Profile for chrisampm2

I was in the 2nd row, and I didn't have neck trouble after all. I'm 5'8". I thought the play wasn't great shakes but the production was impressive in every way.

The Beaumont has a steep rake in the house. It's not too hard to see past folk standing in front of you, esp during a show when the ovation doesn't last long.

I thought she was terrific in both. Her Sally, with a mix of naivety and street sense was strikingly different from Richardson and ultimately wrenching. I thought Heche was the revelatory replacement in PROOF, where both the brilliance and potential imbalance came through even more than with Parker.

The Distinctive Baritone, did you think the original production was an F you to Dog Live Matter folk or a celebration of a feline (or British society) POV? To me, this production is a ball through and through, not a brickbat.

Jarethan, do you mean stage left?

My tops:Cats: Jellicle BallStereophonicIllinoiseSunset BoulevardOh MaryGrief HotelMary JaneHills of CaliforniaGypsyJonah

Unlike Hitchcock's 39 STEPS, which was rooted in character development and long dialogue scenes?

It's possible the situation has been more complicated than you assume. How many off-Broadway productions have ever had the kind of coverage you're envisioning? As for the extension, the people in power may know better but had their hands tied due to a multiple of reasons (for example, previous plans and current resources).

Iman did get a Tony nom for LEMPICKA. Maybe that's enough to make it a win in her book.

Sams directed the original West End PASSION, so maybe Sondheim liked that production. I hope the news of continuing development of the show is true, no matter who else is involved.

KJisgroovy, Thanks. I know! As soon as I posted and read the post, I realized and have gone back to change it. I shouldn’t post before coffee. Apologies.

I’m with Pashacar. This is a show with a tuneful score, important themes, and wonderful performances. For all that, it’s not a success and I don’t think it can be.Like The Color Purple, this translation from a novel poses challenges. Director Gold and the producers are smart to try following the example of Doyle example of less is more. But Walker’s [I’d first written Morrison here and apologize for the mistake] novel had a primal drive at its core: Celie’s desire to be seen, and to see herse...

She went into ROAD TO MECCA right after FRANKIE AND JOHNNY in NY and then did FRANKIE again at the Taper. I got to see her in both, along with the revival of CURSE OF THE STARVING CLASS. She was aces in all of them. So lived-in and at ease.

I'd like to trade my pair of 3/9 DADDY tix for a different performance (a friend is going on in another show that night and I'd like to be able to see him). The DADDY tix are 1st row, dead center. So if you have tix and would like to go this Saturday night, please let me know.

I have 2 first row tix, middle of the row. $30 each. For 3/9, Saturday night, at 8. PM me if interested.

I have 1 extra tkt for tomorrow nts performance at the Public, 8pm. $55. Row K, middle of row. PM me if interested.

The license plate number from CRY-BABY.

I mistakenly bought tickets to another show the same night and I’ve already seen this so will sell my pair of tickets, row K, for this. Dec 2 evening. $45/ each. PM me if interested.

I would be grateful to join you, if still available.

Thanks After Eight. Your answer makes great sense. I have to add that I don't believe a lack of audience support means a show isn't wonderful. Was Donnybrook not good? Or the original Waiting for Godot or Candide? I admit I've rarely been mystified by a show's lack of success but I don't assume a show's commerciality is commensurate with its artistic merit.