Profile for GovernorSlaton

I don’t know who got ahold of the Tonys but the show looks MUCH better, almost richer. Better graphics, camera shots, stage, etc.

I was there tonight and loved it too. While the original had wonderful moments, I think this version is a vast improvement in just about every area. The storytelling is much stronger and I think allows for a greater emotional impact, especially at "I Will Never Leave You." Re: "Ready to Play," the number accomplishes something important that "We Share Everything" did not -- it signals the twins' sexual liberation. With the new flashback and the trial scene, a lot more is made of their near-im...

It's July. Be patient.

Nothin' ever happened underground in Louisiana 'Cuz there ain't no underground in Louisiana There is only Underwater

Music.

A friend of mine saw the show tonight and got her autograph, as did a bunch of others -- not sure where, but I don't think it was a special exit.

I don't really think Cole Porter needs anyone to defend his lyrics, but I've always thought that that line (in addition to several others like it in Kiss Me, Kate) was a joke about the sometimes strange stresses of iambic pentameter. I.e., if one follows the rhythms of that first line, the emphasis is placed thusly: DEM-o-CRAC-y.

Everything is "based" on something, but the question asked what musicals were not based on a book, a play, a movie, etc. Company started with Furth's unproduced plays, so I would argue that it is original. Sunday is a completely original story, as is Into the Woods. I would also classify musicals based on real-life events as original (Dreamgirls, Chorus Line, Caroline or Change).

First thing that came to my head was A Man For All Seasons, about Sir Thomas More and Henry VIII.

True, but Sondheim did tailor the part to Lansbury's talents. Same with Cariou.

She was wonderful at Second Stage, but even better once they moved to Broadway -- probably the biggest improvement in the cast.

There were some good answers to the question here, which led to my discovery of a different point. The fact that the witch does not mention giants as something Rapunzel needs to watch out for, when a giant ends up killing her in Act 2, adds to the witch's flaws as a mother.

I don't know anything about Norbert's experience with DRS, but simply talking for an extended period of time in a show can be more taxing vocally than singing.

I don't know if it was permanent, but Tonya Pinkins' voice was not in great shape by the end of Caroline, or Change.

I'd much rather see them do Anyone Can Whistle like they've been hinting (though even that had a concert not too long ago, in the 90's). But as it is my favorite Sondheim score, I'll be there.

South Pacific. After the first time seeing it, I remembered every single song.

I actually thought Threepenny was great -- since they don't have a real crowd-pleasing number, they probably figured "Pimp" (which showcases both Cumming and Lauper) would be the best choice. I loved the show and the number, so maybe I'm a little biased. Color Purple, Drowsy, and Jersey Boys were all very good, Wedding Singer was energetic if derivative musically, Sweeney was a bit of a mess, and Pajama Game (especially the Hernando's Hideaway section) didn't wow me like it did in the theater.

Just adding another "Good Luck" to Ms. Houdyshell -- her performance was phenomenal.

Lisa Kron winning.