Profile for Rathnait62

It depends on about a million things. In shows where there were a million people in one dressing room, I liked to come in as late as I possibly could to still be ready on time but without having to be in that room more than necessary. When doing musicals, I prefer to warm up at home. Last year I was in an off-Broadway play, was the first person onstage, and had to be wigged for that first scene. I liked to be there at least an hour before. If I had had a quieter dressing room situation, I pro...

Broadway is not one big non-profit.If these actors want to work in the "thea-tuh" for the "art" of it, let them start their own company and go for it. Otherwise, they can hold onto their decent-sized paychecks in shows that aren't exactly "art", but seem to have kept them pretty steadily employed.

I was told I had to come here and read this thread. Between last night and now, I've caught up and I have to say I'm completely amazed, and not in a good way, by the ridiculous rantings of these Broadway actors! Perhaps they should all band together and try to mount a show on Broadway and see exactly what goes into it, because clearly, they can't see past their own noses. As someone else already said, plenty of them wouldn't have jobs if there weren't "Hollywood names" selling tickets to thei...

Shouldn't it be a law to have to wear a bra in public after age 85 or so?

Aww, Dolly, did she refuse to let you spread her personal info all over the internet after you interviewed her or something? Why so bitter? She was wonderful in OKLAHOMA!

Some people sure can find some ridiculous things to get their knickers all twisted up about.

alterego, this is from the Equity casting call: "Dates 1st preview in Toronto: October 12, 2010 at Princess of Wales Theatre. Twelve-week Toronto engagement. Broadway Opening Night: March 6, 2011 at a Broadway house TBA." So it looks like they are casting both from the same call, and it does have the disclaimer that all principal roles are available. Perhaps they can say that because all the roles are available for Broadway, but they are including the Toronto dates because they are still cast...

"The ONLY good thing about jukebox musicals is that they give work to actors." So the stage managers, designers, dressers, house managers, company managers, assistants, ushers, musicians, conductors, directors, choreographers, sound ops, doormen - it's not a good thing that they get work?

From the Equity website casting notice for the Toronto/Broadway company(ies): All principal roles are male, and all are available. So as of right now, it seems they are not planning on bringing over any of the current cast.

I don't want to go back and read this whole thing, but I saw the notice for this on the Equity site this evening and remembered someone asking what kind of "pay cut" there would be. It's paying $1019.70 minimum, plus $80 extra per week for the first 13 weeks.

I watched the pilot, and felt nothing but desperation from the writing and direction. It's rare that you see a TV show trying so incredibly hard. I watched last night, however, because I was given a heads up that Monk was going to be a guest star. I laughed one more time than I laughed at the pilot, for a total of once, and that was at Monk's "blowsy drunk" moment. It's just not funny nor even enjoyable. I found it a chore to sit through the entire hour last night.

Good for her! It was early in her career, very early (obviously) and she was able to make a living and hone her performing skills while learning about touring and being onstage, and all it entails. I admire her for going out and doing that.

Did no one inform her that her show has closed?

She was in the LA production which was done after NYC.

I thought LBB was the original - at least in the NY production. And she was, in fact, brilliant. Who are you thinking of?

I'll concede to Jon on some of the staging. However, the potential was there for so much more - Stroman did some bizarre things.

I didn't literally work on it. I worked in the office where it was general managed. Shared space. I do think what I said upthread had a lot to do with it - it had a huge amount of hype and was being watched very carefully because it didn't have the cushion and safety of an out-of-town tryout, talked about everywhere and that talk of course made its way to the creative table. The pressure was tremendous and perhaps the wrong things were changed. Mandelbaum's claim of "superb staging" makes me ...

I saw it as well. Multiple times. And I posted the sentences you're quoting. Sorry, but I worked in the office where the general managing of STEEL PIER took place. I know what I'm talking about when I say "nightmare of a production experience." I do agree with you that it should have tried out out of town - it was way too closely watched and criticized at every step of the way due to the high level of anticipation and buzz surrounding it. But that added to/created the disaster of the situation.

??, there aren't many 9-5 jobs anymore. Most "cubicle jobs" nowadays are 8-5 or 9-6.

I indeed love, worship and desire Debra Monk. However, I leave the worship and desire of Ms. Ziemba to you, Jon. My love for her is purely of the platonic variety. But yeah, STEEL PIER. *shudder*