Profile for MOUSTACHA

This will be a great year for Broadway re: diversity. But, it's hard to push for diversity when half of the shows done are revivals from an era where diversity wasn't a consideration of many writers/composers. Also, so many shows are being based off movies, which have prior expectations of what the cast will look like.I think seeing diverse casting in the upcoming 'Crucible' is a great sign of things to come. Hopefully that sort of casting will continue, and encourage producers/casting direct...

Sylver1 said: "This is classic. I am criticized for "joining" this board to diss a celebrity and the next to last poster joined today to diss me!!! But of course, that is OK because I am an uncool person who believes that special rules as to civility, kindness...pick a word...only apply to those who are not famous. Oh, and apparently I am also self centered. Appreciate all the free therapy. Many years ago on a talk show Bette Davis...how ironic....when asked about autograph seekers etc said t...

For the die-hard conservative (thinks the lion king is too modern): King and I. It's long (so worth the money?!) and these sorts of audience members fawn over R&H. For the adventurer (age won't stop them from seeing what is new and hip!): Something Rotten. Especially if they're familiar with musicals in general, it's a lot of fun and has some great production numbers. For the classy (doesn't mind something new, but prefers to keep things sophisticated): An American In Paris. Gershwin + Ballet...

Playing devil's advocate here.. Imagine a life in which you're approached and expected to engage with strangers constantly. Literally, you can not go in public without multiple people stopping you to compliment, comment, or engage in conversation. It's incredibly tiring and frustrating. Just because she doesn't respond doesn't mean she doesn't appreciate. You are not expected to say anything to her, and in turn, she should not be expected to say anything back. Sounds like she is just trying t...

Phillypinto said: "yea, but spongebob really? idk this just doesnt seem like a passion project to me at all. A lot of highly commercial shows on Broadway had a lot of passion and art behind them (The Lion King, Beautiful, Aladdin, even Shrek). Spongebob on broadway is just trying to get money. "This project has been so "under wraps" for years. Just because you aren't passionate about the concept of spongebob doesn't mean those working on it don't have passion for the project. And I would hate...

Mmmmm!! Corporate boot taste licky-good. I mean... this IS commercial theatre, and, as it turns out, corporations are commercial entities. I don't think you really want to be the judge and jury of what does and does not deserve to be on Broadway - if you're willing to put in the time and effort to develop something, you find the investors, convince the theatre owners, then who are we to say no? I can point to countless shows that went through less and garnered no push-back for it's lack of pr...

The amount of time and money put into Spongbob's development far exceeds that done by almost every other major producing entity currently active. That, in itself, means it should absolutely come to Broadway with open arms. If a producer is willing to spend as much as Viacom has to make sure they get it right, they should be given the chance. The image you see in your head when you hear "Spongebob the musical" is not what will be on stage. I can't wait to see what the final product ends up being!

I suspect the reason has to do with the theatres having to 1) buy and install coolers to allow them to store the ice cream2) the sound those coolers make could be a problem in the theatre3) clean the seats because of spills I think, instead, I'd love to see ice cream trucks flanking the theatre at the end of the show. That way people walk outside and go "Oh, Ice Cream! Lets walk 200 feet away from the doors and get in line" rather than stop right in front of the doors and discuss the show. I'...

Also, this appeared today, so I thought I'd post it to those actually interested in Opera: http://www.vox.com/2015/8/6/9107993/how-to-go-to-an-opera

""This would sure mean more if they also weren't going to have a white singer doing the role. Whenever people are like BUT NO BLACK ACTORS/SINGERS CAN DO IT I'm like, one, **** you when's the last time you held auditions calling for them, and two, maybe you shouldn't do ****ing Othello then." Casting in opera is color blind, by necessity. It's all about casting the best singer, period, in the same way you hire the best violinist you can find. Otello is an extremely difficult role to sing, and...

The rule is 3 years immediately proceeding the eligibility date and has not had a professional performance in the borough of Manhattan at any time in those three years. Unless I'm having a stroke, the last production in Manhattan was 2006, so it should be eligible for best revival (should there be enough candidates to warrant a revival award, which there will be).

With a substantial modernization, I think it would be possible. You'd need an all-star production team to pull it off, but I think you could move it far enough away from La Cage to make it work. That said, no matter what you did, it'd likely be better in an off or an -off off-broadway location where you're less constrained in production cost and production expectations.

Thinking of "people you wouldn't immediately think of", I'd love to see Beth Leavel back on Broadway, as she's always been thoroughly entertaining.

Forum is the only show I know of on the horizon. It was sidelined when James Corden got late night. I assume they're still working on bringing it to Broadway, but I don't know of any timelines. See: http://www.broadwayworld.com/article/Breaking-News-James-Corden-Led-A-FUNNY-THING-HAPPENED-ON-THE-WAY-TO-THE-FORUM-Revival-Postponed-20140908

I've always been under the impression that Jerry Herman wasn't willing to make any updates to the script/score - i.e. he wants it performed just as it was in the original run. The show (especially the jokes) needs to be updated for a modern audience. That said, as mentioned above, casting, production costs, and timing have all presented major problems for a possible revival.

See this thread for A) Ideas B) An example of how to ask for something like this C) How to search to see if this question had already been asked... http://www.broadwayworld.com/board/readmessage.php?thread=989325 You're asking how to adapt a history paper into a musical theatre topic, I would suggest asking for some guidance of how to merge the two, as opposed to outright topic ideas. :)

This theory, on the scale they're talking about, is pretty 'out there.' But, it's worth saying that all producers, on some scale, buy tickets to fill in the house. Rather than comp in someone, they simply buy their ticket at face value and it's reported as a regular ticket. The vast majority of this is on a very tiny scale, but that doesn't mean it isn't effective in pushing GP reporting from, say, 87% to 90.5% with a handful of strategic buys to a group of people who are likely not going to ...

When I think of songs with belts at the end, I think of Shirley Bassey. (Don't try and mimic her performances though, no one can do Shirley) I am what I am - La Cage What I did for love - Chorus Line Where do I begin? - From the show Love Story (doesn't end in a belt, but has some spectacular moments that are made to impress) Ultimately these songs may not work very well for your age/personality/performing style, but I would suggest looking at some of the great belters for inspiration - (in n...

http://www.emeraldcurtain.com/description.html The website suggests an age of 10+ Maybe it's because I would never expect a backstage tour for $33, but I actually thought it was a fun way to spend a Saturday morning. You get up close to the props and costumes (and are allowed to touch most of the stuff), they walk you through the creative process, and a short video to explain the ins and outs of creating and running a musical. Then a Q&A afterward with cast members. I mean, it's what you make...

Somehow I gotta think Yale can afford it... Besides, maybe she gives an annual donation to the college, or did the masterclass for free. And, frankly, Yale should (and did) rightly pay for something they felt was worth it. They weren't forced to do anything.