Profile for darquegk

The latter. Revival of the Broadway musical "42nd Street," rumored to have a new book (potentially by Ethan Coen) and at one point ALSO rumored to be a star vehicle for Sabrina Carpenter.

Slippery slope? I can't see how this would necessarily be a BAD thing, even if I'm not a huge fan of Epic itself (it's very "we have Lin-Manuel Miranda at home"). 

We're living in a time where the big studios and moneymakers are starting to actually snap up and develop work from absolute indie creators with grassroots followings. Look at this, and also how The Amazing Digital Circus is getting a cinematic premiere in June. 

Sweaty Oracle has been posting for a while about this being in the pipeline, but this is the first public acknowledgment I’ve seen. 

I wonder how much it’s been adjusted? The published script has the male lead doing Raul Julia’s famous trick of moving from high Shakespearean English to Puerto Rican Spanish and then to Spanglish in the middle with his famous Nuyorican-British hybrid dialect.

I think it works if Jerry is conventionally attractive, but the other guys are more average across a variety of types. Suspension of disbelief is one thing, but the point of the show (among other things) is that confidence is sexy: it's going to be less interesting unless the men are underwhelming when they strip down in act 1, only to root for them and find it genuinely exciting when they finally get their acts together. 

See also: the recent Beauty and the Beast which cut half an hour from the show.

That's always been the default in Pittsburgh's Rocky Horror scene: dressing up, callbacks encouraged, but throwable props and water are either extremely limited or outright banned.

Even as a pro-callbacks person, if you're the sort who is so uptight "don't be an asshole" rubs you the wrong way at a show where shouting ASSHOLE is part of the participatory tradition, Rocky Horror may not be for you.

I'd even go so far as to say in today's economy, quite often the Broadway/Off-Broadway run of the show is a glorified commercial for the eventual licensing.

I think the "patch" for that moment was "You can't tell black jokes! My girlfriend's black!" "Your girlfriend's Filipino, Zac." "Huh?" (Which, again, time stamps that production to A, when Zac and Vanessa were or had recently been together, and B, when Filipinos weren't a major pop culture force the way they are today.)

The only one of these note-for-note studio reconstructions I ever listen to with any regularity is the Chess "Danish Complete" that reconstructed the London original.

It's a five-piece band: guitar, bass, drum, keyboard and sax. Same size as the last Broadway revival (subbing in a sax instead of a Key 2/Guitar 2 book).

I'm referencing something Peter Shapiro wrote about in "Turn the Beat Around," though it might have been a different club: in the back, behind the private rooms, was an orgy pit. Flat concrete on all sides, painted black, totally unlit but with haystacks all over the place, people would slip into pitch blackness and screw with anyone or anything they could touch..

Is this the first person who was fictionalized in Smash to host the Tonys? Krysta Rodriguez played "not Pink" in Season 2, didn't she?

I've said before, I'd like to see this show be successful. But if I were a big producer instead of an out of town small fry, I'd be wary: if shows often make back some of their money on the road or in licensing, how do you tour or license a show so dependent on a high-intensity special effect like this? Will regionals and schools still want to pay up to do Paddington when it's a high school freshman in a hat with ears, instead of a three-person animatronic puppet?

Paddington the literary/media property is less of the draw in the US than "that robot bear" will be. It has the potential to be Grogu for theatre.