Profile for bwayphreak234

I went into Death of a Salesman completely blind this afternoon. I had never read the play or seen a production before. Discovering this masterpiece for the first time ended up being one of my personal highlights of this Broadway season.

The performances are absolutely extraordinary. The acting is deeply moving, raw, and devastating. Nathan Lane and Laurie Metcalfe once again prove why they are two of the finest stage actors working today. Christopher Abbott and Ben Ahlers share t

Some recent unpopular opinions of mine from the 2025-2026 season...

- I really enjoyed The Queen of Versailles - flaws and all. I saw it with both Kristin and Sherie. The show worked a lot better with Sherie and her cold, vapid, bitchy, and "dead behind the eyes" approach to Jackie.

- While I appreciate Cats: The Jellicle Ball and respect and admire the approach taken, it was not for me. I found it to be chaotic, and, at the end of the day, it's s

This is probably the most middle-of-the-road production I have seen so far this season. Everything is “fine” and nothing is egregiously bad, but it’s all so… bland? Which is surprising for a show like this. 

The direction is just not exciting at all. It all feels so incredibly safe, and at times even stale, with no bold choices at all.

The cast is decent enough. Luke Evans walks away with the entire show. The design elements a

I caught Schmigadoon! tonight, and I was completely won over. The show is vibrant, colorful, and just pure FUN. I had a smile plastered on my face from beginning to end.

The cast is stacked with Broadway talent. Alex Brightman and Sarah Chase are both terrific, and the entire featured ensemble is firing on all cylinders. Special shoutout to Mackenzie Kurtz, who delivers what may be the funniest performance of the season.

Visually, the production is a treat. The lush, hand-painte

I caught a late preview performance of The Lost Boys this afternoon, and found the entire affair to be a ghastly mess from top to bottom.

There are glaring issues across the board, starting with the book and score, both of which are shockingly awful. The music leans heavily into a generic, Christian rock sound, while the lyrics are often outright laughable. Much of the dialogue is trite and corny beyond belief. Tonally, the show is all over the place. The first act is dark and moody, a

I’ve been (un)lucky enough to see most of the infamous stage adaptations of ’80s/’90s films by now - Flashdance, Dirty Dancing, The Bodyguard, Pretty Woman. And now I can add Beaches to that… distinguished collection.

Jessica Vosk and Kelli Barrett are both truly wonderful and do their best with the material they’re given. Their voices are beautiful, and Vosk in particular gets the chance to showcase both her vocal power and acting chops. Unf

ErmengardeStopSniveling said: "Loved this in both venues but thought it actually worked better at the PAC where the runway could be the star of the show. Somehow the staging felt more chaotic on Broadway."

I didn't see this at the PAC, but I also used the word "chaotic" back when I posted my initial thoughts. There was just A LOT going on at any given moment, and I found it hard to know where to focus my attention at times - sounds like I'm in the m

It's going to come down to Cats vs. Ragtime. I, personally, would love nothing more than to see Ragtime take home best revival. However, we've seen in the past that Tony Voters love a boldly reimagined revival that turns classic material on its head... (i.e. Pippin in 2013, The Color Purple in 2016, Oklahoma! in 2019, and Sunset Boulevard in 2025 to name a few). This new revival of Cats falls right into this pattern.

As much as I love Ragtime as show and think that this new

Let me preface this by saying I loved Titanique when I saw it Off-Broadway. It was hilariously clever, and everything just “worked”. What I saw this afternoon at the St. James felt like a different show.

The physical production has been scaled up nicely enough to fill the larger theatre. However, at its core, this is still a small show that thrives on scrappy energy and intimacy. Here, it feels as though it’s simply been “plopped” onto a bigger stage in a