Profile for PipingHotPiccolo

there are definitely some people here who have missed the point---parroting the same "antizionism" that is clearly a cover for antisemitism that the play addresses-- but im lost as to how this piece was meant to satisfy a woke anti israel mob?

Lithgow's Dahl is a pleasant but dangerous monster, who spews venom at Israel (some of reasonable) but clearly and unambiguously hates Jewish people, regardless of their affiliation with the Israeli government. The play ends with hi

quizking101 said: "Jordan Catalano said: "That last revival is sadly all but forgotten but it was an embarrassment of riches, as far as casting went."

I just looked it up and HOLY CRAP that’s a cast. (It was just slightly before my entry into the theatre world)

Burstein is a titan of stage and yet is so humble and always just seems happy to be there. He’s my male equivalent of Kara Young."

I saw the 2006 revival in

blaxx said: "

What most people who see this will never know is how artful and ingenious the last revival was. It was superb.

Yes, people will still have fun but they have not much to compare it to.

What we have here is embarrassing for Broadway standards, maybe even for regional theater, Evans aside."

The talent onstage is hardly regional theater, so I think this is harsh. Still, thinking about it now, I cant really think of any direc

this revival for me was the inverse of CATS, which was a brilliant spin on a fundamentally weak show. Here, I dont think this production is really doing much with the piece, but the core is zany and solid enough that its still a fun time.

Luke Evans is perfect, and there isnt much more to say. So many dismissed his casting when first announced and they must feel ridiculous now- his voice, his presence, its all working. Andrew Durand and especially Stephanie Hsu match him scene for scen

this was better than i expected it to be, but its clear the writing was unfinished or aborted or that something went wrong here. the tone is all over the place, and the ending is real rough. though im not sure how you end this story, which raises the question of why this needed to be adapted to the stage in the first place?

Bernthal and Hecht are both truly excellent, and rise above the uneven tone. Im baffled why Ebon Moss Bachrach agreed to do this role, and I suspect the most rewrit

this started off very slow (from the front mezz, it was hard to hear any of them including Lithgow) and even as it picked up steam, i found myself thinking how is this a whole play? how can this be turned into a full 2.5 hour drama?

but where I thought Act 2 could go nowhere, I thought it landed beautifully. i give alot of credit to Aya Cash, who I thought was truly remarkable---crafting the paradigm of the Exhausted Jew, who is so sick and tired of having to defend governments and ove

first time seeing this play, and its a pretty good one though frustrating. its 80 minutes long, but the first 30-40 is just set up shtick (well written), so you are left with like half an hour of actual material to work with. i wish the playwright had expanded it a bit more so theres more meat on these very well built bones

this production is nothing special- Katie Finneran is excellent, I imagine taking the central character in a totally different direction than Jayne Houdyshell did.

Just looking the play side:

Play will be Liberation, gotta be right? I havent seen Giant yet but the Pulitzer sealed the deal there.

Revival will be Salesman, no question. And Mantello, surely, deserves the credit for this sensation.

Actress looks like it will be Manville, though if it were up to me, Id probably give it to Coon. Supporting Actress will be Metcalf, and she was grea

i'm not an entertainment lawyer, and appreciate the insight from Kad here, but having looked at Deitch's posts and doing the most cursory review of some google hits, she is really doing herself no favors.

i have no doubt she helped guide the character's arc in the years of development but that is not the same thing as being a writer. and her own interview back in 2022 is going to come back to bite her, because she describes getting a call from Tye Blue about a show "th

a worthy story, and a fine central performance, but a truly mystifyingly horrible play.

brody was better than I thought he'd be, and this is an engrossing story, and indictment of our "justice system" that more americans needs to hear. i wasn't particularly bored and even found myself tearing up on cue.

but the play itself makes no sense. theres an implication that the main character might be spinning tales, but that not only disappears without being addressed,

If I was picking amongst these nominees, I would give the Tony to Shoshana Bean, who nails her cheesy poorly written role and sings her face off (again). With such a crowded season its an odd category, because while Schmigadoon has the very funny Gasteyer and Kurtz, there werent a whole lot of outstanding female supporting performances now that we are all thinking about it. I agree Nischelle Lewis and Temptress were sub par, though Lewis at least sings beautifully.  And for what its wort

this feels about the time that this thread goes off the rails so i look fwd to the predictions game in other threads (before they too go off the rails).

ill say that my predictions are different than my preferences... i was shocked Temptress didnt get nominated but I would not have included her at all (and if picking anyone from CATS, it would been Nora Schell). Betsy Aidem is another good example-- i saw Liberation off broadway a year ago now, but I remember her speech like it was yes

Best Musical looks like a 3 way race, while Revival looks like a 2 way race. (I do not think they will want Titanique, as fun as it is, to be representative of the Best of Broadway). 

Play looks like a race between the British import, GIANT, the Pulitzer winning and v American Liberation, or the slighter but funniest option, Balusters. Revival will almost surely go to DOAS.

I think its Josh Henry's year, and Caissie Levy's, but Im not sure whether its Lane's or