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Saw this Saturday evening and I don't remember a time I have felt so sorry for the entire company of a Broadway show. They are working so incredibly hard and the show is just...not good.

Just because something can become a musical doesn't mean it should become a musical. And this feels like a prime example of that.

The book is trite and dull, huge leaps of time happen in the blink of an eye, character development (if you can call it that)

Saw this on Friday evening after enjoying it quite a bit in DC.

The production has upgraded its design elements, it looks really beautiful in a very old-fashioned way. 

It's silly and goofy and a little stupid, but I was entertained start to finish and for my money I find this to be the most coherent of the new musicals. It is the most successful at what I think it sets out to do.

The performances are really firing on all cylinders, with highlights for me being S

Caught this this afternoon and aside from at least one phone going off in every single scene, I overall quite enjoyed it.

The production is truly nothing special. Kail brings out no new colors, he has no take on the material, it is competently staged, the transitions are nice but don't amount to much. I think he was a poor match for the material (and probably most material, he's not much of a director, is he?) particularly given the cast. It would have been nice to see a direct

I also attended the Saturday matinee 4/4 and overall I truly have no idea how I felt about the show.

It's incredibly entertaining start to finish, sometimes in positive and promising ways, other times because it's baffling in many ways.

Tonally, act 1 feels like a horror movie or thriller, perhaps more successfully than any other horror/thriller musical I've seen before, but then act 2 plays like a campy comedy almost start to finish until the (wildly anticlimactic)

Was at Sunday's farewell performance and really found the whole thing incredibly moving. Jonathan's commitment to and love for this show was clear in every single second of it. And the love the cast has for him was visible with just how many tears they shed at various points of the show -- Julia Grondin (one of the sirens) cried before he even made his entrance! -- and I think you'd be hard-pressed to find a more beloved Broadway actor.

Elsewhere, Michele Pawk and Sarah Hyl

Saw this tonight and thought it was overall very solid. It's not a reinvention or a radical take, it's a very solid, well-designed production.

Luke Evans really is great. Can't be easy stepping into that role, but he tackles it and fully commits in every way. He looks like he's having a blast up there and that invites the audience to have fun too. Vocally rather good, he has a unique voice that sounds appropriately gruff and weary and it really works.

Andrew Dura

Revisited the show again last night and while there are undeniably some incredible performances, I find the production itself less impressive each time and were it not for the work being done by the majority of those actors onstage, I do not think this would be doing the business it is.

Levy and Uranowitz have further deepened their performances and are just stunning from start to finish. Henry has broadened his scene work considerably, but the vocal performance and the gusto with whic

Shoshana Bean will likely be featured per friends who saw previous workshops of The Lost Boys.

I think as of this moment, it is Caissie Levy's to lose. Anything could happen, but I do not think Lea poses a big threat. There is love for Marla, but I think the Tonys tend to take the leading performance categories "seriously" and would be shocked if a (very good!) performance in a parody musical won out.

Christiani Pitts could get a nomination, cannot imagine a world

Thought this was largely a very successful showing for Encores. Issues with the direction and use of space, the set works but particularly the bedroom set for the final confrontation is too close quarters and shoved upstage right. The lighting also could be used to better effect, there is so much happening at any given moment onstage (which makes sense, this is a wild party after all!) but with the lights up on the whole stage, the eye sometimes doesn't know where to look. More than once

Still coming down from the high of first preview, but what a night it was.

I saw this production downtown a couple of times and loved it then, and my love for it has only grown. There are some adjustments to be made -- especially to the sound -- but what this cast did at the Broadhurst last night was nothing short of miraculous. For my money, this has always been the 2024 ALW revival that deserved the praise.

The transfer of the set to the Broadhurst was relatively seamless, a f

Paddington is set for a spring 2027 transfer, per a friend who will be working on the production.

Crossing all my fingers the N2N production transfers with Caissie, Jack Wolfe, and Eleanor Worthington-Cox at the very least. Would be thrilled if Jamie Parker came over, but could see them wanting to find a "broadway name" to replace him. Saw the production a few times at the Donmar and thought it was just exquisite with a stunning performance from Levy and the rest of the Goodm

Saw the show over the weekend and found it to be very middle of the road in all ways.

The cast is more than competent, elevating the material they have to the best of their abilities. But I think they are both let down by rather poor writing. He fares a bit better because his arc is more clear than hers. Pitts is very likable, though at least this weekend her voice did not soar quite as much as the music needed it to. Tutty is charming and funny and energetic, though at times I felt ve

Saw Samantha Pollino as Florence Saturday afternoon and while I thought her performance was pretty devoid of acting, her vocals more than delivered. I was very impressed, perhaps more than I had been by Katerina Papacostas back in december.

Aaron is still giving the best performance in the show for me, he is so much more loose and free than I've ever seen him in any show previously. He imbues Freddie with humor and charm and a biting edge, overcoming some of the cringiest moments o

Jordan Catalano said: "I love Simu but was a bit unimpressed until the saloon scene when he just, out of nowhere, transformed into a completely different character and it had me in stitches. Not sure if he’s another one who needs some time to settle into being on stage but also curious how he’ll be in a couple months."

His saloon scene was a riot. The immediate switch to stereotypical Hell's Kitchen gay made me cackle. When he tried to crawl over the

I saw JCM at the end of his first week and thought he was a bit tentative but there was some great stuff brewing there that I think will come to fruition in the coming weeks. He gets the sense of humor, he just needs to fully commit a bit more. I thought his Madcap Medley was brilliant start to finish though.

Jenn Harris, who I found wonderful when I saw her with Jinkx, is really a standout now. Just excellent.

Tony Macht is still reliable and great.

Simu Liu started off

Scarywarhol said: "Thank you, binau. I sometimes feel a bit silly when I realize I'm writing a ramble here these days, and I try to be fair, I am not trying to attack anyone and want to note what I appreciate as well. But I do know these pages are still actually pretty widely read and I hope it is just as widely understood that audiences notice what we're being expectedto accept."

For me, you absolutely hit the nail right on the head with my thoughts on this