy's Blues". One of the best versions I've heard. And he barely moved.
I probably would’ve enjoyed it more if I could’ve understood what the singers were singing about. Especially Margo. Why is it that this is happening in so many shows lately? Even with a mike, you still have to enunciate properly…
It’s also staggering how the performers actually learned all the material.
massofmen said: "Shows rarely evolve the entire genre of theater.There have been a few that make the Musical Theatre landscape take notice and have to be better than it was before that Musical. West Side Story, Gypsy, Sweeney Todd, Phantom, Les MIs, Ms Saigon, Ragtime, RENT, Book of Mormon, Hamilton (to name a few) and now (IMO) The Outsiders. The fight scene alone i Act 2 should win its own tony award for actually portraying a real fight scene on stage. Unlike basically ev
