Profile for darquegk

I can only speak to Pittsburgh Rocky culture: the callbacks come fast and furious, with almost every other line or bit of business having one. But there's a rhythm to it, a give and take that the actors and direction are aware of, and an ability to push BACK against the audience if they get too hectic or disruptive. 

Even things like neck jokes: it's been customary for YEARS that an interactive Narrator will berate the audience for making hackneyed neck jokes that don'

Jeffrey Karasarides said: "darquegk said: "I'd love to see him do a film adaptation of Company, and completely rebuild it from the ground up as a stylistic homage to the New Hollywood of the early 1970s.""

I actually would love to see him tackle Next to Normal."

He'd do a great adaptation, but my heart of hearts says we want a horror director for n2n who will recognize the genre and allow it to be genuinely disturbi

Someone once said "it's not about what a piece means, it's about HOW a piece means." Lin is someone woh gets that instinctively: he's neither someone who reinvents the wheel for its own sake, nor is he someone who is so overly precious with what he adapts that it feels limited or stuck.

I'd love to see him do a film adaptation of Company, and completely rebuild it from the ground up as a stylistic homage to the New Hollywood of the early 1970s. To me, Company

I saw a production in Pittsburgh with the original script a few years ago. It mostly lays there like a dead fish, and then one HILARIOUS scene which was probably not intended for comedy in the original draft was wisely played as a joke instead.

When the boys have returned to the present, they go to a nightclub, and keep having musical flashbacks to the events in Brigadoon. It plays like a Mel Brooks scene if you do it "wrong," and if the rest of the show had been that whimsic

Similar (sensitive but straight) anecdote: they had a bunch of copies of the "year's best plays" paperbacks in my high school theatre company's below-the-stage office, which led to the trap door. I was in charge of the Beast's fake butt and hunchback (well, technically Maurice's, since he was the stunt double Beast for the death scenes), so other than my two scenes in Act 2 as Monsieur D'arque, I would sit under the stage reading those and waiting to strap the pr

It would almost have to be a star vehicle, since despite the show being "pretty-good-bordering-on-great" it isn't a name, and it's better than the somewhat disposable Adam Sandler movie it's based on. But then you need an actor who can act, sing, play guitar, do believable stand-up, and thread the needle of "adorkable" to "genuinely disturbingly unhinged." If he's too much of a sad sack and doesn't go absolutely feral during his binge-drinking

It feels like the 2000s were a blur of highly commercial mid-size musicals that came and went with great rapidity, with only a few of them making a mark in general consciousness. Out of all of them circa that 2006 era, I've always felt like "The Wedding Singer" is the one that should have lasted longer as part of the zeitgeist, but it didn't wind up with quite the same legs that Legally Blonde had.

Maybe it's the heavier male to female casting ratio, plus the whol