Profile for nonplussed

Fosse 76 You obviously haven't seen the show!

Millie dillmount I think you could have the answer there regarding marketing. Has anyone else noticed that of all the twenty-six awards given last night, including the early ones not televised, just two were given to shows that have already closed or are about to close - The Seafarer (where all the other nominees were also in shows that had closed) and Liaisons? So the awards went to shows that would benefit from winning Tony's. It seems like the Tony's were very commercial this year!

I don't buy into the "in any other year it would have been huge" reasoning. In any other year, there could easily be another South Pacific - a big, megabucks revival of a populist classic, set on an enormous stage, with massive orchestra and cast (thanks to a large budget) featuring star names, all faithfully and carefully crafted, but how often do we see such an inventive, groundbreaking, yet faithful and moving revival of a challenging piece like Sunday? I think it will be a long time befor...

Do you really think that no time or effort went into the set design of Sunday? I would think that far more months, even years of work went into the creation of the animated projections and the physical set (yes there was an actual physical set) by many talented creatives from various disciplines. You really have no idea!

His attack on Buntrock re the direction of Sunday in the Park was all lies. Riedel claimed that the success of the show was due to Lapine, the "saviour" of the show, who "sorted out the chaos". The production opened at the Chocolate Factory in November 2005 to rave reviews from the British critics. Lapine and Sondheim heard of the sucess and flew to London to see the show at the end of December, more than a month after it had been established as a huge triumph. How can Riedel publish somethin...

Sondheim was fully behind this production and encouraged its transfer to Broadway. If he was unhappy with the size of the orchestra, I am sure he could have insisted on more instruments. I never saw the original production but someone has posted parts of the recording on the internet. We Do Not Belong Together and Move On appear far less emotional in the original, with the two leads standing and singing much of the songs straight out at the audience rather than to each other.

The article is totally incorrect. Lapine was not acquainted with this production until he first saw it at The Chocolate Factory weeks after it had opened to rave reviews. Critics had praised Buntrock for drawing out the emotion of the piece and for unifying the two acts. Some critics even admitted to having been moved to tears. Prior to the West End transfer, Sondheim and Lapine, as authors, typically gave notes. When Sunday opened in the West End, many of the same London critics reviewed the...