Profile for david_fick

Photos from the first leg of the international tour are out.

When the tour kicks off in South Africa in October,

The names of the three actors in the leading roles who will kick off the tour in October were announced on BroadwayWorld in May. The Eva is an alumnus of IN THE HEIGHTS...

"(Is) FUN HOME... (the) most factual musical?" Maybe. Maybe not. I quite like the posts above about the reliability of memory. But I do think that FUN HOME is one of the most important musicals dealing with homosexuality - period. Pat Cerasaro didn't seem to agree at first, but a later edit of the article at least gets the show a cursory mention in the introduction - although as far as I'm concerned, it could replace any one of at least five on his list

I saw the play and reviewed it for BWW when it was performed in South Africa last year, and thought it was magnificent.

Phillypinto write: "He didn't even like BOOK OF MORMON." jv92 wrote: "THE BOOK OF MORMON... has a boring, poorly crafted score and a plebeian book with some good jokes." The score of THE BOOK OF MORMON has a fair deal going for it, despite some flaws in its craftmanship. The book starts off better than it ends though, with some deft scene work at the top eventually disintegrating into little more than punchlines and song cues.

Phillypinto write: "He didn't even like BOOK OF MORMON." jv92 wrote: "THE BOOK OF MORMON... has a boring, poorly crafted score and a plebeian book with some good jokes." The score of THE BOOK OF MORMON has a fair deal going for it, despite some flaws in its craftmanship. The book starts off better than it ends though, with some deft scene work at the top eventually disintegrating into little more than punchlines and song cues.

AHLiebross wrote: "For those who picked ANNIE GET YOUR GUN as one of the best musicals.... [O]ther than the contrapuntal "Old Fashioned Wedding,"... the music seemed mediocre. The story is dated and racist." Fantod wrote: "I would say that calling the music in ANNIE mediocre is just incorrect. There's No Business, Can't Get a Man, What Comes Naturally, there are just so many great songs." I agree, the score of Annie Get Your Gun is fantastic, filled with a num

Jordan Catalano wrote: "Maybe Harvey is keeping the lid very tight on it's existence until the day it comes out just so he can drive up sales of this wretched concept album. So whenever anyone goes to look for FINDING NEVERLAND, that's the only thing they see until the other is actually released." That makes sense to me. Everything about FINDING NEVERLAND is so clearly about the bottom line that there's no room for artistry. But perhaps we'll still be lucky. Maybe the good taste fairies will ...

I am a huge fan of the film and actually watched it again yesterday. I'm devastated by the reports of this show. With a smart score, EVER AFTER could be a fantastic musical, but this production seems to miss more than it hits.

Limelight Mike wrote: "Any news on Encores! WILD PARTY?" It's still by Andrew Lippa. It's still not as good as Michael John LaChiusa's.

EricMontreal22 wrote: Are the statues about to fall and topple over her? No, Eric. You know this play is about how Anna topples the statues using colonialist entitlement to give her the strength of Samson's hair. Look at her face and body attitude. She's plotting...

FranklinShepard-Inc. wrote: Though the original book by the show (written by the young Mel Brooks) was not treated well by director Josh Logan, the score (by Strouse and Adams) is fabulous and very worthwhile listening to. Mel Brooks never completed the original book, and Josh Logan wrote major sections of the second act. Strouse and Adam's score ultimately doesn't work for the show, despite a couple of good songs. There's a huge gap between the score and the narrative it serves. I'm convince...

"By right she should be taken out and hung" should be enough to disqualify Lerner from the title fight, but there are many other examples where his lyrics falter too. His name can be struck from the list.

Avoid the 1964 Studio Cast Album with Barbara Cook and Theodore Bikel at all costs. Terrible orchestrations by Philip J. Lang (that only serve to make one realise how brilliant the original orchestrations are) and second rate performances with some really awful pidgin English accents are just two things that make this an awful listen. Any other major recording of the score is better.

The cast of KAT AND THE KINGS (1999) was South African, although I think the understudies were US actors. The production was basically the same one seen in the West End and in South Africa, with the many of the cast members having been associated with the show since its inception earlier in the 1990s, when the show was slightly different in its format and did not yet feature the character of Lucy Dixon.

best12bars wrote: As for MISS SAIGON, I think it lends itself to a film adaptation... I'm actually looking forward to that one (assuming it happens). Completely agreed. Let's just hope that they shift the fall of Vietnam to its chronological position, where it always should have been.

Glad to see a second network picking up the idea. Now ABC needs to get into the mix and they need to push each other to deliver better productions of shows. THE SOUND OF MUSIC LIVE was turgid thanks to the lack of direction and a mostly unsatisfying cast. Competition like this ups the stakes, and should push the live TV musical format forward.

My first experience of Audra McDonald was "Down With Love" on MY FAVOURITE BROADWAY: THE LEADING LADIES. My adoration for her was instant.

adamgreer wrote: Mary Testa and Titus Burgess were only standouts if you consider mercilessly chewing the scenery with no regards for the characters standout performances. Absolutely. Titus Burgess screlting his way though "Sit Down You're Rocking the Boat" stood out for all the wrong reasons. There was no regard for character there.