Profile for sweetestsiren

Robbie2 said: "Well, that was painful to watch. Ramin is the only one that vocally can handle this score.Just listen to the OBC of Chess!https://www.youtube.com/watch?v=uYxROvBeCGQ&list=PLF9C08C4CE52FB7F1"I don’t know how one could listen to those clips and think that Olivo can’t handle the score. She’s significantly stronger and less shout-y than Idina Menzel and Julia Murney in the last few concerts. Could see arguments re: the others, however, and decidedly did not like Miles as Svet...

Had the pleasure of seeing this on Saturday, which as a longtime Chess obsessive and follower of Raul Esparza’s career, was wonderful. I had some mixed feelings about the production overall, but am so grateful to have seen it.The new book was particularly interesting. I enjoyed that it gave Freddie some dimension rather than the typical “this guy’s an asshole” take, and gave Esparza a lot to work with acting-wise. That said, the mental illness angle was too much at times, particularly when th...

NYadgal said: "It's so rewarding. Every listen finds something new: a perfect turn of phrase, a moving harmony, a moving thought. I want to share it with everyone I know. I hope it keeps climbing the charts. It deserves to. " Agreed! Right now, I'm completely obsessed with "Wait for It," which I enjoyed a lot when seeing the show but didn't strike me as a standout at the time. But listening again on the recording, I'm blown away by how well constructed the song is and how essential it is to d...

I saw this production as well and, while I usually love Doyle's work, didn't care for it at all. Doyle's version has a really somber and heavy feel to it in comparison to other stagings of Merrily, and not to its credit. There were interesting ideas floating around (the teenaged Frank Jr. being on stage the whole time was intriguing, though underdeveloped), but on the whole nothing hung together. Worse, the instruments seemed cumbersome on stage, and the orchestrations had what instruments we...

"The Show Biz" from Ragtime, but even more than that, this song:

I don't think Bobby necessarily runs out and gets married, but "Being Alive" is still a breakthrough in that, for the first time, he's able to admit that maybe he wants to really connect with someone. I think he probably moves, starts over, and probably does some dating but doesn't emotionally close himself off from everyone. Although it would be interesting to think that maybe when he leaves he falls into the same patterns... I've had a few good discussions about whether Joanne was legitimat...

I think Lauren Kennedy has a lovely voice, but after being extremely disappointed by her Florence in Chess, I don't think she can convincingly play this role. Her voice doesn't really have the weight and power you need to be able to belt Eva's songs, and I get too much ingenue from her.

Signature's production was just lovely, and while that's the only production of the show I've ever seen, I had no problem whatsoever with the pacing. Maybe the intimate staging helped with that. I felt very drawn in to the characters and their story.

I think it's interesting that Carey Mulligan is in negotiations to play Eliza. She has a quality about her that I can only describe as Audrey Hepburnesque, and the same thing where while you're unsure objectively how talented she is, she's fun to watch and has tons of screen presence. You'd think from Thompson's comments that she'd be going far in the other direction. She's entitled to her opinion, but I disagree with her, of course.

"But it's warm inside his eyes And it's soft inside his eyes And he burns you with his eyes... And you're studied like the light And you look inside the eyes And you catch him here and there But he's never really there So you want him even more I could look at him forever / Look at her looking Forever with that mirror What does she see? The wide eyes, studying the round face The tiny pout... Seeing all the parts and none of the whole. But the way she catches light... And the color of her hair...

Wow, flat-out rave from the Times. I LOVED the show, but I'm really surprised with all of the positive reviews since there were certain scenes/elements that I didn't feel worked. But I think the overall effect was enough that critics were kind. Congrats to the show! Namo, I loved that line, too. It's so true! American Idiot's lyrics are melodramatic, but musical theater isn't exactly known for its subtlety. And who hasn't been at that age where you quote song lyrics because you think they're ...

After Eight, I don't quite understand your vehement stance against theater critics. I simply meant to illustrate that what you're advocating for -- more industry input into awards decisions -- exists in the form of the Tony Awards. Though you seem annoyed by this, the Pulitzer Prize has a different pedigree and focus. Books aren't awarded Pulitzers for being fan-favorites; journalistic pieces aren't selected because they're necessarily widely read and appreciated. I think it's fair and, reall...

Most of the musicals selected as Pulitzer winners have been groundbreaking or iconic in some way. Whether you like Rent's material or not, you can't really deny that a) it concerned current issues in a way that was challenging and different at the time, and b) it changed the face of musical theater for at least the rest of the decade, though probably much longer. Next to Normal isn't that. It's decently strong material that presents an interesting if narrowminded and occasionally worrisome pi...

I just...I don't know. I think the standards to win the Pulitzer as a musical have been set so high, and...Next to Normal, really? Really? I'm not going to pretend to have seen all of the nominees (other than In the Next Room, which I liked well enough but was surprised to see nominated, but Next to Normal just seems so forgettable when compared to the likes of Rent, Sunday in the Park with George, A Chorus Line, How to Succeed in Business Without Really Trying, South Pacific... But, again, I...

How is this show selling? I was hoping to try rushing it two weekends from now, but maybe we should buy in advance...

From Company: "But who will I take care of?" "Blow out the candles, Robert, and make a wish. Want something. Want something." From Cabaret: "Where are your troubles now? Forgotten? I told you so. We have no troubles here. Here, life is beautiful. The girls are beautiful. Even the orchestra is beautiful." Ragtime: "Just like that tune, simple and clear I've come to hear new music. Breaking my heart, op'ning a door Changing the world, new music I'll hear it forevermore." From Sunday in the Park...

Good. At least there's that.

I so wish I could be there for the final performance. Now I really regret not seeing it when I had the chance in November. I'll always have the fondest memories of the DC production, at least.

It's true that Dame Judi went off on the guy who was texting. He was two rows in front of me, and let me tell you, bitch is FIERCE. The guy left in tears. Judi picked back up like nothing had happened.

Can we discuss a little bit the differences between the original production and this production? I didn't see the original, and knew most of the music before I saw this revival. There are some definite differences, even between the cd and what they sing onstage. Most interesting to me is that they cut the first scene of the second act (the dream?) from this production. I believe "Harry Houdini, Master Escapist" has more or less been cut since the first tour and is no longer part of the show. ...