Profile for weaselprince71

Sorry, I completely screwed up the quote attributions. I was seconding TotallyEffed's (by way of Stritch) "WRONNNNNNG!", in response to the almost-certainly-unauthorized change described by morosco.I'm seeing the show next week, so I can't yet say whether or not I'll agree with PhantomMickey's original statement "The ending felt pretty anticlimactic... is that how it always ends?" -- but if I do, I can only assume it'll be a pretty damning indictment of Kail's staging, since, short of actuall...

"(Ya Got) Trouble" from The Music Man. Along with its numerous parodies.I'm surprised no one has mentioned it yet; this seems like the obvious granddaddy of the "warning song" genre, even if the "person, place or thing" being warned-against -- a pool table -- is comically unworthy of all the fuss. Or actually maybe because of that: Hill's rabble-rousing really is pure "warning", unencumbered by any actual facts, reasonable inferences, or even any genuine concern for the people he's warning.

morosco said: "The ending felt pretty anticlimactic... is that how it always ends?TotallyEffed said: "I saw a production of the show once where the ending was different and probably not an authorized change. Click Here To Toggle Spoiler ContentAfter Todd kills Lovett and the Beggar Woman, Tobias enters the bakehouse and sees what has happened. Tobias picks up the razor off the floor and slowly hands it to Todd. Todd then takes the razor and commits suicide by slitting his own throat. It was j...

g.d.e.l.g.i. said: "Piggy-backing on what I said, let's be clear on what this revival is, as its press has been making it out to be: a love letter to the 1979 original. If you're coming expecting anything else, you're in the wrong theater."I haven't been yet; I'm looking forward to seeing the show twice next month. But while its nostalgia may extend to preserving the original keys for the story's dullest character (in both senses, both deliberate) -- still, nothing I've seen or heard so far s...

KJisgroovy said: "I understand how iconic the whistle is and I'm surprised they haven't come up with something different with a similar effect. However, as mentioned during the set discussion the original was set in a giant factory. The original production had a giant, real factory whistle.Is there a reason that a production that has abandoned that concept retain the factory whistle aside from... it was in the original production? I haven't seen this production so I really have no idea if the...

trpguyy: "Unrelated, are we all just ignoring the fact that this set looks almost identical to "Diner?""Judging by the photo of Pask's model for Waitress (posted on an earlier page of this thread), and production pics of McLane's set for Diner, the resemblance isn't any stronger than one would expect: both musicals are set in vintage diners, which means they're operating in the same distinctive visual world. But McLane's diner is sleek and neon-shiny while Pask's is all faded pastels, pie-cru...

Hear, hear. Nothing to add to your observations -- just that I entirely agree.

Brown is credited (in the OP's link) for Prince of B'way's "musical supervision and arrangements". I wouldn't expect much (if anything) in the way of original composition, unless it's along the exceedingly-slender lines of the single original ditty ("God") composed by Himself for Sondheim on Sondheim a few years back. As I understand it, PoB is very much a greatest-hits compilation -- that's its point, like SoS (or a little more closely, like Jerome Robbins' B'way back in 1987). Whatever them...

http://f**kyeahgreatplays.tumblr.com/post/118694712921 (replace the asterisks)

Check your PMs.

Out of curiosity, I meant to check my watch on Saturday night as the performance was beginning, and again just as it ended, but forgot to do either. My rough recollections are that the show started at least five minutes after the scheduled curtain time (as most do); that intermission seemed to lasted closer to twenty minutes than the scheduled fifteen (again, not uncommon); and that the show ended around 11:25. (My watch said 11:30 when I finally remembered to check it, on the street a minute...

A8: Just as a thought experiment, I'm honestly curious whether your response might be more positive if this libretto had been set to a new and beautiful score by a resurrected Richard Rodgers, instead of the music that Ms. Tesori has given us (or foisted on us, if you prefer). Same book, more or less the same lyrics (altered as needed to fit classic golden-era song structures), altogether different music. Even hypothetically, it's pretty impossible to imagine, on any number of counts; but in ...

Kad: "Sure, the reveal of the house is missed. But everything else that is revealed is more valuable." Indytallguy: "Eloquently said." Agreed about the second part (i.e., a net gain overall). But even the reveal of the house isn't missed by me -- at all. I think the subtler way it comes together at Circle in the Square works infinitely better, and thankfully so: its reveal at the Public struck me as confusingly bloated -- a case of huge and somewhat heavy spectacle distorting the show around ...

"Gushy moment of Fun Home appreciation to add to the bulging scrapbook of specific moments people like in the show: the way small Alison's "I can see all of Pennsylvania" is so subtly altered for the end of the show. [...] The way it suggests that the moment is now an object of the past, that Alison has settled on it and let it be, the way it's shifted from an open, exploring note with so much before it to a piece of personal history, something a long time ago. That probably all sounds silly ...

Thank you, indytallguy. When I saw FH downtown, I was less-enamored by it than I'd hoped to be, but it's been steadily growing on me ever since -- in recent months it's become my new obsession, particularly its score -- and the Broadway staging has utterly erased any remaining qualms.

Eric and SF: yes, the graphic memoir is more careful to allow that Bruce's death might indeed have been an accident, as officially reported -- though even in the book, Bechdel makes it clear that she and her mother always thought otherwise. (In short interviews, she sometimes simply refers to her father as having "killed himself," without further explanation). I agree that the book is somewhat more ambiguous than the show, and that that ambiguity is a good thing and even a necessary one, as i...

Oh lord, the rumpled-bedding argument, again. (No discussion of "By The Sea" ever seems to get very far without this debate arising). For the record, I personally think they haven't rumpled the bedding yet (and probably never will) -- she's deluding herself that that will happen, every bit as much as she's deluding herself about the seaside-wedding, picket-fence idyll to come. Both delusions are expressed as none-too-subtly dropped hints, and both are pointedly ignored by Todd. She's as deran...

Funny, I always thought it was a roundabout reference to the phrase "[...in the words of] the Immortal Poet" -- suggesting, in this context, "how do you know whether you haven't perhaps stumbled onto a truly "immortal" poet who, to a slyly literal mind, would NEVER be 'deceased' ?" Bit of a stretch, I know, but that's what I always thought. Although, come to think of it, I guess the more usual phrase is "the Immortal Bard," almost always meaning Shakespeare specifically; while at other times ...

Help! It's been years since I saw HAIRSPRAY, and now I have to design Tracy's jail cell in such a way that the line makes sense: "They can stop us from kissing, but they can't stop us from singing!" How exactly are they being stopped from kissing?? The script says they "try" to kiss through the jail bars (and presumably fail). Are the bars really so close together that their LIPS can't touch?? Does anyone remember what this line referred to specifically? I'm fighting a deadline, and haven't b...