Profile for TheQuibbler

Is it so much to ask just for a straightforward production of Romeo and Juliet? At this point it’s almost radical to do it without a capital C Concept. 

I saw Hayden’s first performance last week and, aside from some tentativeness here and there, she was wonderful. Burke is such an idiosyncratic actor it was hard not to imagine what her line readings would have been, but Hayden was a delight. It was sweet to see the cast cheering her on at the curtain call.

My guess is Celebrities Reading Back Issues of the New Yorker.

sinister teashop said: "morosco said: "Even though she's never been on Broadway, I was hoping this was gonna be aboutDebra Byrne."

And I was hoping it was Rose Byrne."

And before I opened the thread, I thought this was gonna be about Gabriel Byrne!

musicthatmakesmedance said: "I know the # of nominations has very little to do with the eventual winner, but it feels to me thatTwo Strangers' path to Best Musical is dying."

Especially since those suitcases missed out in the Featured Actor category!

Speilven Steveberg was there! 

According to an audition notice, it begins 10/31 and runs until January 2027.

iluvtheatertrash said: "Some People spend a lot of money to go to the theatre. Is that how they want to be greeted?"

And some people spend a lot of money to go to the theatre and don’t want that experience ruined by an overzealous fan screaming through the whole thing. 

I think “Don’t be an ***hole” is a great way to generally approach life; and some people need the reminder. 

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.