Profile for kyle33nyc

I saw it on Broadway about a month after it opened, and it was / remains one of the best shows I have ever seen. Chita was perfect, Brent Carver was perfect, Anthony Crivello was perfect. It seemed wonderfully dark and challenging, yet still accessible for a smart audience. I loved the music, the book, the choreography, the staging... You could tell that a master like Hal Price was in control, and passionately exploring topics of interest to him. It makes me crazy to think how amazing it woul...

These were great productions, and gives me hope that quality theater is still in demand.

Honestly, I'd like to see all revues lumped into that category as well. I don't think it is merely "a battle of semantics" but a debate over whether the awards should be used to encourage the creation of new musicals versus crowd-friendly theatrical events that feature music. Money talks, and I know that people on my side of the fence have already lost the battle. Jukebox musicals, film adaptations and star vehicles make much more sense for today's audiences than a new Sondheim or Kander & Eb...

I love the idea that Chita is the arbiter of theatrical good taste. Contact was a crowd pleaser, and it surprised no one that it won the award. It would go on to make money as a touring property, and the awards are largely about helping investors make the most money possible. But it my opinion, it was a theatrical special event. It is bad enough having revues compete against original stories and scores, but pre-recorded dance pieces? It should have been lumped in with the one person shows and...

I haven't checked out these boards in years. What a fun, crazy conversation this was. I still think Hairspray is a great musical, but that much of LaChiusa's article was on point. Saddened to learn about Margo, who dispensed thoughtful comments and was friendly in 1-on-1 messages.

Thank you for the heads up. I loved getting to see the full Ethel sequence. That she didn't a Tony for her actual work in Gypsy is incomprehensible.

Ethel Merman owns the role. Yes, she wasn't the most versatile actress - but she came a long way from that conversation with Sondheim to the finished product. She pushed herself to work outside her comfort zone on that role, and the results are clear when listening to the cast album. How many recordings have that kind of electricity that accurately reflect the experience of live theater? Despite my love for all things Merman, I thought Bernadette was great in the role. A very different take, ...

I loved the show. It isn't perfect, but a great deal of fun for Sondheim fans. Probably wouldn't take a casual theatergoer to see it. But about Barbara: it was pure joy to see her live again. That she can still sing and perform so strongly is amazing. She just gives and gives. While Donna Murphy is the definitive Fosca, I was amazed at how quickly Barbara could transform herself into the character with just a shawl. She feels the music, and sings with such conviction and heart. I thought Vane...

Was really surprised I liked this show. Glad that I took the free tickets and went. Orfeh was a great singer and performer, and that Leslie Kreitzer (sp?) was hilarious. Silly and corny, but much, much better than expected.

Just saw the show at the Fifth Avenue in Seattle. It was funny in parts, had some good music, and very strong performances. But it just doesn't click. The book scenes were often painful, and are in serious need of rewrites before hitting New York. The show clearly needs to be trimmed, as many folks were checking their watches in both acts. I'm glad I had the chance to catch the delicious performances of Sutton Foster and Christopher Sieber. I've always enjoyed her work, and she doesn't disapp...

I don't think this is true, but how seriously can you take a critic who dismisses two of the stronger scores by one of the best songwriting teams in musical theater? I think both scores are quite good, particularly the underrated Kiss of the Spiderwoman.

I don'y understand why anyone would have a problem The King & I. There are silly patter songs like any show from that era, but overall it's a classic. So many great songs, and they compliment the themes of the story or even push the action forward. I'm actually surprised to see so many people sharing some of my favorites as part of their top ten. It seems like everytime I check in to this everyone is STILL talking about Wicked.

People don't put money into Wildhorn shows. Wildhorn puts money into Wildhorn shows. Every time someone buys a Linda Eder record they contribute to the ongoing nightmare that is Frank Wildhorn.

The Bali Hai comment: priceless I think Capn's revised predictions are very close to what we'll see announced in January.

Smart casting. It might be worth travelling to L.A.

Maybe the reason is... Kander & Ebb

I agree. I said "no matter how much", in case they become enthusiastic when it transfers or feels a need to champion an underdog. The show is appreciated by critics, but not really liked. Mixed reviews, odd subject matter, and no bankable stars = early demise. This ain't a Disney show... And yes, Apple Tree will also be closed by Tony time. I'm sure Chenoweth will also get a nomination, and that will be the end of the road to Tony #2 in 2007.

Everyone talks about Ebersole being the strong frontrunner, but the honest truth is Grey Gardens will be lucky to still be running come next spring. No matter how much the critics might love it, its a tough sell. If Grey Gardens closes in January or February, which I personally think is a strong possibility, is it realistic to think that the Tonys will award Ebersole with a second leading actress award? Of course, Chenoweth and McDonald (the other two "sure thing" nominations) are also in lim...

Your link seems to be broken. I saw Pig Farm, and while I laughed at times, I thought it went on much too long. It needed to either be more pointed or funny.

I'm pretty sure that Sondheim has no say in how the music is handled in the film. As far as I know, the film rights have been sold with no requirement of the composer being able to provide input. This is standard for any sale of film rights. Knowing Tim Burton's work, Elfman will inevitably be involved in some capacity. If he and Burton are smart, hoever, they'll know enough not to tamper with this almost entirely sung through piece.