Profile for darquegk

THDavis said: "The Usherette introduces this production and bids us a teary farewell at the end. When you watch Sherie and Amber play throughout the evening (and please do, there is ALWAYS something to watch), and you have less central focus/command on Frank, I was left with the feeling that I was brought into the Usherette's fascination and obsession with the very genre she lives for. It was almost her dream. And it was sad when Sherie bid us farewell at the end."There was a mostly-replica p...

Here's a question: do we get the harmonies back? The original production and the movie are full of elaborate "big Broadway harmonies." Those have been pared away little by little over the years towards a "boisterous unison" sound, only breaking into full harmony at a few points in the show. If you compare the Broadway score to the published vocal score, and then scores from revivals and various licensing editions over the years, the vocal lines have been simplified more and more; both times I...

What, are we expecting some story to break that ALW didn't compose the show, and he's getting out ahead of it with proof?

There was an eight-person all-adult Annie staged I believe in Florida, styled as a presentation from the Depression-era Federal Theatre Project.

There have been at least two different Rocky Horror collector's box sets. I have the one with the OST, Roxy, Instrumentals and Audience Participation albums, plus the commemorative booklet.

Aladdin took a route like this: it spent about a decade in regionals being tested and rewritten over and over until it finally turned into the Broadway version.

DaveyG said: "I wish Guettel's version had made it."I wonder about it a lot- can he do light and funny and ironic? I think David Yazbek was the one to beat for that: master of adapting cult films and keeping them at least as good if not better, and blending heart with irony and detachment.

Magenta, if I recall, has six lines. This production cuts one of them but gives her one of Riff’s lines to compensate. It’s a tiny role on paper but larger than life in the right hands.

One piece of advice from someone who jokingly calls himself a "proud failure." I've written ten musicals that have been produced on two continents. I won a NYMF full production selection and had a semi-notable Off-Broadway show in 2016. All of it mattered exactly nothing.If you're going to do this, rule number one has to be: this game is no fun if you're playing it to win. Just DO the thing, don't worry too much about succeeding with the thing. There is no direct one-step path from your brain...

I saw a high school production of 42nd Street where Julian Marsh was played as Julia Marsh, and early Hollywood glamour-dyke-coded. They played the mentoring relationship between Marsh and Peggy as an older queer person recognizing someone who reminds her of her younger self, and it made the ending where Peggy goes off with Marsh instead of the cast a lot less casting-couch icky than that moment often plays today.

Twenty. Years. Later…The bone cake line is back in the licensed version of the show. And you can hear the Bonecake song here: https://out.reddit.com/t3_12d7497?url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DJgRqAFwldVw&token=AQAAbjibagoXCD83CzlOXmDcFkQf0_e-mfI4SSkuC7c189YxKfBx&app_name=reddit.com

Hey, Zelda! said: "Thewrinkle, I would think, for any follow-up using Mandelbaum's model is "not significantly performed." In a post-Internet/post-cultural atomizationworld, flop musicals don't quite just disappear like they did in 1950-1990."People are writing for licensing, with NYC as an advertisement for such.

It’s the difference between camp and kitsch. Little Shop is super high camp: the serious is treated with absurdity and the absurd treated as serious. The tricky part is that Audrey is a kitschy person, not a kitschy character.

Whenever this show comes up, I ask the same question as I asked about Mame and Funny Girl. Is the SHOW good, or is it just a really good star vehicle for a really great star? I'll admit I never saw the show but I listened to the cast album and read the libretto. The sense I always got is that the show feels like a cute Off-Broadway cult favorite whose reputation has been inflated by one truly great song, and Dolly Parton's work in the film version. Who knows if the workshopping and book work ...

Wasn't Jake's Audrey Ellen Greene?

My only encounters with Alice Ripley circa n2n era were on social media as a college and grad student. We shared a birthday so I'd wish her a happy one every year. And now and then she would randomly send a voice message of herself just singing something random, like a Lady Antebellum song. I never knew if that was a "send to all fans" or just some quirk that she would randomly choose people and sing to them.It's the sort of thing I just thought was cool and a little amusing, but that I reali...

Alice I can take or leave. But where is RipleyTheBand?

His Greatest Hits and Fearless are available on Spotify, but it’s his wonderfully weird first album “Read My Lips” is worth tracking down. There’s nothing quite like it. Imagine if Harry Nilsson and Alice Cooper tried to make a concept album about male prostitution together but kept getting distracted by random stuff instead, and that’s the closest you can get.

There's a rarely used but canonical eight-piece orchestration for larger venues. I saw the Pittsburgh Public's production about a decade ago with the larger orchestration and it sounded great. That was a very big, very weird production: dense and metatheatrical, a show within a show.

Doing an out-of-town on a musical that nobody expects to be an endless runner like Hamilton may be financially counterproductive at this point. The way the industry works these days, you've gotta get four quarters to have a viable show: a Broadway or major Off-Broadway run; a cast recording; a pickup from a major licensing company; and a major production or tour post-Broadway. If the show does an out-of-town, and it's not great, and reviews are middling, that likely scuttles most of those fou...