Profile for At-the-glen

Just want to mourn the loss of Linda Winer’s reviews, I nearly always agreed with her and she was always one for finding the heart and soul of a piece.

Is this the first time that a songwriting team has had two performances on the parade, I wonder?

Anya is played as mid-twenties in the show, not fresh out of the orphanage as in the film. I don’t think it likely, but she’s also not really too old.

Additionally if you’re going to cast an unknown Higgins Equity should be kicking up a fuss that’s he’s not American. If they were going to cast young anyway there were Americans there.

Pass on everybody but Diana Rigg and this part isn’t really big enough for her Broadway return is it.

Carnival! Based on the lovely little film Lili.

wicked_beast4 said: ugh I TOTALLY forgot that pregnancy only happens when it's planned!"Most women with high-stakes careers plan their pregnancies, what an obtuse thing to say.

Her clear Carousel excitement in recent days just makes it seem like she would've done some different planning if she were trying to get pregnant.

The recent Encores! production included. Either of those things, perhaps there's been a revision?

I was interested in all of the parts separately: historical musicals, PTSD, swing dancing, pastiche jazz music, Laura Osnes and Corey Cott. The problem is all together they add up to the most whitebread show in years. Laura Osnes and Corey Cott are just so wonderfully square on their own that they've got to be paired with more daring material or more daring people (that's why Bonnie and Clyde worked for me). It didn't help that the show was so straight, white, male in the rest of the cast as ...

Should be Ashley Park. With Conrad Ricamora as Freddy.

I've entered the lottery twice and won both times and the seats were the same, almost center front row mezz and they were great.

Came back to add Before the Parade Passes By: Gower Champion and the Glorious American Musical which marks an interesting counterpoint to The Abominable Showman as well as Razzle Dazzle's history of the Shuberts. I find the different factions that developed in the sixties and seventies fascinating.

I didn't verify sources or anything, but the book is much more scholarly than his column. It seems to me a very even-handed look at the period.

Alan Jay Lerner's The Street Where I Live may be my favourite, as well as the vastly underrated Underfoot in Show Business by Helene Hanff.I'm currently in the middle of Free for All: Joe Papp, The Public, and the Greatest Theatre Story Ever Told which I'm enjoying; Riedel's Razzle Dazzle also dealt with the same period in an intriguing way.

People Places and Things at St Ann's Warehouse might be the drama to catch this autumn. Denise Gough is supposed to be tremendous.

For my money, Howard Sherman in The Stage has it right: https://www.thestage.co.uk/opinion/2017/howard-sherman-bad-producing-decisions-made-great-comet-musical-crash-earth/ The Great Comet is burning out, and taking Natasha and Pierre with it. Unlike the recent closing of the play Indecent, which managed to go out as a triumph, with its final week also its bestselling after a six-week reprieve, Natasha, Pierre and the Great Comet of 1812 is closing amid controversy, rancour and disappointment...

Does this mean I'm too late to make a 'Blandstand' joke?