Profile for walkedthroughmany

Tip: If you're interested for next time, get a free IDNYC card, and you can get a free one-year membership to City Center. (You have to actually go to City Center, show them the card, and wait for your City Center card to arrive though.)BLESS YOU! Thanks!

Members received a promo code for early access this morning; I'm curious if anyone has that promo code!

Anyone have this?Want to get Sunday In The Park With George tickets for the new dates but am nervous waiting till Wednesday!

Julie Andrews and Lesley Ann Warren (Cinderella, Victor/Victoria)

http://www.nytimes.com/aponline/2015/04/14/arts/ap-us-theater-review-it-shoulda-been-you.html?_r=0 Is the Times just running the AP review?! Is this a thing?

Shakespeare and Nick Bottom are not then ones that you're supposed to learn from, they're the ones learning the lesson. I missed the part where they learned, then...in the ending I saw, Nick Bottom was just removed from England by deus ex machina.

I'll say this: I think the core of the show is the message of "going with your heart, and not caring about the crowd's reaction." Huh? The opposite of this is true. Nick Bottom cares more about beating Shakespeare than he does about art. He makes Omelette because he was told musicals would be successful, not because he goes with his heart. He forces everyone to continue with Omelette not because he believes in the product, but because he was told he would find success.

"It's an absolute love letter to musical theatre." Everything that Casey Nicholaw touched was a beautiful love letter to musical theatre, but the libretto is far from it. The main character has a much more developed hate for Shakespeare than a love for writing shows. We can never sympathize because he appears to be driven by a need for money more than a desire to create good theatre (sounds familiar!). (GENERAL SPOILERS?) Above all, none of the characters end up falling in love with the idea ...

^^^ This being said, the humor of Something Rotten consists of very popular musicals merely being named or referenced, rather than it having anything particularly humorous to say about them. It will make tourists feel very smart in that it sticks to the ten most recognizable titles in musical theatre history. [title of show]'s humor was made up of much cleverer (and much more insider-y, sometimes to a fault) references.

My two cents: the Irving Berlin joke was the best thing about this production. It made me want to see Jane Krakowski as Helen Sinclair, but with 50 additional one-liners in the same vein. The actual performance was more exciting than Nice Work, but at least Nice Work gave you takeaways like "remember when Judy Kaye swung on that chandelier?" There could be about six Tony-contending performances here, if they were only given a "chandelier to swing on." Felt very much like we were stuck on the ...

Linda Emond walked away with the show. Her "What Would You Do?" was oddly the highlight of the production for me -- and with a score that includes "Maybe This Time" and "Cabaret" that felt a little strange. The direction, choreography, and design are just as inventive, poignant, and theatrical as they were 15 years ago. Studio 54 looks beautiful.

mschwager: Yes! I didn't mean to make it sound like it was a completely new song -- that melody is absolutely still there. The lyrics and staging (again, from what I remember) are entirely new, and now set up the Liz/Beth tracks in a very clear but still very poetic way. But the "If I Told You" segment has definitely vanished.

WiCkEDrOcKS: absolutely, the changes were for the best. I can't get over this team's ability to kill good songs and good scenes that simply aren't serving the story (remember "Costco"?), and I hate that that's a rarity among show creators these days. Though streamlined and simplified, If/Then still manages to make you think and keep you guessing -- but most important, you're now allowed to do so with an undistracted emotional investment. The final 30 minutes were a complete out-of-body experi...

Just found the show on YouTube. This is everything, everything, everything.

Saw the second preview tonight, and also saw the show (and loved it) in its DC previews. For those interested in what changes have occurred: they've done a TON of work. From what I can tell from the old Wikipedia song list: "If I Told You," "The Story of Jane," and "The First Of Forever" have been cut. "No More Wasted Time" now appears in act one, smartly repurposed as an all-female quartet. "The Moment Explodes" comes much, much later in act two. And there are two entirely new songs where "T...

They can opt to not be listed in the Playbill but receive a larger insert if they go on -- I think Wicked was the recent example.

I think an added benefit is that a "Tony Winning Best Song" could get performed on talk shows, promoted to radio, etc., a lot easier than an entire score can. Would be a very good marketing move. It definitely wouldn't always link up with the Best Score winner -- "When I Grow Up," "Defying Gravity," and "Gimme Gimme" would have been likely frontrunners in their respective years, despite not being part of the Best Score. Picture "Send In The Clowns" versus "Magic To Do" in 1973, "Hello, Dolly"...

Mostly echoes: Hensley is unmissable, the play is great but not excellent. I also loved the actress who played the mother.

PigPen's "The Old Man and the Old Moon" at Gym at Judson absolutely reminded me of Peter and the Starcatcher. You can see in the production shots that they've made their props out of found objects like cartons and kitchen supplies.

What do you mean by "showed you things"?