AMELIE to close on May 21 — Page 6

Bettyboy72 said: "haterobics said: "Bettyboy72 said: "I think Soo could go back into Hamilton or Comet without it hurting her. She could even demand extra money. I think she needs to focus on working. Honestly, I've never found her to be that compelling. I don't think she is poised for greater fame."

Hard to take career advice seriously from someone who doesn't think she is that compelling onstage, though, heh.

I think true working actors like to work. It's called hustle. Unless she has some things lined up, she'd be lucky to go back to either hit show. It keeps you out there until something else arises. The Josh Henry example is a perfect example. He is just interested in the work and isn't concerned about opening the show in a major city or holding out for something else. It is definitely helping his career.

Same with Tony winner Olivo going into the Chicago run, and Tony nominee Rory going back on tour. They are probably getting great money and getting themselves out there. People acting like Soo should shine these shows on may forget what its likes to be a starving actor and what a great gift a hit show is. She's not a name and she's not a draw at this point.







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I have to agree with some of what you say - the way people are talking about Soo here and her career strategy is as if she is a young Bernadette Peters in her peak. She is talented, don't get me wrong, but she is a young girl that has had one break out role and little name recognition. The phone is not going to be ringing off the hook for her to originate roles or star in TV/film.

It's hard to understand why going back to Hamilton or Comet would hurt her career - if a casting agent looks at her resume and sees that she returned to Hamilton or has a lot of white space/unemployment, it all seems to be much of a muchness.

Turning down a new role to go back to Hamilton or Comet would be a different story.

Ado Annie D'Ysquith said: "What exactly makes a score "cinematic?"



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Although one can talk about how film scores are created in a certain way in order to enhance the accompanying scene and enhance the vision of the director (often times directors have a big say in what kind of score they want for their film), when I wrote my sentence, I intended it to be two separate clauses..."cinematic qualities of the film" and "the score". Maybe I should have reversed it to avoid confusion. That said, the film's score is such an essential part of the film that it wouldn't be the same movie without it.

Updated On: 5/8/17 at 11:44 PM

Please, don't offend Bridges of Madison County with that comparison. That score was wonderfully diverse and combined a number of instrumental and vocal styles to create incredibly romantic, dramatic moments that are not often achieved in musicals these days. Plus, it has a Tony to show for it. I doubt Amelie is anywhere near on the same league.

IMO, the songs just ran together too much. Many of my favorite shows have scores that people don't find catchy, so I don't think that'd be the root of the problem for me. It's just that the songs from this show aren't memorable. There were only about a few that stuck in my memory - "Stay," "Goodbye, Amelie," and the one Nino sings when he's putting up those flyers. There was also a duet adult Amelie sang with young Amelie that I sort of remember.

I remember thinking in the theatre that I'll probably buy and listen to the OBCR when they release it. The songs themselves are pretty and I would like to listen to them. I just didn't like them for this particular story or, honestly, probably any musical.

So the Walter Kerr is free again? Let's just open Falsettos again for the summer

There were some noticeable groups of empty seats in the mezzanine for the Saturday matinee. Which is why there were people dangling their feet over the seats in front of them. Yuck.

Having seen the production in Berkeley, CA l believe that the show will have a very healthy life at regional theatre companies.

Broadway Joe said: "I'm seeing this tonight and was curious how many tickets were available, yikes....





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That is unbelievable. Can you report what it was like being in the audience for that performance? Very, very odd.

Does anyone know if they have a certain number of rush tickets or if they'll just sell whatever's left as rush? I'm going to try around 5pm tomorrow.

I think the most logical choice would be for her to do Comet. She is probably regretting opting for Amelie instead of Comet in the first place, and just makes sense that she would want to take the role she originated to Broadway. Also, the producers would have a field day promoting two original Hamilton cast members being "reunited".

Honestly, they will probably just escort you downstairs and give them to you. God, that seating chart is so embarrassing. It must be tough on everyone involved.

Last Sunday's performance was Standing Room Only so it might be wise to get there early.

I LOVED that duet featured in the LA trailer and was sad to see that it was changed for NYC, but "When the Booth Goes Bright" remains my favorite song in the score.