Profile for j.garcia

You keep raising the straw man argument that if white people did this, it would be considered racist. The fact that you keep returning to this point makes me consider that you don’t really get the point at all. Whenever I need to figure out if it something is racist, I use the formula discrimination + power = racism. So when someone is discriminated against based on their race and that discrimination feeds into reinforcing a power structure. The power structure in America has always flowed fr...

g.d.e.l.g.i. said: "j.garcia said: "This unevenness did not distract me as it’s almost part and parcel of all Encores productions."Considering they just used a bunch of Pace University students to workshop this version (unheard of as Encores! goes), probably for free, I would expect it to be a lot more seamless than it sounds.(Disclaimer: have not seen the show.)" No Encores production is perfect, but I will say this is one of the tightest productions I’ve seen from them (aside from Merrily W...

Wow, was that a great night of theater! Did everything work? No, but they threw a lot of interesting concepts out there and, if this production had more time to develop, I think it could evolve into a definitive version. As it stands, it has highs and lows. This unevenness did not distract me as it’s almost part and parcel of all Encores productions. I wish the girl playing young Eva had more to do, I liked the idea of her moving throughout but each subsequent appearance after “Another Suitca...

While it’s true Eva is always played by two actresses(younger childhood Eva and adult Eva), the interplay of the two, with the younger acting as a invisible commentary, is a new concept that I’m very interested in seeing play out. EDIT* my memory of the movie is stronger, did thy include the funeral scene with the father in the stage musical because all I can remember is Ricky Martin’s wispy mustache. A child plays her at the funeral, but doesn’t have much to do beyond that?

I’m really excited for this tonight after these early impressions! I was fully prepared for another mediocre revival of Evita, its been one of my dream revivals since I listened to Madonna version on repeat in 7th grade, so I can’t resist a professional production no matter how dubious I might feel about it. The only thing I was really hoping for is a stronger Che and Eva than the 2012 production, and it seems like I’ll be getting that and much more.

I picked up tickets off TDF for $47, every date was listed so I don’t think it’s very in demand, I’m actually anticipating it to be not very good but I can’t resist a professional production of Evita. If you’re not a TDF member, I’m sure it will be at the TKTS booth for all dates. City Center tends to offer discounts when they first go on sale and for subscribers.

I truly think there’s no “unworkable” show, with proper thought anything can be made to work. It’s just so difficult to get right, especially on pricklier shows. I’m really curious to see the new Millie because they’ve signaled that this production will address the uncomfortable racism that sits at the show’s core. I think the key is changing the power dynamic of the disenfranchised class or group. If the group who is being mocked is somehow in on the joke, the it becomes an audience laughing...

Kiss Me Kate at the Roundabout was, I think, the strongest way to currently present that piece. It’s a tricky one, but the buoyancy of the score and that cast were able to keep things moving. Every one of these scenarios is a case by case, highly nuanced conversation, the kind of conversation most people want to avoid. This year, the high school I teach at is doing the Drowsy Chaperone. As one of the few Asian staff members, and the only minority woman with any involvement in the drama progra...

Plenty of productions hide because providing a well executed, true-to-spirit update is extremely difficult. It requires nuance, a strong familiarity with the work, deep knowledge of current society, and creativity. If a production contains a scene so anachronistic to current societal norms or values, to the degree that it’s so jarring as to remove the audience from the piece, then the scene should be seriously reconsidered and revised. Of course people know the difference between Then and Now...

As it was said before, art is not created in a vacuum. Any art is a reflection of the society in which it was created, a reflection of both its flaws and strengths. To ask that revivals remain static flies in the face of what makes good art, because it’s mirroring back a time and place that is so far removed from current society that modern audiences can’t conn ct. Also, I don’t think there’s anything wrong with cutting a part of a musical that no longer serves it purpose due to being horribl...

If you want something with more music, Broadway to Main Street is my rec. The host has a theme every week and he picks songs, it’s good if you’re looking for insight on older pieces or obscure recordings. He definitely leans more in the classics/oldies, but it’s exposed me to many musicals and interesting song covers that I would never have found otherwise.

Unless youre very close to Kelli O’Hara these comments seem tone deaf and very strange. Is it a reference to the shows she chooses or how she chose to portray Kate’s physicality onstage? Not sure how the actress sees her place in the universe is relevant to her Tony odds. I loved her portrayal of Kate in the first act but not so much in the second. Not sure if that’s a fault of her or the material. SJB seems unlikely for a win, I’d be curious to see how many winners have come out of jukebox m...

The spacing on Beetlejuice may have to be amended because of the serious rewrites that are happening as we speak. But I do agree that it belongs on the bottom of the list.

I absolutely loved Amber Grey’s performance. Did it feel like a retread of some of her Great Comet work? Yes. But when it’s that good, I can’t think of a reason to care. I thought “Our Lady of the Underground” dragged a bit, however Amber had the energy to carry it and keep the party going. She brings just the right amount of sadness for this broken, hedonistic party girl, and even during her wilder moments there’s always this underlying hurt. I’m really sad that she doesn’t stage door as I t...

Hopefully this link works, it’s a pic of the merch card. I’m gonna need a window card, so I guess I’ll have to plan a return trip. I was sitting far orchestra right, row P one in from the end. I could hear everything perfectly and see almost everything except for the left of the balcony where Hades was sitting during the opening song. On the plus, my far left seat gave me a great view of Patrick Page during Epic II, and his emoting was sublime. I’m a little surprised about the Hermes hate, I ...

It didn’t work the first time, don’t have high hopes for a second time around. Frankly, it seems like it’s better suited for community or children’s theater, I’m sure the liscense holder makes a pretty penny off of school productions. Also, there’s a live recording of the show that was released, it was on Netflix but I’m not sure if it’s still on.

I’m very excited! I bought a ticket for the first preview, which I’ve never done before. Really looking forward to Friday!

HADESTOWN, a million times over Beetlejuice. Read the older Beetlejuice thread from the DC tryout to get an idea of what the show is like, you should be able to find it with the search tool.

When discussing art, its not about who DESERVES to see it. Containing any form of art behind a paywall is like holding water in a canvas bag, its gonna get out regardless of what you do. I've watched my fair share of bootlegs and am glad they exist. It's a grey area if there ever was one. By trying to make it black and white you're vastly oversimplifying the issue and its frankly coming off very shrill. Yes, in the particular circumstance at Waitress that was an egregious overstepping and the...

I was there last night and was hoping for a windowcard, hopefully they'll release something in the form of merch before they open.