Profile for Charley Kringas Inc

Absolutely! The music for these shows is written to be blended by acoustic dynamics of the theatre, which contemporary cast recordings totally ignore. They're mixed so dry and tight that every single element gets sectioned off into its own vacuum-packed compartment, and not only does it make the music feel smaller, but it robs the music itself of one of its fundamental qualities.

The ur-example is the Hello Dolly revival, which sounds like a sickly child on the cast recor

a woman is held down in a back alley and [blanked] for fifteen minutes. every night she wakes up in a cold sweat and every day she has to fight back panic attacks. her friend takes her to a play that, unexpectedly, features a woman being [blanked] onstage. while she's crying on a bench in the lobby, john doyle comes over and kicks her in the shins for being a big stupid baby who can't handle being challenged by art. somewhere, a right-wing journalist experiences a frisson of deli

The first time I saw this show, I had the creeping doubt that it was only as funny as it was because it was fresh. The second time, I had the creeping doubt that it was only as funny as it was because of Cole, et al. The third time, I have no doubts that Oh, Mary! isn't just a great star vehicle for Cole Escola (this is the first alternate Mary I've seen), but a great star vehicle period, and a much more flexible comedy than I first thought.

There are some losses with the new c

It was really funny to revisit this after Tammy Faye, which is such an awkward show that seems to have no idea what it wants to be. Oh, Mary!, on the other hand, has a strong sense of purpose and vision, which allows them to layer ideas with precision that would fall apart under a less sure hand. It would be one thing if it was just a stupid comedy about an alcoholic Mrs Lincoln, but the framing of it as a warped reflection of a dowdy regional production of a terrible, old-fashioned hist

I love how many times this show gets on a roll where the laughter from one joke spills over into the next joke and the energy builds on itself into the most deliriously stupid crescendo possible. I legit couldn’t breathe at some points I was laughing so hard. It’s like if Mark Rylance had dropped acid and chewed on an adrenaline gland before going onstage as Olivia - absolutely unhinged and yet bizarrely refined and always on target. If they don’t make a pro-shot of thi

MikeInTheDistrict said: "I think there is a valid point there about the weaponization of identity politics against the very people who should be allies in our fight against fascism, but I feel like Fox, and this show, risks playing into those very politics by perpetuating both false equivalencies and divisions between the experiences of marginalized groups."

"False equivalence" is also how I'd describe the way that people conflate the issues that result

ChairinMain said: "Charley Kringas Inc said: "It does make me laugh that all of this is happening at the same time as Book of Mormon becomingone of the top ten longest-running shows, given the oversized influenceSouth Park has had in reintroducing casual antisemitism to new audiences."

South Park creator Matt Stone isJewish, and the show has always, ALWAYS made it clear that it's portrayal of antisemitic characters is satirical. Portrayal of antisemi

it's funny to me that their post was essentially pro-israel/zionist, in that it was spoofing overweening tumblrfied leftist identity politics ("unalived folx") and the way those are used in pro-palestine discussions, but because it's such a dark joke in such a hyper-specific format that's leveraging a real tragedy that literally just happened, it's sparking the exact kind of infighting and linguistics-warfare that the show mocks

really i expect nothing le