Profile for darquegk

How do the songs compare to both the musical inventiveness and overall zaniness of Julia's work with Advent Carolndar?

If I recall the "uncensored" book that's been used in revivals, it's an extended satire of the Red Scare with some comical anti-Russian sentiment. Lots of pointed jokes about American mob mentality, etc, which is very pertinent today.

But I'm not sure well the silly genie and Orientalist elements would play today.

Outsiders is building a fanbase, but it's a young fanbase. Hasn't it historically been the case that musicals that appeal to youth audiences in particular do worse, because they're being consumed as mass media and not as tickets sold? Or did "Six" prove that theory wrong?

https://youtu.be/ZEW2wn2HcIo?si=QecyZd8SynLGwH7X

Smile was completely retooled from the campy Broadway version into a darker and more introspective piece prior to licensing.

I always wanted to see what Bo Burnham would do as the Emcee, but I’m not sure this is the production for that… nor do I think he’d be comfortable doing live theatre.

How much is this revival cut down or rewritten from the four-hour original?

When I was a kid, the Mighty Mighty Bosstones' 1990s song "Nevermind Me" suggested that if someone mugs you and you walk away alive, and not completely destitute, you were probably NOT the real victim in that altercation. Painfully naive? Probably. Well intentioned? I'm willing to say yes. But it's at least proof that "vagrants are not villains" is NOT some new zoomer-era philosophy. 

The Craft, which played Vegas, was a goth and eighties-nineties alternative jukebox musical. It was fun, sexy, eerie and full of energy. 
 

That same company is having a much bigger success now with the more overtly campy Scream’d.

There’s a strong argument for Tim Rice, as one of the pivotal lyricists of the British musical invasion, the mega musical era, AND the Disney on Broadway industrial complex. With and without Andrew Lloyd Webber, Rice has four consecutive decades of writing for big, culturally relevant musicals. Beyond Sondheim, how many can say that? 

Even the 1940s update from the stage show and the movie was a revision; the original album and concert tour were set in the years between the two world wars. And it made even less sense that way!

Ryan Gosling has the mix of unconventional charm with inscrutable blankness that makes a good Bobby in Company.

She was incredible, and genuinely chilling, in Beau Is Afraid. One of the greatest pure villain performances in a genre film in ages. Like a praying mantis, she was all cold sex and malice.

Cohen puts on a French accent when he is fleecing guests at the inn, but drops it when he’s with his own people. The implication is that “Thenardier the French innkeeper” is just another of the personas he has put on over the years, not his true identity. (Which, if I recall, was implied in the book as well.)

This sounds like the psychological horror comic “Love Everlasting,” which is like Westworld for romance tropes instead of cyberpunk.

Crowe absolutely plays Javert as a misguided and somewhat broken weirdo. It’s refreshing when compared to the hyper competent force of nature he appears to be in the stage show.