Profile for Alex Kulak2

Huckster2 said: "I am not understanding the hate some have for BTTF. Iunderstand that not every one likes a show. I get that. But it seems this show is always at the brunt of jokes from those who do not like more than any other shows. so it is not the dislike of the show it self, but rather the attempts to continue to bring up those options at any time
it reminds me of NFL fans and the Cowboys. You are either like then or you end your comments with “Dallas Sucks” no

gibsons2 said: "leefowler said: "When Billy Joel won the best orchestration Tony for "Movin' Out," I realized there's not a lot of people who understand what an orchestration is."

It's true. But some orchestrations are glaringly not good, so you kind of recognize theseeven without special background in music. I thought Lempicka had the worst this year. The Notebook has one of the best orchestration and no nomination for it is baffli

willep said: "What I saw was finished."

I agree with this. Both technically and semantically, it's finished. Sondheim had his lawyer approve the show for production prior to his death, and he agreed with Mantello and Ives' argument that the second act should be light on music. Long Day's Journey Into Night was written just as Eugene O'Neill started to suffer from tremors that made him unable to write for the last decade of his life,

Rentaholic2 said: "Amelie was significantly reworked for its UK premiere, and I believe that is the version of the show that is now licensed. The score was modified quite significantly and largely re-orchestrated, and I think it's just wonderful. I haven't seen the show, but just by comparing thecast albums, it seems they really cracked the code on it in London. It would be great if the show one day got another chance in New York with the revised version."

&n

HeyMrMusic said: "These orchestrations are so refreshing. The "Time" musical motif that is peppered in among the instrumentation is such a thoughtful detail to weave throughout the score. The texture of a real harp and the weight and depth of a real percussionist make a huge difference in the sound. Thanks to the pristine recording, every bit of the orchestration is heard and felt.I think this is quite an accomplishment from John Clancy and Carmel Dean."

Jo

Yep, still absolutely gorgeous.

John Clancy continues to knock it out of the park with his orchestrations, and Carmel Dean is making an incredibly impressive debut as orchestrator.

The lyrical motif of Home (I will carry you Home, I want to go Home), absolutely breaks me.

Joy Woods is an absolute star.

I think what feels really special about this score is that there's no big star turns. Not that the performers don't shine, but it doesn't feel like any s

Her views are abhorrent and I no longer support her writing. I think the stage show is another story, and I don't know if I would support a boycott of it. Compared to the money she makes from book sales and film royalties, Cursed Child probably represents a fairly small amount of JK Rowling's earnings. On the other hand, it's the primary source of income for the scores of actors and crew members that work on the show every day, who don't hold the same t

I wasn't a fan of this one. Branden Jacobs-Jenkins is one of my favorite playwrights working today, but the script was really a let down. I was totally on board with the first act, it was funny, they were building all this great tension, it flew by. But the second act was just a slog, it went in all the places you expect it to go, and it really lacked a lot of the stakes that I've come to expect from BJJ's work.

The cast was all great, with Henry Lennix, Tamara Tu