Profile for Flahooley

I don't think I've ever been excited about a Disney Musical. I saw it in London... and didn't much care for it. I'm hoping that the altantic crossing has strengthened it.

Kander and Ebb have written this song several times: I DON'T REMEMBER YOU DEAR ONE They are all saying: I'm feeling something, but If don't acknoweldge it, maybe I can pretend it isn't happnening. No other team has done as often or better than K&E

JemimaPearl - Think about what you are saying. Why is the casting of a white girl in the DREAMGIRLS a mistake? Because the overiding conflict of DREAMGIRLS is about RACE realations. Therefore, it negates the conflict and drama is lost. You can't have it both ways.

JemimaPearl. That is theatre.. not just musical theatre: the suspension of disbelief (theatre 101) We try to get at the essense of things. That is what make theatre exciting and important. I don't mean to sound rude either, but if you are serious about Fiddler only being cast with real Russians and real Jews you'll proably never see a production of the show again.

JemimaPearl. That is theatre.. not just musical theatre: the suspension of disbelief (theatre 101) We try to get at the essense of things. That is what make theatre exciting and important. I don't mean to sound rude either, but if you are serious about Fiddler only being cast with real Russians and real Jews you'll proably never see a production of the show again.

I stand by original post. I know that there were no Africans in Russia at the time, but they didn't speak english either. They didn't sing their thoughts. One of the great gifts of theatre is to stretch the imagination. To see a "box" and it become a couch or a table or some object other than a "box." The same goes with gifted actors who can touch the essence of the character and what the play is about. I would much rather see James Earl Jones attempt Teyve than say, Don Knotts.. and Don Knot...

You could have black Tevye, the central conflict is not about issues of race in FIDDLER...it is about the dying of tradition. HAIRSPRAY is all about race. Therefore a European-American Tracey is necessary.

Sweet song

Is this guy for real? I've seen the unedited version of HOLIDAY INN. Sweet moments? Yeah, if you are the Grand Dragon!!!

Sometimes at REALLY good theatre, I have to take a break and go the bathroom just so I'll enjoy the second half. I almost wet the set when I first saw A CHORUS LINE and I probably would have soiled myself if I had seen the original production of FOLLIES.

I look forward to it. I hope Hynter adapts his brilliant stage production for the screen, racially mixed casting intact.

I felt I had to re-post my thoughts on the matter: Colorblind casting is important in all situations, except when the central conflicts of the play are race related. Therefore a black Scarett O'Hara would be foolish, but a black Eliza Dolittle could work. If you can't accept this, my guess is that you are one of the MANY overpriveleged European Americans who go the theatre, have little genuine imagination, and secretly believe that the white race is the "standard" race and everything else is ...

I gotta see that movie. I know that McNally ultimately wrote the book to THE RINK, but I'm almost certain that Innurato was the origianl author, why he was replace.. don't know. Anyone?

Wasn't Albert Innuarto the original book writer for THE RINK?

Lord, but I hated OLIVER! Now, however, I "like" it. Lord, but I loved ANNIE! Now, however, I "like" it.

Tom14850, all I can say is that I'm jealous. Burton's voice is as musical as an instrument. Speaking voices like Burton's don't seem to come along too often.

I once saw a Betty Buckley concert and Egan was in the audience. Buckley kept trying to get her on stage to sing a duet or a solo. Susan decline, but Buckley kept trying. I felt so sorry for Egan. She clearly wanted to sit back and enjoy the concert like everyone else. I give her props for handling it with such aplomb.

If you can get a copy of Otis L. Guernsey's BROADWAY SONG AND STORY, there is an in depth discussion with Firestein, Getty and producers of the show. They discuss how the show came about, performing it on Broadway and replaceing Harvey. All fascinating.

Wasn't there recent talk of John Cameron Mitchell doing a revival?

Oh yes! I heard that.. very nice. I'm going to guess that it had the usual solid Hamlisch score... but why? What prompted them to write a show on this subject. I'm so very curious