Profile for ABB2357

Thank you SO MUCH for posting this!!I've been meaning to go through the old threads myself - if I find any others, I'll share them here.

First two that came to mind were Nathan Lane in THE PRODUCERS and Sarah Steele in SPEECH & DEBATE.

FWC was a very popular topic on the boards back in the day! It's a "favorite" of mine and I maintain that if the San Diego iteration had come to Broadway, it would have been a Carrie-level flop legend.

Believe it or not, this summer is the 10th anniversary of FIRST WIVES CLUB at the Old Globe! How time flies, although my two experiences seeing it were unforgettable (the less said about the Chicago run the better, where it went from being a magnificent disaster to a merely bland and unmemorable one).Here are a few hilarious threads with reports and memories. If I find any others, I'll post them as well:https://www.broadwayworld.com/board/readmessage.php?thread=1101587https://www.broadwayworl...

The 2009 BYE BYE BIRDIE with John Stamos and Gina Gershon owns this thread (as does the previously mentioned '09 GUYS & DOLLS).

"Deeply Furious" has to be the most WTF Broadway number I've seen, and it's also a dead ringer for Britney Spears' "Toxic."It's just too bad THE FIRST WIVES CLUB's "Red-day for change!" trio didn't arrive to steal the crown.

If Laurie Metcalf gave me a shrub as a personal gift, I'd display it prominently and say a prayer to it every morning when I wake up and every night before I go to sleep.

Of these options, I'd go with third row front mezz. The mezz offers a great, intimate view of this show - but I'd want to be as close as possible.

McNulty softballs the show as LA critics tend to do. Its problems are bigger than he lets on but he also gives due credit to the production for being ambitious. Either way, at least it's memorable. I always prefer a hot mess over bland mediocrity, which is 90% of what plays at the Ahmanson.

The show definitely seems more like Hwang's vision than Tesori's. While there's a lot of original music, I didn't feel the personal stamp she brought to FUN HOME and CAROLINE, or even MILLIE or SHREK. It's a lot of pastiche with a few modern-sounding power ballads.I agree with bk's post 100% - LA audiences love "hip" and "edgy" stuff that makes them feel worldly and sophisticated, but most of the time the material is a total softball. The show got a huge response when I saw it (2nd preview) a...

I saw the show tonight (2nd preview) and it's one of the hottest messes I've ever seen - the kind of trainwreck that can only be made by genuinely talented people.The plot is an indescribable muddle involving three central characters: David Henry Hwang himself, a Chinese media mogul played by Conrad Ricamora, and 2016 presidential candidate Hillary Clinton (you read that right).Hwang's script is obvious and pandering, but VERY genuine - partially inspired by personal experience and truly hone...

Apologies if this should be in the main thread...Just wondering if row F or G right/left orchestra would be too close or obstructed. The seats I'm considering are about 4 in from the aisle. Seems perfect, and I've seen the production already so I'm mainly going to experience Bernadette's star turn up close. Thanks!

Was going to mention 101 DALMATIANS - I never saw it but wish I had. It looked like a camp classic in the making!

1. "Ring of Keys," FUN HOME2. "Sunday," SUNDAY IN THE PARK WITH GEORGE3. "What I Did for Love," A CHORUS LINE4. "I Hate the Bus," CAROLINE OR CHANGE5. "Ready for Charge," THE FIRST WIVES CLUB (tears of laughter)

Sorry to hear about your experience - that sounds like a nightmare.As for Pence, too bad it wasn't SOUTH PACIFIC.

Also, re: its success in Asia - it seems a year after the Broadway closing, the show was mounted in Tokyo and professionally filmed for Japanese TV! The cast was a Japanese band called "Attack All Around."

This sounds like the perfect choice for a 54 Below reunion next year, where the original cast can reunite, sing a few songs, and hopefully dish on what happened behind the scenes. And Larry, I often have the same thought about Charles McNulty at the LA Times - he softballs most major tryouts, including the recent AMELIE (there's barely a paragraph of minor quibbles in his review) that meet their doom on Broadway.

I remember some people placed the blame on Eric Schaeffer, who got the young/inexperienced cast and creators' hopes up by bringing the show in from Signature when it was clearly not Broadway material.

Did anyone see this show during previews or its opening (and closing) night?I've always been fascinated by it, being the last 1-performance flop we've seen - and possibly one of the last ever, since recent shows like IN TRANSIT prefer to burn through money-losing weeks in the slight hope of turning a profit. Was it really as bad as it sounds or just not suited for Broadway? I've heard the score and it's almost embarrassingly amateurish, albeit a well-intentioned effort.

Indeed! Here you go:Prince of Broadway