Profile for QueenAlice

The last scene is extreme house right so I’d go for even numbered seats.

Who?

Binau — I say this with love, but posts like this make me think it might be worth reflecting on what personal fears or concerns about mortality they’re tapping into for you.To answer your question, though: great artists come and go, and new artists always emerge behind them. Those newer artists may never replace the older ones for you—but that’s often because the artists you grew up with become intertwined with the memories, moments, and experiences of particular times in your life.The answer...

Whether it will ever convert back to a conventional live theatre, of course it's 'possible' for the space to physically be converted back. The structure is all still there

I think the blaring music is more about standing out in a sea of pedicabs than anything else, and yes, this is a big win for the West End, and hopefully NYC follows suit soon.

The only autograph I have ever found meaningful is one that I get from someone in person as a result of some kind of dialogue that includes me sharing personally my admiration for their work.

Pasadena Playhouse has never sent anything to Broadway so it seems unlikely. Unless a non profit like Roundabout or MTC picked it up (and even then), AMADEUS is a very big show with a big cast and expensive running costs. I'm not sure a production starring Jefferson Mayes would be viable for a commercial production with current production costs in New York.I'm so pleased to hear these great reports for the production. Pasadena Playhouse productions really can be hit or miss - I thought their ...

The difference is, unlike Stereophonic the show will likely still be running in NYC at the time the tour goes out. It's often harder to find strong understudies who can cover multiple roles than just finding a new cast for the road.

They would be smart on tour to not link the show expressly with drag performers. I like the idea of different names going out for different legs.

It would certainly be a good role for an A list actress who can sing - Kate Hudson? Anne Hathaway? Amanda Seyfried? Cynthia?

Ever since Joe Papp didn't have the forethought to make sure the Public got a piece of the future life of HAIR (the first show the Public ever produced) the theatre has been relatively obsessed with the idea of funding projects that could potentially fund their coffers through commercial production. Obviously, WARRIORS is going to be the latest iteration of that.The problem has been that in more recent years the Public has balanced that quest with programming that prioritizes diversity and in...

I understand the instinct to rank performers in a role, but truly everyone who has played the title role in this show has brought something totally unique to not only the part, but to the sensibility of the show itself. So how do we quantify? Obviously, by now the real winner is Cole Escola- not the performer, but the playwright who has written something that is so enduring and elastic you could put Melania Trump in the role and the show would probably still ultimately work.For what it's wort...

That is clearly snake skin.

Obviously, they have contracted someone to replace, starting in early April - whether that person is a name or not - who knows. They will probably wait to announce the name until a little closer to that person's start date so as to not inadvertently sway ticket buyers from waiting to see the show.

She moved to the UK around the time her career in the states was just starting to take off, and of course she has done very well being based in London. She will always be best remembered for her extensive recording career, including taking on major roles in concert recordings of major Broadway musicals like Annie Get Your Gun and Anything Goes. A few years back, I saw her in the audience attending a Karen Akers cabaret in New York. It would be wonderful to have her do more appearances in the ...

Extended preview periods in NYC are not always about fine tuning the production - often they are about giving producers enough time to fully capitalize a production. Producers legally have until opening night to fully capitalize their show, and you'd be surprised how many shows need their full preview period to raise complete funds.

I assume you’re commenting on footage from a dress rehearsal, which is, after all, a rehearsal. That said, I’d actually welcome a return at Encores to true concert-style presentations, with scripts in hand. In recent years, the productions have increasingly felt like tryouts for potential Broadway transfers, and I know several actors who’ve declined Encores engagements specifically because of the pressure that creates given the very limited rehearsal time.

Sauja - I was just going to post something with the same sentiment as yours. Brava Helen Shaw - I look forward to strong journalistic coverage of theatre under her wing.

Any more hints? :)

Firstly, Julie Taymor came from a family of means (which is how she was able to go to the four corners of the world to study the theatre and puppetry elements she is now synonymous for) so I don't think making money has been the chief motivator in her career. If it seems she has slowed down in recent years, its worth remembering she already had a completely remarkable, full career before THE LION KING ever happened, and those of you that only know her for her work after that production should...