Profile for GIZMO2

Don't get me wrong: I love The Book of Mormon as much as everyone else, and Sal Tlay Ka Siti is one of my favorite songs from the show.

But, sadly, unicorns don't fly.

EVEN WORSE, from Baptize Me . . .

Moths flutter, but not in their cocoons. Keeping them from fluttering is kinda the whole point of their confinement.

Why couldn't she just sing, "like a moth from a cocoon?"

:-/

This is a freakin Christmas miracle.

EVERY. F*CKING. SONG.

I haven't listened to a musical score as good as this since . . . and I'm not kidding here . . . Les Mis?

How can anyone, on any level, not want to listen this over and over and over again?

I know that we've already had a few threads like this, but now the conversation is getting legit:

From the Salt Lake Tribune:

http://www.sltrib.com/sltrib/entertainment/51743824-81/mormon-book-musical-broadway.html.csp

It's interesting because as with all organized religions, the truth is conveniently buried between the lines. In this article they are trying to blame it on MONEY, but we all know that's a joke. BOM: THE MUSICAL = $$$. LOTS of $$$. Millions, in fact. And if this show ever did play in Salt Lake City, it would play to sell-out houses. (Maybe not in the Capitol Theater, which has 1,000s of seats, but certainly in a house the same size as the O'Neill.)

And these people freakin' KNOW that.

I'm convinced that just like with Prop 8 in California, this is another example of the Mormon Church hiding its painfully ugly, hurtful, and hateful side. The Mormon god is -- in the very words of the Mormon Church -- an "angry, jealous god." I believe it's that same anger and jealousy that will keep this wonderful piece of theater from the people who perhaps need this musical the most, and would enjoy it the most.

Oh well. I suppose I'll just Turn It Off ( like a light switch). ?format=auto&width=600

And clap for JOY when BOOK OF MORMON: THE MUSICAL wins its well-deserved Tony.

Peace.

Hollywood.

*sigh*

People, seriously, don't miss this show while you still have a chance. It's phenomenal.

To think that it's actually being performed at the Apollo, with an amazingly talented group of fairly unknown, soon-to-be stars. Not to mention the fantastic technology, lights, sound, choreography, costumes.

It's one thing to watch the movie, but to see this extraordinarily difficult show performed live has to be a rare treat. To see it performed with the expertise that is currently on t

Horrible . . . Truly horrible . . . Just as bad as this entire show has turned out to be: Such a disappointment!!!

Will Jonathan Groff's arrival help this show like Kristen Chenoweth's appearance did?

I regret saying this, but add my name to those who didn't "get" this show. While it was entertaining in places, and while there were some worthy performances, and even while my TDF ticket was absolutely perfect -- aisle seat in the Mezz, 3 row -- I simply couldn't appreciate the silly plot, lack of relevant/memorable songs, and the unrelenting stabs at black/Irish/social class.

And yes, with the exception of the beautiful main curtain, the set is offensive, any way you look at it, for

That double chin is gonna haunt me for years.

Why can't she stick a pasty on that?

Or just drunk?

Should I be scared?

Okay. Kristen Chenoweth = good call. She totally made tonight's episode.

Glee is back! . . . isn't it?

Given the actual atmosphere of the flea market, this video is really classy. And funny/entertaining. Way to go, Susan. You ROCK.

Glee, Episode 4 = YAWN.

Inconsistent, predictable, melodramatic, and stupid.

But the greatest crime? Wasn't even remotely funny.

[God, I used to have so much hope for this show!]

Heidi Blickenstaff used to describe [title of show] as a "reality musical." I suppose because it attempted to capture the creative process, behind the scenes, moment by moment. It also attempted to appear "unscripted." . . . I don't know if it was successful in that regard or not.

Isn't the Cort also finally getting a long-overdue makeover?

And what happened to First Wives' Club? Doesn't that hope to transfer sometime in October? If it does, where's it going?

Just saw the show last night for the first time, and I couldn't agree more with the overall tone of this thread. Why do people like this show? It?s trite, bombastic, and, overall . . . AWFUL.

Aside from the quintessential Dolly numbers, the music is a failed attempt from Wicked.

The jerky, epileptic choreography is a failed attempt from In the Heights.

The back light wall is a failed attempt from Guys and Dolls (oops, that one failed, too). I mean, from Hairspray. <

What should it be? (I mean, can they get her to sing ANYTHING that my grandmother doesn't already have memorized?)

Because everything Susan Boyle sings comes straight from Broadway.

And whether the world likes it or not, we're once again listening to "Memory" and "I Dreamed a Dream."

Everything about this woman is--for lack of a better word--STAGED. Even her oh-so-choppy beginning, which was clearly rehearsed.

It's another brilliant move on Simon's part. Put simply, this guy knows how to sell a performer and/or her performance. (I'd give ANYTHING to have him as my agent!)

However, the proof is in the pudding: Get this woman to B'way ASAP. There are more than enough roles that are ready to have her. (The grandmother in Billy Elliot, for starters. . . .

Maybe I'm just slow, but as I passed the Broadway theater last night, I did a double-take. That weird, inexplicable white-and-green display outside the theater has been changed, in my opinion, to a much better posting of clever pics, similar to the ones that now flash with the ads on this web site.

(I wonder if all our vociferous complaints on this board had something to do with that change?)

Anyone have pics of the new marquee?

It used to look like this: