Profile for bear88

Dumb questions: How does Audible work? Am I reading correctly that there’s a 30-day free signup? If so, how does one cancel at the end?

I do have the advantage of having seen the musical on Broadway, although I gather that this is the off-Broadway version (so I’m sure it is a little different). Was the ‘Normal’ reprise part of the off-Broadway musical or was it added for the Audible release?

I am a big fan of ‘Normal,’ one of my favorite songs

I understand why some people, especially those who have seen Gypsy many times over the decades, didn't love this production or thought Audra McDonald wasn't ideally cast because she's not a classic belter or believe she overacted.

But I had never seen the musical before, though I was familiar with the plot and songs, and I'm in the category of people who is very glad I saw it - especially from the front orchestra. It's one of those performances th

Wick3 said: "Since Green is assigned a new role at NYT, at least he still has a job. The job market out there is quite grim so I'm glad he still has a paycheck. Hopefully he didn't get a paycut.”

Green is in his late 60s, just a few years younger than Ben Brantley. If he sticks around, Green will probably just take the next buyout, if he doesn’t just quit and work on another book.

My problem with this whole thing is less about Green in particula

EDSOSLO858 said: "This revival lasted just about as long as the recent COMPANY did (265 reg. perfs). 8-9 months is about fairly standard for these “prestige” productions nowadays — they start slipping at the box officeafter10-12 solid weeks, give or take.”

That sounds about right. Without a movie or music star in a leading role, these sorts of commercial revivals of classic musicals have a logical endpoint. They do fine with Broadway stars for a wh

Kad said: "It's nice to see the 4 remaining 2025 Best Musical nominees doing well."

Three of them, plus Just in Time, continue to do fine - or better than fine. My question concerns Operation Mincemeat. It appears to be showing the first signs of weakness, mostly in terms of the average ticket price. I have never known what the show's running costs are, but I can't imagine that consistent weekly box office totals less than

The New York Times isn't firing - or, uh, reassigning - all of its critics. None of the film critics are gone, for example. They're making choices about who is staying and who isn't. I'm as curious as anyone about the rationale, but it's probably less about quality of criticism than we would like to think. It's probably about whatever media strategy they have in mind, and whether they think their incumbent critics are well-suited for that. (Answer for today's unluc

PipingHotPiccolo said: "all this emphasis on whether the show was going to survive or not post/during Mandy, completely missed the point.

Patinkin was a big name get. the idea that wanting him to replace Oak was some sort of racism is PEAK progressive insanity- the kinda accusation that undermines all the legit, troubling racial insensitivities that plague the industry. it was just ugly and wrong, smearing good people out of petty hurt feelings. i mean just say it out loud

Okieriete Onaodowan has had a nice career since the Great Comet fiasco. He was a long-running regular on a popular TV series, leaving only because he wanted to do so, returned to Broadway and has another stage gig next year.

I’m sure there are people who wouldn’t want to work with him, but Onaodowan has done fine. 

I always felt that it was unfortunate that Great Comet, one of my favorite musicals, is remembered as much for

I find it difficult to get too worked up about the cost of the final performance. Even now, if I wanted to see Sunset Blvd. during the last few shows, I could find perfectly decent seats for prices that are higher -  but not absurdly higher - than what I paid in early April for a Wednesday matinee when it was at the TKTS booth every day.

It’s one thing when you can never get a reasonable price for a decent seat. That’s discouraging for anyone wh

It’s interesting that the Cabaret revival has settled into a range of lower prices but nearly full houses during the final weeks of the Orville Peck-Eva Noblezada run. My daughter got the last ticket about three hours before showtime for Saturday night’s sold-out performance. She came to see Noblezada and liked her but was very impressed with Peck.

None of this is enough to turn a profit, but a packed house is still a packed house - even if a reasona

merle57 said: "The original Merman production was a hit, made very good money, and sold well to the movies (enabling Sondheim to buy his Turtle Bay house), and the movie made money as well.

The Lansbury revival was a major hit in London, then toured the US making major money before doing a limited engagement on Broadway which sold out. That revival made big money.The Tyne Daly revival made money.

The revivals that have not made money are the Bernadette Peters,Pa

SmokeyLady said: "Can we define hit? Because Tynes made money and was awarded well. "

The OP said the Tyne Daly revival was financially successful. I would argue that the producers’ decision to hire a TV star, instead of a Broadway name, was a major factor. It’s the one time that happened.

Maybe that’s too simplistic an explanation (I’m sure there were other reasons). But 34 years after that production closed, it’s very ea