Profile for robbiej

If you ever find yourself negotiating your own behavior (Well...if I do this, am I stalker? At least I didn't do what X did...THAT'S stalkerish), it might be best to not send more than a note of appreciation about a performer's performance. Because, frankly, that's what we want to hear about. Every performer is different. Some may like the scrapbooks. I know of one performer who felt a little uncomfortable by it. Whatever you do, always tie it to the performance. That's why we're there. And i...

I'll fry an egg on Pal Joey's head.

Mary_Ethel

Aw come on, now. Was Mazzie miscast? Probably. But she's still a very attractive woman with a beautiful voice! Some of the comments are mean, even for me. And I'm an a**hole!

Just wondering. I really love that piece. It's actually sort of genius, kind of like the ASCOT GAVOTTE flipped on its head. And when Lionel (or is it Dinidan) is carried on and revived by Lancelot. Well...it just works better. The audience is allowed to watch the excitement and horror through the onlooker's eyes. We can see in our minds the nastiness of the wound inflicted. It's maybe my favorite moment in the show.

Ya know what piece of music I missed? THE JOUSTS. I always thought they were thrilling. Are they no longer in the show? Has that sequence been replaced by the "Joust Ballet"?

Is this thread actually for real? Or is Karen Finley about to pour chocolate sauce on her cooch?

What? No people of Spanish descent have ever lived in Allentown?? And, by the way, I believe the original lyric is not 'Allentown, PA', but 'Far Rockaway.' Which is an infinitely better lyric, in my opinion. But I do agree that it wouldn't bother me too much if Rosie was not played by a Latina actress.

Actually, the line of dialogue PJ is quoting is actually, 'Alright, Mae, I'll be Spanish.' And I vote Lopez.

Just a personal shout-out to Maruti Evans for his nom for his SLAUGHTERHOUSE 5 lighting design. I was the musical supervisor on the show. He's been doing spectacular work for years and I'm thrilled his gotte his second nom in a row. Congrats to him, and Joe Tantalo's Godlight Theatre Company for the nom!

"Bad career move. Cleopatra opposite Plummer at a top international company is a higher profile job and a bigger career builder than just about any movie or tv she could do. Especially immediately following Maggie. Sometimes you sacrifice the money for the quality. Somebody isn't getting good advice." Don't take this the wrong way...but that's just not true. At all.

JUST what I was thinking, besty. And is the Kate Baldwin playing Charlotte the Kate Baldwin I'm thinking of?? Isn't she a touch short in the tooth for it?

Please...Mr. Seiber is HOTTER when he's getting all carby. Saw him out and about one night and his beefiness just sends me swooning!

Someone has to explain to me how this play CAN'T be about a black family. The only actual point someone made was that there wouldn't be a black sportscaster in that time. I thought about it and thought it was too small a point to actually care. I mean...we're not talking about old money and Southern aristocracy here. Big Daddy was a man...a vagrant, really, who was taken in by a gay couple who owned a plantation. He worked hard for them and in return, he was left the plantation by the men. Ri...

Sounds fun to me! But am I right in assuming they're using the basic storyline of WOODS, but not the score? That's what the article implies.

I don't know. I think if Beane believes the nudity is essential and impactful to the moment in the show, who are we to argue? I rarely think that nudity is essential. But I believe it is always impactful. If an author believes that a moment's impact is weakened by the removal of nudity, then I believe he's got every right to complain. ESPECIALLY if he's already voiced the opinion and it was disregarded.

They asked Beane to cut the nudity, he said NO and they did it anyway. TFB, folks. You would have been better off not asking.

I remember reading that the producers sort of gave away the farm and Quaid contractually had complete creative control or some such thing. If he had THAT, I'm sure there were some other stipulations about being 'let go' that would have made it impossible.

I believe that Michael Bennett was the greatest director of musicals ever. And NONE of what's been stated here describes him at all. Some directors have very aapparent style (Fosse). Some are completely invisible (Dan Sullivan). Some always serve the piece in their direction (O'Brien). And still others (Bennett) impose their aesthetic strongly. I've listed four of what I think are great directors. Some were total jerks to work with. Others are nurturers. Some serve the play. Others serve thei...

It wasn't the writers, Joe! It was the director and choreographer! As for this...I think Beane really does have the final say as to whether it's essential or not. However, I hope he realizes that it may indeed hinder other companies from doing his piece. Tee hee.