Profile for ChiDoc

malcs98 said: "Actually I think they’re very good at Tony’s too…it’s all industry-backed just like the Oscars and Emmys"

Perhaps I more mean that the "Expert" prognosticators are less accurate.  But keep in mind, all of this is anecdotal more than statistics-based.  So I could be completely wrong!

Gold Derby is very good at the Oscars and Emmys, but their Tony odds have always felt much more vibes-based to me.  Doesn't mean they're inaccurate, but I put much less stock there.

I enjoyed this at Chicago Shakes.  The script has some weird pacing and its attempts at being something deeper than a haunted house are a mixed bag, but it has some great spooks and is definitely a fun time.  The word-of-mouth in Chicago was strong, so hopefully it experiences the same in its next runs.

Bryce Pinkham got a terrible role and chose to shout his way through it, giving what I thought was a terrible performance and the worst thing about an infuriating production.  So I can only laugh at the nomination.

There is nothing anyone can say to temper my excitement for this.  I have a trip planned in January that was fully based around hearing this glorious score live for the first time.  And then add in Joshua Henry........  January 4th can't come soon enough.

I guess I just don't understand the reasoning behind writing a brand new book for this concept.  Keeping the 1950s setting and a black Joe gives the exact same message (Joe wouldn't have had the opportunity to play in the Majors) while also preserving the authors' original work.

I'm not wholesale against revisals and different interpretations of older works, but this one feels unnecessary because Damn Yankees can already support the ideas they want to express!

Chicago also has the benefit of being in the Ambassador, which isn't exactly a sought-after house.  There's truly nothing stopping the show from running through infinity.

I am jealous of all here who saw it!  Pacific Overtures is my sleeper pick for favorite Sondheim, and I think it may be the finest thing he and Weidman have written.  I hope I too can see a production live one day.  Thanks for all the reports!

I was one of the 26% that week.  It was the only show playing on New Year’s Eve and there were still fewer than 300 people in the Beaumont (and even less by show’s end).  I’ve seen some short runners (Here Lies Love, Paradise Square…), but this was the biggest flop I’ve seen.  I’ll treasure the memory even if I disliked the show quite a bit.

Gold Derby is good for the Oscars and other awards that have valid precursors.  The Tonys don't have that, so the odds just seem like a distillation of "how do we FEEL this will go?" more than "how will this go?"

I guess we'll have to look elsewhere for our Svetlana.

RIP in the most peace!

Well, this is a shame.  I have my $30 ticket for the final performance, and there’s part of me that still might go because I’ve never seen a show at Encores, but I might be abandoning this to pick up a ticket to Dead Outlaw instead.

Interestingly, "She Knocks Me Out" was one of the two songs that was added during the Chicago run.  The other was a re-written finale, so this was the only song that fully added a scene to the show.  I found the song to be great fun and was sorely needed for the character.

ACL2006 said: "BOOP has canceled most of its Thursday matinees and moved to either a Sunday evening performance or two shows on Wednesday. This is not a good sign."

That’s a shame, because a Thursday matinee next month was the only way I was going to be able to fit the show into my schedule.  More shows (that I want to see) need to have Thursday matinees!

darquegk said: "The Broadway original book, or the touring/licensing version revised by Hwang? I thought the Hwang book was relatively good, and can't speak to the original."

As Mickey3309 says just above, the most recent Williams production's book.  I have no problems with either the book that opened on Broadway or the touring version.