Profile for munkustrap178

Cherry Jones, DoubtVictoria Clark, The Light in the PiazzaJulie White, The Little Dog LaughedChristine Ebersole, Grey Gardens

As far as I can tell, Hedwig did not sell well in Boston, and I'm not entirely sure why. As has already been mentioned, there was very little press and advertising. I have found both Hedwig and the Boch Center's social media adeptness to be lacking. The show was not marketed well and, if you ask me, the tickets were overpriced. With that said, I found Euan to be tremendous and the show tours well.

My dream would be Meryl and Glenn, maybe switching roles a la Little Foxes.

That's so interesting...thank you.

Thank! Any more?

That's great, thank you!

Hi all, I would like to pick your brains about theatre critics, other than John Simon, who have gotten into hot water over their remarks. What are some instances where a theatre critic has caused outrage? Or, less dramatically, angered a director or an actor? I'm not looking for any Reidel/Weinstein or Reidel/Leveaux tales here. I'm really looking for cases where a critic has written something unnecessarily mean, cruel, racist, sexist, etc. Thank you all very much, and I look forward to readi...

I'm responding to the original poster, who specifically cited ONCE. In terms of the Opera House, I think that a partial view orchestra seat will always be better than a full-view seat in the less expensive rear mezzanine or balcony.

ONCE isn't going to be at The Opera House, it's going to be at The Shubert.

Exactly, best PERFORMANCE by an Actor. If he wasn't an actor, he wouldn't be in this category. Fairchild is just as much of an actor as anyone else on Broadway this year. If you think that he's not because he's a dancer, you've got some issues. I have a feeling he's going to win.

"An American in Paris" will obviously win.

I definitely understand your perspective. I think that I find John's score particularly forgettable because, like you said, it worked so very well within the context of the show that -- to me -- the cast recording is borderline unlistenable. They're doing it this summer at the North Shore Music Theatre in MA. I'm thinking of checking it out.

I actually do not like Neil Patrick Harris' voice at all. I found it very "Broadway" and I didn't think it suited the score at all.

These are the first posts that I have seen by Carlos, and I must say, I'm hooked. So glad I returned to this board, we could have some real fun with this one.

It's nice to see you on here, Jane. It's been a handful of years for me.

SDV: I didn't mean to imply that all one needs to portray Hedwig successfully is charisma and a nice voice. What I intended to say was that, with stage presence and a great voice, Hedwig (the show, not the woman) will never be an entirely unsalvageable experience. Those two attributes will generally be enough sugar to help the medicine go down and sell the show to the general theatergoing public.

That's true. It would be utterly fascinating to see how much Laura Michelle Kelly has grown over the last 10 years.

No she shouldn't.

First of all, I don't know what "increadible" means. Second of all, "A good deal of it is coming from people with a bias, but a lot of it also seems to be very unbiased..." is one of the most idiotic sentences I have ever read. I saw Mr. Criss 2 weeks ago. Vocally, his Hedwig is a powerhouse. Much of the subtle humor is lost, and he doesn't quite get into the character's head; it's slightly more of a caricature than a character, to no great detriment of the play. The chief thing working again...

I remember really liking it at the time, but as the years have worn on, I must tell you that I can't remember a single thing about the show. It was a well-crafted show with excellent performances, but the parts have always been greater than the sum for me. The entire show, particularly John's score, is forgettable.