Profile for JasonM12480

Phantom4ever said: "So last night was legendary. I will save my comments about the blocking and lyric/ changes for the Phantom Updating thread.What a thrilling evening it was! It was so exciting to get there early and see all of the swag across all of the seats. I sit in the middle front mezz. I haven't sat up there in about 5 years so I'll be glad to again tonight sitting in my usual front orchestra seat. I didn't notice anyone taking merch from the other seats. It was fun to watch everybody...

PalJoey said: "Benhits the high note--can anyone tell if he's singing it in the original key?"Yes, he is singing it in the original key.

Tracks are available from Right On Cue Services. You have to be licensing a full production from Samuel French in order to rent tracks for this show.

"It actually isn't the same costume-the coat she wears is a different fabric and the cut is more tailored and less fluffy. "You absolutely missed my entire meaning. But approach to the meaning restores the experience in a different form.

Justin D said: "Regarding some people's feelings about Leona not being cat like enough, I wonder how much of that has to do with this new Grizabella costume design, while Nicole is a different actress in a different production, I just watcher her performance in London on Youtobe and to me, she does not look like a cat (like everybody else) she just looks like a hooker. So maybe that is part of the reasonHer costume is EXACTLY what it's always been for the last 30 years of the show's creation....

Saw the production last night and can assuredly report that Ms. Skinner is an absolute triumph in the role of "Mame." Looking like a million bucks in breathtaking costumes, and in excellent voice, her performance is truly outstanding. If the show ever came back to Broadway, she'd be an incredible choice for the part. It was a total thrill to see her live, and having the best time. If you can make it to Richmond, VA, it is worth it to see her in this production.

The last note she hits is a high F, one octave higher than her "belted" F (when Seth says "vocal damage" in jest) - it's not really belted - she has an incredibly healthy mix, which to the untrained ear is "a belt." The high F she does in good humor at the end is nothing difficult for a classically trained coloratura soprano, which she clearly is. She has an amazing 4 octave vocal range. Brava, indeed!

The last note she hits is a high F, one octave higher than her "belted" F (when Seth says "vocal damage" in jest) - it's not really belted - she has an incredibly healthy mix, which to the untrained ear is "a belt." The high F she does in good humor at the end is nothing difficult for a classically trained coloratura soprano, which she clearly is. She has an amazing 4 octave vocal range. Brava, indeed!

My first cousin, Michael Barriskill, played Mr. Mistoffolees on Broadway in 1989, and so the show has always held a special place in my heart. I played Old Deuteronomy in a regional production 8 years ago. It's a fun piece - you go for the costumes, the music, and the dance. I would love to see it come back, as I never saw the original version on stage. And it certainly deserves a home back at the Winter Garden, should it be available if/when the London revival paws its way over here.

You all are so funny. There's this new thing called "Photoshop." Clearly, that is what has been done to his face and entire self.

Well, people in Hell want ice water.

Well, the original title was "Underage Saigon Prostitute Gets Pregnant and Her Baby Daddy Leaves So She Becomes Disillusioned and Kills Herself - The Musical", but "Miss Saigon" just had a better ring to it, and went over better with investors.

I don't think anyone is saying that Max Biaylstock is "the same thing" as Mama Rose - obviously both characters and shows are very, VERY different. I think the question is, as others have intelligenty pointed out, "What's the male tour de force of musical theater?" This is always going to be a very opinionated topic, and not everyone will agree. All I can do is add my two cents, and as someone who has played Max Bialystock, and will be reprising the role again this fall for the second time - ...

I think the whole thing sounds hollow and flat to me. There is no richness to the singing, except perhaps for Von Essen and Cerveris. Other then that, the only reason some of these people sound better is because the album is auto-tuned. Broadway doesn't sound much like Broadway anymore.

Am I the only one unimpressed? He has literally NO facial expressions or thought process going on at all.

It's like a bunch of politicians in here - no one knows how to answer a question. LOL As someone who has been IN the show 4 times, and musically directed it once, I know the answer. And you already pretty much answered it. The original version is available for license from the 70's - no megamix, no hoedown, no tango, and very 70's, sparse sounding orchestrations. You can also license the UK tour version, which is based off the 1993 Canadian Donny Osmond recording (listen to that cast recordin...

Wishing her a fast and speedy recovery. Saw the show about a month ago and she was absolutely fantastic! And now, I'll make the joke since no one else has... When she comes back, she's actually playing Carlotta, so she can sing "I'm Still Here." (End bad joke)

To anyone who questioned whether or not Sarah Brightman actually hit the final E live during the finale: No, she did not. It was lipsynced. I have PAR (Perfect Audio Recall) and perfect pitch - the note that they piped in was the exact same high E pulled from the original 1988 London Cast Recording. Good attempt on her part, though!

"Why is it that branding/advertising art for the theater is so boring these day?" Because there's very left creative genius and savvy left in today's world of processed mass media. This logo tells us nothing about the show, and pales in comparison to the original. And to think that the person who designed that probably just got a nice $18,000 paycheck.

It would be fine if she didn't always end up half a tone sharp at the end of the number. Every time I've heard it performed, it's painful, shrill, and unattractive. Give me the 95' Lillias White version any day.