Profile for EvanstonDad

It boggles the mind that someone paid $267 to see Chicago.

The social media outrage beast requires feeding 24/7. Starve it, and maybe it would go away. But I don't see that ever happening because too many people thrive on it.

Listening now. The orchestra sounds great and I really like Tom Francis's voice. But good lord the tempos are slow. So far this isn't the transformative experience others have been promising, but I'm sure the visuals make a huge difference. Don't think this will replace the original Broadway recording as my go to even though it's just objective fact that Scherzinger is a better singer than Close.

Mine are from the same movie, Hairspray. Sorry to lose "Mama I'm a Big Girl Now" (I know it was played during the end credits but it's not the same), and I really liked the song they added to play first during the end credits, "Come So Far"

Wow, I don't know that I've ever seen a reviews thread generate less interest. 

Ugh, Rob Marshall is a terrible film director. His idea of staging a musical number is to edit it within an inch of its life.

I love flannel on a man.

You know what you can do with your vicuna.

 

I haven't seen this production and if I ever have the chance I'll go in with an open mind. But I don't like the sound of it. Sunset Boulevard IS campy. The movie was campy, the musical was designed to be campy. Removing the glitz and opulence is taking away from Norma what makes her Norma. But again, I would be very curious to see this new version for a completely different take on the material.

Am I the only one who really likes The Lady's Paying? It provides a nice counterpoint to all the moody ballads. 

Possibly very dumb question, but I haven't heard anyone actually say the title of the show "JOB" out loud. So is it job, as in "I need to get a job," or Job, as in the name from the Bible? Asking for a friend.

I saw an article today about how the full cast and design team for the Muny production of In the Heights has just been confirmed. That show starts on August 9. It seems really late for the cast and design team to just be confirmed now. Does anyone know how a theater like the Muny works, and how it's able to get shows up and running so quickly? I would have thought all of the shows would have been completely planned before the season even started.

Looking forward to giving this a listen, though I doubt it will surpass the 1993 London cast recording for me, which has a special place in my heart. 

Also, I didn't think the Oklahoma! recording was awful. It suffers the fate of most studio cast recordings in that it sounds more lifeless than actual cast recordings, but it's great to have the complete score.

Anyone know why the cast recording of the 2000 revival of The Music Man is nowhere to be found on streaming services? Or at least not on Spotify. To me it's the most satisfying recording of the show, much more complete than the original cast recording and better sung than the Hugh Jackman revival.

I know I'm super late to the party here, but I've been traveling a lot lately and wasn't able to chime in back when the Tonys aired.

That Eddie Redmayne performance was jaw droppingly weird and off putting. I could not watch two hours of that. I'd already had a bad reaction to the Redmayne/Buckley London cast recording -- couldn't even get through it -- but seeing Redmayne's physical performance was the nail in the coffin of my interest in this show.