I love this thread.
I've been posting here since 2003, and this classic discussion is precisely why most of us return: it's thoughtful, it's larded with specifics to back up general take-aways, and it's infused with instructive content, particularly about voices, keys, and composer/authorial intention or absence thereof. In only two days worth of posting, we have a range of responses, all detailing the challenges in the roles and how they're met. I read strong differences of opinion on casting, on negotiating the score, and on expectation. But I don't hear "hate" or anything close. Musical theater invites powerful responses; its practitioners, beloved yet necessarily bearing parsed performances, know how much audiences invest in their creative choices and their execution. I read, I learn, I decide if I need to return to this ravishing show or not. I'm more informed, indeed, better educated. I'm not always so damned positive, but this morning I salute BWW, and everyone who posts. This is why this site exists.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling