Profile for TheQuibbler

Wish we know how partial the partial view seats in the orchestra will be. Thinking about attending the first preview but am nervous about those seats. I’d imagine its only just the judge’s table that would be obscured. 

WldKingdomHM said: "She’ll dump him when he doesn’t get his Oscar"

Well, she didn’t last year when he lost.

I had a similar thought as I saw Hadestown the other day and marveled at how glorious the sound in the theater is. I rarely listen to the cast recording because it sounds so small, like the instruments are playing in a closet. 

The real gag will be is if the matinee goes on and the evening is cancelled; I say as someone who switched their tickets. 

To me, the “break through” design just doesn’t make sense because a regular Playbill isn’t completely yellow— so it’s breaking through something that isn’t usually there. Unlike Titanique where she’s breaking through a picture of the ship. I like Lot666’s idea of a tattoo peaking out behind fishnets. 

Jackson McHenry, Vulture

“Zeldin, in your program, insists he intends The Other Place to stand independent of its source. But as in the case of many a work whose name director (who is, as my colleague Sara Holdren has pointed out, usually male) asks the daring question, What if this classic had big glass sliding doors?, it’s impossible to ignore the shadow presence of the original. Characters tend to move around in a set pattern as if being pulled by magnets, which is fine for the ritualistic structure of ancient texts but difficult to buy when a sheen of psychological realism is imposed. Annie’s insistence on proper burial rights — so pressing in the context of Sophocles when Antigone attempts to bury her brother Polynices — doesn’t register with the same weight in a contemporary setting, and it puts us at immediate odds with the character. Why would this itinerant progressive backpacking type care so much about her dad’s ashes, except that she’s a faux-Antigone and we need her to? Grief can grip you with strong, irrational impulses, but because there’s no disrespect for the dead in spreading someone’s ashes in a nice little ceremony, Annie’s objections leave you thinking she is less righteous than petulant. And what was the nature of her father’s death that has made discussion of him so taboo? Perhaps for the sake of universality, Zeldin keeps Adam’s past vague, implying he was a tortured, unstable patriarch, not someone who imploded his family name with a transgression on the scale of Oedipus’s own. It’s the wrong approach. Any version of Antigone needs to be powered by the overwhelming force of something big and dark, as if trying to hold back a reservoir of pain on the scale of the Hoover Dam. Instead, late in the evening, Zeldin gives the family a separate revelation. The luridness of that turn, which made some in the audience around me gasp, is one issue, but it’s more that it unsettles the structure of the piece. We thought were in the shadow of one kind of grief, and it’s usurped by another, more pressing one, with little time to process it. Instead of accumulating force, The Other Place buckles and swerves.“

I think it’s less about diminishing Mazzie’s performance and more about accepting that someone else can successfully play the role in perhaps a different way. 

Will Forte would make a fun Abe.

AC126748 said: "Can anyone comment on the $99 partial view tickets in the front orchestra? I’d love to see this again with Jane but not pay a million bucks."

A great deal, stick the orchestra right side. 

I love her crazy-ass film of Titus. I’d like to see her do more of that! 

Frankenstein, to me, is the Oscar villain: a movie with 9 nominations, including Best Picture, that nobody seems to like very much. It’s kind of baffling.

 

JSquared2 said: "quizking101 said: "JSquared2 said: "The show was a BOMB the first time on Broadway, never grossing above $400,000 and rarely more than 50% capacity -- I don't think Jinx has a big enough following to justify a Broadway run.

But ifCole wereto be interested...

https://playbill.com/production/gross?production=00000150-aea8-d936-a7fd-eefc41c00001"

Hard disagree. Jinkx has deep reverence for Judy Garland and I don’t think this would be something she would turn into a “drag” type of performance. As she has shown with her record breaking runs in Chicago, Little Shop, and Oh Mary, she has the draw and the fanfare to make a limited run of this work effectively.

My only quibble is that she is well known for her Snatch Game portrayal which, while very studied, is the point of reference for most people when it comes to Jinkx/Judy - so I hope people don’t go in expecting Oh, Mary levels of camp"


You’re helping to prove my point! She’s undoubtedly talented —but she’s only a big draw for her coreaudience like yourself. Also (respectfully) can you point out which records she broke for her other shows?"


Chicago record #1

Chicago record #2

Jinkx Monsoon Sold Out Her Entire Oh, Mary! Run

TheatreFan4 said: "TheQuibbler said: "MezzA101 said: "A Deep Dive Into the ‘Wicked: For Good’ Cast Album

https://www.vogue.com/article/a-deep-dive-into-the-wicked-for-good-cast-album"

I’m annoyed there isn’t a version of the “Finale” on the soundtrack because ending with “For Good” feels so anticlimactic. I want that big “WICKED” bum bum bum bum to close it out."

They stupidly put it on the Score Album that releases in 2 weeks. Its out on Spotify already, but doesn't include the speech part, just the For Good reprise section."

Thanks for the heads up, I figured it’d be on some random Target exclusive or AutoZone Special Edition or some crap. 

MezzA101 said: "A Deep Dive Into the ‘Wicked: For Good’ Cast Album

https://www.vogue.com/article/a-deep-dive-into-the-wicked-for-good-cast-album"

I’m annoyed there isn’t a version of the “Finale” on the soundtrack because ending with “For Good” feels so anticlimactic. I want that big “WICKED” bum bum bum bum to close it out.