Profile for sean martin

BARBARY COAST, in San Francisco in the mid-80s. Yikes what a train wreck.

The set, all 14,000 pounds of it, was - as Margo says - completely inappropriate: it was like the prison was at the bottom of a missle silo. Characters would make their way down to the deck on stairs that were downright dangerous because the tread to riser ratio was almost 1 to 1: the barber, for example, makes his way down a 45 degree staircase without a guard rail. It was awesome to look at for the first few minutes then lost its charm and became more intrusive than anything else. Stokes wa...

Sure. It;'s easy. RENT is a good piece of theatre. But a gift from the gods? Sorry, it's not.

CRY FOR US ALL -- from the same team that wrote MAN OF LA MANCHA, based on the play Hogan's Goat. It was written for Joan Didion and has one of the most heartfelt scores you'll hear in this lifetime. It opened against blockbuster competition and died a quick death, but it's still a gorgeous piece of work.

I can, and I do. We also talk about non-Broadway theatres on occasion, so hence the confusion. But I find it a damn shame that someone here thinks that people posting on this board are all a bunch of pretenders and wannabes, that no one here (outside of Marc Shaiman) has a real theatre career. Like I said, I work damn hard in this field, and I dont like it when some pissant makes some snide little comment that insults my hard-earned career. It's not easy staying afloat in this field: the mone...

It feels a little tacked on. You spend a good deal of time talking about the tenets of Buddhism as seen in Groundhog Day (an intruiging thought, actually), then Rent comes out of the blue. It needs a tighter tether to the body of the essay if you're going to pull this off.

Thank you. It's an honour. And who the ^%&$ are *you*, anyway? :)

Sorry, Joshua, no way. I worked too hard to get to this to have it slapped around by some little wannabe.

Another excellent one I hadn't considered till now: A Sourcebook of Theatre History. Easily found in any used book store.

>> But 1 YEAR after she headlined in a new hit musical and won a Tony? no. Well, yes, actually.

Can only speak for the original production and the ENO production, but the score is arguably one of his best. The lyrics range from the incredibly dense ("Man in a Tree"/"Four Black Dragons") to the simply lovely ("Pretty Lady"). And the more you know about Japanese theatre, the more you'll enjoy it.

Try contacting the production company that owns the rights to LITTLE WOMEN?

BALLROOM had some amazing visuals -- the transtition from her apartment to Roseland was all accomplished by the light of a glitter ball that bounced throughout the entire auditorium -- but it suffered from a so-so book that verged, at times, on sappy melodrama. But the dancing and the staging really made up for it -- some of Bennett's best work outside of ACL.

>> You are telling me that you, a desinger for a community theatre in eastern Iowa designed the sets for a Broadway musical BTW: if I'm to flaunt my resume -- and I guess I will -- I'll add that not only do I do work for "a community theatre in Eastern Iowa" but have had productions all over North America and a few in Europe, including a major production at a 2,000 year old Roman theatre in southwestern Spain and another that celebrated the 450th anniversary of a prestigious English school *a...

The Living Art -- sorry, dont know the author's name. The Development of the Theatre -- Allardyce Nicoll Theatre and Playhouse -- Richard Leacroft I can probably dredge up some more if there's something in particular you're looking for.

> Uh huh. OK Wipe the sneer off, bud. I said that they were using the sets I designed for Theatre Cedar Rapids. My impression was that this thread was about the Virginia Musical Theatre (http://www.vmtheatre.org/welcome.asp, where you'll find my name listed in the credits, and thanks for asking). Anything else? Or is an apology in order?

Did any of you see BIG RIVER? They used the sets I designed for Theatre Cedar Rapids, and I hadnt heard anything about how the show went.

>> It's amazing how many people on these boards hate CONTACT, considering it won 4 Tony Awards Folks who dislike CONTACT seem to dislike it for the fact that it was nominated for an award it should not have been given: Best Musical. That alone tainted it beyond redemption, because, as wonderful a dance piece as it may be, it's not a musical. However, given what a crappy season it was that year, I'm not surprised it won, let alone got nominated. I've seen MOVIN OUT, and it's a wonderful dance ...

Okay, I'll bite: what's the fascination for OOTI? I worked on a production of it a couple of years ago and found it amazingly lame, and yet several people just love this little supposed gem. It's got a couple of decent songs, but there's so much in it that was left underutilized.

>> Theatre friendly academics? Are you serious? They're a myth Uhm, speaking as one who's about to start a teaching position with a college in North Carolina that's well known for its theatre department, I'd hazard that you're wrong, but anyway... :) >> Why don't directors re-visit long running shows as often as they should? If they're good, they're probably off working on their next assignment. If they're not, they probably dont want to be reminded of how much they messed up and how much the...