Profile for austinyourface

Sutton Ross said: "I'm hearing from my industry friends that this production is a dud and the music is unmemorableYes, Im sure your "industry friends" (so, like, plumbers) that a show that JUST started in previews and is almost entirely sold out is a COMPLETE dud, should be canceled immediately, and will never come to Broadway. Totally. Yup. 100%"It’s amazing how you perfectly manage to create the written equivalent of a fart so consistently on this board.

I think this show needed star-making, must-see leading performances, and it doesn’t seem like, however wonderful their leads are, those performances ever really emerged, even with Ghee winning a Tony.

Impeach2017 said: "How do you forget you saw a show?"If somebody regularly sees theater and ends up seeing dozens of shows annually, why wouldn’t they forget some of the more lackluster ones?

MasterThespian 2 said: "Need to separate the artist from the art."…do we, though? What is this argument aside from a fairly facile cover for people who want an easy out for liking something created by someone they think is gross? It’s the “I don’t see race” equivalent. People don’t often say “I separate the art from the artist” when it’s an artist they personally like. I don’t think you can separate art from artist. And I don’t think you should. I think people should grapple with the discomfo...

Well, champion of free speech Mamet already banned talkbacks after any production of his plays, so who knows.

JSquared2 said: "persephone88 said: "Got tickets back in the fall as the big birthday gift for my daughter, who is a HUGE Christian Borle (and Into the Woods) fan. He was the absolute draw and why she really wanted to see this production, and has been looking forward to it for months.This was made worse, unfortunately, by an April Fools' prank that I played on my kid - who has tricked me many times on April Fools' Days past. I sent her a text on April 1 saying, "Unfortunate news - Christian B...

They’re fine on time. They don’t need a protracted preview period.

Well, I have no doubt he would nevertheless gladly accept a Tony should the revival win one.

The only challenge Mamet offers these days is to your patience.And it’s rich for him to complain. In the 14 years I’ve been in NYC, there’s been 10 Broadway productions of his work. And if he weren’t David Mamet, his terrible newer works wouldn’t be getting produced at all.

That was a fragment I meant to delete before posting. …play’s still weak.

I was at the dress rehearsal this afternoon. I won’t comment on pacing or performances in light of that. And my issues are mostly confined to the text of the play itself. This is not McDonagh’s best. In fact, it feels like a rehash of the plays that made him famous, all jammed together and then defanged. It’s McDonagh-by-numbers. The play’s big twists and plot tropes all can be found in other plays he’s written- better plays. The Irish setting, coarse language, the non-PC humor and shock, the...

Wow, I’m glad I caught the show last night when Simard was in! She’s still terrifically funny, somehow turning every line into a laugh. Nikki is a fabulous Bobbie. I’m part of the pro-Lenk set, but Nikki’s take is very different- far more warm and effusive, rather than Lenk’s introspective and cool. And her voice is simply beautiful- “Being Alive” received a standing ovation. The swings and understudies in this production are some of the best on Broadway, but I can only imagine how exhausting...

RippedMan said: "A Korean In The Heights? Color me confused."It states it was a Korean production. This sort of casting is common in productions in Asia, where there is less “diversity” as Westerners would define it.

I’m fine with Encores doing “recent” shows- hell, flops from the 90s and 00s are now 20-30 years old. Chicago was done at Encores about twenty years after it debuted.

I do agree that thus far, her tenure has gotten off to a rocky start. But there’s time to course correct.

Lear deBessonet is an accomplished director who led the Public’s very successful Public Works program and directed many acclaimed productions off-Broadway, so I’m not sure how she would count as someone hired solely for her “identity.”

Borstalboy said: "Is it time to hire people based on their accomplishments and know-how opposed to their identity yet?"If you’re referring to Alexandra Grey, she’s great. She sounds great, she acts well. The fact this Life flops has nothing to do with a trans actress, and everything to do with Billy Porter being a poor director and writer.

Got out at around 10:20 from a 7:30 curtain. The length of the show is very much palpable. i have no familiarity with The Life aside from the cast album and legendary Tonys production, but it’s plain to anybody that what’s onstage is not The Life. Porter’s heavy-handed, preachy rewrites are so incongruous with the show, they stick out like a bad hairpiece. The ending is sanctimonious and wildly out of place. The splitting of Jojo into a modern-day person and a younger self is ridiculous, and ...

The production at the Public was stunning and easily one of the best productions of that season. It was received very strong reviews and the Lortel for Best Revival. Gardiner’s direction was wonderful and made the piece feel as vital as the day it was written, and her other concepts and ideas pushed the production forward. Ditching her is a strange move not rooted in any actual failings on her part as a director.

Regardless of whether one thinks Preston should be widely known today or not, I think a surefire way to dissuade people from actually learning about musical theater history is acting like a condescending snob whenever someone displays ignorance of it.