Profile for AlfieByrne

I totally believe that Katrina Lenk is a captivating actress, but I'm totally getting Daphne Rubin-Vega in Les Mis vibes here... Hopefully Katrina won't shout-sing her way through Being Alive.

The February try-outs of Crazy For You revival in LA has been "postponed" (I'm guessing it'll eventually be a stop on a tour later on). They're casting for the workshop and a spring opening, so I'm guessing Charlie and the Chocolate Factory is closing to make way for it.

I saw it this past week and have to voice that the performances (especially Lachanze) from all three Donnas were terrific. The book, however, needs quite a bit of work. The story doesn't take on a linear structure, which was fine and in fact refreshing, but the emotional arc of her story was unsatisfying and cluttered. They discuss her depression, abuse, family issues, etc, and end the show with "Oh hey, my Adam and Steve joke wasn't appreciated by the audience and became a category 5 storm. ...

I think I can pinpoint down to somewhere around 2004-2006 when the "sound" of the recent recordings became flat. Shows like Spamalot, Light in the Piazza, Jersey Boys, etc. have the old sound. The 2006 revival of A Chorus Line is one of the earliest examples (that I can think of) that have that crisp, yet "dead" sound that lacks excitement IMO. This is all based on my untrained ear, however.

^ Even if the choreography was an "homage," were the nominating group and the voters aware of precisely which movements had - 1) replicated Gower's choreography, 2) were inspired by Gower's but a little different, and 3) were completely new moves created by Warren Carlyle?Just like how Manchester by the Sea's score by Lesley Barber was deemed ineligible for Best Score at the Oscars for utilizing some of the old classical orchestral works, I don't think Carlyle should be eligible at all unless...

Carolee Carmello was already respected as a working actress when she did Scandalous, which helped her secure a nomination in a not-too-competitive year. Christy Altomare? Not at all. And it's not as if her performance will be singled out like it was the case with Mueller in On a Clear Day. Laura Osnes keeps getting work, but I'm not sure if she's THAT popular. She's just not as exciting as, say, Kelli O'hara. Noblezada has the inevitable hurdle of being compared to Lea Salonga, so she's iffy ...

She doesn't sound anything like Lea IMO in that clip. Her vowels are a bit distracting while her high notes are a little too belty and scratchy.

I think it has been one of the strongest in a few years for musicals.From 2014 through last year, I'd argue that Matilda, Fun Home, and Hamilton (and maaaybe Kinky Boots) were truly exceptional. And DEH, Come from Away, and Great Comet are all on par with those, in my opinion. The musical revivals are quite strong, too, reminiscent of the 2008 season in my opinion (though it is unfortunate that Sunday won't be competing).

I would say no. I was in the same boat as you regarding my lack of familiarity with the show and Bette's work. I kept my expectation somewhat reasonable, and while the show was fun, I wasn't completely mesmerized by Bette. The energy in the audience with all the anticipation seemed to overwhelm Bette's presence somewhat.If you don't have an unlimited budget, I'd wait to see one of Donna's performances for a more reasonable price.

MIXED from The LA Times. Positive impression overall with the show, but some critique regarding the lack of intimacy and with the cast The musical adaptation, written by Craig Lucas (book), Daniel Messé (music) and Nathan Tysen (who co-wrote the lyrics with Mess&eacute, reinvents the movie’s frolicsome charm. The production, directed by Pam MacKinnon, opts for handcrafted effects — magic that doesn’t hide its strings. A winking spirit prevails.[...]Admittedly, the Ahmanson’s large stage isn’t...

^ Isn't necessarily nuanced.

Indeed, other-worldly is a more appropriate adjective in my review. Thank you, QueenAlice. And regarding my nuance comment, I do think Philippa Soo is a very capable performer who can be appropriate for many roles. Amelie wasn't one of them. The clips I've seen of her as Natasha are wonderful and moving. Her performance in Hamilton was adequate, but nothing more. I'd argue that for a performance to be nuanced (an overused, sometimes incorrectly used term these days in my opinion), there needs...

I, too, saw it last night.I'd like to contrast some of the opinions posted by stating that Phillipa doesn't shine at all. I didn't get to see Samantha Barks so I can't compare. Phillipa Soo sings well and has learned her lines, but her characterization is quite basic. Where's the nuance? (I had a similar complaint with her portrayal as Eliza: she was quite one-note. Had her performance been taken out of Hamilton's hype context, there's no way she should have been nominated.) Amelie is suppose...

LA Times is mostly negative, criticizing the book and the direction while mixed on the individual performances. Arden’s production reinforced my sense of the show as an insoluble stage conundrum — too enticing to be neglected yet too problematic ever to be a hit. [...]If the bond between Brady’s Charley and Lazar’s Franklin still seems theoretical despite the relaxed camaraderie between them, it has at least as much to do with the writing as with the inexact chemistry of Arden’s cast. [...]Pa...

Grabbed a pair of tickets for the Thursday performance. Wayne Brady was out, so we saw the understudy who had to perform with a script in his hand the whole show.Overall, the cast was uneven. I agree that Whitney Bashor as quite good and her "Not a Day Goes By" was beautifully restrained but her portrayal nevertheless resilient. Saycon Sengbloh was rather one-note, but her voice wonderful. Eric B Anthony (iirc) who subbed for Wayne Brady made best of what he could do, and his rich voice and s...

pupscotch said: "Best Play should be an interesting category. I've said previously in the thread that I haven't seen Eclipsed, but even between the Humans and King Charles III it is very difficult for me to pick a winner. " I would also keep an eye out for Mtc's production of The Father.

best12bars said: "It's pretty mind-blowing that she wasn't even nominated for a Tony." It appears that Clive Barnes wrote a tepid review regarding Mills' performance. I wonder what the general public's opinion was.http://www.nytimes.com/packages/pdf/theater/82169467.pdf

I have a hunch that the reviews will be mixed to positive. I definitely felt some hesitation in expressing an outright negative review since the show does try, and I think many critics will be feeling the same way. Sadly, I wouldn't be surprised if it closes in January if the show doesn't go through a major, major overhaul and become a critical hit.

I attended the first preview in San Diego, and gave a rather critical review on a thread on BWW. That was over three years ago and I was hoping quite a bit of changes would be made for the better. Unfortunately, as Whizzer points out, the show still doesn't deliver. His criticism on Arima's direction is spot-on. He does nothing to bring out anything genuine from the actors or the script. From my somewhat hazy memory, it does feel as if the show went through some changes in the three years. Bu...

Saw the Tuesday performance. Vocally, Brian was ok. Definitely had some shaky notes (e.g. end of Corner of the Sky, Extraordinary, etc) but sang as one would expect from a recent BFA MT graduate. His Pippin was definitely on the softer (and possibly blander?) side, and made me realize how underrated MJT was on Broadway. While MJT's character arc was clearly defined in all of the performances I saw him as Pippin, Brian came across as a whiney prep school boy all the way until the end. Might ha...