Profile for allofmylife

There are unions to consider.

I'd like to see Julie Benko get more meaty roles.

There are ads all over TikTok and Instagram for a musical called Jo which I gather is based onLittle Women. They even have footage of a giant orchestra recording the overture. What they don't have is any real information about what the show is. Does anyone know?

I doubt that reviews will matter. This is a party, like "Barbie" is a party. It will get an audience for a run, screaming at every turn and coming back again and again. And tourists. It's a title everyone knows. It's got nostalgia and a bit with a car.

Yes, but now the question we all want answered: "How was Amber Ardolino?"

Sadly, it's an old theater tradition. People used the travel out from the city to New Haven hoping to see a show fail.Everyone knew the type; the viperous smile going into the theater. Alan Jay Lerner used to call them "Dear Shits."

Lerner and Loewe used to call people who travelled to New Haven to see a show in previews (and for various reasons, hoping it would flop) "Dear Shits."

It's pretty simple. "If she's going south, we're going North..." You know the rest.

There is only one review that counts and it is four words long.Fifty. Million. Dollar. Advance.

wow, some of the people on this site would really be described as "dear ****s" by Lerner and Loewe. You get a rave review from The New York Times and somebody who's only been a member here for 3 months says "will it close?" I don't think so. I could pull 50 quotes for Marquee out of the good reviews for this show and I've seen shows last 4 years with 1/100 of the quotes that are available to the Press Department of Moulin Rouge.

Not actually a Rodgers and HART because Larry had nothing to do with it, but "Slaughter on Tenth Avenue" made the hair on the back of my neck stand straight up the first time I heard it. Nothing has ever been more evocative of the 1930s for me. I was instantly transported.

The Majestic. The Rodgers and Hammerstein house. Think of the shows that played there.The Neil Simon. Big but intimate. Ditto on the list.

Rock. Paper. Scissors. Knives.

I remember that amazing set. Sparkling. So New York. So Broadway. I saw the original cast and can still close my eyes and see it.

I was just about to order the recording. Then I listened to the sample of the overture. Forget it. You can change the music inside the show if you must, and I have given up expecting to get the original dance arrangements, but you touch one note of that magnificent, towering overture and I am outta there. That is sacrilege. Next they'll "improve" the "Carousel Waltz."

I was lucky enough as a child to see the opening night in Toronto at the O'keeffe Centre before the show open on Broadway. I still have my mother, father's and my program (see below) and have loved the show ever since. It did, I remember, run for hours and I fell asleep toward the end, but the boom! boom! boom! of the field drum at the beginning of "Guinevere" snapped me out of that.

So I know nothing about this production. I watched the trailer and they rhymed "now" with "how." In a major love song. That was the end for me. Somewhere, Larry Hart is crying silently.

Okay, so I'll admit I've been away for quite a while, but tonight, I watched the commercials for OTTC and I had a strange question. Maybe it's been answered and I don't know, but here it is: The original 1978 version had four wonderful African-American porters (historically accurate) and this version seems to have just one and three white guys. Now, for some reason, that seems regressive. Even though it was racially insensitive, the Pullman Porters on the posh railway lines in the 30s WERE bl...

Ben Brantley's entire article is the best pull quote I've seen in years. They should run the whole thing on a giant board above the theater.

No choo choo? That's poo poo.