Profile for TheFoozle

I just found the Playbill and ticket while cleaning out some old things... Beauty and the Beast in July 1997, two days after my seventh birthday. Kerry Butler and Chuck Wagner as the titular twosome. $70 for rear orchestra in the Palace. Was just looking at prices for An American in Paris and 18 years later, the same seat is just over double the cost.

Jordan - While that is what Helen is saying, I don't take it as a threat or a disownment of her daughter. It feels more like a wishful command. For me, the next line comes into play as well: "I didn't raise you / to give away your days like me." In my reading, Helen is telling Alison that she needs to go find her own life rather than become another thing her father can control - how Helen feels her life has gone.

To continue commenting on Disney, their productions are working to be adaptations of movies. They are trying to appease those raised on the original Disney product. Looking beyond looks, Susan Egan even sings Belle somewhat similarly to Paige O'Hara. In "Mermaid," Boggess sounds close to Benson as does Butler in that the later two performers are probably being moderately directed into mimicking the first. Beyond selling the voice, Disney needs to sell the look. Belle will always descend in a ...

NateHolder said: "Another one is Les Mis, will we ever see a black Jean Valjean?" I did. Lawrence Clayton played the role of Valjean when the 25th Anniversary tour began at the Paper Mill Playhouse. I could not tell you if he played Valjean as a white or black man, but he did play the role as a man. The amazing thing, the show still worked as well as it ever has. Thinking about who can play what role, the two biggest factors will always be about ability - can this individual act/sing/dance th...

More than pre-recording songs for movies, I'd like to see POST-recording. I've heard multiple actors mention how they were "locked into a performance" before ever meeting their costars or seeing the set and so on, in some cases probably months beforehand. This leads to some choices being so out of the moment - the complete opposite of the Les Mis movie where everything was happening truly live. I remember Helena Bonham Carter saying this about the Sweeney Todd movie - not that that movie didn...

After looking at a few different clips and recordings, I appreciate what the recent Broadway revival of "Night Music" did with the raisin/liaison line in having Mme. Armfeldt seemingly realize the absurdity of ending a line with "raisins" and then having to adjust her pronunciation of "liaisons" to fit. Having the character in on the joke sells the line for me. The same thing happens in "Phantom" during "Notes" when one is confronted with a "letter [he] wrote" and asks "What is it that we're ...

While I do adore almost all of Sondheim's works, there are a few of his lines that can make me wince while listening. One such example comes from the ending of "Into the Wood": "Into the woods - you have to grope, But that's the way you learn to cope." I know what is meant by the line - that all of the searching and moments of uncertainty are what allow us to become who we are and to make it in this word (all very important ideas of the show). But it never works for me in this line. Part of i...

Long time lurker, first time poster (hoping I don't get torn apart for having what may possibly be an unfavorable opinion). But anyway, hi everybody. I like it, but I've been excited about this for a while. What I find interesting is how the parts that I love about the usual cast recordings and liver performances are what don't work for me here and the parts that I generally want to skip through are what thrill me in this clip. My favorite part of One Day More is always the large stacked sing...