Profile for M.O.A.I.

1. This thread is a mess.2. BroadwayWorld moderation is a mess. They take down random threads in their entirety, but don't even bother to merge or streamline the thousand threads about a given show, or all the stage door/ticket advice questions? This board is impossible to navigate, and then once you find what you're looking for, it gets taken down.3. Saying "I don't see race" is a problem. There's a lot that needs to change in America.4. Saying that we should appeal to universal humanism rat...

Calm the hell down, guys. Y'all have no patience. It's months before rehearsals will start. Like I said, odds are they're looking for a Higgins so they can announce together.

Mostly amused she has three Marys in one season.

I imagine Ambrose may be signed, but they're waiting to ink a deal with Higgins before announcing them both together.

This board is so silly. What a great play and what amazing news!I guess this does mean one of two things, though - either Roundabout isn't doing a musical, or Beautiful is closing soon.

I heard from a friend who knows an associate producer on the show (no idea who) that the producers and crew were dissatisfied with Oak, and that he had vowed to learn the accordion but simply didn't. Thus the late start. Apparently not very professional, but this is all hearsay.

Lesley Manville and Jeremy Irons set to play Long Day's Journey Into Night in the West End, then onto BAM and LA. Fantastic news for all! I can assume this will be in the Taper season announcement.

I don't disagree with any of that. But Paula Vogel's tweet had absolutely goddamn nothing to do with that. She implied Ben Brantley and Jesse Green's misogyny resulted in Sweat and Indecent's mixed notices, which is ludicrous.

Smaxie said: "OK then. Answer why David Harrower's Blackbird was seen on Broadway, but not How I Learned to Drive? "Sure, it's absurd that it's taken this long. But Brantley and Green aren't producers or artistic directors and that wasn't Vogel's main contention.

I'll add that neither man panned either show, and that all four reviews were measured, clear, and well-reasoned. It's facile to dismiss an argument without engaging with it, but it's stupid and absurd to ignore the arguments made altogether in favor of unconscious prejudices for whicu there is no evidence.

Except that social inequality is not the sole factor at play. Certainly it's astonishing that neither have been on Broadway before. But Brantley and Green are both cosmopolitan gay liberals who agree with Nottage and Vogel's politics, agree with your state-of-the-theater assessment, have liked their other works, and likely wanted to like these plays. Neither did.When leftist gay New York arts critics are painted as oppressive conservative forces willfully enforcing a patriarchal white agenda,...

If you really want to measure bankability, I'd suggest restricting yourself to above-the-title credits and restricting yourself tp the time they were in the show.

Saw her in Stage Kiss at the Geffen, which was a truly awful play and production, but she was so startling and fresh. Very sad to see her go.

My mistake; I forgot M. Butterfly had a confirmed opening night set. List updated (and reformatted).

CONFIRMEDJesse Mueller, Joshua Henry, and Renee Fleming in CarouselMark Rylance in Farinelli and the KingChris Evans and Michael Cera in Lobby HeroClive Owen in M. ButterflyGlenda Jackson and Laurie Metcalf in Three Tall WomenElizabeth McGovern in Time and the ConwaysHEAVILY RUMOREDAndrew Garfield and Nathan Lane in Angels in AmericaTony Shalhoub in The Band's VisitImelda Staunton in GypsyDaniel Craig and David Oyelowo in OthelloUma Thurman in The Parisian WomanSutton Foster in Sweet CharityA...

How soon is soon? I imagine unless they're recasting Gough, they'll wait until spring. She's got a People Places and Things run at St. Ann's this fall.

This whole problem would be solved if we had reasonable copyright laws in the US.

While "too soon" may be a factor for the type of people who post on this board, I think we vastly overestimate the percent of audience members who know when the last revival of anything was, let alone went to it. Also, people rewatch their favorite films and reread their favorite books every few years - why isn't five years a long enough gap for a great play?

I presume Staunton and maybe Lara Pulver would be the only cast members to transfer.

Jackson's Lear could probably be successful in a moderately sized playhouse. From what I understand, it's rather a Brechtian/minimalist production, so I can't imagine a huge budget? I don't know how viable Travesties is, but Baz Bamigboye reported it was looking to transfer. It's been a year for Richard, yes, but Fiennes likely has a lot of film commitments, so it's hard to say why it didn't transfer to the West End. Redgrave's age is, of course, a problem.As for the Staunton Gypsy, I know it...