Profile for darquegk

These are some of the most mixed "mixed reviews" I've ever seen, from brilliant to tepid as opposed to somewhere in the middle.

The only Gypsy I really want to see now is the Amy Sherman-Palladino version that’s been rumored for probably a decade. Will it be at all faithful to the Laurents original? Probably not, but maybe that’s the cure for the property’s overexposure fatigue.

The things that are worth fixing about Sweet Charity have nothing to do with its sexual mores, which are actually more interesting today than they were at the time. It's that damn shrug of an ending, and Neil Simon's lifelong belief that "musicals should neither begin with nor end with songs."

Any time Sweet Charity gets revised, I wonder, "okay, which ending do we get this time?"

And during Mr. Goldstone, everyone in the audience gets eggrolls!Hell, this show isn't gonna finance itself, so let's get some sponsored content: that song is now Mister Cold Stone.

halfhourcheckwithmerman said: "Fred Mason said: "I actually think mostly anytime Rose is not on stage in Act 1, the show could be cut. All I Need Is the Girl, If Mamma was married should be cut. Just go from the TT Grantziger scene;Rose rejecting his offer and causing a scene, June bemoaning her mother, and go right to the scene before Everything’s coming up Roses. All I Need is the girl is an old fashioned break for the audience song but it just stops the action as intended."We can put this ...

I kind of wonder how David Tennant would be as a hypothetical George (not that it'd ever happen)... vocally, he's very much like Elaine Stritch, or even "the thinking man's Pierce Brosnan." He sings with great snarling intensity and passion but very little melodic quality, but he's great at brief little tuneful snatches that don't need much sustain, and falling in and out of sprechstimme smoothly. You'd need a role with lots of character and an odd vocal range with as much sprechstimme as sta...

I'm gonna say something very very controversial here: I would have loved to see Jennifer Nettles or Kacey Musgraves or somebody in this role. Because the thing we all agree not to say out loud about n2n is... it's a country score. West coast Laurel Canyon alt-country, sure, but still country. It's in the musical vernacular of Sirius XM's The Spectrum, and I don't think Pink has a single peaceful-easy-feeling bone in her body.

Segel is an interesting but probably apt choice for The Full Monty: a lovable-loser type with a big heart, a voice that is just above adequate (it's not a role that you want to oversing, like much of Yazbek), and a long history of having no hang-ups or shame about showing his body. Plus, he's on a big upswing with Shrinking, so he's not just "that guy from The Muppets and How I Met Your Mother" anymore.

malcs98 said: As for creatives I’ve been closely following PJ Adzima and his production studio/company Stage Time Studiosand I think they’rereally onto something…a clubhouse, studio, education center and third-space where artists can actually create and collaborate on the next groundbreaking piece of American entertainment. It’s like Warhol’s Factory for the21st century"Same. And you can tie that legacy even closer to Warhol's ethos when you look at the way Stage Time allies itself to perform...

Godspell, original Toronto cast. I can't WAIT for the documentary.

I’ve said for years if he wanted a role that fits his type and could get him some acclaim, Jessup in A Few Good Men is literally made for him.

Has so much time passed that "a circus themed production of Seussical" is no longer a meme of reference?

I don't think you can compare Dolly the musical to MJ the musical, even with quality as an afterthought. Dolly is a beloved entertainer, America's meemaw. Michael Jackson is just shy of being a literal demigod. Death could not slow him down. Three different rounds of credible abuse allegations could not slow him down. The move to streaming and away from album sales could not slow him down. He's pure teflon, and his musical is 100% going to perform differently than anyone else's.

It’s also weirdly sincere. The film is tongue in cheek start to finish, telling a Hollywood showbiz fable in Greek myth clothing. The musical seems like it didn’t get the joke and took it seriously.

I just assume it's because Off-Broadway shows don't get Tony noms or tours, which are about the only things that make these transfers viable in a business sense.

Musicaldudepeter said: "In the original production, the curtains parted and Mary Martin travelled down stage while perched on a tree branch. There, still and contemplative, she sang The Sound of Music, a hymn to nature and music. Listen to the original Broadway cast album and you'll hear how much she gets out of the song."I've heard it, and seen photos from that. It's an interesting take, because it flips the "Problem Like Maria" on its head to some extent... the Maria we see in private there...

The whole "unauthorized parody musical" phenomenon is having a second wind right now that is catching up to eclipsing the first era of that subgenre. Titanique is a huge hit, and Majestic Rep in Vegas has built an identity around it and transferred shows to LA, all of which have been better received than any other unauthorized parody musical other than maybe Silence. (This also depends if you consider Starkid to have been doing standard unauthorized parody musicals, or if they're more their o...

All these quibbles about the lyrics: I won’t say they’re all good lyrics, but it’s not like these are emblematic of this score. Stephen Schwartz has always preferred a whimsical, eccentric use of the English language in his lyrics. This is the guy who has the only use of “pelf” in modern English literature, after all.

Is this the production where his frequent collaborator Shaggy joined him as well, or was that a one-off thing?